The New York Flute Club N E W S L E T T E R March 2003 A Conversation With Robert Aitken Interview by Patti Monson Patti Monson spoke with Robert Aitken by phone in January. ATTI MONSON: Could you tell us often looking for works to play with instru- about some of your most recent ments besides piano. Then there are my Pcompositions? two [1977] solo flute pieces Plainsong ROBERT AITKEN: The last work and Icicle which are quite often played, [Shadows V, a concerto for flute and and may in fact become contemporary strings, 1999] was a commission for the flute classics. From time to time Plain- Chamber Orchestra of Neuchâtel [Switzer- song is a required piece in flute contests land]. They specifically wanted a work and Icicle is often a required work for related to native peoples. At first I had entrance to French music schools. little interest in doing exactly that, but Of course extended techniques are eventually I became fascinated with the used in all these pieces, but in an unpre- idea. I think it came off rather well. It is tentious, rather natural way. I hope that not an imitation of western Indian music all are playable on every flute. Of course In Concert but the inspiration for the work came one runs into trouble if a composition is from what I had learned about the music intended for a flute with B foot and the ROBERT AITKEN, flute several years ago. It is quite a long piece, flutist does not have one. But I am really PHOTO: JOHNPHOTO: SHAW Colette Valentine, piano some 22 minutes in length, [but it] seems not very upset if a practical solution is Saturday, March 29, 2003, to hold the attention of the audience. found, or another note is played instead. 5:30 pm I like to think that all of my pieces (Cont’d on page 4) Union Theological Seminary take the listener somewhere he or she 100 Claremont Avenue has not been before, and when the (between 120th and 122nd Streets) piece is over, they suddenly wake up NYFC Flute Fair 2003 and find themselves in the concert hall. Program SATURDAY, MARCH 29, 2003 These works are called “shadows” and 9:00 am–7:00 pm Plainsong for flute alone once again do not imitate music from (1977) ...... Robert Aitken Union Theological Seminary other cultures, but just show glimpses RafflE! Paris-Yangana-Paris for solo of this music from time to time. Details on Page 4. flute (1984) ...... Diego Luzuriaga Shadows IV: My Song [for 2 flutes and ad libitum ensemble of oboe, Scrivo in Vento for flute alone (1991) ...... Elliott Carter bassoon, violin and cello, 1994] involves I N T H I S I S S U E playing first on the footjoint, then the Ghosts and Gargoyles middle section, followed by the foot- A Conversation with (2001) ...... Henry Brant joint and the middle section together, in Robert Aitken ...... 1 Spatial Soliloquies for solo flute, the end-blown shakuhachi manner and Interview by Patti Monson with flute octet and jazz drummer finally the entire flute is put together, New York premiere From the President ...... 2 but no real traditional flute tones are United Flutists Behind the Fantasie über Mutterseelenallein produced. There is an optional accom- 2003 Flute Fair von Albert Braun, Op.41 paniment to the piece but so far I have Member Profile ...... 3 ...... Albert Franz Doppler not been pleased with the result. I hope Stefani Starin Gute Nacht, Die Taubenpost sometime soon to make an accompani- Henry Brant on the Birth of ...... Franz Schubert ment which can be performed by any Angels and Devils ...... 5 arr. Theobald Boehm number of instruments. All I need is Interview by Nancy Toff time. Monodie [1983] for flute and mixed Fantasie-Sonate, Op. l17 Announcements ...... Max Meyer-Olbersleben chorus is played from time to time. I wish Flute Happenings ...... 3 there were more works for flute and choir Member Announcements ...... 4 Program subject to change. as it is a marvelous sound and choirs are Flute Fair Update/Raffle ...... 4 2 — NYFC Newsletter The United Flutists Behind the 2003 Flute Fair THE NEW YORK FLUTE CLUB INC. by Jayn Rosenfeld ear Friends: 2002–2003 D Board of Directors We are all looking forward to the 2003 Flute Fair, and I won- Jayn Rosenfeld, President der if you can imagine the amount of planning, organization Jan Vinci, First Vice President and cooperation that goes into the orderly unfolding of one Ardith Bondi, Second Vice President day. It feels like we have had to mobilize the powers of a Svjetlana Kabalin, Recording Secretary From the United Nations, let’s call it the United Flutists. I for one feel Michele Smith, Membership Secretary enormous pride in the intelligence and generosity of our board James Blair, Treasurer President and other volunteers. Let me count the ways. Katherine Fink Bärli Nugent Rochelle Itzen Rie Schmidt Kathy Fink: Kathy is the Program Chair Pat Zuber: We will have a knife-edge Sue Ann Kahn Patricia Spencer for the Fair. She took the job and ran competition with the best of our regional Robert Langevin Nancy Toff with it, creating a basic plan in the fall, young flutists, respectfully handled, and Patricia Zuber that she fine-tuned as performers and Pat has been organizing the best way to presenters revealed their availability and encourage the contestants for months. Advisory Board interests. She has consistently finished her May the best one win! Julius Baker Gerardo Levy Jeanne Baxtresser Laurence Libin work ahead of schedule. Unbelievable. Harold Jones Marya Martin Patricia Spencer: We are able to take Ardith Bondi, Svjetlana Kabalin, Sue advantage of Robert Aitken’s insights, Past Presidents Ann Kahn, Bärli Nugent, Rie Schmidt, humor, and teaching experience in a Georges Barrère ...... 1920–1944 Nancy Toff, Jan Vinci: These board masterclass setting organized by Pat. This John Wummer ...... 1944–1947 members with excellent memory for pre- is a three-way win: the flutists who play Milton Wittgenstein ...... 1947–1952 cedent have kept the history of flute fairs learn, the listeners hear a fascinating con- Mildred Hunt Wummer ...... 1952–1955 intact so that we do not have to reinvent cert dissected and analyzed, and other Frederick Wilkins ...... 1955–1957 Harry H. Moskovitz ...... 1957–1960 the wheel. The commitment is just stag- young players receive inspiration and Paige Brook ...... 1960–1963 gering; we are all very lucky. Do you know perhaps a clearer definition of future goals. Mildred Hunt Wummer ...... 1963–1964 how many meetings, phone calls, emails? Maurice S. Rosen ...... 1964–1967 The many subjects of concern? the num- Stefani Starin: We will have an informal Harry H. Moskovitz ...... 1967–1970 ber of rooms, chairs and tables, coffee, presentation of youngsters full of enthu- Paige Brook ...... 1970–1973 Eleanor Lawrence ...... 1973–1976 parking, music teachers, insurance, siasm and (perhaps) not so much polish, Harold Jones ...... 1976–1979 badges, prizes, the DETAILS? You will see but it is important to display the con- Eleanor Lawrence ...... 1979–1982 on the day (MARCH 29) how many jobs tinuum of flutists from beginner to artist. Paige Brook ...... 1982–1983 there are to do. Catch the walkie-talkies! It helps us all appreciate the challenges John Solum ...... 1983–1986 and the rewards. Eleanor Lawrence ...... 1986–1989 Sue Ann Kahn ...... 1989–1992 Michele Smith: Membership, registra- Nancy Toff ...... 1992–1995 tion, mailing. Cheerful when faced with Alex Lissé: We have profited from the skills Rie Schmidt ...... 1995–1998 time-consuming details, Michele has of a another professional designer who also Patricia Spencer ...... 1998–2001 given what feels like hundreds of hours happens to play the flute. Our advance Jan Vinci ...... 2001–2002 to the job. announcement and the program for the Newsletter day wouldn’t have happened without him. Katherine Saenger, Editor Jim Blair: Jim is our new treasurer. He 115 Underhill Road has collated past, present and future pro- Kathy Saenger, Alice Barmore and Ossining, NY 10562 jected expenses in a professional way that Rana Boland: Our Newsletter “eyes and (914) 762-8582 gives us very clear fiscal expectations. ears” and our press contact. Enough said. [email protected] This is important! Alice Barmore, Layout/Production Laura George: Laura is reaching out to 125 Christopher St., #4H Rebecca Quigley: Her interest in indus- YOU to help us run the day quietly and New York, NY 10014 (212) 675-9706 (phone and fax) trial relations, manufacturers, publishers, smoothly. This takes quite a few people; [email protected] etc. will enrich our exhibitions with a no one gets payment or recompense; that’s greater variety than ever. how it is with a club where people care. www.nyfluteclub.org

Copyright © 2003 by The New York Flute Club Inc. If this encourages you to become one of the United Flutists, let me know. unless otherwise noted. All rights reserved. See you on the 29th. ❑ March 2003 — 3

FLUTE HAPPENINGS Member Profile Influential flute teachers: She has studied with a myriad of teachers including O C TMARCH O B E R ’03 2 0 0 2 Stefani Starin Julius Baker, Jim Walker, Louis Moyse, NYFC member Paula Robison, Harvey Sollberger, and Thursday–Saturday 8:00 pm, since 1988 March Sunday 3:00 pm Ann Giles. Most influential: Baker, who 13-30 through osmosis inspired the beauty of Michele Smith is playing the Employment: tone production. musical accompaniment (solo flute) for DADAnewyork’s new theater piece Cabaret Member of flute faculty at Juilliard’s Re-Voltaire III — Beautiful Absurdities. Pro- Music Advancement Program (MAP) High school: Marlboro H.S. in Marlboro, NY. gram also includes Joelle Wallach’s A Wreath and the Music Conservatory of West- of Silver Birds and Jean Cocteau’s The Wedding chester; directing/performing with Degrees: BFA (Marlboro College, VT); Breakfast with new music by Julie Harting. MFA (California Institute of the Arts); • Theater for the New City, 115 First Avenue, Newband (see details below); main- NYC • Admission $10 • Info, call 212-254-1109 taining a private studio in Nyack, NY; Orff certification with Danai Gagne, or visit www.theaterforthenewcity.org. various freelance jobs in music theater, MA in music education (Lehman College Saturday 8:00 p.m. dance, and church music. of CUNY). March 22 Flutist Sue Ann Kahn presents Most personally satisfying accomplishment(s): “Dynamic Duos,” a concert of duos A recent recital/performance: Playing for flute with piano, bassoon, or harp. Music with Newband (on both flute and Harry As a performer: being part of an ever- by Bach, Czerny, Furstenau, Bozza, Copland, Partch string instruments) on January growing artform, surrounded by incred- and the premiere of Colloquy for flute and harp 19, 2003 as part of Great Events at ible musicians and composers. As a by Wayne Peterson. Performers include Martin Kuuskmann, bassoon, and Susan Jolles, harp. Montclair State University, with a teacher: watching her students grow, a remarkable and ongoing experience that • Mannes College of Music, 150 West 85th program including works by Harry Street, NYC • Admission is free. Partch and husband Dean Drummond. has contributed more to her growth as a flutist and human being than anything O C T OAPRIL B E R ’03 2 0 0 2 else (except, perhaps, the experience of Career Highlights: Winning a Martha Wednesday 8:00 pm Baird Rockefeller grant to produce a being a parent!). April 2 The New York Wolpe Festival pre- recital at Merkin Concert Hall, and sents “Josef Marx and Stefan Wolpe: being a member of Affiliate Artists. Favorite practice routine: Long tones A Friendship in Music,” with Patricia Spencer, Collaborating with some of the finest including variations on dynamics, flutist and curator; Susan Barrett, oboe; David musicians and composers of our time combinations of chromatic work, Miller, bassoon; Anne Chamberlain, piano; harmonics, and whistle tones; lots of David Holzman, piano; and others. Works by in new music concerts and record- Stefan Wolpe, Isaac Nemiroff, Janitsch, ings (on eight different labels). As Taffanel and Gaubert, with varying Calvisius, Pleskow, and Wuorinen. co-founder and co-director of Newband articulations and techniques that are • Merkin Concert Hall, 129 West 67th Street, NYC (www.newband.org), participating in required for the pieces she is perform- • Admission $15, $10 students/seniors • Info, call the commissioning of new works by ing; preparation of concert pieces and 212-501-3330 or visit www.patriciaspencerflute.com. dozens of composers and performing taking a peek at the pieces her more Saturday 8:00 pm advanced students are working on. April these works throughout the U.S. and 5 Bach’s Brandenburg Concerto No. 4 Europe. Reflecting on her concerts, she will be performed under the direc- says, “While some are more memorable Interests/hobbies: Jogging, yoga, garden- tion of Steven Giammarino by Carla Auld due to the challenges of the music or ing, reading, and volunteer arts advocate and Miriam Lachenauer, flutes, Darryl Kubian, violin, and Marsha Tyshkov, harpsichord. the circumstances (travel, fatigue, etc.), in the community and school her • Christ Episcopal Church, 400 Ramapo Avenue, what stands out overall is how excited children attend. She lives with a musi- Pompton Lakes, NJ • Admission $12, $10 European audiences get listening to cally collaborating husband/composer, seniors • Info, call 973-835-2207. new music.” two teenagers, and a dog and a cat. Sunday 4:00 pm April Brannen Eva Kingma Advice for NYFC members: Take care of 6 UpTown Flutes in a “Musical Series” Current flutes: concert performing works by Lowe, quarter-tone flute, with angled C foot your body. Find some sort of aerobic Burnette, Hirosi, McMichael, and Barber. (she plays a B foot only when neces- activity that keeps you in shape and that • Presbyterian Church of Madison, 19 Green sary) and a Dave Williams headjoint; keeps you sensitive to your posture, Avenue, Madison, NJ • Admission is $15, $12 in Powell piccolo with Eldred Spell breathing and stamina. Have mindful advance; $10 seniors/students • Info, call 973- 377-1600. headjoint; Altus alto flute. practice! ❑ Flute Happenings Deadlines Issue Deadline Mail date April 2003 03/20/03 04/12/03 May 2003 04/03/03 04/26/03 4 — NYFC Newsletter

FLUTE AITKEN (cont’d from page 1) Since I began to teach in Freiburg, of Unaccompanied Flute Music by HAPPENINGS I have trouble finding as much time to Canadian Composers compiled by a compose as I used to. This is partly former student of mine, Kathryn Cernauskas. It describes and quotes ANNOUNCEMENTS because of the teaching, but also because I lose about 30 days a year in airplanes. from some 60 solo flute pieces which The Ninth Annual New Jersey Flute Choir In this amount of time, including the are graded according to difficulty. Day will be held on Saturday, March 22, 2003 recovery and preparatory days, I could Naturally, I have my favorite works, from 8:30 am to 6:00 pm at Drew University and perhaps compose one piece a year or many of which were composed for me Grace Episcopal Church in Madison, NJ. The at a certain time in Canadian music event, directed by Virginia Schulze-Johnson at least have a nice vacation. So even with the assistance of Patricia Davila, will though my university degrees are in history. [See the Centre’s website for include seminars, flute choir readings, and composition, I only write one piece composer information and complete concerts for players and teachers of all levels. every two or three years. However, it works list. —Ed.] Info, contact Virginia Schulze-Johnson at I consider R. Murray Schafer’s flute 973-408-3428 or [email protected], or visit certainly is time for me to come up www.depts.drew.edu/music/beyond. with another solo work for flute alone. concerto [c. 1984] to be the most successful and exciting concerto of our The Jeanne Baxtresser International Flute PM: Can you recommend some living time. He has also composed a number Master Class will be held at the Carnegie Mellon School of Music from June 21 to June 29, 2003. Canadian composers and works of of other pieces for flute. Peter Paul Masterclasses on repertoire will be taught by theirs that you feel should be played Koprowski, a Polish-born Canadian Ms. Baxtresser and guest artists Mathieu Dufour, more in the United States? composer, has composed one of the Tim Hutchins, Renée Siebert, and Marina RA: To recommend flute works by few concerti we have with full orches- Piccinini; guest faculty will present lectures and workshops on contemporary/baroque living Canadian composers is a bit tra—I mean triple winds, four horns, flute techniques, preparation for auditions, tricky. As in most countries today, we three trumpets, etc. I would describe effective practicing, stage presence, cognitive have a lot of composers, and almost it as contemporary romantic style and learning and teaching, and recording techniques. very effective [1982]. Both concerti are Advanced participants (high school through pro- every composer has written something fessional) and auditors of all levels are welcome. for flute. The Canadian Music Centre available on CD from CBC Records. To request a brochure and application, please con- [www.musiccentre.ca or 416-961-6601] , who celebrates his tact Jeanne Baxtresser Master Class, CMU School can provide lists and, of course, has 90th year this year, composed reputedly of Music #105, Pittsburgh, PA 15213, phone/ the first 12-tone work in Canada, fax 908-608-1325/1326, [email protected] library copies of the scores. The (email), or visit www.jeannebaxtresser.com. Centre can also provide a Guidelist Divertimento No. 1 for flute and string orchestra [1946]. It actually won a prize at the 1948 Olympics, when prizes were given for music. This is still an important piece, and effective. NYFC Flute Fair 2003 [From the solo we have] Ansone [1979], a quarter-tone SATURDAY, MARCH 29, 2003 piece of Bruce Mather; Envol [1984] an 9:00 am–7:00 pm exotic work with extensive use of Union Theological Seminary harmonics and whistle tones by Gilles 100 Claremont Avenue (between 120th–122nd Streets/Broadway–Riverside Drive) Tremblay; Riffs [1974], a jazz influenced piece in 12 movements by John Weinzweig and perhaps the most RafflE! performed work for solo flute; and ROBERT AITKEN master- SPECIAL SESSIONS on Etching: The Vollard Suite [1964] by class and concert (includ- Latin style, historical Harry Somers. These are all worth WIN A LESSON ing Henry Brant’s new flutes, Baroque ornamen- learning and very effective in concert. with New York composition, Ghosts and tation, playing with style, Quatre Monodies [1955] of Clermont Gargoyles). Philharmonic translating modern Pépin is also a Canadian flute classic. principal flutist notation, and an intro- NYFC Annual Competition. Among the younger composers Robert Langevin. duction to Dalcroze. with works for solo flute are Paul STUDENT Flute Ensemble EXHIBITS: meet flute- Showcase. Tickets are Steenhuisen, with cette obscure clarté makers, publishers, repair 1 for $5 or qui tombe des étoiles for flute and CD experts and other music FLUTE CHOIR reading 5 for $20 accompaniment [2000], and pomme de terre session after “Wake Up industry professionals. Shop at the Fair. for solo piccolo [1999]. Chris Paul for your dream flute! and Warm Up.” Harman has a flute and piano piece in several movements [Ringing: Varia- tions for flute and piano, 1989], and Please check the NYFC website — www.nyfluteclub.org — for details and updates. (Cont’d on page 7) March 2003 — 5

Henry Brant on the Birth of Angels and Devils by Nancy Toff

n February 1995, I interviewed he conducted. And that [was] the first Henry Brant at his home in Santa time I heard the first movement, [in IBarbara, California, as part of the 1931]. And it more than realized what research for my biography of Georges I’d hoped. Barrère. I talked with him about the So I went so far as to ask him premiere of Angels and Devils by Bar- whether he would play it himself. And rère and ten of his students, which took he said, we must find a way to do this. place at a concert of the Pan-American And so he and Salzedo and Riegger and Association of Composers (PAAC) in and some other people Carnegie Chapter Hall (a small audito- worked out this occasion there. And [he] rium located in what is now the Kaplan said that I should conduct it myself. This Space) in on February 6, was a scary thing for me, but he told 1933. The second performance, also by the players, “He beats time, he’s the Barrère and sponsored by the PAAC, took place on December 11 composer. I follow him, so you can do the same.” And that’s of the same year at the New School for Social Research. how it got to be first performed.

NANCY TOFF: Tell me how the performances came about, how NT: That was the first concert, at Carnegie? you got Barrère to do it. Start from the beginning. HB: Yes, and at that time Angels and Devils did not have the HENRY BRANT: Well, I arrived in New York in 1929 from present introduction. It started at the second tempo, after this Canada. And I heard about Barrère and I heard him play and long unison passage, and it didn’t have the coda either, the right away I thought, Now what could be grander than if some place where the thing tapers off, one player at a time. Then day so great a player would play a piece that I would write? Barrère said, well now, you need a second movement, why And it seemed to me that he wasn’t just playing the flute, what don’t you write another one, contrast it. So I wrote the second he was doing competed easily with the best players on any movement, and we played it. But at a later time I felt that…my instrument…so you weren’t aware that this instrument had attempts at burlesque and parody weren’t very satisfactory. any limitations. I mentioned this to Barrère once and he said, And Barrère himself said, well, the parody is perhaps in the “Yes, it has many, and we try to overcome them.” And he audience seeing an ancient flute player play these unexpected advised me to be careful of the middle range of the flute. He things. So at a later time I rewrote the second movement in a said, “Everyone thinks that’s so easy but it’s the least expres- style closer to what I really wanted. Every bar is there, but I sive, it’s the dead register, and we have to make it somehow changed the harmonies completely. The harmonic style [be- equal to the others. It won’t do that without help.” came] a lot more conservative—I was still studying with con- [Then around] 1931 I heard [one of] the first American servative teachers, and I thought there might be some there. I performance[s] of the Stravinsky Symphony of Psalms, in Carn- took out all the things that were like gags and replaced them. egie Hall. And the score at that time was not published; no- So it’s the same piece, but with a different front end and a body knew what it looked like, but I was immediately struck different ending. by a place in the second movement where for two bars you hear five flutes playing something. And I thought, that’s what I NT: So the first performance only had one movement, then? want. But is five flutes enough to make an orchestral texture? HB: It had the two movements, [but] the earlier version of the Well that’s when I got the idea that I wanted an all-flute sound. second movement, which was extremely difficult to play, be- [But we needed] low notes, and alto flutes were not easy to sides. It had rhythms with hanging fourth note of a group of come by in those days. There were only a couple in town. sixteenths by itself which we were supposed to try to get to- Arthur Lora owned one; I don’t know where the other one gether—things like that. Then there was some talk of making a came from. And piccolos…. So I thought, I’m going to write recording of it because the Henry Cowell New Music magazine this piece anyway, [even if] nothing will come of it. had started a New Music series of recordings. But it never got [After I finished the first movement,] one of my teachers, anywhere. Wallingford Riegger [thought it could be done, but Wallingford Riegger, said, Well, I’ll write to Georges Barrère it would have been the first movement only, with lots of cuts]. and tell him what you’ve done. I expected to hear nothing. So this great playing never got recorded. And then I decided, very scared, [that] I would actually phone. And he said, yes, I got the letter. That’s a piece which maybe NT: Now the second performance, the one that was at the New we can perform, and I won’t forget about it. So he encouraged School, how did that happen? me to copy the parts out. And then the great day came, and his HB: Well, [Barrère’s] trio was [with] Salzedo [harp] and Britt class met at the Institute of Musical Art, where I was a student [cello]. They were planning a concert, and they were also going myself. Frances Blaisdell was entrusted with the solo part, and (Cont’d on next page) 6 — NYFC Newsletter

to do Salzedo’s new sonata for and accelerandos and stressing piano and harp. And Henry of things in phrases—even Cowell wanted to do something changing the articulation. [This] of Carl Ruggles. So Ruggles ar- astounds me, because the music ranged his piece Angels [c. 1920, is published, in print. And so this originally for six trumpets] for gave me an insight into what it’s four flutes and two alto flutes. like to be a dead composer. You Barrère [was conducting] that, can expect a lot of trouble as peo- and then they figured, well, ple think that without the com- now, we’ve got Barrère, we’ve poser around they can massa- got these flutes, why don’t we cre the piece any way they want. do Angels and Devils? So that’s how that came about. NT: Would you say that Barrère was a supporter of experimen- NT: And who conducted it? tal music? HB: I did. HB: Distinctly, yes.

NT: Not Reiner? NT: How so? HB: He was supposed to con- HB: He said that he would like duct Angels and Devils, [but he to play a lot of experimental had] some conflict and couldn’t music and that it should be done do it. But I went to see him and For its premiere in 1933, Angels and Devils was still known as but that the people who sup- he gave [me] some ideas on Concerto for Flute With Orchestra of Ten Flutes. ported concerts and made them how to conduct it. I’d already possible were so reactionary conducted one performance, but I realized that somebody like that it would [be] dangerous to attempt it very often. that could tell me a lot of things I didn’t know. I was reluctant, [I spoke with Henry Brant by phone in March 2003 and he even with my one experience, to replace him. But he said, no, added] Barrère…even thought it wouldn’t be safe to play Angels you do your best, and you’ll know more about it after the and Devils for the Flute Club, they’re so conservative….What I second performance than you do after the first. So that was think now, after the experience of writing these two pieces how that all came about. [Angels and Devils and Ghosts and Gargoyles] is that the prob- Then I think nothing happened for about twenty years, lem with the flute repertoire is [that] there is no flute reper- absolutely nothing. I made one attempt to play it at the Institute toire. There’s no great flute piece by any first class contempo- of Musical Art, but they had no alto flutes and they actually play- rary composer. There’s the Hindemith Eight Pieces and a so- ed it with clarinets, if you can imagine such a thing. So it wasn’t nata, and the Poulenc sonata, but hardly heavyweight stuff. ❑ very satisfactory. Then I won an award of the American Academy © 2003 by Nancy Toff of Arts and Letters, and the award was a recording of a piece of  chamber music up to thirteen players. So at that time the flute Henry Brant was born in in 1913 of American parents player whose playing I knew best was Fred Wilkins, who’d played and began to compose at the age of eight. In 1929 he moved to New in the original performance. So he took it very seriously. He York, where for the next 20 years he composed and conducted for radio, said, well we’re going to get the best people in town, and he films, ballet and jazz groups. He taught at the and did. And we played it in public a few times. And as far as caliber (1947-55) and at Bennington College (1957-80). of supporting personnel and preparation, we’ve never had a Since 1981 Brant has made his home in Santa Barbara, California. performance equal to that [CRI-106 (1956) with Frederick Wilkins, In 1950 Brant began to write spatial music in which the planned solo flute, and Samuel Baron, Frances Blaisdell, Philip Dunigan, positioning of the performers is an essential factor in the composing Harold Jones, Andrew Lolya, Claude Monteux, Harry Mosko- scheme. His spatial music now comprises a catalog of 112 works. Brant vitz, Murray Panitz, Lois Schaefer, and Kenneth Schmidt]. was awarded the 2002 Pulitzer Prize in Music for Ice Field (2001), a [But] it’s not an easy piece. It needs an experienced con- work for large orchestral groups and organ, premiered by the San ductor and a lot of work. And every time I do it now, I figure Francisco Symphony with conductor Michael Tilson Thomas and the I can’t do it in under two rehearsals. I can’t even do it well. composer as organist. Ghosts & Gargoyles (2001), a concerto for flute And this is true even sometimes when everybody’s [already] solo with flute orchestra, had its world premiere in in May played it. But [I can’t] explain how I want it and how I think it 2002, with Robert Aitken as the flute soloist. Ghosts & Gargoyles is a ought to go until we do it together. spatial sequel to Angels & Devils (1931)—the time interval between And the piece is so old now, three generations have played it, the compositions spanning 70 years of the composer’s career. that it’s treated as though the composer is dead. People “interpret” For additional reading visit www.otherminds.org/shtml/ it, that is to say, [they] use different tempos and things like ritards Brantinterview.shtml. March 2003 — 7

AITKEN (cont’d from page 4) Denis Dion has several pieces for flute piece. It is easier to understand the new techniques which have now and tape. John Celona’s Voce Mod intention of the composer and therefore become accepted. As it is difficult to [1990–1991] is a very good piece for convey this to the audience. I think a go further with the normal flute and we flute and computer. performer should play a piece for the are a bit tired of the new extra musical public as if he is teaching it to them, sounds, most composers are playing PM: How do your conducting and com- and in order to do this he must under- around with forms of tonality again and posing integrate into your flute playing? stand how it is put together. It is not certainly absorbing the influences of RA: I am not sure how conducting simply a lot of notes that you feel. If non-Western musical cultures. Thanks integrates into my flute playing…. [If you play like that, you are in danger of once again to improved communica- anything,] the talent of a performing distorting the work beyond recognition. tions, access to more authentic ethnic musician is of greater advantage to a It is like speaking a language with all music has become simple. conductor than the other way around. the wrong accents. Composition and The computer is, of course, opening You need the same powers of observa- analysis are two of the most important up the possibilities of flute composition. tion to be a successful flutist or suc- subjects a performer should study. Although the flute techniques are cessful conductor. It is exactly the same basically the same, the compositions musical demands—a very self-critical PM: Can you comment on the trends of themselves can provide a much larger attitude and the ability to physically flute literature and where you see us sonic world. Works by Philippe convey your concept of the music into stylistically in the future? Manoury, Marco Stroppa, etc., suggest the space of the concert hall…. I would RA: To comment on today’s flute exciting possibilities and new demands suppose that conducting also heightens literature or where we will be some on the performer, but the technical one’s listening powers, as you are very years from now is impossible without development has basically stopped for focused and concentrated to shape the considering music at large. The history the moment. This explains the need for phrases to the best of your ability in of music (or of the world for that quarter-tone flutes and other hybrid addition to monitoring the ensemble, matter) is never linear. Something instruments which [can] produce some balance and intonation. always happens to break its natural fascinating musical effects—but for a But if you do need to deal with development. With World War I, the very limited number of composers and extremely complex rhythms, as you evolution of music in its serious performers. do in the music of Stefan Wolpe, one romantic form was broken, resulting in So at the moment, I feel we are marking becomes very aware of the tiniest a music of “Les Six” or a frivolous time and enjoying the fruit of many note values and their relationships to entertainment which then became different directions in composition— each other. Of course trying to make attacked by “Les Cinq” with music of often especially composed and, idiomati- others aware of these complications Jolivet and Messiaen who wanted to cally, only possible on the flute. ❑ and thinking of ways to convey or give back to music its ancient ritualistic, conduct this also helps me in such even religious responsibility.  situations, especially when performing The arts have always been cyclic: Canadian composer and flutist Robert Aitken complex chamber music or concerti looking forward, then backwards. At was born in in 1939. He began [as a flutist]. the time of Mozart, a cycle took half a formal composition studies at the University of Composition, however, is an entirely century, but today we have seen two British Columbia while he was principal flutist different matter. I think all performers cycles in fifty years. And now with of the Vancouver Symphony Orchestra in 1958– should compose, or at least try to improved communications we will 59. He then studied electronic music and compose. After all, the traditional role probably see cycles of five years. In composition at the from of a musician was to be a composer, many cases, flute music seems to 1959–64, earning a B. Mus. (1961) and M. Mus. performer, teacher and, when required, push the boundaries of possibility for (1964) while serving as second flute in the CBC Symphony Orchestra. a conductor, even though John Cage a number of years and then through a Aitken’s flute teachers have included Nicolas said that composing, performing and certain frustration at not being able to Fiore, Marcel Moyse (whom he considers to be his listening to music are not related. I go any farther or boredom from always most significant teacher), Jean-Pierre Rampal, believe composing music gives the tackling the same problems falls back Severino Gazzeloni, André Jaunet, and Hubert performer an insight into how notes are in an eddy of conventionality. With Barwähser. Aitken has been professor of flute at the put together to make a piece, and that composers like Heinz Holliger, Vinko Hochschule für Musik, Freiburg, West Germany this knowledge helps immensely when Globokar, Helmut Lachenman, Brian since 1988 and still reserves some time each year one is learning a new piece and Ferneyhough and to some extent for composing. seeking out an interpretation. The Robert Dick and myself, the boundaries mystery of the music is taken away. of flute possibilities have been pushed Patti Monson is flutist for the New York new The performer can really understand about as far as they can go at the music ensemble Sequitur, and a frequent guest the piece as others might read a book. moment and have already fallen back artist on several recital series dedicated to new The harmony is understood in relation- to a more conventional writing; but music. She is currently director of the Manhattan ship to the shape and form of the not without the absorption of many School of Music contemporary ensemble Tactus. The New York Flute Club Park West Finance Station P.O. Box 20613 New York, NY 10025-1515

March 2003 concert

Saturday 5:30 pm • Union Theological Seminary, 100 Claremont Avenue ROBERT AITKEN 2003 Flute Fair guest artist Robert Aitken will give the New York premiere of Henry Brant’s Ghosts and Gargoyles at the afternoon concert. Also at the Fair: the Young Artist Competition, lecture demonstrations, opportunities for young and amateur flutists, exhibits.

rd 83 Season From the Greetings! March is New York Flute Fair month! 2002–2003 Concerts Editor: Kathy Fink and company have an exciting day planned around this year’s guest artist, flutist/composer Robert October 27, 2002 • Sunday 5:30 pm Aitken (see p. 4 and www.nyfluteclub.org for details). ROBERT STALLMAN, flute Volunteer helpers are still welcome (see Jayn Rosenfeld’s November 24, 2002 • Sunday 5:30 pm “United Flutists behind the 2003 Flute Fair” on p. 2). STEPHANIE MORTIMORE, flute and piccolo Robert Aitken’s flute fair recital will feature the New York premiere of Henry Brant’s Ghosts and Gargoyles for soloist December 15, 2002 • Sunday 5:30 pm From the HIGHLIGHTS OF THE NEW and eight accompanying flutists. (The world premiere, also Editor with Aitken as soloist, took place in Toronto in May 2002.) January 12, 2003 • Sunday 5:30 pm ULLA SUOKKO, flute and theatre Patti Monson spoke with Aitken about his composing career and favorite Canadian composers in an interview that starts on p. 1. February 23, 2003 • Sunday 5:30 pm ROBERT DICK, flutes Also in this issue are excerpts from a 1995 Nancy Toff interview with Henry Brant about early performances of his 1931 prequel to Ghosts and Gargoyles, the March 29, 2003 • Saturday 9:00 am–7:00 pm now-classic Angels and Devils. I enjoyed learning of Brant’s empathy for dead FLUTE FAIR with guest artist Robert Aitken. Union Theological Seminary, 100 Claremont composers who are no longer around to protect their music from abuse, and his Avenue opinion that Georges Barrère (1876–1944) supported experimental music but “[felt April 27, 2003 • Sunday 5:30 pm that] that the people who supported concerts and made them possible were so 2003 NYFC COMPETITION WINNERS reactionary that it would [be] dangerous to attempt it very often.” Readers may May 11, 2003 • Sunday 4:00 pm recall hearing a similar sentiment in last month’s newsletter from Robert Dick. 2003 NYFC ENSEMBLE PROGRAM Stefani Starin, a longtime advocate of experimental music, is this month’s Kaplan Space at Carnegie Hall Member Profile subject (as well as the coordinator of the 2003 Flute Fair student Concerts are at CAMI Hall, 165 West 57th Street flute ensembles showcase). If you miss the flute ensembles, you can still catch her (across from Carnegie Hall), unless otherwise noted. later in the day at the lecture/demonstration she and Patti Monson will be giving All programs are subject to change. Tickets $10, only on how to decode the mysteries of notation in contemporary flute literature. at the door; free to members. For more information, ❑ visit the NYFC website at www.nyfluteclub.org or call All for now. Hope to see you at the fair. (212)799-0448. Katherine Saenger ([email protected])