British Society on Facebook Twitter @BritishFluteSoc From the Editor Contact Elisabeth at [email protected]

n this issue of PAN we take our annual look at the feast of flute summer schools that is available in the UK and abroad. We have eight pages packed with ideas for a summer of fluting enjoyment and excellence. DoI consider making the most of these wonderful opportunities for developing your flute playing while enriching your life with the lasting friendships that the flute world seems to promote so well. At the pinnacle of flute playing, of course, we also have the BFS London Flute Festival to look forward to in August. Plans are well advanced and bookings are now open at St John’s Smith Square, which will be hosting the festival. The festival celebrates the 80th birthday of the master, William Bennett, along with established and rising stars of the British flute world, and we will enjoy an exceptional three days of British flute playing—with a French twist. I hope you enjoy the many and varied articles we have for you this month, which range from considerations of anatomy through to advice on how to be productive in in the practice studio, via a comprehensive history of the flute, from to virtuosity. Elisabeth Hobbs Editor

The Royal Society of Musicians is Britain’s oldest music charity and its aims remain as relevant today as they were in the earliest years – to provide immediate financial assistance to musicians unable to work due to accident, illness or old age. Being a charity run by musicians for musicians, the Society is uniquely placed to fully understand the challenges faced within the profession.

THE ROYAL SOCIETY OF MUSICIANS 26 Fitzroy Square, London W1T 6BT | 020 7629 6137 [email protected] www.royalsocietyofmusicians.org Registered Charity No. 208879

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PAN Mar 2016.indd 1 21/03/2016 23:07 The Council and Officers of the British Flute Society Chairman Malcolm Pollock Treasurer Julie Butler Area Representative Co-ordinator Kate Cuzner Council Members The British Flute Society Jocelyn Campbell; Andy Findon; Kate Hill; Anne Hodgson; Niall O’Riordan; Rachel Smith; Carole Jenner Timms AFT Representative President William Bennett OBE Hugh Phillips Vice President Atarah Ben-Tovim Membership Secretary Vice President Emeritus Sheena Gordon Nicola Thompson Honorary Patrons Sir Legal Advisor and Lady Jeanne Galway Nancy Sun Chairman Malcolm Pollock BFS Secretary and Advertising Manager Anna Munks The Journal of the Editor British Flute Society Elisabeth Hobbs

Volume 35 Number 1 Full contact details for all council members March 2016 and officers are available from the secretary. Editor Elisabeth Hobbs [email protected]

Contacting the BFS Area Representatives Secretary and Advertising Anna Munks Avon & Somerset Carole Jenner-Timms 27 Eskdale Gardens 01761 233982 Purley, Surrey CR8 1ET Birmingham Margaret Lowe 0121 474 3549 Telephone and fax 020 8668 3360 Cardiff Justine Swainson 029 2075 1313 [email protected] Cheshire Dawn Savell 01925 416647 Cumbria Suzanne de Lozey 01539 560054 Derry/NI Sarah Murphy 07811 107065 Membership Secretary Devon (West) & Cornwall (East) Nicola Thompson Kym Burton 01837 861138 48 Wistow Road East Sussex Anne Hodgson 01273 812580 Selby YO8 3LY Hertford Sally Quantrill 01992 536236 Telephone 0845 680 1983 Hertfordshire Wendy Walshe 01707 261573 [email protected] Hertfordshire (Hitchin) Liz Childs 07711 080275 Kent Pat Daniels 01732 770141 Editorial Committee Lancashire Mark Parkinson 01257 410856 Jocelyn Campbell Lancashire (Preston) Jane Pembleton-Smyth Carole Jenner-Timms 01772 864587 Anna Munks Leicestershire Elizabeth Rowan 0116 2514595 Niall O’Riordan London E & Essex Kate Cuzner 01787 273628 NW London Joss Campbell 07930 093564 Oxfordshire Kate Hill 01491 681 915 Design and layout Elisabeth Hobbs Scotland Marysia Williamson 01501 762 510 Editorial Assistants Joules Roberts and Shropshire Claire Hennie 01948 780149 Leena Rana Southampton/Hants Sarah Heard 07779 Cover: William Bennett 927613

19-21 August 2016, St John’s Smith Square John’s 2016, St 19-21 August Surrey Jacqueline Cox 020 8773 0436 Printed by Magprint Swansea Hugh Phillips 01792 865825 West Yorkshire Tracey Smurthwaite 01924 Views expressed by contributors are their 211538 own and do not necessarily reflect an official view of the British Flute Society. INTERNATIONAL All copyrights reserved. Australia (VIC) Paula Rae +61 3 9882 6888 Australia (NSW) Derek Galloway +61 4

Celebrating BFS President William Bennett’s 80th birthday Bennett’s William BFS President Celebrating 50045753 France Atarah Ben-Tovim +33 5574 74428 Italy Geoff Warren +39 85 4155549

Registered charity No. 326473 2016 Festival Flute BFS London Muscat, Oman Nicholas Foster +968 95203966 ISSN 2052-6814 New Zealand Marion Titmuss +64 75520794

PAN Mar 2016.indd 2 21/03/2016 23:08 Contents

1 From the editor 4 News and people 12 BFS Competitions 2016 16 BFS London Flute Festival 23 Events diary 16 60 Reviews 24 Articles

24 Summer schools 2015 Eight pages of summer schools information 32 A history of the flute: part 1 Trevor Wye looks at the world of whistles 38 Practising self-compassion 32 Noa Kageyama on being kind to yourself in the practice studio 42 For better or worse: the virtuosic flute Timothy Hagen on the development of virtuosity 48 An organic approach to breathing: pt 4 Niall O’Riordan continues his Feldenkrais series 52 Talent or tongue? Roz Trübcher on a neglected aspect of learning the flute 54 Daniel Kessner: a composer at 70 Carla Rees on the flute works of Daniel Kessner 56 “Don’t ask me to improvise!” Geoff Warren thinks about improvisation, jazz and the flute 55 Motivation: encouraging a new generation Liz Goodwin has some ideas for getting young people playing 52

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PAN Mar 2016.indd 3 21/03/2016 23:08 coveted position of solo and are looking forward to flautist with the Berlin our future collaborations Philharmonic together.” News under Herbert von Karajan One of the leading in 1969, before becoming female flute soloists of the one of the very first flautists decade, Lady Jeanne Galway and People to establish an international is also an accomplished solo career in 1975. As well chamber musician and as receiving a Knighthood regularly performs in the for Services to Music in major cultural capitals of Sir James and Lady Galway at 2001, Sir James Galway the world. A native of New received the Gramophone York, Lady Galway dedicates Birmingham Conservatoire Lifetime Achievement much of her time to working Award in 2014. with the younger generation Sir James said, “We are so through her educational ne of the world’s artists as diverse as Stevie excited about our first James articles, masterclasses, blogs greatest living Wonder, Ray Charles, Joni Galway residency at the and recordings. flautists, Sir James Mitchell, Sir Elton John Birmingham Conservatoire During their OGalway, has announced his and Roger Walters, as well in May and eagerly looking residency at Birmingham only UK residency of 2016 as performing on ‘The Lord forward to working with all Conservatoire, Sir James to be held at Birmingham of the Rings’ film trilogy the talented flute players out and Lady Galway will run Conservatoire, part of soundtracks. there! concurrent workshops and Birmingham City University. Sir James studied in “We are thrilled to masterclasses on Monday Sir James and Lady Jeanne London and Paris before be associated with such 2 May. These interactive Galway are the esteemed embarking on his orchestral a well-regarded music sessions will see the Galway’s Honorary Patrons of the career in London’s major education establishment, share their knowledge for British Flute Society, and the and symphonic under the new leadership music-making, encouraging BFS is proud to be associated . He took up the of Julian Lloyd Webber, flautists of all abilities to with this exciting event. Sir James will be joined by his wife Lady Jeanne Galway and together they will host a series of workshops and masterclasses for flute players of all levels and ages during the early May bank holiday this year. These sessions will be preceded by a concert from the duo on at 3pm on Sunday 1 May in the Conservatoire’s Adrian Boult Hall. Nicknamed ‘The Man with the Golden Flute’, Sir James Galway is globally renowned as the supreme interpreter of the classical and has sold in excess of 30 million records during a career that spans over 40 years. During this time, the Belfast-born flautist has worked with

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improve their techniques, Conservatoire’s Learning BFS Collaborations with European Flute both as solo performers and Participation Societies or as part of an orchestra. programme, with the The day will close with all concert, workshops and participants performing masterclasses open to players together in a large , of all ages and abilities. conducted by Sir James. We are looking forward Professor Julian Lloyd to welcoming flute players Webber, Principal at from across the country to Birmingham Conservatoire, Birmingham Conservatoire said: to attend the concert and the “We at the Birmingham learning activities as a joint Conservatoire are delighted educational package.” to welcome Sir James and The Galway Residency at Lady Galway for their Birmingham Conservatoire first residency. Their visit takes place between Sunday continues our tradition 1 and Monday 2 May 2016. of bringing the world’s Information about how to finest musicians to the book for the concert and Conservatoire, both for our masterclass is available students and our public at http://www.bcu.ac.uk/ audience. conservatoire/events- “The Galway residency calendar/concert-diary/ forms a part of Birmingham james-galway.

Neflac students perform in Diemen 2015

The UK’s relationship We have put together with the rest of Europe is a survey to be distributed very topical at present. I soon via all European am happy to report that Associations which will there are no disagreements hopefully give us a better between European Flute understanding of the issues Associations, and indeed facing teachers of school the BFS is helping to lead age students, and inform the collaborative efforts of content of the conference. potential benefit to all. The main conversations will Following initial take place in English as the meetings in Nice and most widely understood Würzburg in 2014 and 2015, language. The 2017 event will we met in Wiesbaden in involve a few teachers from November last year to agree each country, but we hope an approach to a teachers’ this growing network will conference in Gröningen enable valuable exchanges of in November 2017. This knowledge and experience would take place during in the future. the Dutch Flute Society’s (NFG) twenty-fifth birthday Malcolm Pollock celebrations.

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Embodied Musician: Breath and Balance for BFS and Flutewise Flautists with Niall O’Riordan team up with Mike Mower for Kent ell-known flautist useful to flute players. Many flute day and Feldenkrais of my students have told Method® me, though, how useful Weducator Niall O’Riordan has it would be to be ‘talked he British Flute just released an innovative through’ the lessons with Society Kent branch new audio course for flute audio recordings, and that is to learn about their own in conjunction with players called The Embodied what my new course aims to TFlutewise are delighted to posture habits and think Musician. The course provide. about new options. The aim present a day with Mike programme consists of over By engaging with these is to help you develop your Mower on Sunday 24 April. three hours of audio lessons, lessons, students will be able playing from the inside out!” The event will take place at along with supplementary to improve their breathing, The Feldenkrais Method® The Schools at Somerhill, notes and other free bonus discover better balance in is an educational method TN11 0NJ. material. playing the flute, free up focusing on self-awareness Mike Mower is very well Niall says, “In my recent the shoulders, and reduce and learning involving known to the flute world as articles for PAN magazine aches and pain. The lessons gentle movements, which a composer and performer I’ve tried to give a useful will also help develop self- can bring about improved on flute and saxophone. overview of some of the awareness and prevent coordination and enhanced He is guaranteed to stretch classic Feldenkrais lessons future discomfort and functioning. It is named your flute playing skills and which are particularly injury. I encourage students after its originator, Moshe entertain you. Feldenkrais (1904-1984), an The day will be divided engineer and physicist as into two parts. The morning well as a Judo teacher. session is for adults This programme focuses only and will comprise on the relationship between warm up, tips and tricks, breath and balance and interactive workshops and improving each of them. masterclasses. The student is talked In the afternoon, there through a sequence of will be a Flutewise event gentle movements that for children. Adults are work like a physical riddle. welcome to stay for the Each new movement is afternoon session, when repeated and explored, there will be a workshop on enabling the student to ‘how to practice’ by Cathy become familiar with it, Hare while Mike works with and to begin to play with the Flutewise group. unaccustomed movement TopWind will also be in relationships. By engaging attendance with a pop-up curiosity, gently and at their shop and there will be , own rate, students learn to music, and accessories to try explore the world of your and buy. internal sensation. This The cost for the morning awareness helps to release session (10am-12.30pm) is chronic patterns of tension £25, and for the afternoon and create new movement session (1.30-4.30) is £15. possibilities. For more information Niall’s course was contact Pat Daniels, BFS released in March and is Kent area representative: available through his website patdaniels.flute@hotmail. at www.niallflute.com. co.uk.

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Research shows new benefit of flute playing Sleep apnoea is designed to assess the risk commonly associated with of eventually developing laying the flute upper airways - a common heavy snoring, where the sleep disorders. could reduce the side effect of becoming muscles in the upper airways They found that the risk of developing proficient on the instrument. of the throat relax so much people who played the flute Psleep apnoea, according The scientists who while a person is sleeping, had a much lower risk of to new findings presented conducted the research say they can collapse and block having sleep apnoea in the at the Sleep and Breathing the findings could mean airflow. future. Conference in Barcelona. a non-invasive method of The condition can be Peculiarly, the difference Researchers believe that preventing the condition dangerous for those who didn’t come from the lung playing the flute or another developing in those who develop it, leading to radical function test. Instead, can might be at risk. medical solutions like the the scientists believe that increase muscle tone in the use of sleep apnoea masks. the playing of a wind The authors of the study instrument such as the tested the lung function flute, which requires greater of 64 people who played control over the muscles the flute and compared the in the upper airway, helps results to a control group of to stop the collapse of soft non-players. tissue and muscle that is All participants also commonly associated with completed a questionnaire sleep apnoea.

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Applications now open for Galway Flute Festival 2016 acquired over Sir James’ illustrious career and are a part of what makes him the player he is today. All classes pplications are now annual international Flute Alongside Sir James’ are open to all students to open for the 27th Festival in the beautiful classes, his assistant, Lady observe. Annual Galway lakeside town of Weggis, Jeanne Galway holds open Sir James and Lady AFlute Festival in Weggis, Switzerland. Each day classes each afternoon. All Galway invite you to join Switzerland. All applications begins with warm-ups led by students, no matter what them for an inspiring week for Sir James’ class are due by Sir James, focusing on tone their level or age, have the filled with picturesque sights April 30. Sir James selects 20 production and technique. opportunity to perform with and beautiful sounds! students for his masterclass The day continues with a pianist and be coached by Applications and with selection based on masterclasses given by Sir Lady Galway. Participants audition videos for Sir submitted audition video James and Lady Galway, are recommended to have James’ masterclass are due recordings. along with workshops attained a level equivalent to by April 30. Applicants for 2015 saw the biggest ever on orchestral excerpts, Grade 4/5 ABRSM to fully Lady Galway’s masterclass Galway Flute Festival with chamber ensemble music, benefit from some of the should submit their over 90 students representing improvisation, , technical studies. application by May 31. 22 countries. Participation low flutes, contemporary This year, we will focus Limited accommodation is offers an extraordinary techniques and more. on ‘Putting it All Together’, available at the venue, Stella opportunity to be a part Evenings are filled with by teaching participants Matutina, for full time active of this international flute concerts by the world’s how to connect what they participants. celebration and to learn leading flautists and there are learning in each class, For more information, from the Master. is also an Opening Gala then applying it to their please visit www. Sir James and Lady Concert with Sir James and performances to make galwayflutefestival.com or Galway invite flautists of all Lady Galway. them truly outstanding. email galwayfestival@gmail. levels to participate in their These techniques have been com.

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Sussex Flute Day with Peter Verhoyen

ver 50 flute and There were small graded piccolo players groups and large ensemble gathered at Brighton sessions, with a masterclass Oand Hove Girls’ School in the afternoon. Jonathan for the Sussex Flute day Myall Music brought a feast on January 17. Despite the of flutes and music and snow, we enjoyed a fantastic flute-related treats. The day day of flute and piccolo finished with a concert for playing with Peter Verhoyen families and friends with and Sussex Flutes. performances by all the We were fortunate enough to small ensemble groups. be able to welcome Peter and Peter then amazed his flautist wife Annemie as and delighted us all with well as their harpist daughter his solo piccolo playing of AnnSofie, who accompanied Bartok and Matt Smith with the whole group for the pianist Adam Leclerq, as warm up session, using some well as the Vivaldi C major excellent material developed concerto accompanied by by Peter and Annemie. The Sussex Flutes (who needs couple have a real affinity string players after all?!) with young people and The concert finished with a Peter has that special ability mass performance by course to work with each player at participants of Silver Birds their level, making them feel —a fantastic opportunity for encouraged and inspired, as young players to play with well as understanding how such a wonderful soloist. to develop their playing to a Anne Hodgson new level.

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PAN Mar 2016.indd 9 21/03/2016 23:08 Obituaries

Aurèle Nicolet Ludwig Böhm writes: I am very grateful to Aurèle Nicolet for his interest in and support of the works of Theobald Böhm. In Autumn 1981, he (1926-2016) agreed without hesitation to perform Theobald Böhm’s work, Fantaisie sur un air de Schubert, opus 21, in the gala concert The Swiss flautist Aurèle Nicolet died on 29 January, 2016 marking the occasion of the 100th anniversary of Böhm’s death at the age of 90. One of the greatest players and teachers of on 27 November 1881 in the Cuvilliés Theatre in Munich. his generation, he studied with at the Paris András Adorján, William Bennett, Ursula Burkhard, Michel Conservatoire, winning the Premier Prix in 1947, and a year Debost and Irena Grafenauer all followed his example and later winning the Concours de Genève. After playing with this was most probably the first time that so many famous the Zürich Tonhalle Orchestra and the Wintertur Orchestra, flautists played the works of Böhm together on one evening. in 1950 he obtained the position of principal flute with the The recording of this memorable concert is still available today. Berliner Philharmoniker, a post he held for nine years working A photograph of this event shows Nicolet with all his esteemed with Fürtwangler, Celibidache and von Karajan. colleagues at the concert. After leaving the Berliner Philharmoniker Nicolet pursued a career as a soloist and chamber musician to great critical acclaim. His recordings of Bach and Mozart are much admired, but in later years he dedicated himself to the performance of new music and had many works dedicated to him by composers such as Ligeti, Takemitsu and Holliger. It was through the oboist Heinz Holliger that he learnt circular breathing and he was one of the pioneers of this technique on the flute. As a teacher Nicolet was just as influential, teaching at the Berlin Hochschule für Musik from 1953-1965, and later giving regular masterclasses at Freiburg and Basel. His pupils included Marina Piccinini and , the latter emulating his teacher and obtaining the principal flute position with the Berliner Philharmoniker at an even younger age than Nicolet (22). “What fascinated me was his uncompromising manner,” says Pahud. “If he wanted something from me, he would not let up.” According to Nicolet having a superb technique and a beautiful tone is never enough: music should always convey a message. And he once said jokingly “the flute is the easiest of all instruments. You can play fast well. But the road from good to very good is a very long one.” Malcolm Pollock

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PAN Mar 2016.indd 10 21/03/2016 23:08 Obituaries

Dennis Clarke (1934 - 2015) Michael Colquhoun (1956 - 2016) My uncle, Dennis Clarke, a much-loved and revered flute American composer-flautist Michael Colquhoun lost his battle teacher, performer and regular contributor to PAN magazine, with cancer on 8 January, 2016. Amongst his compositions, passed away in May 2015, aged 81. Michael is best known for Charanga for flute alone. For many Dennis wanted to play the flute from a very young age and years, he co-lead a Salsa group in Buffalo, NY called Los Caribes. was overjoyed when his mother returned home one day with Michael’s flute playing on the Los Caribes CDs is truly original an old wooden flute. Dennis proceeded to teach himself, using and beautiful. His was a unique energy and personal voice. Boosey’s Simplicity Tutor and Rockstro’s book The Flute. He Michael was intensely loyal to Buffalo, New York, the city subsequently studied at the Guildhall with John Francis, and of his birth. He might well have been better known had he went on to play with many London theatre orchestras, the made the traditional migration to New York City, but he felt a Royal Shakespeare Theatre in Stratford-upon-Avon, and the powerful spiritual connection to Buffalo. Quantz Ensemble, as well as general freelancing. Michael made an epic journey from being a self-taught Dennis loved teaching the flute and is remembered with young player to a Ph.D. in composition and to true eloquence great affection by the hundreds of pupils he taught at St Paul’s and on the flute. He was a natural musician for whom the flute Westminster Choir Schools, Westminster School, Benenden, did not come easily. Through his perseverance in the search Christ’s Hospital, and Guildhall, as well as his constant stream for knowledge and his drive and dedication to improve, he of private pupils. Sam Coles, Jonathan Myall and Liz Goodwin overcame the naysayers who declared his flutistic future as zero are among Dennis’s past pupils, and he was an inspiration to — and his struggle should serve as a beacon to all who desire to me, with his love for the flute and endless enthusiasm, especially express themselves musically yet find the keys to instrumental encouraging and helping me at the beginning of my career as technique elusive. a flautist. I arrived in Buffalo in the Fall of 1977 as a member of the In June 2007, Dennis was awarded honorary life membership Creative Associates, a contemporary music group lead by of the BFS, in recognition of his many contributions to PAN composer Morton Feldman. After an improvised outreach magazine and his lifetime dedicated to the flute. He passed away concert in SUNY Buffalo’s Student Union, a young man at his home in Charlwood, Surrey and is survived by his wife approached me, said he played flute and asked if I would teach Sandra, his children Daniel and Jessica, and five grandchildren. him. The fire in his eyes was extraordinary. Unforgettable. Sarah Clarke-Lander There never was a moment of doubt for me that Michael could be a fantastic flute player, but he had managed to get an amazing number of things wrong in his self-taught playing. I’ve never had a student who worked harder than Michael, and I’ve never worked harder as a teacher. I learned at least as much from him as he from me. Michael and his music have had a positive effect on many lives and will continue to do so. If you haven’t explored his music, please do. You will be enriched.

Annemieke de Bruijn

Flutemotion: www.flutemotion.nl

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Annemieke de Bruijn www.flutemotion.nl [email protected] March 2016 11

PAN Mar 2016.indd 11 21/03/2016 23:08 Competitions BFS Competitions, London February 2016 by Malcolm Pollock

n 17 February 2016 about 75 young flute players took BFS School Performer Class B First part in the BFS competitions at the Regent Hall on Prize Oxford Street, coming mostly from the UK but also Ofrom the Far East and Europe. Their ages ranged from eight to • William S Haynes Co of Boston 24 and they were supported on stage by the highly experienced Prize: A Haynes Classic headjoint in accompanists, Jo Sealey and Richard Shaw. William Bennett sterling silver, hand-cut, silver lip and OBE, the President of the BFS, presented the prizes at the end riser . of the School Performer Class A competition, and was himself presented with a card from the BFS in recognition of the BFS Young Artist 2016 First Prize• • occasion of his 80th birthday earlier in the month. • Trevor James The classes were adjudicated by four of the UK’s top players and teachers: Paul Edmund Davies, Kate Hill, Rachel Brown and Stewart McIlwham. Most important of all, the levels of playing demonstrated by the young players were always high, and at times breathtaking. Special mention must go to the three class winners, William Lithgow, Chloë Ellen Jones and Lucija Stilinovic. Both Lucija and Chloë, winners of the Young Artist and School Performer Class B competitions, will be given the opportunity to perform at the London Flute Festival in August this year. The BFS would like to thank the following companies This was a great showcase for the next generation of flute and individuals who have generously given prizes for this players, and deserves to be more widely appreciated by the year’s competitions: All Flutes Plus, Beaumont Music Ltd, flute-loving public. Details of the 2017 event will be announced June Emerson Wind Music, Just Flutes, Christian Le Délézir, in the December issue of PAN. Pearl Flutes, Top Wind, Trevor James, William S Haynes Co of Boston. In particular, we would like to thank Pearl Flutes, William S Haynes Co of Boston and Trevor James for providing the following first prizes: BFS School Performer Class A First Prize • Pearl Flutes Prize: PFP-105E Grenaditte piccolo with silver plated split E mechanism

William Lithgow is presented with his Pearl piccolo by William Bennett

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Young Artist winner Lucija Stilinovic is presented with her first prize of a Trevor James alto

Two young performers. L: Alex Lau, this year’s youngest entrant with Richard Shaw and Wibb; and R: Fiona Sweeney

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The British Flute Society Competitions Wednesday 17 February 2016 Competition Prize winners

BFS School Performer 2016 Class A Prize Prize details Winner and Piece(s) performed First Prize  Pearl Flutes Prize: PFP-105E Grenaditte piccolo William Lithgow with silver plated split E mechanism  BFS Class A First Prize Medal Rhené-Baton Passacaille, Op. 35 Second  June Emerson Voucher £40 Milly Smith Prize:  BFS Class A Second Prize Medal Morlacchi Il Pastore Svizzero Third Prize:  Beaumont Music Flute Bag Pooja Molly Low  Christian Le Délézir Prize: VOL 1 Suite Exatonique N°1 "Les Rives de Mai” by Christian Le Délézir Berkeley Flute Sonatina 1st movement  BFS Class A Third Prize Medal Merit 1. All Flutes Plus Prize £20 Daisy Noton Medals BFS Class A Merit Medal Bloch Suite Modale movement IV Daniel Pengelly 2. BFS Class A Merit Medal Bozza Image

BFS School Performer 2016 Class B Prize Prize details Winner and Piece(s) performed First prize  William S. Haynes Co. of Boston Prize: Chloe Ellen Jones A Haynes Classic headjoint in sterling silver, hand-cut, silver lip and riser Paggi Rimembranze Napoletane  Free entry to the BFS London Flute Festival 2016 (extract) and an opportunity to perform at the event  BFS Class B First Prize Medal Second  Just Flutes voucher £75 Lucy Driver prize  Beaumont Music Flute Bag  BFS Class B Second Prize Medal Mozart Concerto in D major

Third prize  All Flutes Plus voucher £40 Indira Khine-Short  Christian Le Délézir Prize: VOL 2 Suite Exatonique N°2 "Drenek" score by Katherine Hoover Spirit Flight Christian Le Délézir  BFS Class B Third Prize Medal Merit 1. BFS Class B Merit Medal Marie Sato Medals CPE Bach Hamburger Sonate 2. BFS Class B Merit Medal Teodora Hetei-Baku Mozart Concerto in D Major 1st movement

Special Christopher Hill Tschaikowsky Arie des Lensky aus der Oper "Eugen Onegin" mentions Amy Aron-Muellbauer Piazzolla Nightclub 1960 Victoria Creighton Prokofiev in D, 4th movt Daniel Swani Messiaen Le Merle Noir Rebecca Rouch Enescu Cantabile et Presto

www.bfs.org.uk Registered Charity No. 326473

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The British Flute Society Competitions Wednesday 17 February 2016 Competition Prize List for Adjudicators to Complete Competitions BFS Young Artist

BFS Young Artist 2016 Prize Prize details Winner and Piece(s) performed First prize:  Trevor James Prize: a Trevor James Alto Flute. Lucija Stilinovic  Free entry to the BFS London Flute Festival 2016 and an opportunity to perform at the event. Karg-Elert Sonata appassionata

Second  Top Wind Prize £75 Hannah Foster prize:  Christian Le Délézir Prize: JAZZONATA - Art edition N°? of 50 by Christian Le Hindemith 8 Pieces for Solo Flute Délézir

Third prize:  All Flutes Plus Prize £60 Amy Yule

Sibelius Nocturne Vine Sonata 3rd movement

Many congratulations to our prize winners and all competitors who took part in this year’s competitions.

The BFS would like to thank everyone who has given prizes for the competitions

School Performer (Class B) winner Chloe Ellen Jones is presented with her WS Haynes headjoint by Gareth McLearnon

www.bfs.org.uk Registered Charity No. 326473 March 2016 15

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The BFS London Flute Festival 2016 Flutastique! — a fantastic celebration of British playing with a French twist

he British Flute Society warmly invites you to its summer BFS London Flute Festival to be held at St John’s Smith Square, London, from 19-21 August 2016. TFestival Artistic Director, Edward Blakeman, has combined his experience as a musical curator and programme commissioner with his extensive specialist knowledge of the flute and the , to put together a truly memorable festival of flute playing, celebrating British flute playing and its historic links to France. The ambition for the Festival is to celebrate the richness and variety of UK flute playing. In a series of gala concerts and recitals across the weekend, eminent British players will feature their favourite pieces of British and French flute music, alongside other works from the repertoire. There will also be talks, a flute choir, a trade showcase and workshops with the artists. This is a great chance to get connected and become immersed in today’s vibrant world of the flute. Festival Trade Showcase All the events, recitals and gala concerts will take place in the main hall and will be surrounded by showcase tables full of flutes, music and gadgets for browsing and buying. Friday 19 August The first day of the Festival is all about listening, learning and doing – and you can do any or all of those! Come and take part, or come and just watch as Katherine Bryan launches the Festival with a session on ‘warming up’ and a short recital, which leads into a flute choir rehearsal with the inimitable William Bennett Atarah Ben-Tovim. A celebrity recital with Adam Walker rounds off the morning. Saturday 20 August Geoffrey Gilbert Memorial Workshops William Bennett’s 80th Birthday Gala Event After lunch we move on to an afternoon of workshops, Saturday is a musical feast of celebrity recitals – with Denis full of hints, tips and experience. Flautists including Clare Bouriakov, Lorna McGhee, Rachel Brown, Michael Cox and Southworth, Lisa Beznosiuk, Philippa Davies and Sarah Stewart McIlwham - plus some of the newest young talents: Newbold share their expertise in playing and teaching with the prize winners of the 2015 and 2016 BFS School Performer subjects like Flute Reboot (‘rediscover the joy of the flute’), Class B and BFS Young Artist competitions. The day reaches a Baroque on the Modern Flute, Contemporary Techniques, climax with a very special Gala Concert in the evening. This is Practising, and Love Your Piccolo. Come and be inspired! an extravaganza with William Bennett and friends celebrating There is then a break to explore the showcase tables before his 80th birthday and glorious flute playing career. This recital the first Gala Concert in the evening, featuring Sam Coles and is generously sponsored by Mr Wu Hsieh of Altus Flutes. friends.

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Sunday 21 August Sunday morning features a concert with the Festival Flute Choir and flute ensembles (along with a special guest), followed by two more celebrity recitals with Emily Beynon and William Bennett. Finally, after the lunch break and a last chance to browse and buy, the final Gala Concert showcases the flute today in British orchestras and features some of the brightest young principal players from around the UK including Joshua Batty, Anna Pyne and Claire Wickes. Throughout the Festival there will of course be many opportunities to meet old friends and make new ones, to share your own flute playing experiences. We hope you will want to come to the whole Festival, dipping in and out of it as the fancy takes you, but if you can only be there for part of the time, separate day tickets and tickets for each of the Friday, Saturday and Sunday Gala Concerts are available. For further information about the event including a provisional programme, artist biographies, accommodation options and general information visit www.bfs.org.uk. Tickets are available through the St John’s Smith Square box office and online at www.sjss.org.uk.

Dennis Bouriakov

Emily Beynon Lorna McGhee

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When is a convention not a convention? When it’s a festival! BFS Vice-President Atarah Ben-Tovim writes about Flutastique! and her lifelong experience of flute conventions

I have to confess I am a flute group addict, and have never missed a day of a BFS Convention since the very first (I have also kept every copy of Pan!) My passion is large flute choirs playing arrangements of orchestral works, and I will be giving a concert with a rehearsal the day before with anyone who wants to play. I must have one of the world’s largest collections of flute choir music, some already published, others which I have commissioned. For me, my years as principal in an orchestra, with its incredible repertoire, were the most thrilling of my career, and the aim of my flute choir sessions for the Festival is to pass on this joy. We will rehearse and then perform some classics of the English orchestral repertoire: Elgar’s Serenade for Strings (a really wonderful arrangement by Russell Parry), Carla Rees’s arrangement of Delius’s On Hearing the First Cuckoo in Spring, Mel Orriss/Butterworth Banks of Green Willows, along with a touch of Holst’s Planets and Elgar’s Enigma Variations, and other orchestral delights. For a French flavour, I am hoping to persuade a soloist or two to join with the flute orchestra performing the Chaminade Concertino and Fauré Fantasie in the brilliant arrangments by Robert Rainford of Forton. I am sure many of you will enjoy joining in my flute orchestra sessions. I will need lots of altos, basses, contras and , as their range and timbre make all the difference to the whole ensemble. And if you don’t fancy playing in the ensemble, then you could just play in the tutti pieces which everyone is invited to join in with at the end of the concert. This years BFS competitions were very exciting, with 86 young players, all of whom gave excellent performances (with great teaching much in evidence) and we will be looking forward to hearing the winners perform again. I also hope that lots of you youngsters will also join in my events: you are all members now and your Society needs you! You are the future hen is a Convention not a Convention? When it’s a of flute playing in this country. Festival - a joyful gathering of fluters in the centre of It takes energy and courage to run this kind of Festival and London, for players, audience, trade and anyone and as a former Chairman I really appreciate all the work it takes, Weveryone who is passionate about the flute. Edward Blakeman so I hope to see and hear lots of you in London – the young, and team are putting together a wonderful programme of amateurs, pros, and trade, all gathering together to enjoy the fascinating French/English events, as well as presenting a new music–making and keeping the BFS a vibrant force in the world clutch of English soloists and chamber music players to inspire of fluting. us.

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Festival artists

Clockwise from top left: Adam Walker, Clare Southworth, Philippa Davies, Rachel Brown, Katherine Bryan.

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PAN Mar 2016.indd 19 21/03/2016 23:08 PAN Mar 2016.indd 20 21/03/2016 23:08 BFS London Flute Festival - Flutastique! 19–21 August 2016 St John’s Smith Square, London SW1P 3HA

Ticket options Full price Concessions Three Day Festival Pass (BFS members only - promotion code BFS2016) £150 £120 Entry to all events 19–21 August Friday 19 August 2016—Full Day Festival Pass (single day - entry to all events) £60 £48 Saturday 20 August 2016—Full Day Festival Pass (single day - entry to all events) £60 £48 Sunday 21 August 2016 —Full Day Festival Pass (single day - entry to all events) £40 £32 Friday 19 August 2016 evening recital only £20 £16 Saturday 20 August 2016 evening recital only £20 £16 Sunday 21 August 2016 afternoon recital only £20 £16 Box Office: +44 (0)20 7222 1061 or book online www.sjss.org.uk Booking fees apply: £2 per transaction for telephone bookings; £1.50 per transaction for online bookings. St John’s Smith Square Charitable Trust, registered charity no: 1045390. Registered in England. Company no: 3028678

Accommodation Options Festival attenders must arrange their own accommodation but we have negotiated special rates nearby Wigram House (University of Westminster) 84-99 Ashley Gardens, Thirleby Road, London SW1P 1HH BFS Member Promotion Code: BFS2016 - offers a discount of 10% on website rates Published rates for Wigram House start at £47 for a single room (£42.30 using the promotional code BFS2016) To book visit: https://www.westminster.ac.uk/business/facilities-and-services/summer-accommodation Located in a quiet residential street off the paved piazza of Westminster Cathedral and the lively commercial district of Victoria, Wigram House is at the very heart of the major tourist sights and St John’s Smith Square is less than 10 minutes’ walk away. Each room is carpeted and has its own washbasin. The rooms are surrounded by pods of bathrooms, showers and WCs. There are shared kitchens on each floor, which are supplied with a cooker, fridge/freezer, microwave, kettle and toaster. NB: Promotional code can be used at Wigram House (closest), Alexander Fleming Hall and Marylebone Hall, subject to availability.

The In & Out (Naval and Military Club) No.4 St James’s Square, London SW1Y 4JU Offer extended! This offer is for a limited number of rooms bookable until 31 March 2016. Book early! To book please contact Marta Wyszynska Tel:+44 (0) 20 7827 5744 or Email: [email protected] Please quote the reference number 64553 and your BFS membership number The In & Out Club in St. James’s Square have generously offered a special rate for members of the British Flute Society for the Friday, Saturday and Sunday of the BFS London Flute Festival.

Weekend Rates: BFS Members (Per Night) Definition 1 night 2 nights 3 nights Directors Double £160 £140 £120 Twins & Doubles £120 £100 £90 Box office: www.sjss.org.uk All Singles £80 £70 £60 Tel: +44 (0)20 7222 1061 NB Prices include a continental breakfast and VAT Visit www.bfs.org.uk for all the latest news Visit www. bfs.org.uk and follow us on for further festival information Facebook and Twitter!

Ticket information for March issue.indd 1 16/02/2016 07:54:59

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APRIL

9 Skipton Camerata with Ben Griffiths (flute) and Alex Rider (harp) conducted by Ben Crick. Bach Suite No. 2 in B minor, Mozart Concerto for Flute and Harp, Bartók Divertimento for Strings, Haydn Symphony no. 59 ‘Fire’. King’s Hall, Ilkley. Tickets available online from www.skiptoncamerata.com/concerts/2016/04/45/the-forgotten-muse.

15-16 Chetham’s First Flute Competition and Festival with Michael Cox, Mike Mower, Gareth Davies and Katherine Bryan. Chetham’s School of Music, Long Millgate, Manchester, M3 1SB. For more information see www.chethams.com/ outreach.

24 BFS Kent with Flutewise: flute event with Mike Mower and Cathy Hare. The Schools at Somerhill, Tonbridge. Morning event for adults, afternoon event for young players aged between 8 and 18. For further details and to book see www. flutewise.com, or page 6 in this issue of PAN.

24 The Harcourt Ensemble performs music for flute, harp and string trio with Elisabeth Hobbs (flute) and Anna Lockett (harp). Programme includes Derek Smith’s arrangment of Mozart’s flute and harp concerto, as well as a new arrangement of Anthony Hedge’s West Oxford Walks for this ensemble. All Saints, Nuneham Park, Oxford, OX44 9PQ, 6.30pm. Admission is free but tickets are limited; apply to [email protected].

MAY

4 The Geoff Warren Quartet at Jazz 825, The Railway Hotel, Southend. More information from www.geoffwarren.com. 9-12 Flute Works with Kia Bennett and Tim Carey at Benslow Music. Benslow Music Trust, Hitchin, Herts. More information from www.benslowmusic.org.

JUNE

17-19 The Refreshed Flautist Retreat with Dr. Jessica Quinones in St Agnes, Cornwall. Places limited to six participants. For more information visit www.bohofluteretreats.

26 Flute Day with Zoë Booth and Kia Bennett at Benslow Music, Benslow Music Trust, Hitchin, Herts. More information from www.benslowmusic.org.

BFS LONDON FLUTE FESTIVAL 19—21 AUGUST 2016 BFS London Flute Festival 2016. St John’s Smith Square and Manoukian Music Centre, Westminster School. Featuring a gala concert in celebration of BFS President William Bennett’s 80th birthday. Artists to include William Bennett, Sam Coles, Lorna McGhee, Atarah Ben-Tovim, and more. To book visit www.sjss.org.uk.

Concert or flute event coming up? List it in the Events Diary of PAN for free. The deadline for inclusion in PAN July 2016 is 30 June. Contact [email protected] giving full details of your event.

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MAY

1–2 Sir James and Lady Jeanne Galway Flute Residency, Adrian Boult Hall, Birmingham Conservatoire. W: www.bcu.ac.uk/conservatoire/events- calendar/concert-diary/james-galway; T: 0121 331 5909 (to be added to the priority on-sale notification mailing list).

4–8 Atarah’s 15th Advanced Adult Course the Dordogne, E: [email protected], T: 0033557474428, W: www.atarah.tv; or Facebook Atarah Ben -Tovim MBE.

8 Flutes at the Barns Day May 2016, St Albans, Hertforshire. E: [email protected]; T: 01727 765511/07976 613750; W: www.flutesatthebarns.com.

8–14 The Flute Feast in France with Elisabeth Hobbs (Flutes Inspired) and rarescale Summer School at Harlaxton Manor Paul Edmund-Davies (Simply Flute). E: [email protected]; W: www.flutesinspired.co.uk/france; T: 01865 343369/07896 507229.

9–12 Kia Bennett at Benslow Music Trust, Hitchin, Herts SG4 9RB. E: [email protected]; T: 01462 459446; W: www.benslowmusic.org.

12–20 Flutes en Vacances in Greece. E: [email protected]; T: 07922 169122; W: www.flutesenvacances.co.uk. JUNE

6–10 Flutes en Vacances in Yorkshire. E: [email protected]; T: 07922 169122; W: www.flutesenvacances.co.uk.

8–15 Flutes Inspired Greece. E: [email protected]; T: 01865 343369/07896 507229; W: www.flutesinspired.co.uk/greece.

10–17 Flutes en Vacances in Lincolnshire. E: [email protected]; T: 07922 169122; W: www.flutesenvacances.co.uk.

19–26 “Singing” the Music through the Flute. William Bennett intensive flute course, Austin Peay State University, USA. E: [email protected]; W: www.apsu.edu/music/william-bennett-summer-flute-academy- home-0.

26 Flute Day with Zoë Booth and Rachel Buxton at Benslow Music Trust, Hitchin, Herts SG4 9RB. E: [email protected]; T: 01462 459446; W: www.benslowmusic.org.

26/6 Pender Island International Flute Summer School 2016, Pender Island, BC –3/7 Canada with William Bennett and Lorna McGhee. E: [email protected], T: 403-993-3402; W: www.fluteretreat.com.

Flutes at Cubertou

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JULY

11–17 Flutes in Tuscany. Summer course in Tereglio, Tuscany with Elizabeth Walker and Sarah Murphy. W: www.lizwalker.co.uk/flutes-in-tuscany.

14–19 International Chamber Music Summer School, Shrewsbury. Modern and baroque repertoire, flute specialist Edwina Smith. T: 01923 853309/07711 037907, W: http://www.englishcamerata.org.uk.

18–23 International Flute Seminar, Monastery School Zevenkerken, Bruges, Belgium, with Aldo Baerten, Peter Verhoyen, Robert Pot, Blaž Snoj. E: [email protected], W: www.ifsb.be.

18–23 Llangenny Flute Summer School, Llangenny nr Crickhowell (in the Black Mountains, Wales). E: [email protected], W: llangennyflutes. rarescale Summer School at Harlaxton Manor com.

18–22 Flutes at the Barns July 2016. Hurdlow Grange, Derbyshire. T: 01727 765511/07976 613750; W: www.flutesatthebarns.com.

19/7 Flutes en Vacances in Suffolk. E: [email protected], –8/8 T: +44 7922169122, W: www.flutesenvacances.co.uk.

22–31 27th Annual Sir James Galway Flute Festival, Weggis, Switzerland. E: [email protected]; W: www.galwayflutefestival.com.

22–31 28th Forum for Flute and Piano, Diekirch / Luxembourg. Professors include: Carlo Jans, Jürgen Franz, Robert Dick. E: [email protected]; W: www.forumflutepiano.com.

24–30 Cubertou Advanced Mixed Chamber Music. E: [email protected]; T: 07775 898723; W: www.cubertou.com.

24–30 Flutes Du Soleil, Haute-Savoie, France. Andrea Kuypers and Louise Burnet. Flutes at the Barns Hurdlow Grange E: [email protected] W: www.flutesdusoleil.com.

24–30 The 21st Scottish International Flute Summer School. E: admin@ flutescotland.co.uk, T: +44 (0) 7764 852 685, W: www.flutescotland.co.uk.

24–30 International Workshop Szczecinek Wlodek Piesiak. E: [email protected]; W: www.warsztatyszczecinek.eu/en.

AUGUST

1–6 rarescale Summer School for flute players and composers, Harlaxton Manor, Lincolnshire. Tutors: Carla Rees, flutes, Michael Oliva, composition. E: [email protected], W: www.rarescale.org.uk.

Flutes at Cubertou

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4–7 in Italy with Geoff Warren. E: [email protected], W: www. geoffwarren.com, www.borrellosite.com.

9–17 31st William Bennett International Flute Summer School, Purcell School of Music, Bushey, Herts with William Bennett, Lorna McGhee, Ivan Alekhin, Valdemar Ulrikkeholm and Michie Bennett. E: [email protected]; T: 02074989807; W: www.williambennettflute.com.

15–27 Salzburg (Austria) 2016 International Summer Academy Mozarteum, Mirabellplatz 1, A-5020 Salzburg. E: [email protected]; W: www.moz.ac.at/de/kunst/soak.

16–19 Oxford Flute Summer School 30th Anniversary, Radley College, Abingdon, Oxfordshire. With Robert Winn, Kate Hill, Peter Verhoyen, Robert Manasse. E: [email protected]; T: 0118 950 7865/07745 377643; W: www.oxford-flutes.co.uk.

Wissam Boustany at Scotland International Flute Summer School 19–21 BFS London Flute Festival Flutastique!, St John’s Smith Square, London. Box office tel: 020 7222 1061; general information: www.bfs.org.uk.

21–27 Cubertou Advanced Wind Chamber Music. E: [email protected]; T: 07775 898723; W: www.cubertou.com/home/diary/wind-chamber- music.

22–26 The Flute Kitchen, Harrogate, North Yorkshire. E: events@windstruments. co.uk; T: 01274 510050; W: www.windstruments.co.uk.

24–28 Grolloo Flute Session 2 with Wissam Boustany, Ian Clarke, Matthias Ziegler, and Eva Kingma. W: www.grollooflute.com.

25–28 5th Flute Course in France with Sam Coles chez Atarah. French speakers (TBC) welcome. E: [email protected]; T: 00 35 57 47 44 28.

27/8 Flutes at the Barns August 2016, Tiree, Inner Hebrides. T: 01727 765511; –3/9 W: www.flutesatthebarns.com. William Bennett International Flute Summer School 28/8 Cubertou Elementary and Intermediate Wind Chamber Music. –3/9 E: [email protected]; T: 07775 898723; W: www.cubertou.com/home/ diary/wind-chamber-music. SEPTEMBER

3–10 Flutes at the Barns August 2016, Tiree, Inner Hebrides. T: 01727 765511; W: www.flutesatthebarns.com.

5–9 Flutes Inspired with Elisabeth Hobbs at Hawkwood College, Gloucestershire. E: [email protected]; T: 07896 507229; W: www.flutesinspired.co.uk/courses. Bookings: http://www. hawkwoodcollege.co.uk/courses-and-events/arts/flutes-inspired-4-day- course---elisabeth-hobbs.

Flutes Inspired at Hawkwood, Gloucestershire

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Is it for me? Participants share their flute course experiences

rarescale Summer School 2105 with Carla Rees rarescale Summer School returns to Harlaxton Manor again this year for the fourth consecutive year. This is a unique course with a special atmosphere; participants are able to develop their skills in a relaxed, supportive environment, and the numbers are kept small to allow a flexible programme which is tailor-made to suit the needs of the participants. Every participant receives a private lesson with course leader Carla Rees, and the week includes opportunities for ensemble playing (both with the full group Wissam Boustany at Scotland International Flute Summer School and smaller combinations), masterclasses, developing skills on low flutes, exploring new repertoire from all eras, a chance to explore extended techniques and playing with electronics, and opportunities to collaborate with the composers who attend the summer school during the same week. Run by contemporary music ensemble and registered charity, rarescale, the course’s philosophy is based on providing an environment in which participants are free to experiment and try new ideas to develop their musical skills. An open mind is essential, but the focus of the repertoire is left to the choice of the participants; ensemble playing skills are developed through working on many of Carla’s challenging flute ensemble arrangements from the Renaissance to the twentieth century, and repertoire from any era is welcome. Carla’s experience of playing low flutes makes this the ideal course for anyone interested in working on doubling instruments, from piccolo to , and baroque flutes are also welcome, for use in either early or contemporary repertoire. Residents stay in the magnificent manor itself, which is situated in rolling fields a few miles outside Grantham in Lincolnshire. The course includes two concerts, one by rarescale in the middle of the week, and the other on the Friday evening in which course participants bring together their work during the week. The flute course has a maximum of 12 places, so early booking is advised to guarantee your place. For further details please see www.rarescale.org.uk, and use the contact form on the website to get William Bennett International Flute Summer School in touch with any questions. Flautist Laura Beardsmore has attended several rarescale summer schools and shares her experiences: “I attended rarescale’s Harlaxton course in 2013 and 2014, and after missing last year’s course I’ll definitely be back this summer! I was looking to spend a week playing low flutes and working on repertoire, but the course also gave me the opportunity to work with composers on the concurrent composition course, and for plenty of ensemble playing, culminating in an informal concert at the end of the week. Classes are a mix of masterclasses, whole group ensemble playing, working with composition students, sessions on extended techniques, smaller ensembles, and private lessons. The balance of these sessions is flexible and very much led by the course participants, allowing the group to choose what they spend most time on. Participants on the course arrive with varying experience of playing low flutes, and one of the things I have found very interesting and helpful is exploring how playing low flutes can help regular C flute playing, particularly in areas such as breathing and tone quality. Flutes are available to borrow for the course, and on both courses I’ve attended there’s been at least one person who’s picked up a for the first time on Monday and not put

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it down all week. Having said that, while playing low flutes is Flutes Inspired in Granada 2015 encouraged, players who want to concentrate on C flute playing Two participants describe their experiences on a Flutes Inspired are free to do so. residential. The course is open to players of varying ability, and both times I have been there was a real mix of standards from Our Flutes Inspired Granada adventure began on Saturday students, adult amateurs, and professional players like myself. 24 October 2015. It was a week crammed full of flute playing, Carla manages the course to allow every player to work at sight-seeing, eating, drinking and making new friends. What their own level; the ensemble music worked on during the more could you ask for? Our home for the duration of the course is all arranged by Carla and challenges all players on trip was Cortijo El Cachete, a converted farmhouse, complete the course. Although a lot of the repertoire for low flutes is with swimming pool and surrounded by olive groves and the contemporary, there’s a wide variety of music on the course, and Sierra Nevada mountains. We were fortunate with the weather, lots of the ensemble pieces are arrangements of older music. as most days were warm and sunny, allowing us to rehearse Arrangements of Renaissance choral music work brilliantly and eat outdoors. We were a large party of 25, including some for low flutes! Carla is great at fostering a relaxed and informal partners. working environment, and my experience has always been one Elisabeth Hobbs and Zoë Booth, our brilliant tutors, of a supportive and friendly atmosphere. prepared a varied repertoire of flute choir pieces, ranging from Outside class time, there’s plenty of time and space to arrangements of sacred music to the popular song Quizas, practice, and many people use this time to rehearse smaller Quizas, Quizas. They also had a table full of music for flute duos, ensemble items for the end of week concert. The course is in a trios, and quartets, allowing us to try new music and to play beautiful setting, and I also spent time exploring the building with different people. We were working towards concerts and a and the grounds. There’s also a nice pub a few minutes walk masterclass. Zoë and Elisabeth also ran workshops where they away where course participants and staff can go in the evenings. shared their extensive knowledge on tone colours and baroque I would recommend this course to anyone, and particularly ornamentation respectively. The musical highlight for me was those who are interested in exploring low flutes and/or definitely our celebration concert as this was a chance for all contemporary repertoire.” of us to perform solo and ensemble pieces that we had been Sam Christie also enjoyed the Harlaxton experience, and working on during the week. Zoë and Elisabeth also dazzled us says, “The​ra rescale week-long summer school of wall-to-wall with their virtuosity and musical panache in their tutor recital. fluting was hard work, exhausting, great fun, exhilirating and When we weren’t busy with individual lessons, having hugely worthwhile. Time was split between large ensemble massages, playing music with friends, rehearsing with Wendy, work, small group work, individual one-to-one focus with the our accompanist, or practising flute choir pieces, we ventured tutor, Carla, and free time. Participants were encouraged to play off into Granada. In the early part of the week, we visited the alto and bass flutes (some for the first time), as well as the C mountain village of Iznajar and also Wendy’s home village, flute and piccolo. There was also a public performance given by Alhama de Granada, where we performed an evening concert the tutors, which cleverly programmed Bach in amongst electro​ in the beautiful Church of the Carmen, which was followed by a acoustic music for low flutes. It was stunning and inspirational. delicious tapas meal. We spent the penultimate day wondering “In the large ensemble, the objective was to get us all around the spectacular Alhambra palace: taking photos, communicating with each other at different times, depending soaking up the sun and enjoying each other’s company. on who was playing what, which involved that thing called Each morning we were spoilt with sumptuous breakfasts ...listening. There was a range of standards but Carla allocated that provided much needed fuel for the days’ activities, and parts well, so no one was ever out their depth of potential, every evening tasty meals were prepared for us with an endless yet was significantly challenged. In the final concert, we did supply of wine and drinks—thanks to Dave and Max! The final manage to pull the piece off, even though there were some hairy celebration meal, after the concert, was a feast of paella. The moments. But we all admitted we’d made really good progress owners of the farmhouse joined us for the party, and we were in just 5 days. treated to a very special flamenco performance on the terrace “The aim of the small groups was to create more of a under the stars. dialogue between two or three people. In duets and trios, each This was my first Flutes Inspired course, and I loved every player is far more exposed than in the large ensemble, so the minute of it- so much so that when I arrived home I paid my communication needs to be very focused. For future reference, deposit for Flute Feast in France with Elisabeth Hobbs and the ​watchman’s tower has amazing acoustics for duet practising. Paul Edmund-Davis. Not only did I pick up invaluable tips to The one-to-one sessions really helped to slay some gremlins, improve my musicianship, I also met some wonderful people, which Carla is amazing at, and consolidate technique on the tasted fabulous food and saw some incredible sites. I have many new instruments. The rarescale summer school is extremely happy memories of this trip that will stay with me for a long rewarding and utterly enjoyable.” time. More information at www.rarescale.org.uk LEENA RANA

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Flute, food, friendship and fun... private lessons, masterclasses, concerts and informally. Playing in the sunshine on the veranda was particularly pleasant. , food, friendship and fun. These four things make The non fluting highlight had to be the Alhambra—a for an excellent course in my eyes and were provided by well preserved Moorish palace on the outskirts of Granada. the bucket load by Elisabeth Hobbs and Zoë Booth at the Stunning, beautiful, ornate... words do not do it justice. FFlutes Inspired course in Granada, Spain. And of course no flute course is complete without This was my first week long flute course and I was not sure mentioning the good food! This was delicious. From simple what to expect from my holiday. But as the minibus travelled buffet lunches on the terrace in the sunshine, to delightful from the airport and wiggled through smaller and narrower evening meals prepared by a local cook. Naturally as we were roads, to our home for a week—a villa in the middle of a huge in Spain, we sampled several restaurants. This included a tapas expanse of olive groves with views of the Sierra Nevada—I bar which opened early especially for us, after we played a short knew that whatever happened, it would be good. The villa was concert at the nearby church! the perfect spot for us flautists to play as loudly as we wanted The grand finale was a group concert followed by paella and without worry of annoying the neighbours. flamenco. I went to bed listening to the sounds of Elisabeth, We quickly got to know each other and settled into a Zoe and Wendy jamming with the flamenco group and the well organised timetable with a balance of flute playing and buzz of happy conversation. A fitting end to a wonderful week. excursions. I was surprised to meet several non-flute playing Gosh, writing this has brought back many happy memories! partners who came to enjoy relaxing in the sunshine whilst we AMY STOCKWELL tootled. Indeed they had plenty of relaxation time as we played as an ensemble, in small groups, solos with Wendy the pianist, More information at www.flutesinspired.co.uk

ENQUIRIES FOR 2017 NOW BEING ACCEPTED AT WWW.FLUTESINSPIRED.CO.UK

SORRY COURSE FULL

A FLUTE FEAST IN FRANCE 8-14 May 2016

supported by Powell Flutes

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PAN Mar 2016.indd 29 21/03/2016 23:08 Learn from the Master this year - 22-31 July 2016, Weggis, Switzerland

In 2015 we enjoyed our biggest ever festival with over 90 students representing 22 countries - be a part of it in 2016!

Our Flute Festivals offer flutists of all abilities the chance to attend and participate in a wonderfully supportive 10 day festival with Sir James, Lady Galway and other world-renowned artists. The festival includes: Masterclasses, Guest Artists, Workshops, Concerts, Exhibitors & Prizes

Find out more and register now at galwayflutefestival.com

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PAN Mar 2016.indd 30 21/03/2016 23:08 22nd-26th August 2016

Grolloo Flute Session 2 Chetham’s First Annual August, 24th - 28th, 2016 Matthias Ziegler, Ian Clarke and Flute Competition Wissam Boustany are presenting the second edition of this innova- and Festival tive fl ute course, together with Eva Kingma, Leon Berendse and Tim 15 and 16 April 2016 Carey.

Participants will be exploring many performance and practice issues in fully interactive discussions and workshops. Five full days of inspired music-making and vibrant exchanging Come and Celebrate the Art of the Flute! of ideas in Grolloo, The Festival: workshops, classes and lessons with Netherlands. eminent guest artists. Competition includes live performance and prize opportunities. This course is seeking to give advanced players an opportunity to For details of this first ever flute event and competition at Chetham’s, please visit analyse and develop their playing www.chethams.com/outreach or in an atmosphere of openness, call 0161 834 9644 respect and curiosity. Supported by Just Flutes and Jonathan Myall Music

Price: € 595 (Listeners: € 295) Check the website for details: http://www.grolloofl ute.com

Registered Charity No: 526702

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PAN Mar 2016.indd 31 21/03/2016 23:08 Wye’s whistles A history of the flute Part 1: Whistles by Trevor Wye

hat a daunting prospect it is to write a simple flute Globular flutes are sounded either history without missing anything. Looking at a by blowing across a hole or via the pamphlet a few years ago, I read that in the South above which is connected to the WPacific Islands, those tiny islands south of Hawaii, there are ‘globe’ shown below right, though the about 1300 differently named flutes. Our modern flute is just one way the instrument responds is unlike of thousands worldwide of all shapes and sizes, from miniature the ; the notes can be changed by to giants like the Slovakian . uncovering any hole, no matter in what A sensible way to begin is to look at how flutes are made position it is placed. Another example is to sound, as this categorises them into groups. We will look at the (below left), and this can the four main varieties. These are endblown where the player be played by covering or uncovering the blows across the end of the tube; sideblown as in our modern holes in any order. The shown flute; a fipple or encapsulated such as is found in both a referee’s on the right is pre-Columbian and about whistle and recorder, and a globular flute such as in ocarinas 700 years old. The figure is itself playing and . In all cases, the air is directed against a sharp a and the instrument plays only edge which then alternates between entering the tube where it one note. meets resistance, then shifting to the outside of the tube and back again. This alternation takes place at great speed causing the air inside the tube or vessel to vibrate and so make a sound. In the endblown flute shown below, the tube is held upright and the air directed across the cutaway top of the tube.

In every continent, early man discovered how to make a bone, a piece of tube, or a hollow nutshell sound, in one form or another. We can only guess as to how these discoveries were made, but animal or even human bones were amongst the first flutes. While sucking out the marrow from a broken, dried bone, perhaps it was blown into, possibly by a child when playing. All around the world by ponds, lakes and rivers are reeds which, when broken, would present an open end to the wind. An empty, dried gourd or nutshell can be made to play The fipple flute is sounded by directing air through a tube or one or two notes by blowing across a hole. windway against a sharp edge (see diagram below). An example Let us imagine this scene: is the recorder; the pitch is changed by covering the holes down A young man, Exzibxzctl—or Zibby as he was known as by the tube in succession. his friends—was rather different to the rest of the tribe. He was ceaselessly curious, often examining unusual objects he had found and spending his time making useful tools for his family. One windy day, he was down at the lakeside cutting and gathering reeds to repair his roof. Nearby where he worked, he could hear an occasional moaning noise which seemed to increase as the

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wind blew stronger. Although fearful at first, he soon realised it The and the came from a particular spot and as he got closer to it, he saw The photo below left shows the business end of a xiao, one there were some broken reeds and soon realised that it came from of the oldest traditional Chinese instruments. The word xiao a particular broken reed. He didn’t touch the reed but when he is means endblown . The Xiao hasn’t changed in returned the next day, it was calm and the reed was silent. It was 1000 years and even then perhaps only the material, from bone not long before he associated the wind with the noise. to bamboo root. Its sound is dark and sorrowful. A number of On the next windy day, he cut off that piece of reed, and held kinds of Xiao are illustrated below. it up to the wind. In a certain direction, it sang and before very long, Zibby found out how to make the reed come to life. At first, he believed it was the spirit of his ancestor who had been drowned near that spot, but with his unusual intelligence, he realised that he could make the reed talk by blowing across it. When he returned to the camp, he gathered everyone together and blew across the top of the reed. There was great wonder and astonishment and everyone was afraid of him because of his great power in making a piece of wood speak. He became the tribe’s chief and his fame grew far and wide. With his special reed, he was able to make to crops grow and the animals bear many young. He was Japanese shakuhachi (whose name originates from shaku, the all-powerful King Zibby. an old unit of measurement and a hachi meaning eight) are This photo (left) shows thought to have originated in Asia and arrived in about part of a what is believed to 10,000 years ago. Several ancient shakuhachi from the Nara a bear’s bone and was found period are kept at shrines and temples. The shakuhachi has five in a cave in Slovenia. It dates fingers holes but is different from its relative, the Chinese xiao, from about 43,000 years ago the holes being tuned to a minor pentatonic scale. The sound and is perhaps the oldest is hollow and with a rather mystical tone and a relatively big flute so far found. It appears dynamic and tone colour range. It has a range of between two to be endblown and to have to three octaves. had at least 5 finger holes. Some 35,000 years old endblown flutes were found in a cave in Germany, made from a vulture’s wing bone. Similarly in China, endblown flutes made from crane wing’s bones date from about 9000 years ago. Cranes have very light bones, hollow and thin. If the reader asks their butcher for a goose wing bone, they will be very surprised at how light they are and, because they are hollow, how easy it would be to make a musical pipe out of one.

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The shakuhachi players (photo previous page) wear the traditional basket, thought to be a disguise because hundreds of years ago, they were sent into enemy camps to observe and to spy. The lower stout end is part of the bamboo knot and served as a defensive weapon when necessary.

In North America, flutes of various kinds have been found which are about 7,000 years old onwards. The flute above was found in a burial mound in Labrador, Canada and dates from 5,500 BC. The quena (right) is a another endblown flute originating from the Andes in South Panpipes or the pan-flute America though The panpipes are a series of endblown pipes of graduated common throughout lengths bound together. The longer the pipe, the lower the Argentina, Ecuador, pitch. The name came from an ancient Greek story which has Colombia, Bolivia and been told in various forms, most commonly in a gentle version Chile. about Pan falling in love with a maiden and courting her. She The quena is made fled and hid in the reeds on a river bank and Pan, slashing at of totora, a plant like a reed and the length is about 35 cm with the reeds to hunt for her, was unsuccessful and so made a set 7 finger holes. The earliest quena was found in a cave dating of pipes from the reeds which he bound together with wax to from 2,130 B.C. The quena—sometimes written as ‘kena’ — mourn his lost love. This instrument was called the panpipes. is traditionally used for festivals and often used to accompany So goes the romanticised drawing-room version. The folk dances. picture below shows more accurately Pan’s real intentions! The , or Nei (today, below; and in ancient Egypt top right), is an ancient Middle Eastern flute with its origins in Egypt, and is one the oldest instrument still in continuous use. In some Arab countries, it is the only wind instrument found in their culture. It is an endblown flute made of arundo donax, the same reed used in making and reeds and is about 50 to 70 cm long with six finger holes. Some ney have a mouthpiece to protect the fragile blowing edge. Its origin can be dated back to ancient Egyptian times, 3,000 BC.

Pan and Syrinx (1617) by Peter Paul Rubens

A special circular found in the regions of Laos in Thailand is shown on the next page (top left). To produce different tones, the musician rotates the instrument while playing.

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use cling-film or very thin tough plastic film. Though not as effective, it gets a reasonable result. This is one of many of the Chinese flute family and a Taiwanese professional player once showed the author his flutes case of 17 flutes which he required for his profession. in Japanese means bamboo flute, and it originates from the Chinese . Like the dizi, it is an all- purpose entertaining instrument but sometimes used, with a drum, to celebrate rice planting. Romanian panpipes, curved in shape are shown below. The ryuteki or dragon flute (shows below) is also from Japan, and is made of smoked bamboo and is painted inside with a hard lacquer to give it its powerful tone.

Bansuri and

The is a traditional North Indian and appeared at around 100 B.C. It is made of bamboo, is side One of the most famous soloists is Gheorghe Zamfir blown and with six finger holes plus vent holes in the foot. (b.1941). He has recorded national Rumanian music as well The bansuri is strongly related to Hinduism and is usually as the popular flute repertoire such as the Mozart and Quantz called Krishna’s flute. Krishna is one of the most popular gods Concertos. The virtuosity is astonishing. The author once in Hinduism and his flute is believed to have magical power. asked a pan-pipe soloist after a concerto concert how he played ‘When Krishna plays the flute the whole world is filled with chromatic notes, and he demonstrated on one tube by skillfully love. Rivers stop, stones are illuminated, lotus flowers tremble; ‘bending’ the note in such a way as to play a chromatic scale. gazelles, cows and birds are entranced….’ It can be played on Sideblown Flutes either side of the body. One of the great historic masters of the Bansuri was Pannalal The dizi (or ti, or ti tse) is a Chinese sideblown flute, and a Ghosh (1911 - 1960), and he can be heard on YouTube. Another major widely used in many genres of court, folk, ritual and religious music as well as Chinese opera. Several kinds are shown below.

great master is Pandit Hariprasad Churasia (b.1938), who gave a recital at a packed Royal Festival Hall a few years back. He played 4 ragas at that concert. The raga is a series of between 5 and 9 notes upon which a melody is built though the way and mood of the notes that are played is more important than the The dizi has an extra hole covered by a membrane called a notes themselves.. dimo, made from tissue-thin bamboo shown below right. This The venu is the South Indian flute and has eight finger gives a brighter, buzzy and much louder tone. Setting the dimo holes and is associated with Carnatic music, music which even in place is a special technique but some western players simply

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PAN Mar 2016.indd 35 21/03/2016 23:08 Wye’s whistles

though written for instances the flutes have developed flutes is usually sung. into refined musical instruments and The players perform others have remained as primitive Trevor James this music in a singing whistles. As people travelled, so trevorjames.com style. ideas were exchanged and new flutes emerged. Amongst the more Some curious examples of uncommon flutes is historic flutes are ocarinas whirled flute and the around on a piece of string; pipes reason for playing this with finger holes underneath the flute in this unusual way tube as well as on top, to be played is that some people in SE Asia believe that the gateway to the with the top side of the little finger; soul is through the nose and that when someone dies, the soul a flute which was only to be played escapes from the nostrils. It does seem logical therefore, to play by a man, a woman even seeing the music using the nose breath. instrument would be put to death The traditional way to study the bansuri was to apply to (Papua New Guinea); panpipes filled a great master who might then allow the student to listen to with explosive and sent aloft after lessons, perhaps even from another room. After some time, a performance as a kind of musical the teacher might permit the student to listen in the same firework; tibia flutes freshly made room and perhaps play something. This method of learning from the legs of a defeated enemy was to encourage the student to copy exactly what the teacher to celebrate victory and perhaps played with no variation whatever. In that way, ragas and other honour the foe… these are just a few melodies remain unchanged for hundreds of years. of our family of curiosities. The fujara In the next part in this series The fujara from Slovakia is shown on the right. It is about on the history of the flute, we will 6ft long and has three finger holes but many other notes are look at the European development possible using the natural harmonics of these three notes. It is of which resulted in used by shepherds and is played upright. the one-keyed flute, the traverso or Animal bones have been widely used for flutes but so too baroque flute which later developed have human bones. Shown below is a human tibia flute, a copy into the modern flutes we all play of one found in Germany which was about 10,000 year old. The today. example shown below is 30 years old and made by the author. This curiosity below is the bull-roarer from Australia. ©Trevor Wye 2016 It is played by holding the end of the cord and whirling the

With thanks to Miss Ngating sarpayozcagatay.com - Özçağatay Sarpay artist flute alto James Trevor Wong for picture suggestions and internet hunting. Most images, with the exception of the author’s own photographs (listed below) have wooden piece around the head. They come in many sizes been sourced via the internet. Full and when twirled fast enough, makes a low-pitched growling references are available from the sound. editor in case of any further query. Throughout the world, people have discovered ways to make vessels and tubes sound, often by accident. In some Instruments: Human tibia, Bullroarer, Ryuteki and pre-Columbian ocarina; author’s collection

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PAN Mar 2016.indd 36 21/03/2016 23:08 PAN ad - Trevor James December 2014.indd 1 27/01/2015 16:18 Trevor James

trevorjames.com Trevor James alto flute artist Sarpay Özçağatay - sarpayozcagatay.com - Özçağatay Sarpay artist flute alto James Trevor

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PAN Mar 2016.indd 37 21/03/2016 23:08 PAN ad - Trevor James December 2014.indd 1 27/01/2015 16:18 Self-compassion

Practising self-compassion Performance psychologist Noa Kageyama offers a counterintuitive strategy for becoming more motivated and resilient in the practice room—and less anxious under pressure

e all know that having bad days in the practice times—the Golden Rule in reverse. Brought into mainstream room is normal. Yet the knowledge that failures awareness by Kristin Neff, an associate professor in the and setbacks are inevitable does little to ease the Department of Educational Psychology at the University of Wfrustration of being stuck on a plateau—or even regressing— Texas at Austin, self-compassion has been conceptualized as with no idea how to get back on track. With a big audition having three defining characteristics: on the horizon, waking up and having a bad sound day can make it tempting to mutter “I’m never going to get this,” or “It’s 1. Being kinder toward ourselves vs. being self-critical. hopeless, why do I even bother?” 2. Seeing our imperfections as part of what make us human Of course, this only makes us feel more discouraged and and something we all share vs. feeling shameful and increases the likelihood that we’ll put our instruments away and isolating ourselves because there must be something spend the day parked on the couch in our pyjamas, eating crisps wrong with us. and ice cream and watching reruns of The Office. We know this 3. Cultivating non-judgmental acceptance of our painful won’t help our triple tonguing, but how are we supposed to keep thoughts and feelings vs. dwelling on and obsessing about ourselves going when nothing seems to be working? our limitations—or, at the other extreme, blocking out all Is harsh self-criticism the right tactic? Should we berate painful thoughts, emotions, and experiences altogether. ourselves for procrastinating, and nitpick every little detail until everything is flawless? An increasing number of studies have found that self- Or is it best to let ourselves off the hook? To make ourselves compassion provides numerous and wide-ranging benefits, feel better by playing through a piece that comes more easily from greater optimism and happiness to lower levels of anxiety to us instead and rationalising that mistakes are OK because and depression, more satisfaction with life, and less burnout, nobody is perfect? shame, and fear of failure. The answer might be, actually, neither of the above. Despite the many benefits, many high achievers and Self-Compassion and Its Benefits elite performers are hesitant to embrace the practice of self- Psychologists are finding that a third strategy, known compassion. Fearful that being more self-compassionate as self-compassion, might be the most effective way for us could take away their competitive edge and perhaps prevent to grow into artists who are not only stronger mentally and them from realizing their potential, they express concerns emotionally but more capable of realising our full potential in about becoming complacent, getting stuck in a mindset of the long run. Indeed, this and other self-regulation practices mediocrity and settling for a lower standard of performance. like mindfulness, gratitude, and meditation have become These are valid concerns. High standards of excellence and increasingly commonplace among elite athletes and performers strong internal motivation are key characteristics of high-level as sport and performance psychologists have embraced key performers. ideas from the area of positive psychology. So is a regular dose of verbal self-abuse the price high Self-compassion is a skill that involves treating ourselves achievers must pay for extraordinary achievement? Or does with more understanding and kindness during challenging self-compassion have performance-related benefits for serious musicians as well?

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Fear number 1: self-compassion will lead to Self-compassion is about acknowledging that although we complacency didn’t get the result we wanted, our blunders aren’t signs from “...if you’re just accepting every time you fail at something, the universe suggesting we are talentless hacks. Rather, they can and you’re like, ‘oh well, it happens to everybody,’ then you be viewed as an invitation to try something different the next sometimes just get stuck in that mindset... If you just disregard time. self-criticism, then sometimes it’s hard to improve.”2 At first glance it might sound like self-compassion is Self-Compassion and Resilience about letting ourselves off the hook for mistakes, but that’s Researchers at the University of California at Berkeley, not the intention. Self-compassion is about cultivating a more curious to see how self-compassion would affect students’ constructive response to challenging moments, where instead reactions to doing poorly on a test, conducted a study in which of massaging our ego by telling ourselves we are awesome or participants took a GRE-style antonyms test that was designed protecting our self-esteem by deciding that we’re a lost cause to be extremely difficult.3 Would the students buckle down and and avoiding challenges, we simply accept our results for what study more? Or would they shrug it off and study less? they are and see them as inevitable speed bumps on the path to On average, students answered only four out of 10 questions our destination. correctly but were given an opportunity to redeem themselves on a second test, for which they were provided a list of words and EXERCISE: THE RECORDING CHALLENGE definitions to study. The students were allowed to study as long We all know that it’s important to record ourselves, as they wanted, but before given the study material, one group but we often put it off because listening back can be of students was given a specific message designed to trigger a depressing. This exercise will make recording yourself more self-compassionate mindset: “If you had difficulty with more enjoyable and also challenge you to become the test you just took, you’re not alone. It’s common for students more self-compassionate and less judgmental while to have difficulty with tests like this. If you feel bad about how maintaining a high standard of excellence. you did, try not to be too hard on yourself.” Another group of students was given a slightly different Record yourself performing a piece or excerpt you are message, to activate a self-esteem-based mindset: “If you had working on. Get a pen and paper. Listen back and pause difficulty with the test you just took, try not to feel bad about the recording as necessary as you do the following three yourself—you must be intelligent if you got into Berkeley.” tasks: A third group received no messages, just the study words and definitions. 1. Write down the most positive elements—“nice clear attack on the F sharp in measure 14,” “great even trill The Results and transition into the turn,” “pure and warm tone in the As predicted, there were significant differences among the opening.” Try to be as specific as possible. three groups in terms of how much time they spent studying for the next test. 2. Write down specific elements that may not yet be The self-compassion group studied longer than either of great but that have definitely improved relative to past the other groups—one-third (33.32 percent) longer than the run-throughs. self-esteem group and half again (50.84 percent) longer than the control group. And as you might expect, those who studied 3. Write down the things that need work—but don’t longer got higher scores. stop there. Next to each mistake or problem, immediately The data from this and related studies suggest that self- write down a potential solution that might resolve the compassion increases our belief that a shortcoming can be issue next time. changed with hard work and—rather than causing us to become complacent—actually enhances our motivation to confront our This exercise will help you accomplish two things. weaknesses and act. First, it will force you to acknowledge what you are After all, there is a fundamental difference between telling doing well, which will make for a more honest and yourself it’s no big deal to make mistakes (complacency) and compassionate appraisal of your playing. Second, it will telling yourself that it’s OK to slip up every so often because help you cultivate a more productive solution-focused mistakes are a normal part of learning and growth and don’t mindset, versus the less effective problem- focused make you a worthless person no matter how embarrassing mindset that comes more naturally. they can sometimes be (self-compassion). The latter message

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underscores the idea that the ultimate goal is not to be perfect Two Dimensions of Perfectionism every time we perform but to relentlessly trend toward the There are two main dimensions of perfectionism, each of realization of excellence. which appears to have a different effect on not just our mental and emotional health, but our performance too. Fear number 2: self-compassion means having to One dimension involves having high standards relax our standards of performance and striving to meet these standards “It’s giving yourself a break when you shouldn’t be...most (‘perfectionistic strivings’). The other dimension is the worrying people who are like that don’t go as far...because they’re too easy we do about mistakes, the disappointment and frustrations of on themselves...they just accept what they’re doing and that’s falling short, and the fears about what others will think of us that and that’s all they expect from themselves because they (‘perfectionistic concerns’). think it’s good enough.”4

EXERCISE: STICKY NOTE MASTERY GOALS Some find it helpful to question why we feel the need to maintain high standards in the first place. Why do we beat ourselves up for the slightest perceived “failure”? Is it a need for acceptance? To be seen and heard and valued? To prove something to a parent or teacher? To gain the respect of a colleague? How can we shift away from tendencies to set unreachably high standards to impress others? How can we instead pursue high standards because we care about our craft—because we want to extract meaning and intrinsic value from the act of honing our skills, producing beautiful sound, artfully shaping a phrase, and savouring the process of music-making for its own sake? Goal setting can play a role in helping to shift our mindset. Specifically, ‘mastery’ goals centered around learning and growth tend to be associated with greater persistence and challenge-seeking than ‘performance’ goals that involve winning prizes, looking good, or gaining esteem in others’ eyes.

1. Write down a list of goals and experiences you would like to realise in the next few years.

2. Review your list and ask yourself why you want to achieve each goal. Is it a mastery goal that has inherent meaning to you? Or an ego-based performance goal that will provide only a fleeting moment of satisfaction?

3. Pick out the two or three mastery goals that excite you most, write them down on sticky notes, and post them on your bathroom mirror where you will see them every day.

4. Take a moment every morning to plan out one small step you can take toward realizing one of your goals. Every evening, review your day and give yourself a pat on the back if you took a step forward. If you did not make any forward progress, don’t beat yourself up; simply identify how to tweak your approach the next day.

5. When you’ve accomplished a goal, take the sticky note and stick it on a wall in your practice room as a reminder of all that you’ve accomplished through your dedication, hard work—and self-compassion!

Many aspects of perfectionism are indeed self-sabotaging. Yet a The problem is that while perfectionistic strivings are ‘good enough’ attitude is not necessarily conducive to reaching associated with such positive characteristics as greater intrinsic our potential either. Fortunately, self-compassion doesn’t mean motivation, effort, and satisfaction with life, perfectionistic we must lower our standards. It doesn’t even mean letting go concerns are associated with greater anxiety, distress, of our perfectionism per se, as researchers have found that a depression, disordered eating, and more. very specific kind of perfectionistic mindset can actually lead If you can relate to both parts, that’s because they often to positive outcomes and a higher level of performance and go hand in hand. The danger with perfectionism is that most achievement. folks who are high in perfectionistic strivings are also high in perfectionistic concerns.

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Perfectionism and Performance Anxiety procrastination, and fear of failure, and that self-compassion To parse this out further, a group of Swedish researchers may actually be the key to maximizing our potential. categorized elite athlete participants into one of four After all, as much as we’d like to avoid making mistakes, groups, to see what kind of impact the various combination that’s simply not going to happen. If the key to reaching our of perfectionistic dimensions would have on their pre- potential lives in our ability to persevere and hang tough when performance anxiety. things don’t seem to be going our way, self-compassion can help Group 1, ‘healthy’ perfectionists, had high perfectionistic us acknowledge our mis-steps, learn from them, and take the strivings and low perfectionistic concerns. Group 2, ‘unhealthy’ necessary steps to ‘fail better’ the next time. perfectionists, had also had high perfectionistic strivings but also had high perfectionistic concerns. Group 3, ‘pure evaluative Noa Kageyama concerns’ perfectionists, had low perfectionistic strivings and high perfectionistic concerns. Group 4, ‘non-perfectionists’ Performance psychologist Noa Kageyama is on the faculty of had both low perfectionistic strivings and low perfectionistic The Juilliard School and is the performance psychology coach for concerns. the New World Symphony in Miami, Florida. A conservatory- As you may have guessed, the high/low ‘healthy’ trained violinist with degrees from Juilliard and Oberlin, perfectionists in Group 1 had the highest levels of self- Kageyama now specializes in working with performing artists, confidence and the lowest levels of anxiety. Next in line were teaching them how to utilize sport psychology principles and the non-perfectionist athletes in Group 4, followed by the more consistently demonstrate their full abilities under pressure. ‘unhealthy’ perfectionists in Group 2. For more performance enhancement tips and strategies, visit The athletes in Group 3, who were low in perfectionistic bulletproofmusician.com. This article first appeared in The strivings but highly concerned with avoiding mistakes and Flutist Quarterly, the member magazine of the National Flute the consequence of failure, were most prone to experiencing Association, and is used with permission. performance anxiety. So if you have ever wondered why you’ve done pretty well in auditions where you went in with low expectations, not really END NOTES caring how things worked out, this might provide some clues. 1. Neff, 2003. The ideal, of course, is to go in with high standards and a strong 2. Concerns about self-compassion voiced by a competitive athlete, commitment to achieving them but without being overwhelmed Ferguson et al., 2014. by concerns about what the panel will think or the possible 3. Breines & Chen, 2012 4. Concerns about self-compassion voiced by a competitive athlete, outcomes at stake. Because all else being equal, the so-called Ferguson et al., 2014. healthy perfectionist is probably going to outperform the non- 5. Koivula et al., 2002. perfectionist—and good luck getting into a non-perfectionist mindset on cue anyway. BIBLIOGRAPHY The results of other studies in this area suggest that athletes Barnard, Laura K., and John F. Curry. “Self-compassion: Conceptualizations, correlates, and . Review of high in perfectionistic strivings do indeed outperform athletes General Psychology 15, no. 4 (2011): 289−303. who are low in perfectionist strivings—both in practice and in competition settings. Breines, Juliana G., and Serena Chen. “Self-compassion increases So ultimately, the idea of lowering our standards or self-improvement motivation.” Personality and Social Psychology perfectionistic strivings is probably not going to help us play at Bulletin, 38 (2012), 1133−1143. a higher level under pressure. The key lies in finding a way to Ferguson, Leah J., Kent C. Kowalski, Diane E. Mack, and Catherine M. lower our perfectionistic concerns, while keeping our standards Sabiston. “Exploring self-compassion and eudaimonic well-being in of excellence intact. young women athletes.” Journal of Sport and Exercise Psychology 36, no. 2 (2014), 203−216.

Final Notes on Self-Compassion Koivula, Nathalie, Peter Hassmén, and Johan Fallby. “Self-esteem What got you here won’t get you there. Taking a step forward and perfection- ism in elite athletes: Effects on competitive anxiety often requires that we let go of a strategy that may have worked and self-confidence.” Personality and Individual Differences 32 (2002), in the past but is no longer paying dividends. 865−875. For many of us, criticism and judgment feels safer, as this Neff, Kristin (2003). “Self-compassion: An alternative is what we have become accustomed to. However, the research conceptualization of a healthy attitude toward oneself.” Self and suggests that harsh self-criticism only increases passivity, Identity 2 (2003), 85−101.

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PAN Mar 2016.indd 41 21/03/2016 23:08 Virtuosity For better or worse: the virtuosic flute by Timothy Hagen

Virtuosity has evolved both in popularity and by definition over the past two centuries. A look at the phenomenon through the lens of the 19th century, when it was simultaneously celebrated and reviled, can help us better understand its development and significance

hy is so much flute music very difficult? Why do and performers, revealed in phrases like ‘excessive ornament’ flautists lack solo repertoire by major Romantic and ‘superficial virtuosity.’6 Lines were drawn between Liszt, composers? These questions are intimately linked virtuosity’s quintessential representative, and such critics as Wwithin the context of virtuosity in the 19th century. It is therefore Robert Schumann and, later, Eduard Hanslick, who advocated worth exploring this phenomenon, which affected attitudes “serious or ‘symphonic’ music [over] insignificant, ‘dilettantish’ about the flute and flautists so dramatically that players still instrumental music.” 7 deal with the aftermath. Liszt: re-inventor of virtuosity The controversial rise of virtuosity The European middle class of the early 19th century was hungry for novelty in all fields, including music, where novelty was represented in part by instrumental virtuosity. Provincial instrumentalists flocked, for example, to Vienna, “the musical metropolis,”1 assembling careers piecemeal. To make ends meet they often played in orchestras, taught, and composed. They also staged benefit concerts for themselves, which typically featured a wide array of performers, as well as one concerto and at least one virtuoso showpiece.2 Not confined to Vienna, virtuosity increasingly flourished throughout Europe from 1800 to 1830, followed by what musicologist Carl Dahlhaus called “the heyday of virtuosity [that] began with Paganini’s tours of the European capitals in the early 1830s and ended in September 1847 when Franz Liszt abandoned his career as a pianist.”3 Like his Viennese counterparts, Liszt in particular founded his career on new socioeconomic ground. His touring performances commanded higher-than-typical ticket prices, excluding the lower middle class but enticing members of the ‘middle bourgeoisie’4 to purchase a level of artistic appreciation previously available Franz Liszt only to aristocrats and nobility in private salons and at court. The burgeoning market for virtuosity accidentally This conflict reveals virtuosity’s growth from a quality into contributed to a backlash. Critics harbored ‘suspicion that a genre that was often seen as superficial, lacking meaning middle-class audiences only went to concerts…to see and beyond the notes. Liszt combatted this view of his works be seen…and it was far stronger for audiences at virtuoso through his advocacy of other composers and a penchant for 5 concerts than at symphony concerts.’ This dismissive donating proceeds to charity. He also worked to be meaningful attitude was extended beyond audiences to performances to as wide a public as possible, casting himself as “interpreter

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of ‘classical’ works, German patriot, Hungarian patriot, man of of anti-virtuosity pressure, promoted symphonic works over letters, the composer-pianist, the artist aristocrat, as prophet, concertos and other virtuoso pieces. Liszt never succumbed as humanitarian, or as revolutionary…. He wanted…to make to such attitudes, continually pushing himself to experiment. the virtuoso pianist mean something more than the ongoing His Après une lecture du Dante is a tri-thematic work for solo debasement of super-virtuosos seemed to allow.”8 His desire to piano written on such a scale as to invoke both ‘a single sonata be as much a social and cultural icon as a musical one placed movement and a multimovement sonata cycle.’16 Likewise, his him alongside another great 19th-century figure: Hector in E flat is described by Dahlhaus as being in Berlioz. league with Brahms’ Piano Concerto in B flat in its absorption According to musicologist Cécile Reynaud, Berlioz viewed of ‘symphonic style.’17 It is therefore fitting to say that Liszt himself as skilled in ‘playing the orchestra.’ He achieved fame the pioneer won out over the critics of virtuosity by blending through works such as the Symphonie Fantastique and , virtuoso and symphonic styles to create something richer than which contained unprecedented orchestral effects (such as either had been before. Virtuoso flautists, however, were not so incorporating chromatic brass, introducing novel instruments fortunate, largely due to the limitations of their instrument. like the tuba and cor anglais into symphonic instrumentation, For worse: the victimized flute using offstage instruments in dialogue with those onstage, using The effect of the rise of virtuosity on the 19th-century four timpanists simultaneously to evoke thunder, and requiring flute is connected to the instrument’s state at the beginning strings to play col legno). Despite his compositional virtuosity, of the century. A treasured instrument in the 1700s, the flute’s Berlioz expressed impatience toward virtuoso performers and difficulties in intonation, facility, and tone production caused its pieces and, in particular, disdain for piano arrangements of status to diminish, and major composers consequently stopped symphonic work. writing serious solo and chamber repertoire for the instrument Despite their differences regarding instrumental virtuosity, over the first three decades of the 1800s. They clearly felt Berlioz and Liszt became friends and collaborators. Berlioz their efforts were better spent writing for the piano or violin, admired not only Liszt’s novel piano effects but also the younger neither of which had problems of such magnitude. Brilliant composer’s artistry. Likewise, Liszt expressed his admiration for virtuoso flautists, most notably Britain’s Charles Nicholson and Berlioz through a lifelong study of the elder composer’s music, Germany’s Theobald Böhm, therefore dedicated themselves resulting in piano arrangements of many Berlioz works. Berlioz to improving the flute. It stands to reason that in their minds 9 but usually responded to such arrangements with revulsion redesigning the flute might have helped recapture some of its viewed Liszt’s versions as ‘work[s] of art’ 10 and communicated former glory. with Liszt about them. It is plausible that Berlioz, along with Liszt’s 1831 encounter with Paganini, inspired Liszt to pursue compositional virtuosity. By the 1830s, Liszt felt trapped by the superficial style brillant, the foundation of his pianistic technique.11 After hearing Paganini, he began to understand how he might use performative virtuosity as a tool in articulating musical form, transforming it into compositional virtuosity and giving it ‘a substance lacking in the fashionable [style brilliant]….”12 Following this realization, critics began to note the orchestral quality of Liszt’s piano playing and compositions, specifically his ‘tendency—both in his compositions and his playing—to multiply timbres, stratify registers, differentiate dynamics, and recompose textures.’13 These qualities coincide with everything Berlioz found lacking in the piano before Liszt, offering grounds for his veneration of Liszt. In turn, Berlioz’s influence is clear in Liszt’s decision to feature ‘orchestrality’ in his piano works, even those that move beyond symphonic transcriptions. Liszt’s Grande fantaisie di bravura sur la clochette de Paganini, for example, ‘is a composed-out example of his orchestral approach to the piano,’ 14 as described above. Though it was revolutionary, Liszt’s symphonic rethinking Charles Nicholson of the piano was a tool used to give virtuosity meaning, Intonation had been a bane for flautists and composers coming around the time Dahlhaus notes ‘the transformation since the early 18th century. To increase flexibility, flautists, in the structure of the [public] concert,’15 which, as a result including , had invented a number of

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devices, but none were up to the challenge. The result was a the reigning flute virtuoso in London from the 1810s to the fundamentally flawed instrument. Eminent flautist Johann 1830s, as detailed by flute historian Ardal Powell in his book George Tromlitz wrote that keys with more than three sharps The Flute. The most conspicuous element of his playing, or flats were ‘difficult and unsuitable.’18 As composers became according to German inventor and flautist Theobald Böhm, contemptuous of these flaws, which weakened the flute as an ‘was his tone, which…was so powerful that no continental ensemble instrument, the need to improve intonation became player could match it,’ achieved through particular increasingly pressing, and inventors continued their attempts to positioning and breathing, as well as unusually large tone holes. solve the problem. The most lasting innovation was Frederick The most plausible answer for why Nicholson’s conception Nolan’s ring key, still found today on open-hole flutes. lasted, as opposed to his colleagues’ sounds that historians have called ‘sweet’ and ‘mellifluous,’ owes to ‘the demands of power and brilliance made by…the modern orchestra,’ 21 developing at the time. Still, a more powerful tone had its critics, such as Richard Wagner, who purportedly referred to the more powerfully played flute as a ‘cannon.’ 22 In his essay On Conducting, Wagner complained, ‘A softly sustained piano is hardly obtainable from [woodwinds] anymore, particularly from the flautists, who have transformed their formerly so soft instruments into mighty s h aw m s .’ 23 (Wagner himself never had to make important flute passages heard over his massive orchestras.) The man who finally assembled all of the elements necessary for the flute to navigate the demands of intonation, facility, and tone production was the aforementioned Böhm. Born in 1794, he was around 20 when, as Toff states, he received his first performing appointment. He had established himself as a professional goldsmith by then, playing and producing flutes for himself and his friends to play in his spare time. By 1828 he had become a full-fledged flute manufacturer. Afterward came three crucial stages in the finalization of his flute design, realized in his instruments of 1831, 1832, and 1847. Theobald Böhm The result, as Toff explains, was a flute with tone holes spaced not for fingering ease but for acoustically correct intonation. The flute’s weaknesses in facility were equally troubling. These holes were larger and worked with a larger bore, allowing At the beginning of the 18th century, the one-keyed flute was players to achieve fuller sounds. Facility was improved by standard, meaning that most pitches were obtained by placing intricate keywork, allowing fingers to close both nearby and fingers directly onto holes. Such flutes were diatonic. Chromatic remote tone holes. This design survives today with only minor notes sounded via cross-fingerings, whereby nonconsecutive tweaks to the mechanism, bore size, and placement. fingers were placed down, resulting in awkward execution and Despite its superiority to other flutes of the time, Böhm’s poor projection and intonation. The flute’s status ‘of possessing flute was not popular before the second half of the 19th century, the worst cross-fingerings’19 of any wind instrument caused it especially in his native Germany, as Toff explains, due to the to become ‘the first orchestral woodwind to accept additional number of instrument makers fighting for primacy and older chromatic keywork.’ 20 A more facile flute would have benefitted players unwilling to learn a new fingering system. This forced players and, through its enhanced compositional possibilities, Böhm to tour Europe, performing his own works as part of likely drawn more composers to the instrument. Throughout a campaign on behalf of his design. Given his prioritization the second half of the 18th century and the first half of the 19th, of technique and lack of Liszt’s superhuman artistic profile makers therefore experimented with adding different numbers and abilities, one can easily imagine Böhm being reviled as a of keys, according to various fingering systems, to improve superficial virtuoso by critics. Such a view leads to observations, facility, a phenomenon detailed in flute historian Nancy Toff ’s like this one by Toff, regarding potential accidental effects of the The Development of the Modern Flute. efforts of Böhm and his colleagues: Unlike intonation and facility, areas many makers were ‘The great composers of the century, possibly discour- aged trying to revolutionize, the fullness of tone available to modern by the performers’ enthusiasm for merely impressive pieces, flautists can be traced back to a single figure, Charles Nicholson, were not inclined to waste their creative efforts on the flute.

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Louis Fleury, reflecting despairingly on the lack of Romantic earliest example of such strenuous flute articulation in any solo literature, charged that the virtuosi thereby “did more symphony from the modern orchestral canon, though it is not harm to their instrument, in spite of their undoubted mastery isolated in Mendelssohn’s output. His 1842 Scherzo from the of it, than the clumsiest amateur could have done.’ 24 Incidental Music to A Midsummer Night’s Dream closes with Ironically, in trying to save the flute, Böhm’s approach likely a 40-bar flute solo using near-constant 16th-note articulation dis-couraged composers from writing serious solo and chamber with only two quick opportunities for the player to breathe. literature for it. Moreover, for all the advantages of his design, it Like Beethoven, Mendelssohn knew some of the finest was impossible for any design to replicate the scope of sound— flautists of his day, though they also pre-dated the rise of the from nearly inaudible to incredibly loud—available from Böhm flute. He persuaded renowned Dutch flautist Louis pianos and violins, to say nothing of effects like piano chords Drouet to leave retirement in 1828, well before he wrote and violin double, triple, and quadruple stops. Thus, no flautist either of the works mentioned above. 28 Drouet’s Variations could achieve, ‘as concerto historian Abraham Veinus put it, on God Save the King ‘gave [him] ample opportunity to show the [19th-century concerto’s]…broad, obvious gestures meant off his sensational double staccato’29 and were almost certainly to be seen and heard from the cheapest seats,’25 another fact that known to Mendelssohn, as they were performed on the caused flute literature to suffer. At the same time, paradoxically, same 1829 concert as the English premiere of Mendelssohn’s the flute’s ‘role in the orchestra became ever more important.’26 A Midsummer Night’s Dream Overture, conducted by the 30 For better: the utilized flute composer. Moreover, Charles Nicholson was active with the Even a cursory examination of 19th-century orchestral London Philharmonic Society at the time of the premiere of music reveals that composers who fancied themselves ‘serious’ Mendelssohn’s Fourth Symphony and may well have played the possessed an ever more virtuosic understanding of the flute, work’s premiere. As for the Midsummer Night’s Dream Scherzo, thanks to experience with some of its finest players. To these Mendelssohn again had proof of the playability of his flute composers, as to Berlioz, virtuosity would have contributed writing, according to flautist Leonardo de Lorenzo: When [Mendelssohn] rehearsed his famous Scherzo…for to the meaning of a work, allowing them to write increasingly the first time, the first flautist failed in the difficult passage, and difficult passages while escaping the charges of superficiality declared impatiently that it could not be played. The composer that affected performing virtuosos and the works they played. immediately said to the second flautist, ‘Then, please, Mr. The solo in the finale of Ludwig van Beethoven’s Third 31 Symphony, composed in 1804, is a fine starting point. Lasting Haacke, will you play it?’ And Haacke did so successfully. As Hamilton posits, Robert Schumann’s awkwardly difficult for eight bars (bb. 192–200), it is a continuous whirlwind of flute parts point to a lesser understanding of the flute. His arpeggios and scales in D major, a ‘virtuoso-sounding passage First Symphony, for example, was written in 1841 and features [that is] technically quite simple, as it involves only two cross- ‘many technical passages…[that] were quite awkward…[for fingerings’27 on a pre-Böhm flute. Preceding the solo is a section in which the flute floats on top of the violins, reaching what the] eight-keyed flute’ common at the beginning of the 19th would have been an adventurous A3, a flute pitch Beethoven century but that would have been easier on the Böhm flute. Karl had only first used in his Second Symphony, as flautist Amy August Grenser was the principal flautist in Leipzig at the time 32 so it is plausible Hamilton notes. In the Eighth and Ninth Symphonies, of the work’s premiere under Mendelssohn, that he was the first flautist in that performance. Powell Beethoven extended the flute’s range further, to B3 flat. notes that Grenser was a known Böhm supporter as early as According to Beethoven specialist Theodore Albrecht, the 1824, though Leipzig flautists tended to be anti-Böhm in the Third Symphony (as well as the third Leonore Overture) was following decades, as the city was ‘a deeply conservative force written to be played by excellent principal flautist Anton in German flute-playing….’33 It is therefore unknown whether Dreyssig and his colleagues in the orchestra of the Theatre Grenser played a Böhm flute and consequently how awkward an der Wien. The premiere of the Eighth Symphony in 1814 Schumann’s writing would have been for him. included exemplary flautists Georg Bayr and Aloys Khayll, In any case, passagework is not the only difficulty for the who had played at the Theatre an der Wien alongside Dreyssig. flute in Schumann’s First Symphony; intermittent B3 flats can Among these players, Beethoven received a first-rate education be found, sometimes scored softly in passages where the flute in the pre-Böhm flute’s capabilities. is exposed,34 and there are examples of two flutes playing ‘in Felix Mendelssohn’s orchestral music represented a unison in the extreme upper register at soft dynamic levels, significant step up in technical difficulty, reflecting the even though intonation difficulties were probable under these contemporaneous jump in virtuosic flute playing. The finale circumstances.’35 to his Fourth Symphony, commissioned by the London Schumann’s Neue Zeitschrift für Musik helps little in Philharmonic Society in 1833, is a furious saltarello, the theme ascertaining his knowledge about the flute, as its many years of of which is exposed (bb. 6–34) as a flute duet featuring long reviews contain scarce references to works featuring the flute streams of rapidly articulated notes that extend to A3. It is the

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as primary instrument, none authored by him. The few extant Though Strauss’ attitude marks the antithesis of mid- articles relate to works by anti-Böhm flautists and flautists and century, anti-virtuoso sentiment, his passages that still trouble composers with ties to conservative, implicitly anti-Böhm us, as well as the increasingly difficult music composed after locales. Any knowledge Schumann might have gleaned from him, would never have been if not for the initial rise of virtuosity the flute via Neue Zeitschrift reviews would therefore have been and all the possibilities it introduced. For better or worse, the related to works that were most likely for pre-Böhm flutes, province of today’s flautists is to master these possibilities. instruments for which his symphonic writing would have been Timothy Hagen especially difficult. In any case, it is plausible that even if Schumann knew little about the flute, he knew the music of Beethoven and Timothy Hagen is a professional flautist, educator, composer, and Mendelssohn intimately and may have hypothesized that his scholar. Active throughout the United States as a guest teacher and artist, he is principal flautist of the Missouri Symphony and resides in Dallas, where he is adjunct instructor of flute at Brookhaven College and maintains a large private flute studio. He holds degrees from the University of Texas at Austin, University of Southern California, and North Carolina School of the Arts and completed additional studies at the Colburn School. This article first appeared in The Flutist Quarterly, the member magazine of the National Flute Association, and is used with permission

END NOTES 1. Clements, “Situating Schubert,” 17. 2. Ibid., 23−28. 3. Dahlhaus, Nineteenth-Century Music, 137. 4. Gooley, The Virtuoso Liszt, 7. 5. Gooley, “The Battle Against Instrumental Virtuosity,” 88. 6. Ibid., 77. 7. Ibid. Robert Schumann 8. Gooley, The Virtuoso Liszt, 14 9. Reynaud, “Berlioz, Liszt, and the Question of Virtuosity,” 117. music represented the next logical step in meaningful virtuosity. 10. Ibid., 114. If it was acceptable for Beethoven to stretch the flute’s range in 11. Dahlhaus, 135. his Third Symphony—a musical monument to a great hero— 12. Ibid. 13. Gooley, The Virtuoso Liszt, 36. and Mendelssohn to make unprecedented technical demands 14. Ibid., 37. to depict a fiery Italian dance (Fourth Symphony) and a flurry 15. Dahlhaus, 140. of fairies (A Midsummer Night’s Dream), then surely he was safe 16. Ibid., 135. to push the flute further in his tribute to springtime. 17. Ibid., 140. 18. Toff, The Development of the Modern Flute, 23. A new century’s possibilities 19. Ibid., 24. Predisposed to disregard virtuosity, many 19th-century 20. Ibid. composers were likely discouraged from writing solo and 21. Ibid., 42. chamber flute literature, both by the instrument’s unresolvable 22. Powell, 191. shortcomings and the attitudes and approaches of virtuoso 23. Ibid. 24. Toff, The Development of the Modern Flute, 79. inventor- players. They nevertheless recognized the vastly 25. Toff, The Flute Book, 245. improved capabilities of the instrument in the hands of these 26. Ibid., 235. very players and in turn pushed the boundaries of what the 27. Hamilton, “The Relationship of Flute Construction,” 139. instrument could securely do, thereby coopting the work of 28. Clements, 145. the inventor/players in the name of expression and influencing 29. Wye, Foreword to Variations on British Airs. 30. Ibid. future generations of composers. By the end of the century, 31. de Lorenzo, My Complete Story of the Flute, 355−356. however, virtuosic sensationalism had become prominent 32. Wion, “Orchestral Principal Flutists.” again. Younger composers (most notably Richard Strauss, as 33. Powell, 198. detailed by historian James Hepokoski) emerged with writing 34. Hamilton, 292. more challenging than anything discussed above, espousing 35. Ibid., 294. complexity simply because they could.

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BIBLIOGRAPHY Albrecht, Theodore. “Anton Dreyssig (c1753/4−1820): Mozart and Hepokoski, James. “Framing Till Eulenspiegel.” In Music, Structure, Beethoven’s Zauberflötist.” In Words About Mozart: Essays in Honor Thought: Selected Essays. Burlington: Ashgate, 2009. of Stanley Sadie. Edited by Dorothea Link with Judith Nagley. Woodbridge, UK: The Boydell Powell, Ardal. The Flute. New Haven: Yale University Press, 2002. Press, 2005. Reynaud, Cécile. “Berlioz, Liszt, and the Question of Virtuosity.” Clements, Gretchen Rowe. “Situating Schubert: Early Nineteenth- In Berlioz: Past, Present, Future—Bicentenary Essays, edited and Century Flute Culture and the ‘Trockne Blumen’ Variations, D. 802.” translated by Peter Anthony Bloom. Rochester: University of PhD dissertation. Buffalo: State University of New York, 2007. Rochester Press, 2003.

Dahlhaus, Carl. Nineteenth-Century Music. Translated by J. Bradford Toff, Nancy. The Development of the Modern Flute. New York: Taplinger Robinson. Berkeley: University of California Press, 1989. Publishing Company, 1979.

De Lorenzo, Leonardo. My Complete Story of the Flute: The Instrument, Toff, Nancy. The Flute Book. New York: Oxford University Press, 2012. The Performer, The Music. Lubbock: Texas Tech University Press, 1992. Wion, John. “Orchestral Principal Flautists.” http://www.johnwion. Gooley, Dana. “The Battle Against Instrumental Virtuosity in the com/orchestra. Early Nineteenth Century.” In Franz Liszt and His World, edited html (2014). by Christopher H. Gibbs and Dana Gooley. Princeton: Princeton University Press, 2006. Wye, Trevor. Foreward to Variations on British Airs, Vol. 1: Louis Drouet, Gooley, Dana. The Virtuoso Liszt. Cambridge: Cambridge University Variations on the Air “God Save the King” for Flute and Piano; Guilio Press, 2004. Briccialdi, Introduction and Variations on the Air “God Save the Queen” for Flute Hamilton, Amy Sue. “The Relationship of Flute Construction to the and Piano, Op. 51. Edited by Trevor Wye. Amsterdam: Brökmans en Symphonic Role of the Flute and Orchestral Performance Practice van Poppel, 1986. in the Nineteenth Century.” DMA dissertation. Northwestern University, 1984.

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PAN Mar 2016.indd 47 21/03/2016 23:08 Breathing An organic approach to breathing: Part 4 by Niall O’Riordan Differentiating different parts and functions in breathing

n previous articles we explored the various components doing. Avoid doing the movements in a mechanical way, which affect our breathing when playing the flute. We but rather move with awareness focusing on the quality. looked at the topic holistically rather than using a corrective • In these lessons the process is far more important than the Imeasure to improve one single function, and by now many destination. If you experience pain or any discomfort, stop. of you may have experienced the inter-connectedness of our • While working with the breath it is very important to rest. whole system, which does not only includes movement; this Rest briefly after each movement and observe the longer interconnectedness reaches into the domains of thought and rests. emotion. I suggest reading through each section first and then exploring Our first lesson focused on the relationship between the theme. Another option would be to have a friend read shoulder girdle, pelvis, and ribs. We discovered that when we out instructions as you do the lesson. Above all enter this have more freedom and mobility in these areas, it not only experience with a sense of exploration and inquisitiveness. improves our breathing but also has a positive affect on our First Impressions balance and widens our base of support. In part three of this Take some time in a standing posture with your flute to series we took the principal of optimising skeletal support observe what moves as you inhale. Explore the weight of your a little bit further by reducing the amount of effort we use in feet on the floor. our trunk to free up our breathing and find a more efficient posture. Now, in this final part of the series, we will explore and On the Floor: Some Further Impressions differentiate the various functions and parts that contribute to free and easy breathing. Please take note: The following ideas are not ways to breathe either in day-to-day life or playing the flute but, rather, explorations; through exploring these ideas a deeper learning takes place. Through these explorations your nervous system will be reminded of various options and resources, and the intention is that after this lesson you will be able to liberate yourself from preconceived ideas about how you should breathe and allow the breath, particularly the inhalation, to become free Fig. 1 and spontaneous without inhibiting any resources available to you. I am confident that if you explore the previous lessons • Lie on the floor with your arms and legs long and notice together with this one, by now you will have made some very how your body makes contact. (see Fig 1) positive changes in your playing that will expand into other • Listening to your breathing without interfering with it. aspects of technique, as well as how you breathe. • What moves? Do you sense movement in your abdomen? How to approach these lessons Is there any movement in your chest? • As you are breathing notice if there is a change in contact To gain the most from this experience I suggest you follow with the floor as you inhale? these recommendations: • Do you sense any movement to the sides? • Move within a range that is comfortable. Do not exaggerate any of the actions; for some people they can be quite Breathing into the chest dynamic. Less is more. • Bring your feet to standing so that your knees are bent • Avoid pushing beyond your limits. and your feet are flat on the floor. Place one hand on your • Go slowly so that you can pay attention to what you’re chest and one hand on your abdomen (see Fig 2)

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• Softly breathe into the chest and allow it to expand in the chest in order to expand the stomach then pull your all directions. Feel your sternum rising towards the abdomen in order to expand the chest again and repeat ceiling and the vertebra of your upper back press more these alternate movements a few times, only as long as it into the floor. You can think of the space between your is comfortable. sternum and the vertebra of your upper back widening. • You will experience a seesaw movement between each Each time you make this action rest briefly and start the hand, one on your chest and the other on your abdomen. next movement fresh. While working with the breath in From now on we will call this movement the seesaw by Niall O’Riordan this way I have observed many people using too much movement. (Have you ever squeezed a balloon full of water effort and pushing beyond what is comfortable. Be soft and felt the contents transfer to the other end? A similar and economic with this action and do not force the thing takes place here.) inhalation. • Rest and observe any changes. • Rest and observe any changes with how you make contact A diagonal seesaw with the floor and how you are breathing now. • This time place your right hand on the upper part of the right side of your chest and your left hand on the lower left part of your abdomen. • As before, inhale into the chest and this time direct the air into the upper right side towards your right hand. Hold your breath and make the seesaw movement diagonally across your trunk in order to expand the left part of your lower abdomen; sequentially pull your left abdomen to return to expanding the chest again. Fig. 2 • Place your left hand on your upper left chest and your right hand on your lower abdomen and make the alternate Breathing movement without breathing seesaw movements across this other diagonal. • Rest and observe any changes particularly in how your • When the previous movement of inhaling into the chest has chest expands as you inhale. become clear, explore making this movement of expanding the chest without inhaling. That is, you will be making the Seesaw movements lying on your front breathing movements of the chest without inhalation or • Lie on your front with your arms and legs wide and your exhalation being coordinated with the movement. forehead resting on the floor. (see Fig 3) • Imagine that the space between your ribs is increasing and • In a very gentle way begin making the seesaw movement imagine a widening of your chest. in this position, expanding the chest, holding your breath, • Rest and observe and changes. contracting the chest to expand the abdomen then Expanding the abdomen contracting the abdomen in order to expand the chest again. The next few sections contain movements that are quite • Notice what parts of your breastbone touch the floor in this unusual, take it very slowly until they have become familiar. Do action. not strain in any way, stay within the range that is comfortable • Make the each diagonal seesaw movement in this position. for you. Remember how you pay attention is most important, • Return to make the seesaw movement again and notice not how large the action is. if you can sense the centre of your chest a little bit more • With one hand on your abdomen and one hand on your clearly on the floor. chest inhale into your chest in order to expand it like before. With your lungs full of air then compress your chest as if to exhale but hold your breath. This increased pressure in your chest will result in your abdomen expanding. The hand on the abdomen will raise as a result of this. • Make this movement a number of times in a soft and gentle way resting after each movement. • Rest and observe your contact with the floor now and how your breathing has changed as a result of this exploration Seesaw movement of the chest and abdomen • Make the previous movement again with the following Fig. 3 addition: fill your lungs with air, hold your breath, contract

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Expanding the back

Fig. 4

• Sit up and cross your legs, wrap your arms around yourself as if to give yourself a big hug and bring your chin to your chest (see Fig 4). • Inhale into your back in this position and direct your awareness towards widening the space between your shoulder blades as you inhale. • Make this action a few times and then alternate the crossing of your legs and crossing of your arms and repeat. • Rest on your back. Final observations

For the last time come to rest in your back and listen to your breathing once more. Notice what has changed compared to the observations you made before the lesson. Slowly come to standing and notice any improvements as you play. Going Further This lesson is a simplified version of a classic Feldenkrais Method lesson which appears in numerous sources including his book ‘Awareness Through Movement’. If you are enjoying these lessons and your flute playing is benefitting you can find where lessons local to you take place at www.feldenkrais.co.uk

The movement of diaphragm plays an important role in this lesson and by exploring the lessons ideas they can give you a clearer picture of where it is located

NIALL O’RIORDAN More from Niall at www.niallflute.com

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AFP Miyazawa Purple Ad - August 2015.indd 1 11/08/2015 11:31 PAN Mar 2016.indd 51 21/03/2016 23:08 Tongue Talent or tongue? Roz Trübger asks: Is your ability really due to the shape of your tongue?

ver the years it has struck me that almost nothing is muscles that can create a deeper channel through the mouth, written about tongue shape and the many problems will go some way to alleviating the problem. which occur as a result. Nature’s design is one of One of the most difficult cases that I ever worked with, was Othe most crucial aspects of flute playing and yet all too often overlooked. Look at the different tongue shapes on this page - which do you think will produce the best playing? Which do you think is closest to your own tongue? I’m guessing that very few of you will be capable of producing the broad front cloverleaf shape! It is no coincidence that the tongues of the best singers are, almost without exception, thin with a distinct dip down the centre. Of course, the same is true for flautists - a big resonating chamber with plenty of room for the air to pass over the back of the tongue is an absolute necessity. Let me begin by explaining how my interest in tongue shape came about: I had hoped for a career as an opera singer but, sadly, blew my voice to pieces before I could achieve that ambition. My [renowned] teacher had failed to identify the problem. Put simply, I have a tongue that appears small, because it is thin and pointed at the front, but it gathers in size towards The muscles of the tongue the back where it is wide and high. For years this caused me unknowingly to raise the rear of my tongue for certain vowels the young man whose tongue was not only wide but also folded to the point where it literally trapped and squeezed the sound. back towards the rear of his mouth. As in the illustration, the Changing course to flute professional, it slowly dawned on me muscle arrangement of his tongue made it very difficult for what had occurred and that this also was the problem plaguing him to hold it steady in order to make the necessary small my flute tonguing. Having diagnosed the issue, I trained my backwards and forwards movements at the tip. He had already tongue muscles to pull lower and created that essential channel been learning for several years when he came to me for help down the middle. and the sound he produced was indeed horrible. Every note I was fortunate to have been able to pinpoint the source was accompanied by a huge explosion of uncontrollable air, of my difficulty, but internet forums tell the tale of students resulting in a tone that was ultra fortissimo and without any plagued by problems they cannot solve. dynamic variation. His relief was palpable on that first day Shapes when I helped him to understand the cause of his misery and, over the course of the following year, as we turned around his Students frequently will exhibit problems that they find playing through combined effort and targeted exercises. difficult to overcome, despite struggling valiantly but vainly to An unusually long tongue also will provide headaches for do what their teacher says. But there is no point in telling a teacher and student. In order to provide room for the tongue student, for example, not to send air through his cheeks if that to move, the bottom jaw must be held well forward, but there is the only place where it can go! A large, wide and deep tongue is only so far that a jaw can go, if the student is not to feel that fills up most of the mouth when it is at rest will commonly uncomfortable. cause this problem and, especially in the upper register when A tongue like mine [deeper at the rear] is the frequent cause the tip of the tongue is held more upward, force the air to the of delayed notes. Since the front of the mouth is full of air and sides of the mouth. In reality there is very little that can be done so producing a good tone whilst the tip moves with correct about this (an operation to cut away part of the tongue would speed, the student may be oblivious to the fact that insufficient seem more than somewhat extreme), although encouraging the air is arriving in time from the throat. student to learn to roll his tongue and thereby strengthening the

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Lastly there is the more interesting matter of tongue thickness. Which leads on to the matter of: Tongue Training Most people are aware of how the letter ’t’ typically is produced differently by native English speakers and French speakers. Usage of the example ‘stop’ versus ‘top’ has, for a very long time, been a useful means of highlighting the possible differences in producing the sound. But do you take this a step further? Do you watch how your student talks? There is much for a teacher to learn from observing how a student ‘practices’ and reinforces habits of tongue movements for many hours every day during normal speech. Compare what you see as they speak with the tongue movements necessary for good flute tonguing and then if, and only if it is going to be helpful, discuss the matter with your student. Of course pupils of any age are likely to be highly selfconscious about physical and speech qualities, so it is important to be sensitive and not cause more distress than help. However, since it is going to be beneficial to understand any physical aspects of the tongue that are hindering playing, I frequently prompt students to stick out their tongue in the privacy of their own home and take a good look in the mirror. Some students were keen to have a laugh and opted to do it there and then, whilst the majority wanted to do it in the teaching room, whilst I looked tactfully in the opposite direction. In his treatise On Playing the Glute, Quantz writes t r t r t r as an advice for tonguing. But as these two consonants are produced in different ways by individuals, of necessity they cannot be applied as definitive principles. The depth of a person’s tongue will to a large extent determine the sensation of touching behind the teeth, top of the mouth etc. A trick that I discovered to help defeat difficulties with articulated notes is to ask the student to play repeated notes whilst going through the alphabet using all the consonants and noting which create the best results. I remember my astonishment when the movement to produce n and v provided the best result for a Korean student - another stark reminder of how we do not all make similar sounds in the same way. Much emphasis may given to lips and jaws without recalling that the tongue position will determine the lip position and vice versa. Much advice is given on moving the jaw to produce another octave, but my own experience has shown the advantage of advising a pupil to move his tongue. Although it is helpful at any stage, in particular, I have produced excellent results by instructing the beginner to arrive at an upper octave by slowly raising the tip of his tongue until the higher note is achieved. Summary There is no such thing as a normal tongue. Every tongue is an individual and needs individual training. A student with fingers that bend in the wrong way, can see why he is having problems with speed. Tongue movements cannot be seen as easily. But it is no less important for a student to understand how their own individual tongue shape effects performance and what they can do to control it. The observant amongst you will have noticed that ducks have been a feature of my music production and teaching for a long time. This came about as a means of instructing students in tongue control, especially as regards keeping air flowing freely from the lungs through the throat and mouth. I kept a small, cute toy duckling in the teaching room and encouraged students to imagine that it must be kept safe in their mouth, snug in a hollow as low in the mouth as possible. Don’t let the tongue get close to the palate, or else the duckling will be squished. Meantime the air stream, like a river, must keep flowing, but the lips must not part or the duckling will get swept away over the weir. The method worked a treat in the girls’ school, whilst in the boys’ school just the threat of producing the embarassing duckling was enough to get the desired technical response! ©Roz Trübger 2016

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PAN Mar 2016.indd 53 21/03/2016 23:08 Dan Kessner Dan Kessner: a composer at 70 by Carla Rees

n 3 June this year, American the Queen Marie-José international very well constructed exploration of composer Daniel Kessner Composition Prize in Geneva and three microtones, which can be played on a celebrates his 70th birthday. Fulbright awards. Last year his name standard open-holed flute. The recent OKessner is a prolific composer, whose was added to the prestigious list of NFA commission, Aria Adrift for flute catalogue includes more than 140 composers commissioned to write for and piano was written for the High works, with music for orchestra, wind the competitions of the National Flute School Soloist competition, and with a band, choir and chamber orchestra, as Association of America. duration of 5 minutes, this is an excellent well as many works for chamber music I first encountered Dan’s music addition to the repertoire which is ideal combinations of different kinds. through rarescale’s call for scores, and his for post Grade 8 players. Kessner studied composition to PhD compositional language stood out to me In celebration of his birthday, 2016 is level with Henri Lazarof at UCLA, and as distinctive and individual, exploring a busy year for Kessner, with his works spent his teaching career at California what he has described as ‘that wonderful being represented at 12 different events State University, Northridge, where grey area between tonality and atonality’ in California, New York, UK, France, he joined the faculty in 1970 and (Flutist Quarterly, Fall 2008 p31). Czech Republic and elsewhere. Several is currently an Emeritus Professor. His music often contains sections of new works will receive their premieres Alongside composition, his career has rhythmic freedom interspersed with including Focus, for two alto flutes and encompassed performance, both as a the use of more regular, often dance- piano in France in August, Sinfonia Breve conductor and multi-instrumentalist. like meters. Colouristic techniques for orchestra, Concerto Grosso for flute Kessner has an almost childlike curiosity such as alternate fingerings, percussive choir at the NFA convention, performed for sound, and, not unlike the well- accents and pitch bends also appear in by the Professional Flute Choir with the renowned playing skills of Hindemith, his flute repertoire, but only when the four members of the LA Philharmonic he has studied many instruments. music demands them. His chamber flute section and Before university he studied piano, music (such as the duos Genera for player Peter Sheridan as soloists, and violin, percussion and trombone, then flute and clarinet and Nuance for alto the American premiere of Tableaux became a principal study clarinetist who flute and violin or bass flute and viola) for bass flute and guitar, performed by doubled on flute, and spent summers often focuses on the blend of timbre Kessner himself. Particularly significant learning oboe, , cello and horn. between the instruments, and he has a to Kessner are the performances of his His main instruments became clarinet, knack of highlighting the similarities orchestral piece River of Time in LA on flute and for four years, cello, until 1993 and differences of the instruments as the 21 April and the premiere of Cantique when he decided to concentrate on the music unfolds. aux animaux, Cantata no 3 for choirs flute. He is still active as a performer, Dan Kessner’s catalogue of flute and guitar quartet in Nantes on 26 April. often working in a duo with his pianist works deserves to be widely known Kessner has described this schedule wife, Dolly. Low flutes are a particular within the UK. His output includes of performances as “how a composer passion of his, and he says he ‘quickly nearly 40 works, most of which were really wants to celebrate his birthday” fell in love with the delicate, mysterious written since 1993. An excellent starting and is looking forward to it with much sounds’ of alto and bass. ‘The sound point is the 1991 work Seven Studies excitement. of the bass still brings me into another in Melodic Expression, which can be Despite this significant birthday, w o r l d ’. played on solo flute, alto or bass. These Kessner shows no signs of slowing down. Kessner has an impressive career, short studies are of moderate difficulty “I just want to keep on doing what I’ve which includes prestigious premieres and demonstrate enjoyable melodic been doing for as long as I can. I have (including at the Gaudeamus Music invention which serves as an excellent been fortunate enough to receive fine Week and with performers such introduction to the interpretation of performances and great encouragement as the Los Angeles Philharmonic, contemporary music. Other solo works from numerous excellent musicians. Netherlands Opera and Utrecht include Tous les matins, A Serene Music This spurs me on to keep moving Symphony), and awards, such as and Micro-images, a fascinating and forward, always aiming for my best work ever.”

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CHRONOLOGICAL LIST OF COMPOSITIONS FOR FLUTES BY DANIEL KESSNER

1 969 Equali I; 4 flutes, vn, va, vc, cb; 13 minutes 2006 Natural Cycles; bass flute and piano; 11-12 minutes

1971 Interactions; flute, cello, piano, and tape; 11 minutes 2007 Canto; (including piccolo, alto flute, & bass flute); 12 min. 1975 Solennité; bass flute, viola & percussion; 9 minutes 2008 Poème exotique; flute and piano; 8-9 minutes 1985 Circle Music I; piano and solo instrument (fl, ob, cl, vn, va); Alternate version: le poème moins exotique; tempered 6-9 minutes pitches only, no quarter tones (2011)

Circle Music II; flute and guitar; 6-11 minutes Sonatina Bassa; bass flute and piano; 9 minutes

1988 Two Old English Songs; soprano, flute, viola & guitar; 16 2009 Music in Uncommon Modes; shakuhachi, quarter-tone minutes bass flute & guitar; 17 minutes

1991 Studies in Melodic Expression: Seven Studies for Solo Dances, Version for Flute/Alto Flute & Guitar; 12-13 mins Flute; 14 minutes Epigraph Sonata; flute and piano; 13 minutes 1993 Shades of Pastel; alto flute & prepared guitar; 9 minutes 2010 Macro-modal Suite, for Flute and Double Digital Simple Motion; alto flute & piano; 10 minutes Keyboard (Harp); 17 mins (currently being re-written for flute and pre-recorded quarter-tone harp) 1995 Symphonic Mobile I; flute choir; 16 minutes Lament; version for Flute/Alto Flute/Bass Flute and 1996 Cantiones duarum vocum; for two instruments of similar Electronic Sounds; 9 minutes register; 6 minutes. Original version: alto flute and violin Version for two flutes or two alto flutes 2011 A Serene Music; version for solo flute, alto flute, or bass flute; 7 minutes 1997 Divertimento; flute, alto flute, vibraphone, & piano; 8 minutes 2012 Tableaux, for bass flute and guitar; 11 minutes

Tous les matins ...; solo bass flute or alto flute; 9 minutes; 2013 Alto Rhapsody, for alto flute and piano; 8 minutes (also version for quarter-tone bass flute or alto flute, 2007) Symphony in Silver, for flute ensemble [picc, 6 fl, 2 alto, 1 bass]; 11-12 min. 1998 Celebrations; flute & orchestra; 10 minutes (also version for flute & wind ensemble 2006; and chamber version for 2014 Symphony in Gold, for 4 alto flutes and 2 bass flutes; 8-9 flute, string quartet, piano & percussion 2008) minutes

2000 Prière et scherzo; bass flute & piano; 6 minutes Aria Adrift, for flute and piano; 5 minutes

2001 Nuance; bass flute & viola (also version for alto flute & 2015 Focus, for two alto flutes and piano; 8 minutes violin); 10 minutes Premiere performances scheduled for August 19, 2016, Céret, France, and August 21, 2016 in Paris; Carla Rees Stream; bass flute/flute/alto flute & harpsichord; 11 mins with the Duo Kessner

2002 Genera; flute/alto flute/bass flute and clarinet/bass Eight Preludes, for Solo Alto, Bass or Other Low Flute; 16 clarinet; 10 minutes minutes. Premiere reserved for Peter Sheridan

2004 Micro-images; solo flute; 9 minutes Concerto Grosso, for flute choir (minimum 9 players); 13 mins. Premiere scheduled by the NFA Professional 2005 ... from primitive sounds; flute, violoncello, & percussion; Flute Choir NFA Convention, 2016, San Diego, California 13-14 minutes

Daniel Kessner’s compositions are mainly distributed by Theodore Front Musical Literature www.tfront.com. Full details of all compositions, including premiere performances and recordings are available on the BFS website www.bfs.com

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“It’s all very nice, but don’t ask me to improvise.” Some thoughts on improvisation, jazz and the flute by Geoff Warren

mprovisation is a word that can strike terror into some flautists’ hearts. Perfectly normal, skilful, articulate people can have a block when asked to ‘make something up’ on Itheir instruments. Jazz education has been around for more than half a century, often making the difference to a jazz musician between taking a day job/second job and earning his living totally within his chosen field. The downside can be that many great jazz musicians spend more than half of their time administrating jazz departments; but times are hard, gigs are thin on the ground, and if you haven’t got an independent income then it’s best to use your main skills in all ways possible. I moved out of my first and last day job, when I got into teaching adult education evening classes, and over the years I’ve developed my jazz workshop skills working with groups of very mixed ability. The flute has been something of a latecomer in jazz education, and in some ways this can be seen as an advantage. So many young saxophonists and guitarists (in my humble opinion) seem to sound the same, having gone through the mill of the same exercises, and having to live with those massive icons, yet when I hear flautists improvise I hear different voices you’re driving a car? How many things are you constantly aware nearly every time. Jazz flute has its father figures but they don’t of? Hands, feet, eyes, looking ahead, looking behind. So much seem to weigh so heavily on the teaching of this discipline. Also, more than just playing and counting. Jazz has opened up to World musics and one instrument that Getting from A to B by car doesn’t mean always performing is present in just about every culture is the flute. So we’re not exactly the same actions. The traffic will vary; there may be road disadvantaged; we have everything going for us. works or other unforeseen circumstances. You may even decide One of the first things to get over is the default attitude that to go the pretty way. But on that journey from A to B maybe improvisation is something only ‘jazzers’ do and it’s a thing 80% of the actions you are performing are pre-set, automotive you’re either born with or you’re not. I had a great time doing a actions you don’t need to think about; you just do them. Musical workshop with Liz Goodwin’s Flutewise, where I found to my improvisation has all these aspects. You know how to play, so delight that nobody had told the kids that improvisation was play. In getting from A to B in music, improvising perhaps just difficult, and they just went for it. 8 bars, you follow the road signs (chord symbols maybe) and It’s sometimes useful to draw analogies with other day-to- go along using the abilities you have (technique, tone, register) day activities. We are always improvising. We don’t have the day and using the cultural experience of all the music you’ve ever programmed for us in every detail, and even if we’re working played. to a timetable we are free to manoeuvre within it: different I am used to working with musicians from all backgrounds, parameters of freedom, different spaces to be creative in. so I quite often I find myself telling the classical players to When a student once told me “I can’t play and count at the loosen up and the jazzers to play it more cleanly. My philosophy same time; one or the other, which do you want?” I used the is that any technique you use, any sound you make, has to be analogy of driving a car. How many things are you doing when

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(probably a pentatonic) and this was, luckily, accepted. Having confined the painful activity to four bars with a limited, but not uninteresting lexicon, they were improvising. And some of it was nice! Times have certainly changed. When I was an adolescent listening to rock music, we used to sit through the sung verses waiting for the solo, usually by the lead guitarist. This was improvised instrumental creativity, and was present in most songs. Nowadays pop songs are all about the singers, their gestures, and their voices. Groups are less present, (unless all vocals); instrumentalists are becoming invisible. We are moving towards a society that only knows two instruments: the microphone and the backing track. So we instrumentalists, people who actually play music, are now the eco-terrorists; we can play it differently every time. We are the biodiversity. This is what makes us different from the backing tracks; we are human. Being able to reproduce something perfectly is a fantastic feat and is an essential part of being a musician. I believe the other part is being able to tell a story with your chosen instrument.

Geoff Warren will be playing with his quartet at Jazz 825, The Railway Hotel, Southend on 4 May 2016.

because that’s what you want at that time, not because it’s the only one you’ve got. Improvisation can be at many levels, from the simple, almost impersonal ‘fill’: perhaps providing an extemporised two-bar reply to a vocal phrase in a song, to the highly personal ‘solo’ where the front man is taking the music where he wants it to go, according to how he feels at that moment. Some mid- twentieth century composers introduced random elements into their compositions, asking performers to ‘use these notes freely’. Here players are not required to express themselves but merely to be part of an indeterminacy process. When tackling that initial block I like to imagine a painter standing in front of a white canvas. Until he puts a flick of paint on that canvas he has done nothing. Once he has performed that action, every subsequent action will be in relation to that first stroke. This makes it easier because you now have a context. In simple terms: once you’ve played something you always have two choices: do it again or do something else. Playing something twice is not a crime, it’s called emphasis, and if you play it slightly different the second time (chances are you will) then you’re really creating! Play a little four note motif, and then maybe play it again down a second. It worked for Beethoven. (Da da da daaa). In another workshop, (adults this time), I was approached during the lunch break by two participants who told me, quite firmly, “It’s all very nice, but don’t ask us to improvise.” I avoided the obvious reaction of “Well why are you here then?” and just said “OK”. Then during the afternoon session I managed to get them involved in some simple four bar exchanges, going along the line, everyone having a go, on one chord, a nice easy scale

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competition

V° International 28|30 Flute Competition Università degli Studi di Salerno Severino Concerts, Masterclasses Flute, Violin, Viola, Cello Gazzelloni Showcases, Flute Choir Double Bass, Guitar, Singing Roccasecca Piccolo Meeting 29august4september Flute: Christina Fassbender, Davide Formi- Flute Expo by Daminelli sano, Jean-Claude Gèrard, Francesco Loi, 2016 Andrea Manco, Matteo Evangelisti, Jihoon Yossi Arnheim Prize over 20.000 euro Shin, Hyunim Yoon, Lars Asbjørnsen Christina Fassbender • Money prizes Piccolo: Nicola Mazzanti Davide Formisano • Interviews Violin: Giulio Plotino, Mariana Muresanu Jean-Claude Gérard • CD pubblication Viola: Luca Sanzò, Dorotea Vismara Juliette Hurel • Headjoints Cello: Ilie Ionescu • Piccolo Maxence Larrieu Double Bass: Gabriele Ragghianti • Flute Hubert Laws Guitar: Giulio Tampalini, Lucio Matarazzo • Concerts Shimizu Kazutaka Singing: Elisabetta Scano • Special Prizes Paolo Taballione and many others... and many others... www.falautcampus.it www.concorsogazzelloni.it www.falautfestival.it

Art Director Salvatore Lombardi

Info: Associazione Flautisti Italiani Telefax +39 089.9920098 Cell +39 349.3474756 mail: [email protected]

PAN Mar 2016.indd 58 21/03/2016 23:08 pubb-falaut_nomi.indd 1 10/03/16 12:03 Associazione Flutewise flautistiItaliani How do we grow the flute players of the future? by Liz Goodwin

otivation. It’s one of our biggest challenges whether over the years for Flutewise, and we all enjoyed her Pied Piper it’s to motivate our own playing, our teaching, going in Tonbridge last year. to the gym or cleaning the house. It really is difficult The storyline I’ve come up with for this is very simple but Mto be, and to stay, motivated, and it’s even harder to motivate could be expanded and developed depending on the age group others. and time available. Having a storyline helps to decide on the One of my biggest concerns about music is the decline in pieces. I can see this working well in the school setting or as numbers of children learning to play an instrument in a serious competition part of a flute day. The storyline could be expanded and, if there way. This decline will have an impact on all musicians in the is a more established flute ensemble, different arrangements future as the fewer people there are interested in music, the V° International 28|30 of some of the pieces could be substituted. As an example, I’m Flute Competition fewer will attend concerts and buy recordings. In my opinion, hoping one of the pieces will be Somewhere Over the Rainbow; Università degli Studi we, as a flute society, should be doing all we can to promote flute there is a fantastic flute choir arrangement by Mel Orriss playing to the general public and to motivate young people to di Salerno Severino (Wonderful Winds). Concerts, Masterclasses play the instrument we love. My thought is that it would be wonderful if we all made Flute, Violin, Viola, Cello Gazzelloni Showcases, Flute Choir I’ve got an idea that might help with this and although I an effort to have groups of flute players playing this music in Double Bass, Guitar, Singing Roccasecca Piccolo Meeting have started work on this project, I could really do with a bit venues like the foyers of concert halls, National Trust properties, august september more support and encouragement – yes, motivation! Flute: Christina Fassbender, Davide Formi- 29 4 theme parks - in fact anywhere in public, to give the players an Flute Expo by Daminelli I was reviewing Flutewise activities and some of the most sano, Jean-Claude Gèrard, Francesco Loi, 2016 opportunity to perform in an informal setting and the public to productive activities we’ve done have been playalong events. Andrea Manco, Matteo Evangelisti, Jihoon Yossi Arnheim hear music on the flute that they recognise. Prize over 20.000 euro These began as pre-concert events with Sir James Galway Shin, Hyunim Yoon, Lars Asbjørnsen Christina Fassbender To get this project off the ground properly I need to decide • Money prizes and over the years, as part of these, Flutewise has produced Piccolo: Nicola Mazzanti Davide Formisano on the pieces, organise arrangements, get copyright clearance, • Interviews a number of books. These contain mainly trios, well-known Violin: Giulio Plotino, Mariana Muresanu Jean-Claude Gérard set the music, have it printed and then distributed. A number of • CD pubblication classical and folk pieces, arranged with one part being very Viola: Luca Sanzò, Dorotea Vismara Juliette Hurel extremely kind people have already been involved and I do have • Headjoints simple so that anyone can have a go and join in. These books a few arrangements already. There is a great deal of work to do Cello: Ilie Ionescu Maxence Larrieu • Piccolo have been used in all different types of situations over the and to help motivate me, I need to know that you are interested, Double Bass: Gabriele Ragghianti Hubert Laws • Flute years - in school concerts, at flute events, theme parks, pre- either with help or suggestions during the planning stages, or if Guitar: Giulio Tampalini, Lucio Matarazzo • Concerts Shimizu Kazutaka concert events at major concert halls, and more. Last summer you would be interested in organising flute players to play the Singing: Elisabetta Scano • Special Prizes Paolo Taballione we especially enjoyed using them for Flutewise Picnics and at music in public once it is ready. Please get in touch with if you and many others... and many others... a garden festival where we raised lots of money for Flutewise. are, via [email protected] At the garden festival in Barton under Needwood I was www.falautcampus.it www.concorsogazzelloni.it www.falautfestival.it impressed to see how the youngsters gained so much in confidence and real motivation from playing such simple arrangements in an informal setting. The new project I have in mind is slightly different to a straightforward playalong event. It has two working titles at present: Flutewise Goes Pop and Flutewise the Magic Opera. The Flutewise Goes Pop bit is to do with the music I would like to use, the music youngsters might like to play, and music that Art Director the public would really like to hear. Of course, this gives me Salvatore Lombardi a problem as most of this music is in copyright and obtaining copyright clearance and/or licence can be a nightmare and is inevitably very time-consuming. As for Flutewise the Magic Opera, I am planning the project to have a storyline. This is an idea I’ve used regularly for our concerts at our summer schools in Croatia, and the children Info: and audience really enjoy them. Atarah Ben-Tovim has also Associazione Flautisti Italiani inspired me as she has developed and used this idea many time Atarah with Flutewise Telefax +39 089.9920098 Cell +39 349.3474756 mail: [email protected] March 2016 59

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MUSIC REVIEWS MUSIC

Mriami Hyde flute, and is within reach of part is written in three staves Sonata players of around Grade 6 here). This piano material for flute and piano by The Keys Press or 7. The piano part is also develops into a solo, before Mark Tanner unfortunately reasonably manageable the flute reenters and builds excludes these poems, but This well constructed 3 by a good player, making towards a solo cadenza. For short performance notes movement sonata was this an ideal piece for the final section of the piece, are given for each of the completed in 1962, and school age players looking the opening unison material pieces to help with stylistic according to the programme for something a little returns in a variation form. concerns. The flute and notes, was written mostly unusual between grades This is an interesting piece; piano versions work well; on trains as Miriam Hyde or for A-level recitals. The worth a look. the flute takes over the travelled around Australia language is tonal with a clear CARLA REES melodic line for the majority as an examiner for the Romantic influence and of the material, sometimes AMEB. Hyde (1913-2005) some interesting chromatic doubling the piano at the was a talented pianist and harmony. This piece is an octave where the melody composer, whose studies enjoyable gem by a female was originally in the bass Gabriel Grovlez included three years at the composer and deserves to be or middle parts. Each of the Royal College of Music in better known. L’Almanach Aux movements has a distinctive London under Gordon Jacob CARLA REES Images character, allowing for and Arthur Benjamin. She (transcribed by Mark Tanner) contrast of mood. Grovlez’s performed her own piano Spartan Press compositional style is concertos with the LPO and influenced by Debussy, with LSO before returning to Gabriel Grovlez (1879- some interesting chromatic Australia in 1936. Gernot Wolfgang 1944) is perhaps best known harmonies, but retains its The first movement is Flurry in the flute world for his own distinctive character. an Allegro giocoso in sonata Doblinger Romance et Scherzo, written Grovlez’s experience as a form, with a flowing, light for the Paris Conservatoire, writer of songs is clear in hearted main theme. The This is a short, 3 minute where he himself had the melodic writing, which material is developed just piece which would be ideal studied under Fauré. His is both lyrical and inventive. enough; the movement is as an encore. There is a compositional output was These pieces adapt well to relatively short overall (just strong jazz feel, especially mostly for voice, and as a the sonority of the flute, over 3 minutes) and feels in the unison melodic line conductor he had a strong and are ideal as educational well proportioned with a of the opening and in the interest in opera (his highly pieces for students around good sense of direction. rhythmic syncopations successful conducting career Grade 5-7. The second movement is that often appear in the included several years as CARLA REES an Andante pastorale, with piano part. This piece is fun director of the Paris Opera). expressive melodic lines in and light hearted, but not He worked with a number the flute part supported by without its challenges; the of the leading composers of quaver chords in the piano. note patterns in the flute his time, and conducted the The final movement is a fast, part are convincing but not first performances of works Frank Bridge rhythmic jaunt in 6/8, with a always straightforward, by Ravel, Roussel and Fauré. Serenade good sense of humour and and the rhythmic precision L’Almanach Aux Images (arranged by Russell much charm. Overall the required in the ensemble is a set of 8 piano pieces Denwood) Emerson Edition Sonata is similar in standard may need some rehearsal, written in 1911. Each of the and length to the Matthias especially at the opening. pieces is preceded in the This is a well presented piece Sonatine, written just a few The unison beginning gives original score by a poem with strongly lyrical melodic years before in 1956. The way to a flute solo, heard by Tristan Klingsor (1874- writing. This Serenade was piece is well written for the over piano chords (the piano 1966). This transcription

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Opinion

originally written for violin differences between these studies in a variety of useful K l a u s D i ckba u e r and piano in 1906, and is a flute adaptations and their jazz styles, such as blues, GROOVE CONNECTION charming miniature in E flat original counterparts are bossa, swing and funky, Universal major lasting a little over two indicated in the score by with progressively more and a half minutes. This is an Talmi and Tomer, the new challenging material that is This is the flute version of excellent educational piece editors. The three sonatas are well recorded and presented an interesting and useful for developing sonority into attractive, accessible pieces in versions with one flute, method (available also in the high register, as well as and suitable for players two flutes and then just versions for saxophones, understanding late romantic of intermediate ability or backing. The second flute clarinet and violin) for rhythmic flexibility and tied better. The Allegretto finale option is particularly clever stimulating and developing rhythms. The music is fluid to sonata 1 is a particularly because it opens up to melodic creativity. The and often written in two bar jolly piece. duet situations and means pieces are set out in three phrases which go across the The edition has large the book is adaptable to part voicings over a bass line bar lines. The piano part print on good quality paper individual or group teaching, and offer melodic material is mostly in the form of a with good page turns. The as well as self-teaching. based mostly on scales and simple accompaniment, piano part has an attractive Particularly nice are the arpeggios to get the player supporting the flute line cover and is spiral bound. tips along the way which over his inhibitions and with chordal writing which However the edition would include good explanation moving around a given key emphasises the flowing 3/4 have benefitted from further and audio demonstration in a variety of grooves. The pulse. This is an enjoyable proof reading and more of jazz articulation and jazz book does not confront little piece that would make careful editing. For instance, flute effects. jazz theory in any detail, an appealing addition to a in the third movement of Rhythmic exercises preferring to concentrate short recital. the first sonata, I puzzled and listen-and-play back on improvising in one key CARLA REES for quite a while over some games give extra body to at a time using motivic half dozen bars in the flute the educational content and building bricks. All keys part, wondering how to play show the author to be a valid are confronted equally and the indicated turns until I teacher, who hasn’t forgotten the material is captivating Mozart realised that the accidentals the importance of listening, and well recorded, with Three Sonatas for had been incorrectly placed making this book much articulation clearly defined Flute and Piano above the turn signs where more than a jazz playalong making the ensemble (adapted by L. W. Lachnith they should have been placed album. passages rewarding to play. c.1800, now revised and below them. With a price tag Jazz theory is introduced The book can be used for edited by Er’ella Talmi and of 51.27 euros (equivalent gradually and methodically individual study or as a Tomer Lev) to approximately £40) these as the user is taken from basis for workshop sessions. Dobermann-Yppan sonatas are expensive, and basic pentatonic and blues Interesting practice material economies could have scale improvisation through is also provided with scale, For those looking to play perhaps been made with the to chord changes. The arpeggio and other patterns more music by Mozart, this layout to save on print costs. compositions, all originals that engage the mind as publication will prove a very ROZ TRUBGER by Stephanie Wagner are fun well as the fingers. The useful addition to the flute to play, and obviously well CD is full of material with repertoire, although some suited to the flute. Some of extra tracks available to players may be deterred the tracks are perhaps a little download on the publishers’ by the hefty price tag. The brief, leaving you wanting website. Accompanying the three sonatas, originally more, but this book does pieces are some very useful published in the early 19th S t ephanie W a gner contains so much and is ever observations by the author century by Sieber-Paris, are, P l ay J a z z F l u t e N o w ! inspiring you to move on to such as “It is really easy” and in fact, adaptations by the Schott the next stage. “Rests are as good as notes”. horn player Ludwig Wenzel GEOFF WARREN GEOFF WARREN Lachnith of three chamber An excellent book, very works by Mozart: Piano well thought out with fine Quintet K.452, Piano Quartet attention to detail. The K.478 and Trio K.498. The author takes us through

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CD REVIEWS

the Japanese Shakuhachi, and Fukushima’s Mei, an expressive work which is CDS more influenced by the , the flute used in Japanese theatre, rather than the Shakuhachi VĀYU– MULTI- Jumping. It is interesting in the first movement. The but shares Korde’s use of CULTURAL FLUTE to hear a different piece is inspired by a poem microtones, pitch bends and interpretation of this piece by Linda Boyden, a writer SOLOS FROM THE 21ST bamboo-like hollow tones than Robert’s own, and it is of Cherokee origin. The CENTURY for dramatic and expressive a successful rendition which three short movements Nina Assimakopoulos effect. works well. contrast each other well; Amprec 018 At times the flute Anne La Berge’s the rich sonority of the feels a little distant in the piece Revamper was alto flute in the opening recording, and there are a commissioned by the NFA movement is striking against number of typographical for the High School Soloist the brightness of the high errors in the cover listings, competition in 1992, and register flute in the central but these are small niggles. successfully uses singing movement, which in turn Assimakopoulos plays each and playing to create an contrasts well with the of the works with care and electronic-like sound. This atmospheric style of the conviction; she brings her is a piece which needs much final movement. This is an own interpretations to each energy in performance, interesting piece worthy of of these works and has good using repeated notes in exploration, and is played The title of the disc, Vāyu technical command of the strong rhythmic patterns very convincingly here. comes from the name of a various demands presented and high harmonics towards Other countries are Hindu God, and the Sanskrit by this repertoire. This is the end of the piece. This represented by single works; word for air, blown and an excellent collection of rendition works well, and is Robert Aitken’s Icicle, the breathing. In this CD, Nina works, each of which has played with care, precision only Canadian work on this Assimakopoulos explores something interesting to and clarity of rhythm. Maggi CD, is an imaginative work solo flute repertoire from offer the curious listener. Payne’s Reflectionsis another full of trills and textural around the world. The CARLA REES subtitle describes the disc NFA commission, written contrast. Wil Offerman’s as ‘multi-cultural flute solos in 2003 for the 2004 High Honami has a strong from the twenty-first century’, School Soloist competition. Japanese influence and uses but the most recent work It is a piece full of contrast, alternative fingerings and was written in 2003 and five with long lines interspersed extended techniques to Fnchcocksi of the ten works presented by rapidly moving passages. capture an Eastern feel. The Schubertiade here are in fact now classic A range of extended final work on this CD is Ian Elizabeth Walker (flute) repertoire from the twentieth techniques is used, such Clarke’s Zoom Tube, which Richard Shaw (piano) century (including works as multiphonics, glissandi, needs no introduction! Devine Music by Robert Dick, Shirish air sounds and key clicks. While this performance Korde, Robert Aitken and Perhaps the best known of perhaps lacks the ease and Kazuo Fukushima). This these American works is naturalness that one has small point of description Katharine Hoover’s Kokopeli, become accustomed to in does not, however, take which is inspired by native Ian’s own performances, this away from the quality of the American Hopi music. is nevertheless and enjoyable compositions heard here, or Here, Assimakopoulos version which comes across the choice of programme plays with a rich, warm well. itself. tone and a strong vibrato, Eastern influences are There are five American giving space to the lines as represented through Shirish works on the disc, beginning they evolve. The last of the Korde’s work Tenderness The CD was recorded at the with Robert Dick’s blues American pieces is Spirit of Cranes, an extended (now closed) Finchcocks inspired work, Fish are Man, a three-movement composition in which the Musical Museum, from work which uses alto flute flute imitates the sound of

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CD REVIEWS

performances of the work whose collection the Pleyel de flûte berce les ruines for that I have heard. piano was selected especially solo flute, the manuscript For a CD intending to compliment and match of which was discovered to demonstrate the Elizabeth’s Louis Lot flute. by in 1997 authentic sounds of the The result is a warm, rich at Yale University, provide nineteenth century, it indulgent sound that has a good textural contrast. While may be questionable as to sufficiently satisfying ‘edge’ the music is predominantly whether a sonata written in the tone of the flute and contemplative and explores for the Arpeggione stringed a dash of brilliance in the the subtle tone colours of instrument should have piano timbre to make most two instruments that match been included. Although exceptional sensitivity pleasurable listening. each other so perfectly, there Elizabeth is playing her from both players, not Both instruments were is some lively and spirited own excellent transcription, just bravura virtuosity. built in the middle of the playing in the Locatelli created specially for her Particularly challenging for nineteenth century, and sonata, one of twelve for Louis Lot, it did seem that the flautist is the need for the stated aim of the CD is flute published in 1732. the flute was struggling absolute refinement of tone ‘to highlight the authentic The balance and ensemble occasionally, particularly and intonation with such sound world of a piano between the instruments in the third movement, mercilessly sparse but tonally and flute, in a transitional is perfect with immaculate to sound sufficiently definite accompaniment. stage both musically and playing from the guitarist, heavyweight for the The Agnew/McAllister Duo instrumentally in the while the flute-playing is demands of the music. passes the test with flying history of music, when exquisite throughout—a Boehm composed his colours with this beguiling the intensity of character, model of finesse and beauty opus 21 Variations sur and highly original harmony, tonality and style of tone. The duo, who met une Valse de Schubert to programme of music by was developing in both the as students at the Royal demonstrate the capabilities Locatelli, Poulenc, Toru instruments and the music.’ Conservatoire of Scotland, of the then modern flutes. Takemitsu, the Maltese Elizabeth and Richard’s made their debut in 2001 Elizabeth and Richard’s composer Véronique Vella, chosen programme consists and since then has built up performance of the work has the Frenchman Sébastien of works by Franz Schubert: a reputation as one of the all the necessary grace and Vachez, Greg Caffrey from Trockne Blumen, the most innovative in the field, elegance, but it is evident Ireland, and concluding Arpeggione Sonata, several amply demonstrated in this that the very highest notes with a whirling dance in lieder in nineteenth century CD. of the Louis Lot flute lack traditional Bulgarian metre arrangements by Leopold CHRISTOPHER BRITTON the richness of its low notes by the American Alan Jansa and the Variations sur Thomas. The various solos une Valse de Schubert, by and demonstrate that there was still room for technical for each instrument , for Theobold Boehm. The case example the rare Sarabande for using the well matched improvements in flute design in the 19th century. for guitar, a late work by period instruments is Poulenc, and his Un joueur amply demonstrated in the This is a thoroughly poignant elegance of Gute enjoyable CD and one that I Nacht, Lindenbaum and the am happy to recommend. ROZ TRÜBGER delightful Die Taubenpost. A sensitive performance of Trockne Blumen elicits fine playing from both performers. The technical demands are managed with Bidla fine musical understanding Agnew/McAllister Duo and apparently effortless (Aisling Agnew, flute and ease. This together with Matthew McAllister, guitar) the sweet toned quality of Baros Records the instruments results in A successful flute and one of the most enjoyable guitar partnership requires

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PAN Mar 2016.indd 63 21/03/2016 23:08 The Association of Flute Traders The Association of Flute Traders Abell Flutes 111 Grovewood Road, Ashville, NC 28804, USA +1 828 254 1004 www.abellfl ute.com All Flutes Plus 60-61 Warren Street, London W1T 5NZ 020 7388 8438 www.allfl utesplus.co.uk Astute Music 4 Sunnymill Drive, Sandbach, Cheshire, CW11 4NB www.astute-music.com Benslow Music Trust Ibberson Way, Hiitchin, Hertfordshire, SG4 9RB 01462 459446 www.benslowmusic.org Broken Wind 4 Portelet Place, Hedge End, Southampton, SO30 0LZ www.brokenwind.co.uk Daniel Paul Flutes Mas de Ferrand, 46150 Nuzéjouls, France +05 65 23 82 19 www.dpfl utes.fr Eloy Flutes Hoevenstraat 8, 5712 GW Someren, Netherlands +31 493 490 472 www.eloyfl utes.com Eva Kingma Flutes Hoofdstraat 12, 9444 PB, Grollo, The Netherlands +31 592 501 659 www.kingmafl utes.com Flutemotion Menuetstraat 22, 7534 GE Enschede, The Netherlands 0031-53-4614257 www.fl utemotion.nl Forton Music 6 Lakeland Close, Forton, Preston, Lancashire, PR3 0AY www.fortonmusic.co.uk Hal Leonard MGB 17/18 Henrietta Street, Covent Garden, London, WC2E 8QH 020 7395 0380 www.halleonardmgb.com Ian McLauchlan 46 South End, Croydon, CR0 1DP 020 8662 8420 www.headjoints.co.uk Jonathan Myall Music/Just 46 South End, Croydon CR0 1DP 020 8662 8400 www.justfl utes.com Flutes Muramatsu Inc 8-11-1 Nishi-Shinjuku, Shinjuku-ku, Tokyo 160-0023 www.muramatsufl ute.com Pearl Flutes Europe BV Craenakker 28, NL-5951 CC Belfeld, The Netherlands 07771 880462 www.pearleurope.com Schott Music Ltd Marketing 48 Great Marlborough Street, London, W1F 7BB 020 7534 0700 www.schott-music.com The Tutor Pages Ltd Kemp House, 152-60 City Road, London EC1V 2NX 020 8248 2208 www.thetutorpages.com/ fl ute-teachers Top Wind 2 Lower Marsh , London, SE1 7RJ 020 7401 8787 www.topwind.com Trübcher Publishing 6 Merley Lane, Dorset BH21 1RX 01202 884196 www.trubcher.com Universal Edition (London) Ltd 48 Great Marlborough Street, London, W1F 7BB 020 7292 9166 www.universaledition.com Verne Q. Powell Flutes, Inc 1 Clock Tower Place, Maynard, MA 01754 USA +011 978 4616111 www.powellfl utes.com Viento Flutes Mittelweg 15, 35647 Waldsolms, Germany +49 6085 9888378 www.viento-fl utes.com Windstruments 3 Croft Avenue, Crossfl atts, Bingley, West Yorkshire, BD16 01274 510050 www.windstruments.co.uk 2DX Wonderful Winds 44, Exeter Road, Okehampton, Devon EX20 1NH 01837 658745 www. wonderfulwinds.com Wood, Wind & Reed 106 Russell Street, Cambridge, CB2 1HU 01223 500442 www.wwr.co.uk Worldwind Music Ltd Worldwind House, Ashmill Park, Ashford Road, Lenham, ME17 2GQ 01622 859590 www.worldwind.co.uk Yamaha Music Europe GmbH UK Sherbourne Drive, Tilbrook, Milton Keynes, MK7 8BL 01908 366700 www.uk.yamaha.com

Classifieds

BFS MEMBERS are entitled to place a Classifed For Sale advertisement, including photo, in the magazine at no Due to retirement: Verne Powell Handmade Custom cost. This benefit to members applies only to personal, Wooden Flute, Serial Number 10208. Completion non-commercial advertisements. Professional and date 30.10.1997. Grenadilla wood body, sterling commercial advertisements may also be placed at silver keys. Modern Powell scale, A-442 French cups, very reasonable rates. To place a Classified in the next B foot with gizmo,offset G. edition of PAN, or to enquire about advertising rates, Price: Sensible offers please above £6000.00 please contact Anna Munks at [email protected] Telephone 01889 508538.

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