Spring 2008 Flutist Quarterly

VOLUME XXXIII, NO.3 SPRING 2008

THE LUTIST QUARTERLY

TheEssence of Mei ( )

Irish Flute Bands

Valerie Coleman and Imani Winds

High Velocity: The 2008 Kansas City Convention

THE OFFICIAL MAGAZINE OF THE NATIONAL FLUTE ASSOCIATION, INC

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Table of CONTENTS THE FLUTIST QUARTERLY VOLUME XXXIII, NO.3 SPRING 2008 DEPARTMENTS 5 From the Chair 58 From the Lifetime Achievement 9 From the Editor Awards Chair 13 High Notes 60 NFA Office, Coordinators, Committee Chairs 26 Flute Shots 61 NFA News 49 Across the Miles 63 Notes from Around the World 53 From the 2008 Convention Program Chair 67 Passing Tones 56 From Your Convention Director 69 New Products 57 Goin’ to Kansas City, Kansas City 74 Reviews 16 Here We Come! 85 Index of Advertisers

FEATURES 16 The Essence of Mei ( ) by Mihoko Watanabe An exploration of the inspiration behind Mei through interviews with the composer.

28 An Ulster Experience: Flute Bands in Northern Ireland by Michael C. Stoune In Northern Ireland—generally conceded to be the flute center of the universe— bands play for the competitive fun, and out of long family traditions.

36 Valerie Coleman: Revitalizing the Woodwind Quintet by Peter Westbrook Flute performance, composing, Imani Winds, and the desire to bring great music to 28 marginalized communities are among the passions that drive this determined musician. As her ensemble enters its second decade, the self-described “average flutist” is sowing rewards for her steady, hard work.

42 2008 Masterclasses compiled by Tony Watson

Cover: Courtesy Como Ordway Memorial Japanese Garden at Como Park Zoo and Conservatory, St. Paul, Minnesota.

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 nonprofit organization. The statements of writers and advertisers are not necessarily those of the NFA, which reserves the right to refuse to print any advertisement. The NFA does not promote or endorse any products, companies, or artists referenced in the editorial content of The Flutist 36 Quarterly. SSN 8756-8667 © 2008 National Flute Association, Inc. 13

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OFFICERS Founder, Honorary Life President Mark Thomas 824 Charter Pl. Charlotte, NC 28211-5660 phone/fax: 704-365-0369 [email protected]

Chair of the Board Patti Adams 2840 Coliseum St. New Orleans, LA 70115 504-895-5908 [email protected]

Vice Chair of the Board Leonard Garrison Lionel Hampton School of Music Music Room #206, University of Idaho Moscow, ID 83844-4015 208-885-6709 fax: 208-885-7254 [email protected]

Secretary Lori Akins 5113 Glenaire Dr. Dublin, OH 43017-9479 614-766-1838 [email protected]

Chair of the Finance Committee Teresa Beaman Department of Music CSU, Fresno 2380 E. Keats Ave. Fresno, CA 93740-8024 559-278-3975 [email protected]

Assistant Secretary Shelley Collins Delta State University Dept. of Music, P.O. Box 3256 Cleveland, MS 38733 662-843-6341 [email protected]

BOARD OF DIRECTORS Joanna Bassett (2006–2008) 85 Maywood Ave. Rochester, NY 14618 585-383-0650 [email protected]

Bickford Brannen (2007–2009) 559 Pearl St. Reading, MA 01867-1142 781-910-3978 [email protected]

Beth Chandler (2006–2008) 626 Sunrise Ave. Harrisonburg, VA 22801 540-574-3772 fax: 540-568-7819 [email protected]

Robert Dick (2007–2009) 310 Clermont Ave. #3 Brooklyn, NY 11205 347-244-9373 [email protected], robertdick.net

Christopher Krueger (2007–2009) 38 West Pomeroy Lane Amherst, MA 01002 413-256-4552 [email protected]

Hal Ott (2006–2008) Department of Music Central Washington University Ellensburg, WA 98926 509-963-1103 fax: 509-963-1239 [email protected]

From the CHAIR

n January, the NFA’s executive com- music catalog of the NFA Library mittee held its midwinter meetings in available on the site. The work of putting INew Orleans. I was pleased to host back issues of The Flutist Quarterly our meetings and share the wonders of online, searchable by subject, is ongoing. my glorious city with my colleagues. With Anne Welsbacher, the magazine’s Their three-day visit was filled with editor and the NFA’s publications contrasts: glorious culinary treats and a director, we explored the introduction of tour of Mardi Gras parade floats; a drive new columns to the magazine to spot- Patti Adams past regal, antebellum mansions along light innovations in our industry and the historic St. Charles Avenue and a tour work of our wonderful committees. through a few of the many damaged Madeline Neumann, convention direc- neighborhoods rebuilding after the tor, took us through the intricacies of our and vision statements for the NFA, led flood; a short walk through the clamor convention business, discussing with us by two subcommittees of the board, of Bourbon Street and a relaxing cup of possible locations and associated costs chaired by Joanna Bassett and Beth coffee and beignets at Café du Monde; for future conventions. We have asked Chandler. Coupled with our new mission all capped by a visit to Habitat for Madeline to consider Indianapolis, statement, “Inspiring Flutists, Enriching Humanity’s colorful cottages of the Indiana, as one of these possibilities. Lives,” these defining statements for our Musicians’ Village and Brad Pitt’s art As for that city’s Music Crossroads organization will be indispensable tools project “Make It Right” in the Lower proposal I mentioned in my last report, for our endowment and development Ninth Ward. the EC agrees that we need more detailed efforts. I look forward to using the results The executive committee took in information before we can accurately of the board’s work to launch a com- these sites and then got down to work. assess the proposal. I look forward to pelling fund-raising campaign ensuring a In attendance were Vice Chair Leonard reporting further details to you as we strong financial future for the NFA. Garrison, Secretary Lori Akins, Chair of have them. Our staff’s contributions to During our meetings we reviewed the Finance Committee Teresa Beaman, our meetings were invaluable and we reports from committee chairs and Secretary-elect Shelley Collins, CEO benefited greatly from their expertise. competition coordinators, my very Phyllis Pemberton, and myself. There is a new appointment to favorite part of board meetings. These Immediate Past Chair Alexa Still joined announce: Vice Chair Leonard Garrison dedicated volunteers are the lifeblood of us via teleconference call from has agreed to be chair of the forum, Australia, where our 9:00 a.m. meeting after the resignation of the forum’s our organization and we could not do began for her in Sydney at 2:00 a.m. She founder/benefactor and our immediate the work of the NFA without them. stayed with us through 12 hours of past secretary, Carol Dale. Please join My thanks to everyone who con- meetings—a heroic contribution! me in thanking Carol for her generosity tributed to our meetings. I wish you all I also invited members of our staff to and energies in the creation of our could have been with us in New join in by telephone for our meetings: forum, an invaluable new member Orleans enjoying the sites and sounds Webmaster Brian Covington shared benefit for nfaonline.org. (and tastes!) of my unique city. I know with us his exciting innovations for One of the most important issues I speak for all my colleagues on the nfaonline.org and its redesign. We are for midwinter was reviewing and board of directors when I say what an working on ways to make our new approving the new endowment and honor it is to be doing the work of the member forum as user-friendly as gift-acceptance policies. We are also NFA on your behalf. possible, along with making our vast working on the crafting of core value —Patti Adams

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THE FLUTIST QUARTERLY Anne Welsbacher, Editor Christine Cleary, Amy Hamilton, Contributing Editors Tony Watson, Masterclass Reporter Victoria Stehl, Art Director Galway Management presents Steve diLauro, Advertising Sales Representative Editorial Advisory Board John Bailey "7 Days with the Master" Professor of Flute University of Nebraska–Lincoln Lincoln, Nebraska Sir James Galway's Leone Buyse Joseph and Ida Kirkland Mullen International Flute Masterclass Professor of Flute Rice University August 3 - 9, 2008 Houston, Texas Michelle Cheramy Associate Professor of Music Weggis, Switzerland Memorial University of Newfoundland Assisted by: St. John’s, Newfoundland Zart Dombourian-Eby Lady Galway Principal Piccolo Seattle Symphony Flute Seattle, Washington For further details please visit Susan Goodfellow www.thegalwaynetwork.com Associate Professor of Flute University of Utah Salt Lake City, Utah Amy Likar Flute, Piccolo, and Alexander Technique Oakland, California Betty Bang Mather Professor of Flute Emeritus University of Iowa Iowa City, Iowa Roger Mather Adjunct Professor of Flute (retired) University of Iowa Iowa City, Iowa Jerrold Pritchard Professor of Music Emeritus California State University–San Bernardino San Bernardino, California Eldred Spell Professor of Flute Western Carolina University Cullowhee, North Carolina Michael Stoune Associate Director of Graduate Studies School of Music Texas Tech University Lubbock, Texas Nancy Toff Music Historian New York, New York

Cox Michael Treister, MD Orthopaedic and Hand Surgeon Amateur Flutist Paul Chicago, Illinois Brooks de Wetter-Smith James Gordon Hanes Photo: Distinguished Professor of Flute University of North Carolina–Chapel Hill Chapel Hill, North Carolina Charles Wyatt Flutist, Writer Nashville, Tennessee Reviews Board Penelope Fischer Principal Flutist, Ann Arbor Symphony Member, Detroit Chamber Winds Ann Arbor, Michigan FLUTE REPAIR TECHNICIAN Straubinger Certified Patricia George Professor, Performer, Masterclass Teacher, Author Authorized Pearl Sales and Service Pocatello, Idaho Instruments Bought and Sold Ruth Ann McClain Flutist and Studio Teacher Memphis, Tennessee John Wion Professor of Flute The Hartt School West Hartford, Connecticut 201-791-4097 National Flute Association, Inc, Staff [email protected] Phyllis T. Pemberton, Chief Executive Officer Anne Welsbacher, Publications Director New Jersey Madeline Neumann, Convention Director By Appointment Only Maria Stibelman, Membership Director Brian Covington, Web Design Consultant www.fluterepairbylou.com The National Flute Association does not promote or endorse any products, companies, or artists referenced in the editorial content of The Flutist Quarterly or other NFA publications.

From the EDITOR

Beyond the Page

e are pleased to announce developments in scanning technology. Anne Welsbacher our new NFA Web site, Now the summer 2005 issue is up, with Wretooled from top to bottom five more issues going backward in time to bring much more—and to do it to be added over the next few months. much more easily—to members and the These issues also will be fully search- The NFA Forum has also been made fluting community at large. Early this able, which leads to the feature that to be more easily accessed through the year our Webmaster incorporated dozens probably excites me the most. Now, the Web site, and we hope that you will of behind-the-scenes improvements that entire NFA Web site is searchable. Sure find it even more useful in your daily will both enhance your online experience you saw something about the 2005 interactions with other NFA members. and keep our Web site in line with cur- winner of the young artist competition, Members and nonmembers alike rent computing trends. For example, but can’t remember where? Now you will be able to see much more easily members who sign in won’t have to re- can use the search function to find that the many resources available to them enter their login information again on person—every place in the site that the as members of the National Flute each visit if they choose not to—as winner is mentioned. Association: Instead of hiding our with many other Web sites, users now We’ve incorporated a new system benefits away inside that “members have the option to click a box to be for adding flute events to the site, so access” area, we now incorporate all “remembered” every time they return. we hope that you’ll find much more— services wherever they are most logical. Other, more visible features are likely and more timely—news about flute Nonmembers might find themselves at to jump out at you more immediately. fairs, competitions, and other events a page but unable to enter without We’ve added new content and new happening around the country and membership—enticement, we hope, to services, most noticeably the first posting around the world. join our growing organization! of what eventually will be the full roster Other services already on the site— Plans for more enhancements are of back issues of The Flutist Quarterly convention information, competition ongoing. For example, we hope to magazine. We began posting new issues rules and materials, directories of offi- increase interaction between The Flutist with the Fall 2005 edition, but issues cers, staff, board and committee Quarterly and the Web site in the prior to that one needed to be scanned members, and other administrative months and years ahead. before they could be posted, an expensive directories, membership information, Please let us know your thoughts and time-consuming process. Funds links to resources, the annual about the new NFA Web site—and, as were allocated in the current budget to Convention Chronicles, and much always, about any of your organization’s allow that process to begin, and the more—have been reorganized in the publications. process also has become easier with new new look of the site. —Anne Welsbacher

nfaonline.org Spring 2008 The Flutist Quarterly 9

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High Notes News and activities about the accomplishments of National Flute Association members and the flute world FA member Donna Shin produced the annual Oklahoma State University NShin, the first wood- Wind Day Festival and the Oklahoma Flute Society Flute wind player in the history Fair, which attracted the most talented flutists of the region. of the Eastman School of Additionally, she was founder and artistic director of the Music to be nominated for Edmond Low Library Chamber Music Series. Each June, she the Artist’s Certificate, leads a summer study abroad program in Italy, Music and joined the University of Culture of Northern Italy, which provides students the Washington School of opportunity to explore historic opera houses, composers’ Music faculty in fall 2007 as residences, and Stradivarius collections, and perform chamber assistant professor of flute. music concerts in beautiful castle courtyards. “Donna Shin is a superb performer, taking on the most difficult repertoire with the panache of a sword swallower,” said Robin Donna Shin McCabe, director of the School of Music. “She is a fine communicator and dedicated teacher who will be highly sought after by students of the flute.” Shin was formerly assistant professor of flute at the University of South Carolina School of Music, and prior to that, at Oklahoma State University. She received her bache- lor of music degree from the Eastman School of Music, where she also received the Performer’s Certificate and was selected winner of the Eastman School of Music Concerto Competition. Shin received her master of music degree and Areon Flutes: Jill Heinke, Kassey LeBow, Tamara Maddaford, and Amelia Vitarelli graduate diploma with distinction in performance from the reon Flutes, comprised of NFA members Jill Heinke, New England Conservatory, where she studied with Paula AKassey LeBow, Tamara Maddaford, and Amelia Vitarelli, Robison and appeared as concerto soloist with the presented its New York Debut chamber music recital of living Contemporary Ensemble and the Conservatory Wind composers at Weill Hall at Carnegie Hall September 29 with Ensemble. Shin returned to the Eastman School of Music for guest pianist Dianne Frazer. Areon Flutes is the first American her doctor of musical arts degree. expandable chamber music ensemble, featuring innovative As instructor of woodwind chamber music and flute, Shin programming of duos, trios, and quartets. Music by Robert led classes at the University of Rochester (New York) and the Dick, Michale Daugherty, Jeremy Haladyna, Linda Holland, Eastman School of Music. In 2002–2003 she was awarded the Mike Mower, and Chia-Ying Chiang, winner of the 2007 Eastman School of Music Excellence in Teaching prize. She Areon International Composition Competition, features all performed most recently with the Tulsa Symphony Orchestra, members of the flute family in various capacities. Areon’s and also performed for two seasons as principal flute with the mission aims to give flute chamber music an equal voice in Heidelberg Schlossfestspiele Orchester in Germany. In Boston, the chamber music world, leaving a new and diversified Shin performed with the Boston Philharmonic Orchestra, the chamber music legacy. To ensure this goal, Areon has New Bedford Symphony, and the Isabella Stewart Gardner established an International Chamber Music Competition Chamber Orchestras. Other performances include the New with both performance and composition division, in addition World Symphony, Tulsa Signature Symphony, Lake Placid to the year-round Chamber Music Institute based in the Sinfonietta, Tanglewood Music Center, National Repertory San Francisco Bay Area. Areon, a nonprofit organization, Orchestra, Aspen Music Festival, National Orchestral Institute, is dedicated to sharing its passion for chamber music and Norfolk Chamber Music Festival. through numerous concerts and educational programs. The Shin has won prizes in competitions held by the National Areon Outreach Program offers free performances and pro- Flute Association, April Spring Friendship Arts Festival in gramming for schools with varied socioeconomic demo- Korea, Performers of Connecticut, James Pappoutsakis graphics. In addition to its own Chamber Music Institute, Society, and Seattle Flute Society, to name a few. As a founding Areon holds an annual summer Flute Institute each year in member of Paragon Winds (woodwind quintet), she was the San Francisco and Greater Los Angeles areas of awarded fellowships from the New England Conservatory and California. This week-long progressive music camp provides Norfolk Chamber Music Festival and won the Grand Prize at abundant opportunities for growth in an array of musical the 2000 Coleman National Chamber Ensemble Competition fields: solo performing, music history, creative arts, music in Pasadena, California. theory, and chamber music. Visit areonflutes.com.

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HIGH NOTES FA member Peter H. Bloom recently York, Washington, D.C., and across New England, with repertoire Ncompleted a number of projects as a ranging from Shakespeare’s England (with Ensemble Chaconne) historical performance consultant to to 21st century America (with pianist Mary Jane Rupert). E-mail museums in the United States and else- [email protected] or visit americasmusicworks.com. where. As musical director for an exhibi- FA members Lisa-Maree Amos and Peter Sheridan have tion at the New York Historical Society, he emigrated to Melbourne, Australia. Amos was invited to the arranged and directed period-instrument N city as principal flute of Orchestra Victoria, and her husband, recordings of music celebrating Lafayette’s 1824 tour of America. The exhibition, Sheridan, a former member of the Los Angeles Flute Quartet, was curated by the American History Work- invited to teach at Melbourne University by Australian flutist and shop, runs through August 10. For the head of woodwinds, Mardi McSullea. Amos has returned to her Peter H. Bloom American Museum in Britain (Bath, U.K.), native Australia after 22 years of living and working in Europe Bloom oversaw musical selections for the museum’s new audio/ and the United States. She continues to be principal flute of the video presentation, including music from the Revolutionary War Colorado Music Festival. As a founding member of the Los through the Civil Rights era. In the latest of many projects for the Angeles Flute Quartet, Sheridan motivated the ensemble to com- Boston Museum of Fine Arts, Bloom recorded musical excerpts mission new works and complex arrangements, including Flute and voice-over commentary for the museum’s audio tour of Quartet No. 1 by Gary Schocker (2001); “Bioplasm,” by Alex historical woodwinds in the collection. In July 2007, he gave a Shapiro (2003); and “Mission Impossible,” by Mark Lathan lecture-demonstration to inaugurate two of the museum’s newly (2001). Sheridan recently completed a CD titled Flute Colors, acquired flutes by American flute maker Alfred E. Badger. Also in which features lesser-known works by Claude Arrieu and 2007, the Longfellow National Historic site commissioned Bloom William Matthias, as well as transcriptions of popular flute pieces and his Olmsted Ensemble (flute, violin, viola, and cello) to arranged for the low flutes. His most recent commissions are a perform a bicentennial concert for the poet. series of solo works for the low flutes, which include composi- As a 30-year veteran (flutes and saxophones) with the interna- tions by Schocker (Bass Flute and Piano Sonata 2007), Vinny tionally acclaimed Aardvark Jazz Orchestra, Bloom recorded Golia (Composition for Contrabass flute and Vibraphone), and improvised music for the award-winning DVD series Treasures an electronic work for contrabass flute and tape by Alex Shapiro. from the American Film Archives. Bloom and other Aardvark band He has also asked composers Patrick Neher, Adrienne Albert, and members appear on all three installments, including the most Sheridon Stokes to write works for the bass and contrabass flutes. recent release, Treasures III: Social Issues in American Film, 1900–1934. Bloom also can be heard on the Aardvark Jazz FA member Karen Suzanne Smithson was heard on Orchestra’s two new CDs: No Walls/A Christmas Concert and Npublic radio WDAV in Davidson, North Carolina, in fall American Agonistes: Music in Time of War. Current projects 2007 playing “Miyako Sketches” by her late father, composer include concerts in Louisiana, Maryland, Pennsylvania, New Elliot Weisgarber.

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DiMedici Artist Series flutes provide features that allow accomplished and developing flutists to produce a rich, personalized sound. Each flute combines an improved standard embouchure cut on a Sterling Silver headjoint and options such as 14K gold risers, gold-plated lip plates, Sterling Silver tubes and elegant engraving to create a customized touch.

T T 16 nothing todowith the well-known Japanese flutecalled the steeped inthetradition of I in thepublished text ofthework. 1994 and2004,Ishow thatwe have misunderstood theinspirationbehind withFukushima drawing onmaterialfrommyfour interviews decades. Inthisarticle, in petitions, andthesubjectofcountless performancesaroundtheworld for more than The Fl mysterious n 1962,aself-taught Japanese composer, KazuoFukushima, wrotetheprofoundly repertoire for soloflute,arequiredpieceinthenational andinternationalflutecom- repertoire u tist Quarterly Quarterly tist he he Sp r ing 2008 Mei for soloflute nfao E nline.o E rg Noh ssence ssence By MihokoW through interviewswiththecomposer An explorationoftheinspirationbehindMei drama andthe of of . This piece has been an important part ofthestandard part . Thispiecehasbeenanimportant M M Noh atanabe flute, ei ei noh-kan shakuhachi loeueaeerrors . Ialsoenumerate ( ) ( ) , but rather is but , Mei . Ithas

COMO ORDWAY MEMORIAL JAPANESE GARDEN AT COMO PARK ZOO AND CONSERVATORY, ST. PAUL, MINNESOTA

My belief that Mei reflects the essence of Japanese traditional Steps Toward Mei musical idioms, beliefs, cultural philosophy, and aesthetics was The score’s inscription states, in Italian,4 “Mei, the Chinese confirmed during my interviews. To move beyond technicalities character of which is written ( ) , signifies dark, dim, intan- and understand Mei as a spiritually conceived piece, flutists gible. This music was composed for the late Dr. Wolfgang need to understand how this music was influenced by Japanese Steinecke of Darmstadt, who died in a tragic accident. culture and how the composer created the piece. According to ancient Japanese legend it is believed that the sound of the flute has power to reach the dead.” Fukushima and Western Music in Japan The 1868 Meiji Restoration ( ) changed Japan’s social and political structure. As depicted in the 2003 movie The Last Samurai, the modernization of Japan occurred because of the defeat of the Shogunate and Samurai systems by Emperor Meiji and the opening of exchange between Japan and the rest of the world. Westernization then spread very rapidly in Japan. The Meiji government introduced Western music instruction in schools in 1880, and established the Tokyo Music School to train professional musicians seven years later. Musical development rapidly increased after the end of World War II in 1945. Kazuo Fukushima, born in 1930, was 15 years old when the war ended and recalls facing the fear of death for many months.1 Japanese musicians were keen to Above the title of the music, the following words appear in begin recovering from the devastation and to catch up with the French: “Mei, which I dedicate to the spirit of Wolfgang international standards of modern Western music. Orchestras Steinecke, thanks to the flute of Severino Gazzelloni.” and opera companies blossomed, and music colleges and schools were established. Composer-musicians organized small new music groups to support their own activities; among them were the Shinsei kai (New Star Group) in 1946, the Shin Sakkyokuka Kyokai (New Composers’ Society) in 1947, the Jikken Kobo (Experimental Workshop) in Tokyo in 1951, Sannin no kai (Group of Three) in 1953, the Yagi no Kai (Goat Group) in 1953, and Shinshin Kai (Profound New Group) in 1955.2 Fukushima’s compositional career began around the time he joined the Jikken Kobo ( )in 1953. Shuzo Takiguchi, a writer and critic, had assembled the group—artists in writing, painting, photography, film, stage lighting, dance, and music. Takiguchi was inspired by the crossover between different modes of expression, which he had seen in the avant-garde art movements in Europe before the war. The members of this music workshop included Toru Takemitsu, Joji Yuasa, Kuniharu Akiyama, Keijiro Sato, Hiroyoshi Suzuki, and Takahiro Sonoda.3 The purpose of the Jikken Kobo workshop was to experiment with combinations of traditional Japanese modalities and Kazuo Fukushima, left, and author Mihoko Watanabe. modernistic procedures. In 1955 the group presented Arnold Schoenberg’s Pierrot Lunaire, staged in the form of a Japanese Traditional Noh play, demonstrating the possibility and effec- tiveness of these collaborations. Ironically, the members of Jikken Kobo became so immersed individually in related music activities that the group disbanded in 1958. Fukushima’s Mei is an extension of the Jikken Kobo. Since 1960, composers of the Japanese avant-garde have been writing pieces for modern Western instruments that hark back to the traditional art forms of earlier Japanese culture. Mei was composed for a modern Western flute, but displays traditional Japanese musical characteristics. One of those is the Japanese title, indicating an association with Japanese culture. The author interviewed Fukushima at the Ueno Gakuen University in Tokyo.

nfaonline.org Spring 2008 The Flutist Quarterly 17

THE ESSENCE OF MEI A sequence of events led to the creation of Mei. In summer tions of “emptiness/openness,” called ma ( ), or space, in 1961, Fukushima was invited to give a lecture, “Noh Music Japanese, the most intense reflection of nature. Ma and and Modern Music in Japan,” at the Darmstadt International plants/trees/stones coexist in the Japanese garden to Music Institute (Internationales Musikinstitut Darmstadt), a reflect nature. summer school for contemporary classical music founded by Steinecke in 1946, where avant-garde composers, including Olivier Messiaen, Luciano Berio, Milton Babbitt, Pierre Boulez, John Cage, György Ligeti, and Karlheinz Stockhausen, attended and had their works performed. Fukushima was impressed by Steinecke’s embrace of this new generation of composers, which inspired them to friendly competition. Western gardens, such as those at Buckingham Palace or Versailles, manage Italian flutist Severino Gazzelloni (1919–1992) was an space symmetrically. important and influential member of the 20th-century flute world. A champion of contemporary music, he was involved with new music at Darmstadt as a performer. Gazzelloni introduced many new flute compositions written from the 1950s onward, and gave the premiere of Pierre Boulez’s Sonatine for flute and piano. Hence, Gazzelloni’s involve- ment at the institute influenced many composers’ work at

that time. According to the composer, Gazzelloni was fond of Japanese gardens are shaped around the curves and twists of nature. performing Fukushima’s Requiem and Chu-u outside of the institute, as well. While at Darmstadt, Fukushima received a Ma. Japanese aesthetics can be perceived in Mei with the commission from Gazzelloni to write a solo flute piece. use of ma. While generally translated as “space,” ma can Between the summer and December of 1961, Fukushima also mean “time.” It refers to the expressive space between stayed in Cambridge, England. At the end of that year, musical phrases, which could be perceived by the Fukushima learned from Gazzelloni that the flutist wanted to performer as “silence.” Westerners usually consider ma to première the commissioned solo flute piece in April 1962 in be emptiness, a space to be carefully measured or counted, Italy—and also that Steinecke had died on December 23, whereas the Japanese know it as a keen, intuitive awareness 1961. This news naturally led Fukushima to write Mei in containing some tension—a perceptual silence. This memory of Steinecke. perceptual silence exists along with the sound to reflect a Mei was composed in 1962, and Gazzelloni first performed principle of nature. it at the 25th Contemporary Music Festival in Venice, Italy, In the music of Mei, ma creates a special mood between on April 23. At this event, the publisher Suvini Zerboni musical sections. Mei is in a three-part form, ABA| (see offered to publish Fukushima’s work: the edition we still use Example 1, next page). Section A runs from the beginning today. Fukushima recalls that in summer 1962, at the to m. 15, section B between m. 16 and m. 51, and section A| Darmstadt Institute, Gazzelloni performed Mei at Steinecke’s from m. 52 to the end. Between each section, at m. 15 and grave as an offering to the profound repose of his soul: m. 51, Fukushima uses a fermata over the rest, indicating “chinkon”( ) in Japanese. The composer believes that perceptual silences that should be given adequate ma to Steinecke’s soul can find chinkon if listeners and performers prepare the performer mentally and physically for the fol- together pray for it while Mei is played. lowing sections. However, the two instances of ma should not be interpreted the same way. In m. 15 the fermata is Japanese Influences over a quarter rest, whereas m. 51 has a fermata over a half Understanding Japanese traditional aesthetics can lead to a rest. At m. 15 there will be anxious ma, because section B profound interpretation of Mei. One of the essential charac- follows with full-flowing movement. By contrast, at m. 51 teristics in Japanese art is the reflection of nature, in which there will be calm ma, in which the audience experiences nothing can be created that nature itself cannot create. peaceful feelings, like the quiet after a steady rainfall. Another is a Japanese art form principle called Jo-Ha-Kyu. Therefore, the performance should reflect the nature of time emotionally, with ma setting the mood for where the Nature music came from and what follows. All the rests in Mei, not One concept of Japanese aesthetics can be seen in the art of only those at the fermatas, should reflect the perceptual the Japanese garden. Japanese and Western gardens have silence accordingly. very different elements. The formal Western garden uses The length of ma can be determined using your own ANABE T

symmetrical design by having square ponds and fountains, instinct. Fukushima explains in the Japanese magazine Pipers A W

whereas the Japanese garden follows the role of nature to that “Japanese traditional sound is not against sounds, it O

create natural waterfalls and asymmetrical ponds. The becomes integrated into nature … not just listening to your MIHOK Western garden employs all the space within these sym- sounds, it becomes resonance within nature….”5 Therefore,

metrical designs, whereas the Japanese garden uses por- silence should be incorporated before and after the piece, to COURTESY

18 The Flutist Quarterly Spring 2008 nfaonline.org

show that the resonance starts to form from somewhere, then Western formal analysis would indicate a clear ABA| based on dies away at the end. This phenomenon can be symbolized whatever thematic, motivic, and rhythmic material is being with the first note in Mei,Eb (m. 1). Fukushima says that this used. Sections A and A| use similar motivic ideas and melodic note is the most important sound in the entire piece. If you contour, but they are rhythmically different. Section B uses are trying to count the beat or to analyze, the performance different motivic materials. will be unsuccessful. Rather, it is essential that Eb show and Fukushima indicated that m. 61 in section A| is a misprint: encompass the emotionality of the whole composition. the score should be a half-note Bb, not a half-note A, which is Unstable pitch. Another identifiable reflection of nature’s the same gesture as in m. 12 in section A.6 Therefore, it should asymmetrical elements in Mei is its use of unstable timbre. have a downward glissando between a half-note Bb and A. Western music seeks tones with exact pitch and purity, no “noise.” In contrast, the Japanese aesthetic considers noise Main Influence from Noh and unstable pitch as beautiful and a true reflection of Some writers have mistakenly assumed that nature. The score (p. 23) uses portamento to indicate unstable Fukushima’s Mei is meant to sound like the per- pitch (mm. 5–6, 8, 10–11, and 13–14) and arrows to make formance style of a shakuhachi ( ).7 This type quarter tones (mm. 7, 9, and 12) and to bend the pitch up or of Japanese traditional bamboo flute has become down from the printed notes. Fukushima mentioned that the more popular since the appearance of Toru notation is only a suggestion; to have a successful perform- Takemitsu’s November Steps for Shakuhachi, ance, the player needs to become one with nature, rather than Biwa, and Orchestra (1967), composed for the striving to produce a perfect quarter tone. This reflects not New York Philharmonic Orchestra’s 125th only the Japanese aesthetic, but also the characteristics of Shakuhachi. anniversary. That work was sensational to Japanese bamboo flutes. Western ears, with its mixture of sounds from East and West. Timbral variety. Exploration of different timbres on flutes Although I believe the shakuhachi incorporates aspects of is also considered a reflection of nature. Performances on Japanese aesthetics, Fukushima pointed out that the shakuhachi Japanese traditional instruments tend to incorporate a is not a favorite instrument of his, and that he did not intend to variety of natural sounds, such as the shakuhachi’s imita- employ its sounds in Mei. Rather, he stated that the main tion of a crane’s call or the muraiki technique, an explosion influence in Mei is the Japanese traditional theatre, Noh. of air to imitate strong wind in winter. The vast variety of Noh ( )means “skill” or “to be able.” It originated in the flutes in Japan, such as ryuteki, komabue, kagurabue, 14th century as an exhibition of talent combining elements of shakuhachi, and noh-kan, also display timbral variety. All dance, drama, music, and poetry into one highly aesthetic art are made of bamboo, and each has a distinctive timbre. form, comparable to the Western musical. It uses five story Therefore, Fukushima used distinct timbral effects in Mei— categories: god plays, warrior plays, woman plays, miscellaneous a somewhat airy tone, pitch instability, grace notes—along with plays, and demon plays. The music of Noh is created by an harmonics (mm. 25–26), flutter tonguing (m. 35 and 41), onstage instrumental orchestra, called hayashi ( ), which and key clicks (m. 36). consists of four instruments: noh-kan (transverse flute), kotsuzumi (shoulder drum), otsuzumi (side drum), and Jo-Ha-Kyu taiko (stick drum). The Japanese art form principle Jo-Ha-Kyu ( ) ,a three-part form moving from slow to fast, can be seen in Mei. It is widespread in many Japanese traditional arts, such as Noh theatre, haiku, flower arrangement, the tea ceremony, landscape gardening, and calligraphy. Literally, “jo” means introduction, “ha” is the rapid acceleration of tempo, and “kyu” a continuing accelerando followed by an abrupt calmness at the end. The score and Example 1 (below) show three sections divided by ma: Jo (mm. 1–15), Ha (mm. 16–51), and Kyu (mm. 52–66). Tempo markings also delineate the principle’s form: Jo starts with Lento e rubato; Ha is marked An onstage orchestra is among elements in traditional Noh theatre. Più mosso; and Kyu becomes slower, or Meno mosso.

Hayashi instruments, clockwise from left, kotsuzumi, otsuzumi, taiko, and the Example 1: Form of Mei. bamboo transverse flute called noh-kan.

nfaonline.org Spring 2008 The Flutist Quarterly 19

THE ESSENCE OF MEI Noh-kan influences Fukushima stated that he had the noh-kan (bamboo transverse flute) in his mind for the sound of Mei. The construction of this instrument creates an otherworldly sound. The noh-kan, one of the most remarkable flutes in the Japanese flute family, is a transverse flute made of 100-year-old smoked bamboo (susudake), with seven finger holes and a mouth hole. Generally, flutes produce an octave above the normal pitch when overblown, but the noh-kan overblows flat, at a different degree of flatness depending on the fingering. It has neither a definite scale nor definite tonal relationships Example 4: Transcription of Noh-kan patterns. among its individual pitches. This phenomenon comes from the insertion of a thin bamboo pipe, called nodo (lit- Noh-kan Hishigi and Iwabue erally “throat”), between the mouth hole and the finger Hishigi is a special noh-kan sound or gesture: the highest, holes, upsetting normal acoustical properties. (See shrillest note on the noh-kan (see Example 5). It is used Example 2.) The construction of the noh-kan thus creates generally at the beginning and end of Noh plays, and otherwise unstable scales, which Fukushima indicated in Western to punctuate dramatic high points. Fukushima hears a close notation as quarter tones and portamento to produce an timbral resemblance between hishigi and high B, C, and D on “otherworldly” sound in Mei. the modern flute. This reflection of hishigi can be heard in Mei in the high B, mm. 24–25, and mm. 48–51.

Example 2: Noh-kan construction.

Fukushima also used the unstable pitch quality of the noh- Example 5: Hishigi in noh-kan notation. kan to enhance the distinctive sound world in Mei. Example 3 shows noh-kan notation, a repeating series of Fukushima agreed with many scholars that there is a similarity patterns called ji ( ). It reads from right to left and top to of timbre and content between hishigi on noh-kan and bottom, and consists of four different patterns: chyu ( ), iwabue ( ).8 Iwabue, literally “stone flute” in English, was kan ( ), kan-no-chyu ( ), and ryo ( ). Example 4 shows a type of flute used in Japan in the Jomon period ( ), my transcription of noh-kan patterns from Example 3 on 13,000 BCE to 300 BCE. The iwabue is created by nature in my own noh-kan, with the unstable pitches in various various stones 1–1.5 cm in diameter that contain a single places indicated by up and down arrows. There are similar- hole. Although many iwabue have been excavated at ancient ities in the use of quarter notes between the patterns and tomb sites in Japan, others can be found by rivers or beaches. the first page of Mei. An example of this is the fourth beat Nio or gull shellfish dissolve the surface of the stone to live of m. 7 in Mei and the fourth beat of the kan pattern. Both inside of it, creating the hole.9 use grace notes as timbral gestures, which is characteristic of the noh-kan.

Iwabue, or stone flute

The iwabue produces a very pure and lively high-frequency sound, which resembles the hishigi on the noh-kan.The Japanese employed it for a shamanistic ceremony that attempts to contact ancient spirits in the other world. Some shrines in Japan still use iwabue for the divine spirit ceremony Example 3: Noh-kan notation. called Kami Oroshi ( ).

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Noh Play and Tomurai-bue Spirits are evoked in Noh plays in the same way that Fukushima’s Mei evokes Steinecke’s spirit. The Noh play Kiyotsune is a good example. The story is about the family of Taira no Kiyotsune (Heike), who run away to the west- ern Sea of Japan and are eventually defeated by the Genji family. With little chance to win, Kiyotsune, leader of the Heike, throws himself into the sea. Awatsu no Saburo, a servant of Kiyotsune, brings a memento to Kiyotsune’s wife, and she mourns his death. When she falls into a daze Example 6: Noh-kan pattern transcription with grace notes. after crying intensely, Kiyotsune’s spirit comes to her in a dream. She begs him not to leave her alone. Kiyotsune tells Within the noh-kan gestural manner, several grace notes her how much he suffered from the bloodbath of battle, confuse the Western ear. My general recommendation is to but he is now saved by the teachings of Buddha and can set listen to Noh theatre music, especially performances in the his mind at ease. Then he disappears into the dream. noh-kan. Fukushima provided grace note clarifications as well. When Kiyotsune’s wife seeks to find some solace in her dream and Kiyotsune’s spirit comes to the stage, the noh-kan In m. 7, the grace note to the quarter note on the fourth beat begins to play, as if its sound can reach his spirit in the other should read one quarter tone above F natural; I suggest world. This particular piece is called Koi-no-Netori ( ) fingering F# and adding R1 rim. (Tuning for Love) in the Noh play: the wife reaching out to her dead husband and wishing for his spirit to be in peace. Fukushima said that he believes the Tomurai-bue ( ) legend. In Japanese culture, tomurai means to give solace and consolation to the spirit, and bue means flute. In m. 9, the grace note to the dotted eighth note on the first beat Therefore, Steinecke’s spirit is being consoled each time should read one quarter tone below F natural; I suggest finger- Mei is performed, as inscribed in the music: “according to ing F#, then adding R1 while lipping or blowing the air down ancient Japanese legend it is believed that the sound of the to flatten the grace note. flute can reach the other world in the beyond, when played with faithful intensity.”10

Noh-kan Gestural Grace Notes Mei incorporates many gestural grace notes. The noh-kan In m. 17, the grace note to the eighth note (C#) on the third notation illustration (Example 3) shows only mnemonic beat should read C natural. syllables with fingering numbers and an approximate beat (eight beats) for the noh-kan. When you start learning the noh-kan, you must learn the shoga ( ), a special Japanese traditional method by which the sound of the noh-kan can be pronounced phonetically. You go to lessons to learn these four patterns (ji) first. The teacher sings one In m. 30, all of the tied notes after the grace note should pattern, and the student repeats until it is memorized. In read C sharp. this process, the flutist also learns the approximate pitches and rhythms. Example 4 is the Western transcription of how I sing the pattern, including approximate pitch, rhythms, and mnemonic syllables, with approximate beat, which I In m. 32, the grace note to the sixteenth note on the second beat learned from my teacher, Takanori Fujita, in Japan. Once should read B natural. you can sing and play the patterns perfectly from memory, you start to feel the pattern in your own way and play additional gestural grace notes. My teacher’s demonstration, in Example 6, shows how grace notes may be added. Other recordings may have many more grace notes. In Mei, Fukushima notated glissando/portamento in the first beat In. m. 36, the key-click sound effect (key slap) should not include any actual tone; I suggest popping L3 and L4 on Ab in m. 16 (B–C#) and the second beat in m. 17 (B–C#) to and L3 on F#. create noh-kan gestural effects. Other grace notes, such as the accented ones on the first and third beats of m. 20, also reflect noh-kan gestural effects and should be treated in this manner.

nfaonline.org Spring 2008 The Flutist Quarterly 21

THE ESSENCE OF MEI In m. 38, the sixteenth note after the grace notes on the third Other Noh Musical influences beat should read F natural. Other characteristics of Noh music can be seen in Mei,such as influences from Utai ( ) and the use of kakegoe ( ).

Utai The main actor, second actor, and chorus participate in Utai (Noh chant), the vocal part in Noh. With its special In m. 38, the dotted eighth note after the grace note on the modality, quality of voice, and melody, Utai is fundamental fourth beat should read B natural. to evoking the distinctive mood of Noh. There are two general types of reciting style, based on the type of story: tsuyo-gin In m. 59, the grace note on the third beat should read one (strong reciting), a way of vocalizing with a solemn and quarter tone above F natural. vibrant tone, and yowa-gin (weak reciting), which is more melodic and sentimental. Sections A and A| in Mei reflect the yowa-gin style from utai. Yowa-gin uses three different scales: the yowa scale, based on three fundamental pitches (upper, middle, low), as shown in Example 6; sashi scale, Chyu (Bb)–Jo (E–Eb Noh-kan Rhythm area)–Jo Uki (F–F# area), used for recitative segments in Section A in Mei and the basic noh-kan pattern are rhythmi- the Noh play; and kuzushi scale, Ge no Chyu (A)–Ge (F–F# cally similar. Example 4 (page 20) shows that each phrase area)–Kuzushi no Ge (D–Eb area)–Ryo (C–B area). Both sections begins with a rest on beat 2, which creates great intensity to the of Mei use a small portion of a modified yowa scale.11 All of first sounding note. Similarly, the phrases starting in mm. 2, 4, the scales have rules for how notes may move. 6, and 8 in Mei begin with a rest, to gather power for the sound- ing notes. One could think of these rests as small levels of ma, before the intensity picks up toward the sounding notes. Also, the use of syncopation in Example 4 finds parallels in Mei. All these reasons show the appropriateness of employing the “otherworldly” sound of the noh-kan when performing Mei. It expresses Fukushima’s mourning of Steinecke, as if the flute were calling his spirit to appear on stage. Example 6: Yowa-gin scale in Mei

In general, yowa-gin has an approximate span of two Japanese Titles octaves. Example 6 is a scale adaptation from sections A and A| of Mei, including three fundamental pitches: F–F# 14 Below is Fukushima’s flute composition list, showing area, Bb, E–Eb area, a perfect fourth apart. The score shows his tendency to use Japanese titles for most of his flute that section A consists of approximately two octaves, low C compositions. For example, Chu-u ( ) is a term from to middle B. Within this range, one yowa-gin characteristic Buddhism meaning the duration, about 49 days, of a is to use portamento, sliding note to note, when the singer deceased person’s journey to the other world. and story want to create a quiet atmosphere. Fukushima employs a quiet portamento masterfully in mm. 5–6, 8, 10–11, • Requiem( ) for solo flute (1956) and 13–14 in section A, and mm. 55 and 57 in section A|. • Ekagura ( ) for flute and piano (1957) Another stereotypical note movement in yowa-gin is to • Kadha Karuna ( ) Poem of Compassion for two leap from the lowest note of the three so-called fundamen- tal notes (Ge) down to the lowest note (Ryo), using the flutes, piano, and drum (1960); [revised for flute and kuzushi scale.12 The score in m. 14 illustrates use of the piano (1961)] kuzushi scale, part of the yowa scale, to create an unstable • Shizu-uta ( )for female chorus, two flutes, and harp mood. In Mei, Fukushima uses the lower note slightly (1961) sharper (between F and F#) to create an unstable mood and move down to the lowest note (low C) in the scale. In short, • Three pieces from “Chu-u”( ) for flute and piano he adopts the characteristics of yowa-gin style in sections A (1961) and A| to create a quiet, unstable mood, evoking the spirit • Hi-Kyo ( The Flying Mirror) for flute solo, strings, of Steinecke. and percussion (1962); second movement is Mei. • Mei ( ) for solo flute (1962) • Shun-san ( A Hymn to Spring) for solo flute (1969) • Rai ( ) for flute and piano (1971) Example 7: Tsuyo-gin scale in Mei

22 The Flutist Quarterly Spring 2008 nfaonline.org

Within about five minutes, Mei for solo flute reveals many Japanese beliefs and aesthetics, elements of Noh theatre, and Fukushima’s own life reflections molded by his memory of death in the war, his interactions within the Jikken Kobo, his relationships with Steinecke and Gazzelloni, and his mourning of Steinecke.

By contrast, the beginning of section B (mm. 16–23) in Mei To my ear, the sound effect of the iya pattern can be adopts the tsuyo-gin. Tsuyo-gin consists of a set of three heard in Mei. A good example is in m. 19. It displays an fundamental notes, the first two a half step apart, the second accent on the first note, D, which would be considered “i,” two almost the same pitch: C#, D, D. Tsuyo-gin is charac- then a long C# as “ya-” with crescendo. As the score shows, teristically performed with a strong, wide vibrato, so the that it is the end of the phrase, and in m. 20 the new phrase intonation becomes vague and the intervals even narrower. begins. Measure 24 shows a similar effect: C with an accent The beginning of section B in Mei therefore requires a as “i” and a long B as “ya.” player to employ a strong and wider vibrato as well as to think of narrower intervals. Seize the Moment Mei is like a short biography of Fukushima himself. Within Kakegoe about five minutes, Mei for solo flute reveals many Kakegoe, a distinctive feature of Noh music, also can be Japanese beliefs and aesthetics, elements of Noh theatre, heard in Mei. This vocal cue is made by kotsuzumi, otsuzumi, and Fukushima’s own life reflections molded by his memory and taiko drummers, who signal the singers or the flutist of death in the war, his interactions within the Jikken Kobo, (noh-kan) to keep everyone together. They also signal his relationships with Steinecke and Gazzelloni, and his changes in tempo or dynamics. mourning of Steinecke. There are four vocal cues or calls: yo,ho,iya, and yoi. Yo and In the end, Fukushima said, “Once you have internalized ho occur regularly in ji patterns and are usually written ya and the music, please do not think about the bar lines or counting ha in Noh scores. Yo is delivered before the first and fifth beats; beats, as if you are looking at a diagram… . The performance ho, before the third and seventh beats.13 Iya is used at the end of should be unique every time, with the performer’s own a section and the beginning of a new section in Noh. Listening intensity, because performers and listeners are interacting to Noh CDs shows that the “i” in the iya pattern usually has a at the moment.… If every performance is the same, the short accent, whereas the “ya” is on a lower pitch than the “i,” music becomes boring.” He believes that music gets its life takes a longer accent, and is made with a crescendo. through performance.

Score of Mei

nfaonline.org Spring 2008 The Flutist Quarterly 23

THE ESSENCE OF MEI

The composer also said that performance is (ichigo Bonita Boyd, Leone Buyse, Ervin Monroe, Takao Saeki, and ichie). Ichigo ichie is a term from the Japanese tea ceremony, Fenwick Smith. meaning that when you attend, whether as guest or server, you must faithfully perform your role as if it were the last Editor’s Note: This article is adapted from a presentation opportunity of your life. You act as if it were your only given at the 35th NFA Convention in August 2007. opportunity. You should make your performance different each time, and seize the moment to play at your best. > Endnotes 1. Kazuo Fukushima, in interviews with author, 1994 and 2004. 2. Kanazawa Masakata, “Japan: Music in the period of Westernization,” in Grove © Mihoko Watanabe Music Online, ed. L. Macy, http://www.grovemusic.com (accessed August 1, 2006). 3. Kuniharu Akiyama, The 11th Exhibition Homage to Shuzo Takiguchi: Experimental Author’s Note: Many thanks to Dr. David Lasocki, Indiana Workshop. (Tokyo: Satani Gallery, 1991). 4. Kazuo Fukushima, Mei per flauto solo, 1962 (Milan: Edizioni Suvini Zerboni, 1966). University, for spending so much time on editing the final 5. “Mei to watashi to furutisuto tachi [Mei, myself and flutists],” Pipers 92 drafts of this article, and to Professor Leone Buyse, Rice (Tokyo, 1989): 74–77 University, for supporting this project. 6. The composer corrected the score at the interview. 7. Pierre-Yves Artaud, “Aspects of the Flute in the Twentieth Century,” Contemporary Music Review 8, no. 2 (1992): 131–216. Mihoko Watanabe, assistant professor of flute at the 8. Namio Shibata, Nihon no Oto o Kiku [Listening to the Japanese Sounds] University of Wisconsin, Oshkosh, is a teacher, performer, and (Tokyo: Seido Sha, 1994), 10–13. researcher. She is a member of DUO VIVA and Trio Piacere 9. Kiyoshi Kasahara, Umoreta Gakki: ongaku koukogaku no genba kara [Buried musical instruments: from the music archeological scene] (Tokyo: Shinjusha, and principal flutist of the Oshkosh Symphony Orchestra. As 2004), 39–58. a researcher, she specializes in Japanese music. She received a 10. Kazuo Fukushima, Mei per flauto solo, 1962. DMA in flute performance and studied ethnomusicology at 11. Hiroko Miura, Nou-kyogen no ongaku nyumon [Introduction to music of Noh the University of Michigan, earlier earning an MM and Kyogen] (Tokyo: Ongaku no tomo sha, 1998). 12. Ibid. (Eastman) and a BM (Musashino Academia Musicae in 13. Ibid. Japan) in flute performance. Her major teachers have included 14. Kanazawa, Kazuo Fukushima, in interviews with author, 1994 and 2004.

Music at Ithaca College Ithaca Flute Institute June 29–July 3, 2008

The institute will offer flute master classes, concerts, workshops, and warm-up sessions given by Leone Buyse, professor of flute at Rice University's Shepherd School and Leone Buyse former acting principal flutist with the Boston Symphony; Wendy Herbener Mehne Wendy Herbener Mehne, professor of flute at Ithaca College and flutist with the Ithaca Wind Quintet; and Jill Felber and Claudia Anderson of the flute duo ZAWA!

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24 The Flutist Quarterly Spring 2008 nfaonline.org

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nfaonline.org Spring 2008 The Flutist Quarterly 25

Flute SHOTS

Editor’s Note: Many modern works for flute are inspired by music from other cultures. With this issue we introduce “Flute Shots,” a new inter- active feature in The Flutist Quarterly offering short snapshots of flutes from around the world.

Flute Shots

by Yvonne Kendall

The suling (SOO-ling) is a bamboo instrument found in Indonesia, Malaysia, and the Philippines. Played vertically, like a recorder, it can have either four or six finger holes. The embouchure area is surrounded by a strip of palm leaf that adds vibrancy to the sound. Players in Indonesia use circular breathing in gamelan ensembles of percussion instruments. In West Java, the suling plays with the kecapi (kuh-CHAP-ee), a gentle zither plucked by long fingernails; this is much like flute and harp music of the Western world. A work inspired by this flute is Kembang Suling (for flute and marimba) by New Zealand composer Gareth Farr.

You can see or hear more about the suling through these online resources:

The Dayton C. Miller Flute Collection at the Library of Congress • visit nfaonline.org • select “museum” under “Resources” • select the link at the bottom of the page S

The Virtual Instruments Museum at Wesleyan CONGRES

University OF • visit http://learningobjects.wesleyan.edu/vim/ LIBRARY • type “suling” in the simple search box , DIVISION Listen to this suggested recording: MUSIC Flute & Gamelan of West Java, various artists (1995). , COLLECTION UTE FL MILLER . C YTON A D

26 The Flutist Quarterly Spring 2008 nfaonline.org

An Ulster Experience: Flute Bands in Northern Ireland

In Northern Ireland—generally conceded to be the flute center of the universe— bands play for the competitive fun, and out of long family traditions.

By Michael C. Stoune

28 The Flutist Quarterly Spring 2008 nfaonline.org

y interest in flute bands of Northern Ireland was stimulated by several coincident events. In December 1979, I heard the fifes-and-drums band Mof the Irish Guards on a visit to Windsor Castle. I read Sir James Galway’s autobiography, in which he discusses his early exposure to flute in East Belfast and his participation in the Onward Flute Band. And I learned of Geoffrey Gilbert’s interest in flute bands, and his periodic trips to Ulster to give clinics and workshops. (Gilbert’s wife was from Belfast.) After having studied Irish flute bands for over 25 years, I was excited to finally have the opportunity to visit Northern Ireland to observe bands in rehearsal and competition. Assisted by a faculty development leave in fall 2005, I traveled to Northern Ireland in October of that year. I visited bands in the run-up to the 78th Annual North of Ireland Band Competition. Walking into the rehearsal of the Kellswater Flute Band, I experienced the reality of all I had heard about: 35 flute players of all ages, working together toward a musical goal.

Long and Varied Histories Flute bands in Northern Ireland and Scotland have a long, distinguished history. The oldest group, Churchill Flute Band of Londonderry (or Derry, as some residents prefer), was founded in 1826. Hamilton Flute Band, also of Derry, was established in 1856. Other examples are Ballywillan Flute, formed in 1884 in the Portrush area; the Ballymena and Harryville Young Conquerors Flute Band, 1886; and Ballylone Flute, 1907—the year the North of Ireland Bands Association was founded. Kellswater was founded in 1947. The flute is the ubiquitous Irish instrument, and comes in lots of forms. In addition to the modern Böhm system flute, some bands use “simple system,” flutes in B-flat and E-flat, and some play on fifes. Whistles (in various keys) are used for dancing and session playing, and as portable means of enter-

tainment. Galway has observed that there are probably more Michael C. Stoune conducts the Ballymena Young Conquerors Flute Band. people playing flute in Ireland than anywhere in the world. The groups that use flutes in Ireland are distinct and var- The music for a senior grade part band includes parts for ied. Ceili groups often include one or more flute players, usu- piccolo, G-treble (solo, first, second, third), concert flute ally playing simple system instruments in B-flat or E-flat. (solo, first, second), G-alto (first and second), C-bass, and Flutes and drums nearly always constitute patriotic marching percussion. A typical complement of players is piccolo (1), bands. These are called “blood and thunder bands” and treble (3–4), concert (13–17), alto (3–7), and bass (3–6). march frequently in patriotic parades. They use fifes or “sim- Some bands own contra bass flutes—Ballyclare Victoria uses ple-system” flutes and play patriotic tunes and marches in two. Percussion always includes timpani, bass drum, snare unison or two parts. drum, cymbals, and orchestra bells and triangle as needed. Concert or “part bands” use a variety of instruments. With very few exceptions, all instruments played are While Melody and Grade 4 bands use simple-system B-flat owned by the band. A few of the more affluent band mem- and E-flat flutes—many made by Millar Wickes or Boosey & bers purchase their own instruments, but those are the excep- Hawkes—bands playing in Grade 3 to the championship level tions. When any band recites its history in print or within a use Böhm system instruments, from piccolo through G-treble, Web site, almost always included will be the record of the concert flutes, to alto and bass. Some bands have acquired flutes they used, when they changed to Böhm system flutes, contra-alto and contrabass flutes made by Kotato and when they bought new ones, and which band bought their STOUNE .

C Hogenhuis, a Dutch maker who uses PVC pipe for the body old flutes. (From the History of the Churchill Flute Band: “In of the flutes. At least one band has a sub-contrabass flute. 1971 probably the most risky change was made when the

MICHAEL Percussion instruments—usually timpani, bass drum, snare band, at a cost of £3,000, converted to the new silver boheme drum, side drum, cymbals, and triangle, glockenspiel, and (sic) system of concert pitch flute.”) The first flute band to

COURTESY other instruments as needed—make the groups “bands.” change over to Böhm system flutes was the Motherwell Old

nfaonline.org Spring 2008 The Flutist Quarterly 29

AN ULSTER EXPERIENCE: FLUTE BANDS IN NORTHERN IRELAND

Philip Watson conducts the Ballylone Flute Band for the 2005 Championship Contest in Belfast. The addition of women players in flute bands is a relatively recent one.

Comrades band from Scotland. They took up the modern and performing, and includes the Flute Band Association, flutes in 1965. Ballymena sold their 1931 Boosey and Hawkes Accordion League, Brass Bands, and Concert bands. ebonite flutes and took up the silver Böhm flute in 1983 at a In the championship contest, the single adjudicator is cost of £10,000 for 26 flutes. The ebonite flutes were pur- seated in a “box” in the center of the hall, insulated from chased by the Ardinariff Band. the audience by a canvas enclosure. The judge cannot see the bands and knows them only by the order in which they Competitive Spirit perform. Comments are made, points awarded, and the Marching and contesting are very important activities for order of finish is determined by points. The Bands Irish flute bands. Marching occupies many bands from Association publishes the judge’s remarks after the contest. May through August, with July 12—the celebration of the The Flute Band Association sponsors an “Own-choice 1690 victory of William of Orange over the Catholic forces Contest” in February (the 45th contest was held in 2006), of James Stuart at the Battle of the Boyne—being the most and solo, quartet, and small ensemble contests in April. important day of all. The competition is stiff; the bands are Many bands, especially those in the north, will travel to proud; and the cause is patriotic—Unionist and Protestant. Scotland for the Annual Scottish Championship Contest in More than 150 Loyalist “blood and thunder” bands perform November (the 79th annual contest is in 2008) or the in Northern Ireland, and even more play in Scotland. Women Annual Scottish Spring Contest in May. are not in the blood-and-thunder bands (for the flute is not a The Ballyclare Victoria Flute Band notes on its Web site: ladylike instrument), although there are all-women bands. Marches and patriotic tunes, along with the occasional tradi- “The competitive arena of flute playing in tional dance tune, make up the playlist for these bands. Northern Ireland is to some extent responsible They usually play in unison, on B-flat simple system flutes. for the continuation of this flute playing tra- Contesting—for both marching and concert or part dition. If it were not for competitions and bands—is also in the blood of the Irish flute player. For festivals in which bands compete against one part bands, the premier contest is the annual another, many flute bands would have broken Championship of Ireland Bands’ Contest (including up a long time ago. In many respects compe- Championship of the World for Flute Bands), held annually titions give many bands a reason to continue, STOUNE .

in late October. The contest has been held since 1907 and to some extent, competitions are the C (excluding the war years of 1914–19 and 1939–44), and backbone of flute band playing in Northern

records of the finalists go back to 1938. The North of Ireland which in turn keep the Flute Band MICHAEL Ireland Bands Association was founded in 1907 for the League and the North of Ireland Bands

purpose of developing an association of bands for parading Association (NIBA) alive. COURTESY

30 The Flutist Quarterly Spring 2008 nfaonline.org

“Moreover, as long as there are competitions, they, more or less, ensure the survival of this unique playing tradition. The concept of pres- tige and that of winning competitions and titles is very important in the Northern Irish flute playing psyche: every band wants to enter a competition for the winning, while at the same gaining valuable experience. Competitions help to focus bands and individuals alike, and are responsible for continuing the high standard of flute playing in Northern Ireland at present.”

Other than test pieces, most of the music the bands play is arranged for them by their own members or by commission from a noted arranger. The repertoire for the flute band includes very few original works for the ensemble. Virtually all the music they play consists of transcriptions or arrange- ments of traditional or show tunes. There is pride of owner- ship connected with the music that a band plays. The music reflects the character and spirit of the band, and players have strong feelings about certain pieces, calling out for favorite works when various pieces are played at the end of a rehears- al. Favorite marches include “Washington Post” and “Stars and Stripes,” concert pieces include “Night on Bald Mountain,” “Academic Festival Overture,” and “Capriccio Espagnole.”Aside from the annual test pieces, very little flute band music is available for general purchase. The Band Community Flute bands flourish under a variety of leadership. Chris Wright, a school music teacher and woodwind specialist, The premier contest among the competitive flutists of Northern Ireland is the Championship of Ireland Bands’ Contest, held since 1907 except in war years. directs Hamilton Flute. Nigel Edgar, a “window fitter,” leads the Cahard band and the Pride of Ballinran band. Ballymena years). In the Coleraine Fife and Drum band, four brothers Young Conquerors band is directed by Richard Douglas, a have more than 200 years of fluting among them. freelance flutist/teacher who is also a member of the Members will list “Dad, Mum, two brothers, uncle, and Ballygowan Flute Band. Winston Robinson has conducted cousins” as members of the band. Also recognized are great- the Coleraine Fife and Drum band for 16 years and played grandfathers and grandfathers who earned 50-year pins. flute for more than 50 years, and also plays in the Hamilton Many bands have learners groups in which youth begin play- Band in Derry. The Ballylone Flute Band has engaged Philip ing at age 6 or 7 and progress to become full members of the Walton, from the Ulster Orchestra’s viola section. Building band. It is not unusual to learn that a 36-year-old player has contractor William Porter has played in flute bands for more been in the band for 28 years. Loyalty to the band is such that than 60 years, and has directed the William King Memorial several bands have members who come back from university band for 25 years. The conductor of the Kellswater Flute to play in special events. Band is Glen Houston, a musical entrepreneur who owns a The family connection is important. Friendship and com- booking agency for musical events. He plays flute and con- radeship are the most mentioned things that members con- ducts Ardinariff Flute Band. His father Brian conducts the sider important; the music, contesting, and marching follow. Ballycoan Flute band and provides many transcriptions of For many, the band is the only thing that they have outside of music for contest. home and the job. They look forward to the weekly rehearsal Flute bands are community based, and many started as as a way of keeping up with their friends and the communi- town representatives marching at patriotic events. Most ty. Others say that “it gets in your blood” and “when you bands began as all-male groups but began to include women don’t play you really miss it.”When asked what they liked best in the 1970s and 80s when male membership began to fall about playing in the band, the strongest response from the off. The incorporation of women led to bands becoming players was “the comradeship.” The follow-up response was stronger family-centered groups. Often two or three genera- “the music.” Many commented on the challenge of making tions of a family play together. In the Ballylone Flute Band, “live music” and playing great orchestral works. Competition two families contribute 10 players. The Harrison family has also figured high in the responses, especially “winning.” five members: Ian (25 years in the band), Sandra (more than All the bands have a strong community connection. 20), Diane (26 years), Niel (13 years), and Leslie (26 years). Members come from the area and have strong community Scott family members are Michael (31 years), Andrew (25 ties as teachers, store clerks, joiners, plumbers, road workers, years), Lyn (17 years), Lorraine (20 years), and Karen (five secretaries, and other trades. The bands play at community

nfaonline.org Spring 2008 The Flutist Quarterly 31

AN ULSTER EXPERIENCE: FLUTE BANDS IN NORTHERN IRELAND Learn More fee for use of the space. On the high end, one band pays £500 per year for use of a rather nice rehearsal room in a com- munity center. Another band is fortunate to own its own hall, Galway, James. An Autobiography. St. Martin’s Press, but has the added expense of taxes and upkeep. New York, 1979. The conductor is paid a fee, typically £50 per rehearsal. Greer, Derek, “Here Comes the Fifes,” Pan, Vol. 1, No. 2, Groups hire coaches to travel to contests; the cost for travel Summer 1982. from Derry to Armagh for the 2007 contest was £300. Maintaining and replacing instruments also adds to the Greer, Derek. “Forming a Flute Band,” Pan, Vol. 2, annual expense sheet. A new G-treble flute made by Myall- No. 1, Spring 1984 Allen sells for about £2,595 (approximately $5,000). A quali- Greer, Derek, “The Flute Bands of Ireland,” The ty alto flute (DeMedici, Altus, James) sells for £825–£2,650, Flutist Quarterly, Vol. XI, No. 1, pp. 41–43. and a bass flute (DeMedici, Altus) for £2,250–£4,000. If a band seeks to expand the bass section with a Hogenhuis con- Hylands, R. Windsor. Development of the Flute and trabass flute (with a PVC body), the current price is £3,000 Flute Band. Self published. ($4,500). A Kotato is listed at $20,000. North of Ireland Bands Association: niba.fsnet.co.uk Many bands apply to the National Lottery for support; especially if they decide to purchase one of the contrabass instruments. During the October 2006–March 2007 funding events (picnics, nursing homes, Harvest Festival in early period, the National Lottery allocated £76,435 ($152,870) to October, Christmas programs, dances, fund-raisers, parades) various groups for the purchase of instruments. Some apply and in turn are recognized in the local and area press for their for support to their local communities including city and contributions. For example, the Londonderry Sentinel issued borough councils. Often concerts generate funds—church a lengthy article about the William King Memorial Band services, local concerts, and subscription events (dances, (founded in 1973). The article featured two of the founding entertainment, concerts). members (still playing in the group), recited a history of the band, and recorded the successes (12 winning efforts in The Fellowship of Fluting Melody and Grade Four categories). The Mourne Observer The 28 flute bands holding membership in the Flute Band ran an extensive article about the Cahard Flute Band on the League represent close to 1,000 players. Add to that the occasion of its centennial, recognizing the members of the many hundreds more who play in the patriotic bands, and band and the service rendered to the community. it becomes clear that playing the flute is a well-regarded Most of the bands march in the summer season. Because pastime in Northern Ireland. For a small province with a many bands were initially organized as marching bands, and population of 1.7 million, that is a lot of flute players. are sponsored in part by the local Orange Order and rehearse The future of the more formal music-making of flute in the Orange Hall, they have an obligation to march during bands is secured by the family and community loyalties of the the summer patriotic season that centers on the July 12 cele- players and the spirit of competition that drives them. Yet, brations. Many bands that have focused on concert music with young people leaving their home towns for brighter find marching somewhat unfulfilling, but do it out of obliga- futures in larger cities, and the increasing number of choices tion. Some parade several times during a summer. When they people have in spending their leisure time, the bands often march, they do not use the alto and bass flutes, and use more have recruiting problems. percussion. Some bands switch to simple system flutes for Fellowship, family, music, working together for a common marching. In fact, when a flute band marches, the percussion goal, community service, and a sense of participating in leads the flutes. history and competition all hold flute bands together in the 21st century. In today’s society, those rich traits are hard to Pounds and Pence come by, and the flute band members in Northern Ireland Flute bands are expensive to maintain and operate. One band have them in abundance. This distinctive social/cultural/ reported an annual revenue of £26,000 against expenses of musical phenomenon is a vital national treasure, and about £24,000. Each member pays weekly dues—typically £2 should maintain for many more years. > to £2 1/2 ($5). Younger players, those in the learner’s class, pay less—50p to £1. A band of 30 members receives £60–£90 I would like to express my appreciation to the Board of per rehearsal from attending members. Regents and the Office of the Provost of Texas Tech University Annual expenses include membership in the North of for the faculty development leave and follow-up research Ireland Bands Association and the Flute Band League—£50 grant that made this study possible. ($100) for the band, plus £1.50 per registered player (a typical band will have 30 players, so the annual membership could run Michael C. Stoune has studied Irish Flute Bands for 25 years. He to $190–$200). To enter the annual contest requires £25, and was professor of flute at Texas Tech University for 28 years before purchase of the test piece costs £40 each year. taking the office of Associate Director of Graduate Studies in the Bands typically make arrangements with an Orange Lodge, School of Music. He has served the NFA as a member of the church, or community center for use of rehearsal space. While board and chair of the special publications committee and the band often provides music for the organization’s functions participated in many convention programs. He performs with in return for a reduced rental, there remains a weekly or annual the Devienne Trio, Lubbock Symphony, and Roswell Symphony.

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36 Revitalizing by flutist” is so musician. As herensemble entersitsseconddecade,the self-described “average to marginalizedcommunities areamongthepassions that drive thisdetermined Flute performance, composing,Imani Winds, andthedesiretobringgreatmusic The Flutist Quarterly The Flutist Quarterly V Peter W alerie Spring 2008 Spring estbrook wing rew nfaonline.org ards forher steady, hardwork. the W C oodwind oleman: Quintet

PHOTO: JEFF FASANO; FROM LEFT: MARIAM ADAM (CLARINET), JEFF SCOTT (FRENCH HORN), VALERIE COLEMAN (FLUTE), MONICA ELLIS (BASSOON), AND TOYIN SPELLMAN-DIAZ (OBOE)

Although Valerie Coleman has been making her mark as a fine flutist in contemporary music, the flute is not her only, or even her primary, medium of expression. For the past 10 years, Coleman’s hand has been at the helm of the award-winning woodwind quintet Imani Winds, which provides an outlet for her not only as flutist but also as composer, arranger, and visionary. The success of the group as it embarks on its second decade—thus far it has received a Grammy nomination, in 2006, and two ASCAP/ Chamber Music America awards—is a testament to that vision.

or as long as Coleman can remember, flute performance basically all of my works written that year, both chamber and and composition have vied equally for her attention. solo,” Coleman says. “Very exciting and stressful, but the FWhen I asked her if she thought of herself as a flutist/com- concert went very well.” poser or composer/flutist, she could not make a choice; both are very close to her heart, and have been since her early years. Enter the Quintet Everything came into focus for Coleman when she conceived Beginnings a way to combine her skills in performance and composition; A young Valerie Coleman began her formal music studies in she decided to form a woodwind quintet. She had not per- her native Kentucky, where, as with most school systems, formed with a wind quintet in college. “It wasn’t until I instrumental instruction began in fourth grade. The usual attended music festivals like Aspen that I got a chance to be flurry of instrument choices and permission slips found her in a wind quintet, and I dug it so much, I thought it was so in possession of a flute. great,”she says. “What I didn’t know was that this would be a But her earliest musical activities had not begun her per- spark of things to come.” formance career; she already had taken her first steps into The somewhat curious woodwind-plus-French horn composition, writing down the music that she heard in her combination has always been an important outlet for head. “I was inventing my own notation using a portable flutists, but Coleman had something special in mind. As an organ we had in our house,” she recalls. “I would just spend African-American, she wanted to form a group that would hours and hours writing down these melodies.” feature the work of other minority musicians, both per- By the age of 14, she had written three symphonies and formers and composers. won several local and state competitions. But developing per- “It’s so funny,” she remembers. “A friend of mine told me formance skills demanded more and more of her time for the once that I had been talking about forming a woodwind next few years, and composition had to take a back seat. It quintet of people of color way back then. And I don’t remember would only remain there temporarily, however. After winning any of that. Maybe it was all just talk, because I am one hell a full scholarship at the University of Kentucky, Coleman of a dreamer—I can just dream, dream, dream all day. But it learned that the school offered programs in only performance, wasn’t until I got up here to New York, to do my graduate not composition. This would not satisfy her, and after one year work at the Mannes school, that the idea of the name Imani she walked away from the security of U.K. and transferred to Winds popped into my head.” Boston University, where she could take a double major in Her career goals at that time had been along “the flute and composition. Later she moved to New York for soloist/orchestral track,” she says. “But I knew that being an graduate work at the Mannes School of Music. instrumentalist means wearing so many hats; you can’t just Whatever her focus, Coleman worked extremely hard; she be one thing. And I was getting a little bit into jazz as well. I describes herself as an average flutist, but one who has always been highly motivated: “I was always so excited to learn some- wasn’t very good at it.” She laughs. “I’m still not very good at thing new that I was ready to leap ahead.”Among teachers have it. And being in the jazz clubs, the idea of bringing charts to been Alan Weiss at Boston, Doriot Dwyer and Leone Buyse dur- the table became a standard part of my being. So when the ing summer programs at the Tanglewood Institute, Mark Sparks name Imani Winds popped up in my head [imani means in Aspen, and private studies for several years with Julius Baker. “faith” in Swahili], I started calling people and saying ‘We could Great teachers and devoted application paid off—Coleman really do something special, we could be role models, we could was the two-time laureate of the Young Artist Competition at really use our heritage to interpret music differently. We can go Boston University, where she also received the Woodwind out into the communities and show people that African- Award, was recipient of the Aspen Music Festival Wombwell American and Latino musicians are not aliens.” Kentucky Award, and was the inaugural recipient of the When I ask, “So it was your baby?” she laughs and says, Michelle E. Sahm Memorial Award at the Tanglewood “Oh yes, it’s my baby all right!” Festival. Coleman understudied for Eugenia Zukerman at Coleman quickly found like-minded people who shared Lincoln Center and was featured soloist in the Mannes 2000 her vision. She had met clarinetist Mariam Adam years earlier, Bach Festival. She recently was showcased on the New York and Adam, along with oboist Toyin Spellman-Diaz and classical radio station WQXR. bassoonist Monica Ellis, happened to arrive in New York at the In 2004, Coleman made her flute/composer debut at same time to attend the Manhattan School of Music. Horn Carnegie Hall. She had received the Edward and Sally Van player Jeff Scott, who had just finished at Manhattan and was Lier Memorial Award, an award affiliated with the Meet the working a Broadway show, was recommended to Coleman. Composer program that included a performance—to a full “One by one each person led me to the next,” Coleman says. house—in Carnegie’s Weill Recital Hall. “The program was “I called each of them and invited them to get together and read

nfaonline.org Spring 2008 The Flutist Quarterly 37

VALERIE COLEMAN: REVITALIZING THE WOODWIND QUINTET Hard Work It has taken 10 years of hard work to arrive at this point. Coleman remembers their first recital, in a small room in a small church in uptown Manhattan, with an audience of around eight people. Undeterred, the group began to organize more concert series, often using their own money to rent spaces—the Good Shepherd Church on 66th Street in New York was a frequent venue. Acquiring a computer allowed Coleman to produce flyers and press releases. As attendance started to build, the group began to expand repertoire, including Coleman’s own compositions, such as “Umoja,” which was central to the group’s first recording and which is listed by Chamber Music America as one of the 101 Great American Works. Imani Winds development was slow but steady; Coleman’s propensity for hard work stood them in good stead, as did the chemistry within the group. “There were concert series, com- petitions, and many hours in the practice room; ‘10 to 1, 2 to 5’ was our motto,” she remembers. “And it is only one aspect of our lives as musicians. We also had to make a living. There were other commitments, orchestra auditions, all of that. But over this period, one by one, each person arrived at the point where they could say ‘Hey! This could really yield something very interesting and very gratifying.’ ” A breakthrough moment was an audition for the Concert Artist’s Guild, in the late 1990s. “We did not win that compe- tition, but they saw a potential in us for going out into the community in an outreach program, and we became their

Coleman explored composition even before taking up the flute in the fourth first education residency ensemble,” Coleman says. “With grade. Her own works play an important role in Imani Wind’s repertoire. them as our management, we were able to start to travel, and we realized, ‘hey this is fun, going to all these different through some material. I wasn’t looking just for a venue for my places. We could do more.’ Meanwhile, in the back of my music, although I realized that I could bring in charts too. It was head I was thinking ‘this is only a stepping stone; I want a more the idea that we could all bring in something and create Grammy!’ Everyone thought I was absolutely insane think- different sonorities out of what is the standard wind quintet. ing a woodwind quintet could get a Grammy.”But when the We were still students, so we were just getting together, doing nomination came—in 2006, for their third CD The Classical some recitals and learning new music.” Underground—two quintets were nominated, Imani Winds They began with traditional wind quintet repertoire; in the Best Classical Crossover Album category, and the their recitals continue to feature works by Mendelssohn, Borealis Quintet for Best Chamber Music Performance. Ravel, Elliot Carter, Heitor Villa-Lobos, and Cesar Franck, Coleman marvels: “It was the year of the wind quintet for among others. “There’s some great stuff,” observes Grammy nominations!” Coleman, “but it is so limited that you end up doing it over and over again. So, even though there are many professional Repertoire quintets that have been around for years and years, the stigma The ensemble’s direction can be seen from the material on the in college with the wind quintet is that you only stay Classical Underground recording. Coleman’s Concerto For together while you are a student—half a semester or a Wind Quintet and Scott’s “Homage to Duke” share the stage with works by two Argentineans, Lalo Schifrin’s “La Nouvelle whole semester. There are also faculty groups, but they Orleans” and New Tango composer Astor Piazzola’s only get together maybe once or twice a year for concerts. “Libertango.” Cuban expatriate Paquito D’Rivera’s “Aires Now there are some quintets that stay together longer by Tropicales,” is one example of work of a jazz musician who has commissioning works. The Quintet of the Americas has turned to writing for classical ensembles, as is the case with two been doing that for several decades, and they have a huge other saxophonists, Steve Coleman (no relation) and Wayne legacy of commissioning. The Dorian Quintet does as Shorter, who have both appeared with Imani Winds. well.” Neglecting to mention the work that she and Jeff Imani’s earlier recording also features works by Piazzola, Scott have already contributed, Coleman continues: “For Coleman, and Scott, plus the Mexican Mario Lavista and Latin Imani Winds, we have been lucky enough to work with jazz percussionist Mongo Santamaria. Maurice Ravel’s “Le various composers, of different heritages and in different Tombeau De Couperin” is a nod to the standard repertoire. genres of music, who have brought things to us. But now Characteristic of all the group’s repertoire is an emphasis on ASANO we are starting to take matters into our own hands and tonal music, full of all the color and movement derived from F

begin to commission.” jazz and world music sources, including Latin American, Asian, JEFF

38 The Flutist Quarterly Spring 2008 nfaonline.org

Suggested Listening Imani Winds’ recordings are listed at: imaniwinds.com Information on Valerie Coleman is available at: vcoleman.com The Panoramic Flutist: and African composers. It is music that strikes a A Residential Seminar difficult balance; it is both innovative and attractive, challenging and yet accessible. Members of the group take the trouble to talk to the audience about the music, in an entirely May 28-31, 2008 unpretentious and engaging manner. University of Colorado Is this the future of chamber music? I would Leone Buyse and Christina Jennings like to think so—at least one dimension of it. In many ways, contemporary music has lost touch With Steven Finley, Lisa Parker, with its audience. “Some of this music which is Michael Webster, and Jennifer Keeney written by the head is not touching the people,” Sir James Galway has written, “because they don’t bring their heads to the concert, they bring their hearts, and they want to be touched.” By oin us in Boulder, Colorado for four inspiring rhythmically revitalizing tonal music, jazz and its world music derivatives have risen to this days devoted to the flute. This seminar will Jfeature diverse masterclasses, performances, need, extending the life of tonal forms. Imani Winds has led the way in this effort. and lectures illuminating the panoramic view of flute For Coleman, the group has another purpose, playing today. however. “One of the reasons Imani came together,”she told me,“was to show the African- Presentations will include: American communities that there is a place in • Masterclasses (orchestral and solo repertoire) classical music for them. Imani’s touring has led us to perform over 250 concerts yearly to with Buyse and Jennings children within the public school systems and • Dalcroze Eurhythmics classes with Lisa Parker lower income communities across America. (Longy School of Music) ‘Paying it forward’ is very important to all of us.” • Intonation Workshop with It looks as though they will be doing this for Michael Webster (Rice University) some time to come; both Coleman and the • Creative Practicing Strategies with Jennifer Keeney quintet are going from strength to strength. The recent premier of Coleman’s Afro-Cuban (The Creative Flutist) Concerto for Wind Quintet and Orchestra at • Historical lectures with Steven Finley (Flute FX) Carnegie Hall (and in Philadelphia with Orchestra 2001) received glowing reviews. A new project to commission 10 major works for The Panoramic Flutist will be held at the College of Music on the quintet from minority composers will the University of Colorado campus in Boulder. Located in the scenic foothills of unfold over the next decade. And while it is the Rocky Mountains, the campus is easily accessible by car and public trans- very much a group undertaking, it is not hard portation. Regional bus and shuttle services run regularly from Denver to see Valerie Coleman’s musical intelligence, International Airport. sensitivity, and vision providing a guiding hand. Coleman continues to grow as a flutist; the demands of Imani Winds, as well as of her fac- ulty positions at the Juilliard School of Music Advancement Program and the Interschool Orchestras of New York, mean she will always For further questions, updated news, be more than an average flutist. Ultimately, and an application visit however, Imani Winds is “her baby.” And the growth of the woodwind quintet can only ben- The Panoramic Flutist website at: efit all flutists. > www.colorado.edu/flutestudio/panoramicflute.htm [email protected] • 303-492-7150 Peter Westbrook is the author of The Flute in Jazz. (See fluteinjazz.com.)

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Erich Graf A Flute Recital: Bach (c minor suite) Roussel (Joueurs de Flute) Berio (Sequenza) Gaubert (Sonata #3) Flute Masterworks: Poulenc (Sonata) Debussy (Syrinx) Varése (Density 21.5) Bourne (Carmen Fantasie) Nobis (from western mountains) Prokofiev (Sonata)

Classical Musings: A VHS music video setting of excerpts from A Flute Recital to the beauty of Utah’s National Parks and their environs. Erich Graf . Aeolus Recordings www.erichgraf.com

2008 MASTERCLASSES The following masterclass listing was compiled by Tony Watson for the National Flute Association, Inc. and its The Flutist Quarterly magazine, and is used by permission. For full and updated information, consult the NFA Web site: nfaonline.org.

1ST ANNUAL FINGER LAKES 2008 RANSOM WILSON 23RD WILLIAM BENNETT INTERNA- FLUTE INSTITUTE CAMBRIDGE FLUTE TIONAL FLUTE SUMMER SCHOOL Notre Dame Retreat House MASTERCLASS Frensham Heights School Canandaigua, New York Saint Catharine’s College Farnham, Surrey, England July 19–24 Cambridge, England fingerlakesfluteinstitute.com August 10–20 [email protected] July 17–26 williambennettflute.com Kevin Chance; Paul Edmund-Davies; ransomwilson.com/cambridge.html [email protected] Cristina Ballatori; Helen Spielman; [email protected] William Bennett Alexa Still Ransom Wilson; Daniel Alexander ADELPHI UNIVERSITY INTERNA- 10TH ANNUAL SUMMER FLUTE 2008 RANSOM WILSON TIONAL CONTEMPORARY CLASS RETREAT AT ILLINOIS VALLEY MASTERCLASS Adelphi University, Garden City, New York COMMUNITY COLLEGE Monterchi, Italy Illinois Valley Community College July 28–August 1 July 5–16 Oglesby, Illinois lindawetherill.com; adelphi.edu ransomwilson.com June 22–28 [email protected] opus111musicstudio.com [email protected] Linda Wetherill; Mirtru Escalona Mijares [email protected] Ransom Wilson; Sergio Pallottelli Susan Gillio; Gerald Carey; Ellen Huntington; Anne Badger; Kim Sopata 2008 SKIDMORE SUMMER ALI RYERSON JAZZ FLUTE FLUTE INSTITUTE MASTER CLASS 17TH FLUTE SUMMER COURSE Skidmore College Hidden Valley Music Seminars ‘FOR THE CONTEMPORARY FLUTIST’ Saratoga Springs, New York Carmel Valley, California Balcon del Rio, Sayalonga, Spain June 30–July 5 August 23–30 July 27–August 2 flutesummercourse.com skidmore.edu/summer hiddenvalleymusic.org/ryerson [email protected] [email protected] [email protected] Wil Offermans Jeffrey Khaner; Mark Vinci; Jan Vinci Ali Ryerson

42 The Flutist Quarterly Spring 2008 nfaonline.org

ALI RYERSON JAZZ FLUTE ASHEVILLE FLUTE VACATION CANADA’S NATIONAL ARTS CENTRE NEW MEXICO MASTER CLASS Blue Ridge Mountains YOUNG ARTISTS PROGRAMME Home of Jen Cole Asheville, North Carolina National Arts Centre & University of Sandia Park, New Mexico May 5–11 Ottawa Music Department September 27 September 8–14 Ottawa, Ontario aliryerson.com ashevilleflute.com June 9–July 1 [email protected] [email protected] nac-cna.ca/smi Ali Ryerson Lea Kibler; Kate Steinbeck [email protected] Joanna G’froerer ALTO AND BASS BEMIDJI STATE UNIVERSITY FLUTE RETREAT CORSI MUSICALI ESTIVI “EURYDICE” SUMMER MUSICAMP YMCA of the Rockies, Estes Park, Colorado Scuole elementari e Albergo Acler June 12–16 Bemidji, Minnesota Levico Terme , Italy altoflute.net July 13–19 July 21–August 1 [email protected] bemidjistate.edu/academics/ danielapisano.eu Christine Potter departments/music/musicamp [email protected] [email protected] Daniela Pisano AMALFI COAST MUSIC FESTIVAL Susan Nelson Various venues, Vietri-sul-Mar, Italy EAST TENNESSEE SUZUKI FLUTE July 1–13 BODY MAPPING MASTER CLASS INSTITUTE INTERNATIONAL Amalfi-festival.org First Religious Society Unitarian East Tennessee State University [email protected] Newburyport, Massachussetts Johnson City, Tennessee Nancy Stagnitta April 5 June 22–27 AMHEARST EARLY MUSIC FESTIVAL http://flutibia.mac.com etsu.edu/suzuki Connecticut College [email protected] [email protected] New London, Connecticut Lea Pearson Rebecca Paluzzi; David Gerry; Kenichi July 6–13 Ueda; Joyce Bennett; Wendy Stern amherstearlymusic.org BOWDOIN INTERNATIONAL FAIRBANKS SUMMER ARTS FESTIVAL Deborah Booth; Maria Diez-Canedo; MUSIC FESTIVAL University of Alaska, Fairbanks, Alaska Na’ama Lion; Gwyn Roberts; Janet See Bowdoin College July 13–27 Bowdoin, Maine fsaf.org AMY PORTER’S ANATOMY June 21–August 2 [email protected] OF SOUND bowdoinfestival.org John Barcellona; Dorli McWayne University of Michigan School of Music, [email protected] Theatre & Dance, Ann Arbor, Michigan Christina Smith FLOOT FIRE (CAMP AND SOLO June 7–10 COMPETITION) music.umich.edu/special_programs/adult BOXWOOD CANADA Custer Road United Methodist Church /anatomyofsound.htm Lunenburg, Nova Scotia Plano, Texas [email protected] July 19–25 June 22–28 Laura Dwyer; Martin Kennedy; Amy http://boxwood.org/canada.html flootfire.com Porter; Jerald Schwiebert; Thomas [email protected] [email protected] Robertello Chris Norman; Rod Garnett; David Kimberly Clark; Helen Blackburn; ARIA INTERNATIONAL Greenberg; David McGuinness; Betsy Patti Grubbs-Mecklin; Terri Sundberg; SUMMER ACADEMY MacMillan; Edmund Brownless; Claire Johnson Williams College Andy Thurston Williamstown, Massachusetts FLORIDA FLUTE WORKSHOP AT June 17–July 14 BURGOS CHAMBER MUSIC FESTIVAL STETSON UNIVERSITY ariaacademy.com Burgos, Spain Stetson University, Deland, Florida [email protected] July 21–August 3 June 10–14 [email protected] Bonita Boyd; Amy Porter; Fenwick Smith; [email protected] Nancy Clew; Lindsay Hager; Debbie Bradley Garner; Linda Toote Jonathan Keeble Heller; Susan McQuinn ARIA INTERNATIONAL C.W. POST CHAMBER SUMMER ACADEMY FLUTE AS INSPIRATION AND PRAISE MUSIC FESTIVAL BOOT CAMP FOR FLUTISTS Second Presbyterian Church Mount Holyoke College C.W. Post Campus/Long Island Greenville, South Carolina South Hadley, Massachusetts University, Brookville, New York June 9–June 13 July 27–August 5 July 15–24 tempoprimoenterprises.com ariaacademy.com liu.edu/svpa/music/festival [email protected] [email protected] [email protected] Tadeu Coelho; Kathy Blocki; Irna Priore; Amy Porter; Fenwick Smith; Linda Toote Susan Deaver Amanda Barrett

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MASTERCLASSES

FLUTE CHOIR AND WOODWIND FLUTEMANIA IV INTERNATIONAL FLUTE CHAMBER MUSIC CAMP Ingesund College of Music FESTIVAL OF COSTA RICA St Andrews-by-the-Sea, New Brunswick Arvika, Sweden Universidad de Costa Rica & National July 21–August 9 June 14–29 Institute of Music, San Jose, Costa Rica May 26–June 1 http://millikin.edu/international/immer- flutemania.nu acofla.org sions/imm_o8/canada_sum08.html [email protected] [email protected] [email protected] Torleif Ander; Jonathan Keeble; Gunnar Laurie Glencross Maxence Larrieu; Susan Milan; Michel Nasman; Jonas Simonsson Bellavance; Robert Langevin; Angeleita FLUTE FOCUS Floyd; Lillian Pearson; See Siang Wong; University of California FREDONIA WOODWIND QUINTET Maria Jose Carrasqueira; Serge Saitta; Santa Barbara, California SUMMER CHAMBER MUSIC CAMP Allan Huckleberry; Rogiero Wolf; Nicole June 25–28 State University of New York at Esposito; Eldred Spell; Sergio Pallottelli; [email protected] Fredonia, Fredonia, New York Gabriel Goni-Dondi; Fabio Mazzitelli; Jill Felber; Marianne Gedigian July 6–12 Sami Junnonen http://fredonia.edu/som/camps/ JONATHAN SNOWDEN FLUTE MAKING– wwqcamp.asp INTERNATIONAL FLUTE SCHOOL BUILD YOUR OWN HEAD JOINT! [email protected] Alexandria, Virginia Landell Flutes Workshop Susan Royal July 14–18 Richmond, Vermont jonathanmsnowden.com June 23–27 HONG KONG FLUTE CENTRE [email protected] landellflutes.com SUMMER FLUTE CAMP Rebecca Collaros; Jonathan Snowden [email protected] Hong Kong Flute Centre, Hong Kong Jonathon A. Landell August 24–September 7 KEITH UNDERWOOD FLUTE hongkongflutecentre.com MASTERCLASS FLUTE TECHNICIANS Ghost Ranch, Abiquiu, New Mexico OVERHAUL AND MECHANICAL [email protected] August 11–17 TRAINING Mary Karen Clardy taoschambermusicgroup.org Landell Flutes Workshop [email protected] Richmond, Vermont INTERNATIONAL MASTER CLASS Keith Underwood June 16–20; July 14–27; September 1–5 FOR FLUTE See above. European Academy of Music and LAMONT SCHOOL OF MUSIC Performing Arts, Montepulciano, Italy SUMMER PRE-COLLEGE ACADEMY FLUTE TECHNICIANS PADDING August 3–10 University of Denver, Denver, Colorado COURSE palazzoricci.com June 25–July 6 [email protected] Landell Flutes Workshop [email protected] http://du.edu/lamont/comm_precollege.html Richmond, Vermont Moshe Aron Epstein June 9–13; July 7–11; August 25–29 Pamela Endsley See above. INTERNATIONAL SUMMER ACADEMY LONG BEACH FLUTE INSTITUTE OF MUSIC, NICE, FRANCE–FESTIVAL FLUTE! CAMP FOR ADULT FLUTE DAY HIGH SCHOOL STUDENTS LES NUITS MUSICALES DE NICE California State University University of North Texas National Conservatory of Music Long Beach, California Denton, Texas Nice, France July 12 June 18–22 July 15–August 18 [email protected] John Barcellona mkclardy.com hexagone.net/nice [email protected] [email protected] LONG BEACH FLUTE INSTITUTE Mary Karen Clardy Jean Louis Beaumadier; Davide Formisano; SUMMER DAY CAMP Benoît Fromanger; Maxence Larrieu; California State University FLUTE! FUNDAMENTALS Geneve Claude Lefebvre; Philippe Long Beach, California University of North Texas Bernold; Julien Beaudiment; Vincent July 8–12 Denton, Texas Lucas; Philippe Pierlot; Juliette Hurel [email protected] June 9–13 John Barcellona; Darrin Thaves; See above. ITHACA FLUTE INSTITUTE Rena Urso-Trapani Ithaca College, Ithaca, New York FLUTE! MASTERCLASS IN MADELINE ISLAND MUSIC CAMP June 29–July 3 REPERTOIRE AND PERFORMANCE Madeline Island, Wisconsin University of North Texas http://faculty.ithaca.edu/mehne/ July 7–13 Denton, Texas [email protected] music-camp.org June 27–29 Wendy Herbener Mehne; Claudia [email protected] See above. Anderson; Leone Buyse; Jill Felber Jonathan Keeble

44 The Flutist Quarterly Spring 2008 nfaonline.org

MARINA PICCININI INTERNATIONAL OHIO STATE UNIVERSITY FLUTE PERFORMANCE ANXIETY MASTER CLASS WORKSHOP FROM INSIDE OUT Peabody Institute, Baltimore, Maryland Ohio State University, Columbus, Ohio Near NFA Convention center June 1–6 June 15–19 Kansas City, Missouri peabody.jhu.edu/piccinini music.osu.edu/2_news_events/camps/ August 6 [email protected] flute_workshop.php unc.edu/~hbs Marina Piccinini; Emily Skala; Laurie [email protected] See above. Sokoloff; Colette Valentine Katherine Borst Jones PETER LLOYD MUSIC AT THE BEACH: OXFORD FLUTE SUMMER SCHOOL FLUTE MASTER CLASS AN ENSEMBLE FESTIVAL Worcester College, University of Oxford St. Andrew’s United Church Toronto, Ontario FOR FLUTISTS AND PIANISTS Oxford, England February 29–March 1 Stone Harbor, New Jersey August 10–15 oxford-flutes.co.uk [email protected] June 21–28 Peter Lloyd flutestudiode.com [email protected] [email protected] Michael Cox; Kate Hill; Peter Lloyd; Stephen Preston RARESCALE ALTO AND Joan Sparks; Donna DeLaurentis, piano BASS FLUTE WEEK PASSION FLUTE: FOUNDATIONS Raasay House MUSICALTA FOR CREATIVE PERFORMING Isle of Raasay, Scotland Rouffach LEGTA Campus University of Northern Iowa March 31–April 3 Rouffach–Alsace, France Cedar Falls, Iowa altoflute.co.uk July 21–31 June 18–22 [email protected] musicalta.com uni.edu/music/passionflute Michael Oliva; Carla Rees; Sarah Watts [email protected] [email protected] RED CEDAR CHAMBER MUSIC: SUM- Robert Aitken; Julien Beaudiment; Angeleita Floyd; Claudia Anderson; MER FESTIVAL FOR FLUTE Pascale Feuvrier Jill Felber GUITAR DUOS Cornell College, Mount Vernon, Iowa MUSICALTA PATRICIA HARPER July 13–20 Rouffach LEGTA Campus Asilomar Conference Center redcedar.org/summerfestival.html Rouffach–Alsace, France Monterey, California [email protected] August 1–11 July 6–10 Jan Boland; John Dowdall musicalta.com patriciaharper.com [email protected] [email protected] RHODE ISLAND PHILHARMONIC Chrystel Delaval; Emmanuèle Ophèle Patricia Harper FLUTE MASTERCLASS Rhode Island College NEW ENGLAND CONSERVATORY PATRICIA HARPER Providence, Rhode Island SUMMER METROPOLITAN FLUTE Brownsville, Vermont April 6 FESTIVAL ORCHESTRA June 22–28 riphil.org New England Conservatory of Music See above. [email protected] Boston, Massachusetts Susan Milan July 24–27 PATRICIA HARPER newenglandconservatory.edu SUMMER FLUTE CLASS RHONDA LARSON ITALY [email protected] North Greenville University MASTERCLASS Paige Dashner Long Greenville, South Carolina Casperia, Italy June 1–6 August 4–10 NORTHERN CALIFORNIA FLUTE CAMP [email protected] [email protected] Hidden Valley Music Seminars Patricia Harper Rhonda Larson Carmel Valley, California PERFORMANCE ANXIETY July 25–August 2 SARASOTA MUSIC FESTIVAL FROM INSIDE OUT flutecamp.com Sarasota, Florida International Native American Flute [email protected] June 1–21 Convention, Stevens Point, Wisconsin Michelle Caimotto; Jill Felber; Karen sarasotamusicfestival.org July 10 [email protected] Johnson; Karen Van Dyke; Jim Walker; inafa.org Leone Buyse; Carol Wincenc Gary Woodward; Carole Bean [email protected] Helen Spielman SEWANEE SUMMER OBERLIN FLUTE INSTITUTE MUSIC FESTIVAL Oberlin Conservatory of Music PERFORMANCE ANXIETY University of the South Oberlin, Ohio FROM INSIDE OUT Sewanee, Tennessee June 29–July 6 92nd Street Y, New York, New York June 14–July 20 oberlin.edu/con/summer/flute April 24 www2.sewanee.edu/ssmf [email protected] 92y.org [email protected] Michel Debost; Kathleen Chastain; See above. Patricia George

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MASTERCLASSES

SOUTHEAST FLUTE WORKSHOP THE PANORAMIC FLUTIST: UNIVERSITY OF CALIFORNIA Southeast Missouri State University A RESIDENTIAL SEMINAR SUMMER SESSION Cape Girardeau, Missouri University of Colorado WITH JILL FELBER University of California May 27–31 Boulder, Colorado May 28–31 Santa Barbara, California semo.edu/music/ [email protected] [email protected] colorado.edu/music/flutestudio/panora micflute.htm Jill Felber Robert Fruehwald; Paul Thompson [email protected] UNIVERSITY OF WISCONSIN– Leone Buyse; Christina Jennings; SUMMER FLUTE CLASS WHITEWATER HIGH SCHOOL Jennifer Keeney; Steven Finley; Arosa, Switzerland FLUTE CAMP Lisa Parker; Michael Webster August 10–16 University of Wisconsin Whitewater, Wisconsin kulturkreisarosa.ch THE SCOTTISH INTERNATIONAL July 6–11 [email protected] FLUTE SUMMER SCHOOL uww.edu/conteduc/camps Edmund Wächter; Elisabeth Weinzierl St. Leonard’s School [email protected] St Andrews, Scotland Robin Fellows SUMMER FLUTE EXPERIENCE July 19–26 WITH GEORGE POPE flutescotland.co.uk VANCOUVER EARLY MUSIC University of Akron, Akron, Ohio [email protected] BAROQUE INSTRUMENTAL PROGRAMME July 21–26 Wissam Boustany; Ian Clarke; Ruth Morley; Scott Mitchell, piano University of British Columbia neofa.org Vancouver, British Columbia [email protected] TIMBER FLUTE FESTIVAL July 27–August 8 earlymusic.bc.ca George Pope; Jane Berkner Randolph County Community [email protected] Arts Center, Elkins, West Virginia SUMMERFLUTE 2008 Wilbert Hazelzet June 22–27 MUSIC-MOVEMENT-MIND randolpharts.org VERMONT FLUTE FESTIVAL Santa Sabina Conference Center [email protected] Bundy Center for the Arts San Rafael, California Wendell Dobbs; Colin St. Martin; Grey Waitsville, Vermont July 14–18 Larsen; John Gallagher; Ron Warren August 5–7 summerflute.org patrickandfriends.com [email protected] TRACY HARRIS FLUTE MASTER [email protected] Amy Likar; Lea Pearson; Stacey Pelinka; CLASSES WITH GUEST ARTIST Gary Schocker; Michael Parloff Liisa Ruoho; Sandra Seefeld CYNTHIA ELLIS Buck Shaffer Performing Arts Auditorium WESTMINSTER CHOIR COLLEGE HIGH SCHOOL FLUTE CAMP SUMMERKEYS FLUTE WORKSHOPS Porterville, California March 25 Westminster Choir College of Rider Summerkeys, Lubec, Maine University, Princeton, New Jersey tracyharrisflute.com July 7–11; July 14–18; July 27–August 2 [email protected] July 28–August 1; August 4–8 rider.edu/886_2068.htm Tracy Harris; Cynthia Ellis summerkeys.com [email protected] [email protected] Gerald Carey; Susan Gillio; Sandra TRACY HARRIS THREE RIVERS Olson Eve Friedman; Suzanne Gilchrest FLUTE MASTER CLASS 2008 St. Anthony’s Retreat, Three Rivers, WILDACRES FLUTE RETREAT TEXAS FLUTE FESTIVAL 2008 California Wildacres Retreat University of North Texas July 24–26 Little Switzerland, North Carolina Denton, Texas tracyharrisflute.com June 21–June 28 May 16–17 [email protected] http://wildacresflute.com texasflutesociety.org Tracy Harris; Mary Karen Clardy; [email protected] Jim Walker Göran Marcusson; Stephen Preston; [email protected] Bradley Garner; Amara Guitry; Helen Renee Siebert; Elizabeth McNutt; TREVOR WYE Spielman; Joy Sears; Amy Blumenthal; Rebecca Powell Garfield; Andrea Oliva SUMMER MASTERCLASS Timothy Carey; Lea Pearson West Virginia University THE NOW AND PRESENT WVU HIGH SCHOOL FLUTE CAMP Morgantown, West Virginia West Virginia University FLUTE SEMINAR June 21–28 Bard College Morgantown, West Virginia http://wvu.edu/~music/trevor_wye/ June 18–21 Annandale-on-Hudson, New York index.html ccarts.wvu.edu/community_arts/ June 16–June 20 [email protected] flutecamp/ [email protected] Trevor Wye; Francesca Arnone; [email protected] Patricia Spencer Mary Jo Gothmann, piano Francesca Arnone; Laurie Glencross

46 The Flutist Quarterly Spring 2008 nfaonline.org

RESIDENTIAL SUMMER FLUTE CLASSES with PATRICIA HARPER Greenville, SC – June 1 - June 6, 2008 Brownsville,VT–June 22-June 28, 2008 Monterey, CA - July 6 -10, 2008 For information and repertory list: e-mail: [email protected] (SC class) [email protected] (VTand CA classes) telephone/fax (860) 767-0629

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Can’t Find it? Gotta Have it? The complete index of articles in The Flutist Quarterly, volumes 16 through 32, is now online!

Visit nfaonline.org and look under the Flutist Quarterly section of the site to find the index.

(A printed index to issues prior to volume 16 is available from the NFA office on request.)

Across by Christine Cleary the Miles

News about flute club and flute choir activities throughout the United States

In November 2007, the Arizona Flute Society held a two-day presentations, and a per- event comprising its annual flute festival and competition, as formance by Emmanuel well as a recital and masterclass featuring Göran Pahud. The expanded Marcusson. The competition, open to all levels of flute festival also offered musicians from beginner to adult, featured Marcusson judg- videos, recordings, and ing the college and adult divisions. Marcusson, accompanied panel discusions about by Tim Carey on piano, also performed a recital at the Arizona teachers Barrère, Moyse, State University Louise Kerr Center for the Arts. Marcusson Mariano, Kincaid, and and Carey performed works by Gaubert, Taktakishvili, Gilbert featuring flutists Stenhammar, Peterson-Berger, and Alfvén. Sherry Finzer who had worked with joined Marcusson on the duet “Valse des Fleurs” by them: Nancy Andrew, Koehler, accompanied by Carey on piano. For an encore, Judith Cook Bentley, Marcusson and Carey performed the first and the last move- Gerald Carey, Angeleita ments of the Undine Sonata by Carl Reinecke. Marcusson con- Emmanual Pahud Floyd, Patricia George, ducted a masterclass with the competition division winners. Walfrid Kujala, Donald Peck, and Nancy Toff. Patricia Both days of this event were well attended. A Gemeinhardt George, Barbara Klipp, Stephanie Jutt, Kate Lucas, and Mary flute was the top prize in the Society’s raffle held in conjunc- Stolper joined other panelists to address proper preparation, tion with the event. After the masterclass, the Arizona essential warm-ups, good teaching techniques, and ideal Flute Society hosted a dinner for guests in Scottsdale. The practice procedures. Panel discussions on preparation for AFS sponsored the Alla Breve Flute Choir, under the direc- competitions and auditions included input and advice from tion of Elizabeth Buck, in concert at Beatitude Campus of Hideko Amano and Ellen Huntington, insight into orchestral Care January 27. Phyllis Avidan Louke, bass flutist and openings or music conservatories from Donald Peck, Walfrid composer, will be the guest conductor at the Society’s Kujala, and Claudia Cryer, and guidelines for maintaining a Flute Ensemble Event on March 29 at Phoenix College. freelance career from Steve Kujala, Tom Mendel, and Janice Featured will be Louke in recital and performances of Bernstein. Workshops covered aromatherapy for musicians, small ensembles and flute choirs playing Louke’s composi- stage presence, piccolo playing, flute care, and performance tions. Visit azflutes.org or contact [email protected]. health care. Finalists of the junior, senior, and solo competition winners performed and received their awards. The Charlotte (North Carolina) Flute Choir entertained shoppers at the Southern Christmas Show in mid- The Florida Flute Association hosted its 32nd annual November 2007 with holiday tunes. Also in November, the Florida Flute Fair February 1–3 at the Orlando/Altamonte Springs Hilton Hotel. Featured performers were soloist and choir made its television debut, as a participating group in recording artist Jim Walker and University of Nebraska profes- the annual South Park tree lighting ceremony, which aired sor John Bailey. The three-day event included professional and on NBC the Wednesday before Thanksgiving. Also during student flutists in concerts, workshops, masterclasses, exhibits the holiday season, the choir performed for people viewing of flutes and music, and high school and college competitions. holiday lights on horse-drawn carriages and in another tree- There were numerous opportunities to participate in flute lighting ceremony. All holiday performances included a con- choirs, small ensembles, open masterclasses, solo and trabass flute borrowed from Amy Blumenthal. ensemble coaching, and participatory workshops. Workshops included sessions on piccolo, ethnic flutes, The Chicago Flute Club held its first two-day flute festival, body mapping, breathing and phrasing, and warm-ups. celebrating “Our Heritage and Our Promise” in November Membership in the Florida Flute Association, which

ARTE 2007. Along with presentations of lifetime achievement includes admission to the Florida Flute Fair, is $40 for LET awards to Donald Peck and Walfrid Kujala, the festival fea- adults and $25 for full time students. Call 941-962-1649 or UDE tured 21 exhibits, masterclasses, workshops, flute choir visit floridaflute.org. CLA

nfaonline.org Spring 2008 The Flutist Quarterly 49

ACROSS THE MILES

Flutopia Flute Choir, made up of middle school and high quintet; costume jewelry worn in concert and recitals; school students, performed in August 2007 at the outside publicity photos; metronomes; gig bags; music; recordings; Main Street setting of the Southlands in Aurora, Colorado. and numerous concert gowns and performing apparel. “As Just before Thanksgiving, the choir performed at a local cof- most flutists do, I have treasured the flute memorabilia fee shop, also in the Southlands. Flutopia rehearses in and keepsakes I have collected and received over the years,” Aurora, and comprises flutists from Arapahoe, Douglas, said Baxtresser. “I am thrilled I can now pass these items on Elbert, and Denver counties. Contact Robyn Gold at flutopi- to other flutists so they can enjoy them, as I have.” Guests [email protected]. also attended a lecture/masterclass featuring students from Baxtresser’s Carnegie Mellon University studio. The theme Under the direction of Christine Beard and Cindy McGann, for the class was “Lyricism and Line: Melodic Interpretation 35 members of the Heartland Community Flute Choir per- through the use of Phrasing, Tone Colors, and Vibrato.” formed at the Lauritzen Botanical Gardens in Omaha, Several of the performers wore the “Jeannie” gowns pur- Nebraska, December 2, 2007, to kick off the garden’s 2007 chased that day. Baxtresser played throughout the lecture; Holiday Harmony Concert Series. The HCFC also provided notable were her interpretations of “Somewhere Over the preconcert music for more than 2,000 people attending Rainbow” and her own arrangement of Delibes’ “Flower Omaha’s Christ Community Church production of the Duet” from Lakme. Notable quotes from the class include: Christmas musical Two from Galilee, December 16, 2007. “Harmony dictates everything in regard to phrasing” and Visit christiebeard.homestead.com/flutechoir.html. “Vibrato is a physical reaction to emotion.” Baxtresser cited Martin Luther King, Jr., in his “I Have a Dream” speech to The International Flute Orchestra demonstrate the use of vibrato as a tool to convey emotion. will tour Chile in May 2008. The PFC highly recommends that other flute clubs and flute Chilean flutists will be invited to choirs look to their local icons for treasures to pass along in meet with the flutists for musical similar events. The benefits extend far beyond the financial. exchanges, and concerts will be given in Santiago, Conceptcion, Quad City Flutes Unlimited, founded in 1983 by Janet and Temuco. John Bailey will Stodd, began its 25th season with a concert of international conduct. The orchestra is com- flute music October 23, 2007, at Butterworth Center in posed of college teachers and Moline, Illinois. Works by Louke, Nourse, Rice-Blumenthal, orchestral musicians. Adult flutists Fruehwald, Gaubert, Grieg, and Via representing eight interested in future tours with the countries were performed. The concert opened with the IFO may contact Nancy C. Clew, first performance of the Quad City High School Flute John Bailey director, at [email protected]. Choir, directed by Janet Stodd. They played “As Eagles The 2007 tour to Greece provided concerts in Patras, Flew,” by Phyllis Louke. Quad City Flutes Unlimited also Larissa, and Athens, as well as a concert on a cruise ship performed December 1 for a children’s concert at the Adler through the Greek Isles. Theatre in Davenport, Iowa, and December 2 for an Advent Concert at St. John’s Lutheran Church in Rock Island, Magic Flutes Flute Choir from San Mateo, California, will Illinois. Guest soloist and conductor for the 25th Spring perform its annual spring concert in May at St. Matthew’s Concert was Kelly Via of Atlanta, Georgia. Catholic Church in San Mateo. The program will feature works by J. S. Bach, Mozart, Schubert, and others. Magic The South Carolina Flute Society held its first Flute Festival Flutes is directed by flutist Pamela Ravenelle. in Greenville, South Carolina, December 1, 2007. Guest artist Tadeu Coelho conducted a masterclass with seven On October 20, 2007, flutists of all ages participants. Wendy Cohen, Erinn Frechette, Martha and levels gathered for Jeanne Baxtresser’s Kitterman, Angela Massey, and Joy Sears presented other “Cherished Treasures, Signed and Sold” workshops during the day’s events. Young flutists from benefit event for the Pittsburgh Flute around the southeast were featured in the final rounds for Club held at the Flute Academy in Pittsburgh. Baxtresser donated hundreds three precollege competitions. A collegiate-level competition of mementoes and keepsakes to be and masterclass with Brad Garner will be a highlight of the sold, among them flute figurines (sev- SCFS’s spring festival, to be held in Columbia, South eral commissioned works, several from Carolina, March 21–22. Visit scflute.org. childhood, and even wedding pres- ents); back issues of magazines with The Raleigh Area Flute Association season kicked off with a Baxtresser cover articles; artistic September concert and masterclass with Clifford Tretick. posters including limited editions from The November 10, 2007, Flute Fair brought record atten-

“Jeannie” gowns were the New York Philharmonic, Toronto, and dance as guest artist Jeanne Baxtresser conducted a morning among donations. Montreal symphonies, and her woodwind masterclass and afternoon workshop on lyricism and melod-

50 The Flutist Quarterly Spring 2008 nfaonline.org

ic line. The day’s gala concert included performances by Flute Club, Floot Fire, Flutasia Flute Choir, Flutes Tadeu Coelho, Rebecca Troxler, Nancy Schneeloch- Unlimited Flute Choir, Houston Flute Club, University of Bingham, Rosene Rohrer, Kimberly Allemang, Mary Jo Texas-San Antonio Flute Choir, has commissioned a flute White, Mary Boone, and Debra Reuter-Pivetta. The annual choir piece by Gary Schocker, which will be premiered at scholarship competition expanded this year to more than the Texas Flute Festival on May 17, 2008. For competi- 150 participants, and $2,500 in scholarships were presented tion information and application forms, visit texasflute- to the winners. The spring Solo Fest, an examination based society.org or contact Marilyn Arey at m.arey@sbcglob- on graded curriculum of scales, solos, and etudes, was held al.net or 214-769-0644. March 15. The season will close with two late spring events: a body mapping workshop and concert with Lea Pearson The Tucson Flute Club started its April 19 and a members’ recital May 18. Flute choirs and 2007 fall season on September events for adult amateur flutists are scheduled regularly 29 with a “FluteStravaganza!” throughout the year. Visit raleighflutes.org. marathon to benefit the Tucson Community food bank. In 11 On November 17, straight hours of playing that 2007, the Texas Flute involved solos, duets, trios, and Society sponsored a larger ensembles, the club col- masterclass with Jean lected over 100 pounds of food Ferrandis, professor and earned more than $3,500 in of flute at the Ecole cash, all of which was turned Normale Superieure over to the food bank. The club’s de Music-Paris, held regular fall recital took place Patricia George on the campus of November 16 under the direction Southern Methodist University in Dallas. The following uni- of Gwen Powell. The program versity students participated: Taylor Hines, Wendy Zeher Gwen Powell included Datshkovsky’s “Danza Hebert, Tiffany Cagle, Orlando Guererro, Martin Godoy, Mexicana No. 2,” “Vol de Nuit” from “Uncharted Paths” by Sophia Lee, Su-hyun Choi, and Soo-Young Kim. On D. Anderson, two movements of McMichael’s “James Towne January 26, the Texas Flute Society hosted a Flute Spa with Trilogy,”“Classical Rag” by L. F. Jendras, the TFC Chamber Patricia George. The first part, “Flute Spa for Kids (and Choir playing four selections from Tchaikovsky’s those who teach them!)” included headjoint activities “Nutcracker Suite” arranged for flute ensemble, a perform- Ringing D, Running the G, and Four Great Melodies ance by TFC member Rebecca Malone of Ibert’s (phrasing tips: contour, repeated notes, sigh figure, and “Entr’Acte,”accompanied by gutarist Cale Hoeflicker, per- sequence). In the advanced high school and adult session, formances of three duets on E-flat flutes by members George presented a Short Scales Super Scale Routine with Imogene Helm and Laurie Mering, the TFC Junior Flute movement and a Taffanel and Gaubert Practice Routine, Choir (directed by Lillian Porter and Chris Smith) playing and offered ideas on phrasing. February was designated selections by Poldini, Faber, Gearhart, and Lombardo; “TFS Flute Teacher Appreciation Month.” A reception was “Siyahamba,” a South African folk song arranged by Amy held in teachers’ honor February 24. Used musical instru- Rice-Young Blumenthal, and an excerpt from Haydn’s ments, sheet music, and other music items were collected Symphony No. 45, the “Farewell Symphony.” The club’s at this event and donated to a music outreach program. Chamber Ensemble presented a holiday concert under the The 31st Annual Texas Flute Festival and Myrna W. Brown baton of Sandy Schwoebel for the University of Arizona Artist Competition will be held on the campus of the Faculty Women’s Club on December 5, and later during University of North Texas May 15–17. Guest artists the holiday season, club members played for “Holiday include Renee Siebert, member of the New York Night” at Tohono Chul Park, and for “Luminaria Night” at Philharmonic for more than 25 years, concert soloist, and the Tucson Botanical Gardens. The club performed for the instructor of orchestral repetory classes at the Manhattan annual “Greening of the Church” at its rehearsal location School of Music; Andrea Oliva, first solo-flute at the and frequent concert venue, St. Philip’s in the Hills Symphony Orchestra of Santa Cecilia in Rome and mem- Episcopal Church. ber of the Nuovo Quintetto Italian Wind Quintet; and Rebecca Powell Garfield, winner of the 2007 Myrna W. Brown Artist Competition and principal flutist of the Please send information about flute club activities, and Austin Symphony. Greg Pattillo, beatboxing flutist seen on high-resolution images if available, to Christine Cleary, YouTube, will make a special guest appearance. The Texas Flute Clubs Coordinator, 2022 Wedgewood Dr., Grapevine, Flute Society, along with Austin Flute Club, Coastal Bend TX 76051; [email protected].

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High Winds? Kansas City Ain’t Seen Nothin’ Yet

The 2008 convention promises high-velocity performances, camaraderie, and insights into the field’s future.

by Jonathan Keeble, Program Chair

he Kansas City Convention’s offerings promise the best of what we expect from the NFA: great performances by leaders in the field coupled with exciting Topportunities to hear concerts by rising stars. In addition to this, insightful pedagogical discussions, scintillating explorations into jazz and folk music, and new directions provided by flutists from around the world make this a convention with a distinctive set of offerings. Convention highlights will include improvisation classes from leaders in the field, and panel discussions on alternate careers in music.

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HIGH WINDS? KANSAS CITY AIN’T SEEN NOTHIN’ YET

Walfrid Kujala’s years of experience The next generation of alternative as piccoloist of the Chicago flutists arrives with Cleveland Symphony Orchestra and professor Institute-trained Greg Patillo, of of flute at Northwestern University YouTube Beatbox Flute fame. Patillo highlight the Orchestra Audition performs with his trio at Sunday’s masterclass. Flutists get an opportu- Gala, in addition to offering his per- nity to view the work of a master spective on pursuing alternate routes pedagogue up close during this to musical and professional satisfac- much-anticipated event. tion during panel discussions and seminars. Any folks interested in playing Inspector Gadget can pull their flutes out in a seminar on play- ing in the Beatbox style!

Alexa Still returns to the NFA’s stage Flutists who recall being treated to as she performs Anthony Ritchie’s Aldo Baerton’s superlative perform- Concerto for Flute and Orchestra. ance at the Pittsburgh Convention Lovers of neo-romantic music will will delight as he makes his NFA delight in this recently composed Concerto Gala Concert debut on a work, as Still regales listeners with her little-known Flemish concerto by beautiful sound and stunning facility, Peter Benoit. Baerton’s playing of playing music from her native region. this romantic period gem makes In addition, flutists will have the rare this a concert not to be missed. opportunity to commune with Still, as she headlines the Flute Lover’s Luncheon.

Leone Buyse premieres a work writ- Anyone who took part in the ten for her and her husband as part of Professional Flute Choir in the Webster Trio. Composed by Pittsburgh will remember the Robert Sirota, this composition charismatic conducting of Steven promises another sterling perform- Byess. Maestro Byess provides flute ance from one of the NFA’s most choir lovers with an encore appear- beloved members. In addition, ance as conductor of this summer’s attendees have the opportunity to Professional Flute Choir, in addi- play for one of the field’s expert tion to his duties as conductor of pedagogues, as Buyse offers peda- the convention’s Concerto Gala. gogical insights at an open master- class.

Thursday night’s opening Gala con- Numerous seminars on performance cert features the miraculous sounds anxiety and attaining peak perform- of some of Venezuela’s greatest ance highlight the Kansas City flutists. Marco Granados brings Convention. Among the voices facili- tating this discussion will be that of friends from the Ensemble Gurrufio Helen Spielman, as she offers her dis- and his own quartet, the Un Mundo tinctive, caring perspectives in a sem- WSON

Ensemble, in addition to the Simon A inar titled Peak Performance through D Bolivar Youth Orchestra flute sec-

Mental Visualization. REES tion. These sounds from Venezuela CARLA make this a gala not to be missed. : GRANADOS MARCO

54 The Flutist Quarterly Spring 2008 nfaonline.org

Attendees will have a chance to hear The Cleveland Orchestra’s Martha 2008 Lifetime Achievement Award Aarons makes her long-awaited winner Jim Walker’s artistry and return as a convention performer vision as he performs on Friday when she enthralls listeners with F.X. night’s Gala, and as he collaborates Mozart’s Rondo and the Klezmer with Free Flight on Sunday’s Gala Rondos by Paul Schoenfeld. The Concert. Walker also will offer his spotlight shines on Aarons’s brilliant own perspective in a jazz improvisa- pedagogy as she leads a masterclass tion class and a panel discussion on performers competition. alternate careers in music. Don’t miss this chance to hear one of the field’s great flutists perform in mul- tiple idioms!

Kara Kirkendoll Welch, second flutist Marianne Gedigian’s dulcet tones of the Dallas Symphony Orchestra, has and fiery technique promise to assembled a fantastic group of second excite the senses as she performs a flutists from major orchestras for a set of transcriptions of Antonin concert and discussion on and flour- Dvorak’s violin preludes at Friday’s ishing in the orchestral flute section. Gala Concert. Gedigian teams with Look forward to hearing from Welch, Marco Granados and Amy Porter as Judy Dines (Houston Symphony Orchestra), Alicia McQuerrey (St. Paul three of the NFA’s most dynamic Chamber Orchestra), Jennifer Nitchman performers offer a hands-on semi- (St. Louis Symphony Orchestra), and nar on stage presence. Jennifer Parker-Harley (Columbus Symphony Orchestra) in events that any aspiring orchestral players should not miss. Long-time NFA favorite Amy Porter Lovers of great piccolo playing will brings her sparkling music-making delight to hear the Los Angeles to the stage for Friday evening’s Gala Philharmonic’s recently appointed Concert, as she performs music by principal piccoloist, Sarah Jackson, as Christopher Caliendo. Written for she performs Lowell Liebermann’s her, the Third Sonata of Caliendo, Concerto for Piccolo and Orchestra subtitled the “N.C. Wyeth Sonata,” at Saturday night’s Gala. Jackson showcases Porter’s prodigious tal- also offers her expert guidance in ents in the context of Caliendo’s an open masterclass on orchestral beautiful writing. piccolo excerpts.

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From Your CONVENTION DIRECTOR The theme of this year’s convention is “F6 Flute, High Winds” The site is at the Hyatt Regency Crown Center Our hotels for this year are the Hyatt Regency and Westin Hotels are attached by a mall with easy access to events and food Visit the NFA Web site (select the “convention” tab) for information on making reservations online or by phone. nfaonline.org Our official airline and car rental for the convention are American Airlines (800)433.1790 refer to Code #A6688AH* Avis Car Rental (800)331.1600 refer to Code #D006380* *please identify yourself as an NFA member Hyatt Hotel Parking Valet: Short term (in & out the same day) $9.00, Overnight $16.50 . Self Parking: Overnight $13.50 with in/out privileges Westin Parking Valet: $16.50 a day . Self Parking: $13.50 a day Airport Transportation Super Shuttle (800) 258.3826 Super Shuttle provides airport shuttle service for guests of the Hyatt Regency Crown Center Hotel. After collecting your luggage, proceed to the SuperShuttle ticket counters and ticketing kiosks located next to each baggage claim area. Guests should purchase tickets before proceeding to the outside curb boarding location. You can book your reservation in advance by calling (800) BLUE VAN (258-3826) or on line at supershuttle.com. One-way tickets are $17.00; round-trip tickets are $29.00. Return shuttles may be picked up from the Hyatt front drive at 14 and 44 minutes past each hour, from 5:07 a.m. until 6:14 p.m. Evening service is available by calling three hours in advance. The trip to the airport takes 35–40 minutes by shuttle. Prices for return trips are the same as from the KCI Airport. Taxi Cab service to and from KCI Airport is regulated by maximum zone fares. Between the Hyatt and KCI, the regulated maximum fare is $45.00. At the airport, taxis can be found curbside at each terminal. The hotel has an exclusive arrangement with Yellow Cab for return trips to the airport. The doorman can assist individuals with taxis at the front drive. Yellow Cab charges a flat rate of $45.00 from the hotel to KCI. Driving Directions: KCI Airport: Take I-29 South to the 169 South, Kansas City exit. Follow 169 South over the river, continue straight on Broadway. Turn left on 20th Street, right on McGee to the hotel entrance. I-70 East Bound: Take the I-35 South exit to the 20th Street exit. Turn left on 20th Street, right on McGee Street to the hotel entrance. I-70 West Bound: Take the I-35 South exit to the 20th Street exit. Turn left on 20th Street, right on McGee Street to the hotel entrance. I-35 South Bound: Take the I-35 South to the 20th Street exit. Turn left on 20th Street, right on McGee Street to the hotel entrance. I-35 North Bound: Take the I-35 North to the Broadway exit. Turn right on Broadway, left on 20th Street, and right on McGee Street to the hotel entrance. 71 North Bound: Take the I-435 North exit to the 1-70 West exit. Take the 1-35 South exit to the 20th Street exit. Turn left on 20th Street, right on McGee Street to the hotel entrance. Following is the schedule for this year’s registration. Pre-registered attendees: Wednesday, August 6, 3:00–6:00 p.m. On-site registration for all attendees: 7:00–9:00 p.m. Instrument security room will be open from noon on Wednesday through Monday morning at 9:00 a.m. The exhibit hall is open Thursday–Saturday, 10:00 a.m.–5:30 p.m., and Sunday, 10:00 a.m.–4:00 p.m. I am looking forward to seeing all of you in August. —Madeline Neumann, Convention Director

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From the LOCAL ARRANGEMENTS CHAIR

Goin’ to Kansas City, Kansas City Here We Come!

ansas City—the City of Fountains, Center so you can go further afield; a the City of Jazz, the Door to the three-day visitors pass, for unlimited Rebecca Dunnell KWest, the City of Barbeque— rides, is $8. Popular stops include the welcomes you! If you’re coming to art museums—especially the Nelson- immerse yourself in the convention, Atkins Museum of Art—the Liberty you’ll enjoy the fine hotels and the Memorial, City Market, and the Plaza. restaurants immediately surrounding The Plaza, or Country Club Plaza, is a our convention center. If you also want 15-block district with terrific shopping to see some of the city, there are so and restaurants, unified by Spanish many attractions, you’ll have trouble architecture with courtyards, red tile deciding what to visit! roofs, ornate towers, and—again— Within walking distance of the Hyatt fountains! The sculptures in the foun- Regency and the Westin Crown Center, tains of the Plaza district make them plenty of restaurants range from casual particularly scenic stops. In case you to four-star, with many spots to sit and need more music than what you’re watch the world go by. A walkway will getting at the convention, the Plaza take you to Crown Center shops (more hosts a courtyard concert series than 60 shops and restaurants, live Thursday evenings and Saturday and theatre, and activity areas for children); Sunday afternoons. from there you may want to cross the More museums include the Kemper street and relax on the terraced lawns Museum of Contemporary Art, the by the reflecting pools and fountains. American Jazz Museum, the Arabia You can also walk “the Link” (an ele- Steamboat Museum, the Harry S. vated, glass-enclosed walkway) from Truman Library and Museum, and the Crown Center to Union Station. others; more attractions include the Union Station, second only in size to Kansas City Zoo, Worlds of Fun/Oceans New York’s Grand Central station, was of Fun, Powell Gardens, the Royals recently restored, and now houses a (baseball!), the Harley Davidson railroad museum, Science City, the Assembly Plant, and more—some- City Stage for outdoor concerts, a five- thing for everyone. story tall “extreme screen,” and yet A city of neighborhoods, Kansas City more shops and restaurants. A 232-jet has a low-key, friendly environment fountain is computer-choreographed that you’ll enjoy. Plan on it! to showcase water displays (especially welcome in August!). Rebecca Dunnell is the Local Arrangements Every 15 minutes, “the Max,” or Metro Chair and president of the Kansas City Area Express bus, departs the Crown Flute Association.

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From the LIFETIME ACHIEVEMENT AWARDS CHAIR Mark the date on your calendar: August 17. This is the night of the NFA Lifetime Achievement Awards Gala Fundraising Dinner, an event you don’t want to miss.

Jim Walker Bickford Brannen Gerald Carey The 2008 NFA Lifetime Achievement Award recipients are Jim Walker and Bickford Brannen. NFA past president and longtime NFA leader Gerald Carey will receive the National Service Award.

he product of a musical household, Jim Walker grew tet featuring flute, piano, bass, and drums. This tradition- up in Greenville, Kentucky, where his early life was breaking group became Free Flight. Tfilled with piano and flute lessons. A scholarship to Leaving the Philharmonic to gain the freedom to pursue the University of Louisville started him in the direction of the group and the freelance life was a risk. But many record- music education—but the “orchestra bug” bit him, commit- ings, successive “most valuable player” awards, a number ting his efforts to classical flute. Following college, Walker one record, four appearances on The Tonight Show, features enlisted in the Army and went to West Point to join the U.S. on the Today show, concert hall success, and a growing Military Academy Band, simultaneously studying flute with demand for his masterclasses have proven his instincts cor- Harold Bennett. In 1969, an audition with the Pittsburgh rect. Few musicians today cross stylistic borders with the Symphony landed him the position of associate principal ease and beauty that is Jim Walker’s legacy. flute. After eight years in Pittsburgh, Walker set his sights on Los Angeles and won the principal flute position with the n 1962 Bickford Brannen began his flute-making career as Los Angeles Philharmonic. an apprentice, working first in the original Powell shop on Jazz had always been a hobby, and exposure to L.A.’s live IHuntington Avenue in Boston, then in the Heritage music scene rekindled his interest in jazz improvisation. By Department of W.T. Armstrong in Elkhart, Indiana. He 1980 (after three years of improvisation practice) he was returned to Powell as general manager in 1970. In 1974 while ready to move beyond the classical world, organizing a quar- still at Powell, Brannen and his brother Robert cofounded

58 The Flutist Quarterly Spring 2008 nfaonline.org

AWARDS CHAIR Brannen Brothers Flutemakers, Inc., FA members can conveniently is one of many ways in which members to produce conical Böhm flutes and add the Lifetime Achievement can contribute to the future stability piccolos. They incorporated in 1978 NAwards Gala Fundraising of the NFA. and began producing the well-known Dinner to the convention registration For more information on charitable Brannen-Cooper flutes. Brannen served by filling out the “dinner” portion of donations and gifts, please contact Gwen as president of the company until shortly the registration form or by purchasing Powell, LAA chair, 520-529-3748 or before his 2007 retirement. the dinner at the convention registration [email protected]. Brannen’s work as a flute designer and desk before Friday, August 16. craftsman has produced many acoustical A portion of the proceeds from the —Gwen Powell and technical innovations, but far more dinner provides income to the NFA AD FQ 10/07 4-11-2007 18:45 Pagina 1 important to him are the successful col- Endowment. This tax-deductible amount laborations that he has had with such great minds as Albert Cooper, Johan Brögger, David Straubinger, Eva Kingma, Robert Dick, and others, all of which RIVERBERI SONORI have led to lasting friendships as well as successful products. the flute music publishing company Brannen’s latest project is the design and development of the Avanti flute by FLUTE STUDIES Felix Mendelssohn-Bartholdy Raymond Guiot Songs without words Do it Duet per due flauti Giulio Briccialdi Conn-Selmer. It is his hope that this for flute and piano RS1060 30 Soli o Esercizi per flauto solo (arranged by Benoît Fromanger) Johann Joachim Quantz endeavor will help preserve American RS1021 RS1039 Sei sonate o duetti per flauti o jobs while producing affordable high- 24 Studi per flauto solo W. A. Mozart violini RS1046 (edited by Angelo Persichilli) 6 Sonatas for flute and piano quality flutes made entirely in America. Viotti Gianella Mercadante RS1051 (transcribed and edited by Tre duetti italiani per due flauti He looks forward to consulting, Konrad Hünteler) Vincenzo De Michelis RS1060 Vol. I: KV 301-303 RS1034 teaching, designing, and building flutes Preludio Monodico Vol. II: KV 304-306 RS1035 for years to come. Onnitonico op. 91 RS1003 THREE/FOUR/FIVE FLUTES Mario Pilati Giuseppe Gariboldi Antonio De Angelis Sonata per flauto e pianoforte 58 esercizi per flauto solo Running per 4 flauti RS1008. erald Carey is principal flute of (edited by Angelo Persichilli) (score and parts) RS1042 the Quad City Symphony—a RS1009 Francesco Santucci A Raymond 5 pezzi jazz Joseph Fahrbach Ernesto Köhler position he has held since 1978. per flauto e pianoforte RS1010 Prima Fantasia su motivi G Op. 33 dell’Aida di G. Verdi He retired from Western Illinois (edited by Angelo Persichilli) Little Princess album facile op. 78 per 3 flauti vol. I 15 studi facili RS1027 per flauto e pianoforte RS1031 University in 1999, where he was profes- (edited by Maurizio Bignardelli) vol. II 12 studi sor of flute and a founding member of Angel’s flute RS1062 di media difficoltà RS1028 per flauto e pianoforte RS1044 the Camerata Woodwind Quintet. vol. III 8 studi difficili RS1029 Raymond Guiot Serenata e tango Conversazione per 5 flauti Internationally, Carey has presented Paolo Minetti per flauto e pianoforte RS1047 (score and parts) 12 studi fantastici per flauto concerts, recitals, and masterclasses in RS1043 RS1040 Giacomo Saponaro Argentina, Australia, Austria, Canada, Scherzo per flauto e pianoforte W. A. Mozart China, Germany, Finland, France, Hong FLUTE AND PIANO RS1007 Quartetto per 4 flauti KV 370 (arrangement Enrico Blatti) Antonio De Angelis Kong, Japan, Korea, Mexico, Peru, TWO FLUTES AND PIANO RS1049 Sky’s Flowers per flauto Poland, Taiwan, and the former e pianoforte RS1041 Giulio Briccialdi ENSEMBLE Duettino per due flauti e Yugoslavia. He has recorded for Coronet, Raymond Guiot pianoforte Sur la Soirée Musicale Francesco Santucci Fantaisie per flauto e pianoforte Mercury, Everest, Music Minus One, and di Rossini op. 49 Habanera e tango RS1001 Opus One Records. (edited by Rien de Reede) per flauto e chitarra Quattro pezzi facili RS1025 RS1059 As an active and lifetime member of per flauto e pianoforte RS1005 TWO FLUTES Peter Van Munster the NFA, he has served as president Benedetto Marcello Repertoire catalogue. (1990–91), convention program chair for Sonata a flauto solo RS1006 Giulio Briccialdi Piccolo, Alto flute, Bass Flute Duo concertant RS1052 12 Sonate per flauto e b. c. the New Orleans convention (1989), per due flauti op. 100 n. 2 Vol. I: Sonate I-VI RS1036 (edited by Rien de Reede) member and chair of the board, compe- Vol. II: Sonate VII-XII RS1037 titions coordinator, exhibits coordinator, RS1056 and program book editor. He is also a lifetime member of the Chicago Flute Club, and has been a board member and www.riverberisonori.it [email protected] editor of the CFC newsletter, Pipeline.

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NFA Office, 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 OFFICE Program Book Bio Editor Piccolo Professional Flute Choir Lisa Van Dusen (2007) Mary Kay Ferguson (2004) Diane Boyd Schultz (2006) Chief Executive Officer 1947 Gravel Rd. 3420 E. Fairfax University of Alabama Phyllis T. Pemberton Seneca Falls, NY 13148-8720 Cleveland Heights, OH 44118 School of Music, Box 870366 The National Flute Association, Inc. 315-568-1233 216-321-2713 Tuscaloosa, AL 35487 26951 Ruether Ave., Ste. H [email protected] [email protected] 205-348-7110 fax: 205-348-1473 Santa Clarita, CA 91351 Planned Gifts 661-713-6013 Gala Fundraising Dinner Chair [email protected] Gwen Powell Gwen Powell (2007) fax: 661-299-6681 5101 E. Oakmont Dr. 5101 E. Oakmont Dr. [email protected] Young Artist Tucson, AZ 85718 Tucson, AZ 85718 Karen Evans Moratz (2003) 520-529-3748 520-529-3748 Jordan College of Fine Arts Convention Director [email protected] [email protected] Butler University Madeline Neumann 4600 Sunset Ave. 26951 Ruether Ave., Ste. H • COMMITTEE CHAIRS Special Publications Indianapolis, IN 46208 Santa Clarita, CA 91351 Susan Waller (2003) 317-253-1891 661-299-6680 Advisory Committee 224 Kent Pl. [email protected] fax: 661-299-6681 Alexa Still (2007) San Ramon, CA 94583-3748 [email protected] Sydney Conservatorium of Music 925-829-4922 • ARCHIVES AND LIBRARIES Macquarie St. [email protected] Membership Director Sydney, NSW 2000 NFA Librarian Maria Stibelman Australia • COMPETITION COORDINATORS Bob Diaz, Music and Dance Librarian 26951 Ruether Ave., Ste. H 011 61 2 93511266 NFA Music Library fax: 011 61 293511287 (attn: Alexa) General Coordinator Santa Clarita, CA 91351 Lisa Garner Santa (2007) c/o University of Arizona Libraries 661-250-8920 [email protected] 1510 E. University [email protected] School of Music fax: 661-299-6681 Texas Tech University Tucson, AZ 85721-0055 [email protected] Amateur Resources Box 42033 520-621-7010 Lisa Fahlstrom (2007) Lubbock, TX 79409-2033 [email protected] Publications Director 1216 Travis View Ct. 806-742-2270, ext. 259 Anne Welsbacher Gaithersburg, MD 20879 [email protected] • OTHER APPOINTMENTS 7213 E. Chelsea St. 301-948-5333 Wichita, KS 67206 fax: 301-279-1323 Baroque Flute Director of Public Relations 316-440-2800 [email protected] Nancy Schneeloch-Bingham (2008) Irene Pruzan (2004) fax: 316-440-2801 Hayes School of Music 5951 Petunia Ln. Orlando, FL 32821 [email protected] Archives and Oral History Appalachian State University Nancy Toff (2007) Boone, NC 28608 phone/fax: 407-238-9378 828-262-6447 [email protected] NFA Online Administrator 425 East 79th St., #6F New York, NY 10075 [email protected] Brian Covington Flute Choirs Coordinator [email protected] 212-772-1343 [email protected] Chamber Music Kelly Via (2007) Andrea Graves (2004) 965 Daisy Ct. • CONVENTION Cultural Outreach 2800 S. Highland Mesa, #1-202 Lawrenceville, GA 30044 Horace Alexander Young (2007) Flagstaff, AZ 86001 770-935-1379 Program Chair 2008 410 SE Crestview 309-255-7269 [email protected] Jonathan Keeble Pullman, WA 99163 [email protected] University of Illinois 713-817-3754 Flute Clubs Coordinator 1114 W. Nevada St. [email protected] Convention Performers Christine Cleary (2004) Urbana, IL 61801 Amy Hamilton (2003) 2022 Wedgewood Dr. [email protected] Development 154 King St. Grapevine, TX 76051-7706 Katherine Borst Jones (2007) Oakville, ON L6J 1B2 817-421-6663 Assistant Program Chair 2008 4635 Rutherford Rd. Canada [email protected] Rebecca Johnson Powell, OH 43065 905-339-2658 1010 N. Busey Ave. 740-881-5008 [email protected] Flute Research Coordinator fax: 740-881-5252 Michelle Cheramy (2007) Urbana, IL 61801 DMA/PhD Dissertation [email protected] [email protected] School of Music Michelle Cheramy (2007) Memorial University of Newfoundland Endowment School of Music Convention Director St. John’s, Nfld Zart Dombourian-Eby (2007) Memorial University of Newfoundland Canada A1C 5S7 Madeline Neumann 2515 10th Ave. W. St. John’s, Newfoundland 709-737-7477 26951 Ruether Ave., Suite H Seattle, WA 98119 Canada A1C 5S7 [email protected] Santa Clarita, CA 91351 206-285-0206 709-737-7477 661-299-6680 [email protected] [email protected] Grants Committee fax: 661-299-6681 Patricia Spencer (2003) [email protected] Forum High School Soloist 215 W. 90th St. #1G Carol Dale (2007) Ruth Ann McClain (2008) New York, NY 10024 Local Arrangements Chair 2008 12902 W. 102 St. 5760 Barfield 212-873-1065 Rebecca Dunnell Lenexa, KS 66215 Memphis, TN 38120-2054 fax: 646-619-4462 Northwest Missouri State University 913-400-3676 901-683-4110 [email protected] Music Dept. 800 University Dr. [email protected] fax: 815-846-1556 Maryville, MO 64468 [email protected] International Liaison Historical Flutes Matej Zupan (2004) 660-562-1791 Linda Pereksta (2007) Jazz Flute Masterclass fax: 660-562-1346 Holly Hofmann (2005) C.9. Avgusta 72 801 Frontage Rd., #912 1410 Zagorje ob Savi [email protected] Oxford, MS 38655 1125 Via Las Cumbres San Diego, CA 92111 Slovenija, Europe 662-513-0508 386 40 811 811 Exhibits Management [email protected] 858-292-1814 Jim Magee [email protected] fax: 386 1 516 11 34 N’Awlins Trade Show and Convention Services, Inc. Jazz [email protected] 612 Highland Ct. Ali Ryerson (2004) Masterclass Performers Mandeville, LA 70448 12 Longview Dr. Jill Heyboer (2007) Legal Advisor to the Board 985-626-3046 Brookfield, CT 06804 Music Department Linda Mintener (2003) 3976 Plymouth Cir. fax: 985-727-3940 203-740-2044 Missouri State University Madison, WI 53705 [email protected] [email protected] 901 S. National Ave. aliryerson.com Springfield, MO 65897 phone/fax: 608-231-1680 608-266-3049 (office) Exhibits Assistant 417-836-4875 New Music Advisory [email protected] 608-516-2216 (cell) Patti McCleney [email protected] N’Awlins Trade Show and Convention Services, Inc. Molly Barth (2007) 126 SE Macy St. National High School Flute Choir PO Box 8538 McMinnville, OR 79128 Virginia Schulze-Johnson (2007) Masterclass Reporter, Flutist Quarterly Mandeville, LA 70470-8538 503-435-1393 Department of Music Tony Watson (2003) phone/fax: 985-893-9521 773-727-2473 Drew University 1305 Edmund Park Dr. NE [email protected] [email protected] Madison, NJ 07940 Atlanta, GA 30306 908-875-3211 404-964-4142 Showcase and Exhibitors’ Concert Coordinator Nominating [email protected] [email protected] Nora Kile (2003) Leonard Garrison (2007) 1802 Glen Stone Ln. Lionel Hampton School of Music Newly Published Music Myrna Brown International Liaison Hixson, TN 37343-3106 Music Room #206 Jennifer Robin Lau (2008) Angeleita Floyd (2007) 423-842-4570 University of Idaho Center for the Arts 3743 Beaver Ridge Cir. [email protected] Moscow, ID 83844-4015 MSC04 2570 Cedar Falls, IA 50613 208-885-6709 1 University of New Mexico 319-268-1001 Program Book Editor fax: 208-885-7254 Albuquerque, NM 87131 [email protected] Anne Welsbacher [email protected] 505-401-2398 7213 E. Chelsea St. [email protected] Myrna Brown Society Wichita, KS 67206 Pedagogy Eva Amsler (2007) Rebecca Hovan (2004) Orchestral Audition and Masterclass 1650 Snowball Way 316-440-2800 23685 Arlene Ave. Jennifer Parker-Harley (2008) Tallahassee, FL 32301 fax: 316-440-2801 Elkhart, IN 46517-3643 319 Stewart Ave. 850-877-2096 [email protected] 574-875-5447 Columbus, OH 43206 [email protected] [email protected] 614-261-0780 Program Book Advertising Sales Representative [email protected] NFA Library Liaison Steve DiLauro Performance Health Care Brian Luce (2004) LaRich & Associates, Inc. Stephen A. Mitchell (2008) Piccolo Artist PO Box 210004 15300 Pearl Rd., Suite 112 4820 Redcastle Ridge Rebecca Arrensen (2004) University of Arizona Strongsville, OH 44136-5036 Nashville, TN 37211 1429 Stoney Creek Cir. Tucson, AZ 85721-0004 440-238-5577 615-386-9089 Carmel, IN 46032 520-621-7015 fax: 440-572-2976 fax: 615-832-7888 317-818-0004 fax: 520-621-8118 [email protected] [email protected] [email protected] [email protected]

NFA News Updates on committee activities and other news of interest from the national office

NFA elections are coming. The following are candidates for next year’s officers and members of the board of directors for the National Flute Association. (Visit nfaonline.org for more information about these candidates.) Vice Chair/Chair Elect Assistant Secretary/ Board of Directors (one is elected) Secretary Elect (three are ratified) Jonathan Keeble (one is elected) Two board members for three-year terms: Kyle Dzapo Deanna Little Paul Taub Sandy Saathoff Clifford Tretick Chair of the Finance Committee (one is ratified) One board member for a two-year term: Debbie Hyde-Duby Adrianne Greenbaum CONTRIBUTIONS TO NFA August 1, 2007—February 1, 2008 Thank you for your generous donations and for your support of the NFA. Please contact NFA Development Chair Katherine Borst Jones at 740-881-5008 or [email protected] for further information.

LEGACY CIRCLE/ Patricia George Joanne Ennis Bourquin Karen Betz-Griewahn PLANNED GIFTS Jean M. Harling Tod Brody Linda Caillavet Eric Hoover and Patricia Harper Andrew Callimahos Jenna Charles Calixto Deborah Gaynor Betty Austin Hensley Sheryl Cannon Linda Cykert Katherine Borst Jones John T. Howard Tyra Gilb Carol Dale Gwen and Richard Powell Jerry Jenkin Susan S. Goodfellow Kathy Davis Victoria Jicha Richard R. Hahn Caroline Dawson FOUNDER Sue Ann Kahn Susan Hayes Melanie Delcid ($5,000 and above) Marjorie Koharski Helen Callimahos Hurry Walfrid and Sherry Kujala Jennifer R. Kacena Claire Durand-Racamato PLATINUM Joanne Lazzaro Ellen Kaner Ann Fairbanks ($2,500–$4,999) Little Piper Peter Katz Cynthia J. Folio Roger B. Martin Gay Landstrom Thomas R. Forsgren GOLD Katherine H. McClure Amy Likar Mara Gabriel ($1,000–$2,499) Martin Melicharek III Rebecca Malone Diane Gold-Toulson Angeleita S. Floyd Linda Mintener Dennette Derby McDermott Michael Gordon Ervin Monroe Madeline Neumann Sharla Chappell Graham SILVER ($500–$999) William Montgomery Ann C. Pearce Christine Gustafson Eleanor Duncan Armstrong George S. Pope Phyllis T. Pemberton Wilda M. Heiss Bickford W. Brannen Amy Porter Irene Pruzan Robert F. Cole Christine E. Potter Lisa Garner Santa Julia Henke Katherine Borst Jones Gwen C. Powell Patricia Schmid Ina Mae Holt Ignace Vanmoerkerke Ronald Prechel Nancy Schneeloch-Bingham Margaret Foote Jamner Jasper Welch Deborah L. Ragsdale John Solum Yeva Johnson Peter Sheridan Patricia Spencer Harvey Leikind WOOD ($100–$499) Angela G. Allen Sherzer Maria Stibelman Gerardo Levy Patti Adams Alice D. Slining Paul Taub Audrey McPherson Robert Aitken Fenwick Smith Peggy Vagts Mary Minsk Deborah Rebeck Ash Alexa Still Anne M. Welsbacher Clara B. Mortiboy Joanna Bassett Mary T. Stolper Stephanie A. Wheeler Nancy Mulholland Teresa Beaman Mark and Judith Thomas Robert Willoughby Joyce Oakes Roberta Brokaw Nancy M. Vinson Windward Flutes Hal Ott Leone Buyse Susan Waller Beth E. Chandler John Wion FRIEND ($1–$49) Linda Pereksta Carla Copeland-Burns Carole E. Andersen Mary Peterson Zart Dombourian-Eby DONOR ($50–$99) Kim T. Ashwell Cynthia C. Stokes Darlene Dugan Lori Akins Rick Bandy Mary Suthers Leonard Garrison Francesca Arnone Bugs Beddow Edward M. Young

nfaonline.org Spring 2008 The Flutist Quarterly 61

NFA MEMBERS:

Preregister before July 1, 2008, for the 36th annual convention in Kansas City.

Visit nfaonline.org.

Notes from Around Conventions, festivals, competitions, and other global flute activities theWorld School Days in Canada by Amy Hamilton

Banff Centre’s fall residency runs from late September through mid-December. Domaine Forget is in the heart of Charlevoix county near the St. Lawrence River. Among the most innovative of the offerings of season at Domaine Forget is June 15–29, and features a great the Banff Centre for the Arts, located in the roster of Canadian flutists in addition to international artists Rocky Mountains of Alberta and known inter- Jacques Zoon and Michel Debost. Visit domaineforget.com. Festival Orford runs all summer at the Orford Arts Centre nationally for its educational programs, is the Academy; visit arts-orford.org. Banff Fall Career Development Residency Program. Designed for professional or preprofessional The Boxwood Festival composers and performers, this flexible program offers celebrating early music performance opportunities of standard and new works and folk idioms featur- including producing recordings, preparing whole concert ing Chris Norman will NEILL ’ O programs, and perfecting selected repertoire. Working as take place again this AMY

: chamber groups or with collaborative pianists, musicians year July 19–25 in Lunenburg, Nova Scotia; IMAGE develop personal projects beneficial to their careers, and study is enhanced by working with visiting guest artists. visit boxwood.org. The XWOOD

O Symphony Orchestra

B Post undergraduate students with specific projects in ; mind or professionals looking to pursue new career directions Academy of the Pacific ARTE Multicultural traditions galore at Boxwood. orchestral training pro- LET will find it worthwhile to investigate the program’s creative

UDE possibilities; visit banffcentre.ca. gram will run June 16–28 in Powell River, British Columbia; CLA

: send an e-mail message to info@soap_powellriver.ca.

IMAGE Opportunities for summer study in Canada include Domaine Forget and Orford Arts Centre Academy in Amy Hamilton, professor at Wilfrid Laurier University in

FORGET Quebec. Former featured artists include Emmanuel Pahud, Waterloo, Ontario, coordinates the wind, brass, and percussion Jeanne Baxtresser, and Mathieu Dufour. The 2008 summer program and teaches flute and chamber music. DOMAINE

nfaonline.org Spring 2008 The Flutist Quarterly 63

NOTES FROM AROUND THE WORLD Competitions Festivals, Concerts, and Events The 15th Bucharest International Flute and Clarinet The Dutch Flute Society (Nederlands Fluit Genootschap) will Competition will be held May 7–13 in Bucharest, Romania. hold a one-day convention March 29, featuring concerts and Visit jmevents.ro. workshops by Jed Wentz, Frédérique Chauvet, and Raymond Honing. Visit nfg-fluit.nl. The International Chamber music competition Gaetano Zinetti will be held May 21–25 Sanguinetto, Verona, Italy. Registration deadline is March 31. Visit zinetticompetition.org.

The International Woodwind Competition Aeolus, for flute, oboe and trombone, will be held September 10–14 in Düsseldorf, Germany. Visit aeoluswettbewerb.de.

The Seventh Jean-Pierre Rampal Flute Competition 2008 will be held September 23–October 4 in Paris, France. Registration dead- line is May 16. Visit civp.com/rampal/rampalgb/arampalgb.html.

The International Independent Music Competition Individualis Kiev awards cash prizes annually for winning players age 23 Petri Alanko, Emily Beynon, and Denis Bouriakov and younger. Selection is made via video or DVD. All music The British Flute Society will hold its sixth international flute must be performed from memory. Age categories are under convention August 21–24 in Manchester, England. Among 15, 15–18 years, and 19–22 years. Entry deadline is October 1 convention presenters will be Marianne Gedigian, Sharon every year. Visit individualis.com.ua. Bezaly, Timothy Hutchins, Denis Bouriakov, Lorna McGhee, Wissam Boustany, Robert Dick, Ian Clarke, Matthias Ziegler, Two finalists emerged from the 43 participants in the Chris Potter, and Marco Granados. Special concerts will be Domenico Cimarosa International Flute Competition in performed by Adrianne Greenbaum, Barthold Kuijken, and Aversa, Italy, October 22–24, 2007. The winner was Lukasz Rachel Brown. Gregory Patillo, whose Beatbox on YouTube Dlugosz, Poland; runner up was Charlot Clémentine, France. has received more than 9 million hits, also will perform. Both played Mercadante’s E Minor Concerto in the final Lectures and workshops, a teachers day, and a flute choir per- round. Jurists were Pierre Yves Ataud, Josè Daniel Castellon, forming the motet Spem in alium with 40 voices by Thomas Stelvio Cipriani, Vassil Kojucharov, and Luigi Esposito. Tallis with 120 flutes also will be included. Visit bfs.org.uk.

The Sixth Leonardo De Lorenzo International Flute Swedish flutist Karin Aurele, who Competition was held in Viggiano, Italy, August 26–29, 2007. now lives in New Brunswick, toured Contestants from Canada, Japan, Russia, France, Poland, Canada’s Maritime provinces in fall Lituania, Taiwan, South Korea, Belarus, Brazil, and Italy com- 2007 presenting concerts of seven peted. At the end of the four-day festival, jurors Jean Michel new works written for her by Damase, Marianne Henkel, Andrea Griminelli, Pascal Gresset, Maritime composers. In January, and Gian-Luca Petrucci awarded first prize to Matteo the New Music Concert Series fea- Evangelisti of Italy. It was the first time in the competition’s tured Robert Aitken performing history that the first prize was awarded to an Italian flutist. works of Varèse including Second prize went to Christie Reside, of Canada; third prize “Hyperism” and original and was split between Evgeny Kakanov, of Russia, and Agata Kielar, revised versions of “Density 21.5” of Poland. in addition to the recently premiered “Twilight Colors” by Chou Wen- cung for flute, oboe, clarinet, violin, Robert Aitken viola, and cello.

In British Columbia, Canada, Lorna McGhee performs C.P.E. Bach’s D Minor Concerto with the Victoria Sym- phony this spring.

Classes and Workshops

Emmanuel Pahud, principal flute of the Berlin Phil- WSON A harmonic, will conduct a three-hour masterclass at the D Hong Kong Flute Centre in May. Applications for both per- REES

former and auditor are open; contact Ringo Chan at CARLA Matteo Evangelisti, eighth from left, took first prize at the Sixth Leonardo De :

Lorenzo International Flute Competition. [email protected]. TOP

64 The Flutist Quarterly Spring 2008 nfaonline.org

Mary-Karen Clardy, professor of flute at the University of Flutist April Clayton has been appointed North Texas, and Ringo Chan, director of the Hong Kong chamber music director for an annual Flute Centre, will conduct an eight-day flute camp at the month-long summer program in Paris, Third Annual Hong Kong Summer Flute Camp at the Hong France. Under the auspices of the Kong Flute Centre August 24–31. Activities will include pri- European American Musical Alliance vate lessons, technique workshops, flute orchestra, duet (EAMA), the program takes place at the competitions, and more. Applications are open; contact École Normale de Musique July 1–31. In Ringo Chan at [email protected]. July 2008, Sofia Gubaidulina will teach composition and discuss her music in Ransom Wilson, flutist and professor of flute formal and informal settings as a at Yale University, will present a flute recital April Clayton member of the composition faculty. and conduct a masterclass at the Hong Kong Gubaidulina’s Flute Quartet will be performed during the Flute Centre November 23–30. Applications course of the program at a concert held at the École Normal for both performer and auditor are open; de Musique’s Salle Cortot concert hall. This will provide contact Ringo Chan at info@hongkongflute- flutists accepted into the 2008 program a close association Ransom Wilson centre.com. with Gubaidulina. Other faculty members for the program come from schools in In October 2007, Jacques Zoon gave master- the United States and Paris, including the Juilliard School, classes in Toronto for the Royal Conservatory Eastman School of Music, Mannes College, Indiana University, of Music Glenn Gould School flutists, and the Colburn School, the Paris Conservatory, and the École Peter Lloyd taught masterclasses and lessons in Normale de Musique. Although chamber musicians are not Toronto in March. In November, Ian Clarke required to collaborate with student composers during the visited Ottawa and Toronto for a series of mas- course of the summer, opportunities abound for this inter- Peter Lloyd terclasses and concerts focusing on his own action. One aim of the program is to approach musical music. The Carmel trio, featuring Israeli Philharmonic flutist learning in the tradition of Nadia Boulanger, who did not Eyal Ein-Habar, oboist Dudu Carmel, and pianist Stephan differentiate between how composers and instrumental Sylvestre, toured Quebec City, Montreal, Ottawa, Toronto, musicians should be trained. Boulanger’s former pupil and Waterloo, and London, Ontario, in January offering concerts closest disciple, Narcis Bonet, teaches composition and and masterclasses to many Canadian flutists. coaches chamber music each summer. Philip Lasser, presi- dent of EAMA and faculty member at Juilliard, was one of Robert Langevin, principal flute of the New York Philharmonic, Boulanger’s last composition students. The EAMA program conducted a three-hour masterclass at the Hong Kong Flute is the largest today for young composers, selecting approxi- Centre February 17. mately 35 to attend each summer. The EAMA chamber music program is now in its third Et Cetera year. Already, it has drawn musicians from top universities An annotated bibliography of flute ensemble works by and conservatories including Harvard, Stanford, Cleveland Candian composers and rental/purchase information for Institute of Music, Manhattan School of Music, and the scores and parts is now available online at musiccentre.ca. University of Michigan, among others. Clayton is also associate professor of flute at Brigham Young University. During the Sibylle Wähnert has resigned her position as president of the 2007–2008 academic year she served as a guest artist instructor German flute society and editor of the magazine Flöte aktuell. at the Conservatoire du Vesinet and Centre de Musique F. Ruth Wentorf is the new president; the society’s board will Hasselmann in France. Visit eamusic.org. manage the magazine. Plans are under way to develop the society, magazine, and Web site into a more active organization. Amy Hamilton, professor at Wilfrid Laurier University in Visit floete.net. Waterloo, Ontario, contributed Canadian news.

The scholarly and musical work of the late Robert B. Cantrick Please send information about flute-related events and activities is now featured online at a Web site developed by his children. in locations outside of the United States to one of our interna- Visit http://cantrick-semantics-music.csdco.com/index.html. tional news reporters: Patricia Nagle, [email protected] (France); Tadeu Coelho, [email protected] (Brazil); Chelsea Peter Sheridan of Australia has commissioned several new Czuchra, Dörrmattweg 1, 5070 Frick, Switzerland, 41 62 871 works for the low flutes. Andrew Downes from the United 6944, [email protected] (Switzerland and Europe); Kiku Day, Kingdom will compose a substantial sonata for contrabass [email protected] (U.K); Mia Dreese, [email protected] flute and piano. Australian composers Dennis Vaugh and (the Netherlands); Sandra Howard, [email protected] Craig Ross will compose a song cycle and a collection of short (France and Europe); Lyndie Mostart, Australasia (Australia minatures, respectively. Wil Offermans will compose a duet and New Zealand), [email protected]; and Mary Procopio, for bass flute and contrabass flute. Sheridan will record the [email protected] (Caribbean). Please copy Anne Welsbacher, new compositions in 2008. Visit lowflutes.com. [email protected].

nfaonline.org Spring 2008 The Flutist Quarterly 65

Visit the all-new NFA Web site and member forum. nfaonline.org

ORCHESTRAL TECHNIQUES FOR FLUTE AND PICCOLO: AN AUDITION GUIDE AN INSIDE LOOK AT SYMPHONIC TRADITIONS BY WALFRID KUJALA

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PassingPassing Information about absent friends TonesTones asakazu Yoshizawa, shakahachi musician and composer, died Mof stomach cancer on October 24, 2007. He was 57. Yoshizawa’s work with the Japanese shakuhachi flute was heard in concerts and on the sound tracks of many films. Born September 10, 1950, in Kawai, a village near Takayama in central Japan, Yoshizawa learned accordion, piano, trumpet, and clarinet before discovering the shakuhachi and other Japanese woodwind instru- ments. While still a teenager, Yoshizawa performed with orchestras and in recording studios. His received his degree with an empha- sis on Western music from the Tokyo National University of Fine Arts and Music. In 1976, Yoshizawa attended the Tanglewood Festival in Massachusetts. Also that year, he moved to California, where he lived until his death. He first played the shakuhachi pro- fessionally for a 1978 stage performance of The Teahouse of the August Moon. After returning to Japan to further study the instru- ment, he received invitations to play for film and television sound Masakazu Yoshizawa tracks. He worked on the 1980 TV mini-series Shogun, two sequels to The Karate Kid, Dragon: The Bruce Lee Story, and The Joy Luck Club. However, he preferred to work on films with no con- nection to Asia. Composer John Williams asked him to play the shakuhachi on the soundtrack for Jurassic Park because “it sounds like a dinosaur’s cry.” He collaborated again with Williams on Memoirs of a Geisha, noting the composer’s concern for authenticity in the use of Japanese instruments. In addition to playing the shakuhachi, Yoshizawa took an acting role in the film as a drummer, and, at Williams’s request, composed music for a large dance number. Williams later adapted the score into a concert suite, which Yoshizawa performed with cellist Yo-Yo Ma at the Tanglewood Festival in 2006. Yoshizawa’s live appearances also included performances with the experimental group Jikken Kobo and solo concerts in Los Angeles. In 1993 he founded the ensemble Kokingumi, which played traditional and contemporary music on Japanese instruments. The group toured in Japan and the United States. Yoshizawa was divorced. He is survived by his son and daughter.

artha Herby, 55, died October 5, 2007, from complications following gall bladder Mcancer diagnosed in July. Herby became the second flutist of the Oregon Symphony in 1981, and also served as the acting principal flute of the symphony on many occasions. At the time of her death, she was one of two orchestra members appointed to the board of directors. Herby was a graduate of the Eastman School of Music, where she earned a master of music degree and the performer’s certificate, before being named to the school’s faculty in 1976. She held the position of principal flute in both the Bloch Music Festival orchestra in Newport, Oregon, and the Cascade Music Festival in Bend. Herby appeared as a concerto soloist with the Oregon Symphony, the Brockport Symphony, the Rainier Symphony, the Chautauqua Festival Orchestra, and the West Coast Chamber Orchestra, where she played principal flute from 1980 to 1990. She taught on the faculties of the Eastman School of Music, the National Music Camp at Interlochen, Michigan, and Lewis and Clark College in Portland, Oregon. Herby can be heard as both principal and second flute on most of the Oregon Symphony’s CD recordings with James DePreist conducting. She also recorded two CDs with the Third Angle New Music Ensemble. Herby was born in Jamestown, New York, and received her bachelor’s degree from the State University of New York college at Fredonia, where she majored in music education. She studied with and was Martha Herby coached by James Galway, Walfrid Kujala, James Walker, Bonita Boyd, and Keith

nfaonline.org Spring 2008 The Flutist Quarterly 67

PASSING TONES

Underwood. Her last public performance was as a member of the Oregon Ballet Theatre Orchestra flute section during per- formances of Sleeping Beauty in June 2007. Among her many extra-musical activities, Herby was an avid gardener and mem- ber of the Oregon Symphony’s garden club, where she enjoyed her honorary title “Queen of Dirt.” Herby is survived by her parents, Norman and Violet Herby; her brother and sister-in-law Paul and Sue Herby; nephews Chris and Tim; and niece Catelin of Chanhassen, Minnesota. Contributions may be made in Martha Herby’s name to the Oregon Symphony Annual Fund Drive.

Composer Jindrich Feld, 82, died July 8, 2007, in Prague, Czech Republic. Feld was born in 1925 to a musical family in which both parents were violinists. Feld’s father was a renowned violin professor at the Prague Conservatory. Feld earned doctoral degrees from both the Prague Academy of Musical Arts (composition) and Charles University (musicology, aesthetics, and philosophy). His interests stretched from music and composition to languages (he was fluent in Czech, German, French, Latin, Italian, and English), sports, history, and travel. He had a keen interest in all types of instruments and their capabilities. He composed for all instruments, including flute, strings, and saxaphone, and produced 213 works for traditional and unusual instruments such as the accordion and the ocarina. Feld wrote 39 works for flute. They include the Concerto for Flute and String Orchestra, Piano, Harp, and Percussion (for Lutobor Hlavsa), the Sonata and the Fantaisie concertante (both written for Feld’s friend Jean- Pierre Rampal), the Concertino for Flute, Piano, and Orchestra (commissioned by James Galway and Phillip Moll), the Concert Music for Flute, Viola, Harp, and Strings (written for Carlo Jans, Jitka Hosprová, and Katerina Englichová), the American Sonatina, a gift to Lana Johns from the composer, and his penultimate work, the Concertino da camera for Strings and Two Flutes, written in 2006. Feld wrote the American Sonatina for the Johns-Harrison Duo’s Weill Recital Hall appearance in 1996 after being pleased with the duo’s performance of his compositions during the 1995 National Flute Association convention. —Lana K. Johns

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Books The NFA 20th Anniverary Anthology of American Flute Music Selected Flute Repertoire: A Graded Guide for Teachers and Students Kincaidiana: A Flute Player’s Notebook The Flutist’s Handbook: A Pedagogy Anthology

Compact Disks Historical Recordings Series Vol. II: Joseph Mariano Historical Recordings Series Vol. III: Robert Willoughby Historical Recordings Series Vol. IV: Maurice Sharp Much more! Visit nfaonline.org and select NFA Store from the bar on the left side of the screen.

68 The Flutist Quarterly Spring 2008 nfaonline.org

NEW PRODUCTS Recordings, music, and other products by and for NFA members The period-instrument Hanoverian Ensemble, featuring flutists John Solum and Richard Wyton, has released its entire recorded catalog—34 flute works by baroque and classical composers—to iTunes. The releases are from the Hanoverian recordings on MSR Classics. As with all iTunes releases, recordings may be purchased in their entirety or as individual tracks. Available are Bachanalia: W.F. Bach, two flute duets; C.P.E. Bach, Trio Sonata for flute, violin and continuo; J.S. Bach, Partita for solo flute; J.C. Bach, Quartet in D for two flutes, viola, and violoncello, Quartet in G for two flutes, viola, and violoncello, and Trio in C for two flutes and violoncello; En Trio: De la Barre, Sonate en trio in G; Hotteterre, Sonate en trio in B minor; Couperin, La Françoise from “Les Richard Wyton (left) and John Solum Nations”; Leclair, Deuxième Recréation de Musique; Music for Lord Abingdon: Haydn, four London Trios; Gretry, two flute duets; Abel, Trio in G for two flutes and violoncello; Telemann: Six Concertos for two flutes with bassoon, strings, and continuo; and Music for Louis XV: Michel de la Barre, 10 suites for two flutes. The Hanoverian Ensemble specializes in historical performance on period instruments. Its programs feature the great music of the baroque and classical eras, performed with an expertise developed from many decades of concert and recording experience. The ensemble includes from four to 10 players, depending upon the repertoire.

Six rarely-heard works for keyboard and flute by the child Mozart, performed by pianist Gena Raps and flutist Carol Wincenc, have been released by Naxos on a CD titled Mozart at Eight, Sonatas for Keyboard and Flute, K. 10–15. The CD’s contents include the Sonata in C Major, K. 14; Sonata in A Major, K. 12; Sonata in B-flat Major, K. 10; Sonata in G Major, K. 11; Sonata in F Major, K. 13; and the Sonata in B-flat Major, K. 15. Carol Wincenc has appeared as soloist with major orchestras worldwide and has premiered works written for her by numerous prominent composers. With the Detroit Symphony, she gave the world premiere of a flute concerto written specifically for her by Pulitzer Prize-winner Christopher Rouse. Her recording of the work for Telarc with Christoph Eschenbach and the Houston Symphony won the highly coveted Diapason d’Or prize. Wincenc has also commissioned and premiered concerti by Peter Schickele, Joan Tower, Paul Schoenfield, and Tobias Picker, who composed a double concerto for her and soprano Barbara Hendricks entitled The Rain In The Trees, which was inspired by the rain forest poems of W.S. Merwin. Gena Raps studied with Artur Balsam, and has performed in the United Kingdom, Portugal, the Netherlands, the Philippines, and across the United States. With Artur Balsam, Raps recorded the complete Dvorak Slavonic Dances and complete Mozart four-hand repertoire. Raps also made the premiere recording of Dvorak’s Waltzes for solo piano, and recorded two CDs for children: Play Bach! and Mother Goose and More, narrated by Julie Andrews and Peter Schickele.

My Teacher, Remembering Marcel Tadeu Coelho has released his seventh Moyse, a new book by Susan solo CD: Azules: Enchanting Latin Fries, contains a collection of Music for the Soul (music for flute 54 stories, interspersed with and harp). Featuring performances the author’s own photos, as by Coelho and harpist Karen Thielen, well as cartoons, drawings, and the CD contains original and tradi- quotes of the French master tional Latin works for flute and harp flutist and teacher. Stories in by Gamboa, Lacerda, Silva, Abreu, the book include Fries’ first Ponce, Iradier, Avila, and Velazquez. Visit tadeucoelho.com. meeting with Marcel Moyse in 1967 when he came to Oberlin In celebration of its 25th anniversary, Conservatory to conduct spe- the Nashua Flute Choir has com- cial masterclasses for the pleted its third CD (and second school’s centennial celebra- Christmas CD), A Falls House tion. Fries spent time with Christmas, with music director Moyse as a student, as a host, Eileen Yarrison. Titles include and as a friend. She describes her many visits with Moyse at African Noel, Prelude for December– his home in Brattleboro, Vermont, where she attended les- Nu Komm der Heyden Heiland, sons and seminars. In January 1981, Moyse stayed at Fries’ Ringing in the Holidays, and many traditional favorites. The home in Newport Beach, California, traveling daily to Los collection includes works arranged by Martha Rearick and Angeles to give flute and woodwind classes to qualified many others. All music is published by Falls House Press. Visit musicians. Visit susanfriesbook.com. nashuaflutechoir.com.

nfaonline.org Spring 2008 The Flutist Quarterly 69 NFAProducts 12/5/07 10:07 AM Page 1

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REVIEWSREVIEWS Reviews of flute-related recordings, books, and other items of interest

Books

Monarch of the student, William Kincaid, who in turn influenced many of Flute: The Life of his illustrious students, Joseph Mariano among them. Georges Barrère In this impressively detailed biography Toff provides the reader with many interesting examples of Barrère’s thoughts by Nancy Toff on music and musicians (such as the above), but she also Oxford University Press, offers a telling overview of American musical culture during 2005 the 39 years that Barrère lived here, from the time of his arrival from France in 1905, until his death in 1944. It was ’ve often wondered why Walter Damrosch, conductor of the New York Symphony, IJoseph Mariano, my who persuaded the 28-year-old Barrère to forgo his already esteemed flute professor promising musical career in Paris and come to New York to at Eastman, never took be his principal flute, along with the young 17-year-old an interest in or assigned Marcel Tabuteau to be his second oboe, and three other any of the virtuosic French musicians. showpieces from the When Barrère arrived in America, he was not satisfied 19th century romantic just to be a highly respected member of Damrosch’s repertoire by composers orchestra, but was eager to continue the kinds of chamber such as Altès, Böhm, music projects he had been so actively involved with in Briccialdi, Demersseman, Drouet, Fürstenau, Genin, Köhler, Paris. His strong entrepreneurial spirit impelled him to Popp, Soussman, Terschak, Tulou, and the Doppler brothers. organize many different types of ensembles over the years So it was very exciting to discover the genesis of his attitude (later including a Little Symphony which he conducted) on page 324 of Nancy Toff’s excellent biography of Georges suitable for touring throughout the United States, as well as Barrère, Monarch of the Flute, wherein she writes, “From presenting concerts in New York during the off-seasons of his earliest days as a professional flutist, Barrère made the New York Symphony. These tours included major cities enormous efforts to raise the level of literature for his and smaller towns and communities—a genuine example of instrument. First, he was firm about what he would not play. On the programs of some 1,800 concerts in which he “musical outreach,” much in the spirit of the earlier appeared as soloist or chamber artist after 1897, the works Theodore Thomas Orchestra tours. of Andersen appear only five times; Demersseman twice; Toff’s biggest challenge in writing this book was overcoming Tulou and Popp never.” Toff then quotes Barrère’s remarks the lack of primary sources from Barrère’s estate, because to members of the New York Flute Club (which he had “after his death, his wife Cécile apparently discarded his founded) when he castigated the “mediocre sentimentalism personal papers and photographs,…and most of Barrère’s of a Terschak or the matter-of-fact of the Dopplers.” He manuscripts and performing editions are presumed lost. believed that his mission was “to promote better Music. Thus the research for this book was a quest to find the Expose to the public our classical treasures, help the young papers of as many colleagues, students, and affiliated organ- composer and above all, discard from our public repertoire izations as possible, both in France and the United States.” these bookshelves of mediocrities, reserving these relative The thoroughness that Toff exhibited as she investigated so masterworks for mere practice or historical study.” many diverse sources of information, and her scrupulous “Help the young composer” indeed! Barrère inspired and attention to detail and accuracy, have paid off handsomely. promoted enduring works by Gaubert, Caplet, Roussel, She writes in a very engaging style, each page replete with Griffes, Varèse, Riegger and many other young composers. fascinating material, and we are forever indebted to her for He gave at least 184 premieres, and 50 works were dedicated this landmark biography of our “great-grandfather” of to him. So there is no doubt that his championing of new, American-style flute playing, published on the 100th high-quality solos and chamber works was an important anniversary of his arrival in the United States. influence on Barrère’s students, especially his most famous —Wally Kujala

74 The Flutist Quarterly Spring 2008 nfaonline.org

CDs

Flautissimo vol. 1 Flautissimo vol. 11 Flautissimo vol. 12 Flautissimo vol. 13 © 2003 Riverberi Sonori © 2002 Riverberi Sonori © 2002 Riverberi Sonori © 2003 Riverberi Sonori

ll of the Flautissimo recordings are really excellent. I already Mostly well-known pieces, again, fill volume 12. I particularly Ahad one, which I bought in the U.K. years ago, and then was like the Villa-Lobos; the playing is very musical. In fact, playing impressed by the quality of the recording and the fact that it was is very musical in all pieces, and the pianists are excellent as well. a live recording from the Italian Flute Festival by the same name. • La Merle Noir per flauto e pianoforte, Oliver Messiaen; Among the recordings are familiar names in the flute world, and Philippe Bernold, flute, Francesca Carta, piano some not so familiar, at least to me. We must remember that • Bachianas Brasileras no. 6 per flauto e fagotto, Heitor Villa there are lots of wonderful flutists out there! The music is the Lobos; Francesco Dalnese, flauto, Steno Boesso, fagotto same: some familiar, and some not so familiar, but basically all • Sonata in la minore per flauto solo, C.P.E. Bach; Silvia performed well, and accompaniment/ensembles excellent. Carredu, flute In volume 1, the most uninteresting, albeit well-played • Sonata in si bemelle maggiore per flauto e pianoforte; Ludwig piece, recorded in 2000, is the Beethoven. All of the others are van Beethoven; Mario Ancillotti, flute, Tonino Riolo, piano excellent, particularly the Tango Fantasia, brilliantly played. • 4 Piéces éstranges per flauto e pianoforte, Jacques • Sonata per flauto e pianoforte, Mario Pilati; Emmanuel Desbrieres; Claudio Marinone, flute, Claudia Bracco, piano Pahud, flute, Francesca Carta, piano • Sonata per flauto e pianoforte, Francis Poulenc; Emmanuel • Scherzo per flauto e pianoforte, Boluslav Martinu; Angelo Pahud, flute, Francesca Carta, piano Persichelli, flute, Leonardi Bartelloni, piano While all of the previous are excellent, volume 13 may be • Sonatine per flauto e pianoforte (1937), Walter Gieseking; one of the best collections, in my opinion—all played Giampaolo Pretto, flute, Andrea Carcano, piano absolutely beautifully. The Santucci is a particularly fun piece, • Sonata in re maggiore, op. 12, no. 1, per flauto e and would make excellent recital programming. And for those pianoforte, Ludwig van Beethoven; Ricardo Ghiani, flute, who really do like the very romantic, flashy ones, the Bellini is Francesca Carta, piano it, beautifully played by Fromanger. • Duo per due flauti e pianoforte, Ferraccio Busoni; Michel • Chant du Linos, André Jolivet; Emmanuel Pahud, flute, Debost and Kathy Chastain, flutes, Francesca Carta, piano Francesca Carta, piano • Tango Fantasia per faluto e pianoforte, Jacob Gade; Göran • A Raymond 5 pezzi jazz per flute and piano, Francesca Marcusson, flute, Leonardo Bartelloni, piano Santucci; Raymond Guiot,flute, Gian Rosario Presetti, piano In volume 11, recorded October 2001, the Guiot is very inter- • Imaginèes per flauti e pianoforte, Georges Auric; Emily esting—but I always have found his music quite interesting, and Benyon, flute, Raymond West, piano very musical, as it this one. All the others are well played both • Syrinx per flauto solo, Claude Debussy; Silvia Carredu, flute musically and technically, and again, familiar and unfamiliar, Sonata per flauto e chitarra, Jean Françaix; Romolo Bolrani, as are the last two. flute Comenico Ascione, chitarra • Françoya avec un y per flauto solista, sei flauti e contrabbasso, • Deux Impromptues per flauto e pianoforte, Raymond Raymond Guiot; performed by Guiot and others Guiot; Riccardo Ghiani, flute, Francesca Carta, piano • Sonata in la maggiore per flauto e pianoforte, César-Auguste • Variazoni brillanti su un tema della Norma, Vincenzo Franck; Petri Alanko, flute, Francesca Carta, piano Bellini; Benoit Fromanger, flute, March Grisanti, piano • Sonata in do maggiore per flauto e pianoforte, op. 10, no. 6, These Flautissimo CDs are all excellent recordings. The Carl von Weber; Shigenori Kudo, flauto, Francesca Carta, piano music featured is both very well known and unfamiliar; the • Jazzoflute per flauto solo, Daniel Raquillet; Benoit pieces are all well played, and all are live performances. If Fromanger,flute you have a chance, add these, and any others in the series, • Running per Quattro flauti, Antonio de Angelis; Rossi, to your collection. (Visit riverberisonori.it.) Martinetto, Darlo, Procoplo —Ruth Ann McClain

nfaonline.org Spring 2008 The Flutist Quarterly 75

CDs My Magic Flute third movements; John Thomas supplies the second move- Sir James Galway, ment’s cadenza. For me, the Reinecke cadenza in the first movement does not fit. It is quite romantic, and so long that it Jeanne Galway tends to overbalance the movement, although the movement © 2006 Deutsche is quite long. The cadenza in the third movement is excellent Grammophon in style and length. This is the first time that I have heard the Thomas cadenza for the second movement. It is very traditional, he first 30 minutes of this not innovative, but beautiful and beautifully played. It is also T74-minute, jam-packed quite long and also tends to overbalance the movement. Overall, CD is devoted to a standard performance of the concerto is charming. work of the flute repertory The arrangements of Mozart’s more popular movements (the Mozart Concerto in C and melodies on the remainder of the CD include the Andante Major for flute and harp). The rest offers arrangements of from the piano Concerto in C Major, K. 467 for flute, harp, other Mozart works. This is a highly polished recording, as we and orchestra, and the Rondo alla turca from the Piano Sonata would expect from such a well-known performer on a major in A Major, K. 331 for two flutes and orchestra. A highlight is recording label, full of wonderful sounds and beautiful phrasing. “The Magic Flutes,” arranged for the Galways by David Do not expect an authentic classical era performance. That Overton. This three-movement work consists of many bits is not what this CD is about. It is about James Galway giving and pieces of “Mozart’s Greatest Hits.” Many great tunes here his own distinct interpretation to some wonderful Mozart often combine in interesting ways. An outstanding section of melodies, giving the listener the opportunity to just sit back this piece is the extensive cadenza for two flutes based on and let the music happen. Papageno’s opening aria from The Magic Flute that comes at The Concerto in C for flute and harp adds greatly to the the end of the third movement. numerous recordings of this work on the market. Sir James This album is a “must-have” for fans of James Galway. A is joined by the excellent young harpist Catrin Finch. Her Mozart purist may be put off by some of the arrangements, flawless technique and musicianship match Galway’s perfectly. but most listeners will enjoy a fresh slant on these well-known They reign in a common tendency to gravitate to a romantic melodies. interpretation. The Carl Reinecke cadenzas grace the first and —Keith Pettway

Dedicated to for the first time on CD. But they are played as if you have Barrère, Vol. 2 known them for years, and at the same time they are surprisingly Leone Buyse new. The more familiar works are Poem by Griffes, Andante et Scherzo by Roussel, Invocation (Danse des prêtresses) and © 2006 Crystal Records Sonatine quasi Fantasia by Gaubert, and Density by Varèse. knew it already, but now I The less well known are Sogno Futuristico by Leonardo De Iam sure: I am a big fan of Lorenzo (flute solo, etude op. 34 nr. 17), La Nymphe Bocagère the American flute player for flute and piano by Christiaan Kriens, Nocturne for flute Leone Buyse. Such elegant and harp by H. Maurice Jacquet, the Suite for flute alone by and tasteful flute playing is Wallingford Riegger, Forgotten Modes for flute solo by rarely heard. For the second Marion Bauer, and Two Monochromes for flute solo by time, she has recorded repertoire dedicated to and played by Richard Franko Goldman. This series, by Nancy Toff and Georges Barrère (1876–1944). For most of us, at least six of Leone Buyse, is a great initiative. the 11 works will be completely unknown pieces; they appear —Mia Dreese

Measure for Measure: music on period instruments. This CD is based on a featured The music of performance at the 2002 national meeting of the American Shakespeare’s Plays Musicological Society. The Portland Press Herald wrote that the concert was “the perfect Elizabethan evening.” I agree. Not only Ensemble Chaconne, is the choice of the material interesting and scholarly, but the Peter H. Bloom, performances are excellent. Flutes featured on the CD are the Renaissance flutes flute in C by Boaz Berney after Bassano, flute in G by Friedrich © 2005 Americas MusicWorks von Huene after 16th century models, and flute in C by R. Owen Shaw after 16th century models. This CD will be of interest to he trio Ensemble Chaconne both historic flute performance lovers and to anyone interested Twas formed in 1985 and is in learning more about the use of music in Shakespeare’s plays. dedicated to the performance of Renaissance and baroque —Pat George

76 The Flutist Quarterly Spring 2008 nfaonline.org

Anton Reicha’s The two quintets in this CD release, B Minor, op. 99, no. 5, Woodwind Quintets, and G Major, op. 99, no. 6, represent Reicha at his operatic and dramatic best, and are lovingly and respectfully performed by Volume 9, Westwood the Westwood Quintet. The instrumental solo work is purely Wind Quintet vocal and operatic in nature, and is beautifully stated by all the © 2007 Crystal Records members of the quintet. Christ, the oboist on the recording and the chief of Crystal n my review of the previ- Records, is well known for his quality engineering, and this Ious Reicha recording by release is yet another clear example of this trait. While there the Westwood Quintet (John may be a few instances of the French horn overpowering the Barcellona, flute; Peter Christ, rest of the group, this recording is the latest example of oboe; Dileep Gangolli, clarinet; Charles Kavalovski, horn; Christ’s studio wizardry. Additionally, the CD liner notes are an “all you want to know” compendium of everything Reicha. Patricia Nelson, bassoon), I stated that Anton Reicha was a If you are a woodwind quintet aficionado, or enjoy tuneful true Renaissance man who has been eclipsed in music history and well-executed chamber music, this CD would be a fine by his stellar list of friends (Ludwig van Beethoven, Josef addition to your collection. Haydn) and composition students (Franz Liszt, Hector (For additional information on the Westwood Quintet, Berlioz, Charles Gounod, and César Franck.) This is still true. please read my review of the previous release by this fine The latest addition to the Westwood’s ambitious “Reicha com- ensemble, in the spring 2007 issue of this magazine.) plete” recording project has recently been released. —Erich Graf

Nocturnes: Works for Chopin’s Nocturne in C-sharp Minor, op. post. The CD is Flute and Piano rounded out with Gaubert’s Sonata for Flute and Piano, No. Tadeu Coelho 3, and the Introduction and Variations on “Trockne Blumen” by Franz Schubert. © 2007 Tempo Primo I especially enjoyed the playing of Simon Tedeschi in the Enterprises Schubert Variations. This composition features equal writing adeu Coelho writes in between the flute and piano as each variation alternates its Tthe liner notes that one emphasis from one performer to the next. It is difficult to find of the unifying elements of a pianist who understands how to play this music in a manner this CD is French flutist and that is true to Schubert’s piano writing and still balances the pedagogue Paul Taffanel. Taffanel commissioned the Suite for more delicate nature of the flute. Tedeschi certainly shines in Flute and Piano, op. 34 (1898) from the French organist Charles this performance. Throughout this CD, Coelho possesses a Marie Widor. Both Taffanel and Widor were professors at lovely sound and is careful and attentive to the details in the the Paris Conservatory. One of the two nocturnes on the music. I am not sure why the Gaubert Nocturne and Allegro recording, Nocturne and Allegro Scherzando, was composed Scherzando were tracked separately, since the piece is intended to by Gaubert, who was a student of Taffanel. The other noc- be played as one movement. turne presented is Coelho’s transcription of Frederic —Pat George

Summer Was in there are none of the harsh dissonances or compositional August (British techniques often associated with the 20th century. Composer Series) Most of the music has flowing melodies, and many pieces have a jazz, blues, or pop feel. This is music to charm rather Rachel Smith than challenge listeners. The use of various instruments pro- © 2005 Campion Records vides the CD’s variety: In addition to pieces for flute alone and flute and piano, there are pieces for flute and harp, flute and his very pleasant guitar, and flute, cello, and piano. Smith has a style of playing Trecording features flute that fits the type of music represented. Her tone is fairly open and various instruments. and relaxed. The phrasing is quite understated, with an Compositions are all by emphasis on charm rather than excitement. British composers and span the early 20th century through the One flaw in this recording is in the engineering. In the first early 21st century. The two composers that classical music cut, the piano has a metallic, distorted sound and overpowers lovers will recognize are Malcolm Arnold and Gordon Jacob. the flute in the fortissimos. It is unfortunate that this occurs in Other composers represented are Paul Lewis, Paul Carr, Paul the first track, as it is corrected in the other pieces. Gregory, and Hamilton Harty. This music is very accessible; —Keith Pettway

nfaonline.org Spring 2008 The Flutist Quarterly 77

Music James Galway Presents Dorff for the most part works fairly easily for the pianist; A series of publications from Theodore Presser however, as with many orchestral reductions, there are a few bars that may challenge a less than advanced player. This “James Galway Presents” is a series of publications in which piece has as a basis the melody of a prayer sung on the James Galway has a hand in their production. The one thing Jewish Day of Atonement. that is consistent in all the publications is the fact that Galway edits the flute parts. To some he provides an introductory Rondo alla Turka, W.A. comment, and in others he provides a lot of commentary. Mozart, arr. for two flutes Below are brief reviews of five publications in this series. and piano, David Overton © 2006 Theodore Presser 15 Easy Exercises, op. 33, book 1, Ernst Koehler he arrangement of this well- © 2006 Theodore Presser Tknown piano work is reminiscent of some 19th-century arrangements of hese exercises are some of the well-known earlier works. Think of Tessential études in a flutist’s the Liszt/Böhm transcriptions of training. In this new edition, Sir Schubert songs or the Taffannel James, in addition to thoughtful opera fantasies that make additions to the original melodies. editing, provides a brief introduction This is the arrangement that appears on Sir James’s My Magic and very short comments at the Flute recording, but for piano rather than orchestra. Since this beginnings of most of the études. was originally a piano work, the piano “accompaniment” is The printing is clear and well laid out; however, a couple of the rather straightforward. At three and a half minutes, this fun studies get slightly crowded to fit the étude on one page. This piece is perfect for a light concert, as an encore, or just for the is a minor flaw, and the music is still quite readable. enjoyment of the players.

Twelve Grand Studies, op. 15, Tchaikovsky’s Greatest Theobald Böhm Melodies, arr. for flute and © 2003 Theodore Presser piano, Dan Fox © 2007 Theodore Presser n this edition of these well-known Istudies, we get much more from n his introduction to this collec- Galway than just an edited flute part. Ition, Galway gives two reasons for There is a fairly long introduction developing this project:“to familiarize followed by lengthy general remarks flutists with the music of this great on the entire set of études. This is master, and to use these melodies for followed by in-depth notes on each of developing a good singing tone on the studies. All of this commentary gives the feel of a masterclass the flute.”A third use for these arrangements would be for gigs in a book. The extra information provided makes this edition for flute and piano when well-known tunes are appreciated. much more valuable to the student than the études alone. There The melodies from the ballets seem to lend themselves espe- are a number of impossible page turns in this edition, but this is cially nicely for this use. The piano parts range from fairly a situation impossible to avoid with long studies and no rests. easy to quite challenging. This is an extensive collection with 19 arrangements in all. Kol Nidrei, Max Bruch, ed. —Keith Pettway James Galway © 2004 Theodore Presser Sir James Galway was among his publication is a flute and the first of NFA members Tpiano transcription of the origi- to post a note on the new nal Kol Nidrei for cello and orches- NFA members forum. tra. The flute part fits very idiomati- cally for flute. Sir James provides Will you be next? performance suggestions for the Visit nfaonline.org. piece. The piano reduction by Daniel

nfaonline.org Spring 2008 The Flutist Quarterly 79

Music

The Romantic era is certainly not the most fecund for solo flute music—especially in Germany, where the big names relegated the flute to the bird role in the orchestral zoo. There were a few romantics such as Popp and Reinecke (and later, Thuille) who bucked the trend. Popp’s Sonatina no. 5 is an amalgam of musical styles I’d call Mendelssohnic Schumannism. I do not believe this edition was designed for release outside of Europe, because the frontispiece is in German without an English translation. The edition is clean, and the music itself is pleasant for flutists beyond the beginning level to play. Peculiarly, the play-along CD (which on my copy was mismarked as Sonatina no. 5 in F Major instead of G Major, an error which has been corrected for subsequent printings) contains three separate recordings of the piano accomp- Wilhelm Popp: Sonatinas for animent to the two-movement Sonatina no. 5. The first is Flute and Piano op. 388, vol. 2 moderately slow, the second, moderately moderato, and the (Nos. 4–6, with play-along CD for no. 5 only) third, moderately fast. The pianist is unidentified—and I ©2005 C.F. Peters hope not virtual. Play-alongs with romantic music can be problematic due erman flutist Wilhelm Popp (1828–1903) composed an to the ebb and flow of the music, rubati, etc. Also, there are Gimmense amount of music. According to our own, no preparatory beats on the CD, nor are there cues in the trusted Nancy Toff, Popp’s collection of études, Musikaliche flute part. The most productive way to utilize this CD is by Tonbilder, weighs in at opus 501. playing directly from the piano part. Popp penned many virtuoso flute works. As an example, Here’s one additional caveat: the tuning pitch printed on Toff mentions a flute and piano work entitled Bagatelle written the CD cover is A=443, so tighten your corsets. for New York flutist Eugene Weiner in 1890. It is for one This genre is comfort food for flutists. Popp’s music is not player whose left hand plays the flute and whose right hand profound, but it is sunny, tuneful, and crafted with a firm plays the piano. We could use more of Popp’s sense of knowledge of the capabilities of the instrument. humor in our lives! —Erich Graf

Franz Anton Hoffmeister’s music is a synthesis of the academic, staid Hoffmeister quality of Quantz’s late baroque style and the forward-thinking Six Duos for jocularity of Mozart and Haydn—but without their mystical 2 Flutes, op. 16 creative sparks. Hoffmeister’s flute writing is always delightful, and demonstrates the depth of understanding he had for © 2006 Zimmerman the instrument. ranz Anton Hoffmeister This volume is comprised (I was provided with a score) of Fwas a favorite compos- six classical unaccompanied flute duo sonatas of three er of my flute teacher of movements each. Some (but not all) of the duets in this vol- the early 1960s, Nelson ume are quite technically challenging, with the challenges Hauenstein. I performed evenly distributed between first and second flute. Both parts one of Hoffmeister’s con- are published together in a single score, so beware—you certos at several competi- have one bar of rest to turn most of the pages, so watch your tions many years ago. teeth or find a copy machine! Hoffmeister was an If you are anything like me, 95 percent of the time you extremely prolific com- pull the same duets out of your music cabinet to play with poser—especially for flute, although he was best known as a students. Thus, I welcome any additions to this genre—both music publisher. His Bureau of Music in Leipzig later newly composed and newly published. became the C.F. Peters Publishing Co. —Erich Graf

80 The Flutist Quarterly Spring 2008 nfaonline.org

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