01_Cover.qxd 1/9/06 5:16 PM Page 1

VOLUME XXXI, NO.W2 INTER 2006

THE LUTIST QUARTERLY

THE OFFICIAL MAGAZINE OF THE NATIONAL FLUTE ASSOCIATION, INC

02_25.qxd 1/9/06 5:32 PM Page 3 Table of CONTENTS THE FLUTIST QUARTERLY VOLUME XXXI, NO. 2 WINTER 2006

DEPARTMENTS

5 From the President 26 Student Spotlight 9 From the Editor 29 The Inner Flute 11 High Notes 54 New Products 15 NFA News 57 From the Program Chair 17 Passing Tones 64 NFA Coordinators & 19 Across the Miles Committee Chairs 23 Notes from Abroad 65 Index of Advertisers

FEATURES 32 32 When East Meets West: Takemitsu’s Itinerant for Flute Solo by Mary Procopio Toru Takemitsu used influences from very different cultures to create compositions that offer the performer both technical challenges and the opportunity to delve into the characteristics of Japanese music.

40 Playing Flute in Non-Classical Environments by Bill McBirnie When it comes to performing jazz well, it’s all in the timing.

46 William Kincaid and Marcel Tabuteau: A Legendary Collaboration by Lois Bliss Herbine Kincaid and Tabuteau, principal flute and oboe with the Philadelphia Orchestra 40 during its golden era, were leaders of the “American School of Woodwinds” that revolutionized the playing and instruction of their instruments. Key concepts in Kincaid’s teachings, as distilled by John Krell, are explained in this article.

Cover Photo: © Suntory Music Foundation

THE NATIONAL FLUTE ASSOCIATION 26951 RUETHER AVENUE,SUITE H SANTA CLARITA, CA 91351

FOUNDED NOVEMBER 18, 1972 IN ELKHART,INDIANA

This magazine is published quarterly by the National Flute Association, Inc., a non-profit organization. The statements of writers and advertisers are not necessarily those of The National Flute Association, Inc., which reserves the right to refuse to print any advertisement.

ISSN 8756-8667 2006 National Flute Association, Inc. 29 11

Winter 2006 The Flutist Quarterly 3 02_25.qxd 1/9/06 5:32 PM Page 4

THE FLUTIST QUARTERLY Anne Welsbacher, Editor Joan Marie Bauman, Christine Cleary, Pascal Gresset, Amy Hamilton, Contributing Editors Tony Watson, Masterclass Reporter Mary Jean Simpson, Consulting Editor Steve DiLauro, Advertising Sales Representative Victoria Stehl, Art Director

Editorial Advisory Board John Bailey Professor of Flute, University of Nebraska-Lincoln Lincoln, Nebraska

Zart Dombourian-Eby Principal Piccolo, Seattle Symphony Seattle, Washington

Arthur Ephross Flute and Piccolo San Antonio, Texas

Susan Goodfellow Associate Professor of Flute, University of Utah Salt Lake City, Utah

Amy Likar Flute, Piccolo and Alexander Technique Oakland, California

Betty Bang Mather Emeritus Professor of Flute, The University of Iowa Iowa City, Iowa

Roger Mather Adjunct Professor of Flute (retired) The University of Iowa Iowa City, Iowa

Michael Stoune Associate Director of Graduate Studies, School of Music, Texas Tech University Lubbock, Texas

Nancy Toff Music Historian New York, New York

Michael Treister, M.D. Orthopaedic and Hand Surgeon, Amateur Flutist Chicago, Illinois

NATIONAL FLUTE ASSOCIATION, INC, STAFF

Phyllis T. Pemberton, Executive Director Madeline Neumann, Convention Manager Maria Stibelman, Membership Manager Brian Covington, Web Design Consultant From the PRESIDENT A Flourishing NFA

hank you for the privilege of lessons and procedures are passed serving our fine organization. It from one to the other with trust and Tis a great honor to become pres- confidence. ident of the NFA for a second time. I For musicians, mentorship starts look forward to my association with early. Our private teachers share life many of you, members and flutists, lessons as well as those pertaining to who are the NFA. The many facets of our special love, the flute. Every day I this amazing organization have fed me look back to the lessons learned from personally for more than 30 years. My former teachers as they taught me about first convention experience in 1976 flute playing and music, but many other remains a clear memory. I will never things as well. Remembering past forget the touching moment when mentors, it is those times when they Emil Medicus, editor of the Flutist shared a positive word, told a personal magazine of the 1920s, was given a story, or went out of their way to help; Katherine Borst Jones lifetime membership in our then four- that laugh or anecdote that remains in years-young organization. I was the memory and gives strength at hooked. I remember saying to Samuel another difficult time. How these people Baron how much that Atlanta conven- changed my life for the better! Each of tion had meant to me, and if ever us then takes that gift and passes it there was anything I could do, I would along, thereby sharing legacies that be honored. The mold was cast. will challenge the next generation. Our organization continues to The NFA is a wonderful association flourish thanks to the efforts of many for mentorship. How much fun is it to through the years. Special kudos to introduce students to the excitement outgoing past president John Bailey, and joys of our chosen profession? To who has served the organization for see the awe on their faces when they the past three years, and to outgoing meet someone whose recording they secretary Wendy Kumer. Kumer takes on a new job of local liaison for the have cherished, to meet someone who upcoming Pittsburgh convention. It has just played marvelously for them in will be difficult to follow in the footsteps person, to meet someone up close and of past president, Sue Ann Kahn. personal in the exhibit hall, or elevator? Thanks also to outgoing board members To see the joy on their faces as they Mary Karen Clardy, Carol Kniebusch explore the sounds of instruments Noe, and Michael Stoune. We are grateful only previously available in their for the continuity of fine leadership from dreams, to watch them leaf through these marvelous people, as well as our music, to help them find that new item amazing staff and the many volunteers that intrigues, sharing experiences as who serve our organization on a daily they happen. And to thank our mentors basis as committee chairs and coordi- in person. These are only some of the nators. Please show appreciation to experiences that membership in our these fine people for all the work that great organization, the NFA, makes is done on behalf of the NFA. possible. Please take advantage of the If we are lucky, mentorship is an opportunities and enjoy! ongoing activity in our daily lives. The NFA flourishes thanks to the mentoring of officers, board members, staff and committee members, and chairs. Past —Katherine Borst Jones, President Winter 2006 The Flutist Quarterly 5

02_25.qxd 1/9/06 5:33 PM Page 8

OFFICERS Mark Thomas • Founder & Honorary Life President 824 Charter Plc. Charlotte, NC 28211-5660 704-365-0369 (phone/fax) [email protected]

Katherine Borst Jones • President 4635 Rutherford Rd. Powell, OH 43065 740-881-5008 fax: 740-881-5252 jones.6@osu .edu

Alexa Still • Vice President 301 UCB, College of Music Box 301, UC Boulder Boulder, CO 80309-0301 303-492-7150 fax: 303-492-5619 [email protected]

Patricia George • Secretary 311 S. 8th Ave. Pocatello, ID 83201 208-234-4922 [email protected]

Teresa Beaman • Treasurer Department of Music, CSU-Fresno 2380 E. Keats Ave. MS/MB77 Fresno, CA 93740-8024 559-278-3975 [email protected]

Carol Dale • Assistant Secretary Dept. of Music, University of Mississippi Oxford, MS 38677 662-234-2978 [email protected]

BOARD OF DIRECTORS Robert Aitken (2006–2008) 14 Maxwell Ave. Toronto, ON M5P 2B5 Canada 416-481-4967 fax: 416-481-0040

John Barcellona (2005–2007) 9462 Castlegate Dr. Huntington Beach, CA 92646 714-964-2382 fax: 714-964-2650 [email protected]

Zart Dombourian-Eby (2006–2008) 2515 10th Ave. W. Seattle, WA 98119 206-285-0206 [email protected]

Sue Ann Kahn • Immediate Past President 96 Fifth Ave. #4-J New York, NY 10011 212-675-1932 [email protected]

Rhonda Larson (2005–2007) 514 49th St. Grand Junction, MI 49056 269-434-8462 (phone/fax) [email protected]

Amy Porter (2006–2008) 1647 Broadway Ann Arbor, MI 48105 734-623-4853 [email protected]

Jim Walker (2005–2007) 401 Rockedge Dr. Oak Park, CA 91301-3841 818-991-4320 fax: 818/991-9797 [email protected] From the EDITOR

“How do you get to Carnegie Hall?” the old joke goes.“Practice, practice, practice.”

he answer to this old chestnut young flutists about their career plans. might be good on paper, and Ideas for additional articles about the Tcertainly will always be a mantra nuts and bolts of finding and keeping for any musician struggling to make a work as a musician are welcome—as career as well as a life out of playing. are, as always, any topic ideas for But another daunting challenge of the inclusion in your member magazine. profession—perhaps even larger than More immediately and, perhaps, Anne Welsbacher that of learning to perform well—is more pragmatically, the National Flute the work required once the lessons Association’s Web site has partnered and the practice have taken place: the with MyAuditions.com, a site posting arduous search for that elusive job. jobs and auditions for flutists The shrinking numbers of audiences throughout the world. NFA members for orchestras that have plagued this can now log on to the Member Access country’s art world steadily for some section of nfa.org and find listings of time, but particularly since September vacancies along with contact informa- 11, 2001, have further squeezed an tion, audition dates and/or submission already limited market for flutists. deadlines, and descriptions of the Certainly, even in the best of times, organization and the position being infinite pitfalls and challenges await sought. MyAuditions.com offers plenty today’s musicians who decide to make of information, as well, including a living at doing what they love. regular profiles of musicians in the Recently, the nation’s only musician- spotlight. (In January, for example, owned and -managed orchestra fell Kansas City’s new principal flute and victim, not to the vagaries of American economics, but to our Gulf NFA member Nestor Herszbaum was coast’s perpetual storm systems, when highlighted.) the homes and livelihoods of the In addition to the MyAuditions link, Louisiana Philharmonic Orchestra the NFA continues to publish job members were ravaged by Hurricane postings that are submitted to us Katrina. (Read more about the heroic under the Jobs link in the same section call to action undertaken by their fellow of the site. We encourage university, musicians in this issue’s “Inner Flute” orchestra, or other institution hiring article by LPO member Patti Adams.) representatives to send notices to us at The business side of making music [email protected] for inclu- is the topic of articles planned for sion in this section. And we wish all future issues of The Flutist Quarterly, NFA members continued success in among them an article discussing the making music, whether for love or findings of an orchestral survey and money—or both. offering career advice for orchestral hopefuls. Also planned are renewed technical-focus articles and stories by —Anne Welsbacher, Editor

Winter 2006 The Flutist Quarterly 9 Congratulations to:

Julietta Curenton 1st Place 2005 NFA Young Artist Competition

Paul Gardner 1st Place 2005 NFA High School Sololist Competition

FLUTES & PICCOLOS

Burkart Flutes and Piccolos 20 Main Street · Acton, MA 01720 USA 978-263-7177 · www.burkart.com High Notes News and activities about the accomplishments of National Flute Association members and the flute world

ames Galway will embark on a 22-city U.S. tour in Florida, Gainesville; March 5, Kravis Center for the JFebruary with the Polish Chamber Orchestra as soloist Performing Arts, West Palm Beach, Florida; March 7, and conductor with his wife Jeanne Galway. This is the first Norton Center at Centre College, Danville, Kentucky; March time in 20 years that Galway has played and conducted a 8, Peace Center for the Performing Arts, Greenville, South U.S. tour and will feature an all-Mozart program in com- Carolina; March 9, Gailliard Auditorium, Charleston memoration of the 250th anniversary of Mozart’s birth. As a Concert Association, Charleston; March 11, Tilles Center for solo artist, Galway has made more than 60 recordings, which the Performing Arts, CW Post College, Greenvale, New York; have sold more than 30 million copies. Last year he celebrat- March 12, Prudential Hall, New Jersey Performing Arts ed his 65th birthday with an extensive U.S. tour, a live per- Center Corporation, Newark, New Jersey; March 14, formance at Lincoln Center, the release of a new CD on Eisenhower Auditorium, Penn State University, University Deutsche Grammophon, and an appearance on the sound- Park, Pennsylvania; March 15, Avery Fisher Hall, Lincoln track of Lord of the Rings: The Return of the King. Prior to Center for the Performing Arts, New York; March 17, launching his solo career, Galway played for several orches- Paramount Theater, Charlottesville, Virginia; March 18, tras and from 1969 to 1975 served as principal flute for the Ferguson Performing Arts Center, Christopher Newport Berlin Philharmonic, conducted by Herbert von Karajan, University, Newport News, Virginia; March 20, Vilar Center whom Galway credits as his conducting influence. While he for the Arts, Beaver Creek, Colorado; March 21, Macky has not conducted a U.S. tour in many years, Galway is the Auditorium, University of Colorado, Boulder; March 24, principal guest conductor of the London Mozart Players. He Marin Veteran Memorial Auditorium, Marin Center, San Rafael, California; and March 25, Cerritos Center for the has received the President’s Merit Award from the Recording Performing Arts, Cerritos, California. More information can Academy, Billboard magazine’s Record of the Year award, be obtained by contacting Jane Covner at 818-905-5511 or and Artist of the Year from Musical America. Her Majesty [email protected]. Queen Elizabeth II of England has honored him twice: in 1979 with an Order of the British Empire and in 2001 with a Knighthood for services to music. Jeanne Galway, in addition to her career as a soloist, also tours with her chamber music trio, Zephyr, which includes pianist Jonathan Feldman and cellist Darrett Adkins. Their first recording, titled Zephyr–Winds of Romance, includes works by Haydn, Martinu, and Weber. She also collaborates with a varied array of ensembles including guitarist Christian Hoffstettler, the soprano Yuko Takemichi, and the Cassatt String Quartet. She is vice president of Flutewise, an educational organization for young flute players. The U.S. tour schedule includes: February 22, Grand Opera House, Wilmington, Delaware; February 23, Stephens Auditorium, Iowa State University, Ames; February 24, University of Northern Iowa, Cedar Falls; February 26, Leighton Concert Hall, University of Notre Dame; February 27, Toledo Museum of Art, Toledo, Ohio; March 1, Van Wezel Performing Arts Hall, Sarasota, Florida; March 2, Philharmonic Center for the Arts, Naples, Florida; March 3, Phillips Center for the Performing Arts, University of Jeanne and James Galway

Winter 2006 The Flutist Quarterly 11 HIGH NOTES he Dolce Suono Chamber Music Concert Series at the prize winners as soloists, with Linda Mark on piano, and TUniversity of Pennsylvania, founded by flutist Mimi guest performers Susan Hoeppner, Nobutaka Shimizu, Stillman, presents four concerts during its debut Sandra Church, and Vanita Jones, the ensemble director. 2005–2006 season. Stillman, the group’s artistic director, The internationally held event represented countries such is a PhD candidate in history at the University of as China, Japan, Korea, and Canada as well as the United Pennsylvania. She will perform with musicians from the States, and continues in 2006 in memory of Julius Baker. Philadelphia Orchestra, the University of Pennsylvania, Further information can be obtained by visiting and Temple University in chamber music programs high- wcsu.edu/Summermusic or calling 203-837-8614. lighting repertoire from the baroque to today. The series, which opened with concerts in October and November, features preconcert lectures, guest composers, and educa- tional outreach to schools. Future events include a con- cert on March 16 titled East Meets West featuring Stillman, flute, and Allen Krantz, guitar, performing music of Astor Piazzolla, Claude Debussy, Heitor Villa- Lobos, Ravi Shankar, Allen Krantz, and Daniel Dorff, and a concert on April 26 featuring music for flute, strings, and harp. Admission is free; more information is available by calling 215-898-7552.

ad for Windplayer Publications

Left to right: Linda Mark, Linda Volman, Kerry Walker, Sylvia Niedzwiecka, and Shauna Thompson.

Flute Stories 101 Inspirational Stories from the World’s Best Flute Players

In the pages of this book, you’ll read how the world’s top flute players solved their problems and went on to successful careers.

“A book that belongs on every flute teacher’s Top, left to right: Allen Krantz, guitar, and Jeremy Gill, composer, keyboard. coffee table.”—Kathy Saenger, NY Flute Club Bottom, left to right: Tim Ribchester, keyboard, and Mimi Stillman, flute. “These stories make riveting reading from cover to cover.”—Larry Krantz, FLUTE pages he annual Julius Baker Master Classes—The Legacy “We flute players will enjoy this book for many TContinues prize winners for 2005 have been years to come.”—Jeanne Baxtresser announced. First place winner is Shauna Thompson; sec- 264 pages, softcover. $19.95 + $6 s/h (U.S.) ond place is Sylvia Niedzwiecka; and third place is Linda Money back guarantee. Volman. The competition was held July 30–August 4 on the campus of Western Connecticut State University, Read reviews, information & order at windplayer.com -or- call (800) 946-3305 Danbury, Connecticut. The final concert featured the

12 The Flutist Quarterly Winter 2006

V $Q ([WUDRUGLQDU\ &ODVV IRU WKH &RPSOHWH )OXWLVW KL W $W WKH &DUQHJLH 0HOORQ 6FKRRO RI 0XVLF 3LWWVEXUJK 3HQQV\OYDQLD LQ  D  J  +FBOOF
#BYUSFTTFS D HU "O
JOTQJSJOH
XFFL
XJUI
N P 'PSNFS
1SJODJQBM
'MVUF
/FX
:PSL
1IJMIBSNPOJD DF P % X 6 +PJOFE
CZ
XPSMESFOPXOFE
$BSOFHJF
.FMMPO
'BDVMUZ
.FNCFST
"MCFSUP
"MNBS[B
'PSNFS 1SJODJQBM 'MVUF 1IJMIBSNPOJD 0SDIFTUSB PG 4BOUJBHP 4UFQIFO
4DIVMU[
-FBEJOH
QFSGPSNFS
BOE
UFBDIFS
PG
CBSPRVF
nVUF BOE *OUFSOBUJPOBM
(VFTU
"SUJTUT +ĖĒğğĖ #ĒĩĥģĖĤĤĖģ *ğĥĖģğĒĥĚĠğĒĝ .ĒĤĥĖģ $ĝĒĤĤ ǻǹǹǿ

'PS BO BQQMJDBUJPO BOE BEEJUJPOBM -XQH JOGPSNBUJPO XXXKFBOOFCBYUSFTTFSDPN .BTUFS UFBDIFST XJMM GPDVT PO IPX UP QSFTFOU IJTUPSJDBMMZ JOGPSNFE QFSGPSNBODFT PG BMM TUZMFT PG NVTJD XJUI DPOmEFODF BOE DPOWJDUJPO o GSPN #BSPRVF UISPVHI DPOUFNQPSBSZ JODMVEJOH PSDIFTUSBM FYDFSQUT +FBOOF #BYUSFTTFS .BTUFS $MBTT $BSOFHJF .FMMPO 6OJWFSTJUZ _ 4DIPPM PG .VTJD  "EWBODFE
QBSUJDJQBOUT
IJHI
TDIPPM
UISPVHI
QSPGFTTJPOBM

BVEJUPST
PG
BMM
MFWFMT
XFMDPNF

1JUUTCVSHI 1"  $BSOFHJF
.FMMPO
SFTJEFODF
IBMM
SPPN

CPBSE
BWBJMBCMF 1IPOF JORVJSJFT  'BY  FNBJM +CNDMBTT!BPMDPN NFA News Updates on committee activities and other news of interest from the national office

Spotlight on the Cultural Outreach Committee, by Ellen Kaner

ince the early 1990s, the NFA has provided scholarships its convention outreach program, and now annually identifies Sto music schools to provide private lessons for deserving, a new school to add to its roster. Since the inception of the talented secondary school-aged students in at-risk, under- program, 15 students have received scholarships (through represented, underserved communities. The scholarships the 2005–2006 year). In 2004, individual members of the enable these student recipients to study the flute more Cultural Outreach Committee, at their own undertaking and intensively than would otherwise be possible. The Minority expense, visited countries throughout the world, sharing Concerns Committee, the original name of what is now the music, lessons, and even instruments in an active and sup- Cultural Outreach Committee, initially administered scholar- portive environment. Ellen Kaner is the chair of the committee ships to students in seven cities throughout the nation. and can be contacted for information on donating time or Beginning in 1996, the Cultural Outreach Committee began resources.

and had it not been for the persistence of my family and instructor, I probably would have. Playing the flute has helped me with many skills, including my level of responsibility. It’s helped me to organize my thought and my life. Learning the flute prompted me to begin an entire life dedicated to music.” These words are from an essay by Jasmine Pampkin of St. Louis, one of 13 flute students around the country whose private lessons were made possible during the 2004–2005 school year with scholarships administered by the Cultural Outreach Committee of the NFA. Every year, the committee finds a school in the city where that year’s National Flute Association Convention will be held, asks the NFA board to expand its budget a little more, and Marguerite Dao and Andre Edwards, front, guests at the 2005 Convention. Jane administers a scholarship for the school to award to one or Hoffman and Horace A. Young III, committee members; Ellen Kaner, right, chair. more minority students who would otherwise find it difficult to take private lessons. Most of the students also participate he morning air made my fingers cold in supplementary activities such as ensembles and music as I walked into the gym. I could hear theory classes at these schools. the sounds of musicians warming up. Andre Washington, a scholarship recipient and now a senior “T at Kenwood Academy in Chicago and a student of Susan The high school band had come to play for us, and Crandall at the Merit School, also considers music to be his the piece they performed was translated to my passion. Having studied flute for only about two and a half small mind as ‘written by some old dead guy.’I fell years, he has already had an opportunity to play with the in love with that piece, and even though I was only Chicago Sinfonietta (an opportunity for youth orchestra a third grader, I vowed to play it one day…. I students to play with a professional orchestra), attended began taking lessons at the Webster Community Northwestern’s High School Summer Music Program, and received a full scholarship to attend Carnegie Mellon’s pre- Music School in the fall of my seventh grade college summer program. He also played in the Illinois Music year…. Now a senior, I have been playing flute for Educators Association Honors Band and received the Emma nine years. I have almost given up many times, Kountz Award for Musical Achievement.

Winter 2006 The Flutist Quarterly 15 NFA NEWS

During this academic year, the Cultural Outreach Since the inception Committee will administer an additional scholarship at of the program, one of the community music schools in San Diego, the site of the 2005 Convention, and will be in contact with flutists 15 students have received in Pittsburgh, host city for this year’s event, in anticipation of administering a new scholarship there as well. scholarships. While organizing and monitoring the private lesson scholarships is the largest and most significant activity of Tenth-grade student Natasha Murphy, in her fourth the Cultural Outreach Committee, there is other work to year as a scholarship recipient and a student of Bernard Phillips at the Harlem School of the Arts for the past four be done as well. Hosting minority students of secondary- years, has developed as both a flutist and a dancer. In school age who live in and around the convention cities for addition to performing “Le Basque” by Marais in a spring one day of the flute convention also consumes some of the recital last year, she also performed in several West African committee’s energy. At the San Diego convention, mem- dance ensemble pieces, and she has assisted the dance bers enjoyed meeting middle school students Amy Nham, teachers in helping younger students learn ballet. Marguerite Dao, and Andre Edwards. The committee also The Neighborhood Music School in Atlanta, where encourages programming that highlights music of non- Jazlyn Irwin is a COC scholarship student, is another Western cultures, and a recent panel featured flutists who school that offers programs in multiple art forms. In have done outreach to poor or war-torn areas of the world. spring 2005, the school presented a collaborative program entitled “Story Catcher—A Traveler’s Tale Told in Music Ellen Kaner is chair of the Cultural Outreach Committee. and Dance,” which combined the talents of its music students She is a freelance woodwind player in the Dallas/Fort with the Moving in the Spirit Dance groups of students of Worth area and has been an officer in the Texas Flute various ages. Society for 13 years. Headjoint Unique Each of us must get the right headjoint or face working harder to compensate for the mismatch. Understanding that each flutist is unique, Sanford Drelinger created patented embouchure designs that satisfy a

® need conventional styles could not. And, at no extra cost, all plates are No-Slip-Lip beautifully engraved to help prevent skidding from perspiration. To try a Drelinger headjoint that’s right for you, telephone 1-800-426-9832, fax 914-946-6522, e-mail [email protected] or write Drelinger Headjoint Co., P.O. Box 146, N. White Plains, New York 10603. Web site www.drelinger.com

® Platinum ® Bow-Tie Air-Reed™ Free-Flo MaxHeadjoint™ Modern-Wing™ Wood-Hed™ (Piccolo Only)

The Headjoint Specialist ©2006 Drelinger Headjoint Company

16 The Flutist Quarterly Winter 2006 Passing Information about absent friends Tones lute manufacturer Nathaniel Dare (“Tip”) Lamberson died September 13, 2005, in his home in FOskaloosa, Iowa. Lamberson, son of Dare Houghton and Francein Lacey Lamberson, was born February 15, 1922, in Oskaloosa, Iowa. Lamberson received his Bachelor of Science in Mechanical Engineering in 1947 at Iowa State University after serving in the army from 1942 to 1946 as an officer in the U.S. Air Corps in Air Transport Command and meteorology. He married Patricia Smith of Cedar Rapids in 1948. Together, they made their home in Oskaloosa, where he worked at Ford garage for four years, and then he began his 15-year career at Ideal Manufacturing as a mechanical engineer. Lamberson played flute in high school and took it up again when he joined the Central College Community Orchestra in Oskaloosa. An eight-year wait for a new flute inspired Lamberson to manu- facture one himself and begin N.D. Lamberson Flutes. The first flute Lamberson made, the prototype for the 730 flutes he manufactured and sold globally, was given to the Iowa State Historical Society in Des Moines. He retired in 1985. Lamberson served on the Mahaska County Board of Education, as an Indian Hills Community College Trustee, on the Flute Industry Council, and as a Senior Warden at St. James Episcopal Church, where he was a member. In addition to playing first flute in the Central College Community Orchestra, he played with the Ottumwa Symphony and the Oskaloosa City Band. He is survived by his wife, Patty, of Oskaloosa; a son, Fred Lacey Lamberson, of Point Reyes Station, California; a daughter, Joan Ratliff of Guthrie, Oklahoma; a grandson, Ryan Craver of Waverly, Iowa; a grand- daughter, Morgan Page of Santa Barbara, California (Ryan and Morgan were raised by Tip and Patty); grandsons, Charles and his wife, Kristin Ratliff, of Philadelphia and Andy and his wife, Monica Ratliff, of Anchorage; a granddaughter, Petra Lamberson of Point Reyes Station; a great grandson, Kasen Ratliff; a niece, and four nephews.Tip Lamberson was preceded in death by his parents; a daughter, Susan Lamberson Craver; and brothers Bill and Jack Lamberson. Memorials may be made to the Iowa Natural Heritage Foundation, which benefits the Cedar Bluffs Area.

Winter 2006 The Flutist Quarterly 17 “Now everyone can afford to play an excellent piccolo.”

The new Global piccolo by Burkart & Phelan is the piccolo you have been waiting for, combining the reliability, reputation and quality of a Burkart instrument with a very competitive price.

Find a Dealer www.globalpiccolo.com Jan Gippo 978-263-7177 Solo Piccolo, St. Louis Symphony Orchestra AcrossAcross by Christine Cleary thethe MilesMiles News about flute club and flute choir activities throughout the United States

The Central Ohio Flute Association at The Ohio State further study, past contributions to students, and letters of University will host a concert by Duo Elion, featuring recommendation from two current or past students or parents flutist Lior Eitan from The Israel Philharmonic Concert, of students. The grant recipient’s report of the funded event January 18. Flute professor Katherine Borst Jones will may be published in the Florida Flute Association newsletter. present a program of music by Libby Larsen with her trio, Application deadline is March 15. A brochure/application may Cosmos and friends, February 13. The 23rd annual be received by sending an e-mail to [email protected] or Central Ohio Flute Festival will be held on April 8, guest [email protected], with “Gilbert Grant” as the subject artist to be announced. Junior high, high school, and line; name and mailing address should be included. young adults (age 27 years and younger) who reside in Ohio may compete for cash prizes. An application and Thirty-five flutists from several cities in the Southeast met tape are due February 20, and there is a $25 application on Saturday, September 10, to attend the Florida Flute fee. Applications are available by contacting Jennifer Association Flute Day hosted by John Southall and coordi- Packard, [email protected]; additional information is nated by Lindsay Hager at Indian River Community available by contacting Katherine Borst Jones, College. Guest artists were Jean West from Stetson [email protected] or visiting http://music.osu.edu/cofa. University, Nancy Clew from Brevard Community College, and Joanne Raulin, piano accompanist. Clew led a half The Chicago Flute Club held its first board meeting of the hour of flute aerobics including demonstrations of breath- season, featuring a flute quintet reading. The new program ing exercises and hand positions and a discussion of the year began with a recital and masterclass in late October by importance of long tones and the use of “noodling,” a four- St. Louis Symphony Orchestra principal flutist Mark Sparks. note drill for tricky passages. Al Hager, director of bands at The annual student competition held in November included, Stuart Middle School, conducted a jazz styles session on the in addition to the junior and senior divisions, a new division interpretation of the medium swing style. A junior master- for elementary players. The board suggested reinstating class for the sixth- through ninth-graders was led by West teacher discussion panels and starting satellite student and included performances of Koepke’s Bergamask by recitals. Kaileigh Kerstetter; Fauré’s Sicilienne by Julia Tranberg; and Bizet’s L’Arlesienne by Meagan Lowe and Lauren Brinskelle. The Falmouth Flute Choir (Massachusetts) participated in Clew led the 10th- through 12th-grade students and adults Cape Cod’s annual “Pops Goes The Summer” celebration in in a flute choir reading session. Additional performances September, on a program that included the Cape included the first movement of the Hindemith Sonata by Symphony Orchestra. The choir features performances of Lysa Carew, the Fauré Morceau de Concour by Beth standard chamber repertoire, contemporary favorites, and Helfman, and the first movement of the Telemann Suite in transcriptions of traditional fiddle music. In October, the A Minor by Ashley Smith. West performed the Bizet group, which frequently includes guest performers on cello L’Arlesienne, the competition piece for the Junior Honors and clarinet, performed for a class reunion gathering. The Choir this year; Clew played the Fauré Morceau de group held December performances at the Woods Hole Concour, the Senior Honors Choir competition piece; and Library in addition to seasonal performances for area both performed a duet of “76 Trombones” from The Music nursing homes and other public venues. Man and a Doppler Brothers duet. Students also received coaching on the 2006 Florida Bandmaster’s All-State Applications for the Gilbert Study Grants are now available Audition Material, led by Amy Clark, Murray Middle from the Florida Flute Association. A teaching study grant School; Joann Kinder, Southern Oaks Middle School; of $1,000 will be offered in 2006. The grant will be awarded Clew; and West. Clew conducted the high school students in a to an adult teaching more than 10 private students. Selection Baroque Hoedown, and Southall concluded the Flute Day by will be based on commitment to teaching, reasons for wanting conducting all participants in “Amazing Grace.”

Winter 2006 The Flutist Quarterly 19 ACROSS THE MILES The Flute Flies flute choir of Ventura, California, performed “Cookies, Cocoa, and Choir,” and in March, Patricia August 20 at the San Buenaventura City Hall during the George will present a Flute Spa in Portland. downtown Cultural District’s Art Walk Festival celebrating the arts. The concert included pieces by Byrd, Mozart, The Hot Springs Flute Ensemble (Arkansas) presented a Jennifer Higdon, Gottfried Veit, and Sonny Burnette. The series of Christmas Concerts featuring Hawaiian Music. choir also performed at Cypress Place Active Living and The music was requested by the Arkansas Nephrology The Ventura Townehouse. Flute Flies is directed by Laura Association for its Hawaiian theme banquet, and music Walter Roth. The group is hoping for a tour of the director Jackie Flowers decided to program the Hawaiian Mediterranean. music for all the other Christmas programs of the season.

Flutes Unlimited (Chicago) is proud to announce the for- The International Flute Choir Festival at Fresno Pacific mation of a new group, the Divisi Choir, to be composed of University will present its ninth annual festival February adult members. The group joins other choirs under the 17–18. Guest artist is Tadeu Coelho, back by popular Flutes Unlimited flag, including the Ltd. Choir, the demand. In addition to choir performances, there will be a Symphonic Flute Choir, and the Tout Suite Flute Choir. solo recital with Coelho, masterclasses, audience participation Assistant Director Julie Tendy will direct the choir. Audition workshops, exhibits, and free flute repairs. Information can for the Divisi Choir is not required. The group will meet on be obtained by contacting Janette Erickson, director and Saturdays; its members will spend one Saturday a month festival coordinator, at 559-243-0303 or 559-453-2267, or with the Symphonic Choir, whose members will serve pri- by visiting flutechoirfestival.com. marily as mentors. Flutes Unlimited welcomes all adults who would like to perform in a non-audition choir in the Magic Flutes Flute Choir of San Mateo, California, performed Chicago area; more information can be obtained by calling in October at the Brentwood Art and Wine Festival. The choir 773-509-4946 or visiting flutesunlimited.org. also performed at the Filoli Mansion in Woodside, California, and at St. Matthew’s Catholic Church in San The Grace Notes Flute Choir, Maryville, Tennessee Mateo for its annual Winter Concert. Magic Flutes is directed (Knoxville area), hosted a Christmas Concert at the by Pamela Ravenelle. Blount County Public Library with four other flute choirs from the East Tennessee area. The choirs played separately Raleigh Area Flute Association’s 2005–2006 season opened and together as a 35-piece orchestra. Sue Swilley of Carson Sept 25 with guest artist Christine Gustafson performing a Newman and Ann Sterli of Knoxville conducted the event. concert titled “The Wind from the East, The Wind from the Plans for a second Flute Workshop in winter 2006 are West.” Accompanied by pianist Barbara Lister-Sink, dancer under way. Membership in the Grace Notes Flute Choir, a Yu Wang, and a video montage from China and Taiwan, the nonprofit group of 12 to 14 flutists, is by audition. program featured music from Gustafson’s experiences in Auditions are held from mid-August to mid-September 2001–2002 as a Fulbright musician in the Far East. As part of and are open to high school flutists and adults. More her Fulbright project, she met with Taiwanese and Chinese information can be obtained by contacting choir coordinator composers to study their music and style, and is now bringing Mary Pope, 865-981-2906. their music to American audiences. In November, RAFA held its annual scholarship competition and winners’ recital The Greater Cleveland Flute Society held its fall kickoff and its 17th annual Flute Fair, featuring guest artist Rhonda event September 18 under the picnic pavilion at Larson. RAFA’s four flute choirs will present a flute choir Cumberland Park in Cleveland Heights, Ohio. The event, workshop with guest clinician Darlene Dugan March 19. entitled Picnic and Play, was attended by 25 flute players of Information about RAFA’s events is at RaleighFlutes.org. diverse ages. The afternoon began under the baton of Ann Droste, who led the flute choir reading session through a The Rochester Flute Association, Inc. (New York), held its variety of selections, from Ricky Lombardo’s “Simple Gifts” annual RFA/Hochstein Summer Flute Camp July 25–29, to Rimsky-Korsakov’s The Wasps. After intermission and 2005, at the Hochstein School of Music and Dance. Flutists lunch, the group continued to perform until sunset. The spanning grades 7 through 12 were divided into small cham- Greater Cleveland Flute Society hosted a recital and master- ber groups and two large flute choirs under the direction of class given by Cleveland Orchestra piccoloist Mary Kay Fink Kathy Scarbrough and Jeanine Beahan. Faculty members November 6 at the Cleveland Music School Settlement. included Annette Farrington, Sally Ann Hart, Rita George Simmons, and Diane Smith. The students attended group The Greater Portland Flute Society (Oregon) sponsored lessons, faculty performances, and a masterclass taught by its annual Members’ Recital Sunday, October 23, and a Joanna Bassett, flutist with the Rochester Philharmonic performance of “Flutes Fantastic” by Trevor Wye and Orchestra. The special event for the week was a trip to Clifford Benson on Friday, November 11. In January, the Rochester’s Memorial Art Gallery, with chamber groups and choir sponsored a flute choir reading session called choirs performing in the gallery’s atrium and then receiving

20 The Flutist Quarterly Winter 2006 a tour. The final concert was Friday evening in the ble will play in the Abendmusik Series at the Morristown Hochstein Performance Hall. On September 30–October Methodist Church in Morristown; cost is $10, $8 seniors 1, RFA kicked off its 10th anniversary season with its and students. More information can be obtained by calling annual Flute Fair. The group’s founding president, Joanna 973-538-2132. UpTown Flutes will coach and present the Bassett, was guest artist. Friday evening featured Bassett in 12th Annual Flute Choir Day on Sunday, March 26, in the recital performing a new piece jointly commissioned by Concert Hall at Drew University, Madison. The program, her and the RFA entitled “Five Joys: Gitanjali Dances” and “International Flutes,” will feature Nan Raphael, pic- composed by Cary Ratcliff. The program also featured a coloist, presenting works representing countries around performance of Steve Reich’s Vermont Counterpoint, fea- the world. The program is directed by Virginia Schulze- turing past and present RFA board members. The fair con- Johnson. Students and adults of all levels are invited to tinued on Saturday with a warm-up led by RPO principal participate in this day-long event. Information is available flutist Rebecca Gilbert and included two masterclasses led at drew.edu/music/beyond/. by Bassett; a mini-masterclass for flutists; and an orches- tral excerpts class. Historic flute specialist Helen Valenza taught a baroque ornamentation workshop and RPO pic- coloist Jan Angus taught a piccolo workshop. The fair also featured mini-lessons, an exhibit hall, and a recital by the winners of the annual competition and flute choir reading sessions. Other events celebrating the 10th anniversary season include a Pre-Solo Festival Clinic held in January and a spring recital and masterclass featuring Eastman School of Music faculty flutist Bonita Boyd to be held March 30–April 1. More information is at rfaonline.org.

Rose City Flute Choir (Oregon) performed at the Greater Portland Flute Society Members’ Recital October 23 and at The Grotto Festival of Lights December 4.

The Texas Flute Society (Dallas-Fort Worth area) hosted two fall clinics for high school students, each focused on the Texas All-State etudes. The clinics were led by area teachers. Students played for each other and as a group while honing their skills on the challenging pieces. The Texas Flute Society will present its annual Flute Festival at the University of North Texas May 18–20. More information is available at texasflutesociety.org.

UpTown Flutes, a professional flute ensemble at Drew University, Madison, New Jersey, continues its concert series throughout New Jersey in 2005–2006, with Virginia Schulze-Johnson, director. The season began with per- formances in September at Jesus Christ Prince of Peace Chapel and for the Midday Concert Series at William Paterson University Shea Performing Arts Center, all in Wayne. In October the group performed for the Performing Arts Series at the Unitarian Universalist Congregation of Monmouth County in Lincroft. In November, the group played for the Westside Presbyterian Patron Series at the United Methodist Church in Ridgewood and for a Holiday Concert and Play Along at the First Presbyterian Church of Verona. UpTown Flutes will perform a concert and play-along on Friday, February 10, at Grace Church in Madison. New Jersey Flute Choirs and Forum conductor Diana Charos Reill will join the group. Flute players in the audience are invited to bring their flutes and join in a reading. On March 11, the ensem-

Winter 2006 The Flutist Quarterly 21

By Joan Marie Bauman and Pascal Gresset Notes fromAbroad Conventions, festivals, competitions, and other flute activities from around the world

Flute Conventions and Festivals The British Flute Society will hold its fifth International Jean-Pierre Pinet, and Christian Délézir. The event was Flute Convention in Manchester, England, August 17–20, crowned by a contest for flute ensembles. 2006. Among soloists slated to perform are William Bennett, Emily Beynon, Robert Dick, Alexa Still, Matthias Stéphane Réty, flute soloist with the Basel Symphony Ziegler, Denis Bouriakov, and Susan Milan. For informa- Orchestra and the Zurich Chamber orchestra, premiered tion, contact John Rayworth, Membership Secretary, The Phrases, a work for flute and piano by the Russian- Nook, How Mill, Brampton, Cumbria CA8 9JY, U.K.; American composer Arthur Lourié (1892–1966) on May (011) (44)1228 670306. 14, 2005, during the Arthur Lourié Festival in Riehen, Switzerland. The work, subtitled Etude on a Sonnet of The eighth Italian Flute Convention “Flautissimo,” Mallarmé, was composed in New York City in 1945. The organized by the Italian Academy of the Flute, was held in manuscript is in Basel, at the Paul Sacher Foundation Rome December 9–11, 2005. Flutists Andrea Oliva, archives. Lourié, born in Saint Petersburg, admired French Emmanuel Pahud, Trevor Wye, Angelo Persichilli, Philippe poetry and Claude Debussy’s music, and was fascinated by Bernold, Silvia Careddu, Andrea Griminelli, Raymond the flute. Guiot, and Mario Caroli were featured during the event. More information is available by calling (011) (39) 06 The 21st French fair “Musicora: Salon de la Musique” is 4470 3055 or visiting accademiaitalianadelflauto.it. planned for March 17–19 in Paris at La Villette. For more information, visit musicora.net. Also in Italy, the first International Flute Festival of Falaut was organized in Cernusco sul Naviglio, near Upcoming Competitions Milan, May 14–15, 2005. Concerts, masterclasses, and The next International Carl Nielsen Competition will take conferences featured three flute ensembles—Aulos, place in Odense, Denmark, May 31–June 9. The age limit for Felsina, and Joueurs de Flute—and flutists William candidates is 30, and the deadline for entering the contest is Bennett, Peter-Lukas Graf, Raffaele Trevisani, Stefano February 1. For more information, contact Odense Symphony Benini, and Maxence Larrieu. Orchestra/ Claus bergs Gade 9 / DK 5000 Odense C or carl- The Dutch Flute Association (NFG) will hold its annual [email protected], or visit odensesym- Flute Day February 26. Contact NFG, Postbus 75830, foni.dk/encomp. 1070 AV Amsterdam, The Netherlands, or nfg-fluit.nl. Competition Results The seventh Austrian Flute Festival took place in Vienna The Jean-Pierre Rampal International Flute Competition November 26, 2005. Wolfgang Schulz and Karl Heinz of the City of Paris was held October 20–30. Finalists per- Schütz, both flute soloists with the Vienna Philharmonic, formed the Jolivet Concerto and a Mozart or a C.P.E. Bach were featured, along with Erwin Klambauer, Marina Concerto at the Salle Gaveau with the Ensemble Piccinini, and Jasmine Choi. Orchestral de Paris under the baton of Mark Laycock. Out of more than 250 candidates, 100 were chosen to compete. In Japan, the Flute Convention of the City of Sapporo, This year’s laureats were Clément Dufour, France, first presided over by flutist Shigenori Kudo, was held August prize; Denis Bouriakov, Russia, second prize; Ayako 19–21, 2005. Takagi, Japan, third prize; Birgit Ramsl, Austria, fourth prize. Mentions were Matthieu Gauci-Ancelin, Marion The city of Menton, France, held its second Flute Festival Ralincourt, and Loïc Schneider, France; special prizes went April 1–3, 2005. Masterclasses, concerts, and conferences to Megan Emigh, U.S., and Katalin Nagy, Hungary. For were animated by José-Daniel Castellon, Aurèle Nicolet, more information, visit http://civp.com.

Winter 2006 The Flutist Quarterly 23 NOTES FROM ABROAD Laureats of the Sixth International Flute Competition of British flutist Emily Beynon. The second flute position is Kobé, held in August, 2005, were Andrea Oliva and Yuki to be filled in January. MacCall, a student of Felix Renggli, Koyama (first prizes), Sarah Rummer and Ayako Takagi Renate Greiss-Armin and Aurèle Nicolet, has won prizes in (third prizes), Ikue Koika (fifth prize), Reina Watanabe the Prague, Kobé, and Munich Competitions; was assistant and Christian Farroni (sixth prizes) and Sophie Barili, principal with the Saarbrucken Radio Symphony who received the prize for the best interpretation of a con- Orchestra from 1997; and was a member of the Linos temporary work. Ensemble in 2000–2001.

In Italy, the Syrinx Flute Competition awarded prizes to The Lausanne Chamber Orchestra stopped proceedings for Raffaele Biffulco (second prize) and Thomas Trespedini recruiting a new flutist for the ensemble when no candidates (third prize). were retained at the second round of the auditions. A future audition date will be announced. The Roumanian Young Musicians Contest of Bucarest attributed the first prize to Ana Raquel Lima (Portugal), Birthdays and Anniversaries second prize to Edit Nagy (Hungary) and third prize to On October 20, 2005, Trevor Wye celebrated his 70th Esther Auch (Germany). birthday in London at St. John’s, Smith Square, with a concert including flutists William Bennett, Micheline In Poland, the Third International Flute Competition of Graham, and other guest artists. The 46 Variations on the Cracow took place April 10–17, 2005. Of the 56 candi- Carnaval of Venice for 58 flutes, one flute soloist, and one dates, six were awarded prizes: first, Marion Ralincourt pianist were performed as a grand finale to the event. (France); second, Clément Dufour (France); third, Jan Krzeszowiec (Poland); fourth, Izabela Czajkowska Aurèle Nicolet celebrates his 80th birthday in January. At (Poland); fifth, Vera Lang (Germany); and sixth, Maiko this time, China inaugurates its first Aurèle Nicolet Ishiguro (Japan). Previous first prize winners include Karl International Flute Competition of Peking. Nicolet has Heinz Schütz (1999), who is now soloist with the Vienna offered his personal collection of music scores and docu- Philharmonic, and Katalin Kramaries (2001). ments to Chen Qiling, Professor of Flute of the Central Music Institute of Peking, and to Chen Sanqing, flutist Orchestral News with the Peking Symphony Orchestra. The Danish Radio Orchestra selected Valérie Debaele as flute soloist. Debaele, a student of Gaby van Riet and Aldo French composer Henri Dutilleux celebrates his 90th Baerten at the Antwerp Conservatory, also studied with birthday on January 22. Dutilleux, who is best known to Jeanne Baxtresser in Pittsburgh. flutists for his Sonatine for flute and piano (1948), entered the Paris Conservatory in1933. He studied orchestral conducting Julien Beaudiment has been named flute soloist with the with the conductor, composer, and flutist Philippe Gaubert. BBC National Orchestra of Wales. Beaudiment was for- merly the principal flute soloist with the Lyon Opera The French Flute Orchestra celebrated its 20th anniversary, Orchestra in France. and the Arcadie Flute Quartet its 40th, during a concert at the Salle Cortot in Paris October 13, 2005. Aurèle Nicolet was In Belgium, the Liège Philharmonic Orchestra, under the named honorary president of the orchestra at this occasion. direction of Louis Langré, has named Cyrielle Lefèvre as piccolo soloist, replacing Willem Tonnaer. She will join The year 2005 marked the bicentennial of the death of the flute section along with Stijn Boewe and Bernard Italian composer Luigi Boccherini (1743–1805). Pierreuse. In 2006–2007, the French conductor Pascal Boccherini, who was also a virtuoso cellist, was a prolific Rophé, also a flutist, will succeed Langré as musical director. composer. Among his many compositions are 30 sym- phonies and hundreds of works for strings in a variety of The Bergen Philharmonic Orchestra in Norway has chosen chamber ensembles, including 113 quintets with two cellos, Swedish flutist Magnus Bage as principal flute soloist. The 12 quintets with guitar, 18 quintets for flute (or oboe) and ensemble, one of the oldest symphony orchestras in the strings, and 19 sextets or octets for strings and wind world, is directed by Andrew Litton. Bage replaces Gro instruments. Sandvik, who is retiring after 35 years of service, and joins Ingela Oien, Lene Lindquist, and Trond Magne Brekka in The year 2006 marks the 250th anniversary of Mozart’s the flute section. birth (January 27, 1756). Concerts featuring professionals, students, and amateurs alike are planned throughout the Amsterdam’s prestigious Concertgebouw Orchestra has year in his honor, as well as publications, recordings, and recruited Kersten MacCall as flute soloist, replacing re-editions of famous recordings.

24 The Flutist Quarterly Winter 2006 Honors and Awards Farewell On January 28, 2005, Henri Dutilleux was awarded the Karlheinz Zöller, one of Germany’s most celebrated prestigious Ernst von Siemens Prize attributed by the flutists, died in Berlin on July 29, 2005, at the age of 76. Ernst von Siemens Foundation in Zug, Switzerland. The Zöller was principal flute soloist with the Berlin award, considered the music equivalent of the Nobel Prize, Philharmonic Orchestra from 1960 to 1969 and again has been offered previously to Austrian orchestra director from 1976 to 1993. He premiered the Flute Concertos by Nikolaus Harnoncourt (2002), German composer Gyorgy Ligetti (1972), Isang Yun (1977), and Manfred Wolfgang Rihmzen (2003), and pianist Alfred Brendel Trojahn (1983). During his long career, Zöller taught at (2004). In past years, two other French composers, Olivier the Musikhochschulen (conservatories) of Hamburg and Messiaen and Pierre Boulez, have also been presented with Berlin, where he influenced several generations of flutists. the award. Dutilleux received the prize, which includes 150,000 Euros (approximately $200,000) in a ceremony Italian flutist Adolfo Longo died on May 30, 2005. After held in Munich on June 3. studying the flute with Veggetti in Rome and composition with Petrassi, Longo became principal flute soloist with the La On May 25, 2005, James Galway, who celebrates a career Fenice Opera Orchestra in Venice. He recorded frequently spanning 35 years and has recorded more than 60 records, with the Italian Radio Symphony (RAI) and was also a was honored by the Classical Brit Awards for the ensemble of his lifelong career. member of I Virtuosi di Roma. Longo taught at the Rome Conservatory of Music. On May 25, 2005, the American Society of Musical Instruments awarded Ardall Powell the Nicolas Philippe Jolivet, principal flute soloist with the Strasburg Bessaraboff Prize for his book, The Flute (Yale University Orchestra, under the direction of Alain Lombard, and pro- Press, 2002). fessor of flute at the Strasburg Conservatory of Music, died in summer 2005. Swiss flutist, author, pedagogue, and orchestral conductor Peter-Lukas Graf was awarded an honorary doctorate We welcome contributions, comments, and suggestions. Send from the University of Cracow in Poland in April 2005. information, including as much detail as possible, about flute- The title, Doctor Honoris causa, has been attributed to related events and activities in locations outside of the United only three other men, Krzysztof Penderecki, Paul Sacher, States to Joan Marie Bauman, [email protected], and Mieczyslaw Tomaszewski. During the ceremony, or Pascal Gresset, [email protected]; please cc which illustrated the 50 years of Graf’s musical and artis- [email protected]. tic career, the flutist performed J.S. Bach’s Sonata in A Major and the Ballade by Frank Martin, accompanied on the piano by his daughter Aglaia Graf. The event took place during the Third International Flute Competition organized by the Academy of Music of Cracow, which is held every three years. Graf was also honored this year by the NFA, receiving the Lifetime Achievement Award.

Museums The Museum of Technology in Speyer, Germany, houses, along with life-sized airplanes, helicopters, and submarines, a vast collection of mechanical musical instruments, from the 18th through the 20th centuries. One of these, the Flute Clock, inspired works by Mozart, including the Andante in F Major K. 616, and by Haydn, who wrote 12 pieces for Flute Clock in 1793 and included it in several of his symphonies, most notably the “Menuet” of the Symphony 101, “The Clock.” Universal Editions has published Haydn’s 12 pieces in a version for flute and piano or celesta, and the Mozart work is published in a flute, violin, and viola version by Zimmermann, or for two flutes, viola, and cello by Brockmans and van Poppel. The Museum of Technology is open year-round. For more information, contact Technik Museum Speyer, Am Technik Museum 1, 67346 Speyer, Germany (011) (49) 6232 6708-0 or visit technik-museum.de.

Winter 2006 The Flutist Quarterly 25

STUDENT SPOTLIGHT by Adam Cutchin Secrets to Successful Memorization

ow many times either your part, the piano part, or the orchestral score—or have you thought, even as you play along. For me, it works well to know the H“There is no way I way the accompaniment sounds, so that I can avoid having can memorize this whole to memorize numbers of rests and how many times to piece”? Maybe the piece is repeat a pattern. For example, the third movement of the long, or perhaps you don’t Khatchatourian Flute Concerto begins with 58 measures of have the confidence to go rest. Instead of counting the entire time, I just wait to hear after memorizing the work you’re studying. Many people, the clarinet solo, which starts eight measures before my own like me, prefer to perform without music. The benefits are entrance. amazing: You can’t lose your music, you will never have to Sometimes, a piece includes sections that are very similar— worry about a quick page turn, it’s easier to play expressively just similar enough to cause a problem for anyone trying to and connect with your audience, and you can play anywhere! memorize it. My advice is to find something distinctive about Over the past few years, I’ve found various ways to help me each section to remember which version comes first. In the memorize music, and I think they could help anyone. If you’re Chaminade Concertino, the figure in the measure after willing to put in a little work, the rewards are great. rehearsal marker A only occurs the first time through. I The most important thing to know when performing a make sure to remember that the first time, I should play it, piece from memory is the piece as a whole. It’s obviously and the second time, I shouldn’t. Similarly, in the Dutilleux good to learn a piece, at least initially, in manageable sec- Sonatine, the chromatic triplet section in the fifth measure tions, but I’ve found that it’s much easier to go all the way after rehearsal marker 11 starts on E and the other triplet through a piece when you know it as one big section. When section at rehearsal marker 16 starts on D-flat. Simple things you practice, don’t think of your work as “learning” the like these aren’t hard to remember, and definitely make a big piece. Instead, think of practicing your performance. difference when you’re performing. One thing that I really like to do to prepare myself for per- formances is to practice performing for other people. The best The benefits are amazing: options are people who either read music or are familiar with the piece. They can do you the favor of checking the music You can’t lose your music, and and marking places you haven’t yet perfected. Also, try you will never have to worry recording yourself performing from memory so that you can go back and listen to yourself while you watch your part. about a quick page turn. Once again, playing along with recordings can point out places where you deviate from what is written. When you know a piece really well, you probably have You can use recordings to learn your own part. By listen- most of it memorized anyway. Every once in a while, before ing to a piece over and over again, you can hear exactly how you actually begin working to memorize a piece, try playing your part should sound. Aspects of your playing such as it from memory. If you fumble a little, look at the music very phrasing and style can be learned from recordings and used quickly to get your bearings. Start just before that point and to help you remember a piece. As for myself, I have assigned try to make it to the end. After you finish the movement or different moods to sections of the first movement of the work, go back to the music and find something you can use Poulenc Sonata. Because the movement is somewhat repeti- to mentally mark the section. This way, when you play it tious, I remember that the “sliding” section, which starts at again, you can remind yourself of something, so that you measure 73, is immediately followed by the “devilish” section, can play straight through it. starting on A at measure 98. Try working on your memorization by learning smaller The best way to learn the way your part fits with the sections from beginning to end. This way, your performance accompaniment is to listen to recordings while you study only gets stronger and more confident as you progress

26 The Flutist Quarterly Winter 2006 through the piece. I do want to caution you about using this good one to practice while playing in front of friends, family, technique, however. You have to be very careful to learn and or teachers. No matter what someone does (whether it’s remember the order of the sections as well as the way to sneezing or whispering rudely), you must keep going! transition from one section to the next. Another risky but Obviously, you could forget your music. The best way to productive technique is to try starting a piece in random avoid this problem is to put in the work it takes to be places and playing to the end. I learned this technique when absolutely confident that you know what you’re doing. If I was playing a concerto with an orchestra. I had the piece you can feel good about the fact that you’ve worked hard memorized, but when I practiced at home, I went straight and play a piece really well, there’s no reason you can’t share from beginning to end. In rehearsals, there were many starts your music with anyone, anywhere—because you can play it and stops so that the director could work out problems. I from memory. wasn’t prepared to pick up at any given point in the movement, so I was horribly embarrassed when I got parts mixed up. As soon as I got home from that rehearsal, I began using this Adam Cutchin has been studying the flute for five years with technique and I haven’t had the problem since. Brooks de Wetter-Smith and Helen Spielman. He plays in I would never want to portray memorization as effortless local orchestras and wind ensembles and has studied at the or foolproof; there are drawbacks. It is easier for you to be North Carolina Governor’s School and the National High distracted if you’re not looking at the music while you play. School Music Institute at Northwestern University with To overcome this obstacle, find something to look at while Walfrid Kujala. Next year, Cutchin plans to begin under- you play, and don’t take your eyes off of it. This method is a graduate studies in flute performance.

Editor’s Note: Student Spotlight features insights, ideas, advice, and other information for and by students. The aim of this department is to provide practical, meaningful content for young flutists from their peers, ranging from middle and high school students to college- aged flutists. Anyone who enjoys writing and considers the flute an important part of her or his future is welcome to contact us with article ideas and submissions.We also look forward to feedback and suggestions from adult flutists.

Winter 2006 The Flutist Quarterly 27

THE INNER FLUTE

by Patti Adams An Orchestra Floats: The Louisiana Philharmonic Orchestra After Hurricane Katrina

ugust in the mountains of Colorado! For my hus- colleagues simply defy description, but we shared a wonderful band and me, this is our annual getaway before lifeline—the Internet. Areturning to our hectic lives in New Orleans. But this The day after the flooding of the city, Jim set up a Web site summer would be different: From our tiny, mountaintop for our orchestra members. It quickly became a place to cabin, we watched with growing horror as the drama of check in and locate one another, share stories, and find sol- Hurricane Katrina unfolded. We saw our beloved city rav- ace. One third of our musicians and staff lost their homes, aged by wind and water and a frustrated populace that cars, instruments, and all their music and possessions. Our seemed abandoned by the government. principal bassist, Dave Anderson, his wife, Cathy (harpist of Several days after the flooding began, the destruction truly my New Orleans Trio), and their two young children lost hit home. A national news correspondent delivering his their home, five harps, three basses, multiple computers, an report in waist-deep water was a block away from the his- entire recording studio, and all their music and belongings. toric Orpheum Theater, the home of the Louisiana My husband and I were among the lucky 20 percent of New Philharmonic Orchestra. The first floor of the hall and the Orleanians: Our home had wind damage, but there was no basement mechanics were ruined. The Orpheum Theater flooding in my neighborhood. sustained more than $3 million in damage, and its owners The orchestra quickly went into “survival mode”: Word have no plans to reopen the hall. The damage was personal, went out to the musicians reassuring them that health and as well. My husband, Jim Atwood, the orchestra’s timpanist, instrument insurance would be maintained regardless of stored all his instruments in the basement of the hall during whether there was a season this year, and a week after the the orchestra’s summer hiatus. They were now under 30 feet storm, the orchestra sent every musician $1,000. (There are of water and remained so for the next three weeks. definitely advantages to a musician-governed orchestra!) Most of the LPO’s members were just beginning to Members used the discussion board to exchange informa- come home, returning from summer music festivals or tion about FEMA and Red Cross benefits. vacations only to become part of a mass exodus. Many, Phone calls and e-mails began arriving from all over the like me, had never evacuated the city for a hurricane. And world, asking questions on the well-being of a former col- for those who had, the normal drill was to water the plants league, where to send donations or clothes, who needed music and know you’ll be back in two or three days. It didn’t or strings. The music community had arrived. Jan Gippo, quite turn out that way this time. The sagas of some of my piccoloist of the St. Louis Symphony and president of the

Winter 2006 The Flutist Quarterly 29 AN ORCHESTRA FLOATS: THE LOUISIANA PHILHARMONIC ORCHESTRA AFTER HURRICANE KATRINA Our musicians were hired for weeks of work with orchestras from Seattle to Baltimore, Chicago to Naples, and all points in between.

International Conference of Symphony and Opera Musicians, Philharmonic, in town for a concert. He had suggested to was among the first to call. He began marshalling the orches- Zarin Mehta, the Philharmonic’s executive director, that they tral troops. Word went out, phone numbers were passed along, do a benefit concert with our orchestra. and our cabin became a beehive of activity. The LPO set up We thanked him for passing on his suggestion, never dream- offices with the Baton Rouge Symphony, 90 miles north of the ing that in six weeks, we would, in fact, be on the stage at Avery city, and the staff forwarded to orchestra personnel managers Fisher Hall alongside the New York Philharmonic. throughout the U.S. the names of LPO musicians scattered The event was put together in record time. New York across the country. The calls for work began. Our musicians Philharmonic staff contacted conductors, engaged soloists, were hired for weeks of work with orchestras from Seattle to and reserved the hall, and the musicians donated services Baltimore, Chicago to Naples, and all points in between. during an already busy week. United Airlines provided flights for all of our colleagues, and housing was arranged A Hand from Nashville through New Orleans’ hotel connections. Benjamin M. We received an extraordinary proposal from Alan Valentine, Rosen, a native New Orleanian and a trustee of the New York the executive director of the Nashville Symphony. His orches- Philharmonic, played an integral role in making all of these tra offered to host an LPO concert in its hall. The concert connections on our behalf. would take place in Nashville two weeks after we would have given our opening concert in New Orleans. All the proceeds of Applause in New York the concert would go to our orchestra, and the Nashville On November 28, the combined forces of the New York and organization would donate all the marketing and promotion- Louisiana Philharmonics, 150 musicians, presented a sold-out al costs, as well as the costs of the hall. concert on the stage of Avery Fisher Hall, carried live on the American Airlines donated flights into Nashville for all the Internet, WFMT, WNYC, and, in New Orleans, WWNO, our musicians, who by now were spread across the country, and classical music station. There were five conductors involved in the downtown Renaissance Hotel donated all the housing. The the three-hour marathon: the NYP’s music director Lorin legendary Nashville fiddler, Mark O’Conner, donated his serv- Maazel, James Conlon, Ted Sperling, the LPO’s Prieto, and ices as soloist for the concert, and musicians from the former New Orleans Symphony music director Leonard Nashville Symphony volunteered to fill in for LPO musicians Slatkin. Violinist Itzak Perlman, New Orleans native Randy who couldn’t make the concert. Newman, Broadway’s Audra McDonald, and Wynton Marsalis The October 4 event was a night of music-making and were our soloists. Beverly Sills hosted. All of these musicians, healing, and a grand reunion for the orchestra. Seeing one along with the musicians, staff and stagehands of the another for the first time after the trauma of the hurricane, Philharmonic, donated their services. we shared stories of evacuation, flooded homes, lifetime col- Led by Maazel, the concert opened with the “Star Spangled lections of music and recordings destroyed, ruined instru- Banner” and George Gershwin’s Cuban Overture. Newman ments, and rescued pets. There was a lot of laughter, hugs, and McDonald performed Newman’s “I Think It’s Going To and tears; we were a family reuniting, beginning a long Rain Today,” followed by Newman’s haunting rendition of his process of healing. “Louisiana 1927,” a song that has become a veritable theme The concert was an emotional one. With our music direc- song of this tragedy. (At the end of our first rehearsal, the tor designate, Carlos Prieto, and current music director, combined orchestras recorded the song with Newman to be Klauspeter Seibel, we had chosen an eclectic program, fea- included on a Nonesuch recording of Louisiana music, all turing two orchestral composers who understood suffering proceeds to benefit Habitat For Humanity.) Prieto led the and the miraculous healing power of music: Beethoven orchestras in the finale of Copland’s Tender Land Suite,“The (slow movement of the Ninth Symphony) and Shostakovich Promise of Living,” and a performance of the Barber Violin (Symphony No. 5). Our soloist, a fiddler born in New Concerto with soloist Perlman and conductor Conlon ended Orleans, performed his “Salute to the Volunteer” with the the first half of the concert. orchestra. A special treat for the audience was the encore: John Adams’ “Short Ride in a Fast Machine” opened the “Fantasy On The Saints,” a clever setting by longtime friend second half, followed by the return of McDonald singing of the LPO composer Frank Proto. Leonard Bernstein’s “Somewhere,” Adam Guettel’s “How In the week after the hurricane, my husband and I relocated Glory Goes,” and the gospel “Ain’t It De Truth.” Marsalis and to Chicago, where we had been offered the use of an apart- his jazz trio performed, and the concert’s finale was the last ment. Among the phone calls and e-mails we received was a movement of Copland’s Third Symphony, led by Slatkin. call from James Galway at his home in Lucerne, Switzerland, Hearing Fanfare for the Common Man from these combined where he had just hosted a dinner for the New York brass and percussion sections was truly amazing. After his

30 The Flutist Quarterly Winter 2006 third bow from the audience, Slatkin quieted the crowd and musicians (and especially the flute section) was wonderful. announced, “At last count, there have been five conductors for Flutists Robert Langevin, Renee Siebert, Sandy Church, and this concert. The orchestras would now like to show you how piccoloist Mindy Kaufman welcomed our LPO flute section, they can do it without any of us!” Then followed one of the Dean Miller, Linda Pereksta, and me, and made us feel at home grand traditions of the NYP: The performance of Bernstein’s on their stage. I witnessed reunions among many of the other Overture to Candide, without a conductor, a tradition they players; some had gone to music schools together or played started on the death of Bernstein, their long-time music director. together in youth orchestras, professional orchestras, or summer It was a great tribute from them and an honor for us to be its music festivals. As in Nashville, this reunion concert was a recipient, playing with them as well! joyous celebration of our lives as musicians. During this difficult time, I have been reminded all over The City Gives Back again how blessed I am to be a musician. Our struggles have I will never forget the day of September 11, 2001. Everyone validated for me what I have always thought—what a privilege arrived for that morning’s rehearsal in stunned silence. What it is to be part of the great power of music, how liberating and should we do? Cancel the week? We decided to change the cathartic music can be, what great solace it can bring in times program and go ahead with Thursday night’s concert. That of great trial. And, perhaps most importantly, how many survival night, the Orpheum Theater was packed, with 1,500 people in techniques we learn in the practice room and on the stage— the hall. Many thanked us afterwards for playing the concert. perseverance, resilience, flexibility, self-discipline—all qualities For most, it had been the first time they had been outside their that have made the past few months bearable for the 68 musicians homes, away from the television news coverage. It was cathartic for all of us. What a blessing it was to be together, playing great in my New Orleans orchestra. music, sharing our love for life, great art, and the great city In the midst of this cancelled 2005–2006 season, we met of New York. And now, it was my city, my audience, my again on November 29, back in our city to rehearse for a series orchestra being comforted by New Yorkers. Their compassion of four holiday concerts we are presenting in South Louisiana. and gesture of solidarity to us was truly remarkable. It will be good to be home again. The concert has raised more than $354,000 for the future of the LPO. Michael Kaiser, president of the Kennedy Center Patti Adams is an instructor of flute and piccolo at Loyola in Washington, DC, also has secured numerous corporate University–New Orleans and solo piccolo and assistant principal donors in support of our orchestra. I am hopeful for the future flute with the Louisiana Philharmonic Orchestra. and grateful for the generosity of our music community. Sitting on the stage of Avery Fisher Hall, three feet from Editor’s Note: Please send donations to: LPO Relief Fund, where my former teacher Julius Baker sat, was thrilling. The c/o Baton Rouge Symphony Orchestra, P.O. Box 14209, kindness and collegiality of the New York Philharmonic Baton Rouge, LA 70898.

Above, Sandy Church, Patti Adams, Linda Pereksta, Renee Siebert, Dean Miller, Robert Langevin, and Mindy Kaufman. Opening page: Rehearsing with Carlos Prieto.

Winter 2006 The Flutist Quarterly 31 When East Meets

West: Takemitsu’s Itinerant

for Flute Solo

Toru Takemitsu used influences from very different cultures to create compositions that offer the performer both technical challenges and the opportunity to delve into the characteristics of Japanese music.

by Mary Procopio

uch of today’s 20th-century flute literature utilizes extended techniques (including multiphonics, altered fingerings, and flutter tonguing), Mdynamic extremes, and complex rhythmic combinations. Beginning with Edgard Varese in Density 21.5 (1936), composers began pushing the boundaries of

what a flute (and flutist) could do. They removed the flute from its role as an N O I T A

instrument that played primarily beautiful melodies that were pleasing to the ear, D N U O

and began to experiment with the flute as a percussive instrument and a tool that F C I S

represented instruments from other cultures. This article describes how Toru U M Y

Takemitsu addresses some of these issues in his Itinerant for solo flute, and discusses R O T N

influences that led to Takemitsu’s style of writing, the inspiration behind Itinerant, U S

and performance practice suggestions for this piece. ©

32 The Flutist Quarterly Winter 2006 My music is very influenced by the Japanese tradition, especially the Japanese garden, in color, spacing, form…When I use Japanese instruments, people say, “Oh, very Japanese!” Sometimes for me it is too heavy. Then, I like to go in another direction…”1 —Toru Takemitsu

Like Varese, Takemitsu composed a piece for solo flute that I cannot ignore the century of Japan’s contact with the utilized extremes in regards to dynamic contrasts and register West, though I have doubts about how to interpret it. If changes. While Varese insisted upon a strict meter and tempo I ignored it, I would risk denying the present. I think that indication for the performer to adhere to, Takemitsu composed Japan and my own life have been in the midst of great Itinerant without a meter indication and without bar lines. contradictions… Instinctively, I would not try to solve However, Takemitsu does indicate an approximate tempo in the contradictions in any simple way—either those the opening (=ca. 30, flexible), which is more in keeping with between Japan and the West, or those within me. I would the style that Luciano Berio utilized in his Sequenza for flute prefer, in fact, to deepen many of the contradictions, and 8 solo (1958). Unlike Varese and Berio, Takemitsu called for a make them more vivid. wide range of multiphonics in his solo flute work (Varese used none), indicating that he was searching for a sound that was This “deepening” of the contradictions between Japanese outside the norm of a typical flute. Evidence suggests that and Western cultures enables appreciation of the influences of Takemitsu was attempting to use the flute to represent the both elements in Takemitsu’s music. sound and technique of Japanese flutes, mainly the Japanese shakuhachi, the ryutecki (transverse bamboo flute), and Silence and Space another Japanese wind instrument, the sho, which is a The use of silence is another element that is emphasized in the mouth organ that sounds similar to a flute and is often used music of Takemitsu, and he spoke at length about silence in many in the music of gagaku (elegant, refined, or correct music of his writings. The book Confronting Silence is a collection of 2 similar to Chinese yayue). writings from throughout Takemitsu’s life, and in it he notes “Music is either sound or silence. As long as I live I shall choose 9 Takemitsu and Western Influences sound as something to confront a silence.” He says, “I wish to Toru Takemitsu was born in Tokyo on September 21, 1928, search out that single sound which is in itself so strong that it can and died February 20, 1996. He was primarily a self-taught confront silence. It is then that my own personal insignificance 10 composer, and early in life he composed scores for nearly 100 will cease to trouble me.” For Takemitsu, silence holds equal films. His music uses vivid images and visual orientation, with a importance in music as the sounding notes themselves. great deal of intensity packed into small rhythmic gestures. In Japanese culture, the concept of silence and space is As a result of World War II, Takemitsu was influenced by the referred to as ma. In art, “ma is an expressive force which 11 Western images that surrounded him. He began to prefer these fills the void between objects separated in space and time.” images over those that were Japanese, and later was influenced This concept of a “living space” is depicted clearly in 3 by the music of Debussy and Messiaen. After immersing him- Takemitsu’s Itinerant. He indicates three different types of self so completely in Western music early on, Takemitsu later fermatas, each with varying degrees of length, which occur began to be drawn to and to appreciate the music of his coun- over both notes and rests. try. As Noriko Ohtakoe notes: “Japanese music helped 4 Takemitsu find his inner self.” Takemitsu himself noted: In the beginning I had a doubt in being Japanese. Without thinking of this identity, I began [writing] music attracted to music itself and as one human being. Being in music I found my raison d’etre as a man. After the war, music was the only thing. Choosing to be in 5 music clarified my identity. Takemitsu found a way to incorporate both Eastern and N O I T

O Western elements into several of his compositions, including M O R

P November Steps (1967) and Autumn (1973), both of which -

T 6 T

O included a shakuhachi and biwa in the score. His intent was H C S

Y to “confront the remarkable difference between the two S E T

R cultures, instead of blending the Japanese instruments into

U 7 O

C the Western orchestra.” Takemitsu’s goal was to confront rather than blend the instruments of two cultures.

Winter 2006 The Flutist Quarterly 33 WHEN EAST MEETS WEST: TAKEMITSU’S ITINERANT FOR FLUTE SOLO Itinerant comes from the French and English word itinerary two different circumstances: specifically to produce a multi- (travel schedule); thus, Takemitsu’s composition for solo phonic, and to produce a trill with a timbral change. flute also can be seen as a work that is supposed to take the 17 listener and performer on a musical journey. Itinerant was Ex. 3a. Lependorf: Night Pond composed in memory of the sculptor Isamu Noguchi, a friend of Takemitsu, who traveled extensively throughout his 12 lifetime. This piece was inspired by Noguchi’s travels, and the music changes and evolves throughout the piece. In Takemitsu’s Itinerant, one finds many references to 13 Japanese shakuhachi notation in the flute score. The Japanese notation for a staccato breath can be found at the Ex. 3b. Takemitsu, Itinerant. p. 2, line 3. bottom of page three in the flute score.

14 Ex. 1a. Hon Shirabe (Honkyoku: Transcribed)

The manipulation of vibrato also plays a large factor in Ex. 1b. Takemitsu, Itinerant, p. 3, line 5. (Schott publishers, 1989) Japanese music. Takemitsu notes where he would like vibrato left out of the music (N.V.) and where the player should begin using vibrato again, but he does not indicate how the vibrato should be utilized.

Ex. 4. Takemitsu, Itinerant. p. 2. line 2.

Pitch inflections are additional elements that are idiomatic 15 on shakuhachi and employed in Itinerant.

Ex. 2a. Hon Shirabe (Honkyoku: Transcribed)

While the flute resembles the sound of the shakuhachi when some of the aforementioned techniques are employed, the sound of the flute when the right timbres and manipulations of sound occur more closely resembles the sound of the Japanese bamboo flute, the ryutecki, than that of the Ex. 2b. Takemitsu, Itinerant, p. 2, line 3. shakuhachi. The sound of the Japanese sho, a mouth organ similar to the Chinese sheng, is also reminiscent in some of the multiphonics that are produced in Itinerant.

Performing Takemitsu’s Works Several considerations need to be taken into account before approaching the performance of Itinerant. While Takemitsu allows the performer stylistic latitude in this piece, it is important that the flutist have a good sense of timing and Another similarity between the techniques used on the dramatic control, as well as a feeling for the silences. It is also shakuhachi and the notations for flute by Takemitsu is the imperative that the flutist have a strong sense of rhythm, and use of Koro-Koro (or Goro-Goro), a type of timbral trill as no meter is indicated in the piece, the performer would be (indicated by a special fingering) in which two fingers well-advised to go through the score and mark the beats to alternate in such a way as to cause a multiphonic sound. assist with counting and rhythm. While Takemitsu’s symbols between notes differ slightly Practicing the piece as strictly in time as possible with a from that of the shakuhachi example, in Takemitsu’s example metronome is also strongly suggested, to get a feel for the we find a similar notation for a special fingering used in overall flow and impression that Takemitsu was striving for.

34 The Flutist Quarterly Winter 2006 Too often young performers approach a piece like Itinerant with the assumption that they don’t have to worry about rhythm and counting because there is so much freedom in it. However, composers like Berio gave us a good indication that there was a framework that the flutist had to stay within, and that certain parameters had to be honored when performing his music. As mentioned earlier, Berio’s Sequenza was initially free of bar lines and a meter indication.

Ex. 5. Sequenza for solo flute, Berio (opening of piece).

After hearing Sequenza performed, Berio was unhappy with the liberties that the flutist took; he rewrote the piece, adding a meter and bar lines, to require the performer to adhere strictly to what he wanted. In Itinerant, Takemitsu gives us much more liberty within his relaxed framework, and multiple performances of this piece can result in very different interpretations. After determining the rhythmic configurations and overall flow of the piece, the flutist must decide how much time he or she will give to the fermatas, which indicate three varying 18 lengths of suspension in time. Keeping the concept of ma in mind, the performer must also take care to give as much importance to the rests within the piece as is given to the indicated specialized fingerings. Once a flutist is comfortable with the various rhythmic configurations, altered fingerings, and overall flow of the piece, the player can then make decisions regarding the musical elements, the use of dynamics, vibrato, tone color, and so forth. Flutists not familiar with Itinerant “After the war, music was the only thing,” Toru Takemitsu wrote. also might want to listen to a recording or live performance of it to help guide them before attempting their own performance. It is also suggested that the performer listen to recordings of Music for Flute by Takemitsu the shakuhachi, ryutecki, and sho to better understand the sounds that Takemitsu strived to attain in this piece. O Itinerant for solo flute As one of the most important recently composed pieces in O Air for solo flute the solo flute repertoire, Takemitsu’s Itinerant presents the technical challenges that performers are looking for, in addition O Toward the Sea for alto flute and guitar to many musical challenges. In combining elements from O Toward the Sea II for flute, harp, and strings Eastern and Western culture, Takemitsu’s Itinerant is truly a O Toward the Sea III for flute, alto, and harp cross cultural work that requires a performer to delve into the O Rain Spell for flute, clarinet, piano, and vibraphone background of the piece, the characteristics of Japanese music, O And Then I Knew ’Twas Wind for flute, viola, and harp and Japanese instruments such as the shakuhachi to perform O Archipelago S for 21 players (including one flute) the work as Takemitsu intended. > O I Hear the Water Dreaming for flute and orchestra Mary Procopio received her doctorate in flute performance O Le Fils des Etoiles for flute and harp (by Erik Satie, from Michigan State University. She has presented lecture- transcr. by Takemitsu) recitals throughout the United States and Canada at meetings of the College Music Society, the Society for Ethnomusicology, N O I T and the Haitian Studies Association. She is chair of the Music O Recordings M O

R Division and a flute instructor at the Flint School of P -

T O

T Shakuhachi—Floating Clouds by Michael Gould

O Performing Arts and at the University of Michigan–Flint. She H

C O S teaches courses in world music at Mott Community College. Tradition and Beyond by Michael Gould and Y S E

T Michael Gould (shakuhachi and percussion)

R She has received grants and fellowships to travel to Haiti to U O

C conduct research, teach, and perform.

Winter 2006 The Flutist Quarterly 35 WHEN EAST MEETS WEST: TAKEMITSU’S ITINERANT FOR FLUTE SOLO References 1. Timothy Koozin, “Octatonicism in Recent Solo Piano Works of Toru 18. Noguchi often left a section of his sculptures “open,” or unfinished. It could Takemitsu,” Perspectives of New Music 29/1 (Winter 1991), 124–140. be argued that Takemitsu’s use of the varying degrees of fermatas that are left open 2. Tamari Tono, “The Synthesis of Tradition and Technology,” Computer Music to interpretation is connected to Noguchi’s use of open areas in his work. Journal 20/4 (Winter 1996), 17–20. 3. Noriko Ohtake, Creative Sources for the Music of Toru Takemitsu (England: Bibliography Scolar Press, 1993), 1–2. 4. Ibid., 3. Kanazawa, Masakata. “Toru Takemitsu.” The New Grove Dictionary of Music and 5. Toru Takemitsu. “Oto to Kotoba no Tasosei” (Mutilayers of Sound and Word), Musicians, second edition, ed. Stanley Sadie. London: Macmillan, 1980. Vol. 25, 22–25. Kezaburo Oe, Kotoba to Sekai (Word and World), Vol. I of Bunka no Genzai (Culture’s Present) (Tokyo: Iwanami Shoten, 1981), 98–9. Koozin, Timothy. “Spiritual-Temporal Imagery in Music of Olivier Messiaen and 6. A biwa is a large pear-shaped lute (stringed instrument). Toru Takemitsu.” Contemporary Music Review. Malaysia: Harwood Academic 7. Ohtake, “Creative Sources,” 57. Publishers, 1993. Vol. 7, 185–202. 8. Toru Takemitsu. “A Mirror and an Egg,” trans. Daniell Starr and Syoko Aki. Banff Letters, (Spring 1985), 20. — “Toru Takemitsu and the Unity of Opposites.” The College Music Symposium 9. Toru Takemitsu, Confronting Silence, trans. and ed. Yoshiko Kakudo and Glenn 30/1 (Spring 1990), 34–44. Glasgow (California: Fallen Leaf Press, 1995), 5. 10. Ibid, 52. — “Octatonicism in Recent Solo Piano Works of Toru Takemitsu.” Perspectives of 11.Timothy Koozin, “Toru Takemitsu and the Unity of Opposites,” The College New Music 29/1 (Winter 1991), 124–140. Music Symposium 30/1 (Spring 1990), 36. 12. Itinerant was premiered by Paula Robison in February 1989 at the Isamu Lependorf, Jeffrey. “Contemporary Notation for the Shakuhachi: A Primer for Noguchi museum in New York. Composers.” Perspectives of New Music 27/2 (Summer 1989), 232–251. 13.Takemitsu believed that the flute was the closest instrument to the natural world and could imitate the effects created by the shakuhachi. Oktake, Noriko. Creative Sources for the Music of Toru Takemitsu. England: 14. Jeffrey Lependorf, “Contemporary Notation for the Shakuhachi: A Primer for Scolar Press, 1991. Composers,” Perspectives of New Music 27/2 (1989), 236. 15. In his Trois Pieces for solo flute, Ferroud also uses the technique of portamento Takemitsu, Toru. Confronting Silence. Trans. and ed. Yoshiko Kakudo and effectively, and when done correctly, the sound produced by the flute resembles that Glenn Glasgow. California: Fallen Leaf Press, 1995. of a shakuhachi. 16. Lependorf, “Contemporary Notation,” 243. Tamari, Tono. “The Synthesis of Tradition and Technology.” Computer Music 17. Ibid., 244. Journal 20/4 (Winter 1996), 17–20

36 The Flutist Quarterly Winter 2006

MHTP Conference 2006 “Knowledge,Intuition & In tention” June 1 to 4, 2006 Notre Dame College, South Euclid, OH Featuring: Therese Schroeder-Sheker—Founder & Director of The Chalice of Repose Project Fabien Maman—Founding Father of Vibrational Sound Therapy Richard B. Fratianne, MD— Director Emeritus, Comprehensive Burn Care Center, MetroHealth Medical Center, Cleveland Sarah Weiss— Medical Intuitive/Founder & Director of The SpiritHeal Institute Plus a Seasonal Healing Concert, other workshops, exhibitors and more... (For information and registration see contact info below) The Music for Healing & Transition Program “Educating and preparing musicians to provide live, therapeutic music at the bedside” Classes offered at 15 sites in 2005-6. For a comprehensive brochure outlining the courses and a current schedule of classes and locations, please contact: The Music for Healing & Transition Program, 22 West End Rd, Hillsdale, NY 12529 518-325-5546 • [email protected] • www.mhtp.org

Playing Flute in Non-Classical Environments When it comes to performing jazz well, it’s all in the timing.

by Bill McBirnie

o perform convincingly in non-classical contexts, it Sorcerer, and Nefertiti. At times, it seemed as though the is important to develop alternative technical soloist was improvising without a fixed harmonic progression Tapproaches to the instrument and to come to a thorough or diatonic point of reference. Yet the overall result is utterly understanding of the melodic/harmonic relationships compelling. Why? Because the rhythmic dimension is underlying the music—whether it is bebop, Latin, pop, or handled with such power and conviction by the entire swing. Perhaps the most important thing is to cultivate a ensemble that the harmonic and melodic aspects become strong sense of time. quite secondary. This article’s discussion and illustrations apply specifically It also is worth observing that the choice of “notes” is to musical settings in which there is a defined pulse, as sometimes not as vital as the “time” in improvisatory settings opposed to musical settings in which the time element because the ear will actually tolerate a certain measure of might be functioning on a different level, such as rubato or “wrong” notes (this is not an excuse to be sloppy!) if the free playing. This article’s focus is on technical means by time dimension is handled with strength and conviction, which a good time feel can be achieved in playing flute in whereas a beautiful and faultless line will mean little to the non-classical environments. listener if the time dimension is handled poorly.

Time is of the Essence The Fundamental Problem In jazz, Latin, pop, and rock settings, it is vital that time is Many players from the classical tradition are unsuccessful communicated to the listener in a compelling manner, at achieving good results in non-classical situations, not because if the time feel is not strong and convincing, no because they lack the technical means, but rather because amount of facility on any other performance dimension they approach the instrument from a classical standpoint will compensate for its absence. that is not always relevant. On the other hand, many players To illustrate this point in a progressive jazz context, consider from non-classical traditions also are unsuccessful at the mid-1960s Miles Davis band, which, with Wayne achieving good results, but not because they lack the Shorter, Herbie Hancock, Ron Carter, and Tony Williams, idiomatic understanding, but rather because they lack N E L

was probably one of the greatest small jazz ensembles, technical fluency on the instrument. (Indeed, many of L A M I

responsible for such classic recordings as ESP, Miles Smiles, these players are doublers.) In either case, the listener often J

40 The Flutist Quarterly Winter 2006 Overuse of vibrato is one of the first indicators of a “classical refugee.” has to witness flutists in non-classical situations struggle gradually or from phrase to phrase. However, in non-classical with the instrument. environments, the air column must often “bounce,” some- In short, for quite different reasons, both technically times from beat to beat, sometimes within beats. For example, competent and technically incompetent flute players often in bebop, swing, or shuffle grooves, the rhythmic approach achieve inferior results when performing in non-classical to feeding air into the instrument calls for a very slight environments. Alternative technical (e.g., physical) “huffing” action with a small push on the upbeats. If you approaches might serve to enhance the player’s non-classical can develop this breathing technique subtly to the point at musical results. which it feels and sounds quite natural (i.e., it swings), a whole new range of sound and rhythmic possibilities will Articulation open up to you. Classical players tend to use “too-koo” or “doo-goo” phonetics Also, it is important to “swell” and “compress” both in articulating. The first thing to recognize in non-classical phrases and tones for dramatic effect and highlighting. playing situations is that, in many cases, articulation is not While non-classical reed players, from Charlie Parker to required to produce a good time feel at all. Why? Because David Sanborn, do this frequently and to very good effect, the way in which the air is fed into the instrument is a non-classical flute players rarely do the same thing. Yet much more important and decisive factor. (More about swells and compresses can most assuredly introduce this later.) Indeed, too much conventional articulation in heightened emotion into even the simplest of phrases. non-classical situations can give rise to what sounds like “sputtering,” and it can fragment the line to the point at Vibrato which it lacks continuity and flow. The solution? Quite Classical performers tend to inflect most exposed and sustained simple: Tongue less! tones to vibrato. In non-classical contexts, this approach is Moreover, “phonetics” alternative to the conventional ones unwise. Indeed, you should re-examine your use of vibrato cited earlier are required, preferably ones based on softer, less when functioning in non-classical contexts. Overuse of precise or harsh attacks. A recommended operative phonetic vibrato is one of the first indicators of a “classical refugee.” is “doo-dle.” This phonetic is far more effective than the Have a listen to Hubert Laws, who long since crossed over conventional ones because it is less harsh (and, therefore, less from the classical to the non-classical realm. He has a inclined to give rise to “sputtering”). It is also useful for definitive sound—and without excessive vibrato—a sound “ghosting” tones, an important and necessary facility for the that is gratifying to both classical and non-classical listeners. non-classical flute player to cultivate and develop. In addition, classical performers are inclined to use a Interestingly enough, a classical player may find the relatively fast-paced vibrato, whereas, generally speaking, a “doo-dle” phonetic non-intuitive or perhaps even objec- slower-paced vibrato is often more effective in non-classical tionable, while a non-classical player/doubler might not situations. Indeed, as an illustrative alternative, a “slow even think of it. What is important to recognize here is wave” can yield a very interesting effect in some circum- that, ultimately, alternative and unorthodox approaches to stances. Explore all aspects of the vibrato spectrum (i.e., articulation must be considered if you wish to sound con- with respect to both depth and speed) and do not feel vincing and avoid sounding like a classical player merely bound to a strict, proper, or “legit” style of vibrato. attempting to cross over into the non-classical realm. Ultimately, a straight tone is often, in fact, far preferable Another seemingly trivial but, in fact, equally critical to an inflected tone in producing a good non-classical point to bear in mind when playing in non-classical contexts musical result. Accordingly, you should always view a is that you must start to think more percussively and learn straight tone as a legitimate alternative to an inflected tone. to articulate accordingly. For example, short tones will have And if you have any doubt on this point, listen to Ray far more impact if they are really short. And such notes or Charles or Aretha Franklin or any really good soul singer, phrases should be struck with a correspondingly sharp and observe how and when—and sometimes the very limited phonetic—make up your own, if need be—and with extent to which—they use vibrato! Indeed, compresses and absolutely no lingering breath in the air column. This swells become much more central in their approach. approach will ultimately inject more snap and sparkle in your lines. Acoustics Finally, worth repeating: Always view not articulating as Most flute players strive to produce a “nice” sound and a legitimate alternative to tonguing excessively. notably with respect to the third register. In non-classical situations, it is both expedient and sensible to succumb to Breathing what is acoustically irresistible (especially in the presence Classical players tend to feed air into the instrument in a of drummers and bass players, who sometimes really crank relatively constant stream. Dynamic shifts are often effected up the volume). It is entirely rational not to fight the natural

Winter 2006 The Flutist Quarterly 41 PLAYING FLUTE IN NON-CLASSICAL ENVIRONMENTS are improvising, and you hear that sound, and you want to play it, then you have to be ready for it—because that alternate scale is replete with accidentals, and it is obviously not derived from the C Ionian mode. You also must work on technical matter that is pertinent. For example, practicing the 12 major and minor scales from root to root means you are missing the entire realm of all of the other modes that are built on each degree of the scale and on which all of the chord structures are ultimately based. At some point, you must become thor- oughly familiar with the feel and the sound of all of the modes as they are constructed on each degree of the scale acoustic tendencies of the instrument in the third register. and, in addition, the diminished, the whole tone, the In short, the flute wants to be loud in the third octave— pentatonic, the augmented, and the quatral scales (including so, let it be loud! (Please note that this is not a license to a certain, though not an infinite, amount of their associated play sharp.) patterns). On the other hand, the bottom register of the instrument Ultimately, you must learn to think in terms of “key areas” poses the opposite problem and inevitably requires a lot of and to sense the modes and their arpeggios intuitively on support in order to penetrate. Indeed, it never really a modal basis rather than on a straight and square root-to- penetrates well (especially when drummers and bass players root basis. are cranked up—and this is one of those unfortunate realities that you must often face when performing in non- What to Listen To classical contexts). The importance of listening cannot be overemphasized. Accordingly, every effort should be made to counter-act Indeed, listening is every bit as critical and important as the natural acoustic tendency of the instrument in the first practicing and playing. register. In short, the flute wants to be soft in the first One of the reasons that listening is so critical is because, octave—make it as loud as you can! ultimately, you must have internalized the sound that you The only way to achieve this is to pour lots of air into the are seeking to achieve. If you can’t hear what it is that you instrument to overcome the fact that the flute is, quite are trying to do internally, then no amount of technical simply, not a loud instrument. skill or competence will ever enable you to bring it out These acoustical points may appear obvious and perhaps externally. even trivial. However, these fundamental facts are often Listening is not a passive exercise. It requires the same overlooked or, worse yet, ignored by flutists in non-classical measure of focus and attention that practicing or playing playing situations. does. So when you are listening, do not tolerate any distractions. What to Practice It is important to listen to really strong, powerful If you are serious about learning to play in non-classical music. Although one can quibble with any given listening situations, begin working on repertoire relevant to them. list, highly recommended are works by Ray Charles, John A good starting point is Charlie Parker transcriptions. Get Coltrane, Miles Davis, Clifford Brown and Max Roach, one of the books in the Charlie Parker Omnibook series Bill Evans, Aretha Franklin, João Gilberto, Billie Holiday, and corresponding recordings and start to work on these Hank Mobley, Thelonious Monk, Oliver Nelson, Charlie transcriptions, treating them as études. Devote close attention Parker, Oscar Peterson, Horace Silver, Frank Sinatra, and to the phrasing, the articulation, and the time feel. Also, Nancy Wilson. (See sidebar for a list of recommended recognize early that a good understanding of bebop will recordings.) serve your improvisatory goals well regardless of what With respect to jazz flute, there are lots of players to non-classical situations you ultimately perform in. explore. One recommendation for this brief article is Hubert Also, select some fragments—two to four bars, perhaps— Laws, specifically his The Law of Jazz and Flute By-Laws from some of Bird’s solos that you really like (typically, (Atlantic/Rhino). These two albums are an excellent starting these will be II-V-I phrases) and execute them in all keys. point of reference for a non-classical flute player and will Working these phrases through every key is essential, continue to serve as points of reference after years of because there are a lot of alternate scales and modes that listening and playing. occur in jazz that require complete fluency in every key E I

area. To cite just one example, in the key of C major, one Time: Reprise N R I B

of the alternate scales for the dominant chord (i.e., G7) is This article opened with the matter of time and it closes C M L L I

based on the A-flat melodic minor scale ascending. If you with it once again to emphasize the importance of time in B

42 The Flutist Quarterly Winter 2006 jazz playing. Although the focus is on technical rather than stylistic dimensions (articulation, breathing, vibrato, acoustics) of performing flute in non-classical environ- ments, the treatment of time is ultimately very much a function of the idiom being performed. And, on a matter as complex and diverse as idiom, it is difficult to make any summary observations that will apply in all circumstances. Perhaps the best point to stress is that it is crucial to develop a very steady, reliable sense of the pulse at all tempos, regardless of the idiom. Implicit in this suggestion is practicing with a metronome. And you must get used to placing the metronome on beats two and four of the bar (which correspond with the sox cymbal in jazz and the back beat on the snare in rock) rather than on one and three. This takes getting used to at first; however, it really must be done! Time is the most fundamental “frequency” in music. Time should be given all of the care and attention it deserves if you really want to achieve both pleasing and Bill McBirnie convincing musical results in non-classical settings. > recording featuring The Mark Eisenman Trio. McBirnie has Bill McBirnie is a jazz flute specialist based in Toronto. He has been chosen Flutist of the Year by the Jazz Report Awards and studied with Robert Aitken and Richard Eques. McBirnie is a winner in the NFA Jazz Flute Masterclass Competition. an improviser, notably in bebop, swing, and Latin idioms, as illustrated by his recordings as a sideman with Junior Mance, McBirnie can be reached at [email protected]. Irakere, Memo Acevedo, and Cache. He has also produced two of his own Extreme Flute projects and an acoustic jazz © 2005 Bill McBirnie

Études in Jazz: Recommended Recordings for Learning

John Coltrane Bill Evans Oliver Nelson A Love Supreme (Impulse) Everybody Digs Bill Evans The Blues and the Abstract Truth Crescent (Impulse) (Riverside/OJC) (Impulse) Ballads (Impulse) Aretha Franklin Charlie Parker Miles Davis Now’s The Time (Verve) 30 Greatest Hits (Atlantic) Kind of Blue (Columbia/Legacy) Bird & Diz (Verve) E.S.P. (Columbia) Sorcerer (Columbia/Legacy) João Gilberto Oscar Peterson Miles Smiles (Columbia/Legacy) The Legendary João Gilberto Night Train (Verve) Nefertiti (Columbia/Legacy) (World Pacific) Horace Silver Clifford Brown Billie Holiday The Cape Verdean Blues (Blue and Max Roach Lady In Satin (Columbia) Note) Clifford Brown & Max Roach (EmArcy) Frank Sinatra Hank Mobley Study In Brown (EmArcy) Only The Lonely (Capitol) Soul Station (Blue Note) Ray Charles Nancy Wilson The Genius of Ray Charles Thelonious Monk Nancy Wilson & Cannonball R E N

I (Atlantic) Monk’s Dream (Columbia) Adderley (Capitol) E T S E I D E

Winter 2006 The Flutist Quarterly 43

26_51.qxd 1/9/06 6:04 PM Page 46

William Kincaid and Marcel Tabuteau: A Legendary collaboration

by Lois Bliss Herbine

entral in the Philadelphia Orchestra under the baton Krell passed on his knowledge of the methodology of of Leopold Stokowski in the 1930s and 1940s sat Kincaid and Tabuteau through his book, his performance, CWilliam Kincaid, the pre-eminent principal flutist, and his teachings. This article introduces and explains the and Marcel Tabuteau, the much-respected principal oboist. key concepts in Krell’s book with the use of a graded system They, along with the other principal wind players in the developed by the author, a former student of Krell’s. orchestra, played in a style as directed by Stokowski—colorful, expressive, and imaginatively musical. This was the golden Musical Lines era of the Philadelphia Orchestra, considered one of the Kincaid noted three basic concepts inherent in the formation finest orchestras in the world. of a musical line: first, Music is made up of musical ideas, All of these players were the founding teachers of their called phrases, that can stand on their own or in combination respective instruments at the Curtis Institute of Music, with others. Second, each phrase has direction to a peak or which opened its doors in 1924. They are considered the high point dictated by rhythm and by harmony. Third, as the founders of the “American School of Woodwinds,” revolu- name implies, music is on a line, which has direction and is tionizing the playing and instruction of their instruments. always in motion. They set standards by which orchestra players are still judged. To create a musical line one must first have an under- The methodology of Kincaid and Tabuteau in particular also standing of the underlying chord progressions. The most influenced the performances of other woodwind players, as basic is the dominant to tonic chord progression (V to I). well as string, brass, and piano players. The dominant resolves to the tonic; therefore the V chord is John Krell studied flute with Kincaid at Curtis and attended considered the lifting chord and the I chord is the resolution. wind ensemble classes led by Tabuteau from 1933 to 1941. Just as things in nature are cyclic—day into night into day, His book, Kincaidiana, is a compilation of notes taken by the ebb and flow of the tide—so must music have lift and him during his years at Curtis. An eventual colleague in the resolution. This was a key element in Tabuteau’s teaching orchestra, he was a member of Kincaid’s flute section and example of “up and down impulses,” also known as “arsis- would look to both Kincaid and Tabuteau for advice. He thesis” or the “lifting and lowering of the foot.” became a famous player in his own right as piccoloist for the Philadelphia Orchestra from 1952 to 1981. Ex.1. “Hot Cross Buns” “Kincaid and Tabuteau were sort of the centerpiece of the orchestra. The musical ideas of these two men overlapped and supplemented each other to a remarkable degree.” —John Krell

46 The Flutist Quarterly Winter 2006 26_51.qxd 1/10/06 9:52 AM Page 47

In the simple tune, “Hot Cross Buns,” the phrase in measures Ex. 3. Simple Gifts eight and nine has a V–I progression, which harmonically implies that the resolution should be on the word “hot.” Therefore, musical impetus through the direction of the air moves to this point in the phrase. So if the word “hot” is on the resolving tonic chord, then, for continuity, we should phrase the entire example in the same manner. “Happily, there is no one definitive solution to a phrasing problem; rather there are several definitive solutions The traditional Shaker melody “Simple Gifts” is a good exam- ple of the melodic and rhythmic sequences moving to the with the validity of each depending strong beats of the measure. The pickup notes “Tis the” are the upon the personal frame of reference “up impulse” on the V chord, and the word “gift” is the resolu- tion on the I chord, which is also the strongest beat of the and the conviction with which it is measure “Tis the...gift.” The consistent motion toward the executed.” downbeat of each measure continues throughout the selection. —Kincaidiana “The metrical rhythms of music (basi- Ex. 2. “Hot Cross Buns” cally two and three) are frequently emphasized in performance by placing dynamic accents on the primary beats. William Kincaid, on the other hand, considered these beat notes as points of arrival, as the result of what happened before the beat was reached.” —Kincaidiana

Note Groupings Andre Maquarre’s Daily Exercise #1 is an excellent way to demonstrate Kincaid’s now famous view on note groupings. The second example is another optional way to phrase this As noted in Kincaidiana, the visual blocking of notes into beat tune. Notice there are two V–I progressions. There is one groups works against the flow of the musical line. Using the progression that resolves to “hot” and there is one that brackets, Kincaid would pull the phrase over the downbeat, resolves on “buns.” We can use the second V–I progression therefore making the beat notes “finishing notes,”meaning the strong beats are terminations rather than beginnings of the and the words to help find a new direction. A linguist would phrase. There is an inflection at the beginning of each group- say that “hot” and “cross” are adjectives that describe the ing to show the direction and imply the resolution. noun “buns.” Therefore the musical impetus could follow the text. Since there is not necessarily one definitive interpretation Ex. 4. Maquarre’s Daily Exercise #1 even for a simple eight-measure tune, imagine the difficulty of parsing a line of a Bach sonata. “Normally, the harmonic changes occur on the strong beats of the measure, but there are melodic and rhythmic sequences which move to This example has the right flow, but ignores the underlying the beat.” p crescendo. The number system is best used to demonstrate —Kincaidiana this principle.

Winter 2006 The Flutist Quarterly 47 26_51.qxd 1/10/06 9:52 AM Page 48

WILLIAM KINCAID AND MARCEL TABUTEAU: A LEGENDARY COLLABORATION “… (Marcel Tabuteau) used illustra- “(This) leads us to an important dis- tions for his students ranging from the tinction between volume and intensity. movement involved in our normal Volume is simply the quantity of air, breathing… to that of the motion of the while intensity is the supported pressure earth around the sun—but always the of focused air.” repeated refrain was ‘motion.’… This —Kincaidiana

was driven home to us not only by Volume vs. intensity has been a topic of debate in recent constantly fresh and vivid imaginative times. Many musicians do not believe there is a difference illustrations, but also by the elaborate between the two. Intensifying the sound implies a crescendo; but how you make the sound fuller is not just by adding more system of numbers which Tabuteau had volume of air, but also by increasing the speed of wind and worked out and which he applied to adding overtones with their interacting resultant tones, sum- mation, and different tones. To understand the principles of an ranges of intensity, continuity of rhythm, overtone series, play a harmonic series on a low C by overblow- and patterns of phrasing.… Once having ing the fundamental with quickening speeds of wind. mastered the particular number pattern Ex. 6. Harmonic Overtone Series (from Kincaidiana) Tabuteau gave, an inexperienced student could produce a soaring and beautifully balanced musical line.” 1 —Laila Storch, oboist

Ex. 5. Maquarre’s Daily Exercise #1

This same tonal series can ring in a good, clear tone depending on how you utilize the air stream. Starting on a C on the staff with an open embouchure and lips in an “oo” shape, you can create a sound practically devoid of harmonics. By gradually Taking the same Maquarre example, here is an illustration of a pulling back at the corners of the mouth and finally flattening number system similar to what Tabuteau might have used to the aperture by squishing down on the lips, you can add these demonstrate to his students. Although Tabuteau is famous for his partials to the sound. This makes the tone fuller and thicker number system, it is not something that was used in the same without increasing the volume of air. This is also considered way or for the same purpose each time. His students might have tone coloration. been given different ranges and different number values on the By increasing and decreasing the amount of overtones in the same excerpt, but it was the same principle that was achieved. sound you can vary the quality of the tone for different effects. The number system made an aesthetic conception concrete for Adding overtones during a crescendo will help to propel the his students. Krell demonstrated the start of this particular exam- musical line forward. ple to the author at a lesson and had her complete it on her own. This, then, is both Krell’s and the author’s interpretation of a Ex. 7. “Shenandoah” Tabuteau concept. In this exercise, 1 stands for p and 10 for f. The range used is not important. It can be from 1 to 5 or 1 to 8. The importance is that the increase in volume and intensity is evenly distributed through the course of the exercise. There are smaller phrases within the larger phrase. The numbering is not 1–10 in the first phrase but 1–4, 2–5, then 3–6, with a steady increase until the peak of the phrase—a 10—is achieved. Notice the use of the repeated ones: 1, 1, 2, 3, 4. The first 1 is a finishing note and the In “Shenandoah,” the V–I chord lift and resolution is on the second 1 changes the impulse and provides an upbeat. pickup “Oh” and the downbeat “Shen.” But the phrase doesn’t

48 The Flutist Quarterly Winter 2006 26_51.qxd 1/10/06 9:52 AM Page 49

end there. It continues through “en-doh.”This gives the feel of Ex. 8. Mozart Andante in C major relaxation on the unstressed beats of the bar. By relaxing after When students are busy with the technical aspects of playing, the downbeat, the phrase is completed; then the following they often fail to consider the musical line. This is most apparent pickups propel us forward to the next measure. These types of when adding ornamentation. Ornamentation is simply that: endings are mainly found in works by classical composers It is the icing on the cake. It cannot interrupt the phrase. such as Mozart and Haydn. Using 18th-century terminology, The Mozart Andante in C major is a good example of musical endings have been termed feminine when the last continuing the musical line through the “trimmings.”It also sounding pitch is occurring in an unstressed place and mascu- illustrates how the feminine endings and chord progressions, line if a phrase ends on a stressed beat. particularly the V–I and IV–V–I cadences, affect the movement.

Winter 2006 The Flutist Quarterly 49 26_51.qxd 1/10/06 9:52 AM Page 50

WILLIAM KINCAID AND MARCEL TABUTEAU: A LEGENDARY COLLABORATION Breathing Ex. 9. “Shenandoah” In measures 8 and 12, forward motion is clearly dictated by the V–I chord progression, but relaxation is needed for the feminine ending to be executed properly. Thus we need to make a slight diminuendo off the downbeat of the measure and then immediately propel the air direction forward, thus connecting the two smaller phrases together into one larger phrase. Without a diminuendo, the flutist needs to breathe in the middle of intensifying the sound. “Correct breathing leaves the note sounding while you breathe. The Revisiting our earlier “Shenandoah” example, measures sound seems to coast through the sep- two and three now can be connected to make one longer phrase. (Note the new crescendo in the second measure.) aration and, to an extent, disguises the Prepare the interval by bringing up the intensity on the abruptness of the break in the line.” half note C to fill the space. —Kincaidiana “The conscientious musician will ana- “Since more often than not, phrases lyze, practice, and develop a repertoire resolve on the down impulse (strong of vibrato speeds, contours, amplitudes, beats of the measure), do not breathe intensities, and pitch variations, each between up and down impulses, but style subject to the implications of the always after the finishing note (between music being performed.” —Kincaidiana phrase groupings) even though it may At this point, for musical interest, you can add the mean sometimes breaking a slur. Avoid underlying direction throughout the individual phrases bar breathing like sin...” toward the end of the solo, so as to connect the phrases —Kincaidiana together by preparing the interval changes with increasing intensity, speed of wind, and volume. Also, you can modu- The chord progression propels forward to the down- late the tone color by increasing and decreasing intensity and beat of measure eight, so the performer should place a make variations in the speed and amplitude of the vibrato. crescendo on the D, then grab the breath and keep going, coasting through the separation as Kincaid would have “Rubato, literally, is ‘stolen time,’ liked. When the separation is a wider interval, even more except that it is a Robin Hood variety care should be taken to make a seamless connection. of stealing in which the stolen goods “Kincaid used to call it ‘relative inten- have to be redistributed.” sity.’ The wider the interval, the more —Kincaidiana you have to increase the leverage or “Greater liberties, more in the sense ‘jumping board’ on the lower note...” 2 of a Chopin rubato, are taken within —John Krell the measure so that the metric frame is “Tabuteau suggested that ‘octaves not distorted. Use the metronome as a should be desired,’ and it is precisely discipline, but play against it. Playing this expectation of change, evoked by with it is mere mechanical calculation. the preparation, that communicates Tabuteau advised his students to ‘ride your intentions to the audience...” the rhythm; don’t let it ride you.’ ” — Kincaidiana —Kincaidiana

50 The Flutist Quarterly Winter 2006 26_51.qxd 1/10/06 9:52 AM Page 51

An overt way to enhance the phrasing is by using rubato or On the last Variation, bring out the important notes of the tempo modulations. Take the time period in which your solo phrase, which happen to be the theme, by making these notes was written and the style of piece into utmost consideration longer and louder. They are called the skeletal notes, and they when deciding whether to take liberties that are typically have legato marks in the music. All the while, lessen and quicken saved for the music of the romantic period. Do not make a the other, secondary notes. This gives musical interest, like one continuous ritard without adjusting with a slight acceleration, person playing two parts at once. A bonus is to phrase the and vice versa. One possible approach with rubato is to rush melody with direction while all this is taking place. (A sound while the musical line is moving forward, then slow down dur- sample of this technique is available on the author’s Web site at ing a written or implied diminuendo. Because current perform- http://home.comcast.net/~lherbine/.) ance practice is much more reserved than in the days of Kincaid and Tabuteau in the orchestra, a flutist might under- Motion standably be leery about taking these liberties. It is a trend Music is in constant motion. It has lift and resolution and relax- that goes in and out of style. ation. Players must propel music forward to give it interest and direction. This underlying direction is heard in each phrase, but Ex. 10. Theme from Rossini’s Cinderella, preparing the interval changes with increasing intensity and by Frederick Chopin volume can help to connect the individual phrases together. Musical interest is achieved by modulating the tone colors, which means increasing and decreasing intensity by varying the speed and amplitude of the vibrato, and, in special cases, by varying the tempo of the music within the phrase. Technical deficiencies, ornamentation, and secondary voicings (which are notes other than the skeletal notes) should never disrupt the musical line. >

Lois Bliss Herbine in a native Philadelphian. Her early instruction was from Kincaid’s method books, The Art and Practice of In the theme and last variation from Rossini’s Cinderella,by Modern Flute Technique, and she continues to seek students of Frederick Chopin, the rubatos have been written in to com- Krell, Kincaid, Frank Versaci, and Deborah Carter to continue her plement the phrasing arrows, rushing in the forward line and instruction in the “American School of Flute Playing.” Herbine slowing down with the backward line. The printed sf in measure attended the New School of Music and received her BM with five and crescendo/diminuendo in measure eight changes the highest honors. She later studied with David Cramer and Kazuo motion of the line, making the center of the measure more Tokito of the Philadelphia Orchestra. Herbine has been a member important with a relaxation into the downbeats. This is the of Orchestra 2001 since its inception in 1988 and has recorded exact opposite phrasing technique than what were utilized in with the new music ensemble on the CRI and Albany labels. Her previous examples. That is because expression markings may first solo CD of premiere recordings for piccolo was released in supersede the implied rhythmic and harmonic importance of summer 2004 on the Crystal label. a phrase. (A sound sample of this technique is available on the author’s Web site at http://home.comcast.net/~lherbine/.) References 1. Laila Storch, “Marcel Tabuteau,” To the World’s Oboists, vol. II, no. 1 (March 1974). Ex. 11. Variation #4 from Rossini’s Cinderella, 2. Melissa Stevens, “Marcel Tabuteau: An Interview with John Krell,” The Flutist by Frederick Chopin Quarterly, no. 3, Spring 2001: 56–60.

Winter 2006 The Flutist Quarterly 51

Michel Debost & Kathleen Chastain June 25 – July 2, 2006 Oberlin Flute Institute An intensive week of master classes, lessons, and performances for high-school and college students, teachers and professionals.

For information, please contact:

Call: (440) 775-8044 [email protected] www.oberlin.edu/con/summer

F NEW PRODUCTS Recordings, music, and other products by and for NFA members

Ian Clarke’s new recording, Ian Flutist Mimi Stillman’s new CD, Clarke Within…, features “Zoom Mimi, was released on the Dolce Tube,”“Orange Dawn,”“T R K s,” Suono label in August 2005. Her “The Great Train Race,” “Spiral program, with pianist Charles Lament,”“Tuberama,”“Within...,” Abramovic, includes world pre- “The Mad Hatter,” “Hypnosis,” miere recordings of Claude “maya,” “Sunstreams,” and Debussy’s Nuits d’étoiles: 8 “Sunday Morning.” For more Early Songs, arranged for flute information, visit ianclarke.net. and piano by Stillman, Lawrence Ink’s Sonatine for Flute and Piano, Daniel Dorff’s Nocturne Caprice for Solo Flute, and Brazilian Chôros arranged by Stillman and Abramovic. Francis Poulenc’s Sonata for Flute and Piano is Andy Findon:Tracked is the also included. name of a new CD from Quartz Records showcasing Findon performing works by Brian Bensing (flute) and Marja Nyman, Rachmaninov, Arnold, Mutru (piano) recently released a CD Williams, Vivaldi, Barber, entitled NEW, containing newly com- Gabrielli, Rahman, Debussy, missioned and rarely recorded works. Gershwin, and others. Findon John Rutter’s Suite Antique opens the plays the piccolo, flute, alto CD, followed by the world premiere flute, bass flute, and contra recording of Gary Schocker’s Sonata bass flute, as well as the recorder, folk flutes and whistles, No. 2. Commissioned for the project and other wind instruments. For more information, visit is Robert Denham’s “The Lament of andyfindon.co.uk. Aeneas” for alto flute and piano. This work was published by Falls House Press in both its original version and a version for alto flute and orchestra. The CD also contains Carl Vine’s “Flute Sonata” and a version of Celestial Sounds of Christmas, a new CD by Patricia Davila, Mike Mower’s “Scraps from Fingerbusters”, recorded for flute, piccolo, and alto flute, and Elaine Christy, harp, has been flute and drums featuring percussionist Gene Reffkin. For released. Works include “Good King Wenceslas,” “We Three more information, visit brianbensing.com. Kings,” and “Patapan.” For information, call 201-529-2337 or visit christydavila.com. Flutist Bill McBirnie has released Paco Paco, a new CD recorded in an acoustic jazz setting. The recording features The Bill Albany Records has released Pure Colors, a new CD featuring McBirnie Duo/Quartet, with jazz pianist Bernie Senensky, Neil six works by Judith Lang Zaimont for solo instruments, Swainson on bass, and John Sumner on drums. Paco Paco including flutes, and small chamber ensembles. CD highlights includes standard jazz repertoire, including the title track, writ- include works for solo flute and two small-ensemble works ten by Senensky. Other pieces on the CD are by John Coltrane, that were performed in recent recitals at venues including the Thelonious Monk, and Keith Jarrett, among others. For more 2005 National Flute Association Convention. The performers information, contact Indie Pool Canada at 888-884-6343 or visit are primarily Minnesota-based artists. Among works on this indiepool.com. composer-supervised release are “Valse Romantique” (1974), performed by Immanuel Davis, flute, and “Bubble-Up” Rag— Concertpiece for Flute and Piano (2001), performed by Davis NRG! Duo has released its first CD, titled Unleashed, in and Nanette Kaplan Solomon, piano. This recording was collaboration with Christopher Caliendo. Four of Caliendo’s made possible in part by Scholar of the College of Liberal Arts duets were recorded by Sherry Finzer and Tina Beaton for this award to Judith L. Zaimont in recognition of her creative CD. Also on the CD is music by Schultze and Doppler, and accomplishments at the University of Minnesota–Twin Cities. Gary Schocker’s “Tapestry.” For more information, visit For more information, visit albanyrecords.com. nrgduo.com, cdbaby.com, or christophercaliendo.com.

54 The Flutist Quarterly Winter 2006 he best choice—Yamaha. TWhy? We have world class designers, state-of-the-art manufacturing techniques and are committed to producing the industry’s most consistent, superior-sounding instruments available. Just three of the many reasons Yamaha is un- paralleled in providing artists with the world’s premier line of musical instruments.

©2006 Yamaha Corporation of America Yamaha is a registered trademark of Yamaha Corporation of America. All Rights Reserved. www.yamaha.com Need music? The Recording Studio has music.

free music, affordable music, classical music,

not-so-classical music, international music,

famous music, new music, music for the soul

YOUR ONLINE MUSIC OASIS

WWW. POWELLFLUTES. COM

From the PROGRAM CHAIR ICONS in 2006 his fall has been an exciting time sibilities for the baroque flute with new as we plan our 34th annual NFA music and contemporary techniques. Tconvention in Pittsburgh. I have The awards banquet will be a memorable heard from hundreds of flutists with evening, and I hope you will attend to great ideas to contribute to make this honor these musical icons and cele- event a truly memorable one. There brate their continuing contribution to have been so many creative ideas our culture. shared that fit into the theme of this Many wonderful performers and convention—ICONS. I look forward events are being planned for this con- to sharing more news about specific vention. A special recital in Heinz performances and presentations as Hall, one of the most beautiful concert they are confirmed. Many enthusiastic halls in North America, will feature proposals from around the world will Carol Wincenc and the brilliant highlight the top performers in our French flutist Jean Ferrandis. I don’t field, exceptional events for amateurs, want to give away all our secrets yet, but Thomas Robertello multimedia presentations, extraordi- to whet your appetite so you plan to nary teachers, and new flute choir attend the convention, other featured music. Repertoire that draws from art performers from around the world are and literature will be featured as well as Marina Piccinini, Jonathan Snowden old favorites and new works destined to playing Martin Kennedy’s recent flute be in all flutists’ libraries. concerto, Amy Porter, and Marianne This year the NFA will honor two Gedigian. Many other great musicians exceptional musicians with the and teachers will join us in Pittsburgh for Lifetime Achievement Award: Jeanne what promises to be a truly memorable Baxtresser and Stephen Preston. weekend. Flute choirs also will be in World-renowned flutist Jeanne the spotlight, with new major works by Baxtresser has held principal positions Robert Aitken and Martin Kennedy. The with the Montreal and Toronto sym- convention center in Pittsburgh is a great phonies as well as the New York Philharmonic. As a soloist, Baxtresser facility and we have selected a terrific has appeared with many top orchestras space for flute choir reading sessions. worldwide and has been featured with I look forward to sharing more plans the New York Philharmonic on more for the convention soon. Please plan to than 50 occasions. Her generosity and attend the 2006 NFA convention in understanding as a teacher continue to Pittsburgh, August 10–13. One of the make an enormous positive impact on greatest investments you can make in flutists across the globe. Baxtresser yourself this year will be to take part in also will present a masterclass at the the festivities with your flute friends convention, offering guidance to us all from around the world. Whether you about audition preparation. attend to perform, play in flute choir Baroque flutist Stephen Preston is reading sessions, or check out the one of the leading musicians in the amateur events, classes, gala evening development of early music performance concerts, or exhibits, you will be gen- in the UK and Europe. As one of the erously rewarded and inspired, and world’s leaders of baroque flute, your own presence will add to the Preston teaches at the Royal College of overall excitement of the convention. Music, Royal Academy of Music, Trinity College, and the Guildhall School. He continues expanding the pos- —Thomas Robertello, Program Chair Winter 2006 The Flutist Quarterly 59

52_71.qxd 1/12/06 9:43 AM Page 61 Skidmore College Summer Flute Institute Saratoga Springs, New York Our 13th Season August 3-9, 2006 FACULTY JAN VINCI JEFFREY KHANER Jan Vinci MARK VINCI Director, Skidmore Flute Institute Senior Artist-in-Residence, Open to Flutists at High School Skidmore College D.M.A., The Julliard School of Music through Professional Level This program is sponsored in part by Yamaha Corporation and by John Keal Music.

For information and application contact: Office of the Dean of Special Programs Skidmore College • 815 N. Broadway • Saratoga Springs, NY 12866-1632 (518) 580-5590 www.skidmore.edu/summer 52_71.qxd 1/9/06 5:59 PM Page 63 ! .ATURAL ,EGACY

4HE "OSTON ,EGACY 0ICCOLO

4HE "OSTON ,EGACY PICCOLO OFFERS A SWEET DARK TONE CRAFTED FROM AGED CENTRAL !FRICAN 'RENADILLA AND ANCIENT )RONWOOD TONE WOODS

$ESIGNED IN THE "OSTON TRADITION THE "OSTON ,EGACY IS A FULLY HANDMADE INSTRUMENT PERFECT FOR PROFESSIONALS TEACHERS AND STUDENTS SEEKING THE FINEST SOUND NATURE AND MAN CAN CREATE

"REATHTAKING

8F .BLF -FHFOET $POO4FMNFS *OD t " 4UFJOXBZ .VTJDBM *OTUSVNFOUT $PNQBOZ t 10 #PY  &MLIBSU */  t XXXDPOOTFMNFSDPN

SUBSCRIPTIONS editor reserves the right to edit all articles for style, content, or space requirements. Receipt of The Flutist Quarterly is a benefit of membership in the National Flute The Flutist Quarterly budget does not include honorariums for authors. Association, Inc. Subscriptions are available to libraries and institutions at a charge Editorial deadlines for The Flutist Quarterly apply primarily to departments of $35 per year. Personal subscriptions are not available. The Music Library Catalog providing news of interest about flutist activities and products. Unsolicited feature (6th ed.) is also available to libraries and institutions at $15 per copy. articles may be sent at any time for consideration; submissions to Across the Miles, Canadian News, and Notes from Abroad departments should be sent to their edi- ADDRESS CORRECTIONS tors at least one week prior to deadline dates to be considered for inclusion. Send Bulk rate mail is not forwarded. Send address corrections to: Maria Stibelman, editorial materials for the Fall issue by July 1; for the Winter issue by October 1; Membership Services, 26951 Ruether Ave., Suite H, Santa Clarita, CA 91351; for the Spring issue by January 2; and for the Summer issue by April 1. 661-250-8920; 661-299-6681 (fax); [email protected]. The NFA will be responsible for one missed magazine in the event an address change crosses in the Please send submissions (except Across the Miles, Canadian News, and Notes mail. Missed issues due to bad addresses are available at the rate of $10 per copy from Abroad—see those departments for contact information) to: through the membership services manager. Anne Welsbacher 13810 NW Passage #302 BACK ISSUES Marina del Rey, CA 90292 Members and nonmembers may purchase back issues of The Flutist Quarterly phone/fax: 310-301-2101 (call before sending fax) at the rate of $10 each through the membership services manager at the [email protected] address listed above. No submissions will be returned unless accompanied by a stamped, EDITORIAL GUIDELINES self-addressed envelope. Please submit manuscripts electronically as Word files attached to an e-mail message that clearly states what you are submitting. (Unidentified attachments ADVERTISING GUIDELINES might be deleted as a virus security precaution.) If you are unable to submit via Guidelines, deadlines, and fees are available on the NFA Web site at e-mail, please send submissions as Word files on a CD or computer disk. Please nfaonline.org/fqadvertising.asp. include a single-spaced, printed copy of your submission. Advertising deadlines for The Flutist Quarterly are: Fall issue, August 15; Winter Submissions should also be accompanied by a signed letter stating that the issue, November 15; Spring issue, February 15; Summer issue, May 1. material contained in your submission (1) is entirely original; (2) has not been previously published; and (3) is not currently under consideration for publication Please send advertising submissions and queries to: elsewhere. (Electronic submissions need not be signed but should include these Steve DiLauro, NFA Advertising Sales Representative three statements.) Manuscripts under copyright need to include permission to LaRich & Associates, Inc. duplicate 10 copies for review purposes only. 153000 Pearl Rd., Ste. 112 You will be notified that your manuscript has been received by the editor. Strongsville, OH 44136-5036 Authors of manuscripts accepted for publication will be sent a permission-to- 440-238-5577 print form. Accepted manuscripts will, when appropriate, go through a review fax: 440-572-2976 process. Authors might be asked to revise manuscripts during this procedure. The [email protected] NFA Staff, Coordinators, Committee Chairs Please check the NFA Web site for any changes and updates for addresses, phone numbers, and e-mail addresses: nfaonline.org

• NFA STAFF Program Book Bio Editor • COMPETITION COORDINATORS NFA Library Committee Chair Troy Etter Brian Luce Executive Director 536 Fort Washington Ave. #3K General Coordinator Music Building, Rm. 236 Phyllis T. Pemberton New York, NY 10033 Lori Akins University of Arizona 26951 Ruether Ave., Ste. H 917-846-9184 (h) 212-580-0210 ext. 262 (w) 5113 Glenaire Dr. Tucson, AZ 85721-0004 Santa Clarita, CA 91351 fax: 212-580-1738 Dublin, OH 43017-9479 520-621-7015 661-713-6013 [email protected] 614-766-1838 fax: 520-621-1307 fax: 661-297-0753 [email protected] [email protected] [email protected] Visual Documentation Paula Gudmundson Baroque Flute Artist NFA Librarian 1128 LaSalle Ave. Convention Manager Linda Pereksta Bob Diaz, Music and Dance Librarian Madeline Neumann Minneapolis, MN 55403 836 S. Clearview Pkwy., #353 612-321-0100 x433 NFA Music Library 26951 Ruether Ave., Ste. H River Ridge, LA 70123 c/o University of Arizona Libraries Santa Clarita, CA 91351 [email protected] phone/fax: 504-818-0581 1510 E. University 661-299-6680 [email protected] fax: 661-299-6681 Lifetime Achievement Awards Banquet Chair Tucson, AZ 85721-0055 Richard Soule 520-621-7010 [email protected] Chamber Music 5407 Ramillete Rd. [email protected] Andrea Graves Las Vegas, NV 89120 Publications Director Western Illinois University, 120 Richmond Rd Anne Welsbacher 702-895-3377 • OTHER COORDINATORS [email protected] Macomb, IL 61455 13810 NW Passage #302 309-836-2374 Marina del Rey, CA 90292 Director of Development • COMMITTEE CHAIRS fax: 309-298-1968 phone/fax: 310-301-2101 [email protected] Richard Soule [email protected] 5407 Ramillete Rd. Amateur Resources Convention Performers Las Vegas, NV 89120 Membership Services Brenda Trautman 702-895-3377 275A Solon Rd. Amy Hamilton Maria Stibelman 154 King St. fax: 702-433-9457 26951 Reuther Ave., Ste. H Chagrin Falls, OH 44022 Oakville, ON, L6J 1B2 [email protected] Santa Clarita, CA 91351 440-247-2548 Canada 661-250-8920 [email protected] 905-339-2658 Director of Public Relations fax: 662-299-6681 Irene Pruzan [email protected] Commercial Members [email protected] Sue Ann Kahn 5951 Petunia Ln. • NFA PUBLICATIONS 96 Fifth Ave. #4-J Call for DM/PhD Papers Orlando, FL 32821 New York, New York 10011 Rachel Lynn Waddell phone/fax: 407-238-9378 Editor, The Flutist Quarterly, NFA Online 212-675-1932 Hillsdale College, Howard Music Building cell: 651-398-7307 Anne Welsbacher [email protected] 79 E. College St. [email protected] 13810 NW Passage #302 Hillsdale, MI 49242 Marina del Ray, CA 90292 Cultural Outreach 517-607-2366 Flute Choirs Coordinator 310-301-2101 Ellen Kaner [email protected] Dorli McWayne [email protected] 5802 Tinsley Dr. 780 Merlin Ln. Arlington, TX 76017-6324 High School Soloist Fairbanks, AK 99709 Advertising Sales Representative 817-467-6784 Darrin Thaves 907-479-6701 Steve DiLauro, LaRich & Associates, Inc. [email protected] California State University, [email protected] 153000 Pearl Rd., Ste. 112 Department of Music, 1250 Bellflower Blvd. Strongsville, OH 44136-5036 Historical Flutes Long Beach, CA 90840-7101 Flute Clubs Coordinator 440-238-5577 Kim Pineda 562-858-7697 Christine Cleary 4208 3rd Ave., NW [email protected] fax: 440-572-2976 2022 Wedgewood Dr. [email protected] Seattle, WA 98107 206-782-0406 Jazz Flute Masterclass Grapevine, TX 76051-7706 817-421-6663 NFA Online Administrator [email protected] Ali Ryerson [email protected] Brian Covington 12 Longview Dr. [email protected] Jazz Brookfield, CT 06804 Ali Ryerson 203-740-2044 Flute Research • CONVENTION 12 Longview Dr. [email protected] Rachel Lynn Waddell Brookfield, CT 06804 Hillsdale College, Howard Music Building Program Chair 2006 203-740-2044 Masterclass Performers 79 E. College St. Thomas Robertello [email protected] Catherine Bull Hillsdale, MI 49242 c/o Emily McKay, Assistant Program Chair 303 Augusta Ave. SE 517-607-2366 717 S. Lincoln St. Long-Range Planning Atlanta, GA 30315-1403 [email protected] Bloomington, IN 47401 Leone Buyse 404-627-9077 202-674-8381 2136 Swift Blvd. [email protected] Grants Development [email protected] Houston, TX 77030 Patricia Spencer cc all to [email protected] 713-838-0420 National High School Flute Choir 215 W. 90th St. #1G fax: 713-838-0078 Jane Berkner New York, NY 10024 Convention Manager [email protected] School of Music, University of Akron 212-873-1065 Madeline Neumann Akron, OH 44325-1002 fax: 212-873-1065 New Music Advisory 26951 Ruether Ave., Ste. H 330-972-7061 [email protected] Santa Clarita, CA 91351 Paul Taub [email protected] 661-299-6680 1513 25th Ave. fax: 661-299-6681 Seattle, WA 98122 Insurance Newly Published Music Francesca Arnone [email protected] 206-720-1011 Andrea Loewy [email protected] 1620 Vermont Ave. 110 Live Oak Dr. Boise, ID 83706 Local Arrangements Chair 2006 Lafayette, LA 70503 208-429-8026 Wendy Kumer Nominating 337-988-6323 [email protected] 136 Fairfax Rd. Alexa Still [email protected] Pittsburgh, PA 15221-4616 College of Music, Box 301, UC Boulder 412-241-0209 Boulder, CO 80309-0301 Orchestral Audition/Masterclass International Liaison [email protected] 303-492-7150 Joanna Bassett Matej ZUPAN fax: 303-492-5619 85 Maywood Ave. C. 9. avgusta 72, 1410 Zagorje ob Savi Exhibits Management [email protected] Rochester, NY 14618 Slovenija, Europe Jim Magee 585-383-0650 +386 40 811 811 Oral History N’Awlins Trade Show and Convention Services, Inc. [email protected] fax: +386 1 516 11 34 612 Highland Ct. Nancy Toff [email protected] 425 East 79th St. #6F Mandeville, LA 70470-8538 Piccolo Masterclass 985-626-3046 New York, NY 10021 Rebecca Arrensen Legal Advisor fax: 985-727-3940 212-772-1343 1429 Stoney Creek Cir. Linda Mintener [email protected] [email protected] Carmel, IN 46032 3976 Plymouth Cir. Exhibits Assistant Pedagogy phone/fax: 317-818-0004 Madison, WI 53705 Patti McCleney Rebecca Hovan [email protected] phone/fax: 608-231-1680 N’Awlins Trade Show and Convention Services, Inc. 23685 Arlene Ave. office: 608-266-3049 P.O. Box 8538 Elkhart, IN 46517-3643 Professional Flute Choir [email protected] Mandeville, LA 70470-8538 574-875-5447 Lisa Garner Santa phone/fax: 985-893-9521 [email protected] School of Music, Texas Tech University Myrna Brown International Liaison [email protected] Box 42033 Dennette Derby McDermott Performance Health Care Lubbock, TX 79409-2033 315 South Court Dr. Showcase & Exhibitor’s Concert Coordinator Lee Van Dusen 806-742-2270, ext. 279 Nachitoches, LA 71457 Nora Kile 1947 Gravel Rd. [email protected] 318-357-5761 1802 Glen Stone Ln. Seneca Falls, NY 13148-8720 fax: 318-357-5906 Hixson, TN 37343-3106 315-568-1233 Young Artist [email protected] 423-842-4570 [email protected] Karen Moratz Jordan College of Fine Arts, Butler University [email protected] Myrna Brown Society Piccolo 4600 Sunset Ave. Indianapolis, IN 46208 Debbie Hyde-Duby Program Book Editor Mary Kay Ferguson 4554 Leathers St. Anne Welsbacher 3420 East Fairfax 317-253-1891 San Diego, CA 92117-3419 phone/fax: 310-301-2101 Cleveland Heights, OH 44118 [email protected] [email protected] 216-321-2713 858-270-4506 [email protected] • ARCHIVES & LIBRARIES [email protected] Advertising Sales Representative Steve DiLauro, LaRich & Associates, Inc. Special Publications Archivist-Historian Masterclass Reporter 153000 Pearl Rd., Ste. 112 Susan Waller Natalie Syring Tony Watson Strongsville, OH 44136-5036 224 Kent Pl. 9 Mallard Glen Pl. 1722 Hummingbird Ln. NE 440-238-5577 San Ramon, CA 94583-3748 The Woodlands, TX 77381 Atlanta, GA 30307 fax: 440-572-2976 925-829-4922 281-363-0955 404-964-4142 [email protected] [email protected] [email protected] [email protected] 52_71.qxd 1/9/06 6:00 PM Page 69

INDEX OF ADVERTISERS

Abell Flute Co. 25 Altus Flutes America, Inc. 13 Brannen Bros. Flutemakers, Inc. 7 Burkart Flutes and Piccolos (2) 10, 18 Cantilena Records 57 Carlini, Louis A. 53 Carnegie Mellon 14 Clarion Insurance 37 Drelinger Headjoint Co. 16 Emerson, division of Conn-Selmer 64 Fatrock Ink 21 Flute Exchange, The 4 Flute Network/Little Wizard Enterprises 69 flutesonline.com 27 Flute Specialists, Inc. 52 Flute World 39 Graf, Erich 44 Green (Tom) Flutes, Inc. 8 Hammig Piccolos (see also Miyazawa) 67 Harper, Patricia 62 Hartt School/University of Hartford 16 Jupiter Band Instruments, Inc. 70 Keefe Piccolos 62 Kemler, Katherine 44 Kingma, Eva 17 Landell Flutes 69 Little Piper/Dean Yang Flutes 53 Loewy 44 Lopatin 56 Los Angeles Flute Quartet 27 Lyric Flutes (see also Miyazawa) 14 Madison Flute Club 21 Magnolia Music Press 17 Married Flutes 60 Masters Flutes/ABA Music 6 Miyazawa Flutes, Ltd (3) 2, 14, 67 Muramatsu America back cover Music for Healing & Transition Program 38 Nagahara Flutes 22 National Flute Association (2) 61, 63, 65 Oberlin 53 Ogura Flute Works 38 Pearl Flutes 71 Polak, Simon 53 Potter, Christine 52, 69 Powell Flutes 56 Progress Press 45 Sagerman Flutes 52 Sheridan Flute Co. 58 Skidmore College 62 Sonare Winds, a division of Powell Flutes 6 Suzuki 58 Syrinx 51 Tap Music Sales 60 University of Illinois 8 University of Michigan 4 Williams Flutes 66 Windplayer 12 Winzer Press 28 Woodwind/Brasswind 36 Yamaha Corporation of America 55 Your Flute Works 65

THE NATIONAL FLUTE ASSOCIATION, INC. NON PROFIT ORG US POSTAGE PAID 26951 RUETHER AVE., SUITE H LOS ANGELES, CA SANTA CLARITA, CA 91351 90052 PERMIT #1831

ADDRESS SERVICE REQUESTED