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Lutist Quarterly Volume Xxxvi, No

Lutist Quarterly Volume Xxxvi, No

VOLUMEXXXVI , NO . 4 S UMMER 2 0 1 1

THE lut i st QUARTERLY

The Case of the Lost Flute Concerto

The Sonatas of Eugène Walckiers

Mercedes Smith: Two Weeks, Two Winning Performances Unity Through Diversity: Many Flutists, One World 39th Annual NFA Convention in Charlotte, North Carolina

THEOFFICIALMAGAZINEOFTHENATIONALFLUTEASSOCIATION, INC

Table of CONTENTS THE FLUTIST QUARTERLY VOLUME XXXVI, NO. 4 SUMMER 2011 DEPARTMENTS 11 From the Chair 65 NFA News 13 From the Editor 68 Notes from Around the World 16 High Notes 76 New Products 20 Flute Shots 80 Reviews 42 39th NFA Convention: 91 From the 2012 Convention Unity Through Diversity: Program Chair Many Flutists, One World 92 NFA Office, Coordinators, 59 Across the Miles Committee Chairs 62 Honor Roll of Donors to the NFA 97 Index of Advertisers

22 FEATURES 22 The Case of the Lost Flute Concerto by Andrew Woolley It wasn’t Scotland Yard, and he isn’t Sherlock Holmes, but a scholar’s discovery in Scotland of a flute concerto by Antonio Vivaldi, previously believed lost, is great news for flutists and historians alike. 26 The Sonatas of Eugène Walckiers by Ursula Pešek (translated by Traute Marshall) The last five works by the French flutist and composer, including one plucked from obscurity, offer modern flutists outstanding additions to the repertoire of original flute sonatas. This is the first of a two-part article, which continues in the Fall 2011 issue with a focus on the composer himself, dubbed by author R.S. Rockstro “a man of real genius.” 34 Two Weeks, Two Winning Performances by Kyle Dzapo Conscientious practice sessions, careful planning, and frequent recitals helped Mercedes Smith achieve her one-two punches in competition wins and an early jumpstart to a promising career as a flutist. 38 Anaheim 2010: A Student’s Perspective by Ezra Spiro 26 The first recipient of the new Frances Blaisdell Scholarship, established by the NFA in 2009 in honor of the flutist and pedagogue renowned for her support of young students, recalls his experiences at the 38th annual convention in August 2010. 70 The Enormous Scale of Albert Cooper by Trevor Wye and Friends Because of his work with “the Cooper Scale,” master flutemaker Albert Cooper directly and profoundly affected modern flute music. But his humility and generosity as a person are perhaps more likely reasons for the bounty of friends who remember him.

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 National Flute Association, Inc., which reserves the right to refuse to print any advertisement.

34 ISSN 8756-8667 © 2011 National Flute Association, Inc. 42

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www.frederickharrismusic.comwwwww.frederickharrismusic.comder sm om OFFICERS Founder, Honorary Life President Mark Thomas 824 Charter Pl. Charlotte, NC 28211-5660 phone/fax: 704-365-0369 [email protected] markthomasflutist.com

Chair of the Board Jonathan Keeble University of Illinois 1114 West Nevada St. Urbana, IL 61801 217-333-8142 [email protected]

Vice Chair of the Board Beth Chandler James Madison University School of Music, MSC-7301 880 S. Main St. Harrisonburg, VA 22807 540-568-6836 (w); 540-574-3772 (h) Fax: 540-568-7819 [email protected]

Secretary Francesca Arnone West Virginia University Division of Music P.O. BOX 6111 Morgantown, WV 26506-6111 304-293-4502 [email protected]

Chair of the Finance Committee Debbie MacMurray 4554 Leathers St. San Diego, CA 92117-3419 858-663-6389 Fax: 513-492-4580 [email protected]

Assistant Secretary Joanna Cowan White 400 Crescent Dr. Mt. Pleasant, MI 48858 989-772-6175 [email protected]

BOARD OF DIRECTORS Kimberly Clark (2009–2011) 15202 Circling Hawk Ct. Houston, TX 77095 281-550-4275 [email protected]

Daniel Dorff (2009–2012) 221 Meadowbrook Ave. Upper Darby, PA 19082 610-306-9480 [email protected]

Sarah Jackson (2010–2013) 20121 Crown Reef Ln. Huntington Beach, CA 92646 714-642-1971 [email protected]

Paul Taub (2008–2011) 1513 25th Ave. Seattle, WA 98122 206-328-5010 [email protected]

Linda Toote (2009–2012) 55 Arlington St. Newton, MA 02458 617-964-3571 [email protected]

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www.miyazawa.com THE FLUTIST QUARTERLY Anne Welsbacher, Editor Erica Whitcombe, Copy Editor Christine Beard, Christine Cleary, Amy Hamilton, Contributing Editors Lee Chivers, Masterclass Reporter Victoria Stehl, Art Director Steve Wafalosky, Advertising Sales Representative Editorial Advisory Board John Bailey Professor of Flute University of Nebraska–Lincoln Lincoln, Nebraska Leone Buyse Joseph and Ida Kirkland Mullen Professor of Flute Rice University Houston, Texas Michelle Cheramy Associate Professor of Music Memorial University of Newfoundland St. John’s, Newfoundland Zart Dombourian-Eby Principal Piccolo Seattle Symphony Seattle, Washington Susan Goodfellow Associate Professor of Flute University of Utah Salt Lake City, Utah Amy Likar Flute, Piccolo, and Alexander Technique Oakland, California Betty Bang Mather 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 Paul Taub Professor of Music, Cornish College of the Arts Flutist, Executive Director, Seattle Chamber Players Seattle, Washington Nancy Toff Music Historian New York, New York Michael Treister, MD Orthopaedic and Hand Surgeon Amateur Flutist Chicago, Illinois Brooks de Wetter-Smith James Gordon Hanes Distinguished Professor of Flute University of North Carolina–Chapel Hill Chapel Hill, North Carolina Charles Wyatt Flutist, Writer Nashville, Tennessee Reviews Board 10167 Royalton Road Penelope Fischer Principal Flutist, Ann Arbor Symphony North Royalton, OH 44133 Member, Detroit Chamber Winds (440) 237-9400 | (877) RMC-1964 Ann Arbor, Michigan Ruth Ann McClain www.professionalsuitebyrmc.com Flutist and Studio Teacher Memphis, Tennessee www.royaltonmusic.com John Wion Professor of Flute The Hartt School West Hartford, Connecticut National Flute Association, Inc, Staff Phyllis T. Pemberton, Chief Executive Officer Anne Welsbacher, Publications Director Madeline Neumann, Convention Director Maria Stibelman, Membership Director Brian Covington, Web Design Consultant 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. nvsbnbutv RVBMJUZ!TQFBLT!GPS!JUTFMG

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Jonathan Keeble Reflections on a Flute Hero

midst the struggles of the great Sergio Leone’s The Good, the Bad, and about the great program Lisa Garner A orchestras in Philadelphia, Detroit, the Ugly. I beat the background rhythm Santa has put together for Charlotte, and elsewhere, has been an ominous on a music stand, and she channeled her hungrily anticipating the opportunity to sense about the professional futures for best Clint Eastwood. hear world-class music-making. But as I those of us in the arts. We have well- Ann worked very hard and eventually leaf further through the program, I’m documented counter-examples to heart- reached a point where she was ready to given pause to reflect on Ann, and what it en us in the new performance facilities play her first concert. She was seated means to have music in our lives. for the New World Symphony and the with a group of her septuagenarians as Ultimately, I realize, the arts economy Los Angeles Philharmonic and in the part of a pilot project called the “New cannot be changed by a bunch of flutists. continued excellent offerings of so many Horizons Band” to provide musical out- In spite of this, we’re going to have a great of our professional orchestras, conserva- lets for senior citizens. time in Charlotte, and the music made tories, and universities; however, the The concert was a bit harrowing. The there and in the future will live in what- sense of unease seems at an all-time high. band’s principal clarinetist knocked out ever guise our culture asks of it. But then there’s Ann Oster, a “young his false teeth on his first entrance and While we’re in Charlotte, though, take woman of 72” as she liked to call herself. never played a note. Sitting among the a moment to embrace the people whose She decided to learn the flute when in flutes, I could audibly hear the second names might not appear in the pro- her early 70s. chair saxophonist shaking from nerves, gram, but who are there to enjoy the Ann was my first student, and I really and a general sense of jitters pervaded meaning music, art, and flute-playing had no idea what I was doing in her les- the ensemble. offer. These are the people for whom sons, but she was patient, very musical, After the hour-long program, though, our applause should ring most vibrant- and very hungry. At the time she began Ann’s face visibly showed her euphoria ly. These people offer us an opportunity the flute, her hands were gnarled with at overcoming what performing musi- to commune with people from all walks arthritis, and she had trouble holding cians know so well as “the fear.” More of life, and to talk, and to feel the tran- up the instrument. We looked for a flute than anything, she was gushing over scendence of the mundane. that could accommodate her physical accomplishing something she’d only Ann Oster won’t be there; she passed challenges and finally settled upon one dreamed of doing: making music with away several years ago. However, hers is that looked to me, at least, more like a an ensemble of other people whose love a spirit that remains in evidence, every- hockey stick than a flute. for the art matched her own. where. We just need to look for it. The first song Ann learned was the Nineteen years later, as we approach whistled portion of the theme from another convention, I find myself reading —Jonathan Keeble

nfaonline.org Summer 2011 The Flutist Quarterly 11 At the Wm. S. Haynes Company, a dedication to the highest level of craftsmanship is at its core. Flutemakers use old world skills in combination with forward thinking ideals to produce the most revered ßutes in the world. Historically, Haynes has developed crafting techniques and methods that have been adopted as the paradigm in the ßutemaking industry. When you play a Wm. S. Haynes ßute, you know that you are playing an instrument with a history of more than 100 years of mastery in ßutemaking.

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Anne Welsbacher

Creations

hardly count myself among that Vivaldi concerto was passed on to me by with an article about a compelling I hardy bunch of Americans known as (who else?) Nancy Toff, the flute world’s topic: It’s a little piece of magic about entrepreneurs—I have neither the Nancy Drew of research, who serves on publishing that never ceases to impress strong stomach nor the imagination my editorial advisory board, a group of me, even after all these years of enjoying necessary to create and succeed (or fail knowledgeable people who keep me the privilege of serving in this business. spectacularly) at new ventures. But from making foolish mistakes and who The largest piece of magic, though, is despite my genetic inability to use a cal- tell me when an article proposal is a what went into this issue’s longest arti- culator or balance my checkbook, it is good idea. cle—not because of the article itself, but both my duty and my pride to admire Knowing no more than what was because of the decidedly full-blown entrepreneurs. I am from Wichita, after printed in a very brief journal entry, I event it conveys. A few words and a few all, where Pizza Hut was invented, small contacted a respected scholar who sug- pictures annually in our spring and planes are built, and people have come gested that while he would be happy to summer issues come to you compli- for two centuries to make their for- write up the discovery, I would do bet- ments of hundreds of people: artists, tunes, whether as oilmen, cattle drivers, ter to contact the man who actually planners, staff members, travel agents, ethnic restaurant owners, or straight- made the discovery. (You see what I NFA officers, and especially the hun- ahead business people. mean about my genetic inability to be a dreds of volunteers who have invented There is something a little entrepre- true entrepreneur!) Finding and assign- out of pure air—literally, our instru- neurial in every issue of The Flutist ing the story was ridiculously easy. ment being the flute—the annual cele- Quarterly. Through the efforts of many Andrew Woolley was happy to write up bration that will soon repeat itself for passionate people, this thing which his findings for us, and I hope you enjoy the 39th time this August: The NFA never was before is created, and the ven- reading about them in the issue you flute convention. ture repeats itself four times per year. now hold in your hands. Here’s to unexpected magic wherever Case in point: The scoop about our From Toff’s brief email to a fully you venture forth. See you in Charlotte! cover story about a recently uncovered illustrated, three-dimensional magazine —Anne Welsbacher nfaonline.org Summer 2011 The Flutist Quarterly 13 Color a do C a se COMPANY

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High Notes News and activities about the accomplishments of National Flute Association members and the flute world

luteMoon2, featuring NFA els of Pulitzer-prize–winner Marilynne Robinson. A project highlight FLife Member Christine Potter was an April concert evening when composer and author met for the playing E-flat flute, C flute, alto first time and participated jointly by reading from the novels and flute, bass flute, and contra alto discussing the inspiration. The official world premiere was in May flute, took to the skies once again 2011. The grant was awarded by the Iowa Department of Cultural at Fiske Planetarium in Boulder, Affairs. Red Cedar Chamber Music has commissioned 36 new works Colorado, March 12–13. This was since its founding in 1997. The commissions are of new chamber the second concert organized by music works for flute and guitar in combination with other instru- Potter involving extensive dis- ments. Composers-in-residence collaborations have been with plays of many aspects of the Harvey Sollberger, Andrew Earle Simpson, and Jerry Owen. Fleur de moon on the planetarium dome Son Classics (with distribution by Naxos) has released recordings of accompanied by music related to many of these commissioned works, all of which feature Jan Boland on the moon. David Gunn, a flute and John Dowdall on guitar in collaboration with guest artists. Vermont composer, wrote Lunar Mural 2 for bass flute and prere- FA member Jessica Schmitz Christine Potter corded sounds for the event; the Njoined the ensemble eighth piece and sound effects also will blackbird in the premiere of be featured at the 2011 NFA convention in Charlotte. Included in Inuksuit, by John Luther Adams, FluteMoon 2 was music from the Tin Pan Alley era (early 1900s); at the inaugural Tune-In Music “Blue Moon of Kentucky,” a bluegrass tune made famous by Elvis Festival in New York City Presley; Debussy’s Clair de Lune; “Moon Over the Ruined Castle,” February 20. Inuksuit features performed on contra alto; and an Irish tune by Boulder composer Bill more than 70 mobile percussion- Douglas performed on E-flat flute with bodhran accompaniment. ists in homage to the native Pictures of the moon over Ireland, pictures of famous paintings, and people of the Arctic region. Its movies of lunar landings and explorations made this an educational thematic conceit is of an urban as well as musical adventure. Visit altoflute.net or flutemoon.com. sonic landscape evoking human- kind’s elemental connection to nature. Schmitz played piccolo, representing bird sounds, for the Jessica Schmitz piece. Schmitz also performed in a collaborative radio work weaving into music the elements of a novel featuring a composer protagonist. The piece, by Wesley Stace (aka John Wesley Harding), was aired February 17 and 24 and March 11 on WNYC’s “Soundcheck.” Visit jessicaschmitz.com.

FA member Margaret NCornils Luke performed works by J.S. Bach, Franz Doppler, Libby Larsen, Georges Hüe, Michael Gilbertson, and Albéric Magnard March 11 in Weill Recital Hall at Carnegie Jan Boland, bottom right, and members of Red Cedar Chamber Music. Hall. Among works were Bach’s “Ei! wie schmeckt der Kaffee lutist Jan Boland and her chamber music organization Red Cedar susse” from Kaffeekantate and FChamber Music received a $9,800 grant to champion a new “Schweigt, Ihr Floten,” Larsen’s musical work by composer and flutist Harvey Sollberger. The Barn Dances, and Hüe’s Soir work, Perhaps Gilead for flute, guitar, and string quartet, was com- Païen. Also in the concert were missioned by Red Cedar Chamber Music and presented to eastern soprano Rebekkah Demaree; Iowa communities over a five-month period in 48 concerts and pianist Sharon Jensen; Laura educational settings from January to May 2011. Sollberger’s 30- Medisky, oboe; John Marco, clar- minute work is inspired by Home and Gilead, the companion nov- Margaret Cornils Luke inet; and Barry Ellis, bassoon.

16 The Flutist Quarterly Summer 2011 nfaonline.org Flutist Valerie Coleman, left, and Imani Winds

he second annual Imani Winds Chamber Music Festival Ttakes place July 27–August 5 at the Juilliard School’s Lincoln Center campus in New York City. The festival, spearheaded by NFA member and Imani Winds flutist Valerie Coleman, will feature NFA members Paula Robison and Judith Mendenhall among its guest artists. The intensive summer institute, which debuted in 2010, features guest artists for flute, saxophone, oboe, clarinet, horn, bassoon, piano, and strings performing and teaching masterclasses, as well as daily mentoring by Imani Winds musicians. The event includes a festival of free concerts open to the public, this year featuring Imani Winds, the Transatlantic Duo, and fellowship participants. Visit imaniwinds.com.

he CD Mercy, featuring Canadian flutist and NFA member TBill McBirnie, was a nominee for the 10th Annual Independent Music Awards in the best jazz album category. Award finalists for this competition are from 70 countries on five continents and are selected solely on the basis of artistic merit. The 2010 jazz judges included McCoy Tyner, Arturo Sandoval, and Lee Ritenour. Also featured on the CD are Robi Botos, piano; Pat Collins, bass; and John Sumner, drums. “Vox Pop Winners,” selected by fans who may vote online, will be

PHOTO OF IMANI WINDS BY CHRIS CARROLL announced in July. Visit independentmusicawards.com.

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Vietnam-Beauty.com, “About Sao Truc (Vietnamese Bamboo Flute)” http://www.vietnam-beauty.com/vietnamese-culture/vietnam- traditional-music-and-traditional-instruments/16-vietnam- he Vietnamese sáo trúc (sow trook) is a single piece of traditional-music-and-traditional-instrume/142-about-sao-truc- bamboo trunk with six or 10 finger holes and a tuning vietnamese-bamboo-flute.html. Tslide. Changes in air speed and strength are important parts of technique for this instrument. Traditionally played Tieng hat que huong, “Sáo trúc” by farmers on break during rice harvest time, it is now an http://www.tienghatquehuong.com/instruments/SaoTruc.htm.

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20 The Flutist Quarterly Summer 2011 nfaonline.org Vanderbilt University announces the appointment of Philip Dikeman Associate Professor of Flute Former acting principal ﬂute of the Detroit Symphony Orchestra

to the Blair School of Music

Striking a balance between intensive music training and liberal arts study

blair.vanderbilt.edu Blair School of Music at Vanderbilt University 2400 Blakemore Avenue Nashville, Tennessee 37212 . PART ” FLAUTO TRAVERSIERO “ FIRST PAGE OF .,” VIVALDI . ANTO . DEL SIGR . /

The recently discovered concerto: the first page of its flute part. VIOLINI VIOLA E BASSO The Case . / of the Lost Flute Concerto CONCERTO PER IL FLAUTO TRAVERSIERO It wasn’t Scotland Yard, and he isn’t Sherlock Holmes, . / but a scholar’s discovery in Scotland of a flute concerto IL GRAN MOGOL by Antonio Vivaldi, previously believed lost, is great “

by Andrew Woolley news for flutists and historians alike. 40/15/54/2: GD ,

ntonio Vivaldi (1678–1741) was one of the most international and influen- tial composers of the 18th century, whose reputation (not only as a composer but also as a virtuoso violinist) was supported by the publications ofA his instrumental music that appeared in the 1710s and 1720s. These included the VI Concerti a Flauto Traverso, Op. 10, published in Amsterdam in 1729, apparently NATIONAL ARCHIVES OF SCOTLAND the first printed collection of its kind. While in the 1730s Vivaldi seems no longer to , have favored the publication of his music in print, he was able to supply the “market

demand” for his works through manuscript copies, engaging copyists to prepare EDINBURGH

22 The Flutist Quarterly Summer 2011 nfaonline.org collections, or single works, for his customers. In this way he was able to retain a greater control over the dissemination of his works and also charge something of a “premium”; in a letter from Edward Holdsworth to Charles Jennens, we are told that the composer charged a “Guinea for ev’ry’ piece” at this period, an indication that he dealt shrewdly with his wealthier clients.1 A number of these individuals would have been performers on the transverse flute, an increasingly popular instrument among gentlemen amateurs all over Europe in the 1720s and 1730s. Indeed, these circumstances suggest an explanation for why a copy of a flute concerto by Vivaldi, a work until last year deemed lost, found its way to an archive in Scotland.2 The manuscript, a set of parts, originates from the Marquesses of Lothian papers in the National Archives of Scotland in Edinburgh, and belongs to a collection of manuscripts for four flute concertos dating from the 18th century.3 They were in all likelihood the property of Lord Robert Kerr (c. 1719–1746), the second son of the third Marquess of Lothian, since we know that he played the flute. A series of financial accounts compiled by his tutor, the mathematician Colin Maclaurin, reveal that “a Musick book” and “a flute,” the latter costing £1. 6s., were bought for him sometime between June 15, 1731, and March 30, 1732, and that by the latter date, he had received three months’ tuition from an unnamed “Musick master.”4 Lord Robert is the only member of his family at this period who is known to have played the flute. (His elder brother, William Kerr, later the fourth Marquess, may have been denied the opportunity to pursue a musical educa- tion because of his status as the family’s heir.) Portrait of Lord Robert Kerr standing by a tree (1741). Il Gran Mogol The concerto attributed to Vivaldi is in D minor, an unusual provenance. The other two, one anonymous and the other by key for an 18th-century flute work (since the instrument, in the Paris-based flutist Jean-Daniel Braune, active in the 1730s, this period, favored “sharp” keys), and not one used by the are probably of north European, but not British, origin. composer in any other of his surviving solo flute concertos. It This suggests that Lord Robert Kerr, if we are correct in sup- has the title “Il Gran Mogol” written at the top of each surviv- posing his ownership of the manuscripts, probably acquired ing part, indicating that it is one of the four “lost” concertos them on a grand tour to Europe in the 1730s, a commonplace with characteristic titles listed in the 1759 sale catalogue of the undertaking for wealthy gentlemen in the 18th century. No Dutch bookseller Nicolaas Selhof of The Hague; the others, record exists of his whereabouts between 1732, the year in called “La Francia,” “La Spagna,” and “L’Inghilterro,” are not which Maclaurin seems to have concluded his tutelage, and known to survive.5 As listed in the catalogue, it appears they 1739, when he was commissioned as a cornet in Lord Mark . formed a series of “national” concertos (“Il Gran Mogol” being Kerr’s regiment. representative of the Mughal Empire or India), and would “Il Gran Mogol” is a wonderful work, notwithstanding its have formed, as a quartet, perhaps an equivalent to the series exotic title and unexpected Scottish connection, and should of violin concertos known collectively as The Four Seasons. gain a place in the 18th-century flute concerto repertoire as a Notwithstanding its many Vivaldian hallmarks, the authen- challenging but rewarding piece. The happy survival of a later ticity of “Il Gran Mogol” is confirmed by the fact that another reworking of it, in the form of RV431, means that the missing flute concerto by him in E minor (RV431), known from an second violin part can be reconstructed with some confidence. autograph score, is a reworked, simplified version of it.6 The two works are, by and large, closely related, but some pas- The manuscript source of “Il Gran Mogol,” for which a sec- sages were completely recomposed in the later version, while ond violin part is unfortunately missing, appears to be in the the flute part was revised throughout. REPRODUCED BY KIND PERMISSION OF FINE LANE ART

. hand of an Italian copyist, and its paper type suggests it was RV431 also survives in an incomplete form, since it lacks a copied outside of Britain.7 Indeed, only one of the concertos in central slow movement in the only known source; but source the Edinburgh collection—a work by William Babel original- evidence, and our knowledge of Vivaldi’s practices of recy- (1711–1787) ly written for the recorder (no. 3, for “sixth flute,” in Babell’s cling, suggest that the “missing” slow movement would have Concertos in 7 parts... Opera Terza [1726]) but deemed by its been a version, transposed from G minor to A minor, of the 8

ARTHUR DEVIS copyist as being suitable for the transverse flute—is of British “Gran Mogol” larghetto.

nfaonline.org Summer 2011 The Flutist Quarterly 23

THE CASE OF THE LOST FLUTE CONCERTO Postscript Endnotes 1 See Michael Talbot, “Charles Jennens and Antonio Vivaldi,” Vivaldi The first modern edition of “Il Gran Mogol” was published by veneziano europeo, ed. Francesco Degrada (Florence, 1980), 66–75, esp. 71. Edition HH in November 2010, and a keyboard reduction of 2 For a full-length discussion of the concerto and its source context, see Andrew Woolley, “An Unknown Flute Concerto by Vivaldi in Scotland,” Studi the orchestral part has since been released. The edition offers vivaldiani 10 (2010), 3–38. both a reconstruction of the second violin part and a hypo- 3 They are catalogued as GD40/15/54/1–3 and GD/40/55, the Vivaldi work being GD40/15/54/2. thetical completion of RV 431, affording the opportunity for 4 See Woolley, “An Unknown Flute Concerto,” 6. 5 See Catalogue of the Music Library, Instruments and Other Property of groups to perform both works in a completed state. “Il Gran Nicolas Selhof, Sold in The Hague; 1759, facsimile edition with introduction Mogol” has been assigned the catalogue number RV 431a. For by Alec Hyatt King (Amsterdam, 1973), esp. 223. For a discussion of Vivaldi’s > music listed in the catalogue, see Michael Talbot, “Vivaldi in the Sale more information, visit editionhh.co.uk. Catalogue of Nicolas Selhof,” Informazioni e Studi Vivaldiani(1985), 57–63. 6 I am grateful to Michael Talbot for pointing out the relationship between “Il Gran Mogol” and RV431. A detailed comparison of the two works is pre- Andrew Woolley is a visiting research fellow at the University sented in Woolley, “An Unknown Flute Concerto.” of Southampton based in Edinburgh, Scotland. He writes reg- 7 The watermark is of the “grapes” type, common in 18th-century French music paper. I am grateful to Bruce Gustafson and Graham Sadler for advice ularly for musical journals and is co-organizing the First on this point. 8 The nature of the “incompleteness” of RV431, and how it might be authen- International Conference on Historical Keyboard Music: tically reconstructed, are considered in full in Woolley, “An Unknown Sources, Contexts and Performance, which will take place in Concerto,” 14–16, and Antonio Vivaldi. Concerto in D Minor RV431a (“Il Gran Mogol”) and Concerto in E Minor, RV431, ed. Andrew Woolley Edinburgh in July. Visit ed.ac.uk. (Bicester, 2010), vi–vii. Erich Graf )/87(62/26 A Flute Recital: ZLWK Bach (c minor suite) Roussel (Joueurs de Flute) 25&+(675$/$&&203$1,0(17 Berio (Sequenza) Gaubert (Sonata #3) FKDQJHWKHWHPSRUHFRUG\RXUVHOI Flute Masterworks: ZLWKWKHDFFRPSDQLPHQWDQGPRUH Poulenc (Sonata) Debussy (Syrinx) %DFK'DQ]L'HYLHQQH Varése (Density 21.5) Bourne (Carmen Fantasie) 'RQL]HWWL)DXUp*OXFN0DVVHQHW Nobis (from western mountains) 0R]DUW7HOHPDQQ9LYDOGL Prokofiev (Sonata) IRUPRUHLQIRUPDWLRQ Classical Musings: A VHS music video setting of excerpts from A Flute Recital to the beauty of Utah’s SOHDVHYLVLWRXUZHEVLWH National Parks and their environs. Erich Graf . Aeolus Recordings &ODVVLFDO&ROOHFWLRQ,QF&RP www.erichgraf.com

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The Passionate Pursuit of Headjoint Perfection The Sonatas of Eugène Walckiers The last five works by the French flutist and composer, including one plucked from obscurity, offer modern flutists outstanding additions to the repertoire of original flute

sonatas. This is the first of a two-part article, which contin- PROBABLY THE ONLY EXTANT PICTURE OF THE COMPOSER , ues in the fall 2011 issue with a focus on the composer himself, dubbed by author R.S. Rockstro “a man of real genius.”

by Ursula Pešek (translated by Traute Marshall) PORTRAIT FROM THE GOLDBERG COLLECTION

26 The Flutist Quarterly Summer 2011 nfaonline.org ather than searching for original, 19th-century literature for flute and piano, it has become a habit to arrange Rtried-and-true pieces instead. We have by now a substantial number of mostly successful reworkings of violin and cello sonatas. It is probably due to the negative image of the flute music of that period that one hardly considers such a search in the first place. Nor would the flute sonatas of Eugène Walckiers (1793–1866) have been rediscovered were it not for a stroke of luck that gave us access, in the first decade of this century, to the last of the composer’s flute sonatas. Studying it stoked our desire to acquaint ourselves with the four preceding ones. Our enthusiasm for this music naturally led to the idea, or rather the necessity, of making this beautiful and valuable flute music widely known again.

Discovering the Sonatas The manuscript of the fifth flute sonata, composed by Walckiers the year before his death in 1865, entered into the possession of Adolph Goldberg (ca. 1852–1925) from an unknown source. Goldberg was a wealthy factory owner and flute enthusiast to whom we owe 500 portraits of flutists,1 among which is a portrait of Walckiers as an old man, presumably the only one of him we have (facing page).2 The solid cover Goldberg provided for the piano score attests to his high regard for the manuscript. Illustration 1: Last page of the first movement of Sonata 5, with date and The next owner was Emil Prill (1867–1940); Goldberg not signature in the composer’s hand. only presented him with a golden flute3 but presumably with Thus the likely date for the Première sonate op. 89 pour piano this manuscript as well. Prill bequeathed it to his student, the et flûte is 1855, and it is dedicated “à son ami Monsieur Dorus flutist and editor Rolf Ermeler, whose daughter4 was no longer (Flûte solo de l’Opéra, de la Chapelle Impériale et des satisfied with just passing it on. Fortunately she was convinced Concerts du Conservatoire) et à Mademoiselle Picard.”7 The that the time had come to make this music accessible—to Deuxième sonate op. 92 pour piano et flûte presumably was publish it. printed in 1855, as well, and Walckiers dedicated it “à son ami The manuscript measures 35 x 27 cm (13.8 x 10.6 in) and Monsieur Portz.”8 The likely publication date of the Troisième consists of a separate flute part and piano score bound in black sonate op. 98 pour piano et flûte (with the violin as a possible cloth bearing strong traces of use. The front cover has a title in alternative) was 1859, and it was dedicated “à Monsieur Felix gold lettering, for which Goldberg made a slight but signifi- Levaigneur.”9 The Quatrième sonate op. 109 pour piano et flûte cant change regarding the order in which the instruments are was probably not printed until October 1862; it is dedicated “à listed, for Walckiers still wrote according to tradition pour Monsieur Adolphe David (Lauréat du Conservatoire piano et flûte. From the composer’s handwritten date and his Impériale de Musique) et à Monsieur Joanes Donjon10 (Artiste signature following each movement, we learn the place,5 date, du Théâtre Impérial de l’Opéra Comique).” The dates of the and order of composition (see illustration 1): actual composition of the sonatas cannot be ascertained, since no mention of performances and no reviews could be found movement: Neuilly du 25 mai au 2 juin 1865 in the Review & Gazette Musicale.11 movement: Neuilly du 8 au 11 août 1865 Requesting the first editions of the four sonatas from the movement: Neuilly du 2 au 5 août 1865 Library of Congress, Washington, D.C., where they form part movement: Neuilly du 24 au 30 juillet 1865 of the Dayton C. Miller collection, proved to be a further stroke of luck, since those copies contained an autograph While the flute part, to judge by the handwriting, is also auto- addition by the composer. The sonatas reached the Miller col- graph, it lacks both signatures and dates. The score shows lection in March 1923 via John Finn (1853–1923), a London many erasures and paste-overs, as well as autograph markings amateur flutist and flute collector. They, like the fifth sonata, and corrections by the composer. At the end of the scherzo had changed hands many times.12 The first documented owner Walckiers notes “bon à gravure” (ready for typesetting), but was George Claridge, a “distinguished amateur” in Finn’s that was not to be. words. Subsequently they were owned by Christopher Welch The four preceding sonatas were printed by Richault in (1832–1916), the author of History of the Boehm Flute, from Paris, and the publication date’s timeframe can by narrowed whom Finn received them. Finn added that they had been by considering the plate number, printing establishment, and “long out of print and now much sought after,” attesting to an publisher’s address.6 interest in the music at the time.

nfaonline.org Summer 2011 The Flutist Quarterly 27 THE SONATAS OF EUGÈNE WALCKIERS The first sonata contains a handwritten dedication of all four sonatas to the Paris pianist Louise Mattmann (1826–1861), who had acquired a fine reputation for the expressive qualities of her playing. Walckiers knew her personally, for she had played the piano part of some of his compositions, among them the Trio Op. 96.13 According to Finn’s comments, the piece of paper with the dedication had been attached to the title page of Op. 89; nowadays it is kept sepa- Illustration 2: Sonata Op. 89, first movement rately among the Autographs of Famous Flutists, a collection of signatures in the Dayton C. Miller Collection in the Library of Congress.

The Music of the Sonatas Walckiers’ flute sonatas can rightly be deemed five individuals due to the mood and form of each. The musical qualities with which the inventive composer endowed them—his melodies have been described by a critic14 as simple, graceful, pure, and altogether successful—can obviously not be demonstrated in Illustration 3: Sonata Op. 89, fourth movement the short musical examples possible within the confines of an article such as this. The following presentation, therefore, can only give a foretaste but may nevertheless arouse interest in this music, which in its manière de sentir, i.e., the expression of feeling, epitomizes French Romanticism. The sonatas are in four movements, the scherzo taking the second place before the slow movement except in the third sonata where the composer changed the sequence in deference to the character of the first movement, which is in 3/4. Overall lengths and the length of individual movements show good proportions. The opening movements are in well-balanced sonata form: the expositions have two contrasting but always tuneful thematic areas connected by finely worked transitions; the development sections tend to make use of the first theme, while the unfolding and modulatory events always provide some surprises; the regular, Illustration 4: Sonata Op. 92, second movement but by no means schematic reprises are followed by a coda that deepens the character of the movement. The lively, varied scherzi show a truly inexhaustible imagination; the slow movements, noble and melodious, are contained in mood and form, while the final movements are virtuosic and full of temperament. Within the movements everything is tied together clearly and logically, every detail is motivically derived, and unneces- sary repetitions of ideas are avoided. All this shows a talented and experienced composer. The balance between the instruments, their share in the musical events throughout all move- Illustration 5: Sonata Op. 92, second movement ments, fulfills the high requirements of the duo sonata.

Sonata in D Major, Op. 89 Initially the flute quietly eases into the piano texture, savors the low tessitura, piano, whereupon the piano part lovingly listens to the flute (see illustration 2). Did the two dedicatées enjoy this music, its spring-like freshness, which shuns all banal flute mannerisms but requires the refined interplay of chamber music? One might not have expected the ensuing dramatic vigor from the calm beginning of the movement, but it reveals how well Walckiers understood his craft. In the Illustration 6: Sonata Op. 92, second movement development section, there is an imitative and modulating

28 The Flutist Quarterly Summer 2011 nfaonline.org play with the opening motif, which is driven forward toward a in the example, by a complete stop of all motion and full- series of unresolved seventh chords introducing the (regular) measure rests, the effect is one of a strong will at work (see reprise. The movement ends brilliantly with both instruments illustration 5). The trio, a Ländler, forms a blissful contrast in unison and avec chaleur. (see illustration 6). The scherzo in D minor is Mendelssohnian in its exuber- The slow movement consists of variations on a folksong- ance, at times loud and saucy, at others soft and charming. Its like theme of surprising melodic ambitus, and seems to have a trio in D major is marked by two contrasting ideas: softly certain similarity to the themes of the first movement. limping syncopations and sparkling staccato eighth notes. The Although variations in flute music of the 19th century are scherzo is then repeated literally, while in the later sonatas this generally not highly regarded, these character variations show alternation is treated more freely. The slow movement in A substantial autonomy of invention akin to that of Beethoven’s major is impressive for the quiet repose of its theme and the folksong variations Op. 105 and 107. The finale, again not a intimate interplay of both instruments. The structural frame rondo, gives the impression of an operatic ballet score. The is a simple ABA form, with a contrasting B section in A minor, movement is in binary form (AB/A’B’ coda); there is no trans- to be played avec expression. position of the second theme as there had been in the first The expansive finale derives its life from the tender impetus sonata, although the repetition of the A section shows traces of the 6/8 rhythm (see illustration 3). This first theme and its of developmental work. evolution seem to signal a rondo. Since the second theme, equally characterized by an ascending sixth, is at its first Sonata in F Major, Op. 98 appearance in the dominant key but at its subsequent one in This sonata suggests a “pastorale” and not just because of the the tonic, the sonata form is also in play. Moreover, instead of key. The first movement begins with a slow introduction of 12 an independent third episode—to be expected in a rondo— measures, which evokes alphorn sounds and at the same time there appears a variation of the first section, which could be prepares for the triadic theme of the movement. Walckiers’ considered in the nature of a development section. The subse- playful treatment of his motifs and the lively interplay of quent coda plays with motifs from both thematic areas, while rhythms and motion patterns are shown to good effect in the once again moving far away from D major. transition to the second theme (see illustration 7). The recapitulation arrives via a false reprise in E major, resulting in a Sonata in A Minor, Op. 92 striking tonal effect. Everything then proceeds normally. In keeping with the minor key, this sonata has darker colors The slow movement, the only one to precede the scherzo, and spans a wider emotional arc than the preceding one. In is a song in binary form; the first theme is shown below (see the first movement, the theme is derived from the passacaglia- illustration 8). Walckiers notes that the 16th notes should be like bass of the introduction; the second theme, seemingly played late, more or less as 16th-note triplets. This delicate related to the first, shifts into a more serene, relaxed mood. portamento needs to be matched to changing accompani- The development section employs strong contrasts while ment patterns that reach almost operatic dimensions (see treating the material in imitative-polyphonic fashion, and the illustration 9). coda confirms the serious basic mood of the sonata. The scherzo Allegro ma più tosto allegretto is the most com- The scherzo is a very special and idiosyncratic piece; it is fortable of all; color is added by modulations into the mediants the fastest and presumably the one with the most notes. The (to A-flat and D-flat major). The intervening trio is quite first two measures with their circling of the dominant pro- relaxed and jolly. The last movement is formally more detailed vide the initial impetus (see illustration 4). When the rapid than the other finali, and altogether elegant. Its second theme basic pulse of the movement is arrested by hemiolas, or, as might be hard to manage at the indicated tempo.

Illustration 8: Sonata Op. 98, second movement

Illustration 7: Sonata Op. 98, first movement Illustration 9: Sonata Op. 98, second movement

nfaonline.org Summer 2011 The Flutist Quarterly 29 THE SONATAS OF EUGÈNE WALCKIERS Sonata in E-flat Major, Op. 109 This sonata shows yet again the range of expressive powers the composer has at his disposal. A three-measure introduction prepares the mood of the movement: The resignation of the two descending motifs leads to acceptance in the diatonic third measure (see illustration 10). Just as the chordal accompaniment stalls in measure 18 and is released again, as if liber- ated, in the following measures, so the emotional content of the beginning of the theme is painfully compressed in the development section, as the instruments engage in an intensive dialog, and is then followed by a reassuring episode in G major based on motifs from the second half of the theme. In addition, shortly before the recapitulation, there is, thematically surprising, a faint suggestion of a funeral march. Illustration 10: Sonata Op. 109, first movement It is conceivable that this movement was meant as a musical obituary for the pianist Louise Mattmann, who had died in September 1861. The scherzo is fast and harmonically far-ranging (with G-flat major as the mediant), with a trio in A-flat major, the middle section of which in A-flat minor is marked avec élégance, the quality said to have marked the playing of the dedicatée, Donjon. The slow movement expresses deep emotion and a Beethovenian composure (see illustration Illustration 11: Sonata Op. 109, third movement 11). Its anguished and agitated middle section, employing large melodic leaps and dynamic contrasts, requires great breath control from the flutist. The finale maintains the high standard of this sonata; it consists of two parallel sections, both in binary form. The first theme sounds confi- dent and elegant; the expressive second theme is in the dominant minor and in the second section, consequently, in E-flat minor.

Sonata in E Minor In this sonata Walckiers pursues new expressive possibilities, presumably due to his age, but even more to his still lively and fresh expressive needs. But he might also have sensed that the fifth might be his last sonata: All movements end in long coda sections. The first movement bears neither a title nor a Illustration 12: Fifth Sonata, first movement metronome indication. There is no need for either, for the romantic emotion of the main theme requires this freedom (see illustration 12). The second theme in G major swings in free melismas, but Walckiers cuts it short. Since the transition between the two thematic areas is more expansive in this sonata than in the opening movements of the others, the exposition closes shortly after the second theme’s presentation. The developmental action is based exclusively on the first theme; the farthest modulatory point is reached with E-flat minor. In the recapitulation, the second theme, now in E major, demands a longer return to the tonic key, and Walckiers takes the opportunity for a lively coda, which already foreshadows the mood of the final movement. The scherzo is relatively short, and the trio sections are more tightly integrated into the form than elsewhere. The performance indication for the scherzo section, bien rhythmé et avec verve, is enhanced by the staccato in the bass. The trio in Illustration 13: Fifth Sonata, fourth movement E major appears twice but is cut short the second time and followed by a coda.

30 The Flutist Quarterly Summer 2011 nfaonline.org The adagio has a particularly slow pulse, the strictness of There is no question that this music deserves a solid place in which is not relaxed until the final cadences. A single theme the flute repertoire. And when flute author R.S. Rockstro22 calls determines the course of this movement, which is “developed” Walckiers a “man of real genius,” he has hit it just right! > rather than “varied” in the course of five sections (C major, C minor, C major, A minor, C major). In the A minor section, Ursula Pešek lives in Tübingen, Germany. She studied with, growing emotional agitation and tempo acceleration lead first to intensified expressivity, then almost to a halt. There is no final among others, Hans-Peter Schmitz in Berlin, then taught double bar in the manuscript; indeed, it is carefully pasted over. piano and flute at music schools. Together with Zeljko Pešek, The last movement is rhythmically similar to a tarantella, its she established a concert series and published the title opening in vivid contrast to the preceding adagio (see illustra- “Flötenmusik aus drei Jahrhunderten” (Kassel 1990, 1993). tion 13). The music runs its course breathlessly, almost in the Subsequently she studied psychology and musicology and manner of a perpetuum mobile, but a contrast is created by wrote a thesis about the efficacy of music therapy. She writes the second theme, which seems to circle around itself. When it about music and performs, with an emphasis on literature for appears for the second time, it is transposed from C major to flute and piano. E-flat major and to E major, while tarantella triplets support this uplift. Motivic variations and concatenations give this truly “final” movement of Walckiers an admirable vitality. Editor’s Note: Versions of this article appeared in the German flute publication Tibia (2009), Flöte Aktuell (2010), and the The Forgotten Sonatas French flute history publication Tempo Flûte (2010). Clearly, Walckiers fulfills the demands of the sonata genre. “L’auteur réunit tous les qualités que réclame la musique de Endnotes chambre” [the author combines all the qualities required by 1 Adolph Goldberg, Portraits und Biographien hervorragender Flöten- chamber music], we read in the RGm,15 and the more one Virtuosen, -Dilettanten und -Komponisten, (reprint, Celle: Moeck, 1987. 2 studies this music, the more its beauty and artful invention are It is presumably the picture of 1864 that had earlier been owned by Carl Wehner, New York. See Leonardo de Lorenzo, My Complete Story of the revealed. Nevertheless the sonatas were forgotten completely. Flute, Lubbock, Texas: Texas Tech University Press, 1992, 460. The reason may be twofold. In Paris, chamber music was 3 Leonardo de Lorenzo, 415. performed in small venues, not in front of a large audience; 4 Mrs. Sibylle Patschovsky, PhD, Munich. and the composer himself was aptly described as an “auteur 5 Neuilly-sur-Seine, then a popular summer resort. modeste.”16 His noble reticence and lack of self-promotion 6 A. Devriès, F. Lesure, Dictionnaire des éditeurs de musique française, vol. might have ensured his oblivion at the time. 2, De 1820 à1914. (Geneva: Editions Minkoff, 1988). 7 Adrienne Picard was a rising young pianist at the time. But even the new French flute school, later much lauded, 8 One Louis Portz was a French consul in the United States and was con- 17 may have contributed to this oblivion. It is reported that ceivably the dedicatée. there was regular chamber music in Walckiers’ apartment.18 9 Louis Félix Levaigneur (1815–1889) was a high government official; there is The flute quartet that met there consisted of the young Paul a gravestone with his bust in the Père Lachaise cemetery. Taffanel (born 1844, a pupil of Dorus, playing Böhm’s new 10 J. Donjon (1839–1912), flutist and composer 11 flute), Firmin Brossa (born 1839, a pupil of Dorus, playing the The Revue et Gazette musicale (RGm) was one of the leading musical weeklies in Paris. new flute), and Johannes Donjon (born 1839, a pupil of 12 A letter by Finn to this effect was summarized by D.C. Miller in a typewrit- Tulou, but by then also playing the new flute). One would love ten note. to know which pieces were played and how the “three to one” 13 RGm, 23. Année, N° 26, 29. Juin 1856. may have sounded. Walckiers, after all, was the only one in this 14 RGm, 30. Année, N° 14, 5. Avril 1863. group who probably remained loyal to the old flute,19 although 15 RGm, 30. Année, N° 14, 5. Avril 1863. 16 he, too, had tried out the Böhm flute.20 RGm, 16. Année, N° 15, 15. Avril 1849. 17 Henry M. Fitzgibbon, The Story of the Flute (London: Walter Scott These quartet gatherings, one can surmise, were the link (or Publishing Co. 1914). breach) between the old and new French flute schools. 18 Walckiers’ flute method, available “chez l’auteur,” includes a work list on 21 Blakeman opines: “Together, the four of them embodied the a separate sheet, from which one can learn that he lived in the Rue des state of flux that the art of flute playing was in, as a new musi- Prouvaires No. 10. cal world was poised to take over from the old. And maybe the 19 Richard Shepherd Rockstro, A Treatise on the Construction, the History and 70-year-old Walckiers could sense how bright the future the Practice of the Flute (reprint, Musica Rara, 1967), 603; “Walckiers played would be for the flute in the imaginative hands of the 19-year- the old-fashioned French flute throughout his life, and his well-known excellent instruction book (1829 circa) is written for that instrument, but, in com- old Taffanel.” mon with many French and German players he trifled with the new flute for But this brilliant musical future announced by the new a short time, when it was first gaining public favour, without seriously adopt- instrument was slow in coming. Taffanel continued to coming it or discarding the old one.” pose opera paraphrases, virtuosic flute music striving for 20 A report in the January 1840 issue of La France musicale confirms that effect. He seems not to have remembered Walckiers’ sonatas, Walckiers belonged among those who were keenly interested in the Böhm although they in particular could have opened the path to new flute. Whether he subsequently returned to the old flute cannot be ascertained at this time. developments. So these charming sonatas were never reprint- 21 Edward Blakeman, Taffane—Genius of the Flute (New York: Oxford ed after his death, were forgotten, and would have remained so University Press, 2005), 24. but for the accident that brought them back to attention. 22 Rockstro, 603.

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Andersen Etudes Edited by Donald Peck

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222 Main St. #504 Evanston, IL 60202 847-869-2998 Convention Competitions Countdown Mark your calendars with these important dates for competition entry deadlines. All events and competitions are annual unless otherwise noted. June 1, 2011: Frances Blaisdell Scholarship, 39th NFA Convention, Charlotte, August 2011. October 1, 2011: Convention presentation proposal, 40th NFA Convention, Las Vegas, August 2012. January 5, 2012 (postmark), and January 11, 2012 (receipt): Newly Published Music competition, 40th NFA Convention, Las Vegas, August 2012. February 14, 2012 (postmark), and February 21, 2012 (receipt): Solo, masterclass, and flute choir competitions, 40th NFA Convention, Las Vegas, August 2012.

(Individual competitions rotate; see competitions flyer for full listings.) Conscientious practice sessions, careful planning, and frequent recitals helped Mercedes Smith achieve her one-two punches in competition wins and an early jumpstart to a promising career as a flutist.

by Kyle Dzapo FELIX SANCHEZ

34 The Flutist Quarterly Summer 2011 nfaonline.org ercedes Smith had a spectacular August last year, doubt that my grandmother was with me through that com- winning both the 2010 NFA Young Artist Competition petition and was proud that I did my best. What the timing of Mand, one week later, the audition to become principal these events means, I do not know, but it gave me a moment flutist of the Pacific Symphony. She’s enjoyed success since NFA to step back and think about what really matters. Winning members first met her in 1999, the year she won the High School isn’t everything; it’s creating moments in time that are worth Soloist Competition. At the age of 20, she launched her profes- remembering that is more important. sional career, performing as principal flutist of the Houston Grand Opera and Houston Ballet orchestras. I asked her about What advice do you have for those who plan to enter the growing up as a musician in Arkansas, her studies at the Young Artist Competition? Manhattan School of Music, and preparing and competing in Start practicing early! Come up with a schedule that details the Young Artist Competition. how you will learn all of the music in the time you have. I started three months before the competition. I created a What do you find valuable about entering competitions? schedule that rotated my practice of the various pieces, so that I’m not sure if a competition is more valuable than creating a I wasn’t overwhelmed. Some things may take longer to learn recital performance for yourself (although rarely will you get than you think—like the commissioned work! paid the prize money I won—$5,000—to play a recital), but Also, I started performing the unaccompanied repertoire competitions can be a great experience. Whether you’re plan- any time I had the opportunity to play for someone. When ning a recital or competition, the most important thing is that people invited me for dinner, I’d play for their family. I there is a deadline on when your work must get done. Years played for a bunch of kids at a hospital one day. Planning at when I have had very few deadlines (auditions, competitions, least one recital of most of the music is really helpful. I gave etc.) I felt I improved the least. For me, having a clear goal with my run-through at someone’s house: They had a large living a deadline always gets me to improve my flute playing. room with a grand piano, and they invited about a dozen Another benefit is that the competition will likely include people over for a little recital. required repertoire that can expand your horizons, so you’re And of course I rehearsed everything with a pianist ahead of not just playing the same old Chaminade that might be a little time. Make sure you get a good pianist and ask that person for too comfortable. Also, assuming the competition is open to advice, too. Record your rehearsal of the commissioned work the public, there may be important people in the audience so that you can go back and listen to the piano part and (like the judges!) who hear your playing and may be able to remember how it sounds. I also had two lessons with Leone help you with advice and recommendations. Buyse before the competition, and that helped a great deal. The only problem with competitions is when you put too Plan ahead and start early. much emphasis on winning and not enough on the performance and experience as a whole. Performing can be scary, but the more you do it, the more you get used to it. Performing at I created a schedule that rotated the convention is particularly scary because there are so many well-known flutists who attend. It can really motivate you to my practice of the various pieces, do your best! so that I wasn’t overwhelmed. Can you recall your feelings during your performances at the Some things may take longer to NFA Competition? The morning of the semifinal round, my father called to learn than you think—like the inform me that my grandmother had suffered a severe stroke and was not expected to survive. I called him back, sent the commissioned pieces! family my best, and asked that he not call me again until I had at least played my semifinal round. I put it in the back of my Growing up in a small town in Arkansas, how did you devel- mind. That evening the announcement came that I was one of op the skills necessary to win national competitions and enter the three finalists. My elation was momentary, as minutes a top conservatory? afterward my father called to tell me that my grandmother I was first introduced to the flute in a public-school band pro- had just passed away. gram in Plano, Texas, in the sixth grade. That was my last year of I felt terrible that I was not there to be with my family dur- public school. The next year we moved to Mountainburg, ing this time of loss. I considered trying to fly back for the Arkansas (with a population of 400), and I was homeschooled funeral—near Dallas—but my family insisted that my grand- from that point on. We struggled to find a teacher, and my mother would have wanted me to stay at the competition. My mother finally just walked into the University of Arkansas, final-round performance was scheduled at the same time as looked at the list of teachers on the board, and knocked on her graveside ceremony. My thoughts were with my family and Ronda Mains’ door. She was reluctant to take on a student who of the very different experience they were going through. I had was so young, but my mother convinced her. I was so fortu- to keep my mind on the task at hand through a difficult pro- nate to be able to study with her as she was able to teach me gram of Muthel, Berio, and Dutilleux. everything I needed to know to get into a conservatory. Walking on stage, knowing that my grandmother was being Dr. Mains had me enter the Music Teachers National buried at that moment, was asurreal experience. There is no Association student competitions. They have three levels:

nfaonline.org Summer 2011 The Flutist Quarterly 35 TWO WEEKS, TWO WINNING PERFORMANCES state, multi-state, and national. I placed at Had I gone to Juilliard I would never nationals in junior high school, placed have had the great fortune to study with again in the high school division, and Mr. Parloff, who was not only a great finally won first place in the high school teacher, but one of the few flutists who division the same year I won the NFA knows the opera repertoire like the back High School Soloist Competition. I was of his hand. There is no doubt that his constantly doing competitions that got expertise led me to succeed and start my me out of the small-town atmosphere. I professional career. also went to the Oberlin summer masterclasses and the Julius Baker master- How was the transition from filling your world with classes, so I was able to hear older stu- Mountainburg, Arkansas, to New beautiful music – dents and get to know the level that I York and the Manhattan School? one flute at a time! needed to achieve. I was definitely the underdog when I started at MSM, and I am so grateful to What led you to the Manhattan School Jeanne Baxtresser for taking me under her Check in to of Music? wing. I had a number of fundamental I was in Arkansas practicing hard, and I problems, and she helped me a tremen- The Flute Pro knew the flute was my ticket to a better dous amount. Being in a conservatory place. I became enchanted with Jeanne environment was great because I was real- Shop Baxtresser’s recordings and, after hearing ly inspired by the people around me, and some of her students in masterclasses, I it motivated me to practice. During my for all of your knew that I wanted to study with her. At freshman year, I practiced from 7 to 9 the time, she was teaching at Juilliard, a.m. every morning. By my sophomore Summer MSM, and Carnegie Mellon, so I applied year I was co-principal flute of the top Reading List only to those schools. I was accepted with orchestra. I still continued to work really a scholarship both to MSM and Carnegie hard after that but stopped the crazy needs! Mellon and, like pretty much everyone early-morning practice. else, I received a rejection letter from Juilliard. I chose MSM because I wanted How does your new position with Our extensive to be in New York City. I was so fortu- the Pacific Symphony compare to natethat I made this choice! your work in Houston? Have there music library is been any surprises? What did you learn from Jeanne It’s a bit different actually. Pacific rehearses built with our Baxtresser, and what led you to mainly in the evening and, of course, the clients in studies with Michael Parloff? whole rehearsal process is different when Ms. Baxtresser instilled in me a sense of you are preparing for weekly concerts ver- mind...see what tone andphrasing that I still think about sus opera and ballets that generally take every day when I’m practicing…a sort of several weeks to rehearse and are per- we’ve got WWJD, but “What Would Jeanne Do?” formed over several weeks as well. The Again, obsessed with gaining admission Pacific Symphony actually has a more flex- for you! to Juilliard, I applied to transfer during ible schedule. And, I got the first solo bow my freshman year and was again reject- of my professional career. It took only ed. Then another disappointment hap- seven-and-a-half years! > Facebook pened: Ms. Baxtresser stopped teaching The Flute Pro Shop! at both Juilliard and MSM in the middle Kyle Dzapo is Caterpillar Professor of Twitter @FluteProShop! of my sophomore year. Fortunately I Music at Bradley University and principal had already learned quite a bit from her flutist of the Peoria Symphony. In addi- The Flute Pro Shop about solving many of my fundamental tion to Convention performances, she has problems. I then switched to Michael served the NFA as research coordinator Based in Wilmington, Parloff, who teaches exclusively at MSM. and originator and chair of the Doctoral Delaware...Serving He had just published his Opera Excerpts Dissertation Competition, secretary of the passionate flutists for Flute—a must for anyone who is board of directors, and program chair. In everywhere! thinking about an opera audition. I 2010, Naxos released her CD, Joachim bought the book and told him that I Andersen: Etudes and Salon Music, and 302.373.1953 wanted to start learning the excerpts she is working on a new edition of with him. Because of this first-hand Andersen’s Concertstück, Op. 3, her third [email protected] experience, I was able to win my first publication with Zimmermann Music www.fluteproshop.com audition—the Houston Grand Opera. Publishers of Frankfurt, Germany.

36 The Flutist Quarterly Summer 2011 nfaonline.org

Alto and Bas Flute Solos, Book 1 20 easy/intermediate ar/angements by Christine Po0er includes: Mozart Flute and Harp Concerto - Andante Dvorak New World Symphony - Largo Japanese Fo.k Song - Cher/y Blossoms Tchaikovsky Nutcracker - Arab Dance Vivaldi Spring Concerto - A.legro and Largo pu-lished by Fa.ls House Press Availa-le at www.fa.lshousepress.com and www.presser.com or order through a sheet music store near you. Anaheim 2010: A Student’s Perspective

The first recipient of the new Frances Blaisdell Scholarship, established by the NFA in 2009 in honor of the flutist and pedagogue renowned for her support of young students, recalls his experiences at the 38th annual convention in August 2010.

by Ezra Spiro

s soon as I got to Anaheim and the convention hotel, I Throughout high school, I really enjoyed playing the flute and realized that the convention was going to far surpass studying with Sandy. But while those 12 years with the flute Amy expectations. Within the course of a few hours I were great, the Anaheim convention was easily the highlight of went from worrying that there wouldn’t be enough to fill my my amateur musical career to date. day to finding out that I didn’t have enough time to do everything I wanted. Countless Concerts and Exhibit Hall Lessons The next day—Friday—was similarly amazing, and so were I would say without hesitation that my favorite part of the the following two days. Thanks to the Frances Blaisdell convention was the concerts. I saw so many amazing perform- Scholarship, I did everything from performing with some of ances it is hard to recount. The range of types of music also left the best flutists my age, to listening to world-class musicians, a deep impression on me, and even after four days and dozens to trying out flutes so big I didn’t know they existed. of hours of concert-going, I still felt ready for more. On the first day I enjoyed a concert of piccolo solos. All the Flute Trumps Trumpet performers were great, but I was particularly amazed with I began playing flute in first grade. When I started with music, Peter Verhoyen, who played the piccolo more quickly than I I wanted an instrument that could play in orchestras, march- had thought humanly possible. That evening, I of course ing bands, and jazz ensembles. My mother (probably wisely) enjoyed listening (and watching) Greg Pattillo and PROJECT decided she’d rather hear her six-year-old practicing a flute Trio play. I had been a fan of the group for some time, and was than a trumpet, and so my career with the flute began. In mid- surprised and excited when I discovered they were perform- dle school I had my first experience playing in a small band ing. The next day I woke up early and began by listening to ensemble. During high school I was part of a 180-member Marianne Gedigian play three beautiful French sonatas before marching band for three years, and with them I performed in heading off to the exhibit hall. venues ranging from Carnegie Hall to the Fiesta Bowl Parade When my flute teacher told me I could spend hours in the in Phoenix, Arizona. exhibit hall, I thought she was joking. I still didn’t believe her Outside of school, I participated in regional festivals, until I left the room and realized that two and a half hours had local competitions, a youth orchestra, and the Tucson Flute passed, and I had only visited half of the booths and would need Club’s flute choir, directed by my flute teacher Sandy to come back later to go through the second half of the hall. Schwoebel. I even managed to raise money for the local There were so many different instruments I could try out, Tucson Community Food Bank by participating in the flute-related “toys” to play with, and music to look at; I had no Guinness world record of the longest continuous flute con- idea where to start. I must have tried playing at least a few cert in 2007. dozen flutes, from miniscule piccolos to giant contrabass

38 The Flutist Quarterly Summer 2011 nfaonline.org Ezra Spiro with Sandy Schwoebel. Ezra Spiro with Greg Pattillo, second from left. flutes. I sampled wooden Native-American pipes and upright I also grew as a flutist. At the start of the summer, I had some flutes as well. From all my sampling, I learned a lot about the doubts about whether I would be able to continue with the structure of flutes and the vast differences in tone and timbre flute and how big a part the instrument would play in my life. various seemingly minor adjustments can make. This may have The convention helped me realize that I would not be happy been naïve, but before the convention I would have been skepti- without the flute as a hobby and passion, and I know it will cal of the fact that changes in the material of a lip-plate riser definitely be a lifelong pastime. could drastically alter the sound of a flute. From the exhibit hall The NFA convention’s biggest strength is in its ability to pro- I learned an incredible amount about the technicalities of flutes, vide an amazing experience to all attendees. As a young amateur, and I received an introduction to the retail flute market. I enjoyed my time in Anaheim thoroughly. Yet the convention also manages to appeal to students interested in musical careers, Highlight of Convention adult hobbyists, and professional musicians of the highest cal- Throughout the convention, I practiced with the High School iber. The convention is certainly unique in that respect, and I am Flute Ensemble. Playing and performing with this group was the grateful for having had the opportunity to participate in it. highlight of my convention. The ensemble was the best group I I believe that I will always play flute, and I know that I will have ever played with. The music came together very nicely, and always be able to go to the convention to learn more, attend our individual sounds meshed together perfectly to give the amazing performances, and reconnect with old friends. To the ensemble its own voice. The director, John Bailey, was fantastic. Blaisdell Scholarship Committee, I am extremely thankful for He seemed to know exactly what to do and say to make true enabling me to attend this convention. > music, and I enjoyed having the opportunity to work with him. To everyone else: I’ll see you in Charlotte! On Friday I performed with the Southern Arizona Flute Ezra Spiro is the 2010 recipient of the Frances Blaisdell Orchestra, led by my teacher Sandy Schwoebel. We performed Scholarship. Originally from Tucson, Arizona, he is currently a concert featuring only pieces arranged by Ricky Lombardo. an undergraduate studying at Princeton University where he The turnout was far better than expected, and the successful plans on pursuing a degree in economics or public policy. performance built up my excited anticipation for my upcoming performance with the High School Flute Choir. After many more concerts, workshops, and hours wander- ing in the exhibition hall, my convention experience could not have ended on a better note. I finished my time in Anaheim by performing with the High School Flute Choir. The concert was like a dream: it was one of the rare performances where the ensemble played everything as well as we had rehearsed in practice, and some pieces went even better than I’d thought possible. The audience was enthusiastic, and the recital is not something I will forget anytime soon.

On to College Now a freshman at Princeton University, I’m continuing to play the flute in both the Princeton University Wind Ensemble and a student-run flute choir. Though I am not planning on majoring in music, the flute continues to be my favorite hobby. During my few days in Anaheim, I learned an incredible amount about the flute, repertoire, and ensemble playing from the exhibition hall, lectures, concerts, and flute choir.

nfaonline.org Summer 2011 The Flutist Quarterly 39

Compact Discs from Crystal Records Leone Buyse was principal flutist of the Boston Symphony, and is now on the faculty of Rice University. She has six CDs on Crystal: CD317: The Sky’s the Limit. Music by Barber, Cage, Dahl, Amlin, Antoniou, Fine, Nunlist, Tucker. “Solid playing and a glistening recording” Fanfare. CD314: David Shostac, flute. Borne, Carmen Fantaisie; Kosins, Love CD319: Rivier Revisited. Chamber Love Letters. Music for Flute by Jean Rivier. “loaded Letters & Winter Moods; plus Boehm, Dinicu, & Debussy. Shostac is principal Los with charm” Fanfare. Angeles Chamber Orch. “outstanding fluent technique” BBC Music Mag. CD356: Tour de France. Fauré, Dolly CD711: In Shadow, Light. Zart Dombourian-Eby, piccolo. Amlin, Sonatina Pic- Suite & Morceau de concours; Saint-Saëns, Tarantella; Bizet, cola; Benshoof, Spindrift, & In Shadow, Light. Dombourian-Eby is piccolo w/Seattle Jeux d’enfants; Debussy, Syrinx, Petite Pièce, Première Rhap- Symphony. “nothing short of amazing.” American Rcd. Guide. sody, etc. With Michael Webster, clarinet; & Katherine Collier, CD318: 20th Century Romantic Spirit. Brooks de Wetter-Smith, flute. Sonatas piano. “A charming entertainment.” Fanfare. by Gaubert, Pierné, Reynolds; & Foss, 3 American Pieces. “significant repertoire per- CD357: World Wide Webster. Dvorak, Slavonic Dances; De- formed with rare sympathy and expertise.” Fanfare. De Wetter-Smith is flute profes- bussy, Petite Suite; Brahms, Hungarian Dances; Gottschalk, sor at University of No. Carolina, Chapel Hill. Four Pieces. W/Michael Webster, clarinet; & Robert Moeling, piano. CD712: Gypsy Wheel. Thomas Robertello, flute. Borne, Carmen Fantaisie; Taffa- CD715: Dedicated to Barrère. Music composed for cele- nel, Fantaisie; Griffes, Poem; Dzubay, Footprints; Van Brink, Dal Dosai; Zupko, Seven brated flutist Georges Barrère. Composers: Caplet, Woollett, Deadly Sins. Robertello: faculty of Indiana University; previously: Pittsburgh & Na- Gaubert, Seitz, Lacroix, Lefort, and Damaré. “marvelous record- tional Symphonies, Cleveland Orchestra. ing” Flute Talk. CD714: April Clayton, flute. Sonatines by Dutilleux, Francaix, CD716: Dedicated to Barrère, Vol. 2. Leone Buyse w/Martin Flute Agréable. Amlin, piano; & Paula Page, harp. Griffes, Poem; Varèse, Density Sancan; Bozza, Agrestide; Lasser, Sonata. “thoroughly ‘agréable’ listening...entirely 21.5; Riegger, Suite; Roussel, Andante and Scherzo; Gaubert, appropriate stylishness” Musicweb. Sonatine and Invocation. Also De Lorenzo, Kriens, Jacquet. CD713: Take Wing. Lois Bliss Herbine, piccolo. Persichetti, Parable; Daugherty, High and Mighty; Dorff, Sonatine; Krantz, Song of Spring; Elliot, Fantasy; Loeb, Pre- CD710: Wind Effusions. Danilo Lozano, ludes; Mager, & Buss. “[You] will not want to miss this recording.” Flute Talk. Flute; David Muller, Bassoon. Duos by Villa-Lobos, Schröder, Gabaye, Jan Bach, & CD316: Music for Koto and Flute. Kazue Frances Asawa, flute; Kazue Kudo, koto. Bozza; plus solos by Piazzolla & Osborne. Music by Sawai, Yamamoto, Hirai, Miyagi. “fascinating program...quite beautiful” Amer. Record Guide. Lozano is a founding member of Hollywood CD757: Theodor Blumer, Woodwind Music, Vol. 3. John Bailey, flute; Moran Woodwind Quintet. Ten Bowl Orch. Muller is former princ. Mexico Waltzes; From the Animal Kingdom; From the Plant World (all for flute and piano); Serenade and Theme City Phil. & Westwood Wind Quintet. and Variations (for woodwind quintet). “Blumer’s lush style reminds me of Richard Strauss. Fine flute playing; CD354: Weiss Family Woodwinds. [Bailey’s] sound is robust. technique second to none.” Amer. Rcd Guide. Dawn Weiss, flute; David, oboe; Abraham, CDs $16.95 each. U.S. Shipping: $2./order; foreign: $10/order. bassoon. Trios by Svoboda, Worthey, and Vivaldi, plus Messiaen, Le Merle Noir (flute Send for free catalog featuring woodwind & brass solo & ensemble. & pa.), Hindemith, Sonata (oboe & pa.), ® [email protected] Bourdeau, Premier Solo (bassoon & pa.). CRYSTAL RECORDS Dawn, solo flute Oregon Sym. 25 years. 28818 NE Hancock Road, Camas, WA 98607 USA • phone 360-834-7022

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OUGH D Wednesday, August 10 (pre-convention activities) HR IV T E 3–6 pm Registration for preregistered attendees R Concourse C Y S T 4–5 pm Queen City Flute Orchestra Rehearsal I I Ballroom B/C Directed by Shelley Binder and Amy T N Blumenthal; coordinated by Kathy Y Farmer. All preregistered participants U are welcome. Bring your flute and a music stand. The orchestra kicks off the convention festivities with a performance Thursday morning. 5–10 pm Young Artist Competition Preliminary MANY FLUTISTS, ONE WORLD Westin Providence Round Ballroom 6–7 pm Volunteer Coordinator’s Meeting 214 Hosted by Program Chair Lisa Garner Santa, Assistant Program Chair Meg Charlotte Convention Center and Griffith, and Volunteer Coordinator Lynn Bowes. Drop in: all are welcome to join the convention volunteer’s team. The Belk Theater, Charlotte, NC Assignments and important information for all volunteers will be given.

7–8 pm First Time Attendees Orientation AUGUST 11–14, 2011 211–212 Hosted by Sandra Saathoff, 2012 Co–program Chair. Get tips on making the most of your first convention.

7–9 pm Registration for all attendees Throughout the convention, we will hear “many Concourse C flutists” from “one world”—our world! Leading and up–and–coming flutists from Argentina, Belgium, 8–10 pm Queen City Flute Orchestra Rehearsal Ballroom B/C See 4 pm listing for details. China, England, Italy, Japan, Luxembourg, New Zealand, Portugal, Russia, Sweden, Switzerland, and the United States join together for a fabulous Thursday, August 11 four days in Charlotte, North Carolina. 8 am–5 pm Registration for all attendees Concourse C Jazz, ensembles, amateur events, and competitions 8:30–8:45 am NFA Annual Meeting abound. The NFA Flute Youth Day features events Wells Fargo Atrium NFA Chair Jonathan Keeble presiding. and recitals for and by youth ages 8 to 13. Meet officers and candidates for Pedagogy, performance health, and commemora- office. Concert featuring the NFA tions join the crowded event, and a bursting exhib- Queen City Flute Orchestra immediately follows. it hall features all imaginable flutes and flute toys. 8:45–9:35 am NFA Queen City Flute Orchestra: We will see you soon in Charlotte! Wells Fargo Atrium Opening Concert Shelley Binder and Amy Blumenthal, conductors. Kick off the convention —Lisa Garner Santa and Meg Griffith with the annual flute orchestra event. Participation is open to all NFA members as long as there is space available. Preregistration for the entire convention is required of all participants.

42 The Flutist Quarterly Summer 2011 nfaonline.org PROGRAM AND SCHEDULE SUBJECT TO CHANGE Simon Bolivar Ensemble Rhonda Larson

9 am–12 pm High School Soloist Competition performance using models of period Westin Providence Final Round instruments and the wearing of Ballroom American period uniforms. 9:15–9:40 am Exhibitor Showcase 10:45–11:10 am Exhibitor Showcase 211–212 211–212 10–10:25 am Exhibitor Showcase 11–11:50 am East Meets West 211–212 Ballroom A/D Leonard Garrison, Deanna Little, and Mihoko Watanabe perform works by 10–10:30 am Head Hunting Offermans, Loeb, Shinohara, and 217 D Lecture presentation with Melanie Hayashi, fusing Asian and Western styles. Sever designed to help you confidently find a new headjoint. Overview of the 11–11:50 am Low Flute Ensemble Reading Session headjoint market, materials, and design 218–219 Martin Melicharek III, conductor. will enlighten the serious head hunter. Bring your low flutes! 10–10:50 am PhD/DMA Dissertation Competition 11–11:50 am Mark Thomas Tribute 217A Winners Chung-Lin Lee and Rebecca 217 D Former students and friends of Mark R. Johnson Thomas celebrate the NFA founder’s contributions to the organization as 10–11 am Flute Choir Reading Session well as his 80th birthday. Performers Ballroom B/C Debbie Gilbert, conductor. include Katherine Kemler, Katie Grooms, Bring your flutes! Vanita Hall Jones, Catherine Conger Laffoon, Natassia Lail, Gracie 10–11 am Expanding Your Flute World (Add the Murchison, Ann Cameron Pearce, 213 D Native American Flute!) Kristin Puster, and Whitney York. With Jim Akins and Lori Akins. Bring your Native American flute or just join 11–noon Flute Choir Concert us to learn the hows and whys of Prefunction 1 Featuring Flutes on 4th and Raleigh adding the Native American flute to Area Flute Association YouTube Flute your world. In this session, we will Choir. discuss techniques of reading music, “native style,” and how to “play your 11:30 am–12:15 pm Playing and Teaching the Hindemith audience,” literally! 213 D Sonata John Bailey’s lecture/recital demon- 10–11 am Works for Classical Flute strating how approaching the piece 213 A The United States Army Old Guard from the piano score instead of the Fife and Drum Corps’ Early Music flute part is key to understanding the Ensembles will present a concert of phrasing, motivic content, formal music featuring works by Dothel and structure, and tonal plan for a work Haydn. The presentation includes a that is terrifically integrated.

THURSDAY, AUGUST 11 nfaonline.org Summer 2011 The Flutist Quarterly 43 National Flute Association 39th Annual Convention Charlotte, North Carolina, August 10–14, 2011

Aereon Emma Resmini

11:30 am–12:20 pm The Inclusive Studio: Tools for 1–1:50 pm The Music of Passion from Argentina 217 A Teaching Diverse Learners Ballroom A/D Experience the music and talent of Kathy Blocki provides guidance for Argentina with performers Claudio teaching an ADHD, autistic, or excep- Barile and Viviana Guzman as they tionally gifted flutist, allowing each perform works by Piazzolla, Ravel, unique student to flourish and excel. Monti, Leng, Laurenz, Corniglio. Genin, Dick, Faure, and Paganini. 11:30–11:55 am Exhibitor Showcase 211–212 1–2 pm Essential Elements for Expressive Tone 217 A John Bailey, Tadeu Coelho, and Terri 12–12:50 pm International Characters of the Sundberg will share proven techniques 213 A Baroque and Early Classical Eras and ideas for achieving an expressive Experience the musical identities of tone. Audience members will be invited to participate as these ideas are presented. Europe through the works of Kleinknecht, Quantz, Boismortier, Corrette, Torti, 1–2 pm Flute Choir Showcase and Hook with Kelly Kazik, Alicia 218–219 Featuring UpTown Flutes and the Kosack, and Sarah Eckman-McIver on Woodbridge Flute Choir. traverso and Elena Tsai on harpsichord. 1–1:25 pm Exhibitor Showcase 12–12:50 pm No Improv Required 211–212 Ballroom B/C Come hear Lisa Jelle, Deborah Reuter- Pivetta, and Magda Schwerzmann per- 1:45–2:10 pm Exhibitor Showcase form jazz-inspired works by composers 211–212 Flugge, Evans, Garson, and Schnyder. 2–2:50 pm Keep it Simple 1–1:50 pm Honoring North Carolina Native 213 A Barbara Hopkins, Elizabeth Brightbill, 213 D Charles DeLaney and Wendell Dobbs will perform tradi- Debora Harris’s lecture/recital honoring tional works by Nicholson, Haydn, North Carolina native Charles Kuhlau, and others on simple system DeLaney will focus on his years in this flutes from the Rudall and Rose, state, including pictures, newpaper Grenser, and American Asa Hopkins clippings, compositions, and a per- flute-making traditions. formance of several DeLaney compositions and his favorite flute pieces from 2–2:50 pm Chamber Works for Flute and Harp that time (1930s–1940s). Ballroom B/C Kimberlee Goodman and Katherine Kemler perform works for flute and 1–1:50 pm Mercedes Smith in Recital harp by Piazzolla, Young, Schocker, 217 D Hear NFA Young Artist Competition and Andres. 2010 winner Mercedes Smith perform works by Amirov, Stravinsky, and 2:30–2:55pm Exhibitor Showcase Prokofiev. 211–212

44 The Flutist Quarterly Summer 2011 nfaonline.org PROGRAM AND SCHEDULE SUBJECT TO CHANGE Program and schedule subject to change

Terri Sundberg William Westney Mihoko Watanabe

3–3:50 pm Alto and Bass Flute: Discover the 5–5:50 pm Chamber Music Showcase 217 D Repertoire 213 A Karl Kraber is joined by Charlotte The Low Flutes Committee will Symphony Orchestra members in explore currently available quality alto Hoffmeister arrangements of Mozart and bass flute repertoire. Attendees piano sonatas for flute, violin, viola, will sight-read through sections of and cello while Kimberly Clark and these pieces as a group. the Scirocco Winds perform Zyman.

3–3:50 pm Breathing: The Spirit of Music Founded in 1932, the Charlotte Symphony 217 A This participatory workshop with Lea Pearson will focus on the structures Orchestra is the largest professional and movement of breath, helping par- performing arts organization in the ticipants discover their own natural way of breathing. central Carolinas. Now in its 79th season, the CSO is led by Christopher Warren- 3–3:50 pm Headliner Recital Ballroom A/D An all-Russian recital program, featuring Green. Hear flutists Elizabeth Landon, Maxim Rubtsov and pianist Sergei Amy Orsinger Whitehead, and Erinn Kvitko. Music in the program spans Frechette with the orchestra during the three centuries of flute music by Russian composers. final Gala Concert in state-of-the-art Blumenthal’s Performing Arts Center’s Belk 3–3:50 pm Uncommon Gems for Flute Quartet Prefunction 1 Perimeter Flutes presents rarely heard Theater. Pick up some of their tourist flute quartet music by Russian com- advice throughout this schedule as well! poser Andrey Rubtsov, Swiss composer Joseph Lauber, and American composers Richard Russell Bennett and 5–5:50pm Flute Tips for Amateurs Sonny Burnette. 217 A Pat Harper shares her experience on how to be an engaged and successful 3–3:50 pm Plugged In amateur flutist. Attendees, bring flutes, 213 D Works for flute and electronic media music, and questions. by Jacob ter Veldhuis, Rosenblum, 5–5:50 pm Headliner Recital Musgrave, and Stonaker performed by Ballroom B/C Aldo Baerten and Aaron Goldman Claudia Anderson, Lindsey Goodman, perform works by Franck, van Camp, Rebecca Johnson, and Jennifer Robin Lau. Gaubert, and Vine.

3:15–3:40 pm Exhibitor Showcase 5–6 pm Remembering Albert Cooper 211–212 213 D Laura and Bick Brannen facilitate remembrances of Albert Cooper 4–5 pm Visit the Exhibits through photography, film, and Exhibit Hall C2 testimonials.

THURSDAY, AUGUST 11 nfaonline.org Summer 2011 The Flutist Quarterly 45 National Flute Association 39th Annual Convention Charlotte, North Carolina, August 10–14, 2011

Adrianne Greenbaum Matjaz Debeljak Catherine Ramirez

5–6 pm Happy Hour with Andra Bohnet and soundscape of crystal and Tibetan Westin Lounge Celtic/World music group Mithril bowls, voice, and flute playing that will relieve stress, balance emotions, and 5:45–8 pm Myrna Brown Society and Amateur promote deep relaxation. Bring your Meet in the Mixer flutes and be prepared for a sound Registration Area The Myrna Brown Society was established transformation! at 5:45 pm for to carry on the friendliness of the 6 pm dinner NFA during its growing years under 10:30 pm–12 am Jazz at the Westin the direction of Myrna Brown. Westin Lounge End the day with Jamie Baum and her Members are invited to meet for dinner jazz quartet as they perform a diverse before the evening concert. Individuals selection including jazz standards, pay for their own meals. Groups of no Baum’s own originals, and Brazilian- larger than eight will be led by an and Latin-influenced pieces. active society member. This is an opportunity for newcomers and amateur flutists to meet like-minded Friday, August 12 individuals in a relaxed social setting. 8 am–5 pm Registration for all attendees 6–7 pm Low Flutes Open Masterclass Concourse C Ballroom A/D Come learn tips for more successful performance on alto and bass flute 8–8:50 am Expand Your Lungs: Warm-up with with Carla Rees. 217 A Sue Ann Kahn Get addicted to exercises derived from 7–7:45 pm Pre-Gala Lobby Concert Belk Theater Lobby Featuring the Raleigh Flute Choir yoga that help you make the most of conducted by Rosene Rohrer. your air supply. Bring your flute and wear loose clothing. 8–10 pm Early Music Gala Concert Belk Theater We bridge the gap from old to new 8–9 am Career Workshop: Represent Yourself with vibrant performances by traverso Hilton Gwynn Room Part 1: You on the Page. This one-hour virtuoso Rachel Brown and The Dorian workshop, led by Laura Barron, will Consort, known for its audience- cover how to effectively write a bio, engaging concerts on modern instru- cover letter, press release, and web ments. Works include Quantz Sonatas copy to accurately represent yourself No. 336 and 348 and J.S. Bach’s and your work. The material in this Brandenburg 5, Suite in B Minor, and workshop will have relevance for A Minor Partita. flutists who are producing solo and chamber music performances, devel- 10:30–11:30 pm Spiral of Sound: The Healing Art of oping entrepreneurial projects, seeking Westin Providence Music students, or pursuing college teaching Ballroom Participate with Candace Keach in a positions. Part 2 continues at 9 am.

46 The Flutist Quarterly Summer 2011 nfaonline.org PROGRAM AND SCHEDULE SUBJECT TO CHANGE Program and schedule subject to change

Conor Nelson Magda Schwerzmann Sergio Pallottelli

8–9:20 am Yoga for Flutists: Unifying the Artist 9:15–9:40 am Exhibitor Showcase 213 D with the Instrument 211–212 Laura Dwyer will demonstrate how to use yoga as a tool to integrate principals 9:30–10:20 am Breast Cancer and the Flute: Opening from many body usage practices. 217 A a Dialogue Body-Mapping, Feldenkrais, and Many aspects of breast cancer can Alexander Technique elements will be affect a flutist’s playing: breathing, incorporated as a means to help muscle use, pain, and responses to flutists unify the artist with the instru- treatments. Katherine Borst Jones, ment (the body). Karen Hansen, Atarah ben-Tovim, and Tamara Kagy will share their experiences 9–10 am Career Workshop: Represent Yourself and open a dialogue with audience Hilton Gwynn Room Part 2: You in Pictures. This one-hour members about overcoming the chal- workshop will cover how to ensure that you are reflected in everything lenges facing flutists when undergoing from your headshot to the graphic treatment and recovery processes. materials that you develop for posters, brochures, and websites. We will also 9:30–10:20 am Down Deep with Low Flutes introduce “branding” concepts and 217 D With an ensemble focus, this workshop discuss the importance of design, font, with low flute specialists Marion color, and title selection. This work- Garver Fredrickson and Paige Dashner shop will also touch upon logo devel- Long will provide practical approaches opment for participants whose projects to artistic performance on low flutes. may benefit from this. Part 1 is at 8 am. Bring your instrument!

9 am–12:30 pm Young Artist Competition Semi–finals 10–10:25 am Exhibitor Showcase Westin Providence 211–212 Ballroom 10–10:50 am Multiple Woodwinds Performers’ 9–9:50 am Music of the Americas 213 D Roundtable Discussion Ballroom A/D Join Terri Sundberg, Elena Yarritu, and A discussion with Shelley Collins, Pamela Youngblood as they perform Steve Kujala, Sal Lozano, Tereasa works by Galloway, Stark, Piazzolla, Payne, Bret Pimentel, Chad Smith, Jim and Mantega. Walker, and Dave Weiss addressing the 9–9:50 am Klezmer: History, Strength, Whimsy! most common questions and myths 213 A Adrianne Greenbaum continues regarding woodwind “doublers.” her pioneering work of illuminating early klezmer traditions, on flutes his- 10–11:30 am Masterclass Performers toric and modern, including jaunty Ballroom B/C Jean Ferrandis of the École Normale dance tunes, fluid fantasies, and surpris- de Musique de Paris instructs performers ing classical crossovers. Participate chosen in the Masterclass Performers through dance and on-site instruction. Competition.

FRIDAY, AUGUST 12 nfaonline.org Summer 2011 The Flutist Quarterly 47 National Flute Association 39th Annual Convention Charlotte, North Carolina, August 10–14, 2011

Paula Robison The Fifes and Drums of Colonial Williamsburg

10–11:30 am Flute Choir Showcase Minamino, Ona Jonaityte, Soon-Mi 218–219 Southern Harmony Flute Choir, Jung, So-Yun Park, and Bethanne Mercer University Flute Choir, and Walker come together to celebrate Texas Woman’s University/Brookhaven 2011 Lifetime Achievement Award Flute Choir recipient Trevor Wye.

10:30–11:50 pm Triple Baroque Recital 11:30–11:55 am Exhibitor Showcase 213 A Na’ama Lion, Linda Pereksta, and 211–212 Wendy Rolfe will present works by Dornel, Blavet, Quantz, C.P.E. Bach, 11:30–12:20 pm Areon Flutes with special guests Zawa! Abel, and Boismortier, including a Ballroom A/D Areon performs new works for flute newly composed work by Thow. quartet by Sabey and Brocca, as well as a world premiere by Sempert. They are joined by Zawa! for an exciting per- “If you need a break from fluting, formance of Holland’s “Steppin’ Out.” check out the fabulous new 11:30 am–1 pm Flute Lovers’ Lunch Mint Museum Uptown at Westin Grand Paula Robison, guest speaker 500 South Tryon Street or the Ballroom A Bechtler Museum of Modern Art 12–12:50 pm Dummies Are Flutists Too at 420 S. Tryon Street.” — Liz 213 D A lecture/masterclass with Karen Moratz, author of Flute for Dummies, centering around the educated amateur 10:45–11:10 am Exhibitor Showcase and being your own teacher. Learn 211–212 simple exercises that are effective for amateurs, students, and professionals 11–11:50 am Adults Returning to Flute Playing alike. Bring your flute! 217 A Lisa Ann Fahlstrom addresses issues facing adults returning to music and 12:30–1:20 pm High Frequency Piccolo Recital flute playing after a hiatus. Such players Ballroom B/C Mary Ann Archer and Matjaz Debeljak have many unique issues, including perform works by J.S. Bach, Kreisler, finding music to hold their attention Nazareth Kumar, Krivokapic, and when their technique has not fully Kopac. returned. 12:30–1:20 pm Getting Started on Baroque Flute 11–11:50 am Trevor Wye Tribute 213 A Enjoy your very first Baroque flute lesson 217 D Rachel Azrak, Rachel Brown, Paul in the company of your colleagues. Edmund-Davies, Lisa Husseini, Chia Barbara Hopkins, Boaz Berney, Linda Jung Lee, Tomomi Matsuo, Kayoko Pereksta, Na’ama Lion, Nancy

48 The Flutist Quarterly Summer 2011 nfaonline.org PROGRAM AND SCHEDULE SUBJECT TO CHANGE Program and schedule subject to change

Adriana Ferreira Kim Pineda Lois Herbine

Schneeloch-Bingham, and Wendy 1:45–2:10 pm Exhibitor Showcase Rolfe will provide the flutes. 211–212

12:30–1:30 pm Flute Choir Lobby Concert 2–2:50 pm Emil Medicus and The Flutist Prefunction 1 Chesapeake Flute Consort and Virginia 217 A Magazine: A Goldmine Commonwealth University Flute for Research Ensemble In an illustrated lecture, flute historian 12:30–1:30 pm Southern Ice Nancy Toff will explore the riches of 217 A Southern Ice combines stills, videos, Emil Medicus’s The Flutist, a major location recordings, flute improvisation, source of information on early-20th- and narration in a multimedia presen- century flute playing, and will suggest tation of two expeditions by Brooks de how modern flutists can use it for Wetter-Smith to Antarctica in 2006 research and program planning. and 2010. 2:30–2:55 pm Exhibitor Showcase 1–1:25 pm Exhibitor Showcase 211–212 211–212 2:30–3:20 pm In Sterio 1–2:20 pm Remembrance and Healing Upper Grand Hall Erica Peel and Shivhan Dohse share 217 D A memorial concert honoring the lives their vision of fusing classical flute of those we mourn. Performers include Jane Berkner, Shelley Collins, Cynthia training with mainstream music in a Ellis, Christine Gustafson, Kathy Borst program of original works integrating Jones, Julianna Nickel, George Pope, styles of Irish/folk, R&B, funk, country, Paula Robison, Jan Vinci, Norma rock, pop, trance, classical, world and Terrazas Williams, and the Ohio State new age. University Flute Troupe. 2:30–3:30 pm Baroque Flute Masterclass 1:15–2:35 pm Open Amateur Masterclass with 213 A Rachel Brown of the Royal College of 213 D Claudia Anderson/Dianne Frazer Music instructs performers chosen in the Baroque Masterclass Performers 1:30–2:20 pm North Indian Ragas Competition. Ballroom A/D John Wubbenhorst will demonstrate North Indian music on the bansuri 2:30–3:50 pm Headliner: Garner, Han, Marcusson flute and relate how he applies Indian Ballroom B/C Bradley Garner, Göran Marcusson, music and concepts such as the use of a drone, advanced rhythms, and raga and GuoLiang Han peform works by on his western flute. Widor, Huang, Alfvén, Stenhammar, Peterson-Berger, Nelson, Cortese, and 1:45–2:45 pm Flute Choir Showcase Belzer, and close with a specially com- 218–219 University of Florida Flute Ensemble missioned work for three flutes and six and Slippery Rock University Flute Choir hands on piano!

FRIDAY, AUGUST 12 nfaonline.org Summer 2011 The Flutist Quarterly 49 National Flute Association 39th Annual Convention Charlotte, North Carolina, August 10–14, 2011

Jane Lenoir Alexa Still Carla Rees

3–3:50 pm Discovered in NC: The Charles F. 5–5:50 pm Practical Injury Prevention and 213 D Kurth Manuscript Collection 213 D Management This lecture-recital presented by Angela McCuiston, Susan Fain, Karen Carolinians Tadeu Coelho and Amanda Lonsdale, and Lea Pearson will discuss Barrett will offer a picture of Charles practical ways in which teachers and Kurth’s life as an active performer and performers can reduce playing-related composer. Coelho will perform selections injuries. Topics will include fitness, from the collection. awareness, rehabilitative and preventative exercise, and ergonomic solutions. 3–3:50 pm Flute Choir Reading Session with 218–219 Judy Moore 5–5:50 pm Solo Flute Recital 213 A Conor Nelson and Catherine Ramirez 3–3:50 pm Newly Published Music Concert perform unaccompanied works by 217 D Flutists chosen from the Convention Maroney, Karg-Elert, Ran, and Jolivet. Performers Competition perform works chosen from the Newly 5–5:50 pm Conducting Masterclass Published Music Competition. 218–219 Carlo Jans offers conducting tips for flute choir conductors in a paticipatory masterclass. Bring your batons! 3–4 pm Committee Chairs Meeting 214 5–6 pm 50 Variations on the Carnival of Ballroom A/D Venice for 60 Flutes and Piano 3:15–3:40 pm Exhibitor Showcase Trevor Wye plays magic flutes, piccolo, 211–212 bass, Scandinavian flute, Indian flute, the Cindy flute, several electronic 4–5 pm Visit the Exhibits flutes, double and triple flageolets, Exhibit Hall C2 NFA board members will be available carrot flute, and many more in his to visit at the NFA booth. signature rendition of The Carnival of Venice. 5–5:50 pm World Flutes Ensemble of Boston 217 A A concert and workshop feature world 5–6 pm Jazz Happy Hour music styles with World Flutes Westin Lounge Jane Lenoir will perform jazz classics Ensemble of Boston, led by Wendy from different periods and styles, Rolfe, with rhythm section. The concert including bebop, Brazilian Bossa Nova will highlight contemporary works and Samba, Afro Cuban Latin jazz, inspired by a fusion of folk, jazz, and and ballads. world music. The concert will be followed by a participatory workshop 6–7 pm Lifetime Member and Donor’s on arranging for flute and on performing Westin Providence Reception Honoring NFA Founder varied world music styles. Ballroom Mark Thomas’s 80th Birthday

50 The Flutist Quarterly Summer 2011 nfaonline.org PROGRAM AND SCHEDULE SUBJECT TO CHANGE Linda Toote Carol Wincenc Maxim Rubstov

Music provided by Andra Bohnet 8–8:50 am Unity in Performance and Practice and Mithril 213 D Jennifer Keeney presents an experiential class on practicing and performing 6–7:15 pm Exhibitor Concert with ease, incorporating your whole 217 D Performers to be announced self—body, mind, and spirit. Participants will be given “recipes” to 7–7:45 pm Pre-Gala Lobby Concert increase awareness, direction, focus, Belk Theater Lobby Featuring the Simon Bolivar Flute and freedom. Ensemble 8–9 am Pedagogy Breakfast Westin Grand Brooks de Wetter-Smith, speaker. 8–10 pm World Music Gala Concert Ballroom A Sponsored by the Pedagogy Belk Theater The Friday night gala will feature Committee. Omar Faruk Tekbilek, one of the world’s foremost exponents of Middle 8–9 am Career Workshop: Represent Yourself Eastern music, blending classical, folk, Hilton Gwynn Room Part 3: You in Your Work. This one-hour Arabic, and Egyptian. The concert will workshop will cover how to develop close with Grammy-Award winner and projects that are an authentic self- world/fusion artist Rhonda Larson. expression. Topics will include repertoire selection, fusing flute playing with 10:30 pm–12 am Late Nite Jazz at the Westin one’s other passions, choosing mean- Westin Lounge Known primarily for contemporary/pop ingful collaborations, cultivating a and smooth jazz, tonight Nelson pedagogical philosophy, and developing Rangell dives into mainstream for an multimedia projects. Part 4 continues entertaining, engaging, enriching, and at 9 am. enlightening performance. 8:30–9 am Registration for NFA Youth Flute Day 10:30 pm–12 am Irish Session with Mithril Concourse C Westin Providence In the spirit of the traditional ceili, all 8:30–9:30 am Commercial Members Meeting Ballroom are welcome. Irish flutists, bring your 211–212 instruments! Cash bar. 8:30–9:50 am Flute Choir Reading Session with Saturday, August 13 218–219 Rebecca Vega 9–9:50 am The Fife and Drums of Colonial 8 am–5 pm Registration for all attendees Ballroom Terrace Williamsburg Concourse C This concert will feature a performance by musicians using replica fifes, field 8–8:50 am Musician’s Yoga snare drums, and field bass drums 217 D Join flutist and professional yoga performing military music selections teacher Mia Olsen for a yoga practice indicative of military musicians who developed from a musician’s perspective. lived in the 18th century.

SATURDAY, AUGUST 13 nfaonline.org Summer 2011 The Flutist Quarterly 51 National Flute Association 39th Annual Convention Charlotte, North Carolina, August 10–14, 2011

9–9:50 am Jennings and Wincenc in Concert 10–10:50 am Still and Toote in Concert Ballroom A/D Christina Jennings performs works by Ballroom B/C Alexa Still and Linda Toote dazzle us Taffanel and Stockhausen and Carol with a program of music by Edwards, Wincenc performs chamber works by Vali, Selmer-Collery, Bariller, and Bozza. Joan Tower, who will be in attendance. 10–11:30 am Orchestral Audition Masterclass with 9–10 am Career Workshop: Represent Yourself 217 A Paul Edmund-Davies Hilton Gwynn Room Part 4: You Learning from Others. The final hour of this four-part series offers 10:45–11 am Youth Flute Day: Visit the High an opportunity for our committee to 218–219 School Flute Choir Rehearsal serve participants in a mentoring role. 11–11:50 am Carol Wincenc Tribute We will make ourselves available to 217 D A Tribute to 2011 Lifetime field questions related to participants’ Achievement Award Recipient Carol specific projects and direct them to Wincenc featuring the world premiere appropriate resources. This valuable of a new flute ensemble work, composed hour will also serve as an opportunity by Bruce Adolphe and commissioned for participants to network with one for the occasion by her many former another. Part 3 is at 8 am. students and friends. 9–10 am Orchestral Audition Competition 11–11:50 am Ferrandis and Piccinini in Concert 217A Ballroom A/D Jean Ferrandis and Marina Piccinini perform works by Strauss and Faure. 9:30–10 am Youth Flute Day: Warm-up Led by Prefunction 1 Rebecca Simonfalvi 11 am–12 pm Flute Choir Lobyy Concert Prefunction 1 Flute Choir of Atlanta and 9:30–10:20 am Music of Cynthia Folio West Michigan Flute Orchestra 217 D Claudia Anderson, Jill Felber, Lois Bliss Herbine, Julie Hobbs, Nicole McPherson, 11 am–12:30 pm Jazz Flute Masterclass with Jamie Baum Stephanie Rea, Susan Royal, and Westin Providence Featuring winners of the Jazz Flute Andrew Seigel present an exciting Ballroom Masterclass Competition concert featuring two premieres. 11:15 am–12:15 pm Youth Flute Day: Pied Piper 9–10:30 am Jazz Flute Big Band Reading Session 213 A Workshop with Atarah ben-Tovim Westin Providence with Ali Ryerson Ballroom 11:15 am–12:15 pm Youth Flute Day: Walk Like This 213 D Workshop with Wendy Stern 9:30–10:20 am How Can a Wrong Note Be Perfect? 213 D Should we avoid mistakes or embrace 12–12:50 pm Power Practicing: Blink and Fast them? This sensible and inspiring pres- 217 A Forward entation by Bill Westney questions Patricia George’s interactive masterclass much of our conventional wisdom will focus on this new strategy of practice. about perfection and how to aspire to it. Participants are invited to bring their flutes and a copy of the Sigrid Karg- 10–10:45 am Youth Flute Day: Exhibits Tour with Elert 30 Caprices. Exhibit Hall C2 Rebecca Simonfalvi 12–1:30 pm Masterclass Performers 10–10:50 am Les gouts-reunis: Music from Paris, Ballroom B/C Paula Robison of New England 213 A Berlin, and Dresden Conservatory instructs performers Kim Pineda presents a program of chosen in the Masterclass Performers sonatas for Baroque flute and harpsi- Competition on Prokofiev’s Sonata in chord written by composers connected D Major. with the courts in Paris, Berlin, and Dresden. Included will be the world 12:30–1 pm Youth Flute Day: Flute Choirs Concert premier of a work by American com- Prefunction 1 Conducted by Atarah ben-Tovim and poser Tim Risher. Wendy Stern.

52 The Flutist Quarterly Summer 2011 nfaonline.org PROGRAM AND SCHEDULE SUBJECT TO CHANGE 12:30–1:20 pm So-Low Flutes Recital 2–2:50 pm Headliner: Paul Edmund-Davies 217 D Mariana Stratta Gariazzo, Laurel Ann Ballroom B/C Contemporary yet playable and accessible Maurer, Christine Potter, and Carla flute music from one of the UK’s leading Rees perform a low flutes recital jazz composers, Andy Scott. Modern, featuring world premieres of works by vibrant style with plenty of challenges! Rees and Schoenfeld as well as pieces by Nunn, Michael Csanyi-Wills, Gunn, 2–2:50 pm Miracle Flute Festival in Honduras Ayers, and Toledo. 213 D Susan Berdahl, Mary Karen Clardy, Tadeu Coelho, Jessie Godoy, and Helen 12:30–1:45 pm Amateur Open Masterclass with Spielman share their experiences of the 213 D Bradley Garner Honduran Flute Festival, uniting us all as we learn to play and love the flute, “There are a lot of fun family things to despite our cultural differences.

do in and around Charlotte. Carolina 2–2:50 pm Flutists from Portugal Raptor Center houses many exotic birds 217 D Adriana Ferreira and Kayoko Minamino of prey such as owls and hawks. For those perform works by Poulenc, Jolivet, Saint– Saëns, Paggi, and Revell. into racing, we have the new NASCAR Hall of Fame (connected to the Convention 2–2:50 pm NFA Youth Flute Day Breakout Sessions Westin: Executive Rhythm Workshop: Flute and Center). And if you’re looking to beat the Conference Room, Drumming with Lynette Suzanne heat, you can swim at the Mecklenburg Davidson Room, (Executive Conference). Getting Away Brevard Room, from the Printed Page: Free County Aquatic Center (in Uptown) Caldwell Room, Improvisation with Ellen Burr or ride the roller coasters at Carowinds, Coffee Shop (Davidson). Green Golly and Her Golden Flute: Storytelling Through which is just over the border in Music with Barbara Siesel (Brevard). South Carolina.” — Erinn Suzuki Inspired with Rebecca Paluzzi (Caldwell). Just Parents – Insights from Terri Sundberg (Coffee Shop). 1–1:50 pm Late Baroque Ornamentation 213 A Ornamentation in the three main 2:30–4 pm The “Un-Master Class” styles of the late Baroque period will 217 A Bill Westney’s The Un-Master Class® is be explored hands-on with Na’ama a popular alternative to the traditional Lion. Bring your flute or Baroque masterclass. Focus is on eliciting, flute—both are welcome! through structured group interactions, 1–1:50 pm Celebrating Jean-Michel Damase performances of authenticity and Ballroom A/D Christine Beard and Elizabeth Buck vitality. perform Damase’s chamber works and Jean-Louis Beaumadier gives the world 3–3:50 pm Headliner: Jill Felber premier of Damase’s For Piccolo Ballroom A/D From the standard repertoire of and Piano, commissioned by the NFA. Reinecke and Zyman to innovative works that fuse classical and contem- 1–2 pm Youth Flute Day: Youth Flute Day: porary compositions, Jill Felber Exhibit Hall C2 Lunch in the Exhibit Hall inspires.

1:15–1:45 pm Wye’s Guys 3–3:50 pm Resonant Tone Quality for Flutists Prefunction 1 Rachel Azrak, Lisa Husseini, Chia Jung 213 A and Vocalists Lee, Ona Jonaityte, and Bethanne Using a variety of simple vocal, Walker perform fun arrangements for breathing, and light movement exercis- flute ensemble by Trevor Wye. es, this fast-paced workshop with Francesca Arnone and Sandra Schwartz 1:45–2:45 pm Flute Choir Showcase: Joueurs de Flute will feature activities designed to 218–219 Join Italy’s premiere flute ensemble as encourage effective body use and they perform works by Rossini, Bizet, enhance reso-nance for both flutists Sorrentino, Grieg, Shearing, and Joplin. and vocalists.

SATURDAY, AUGUST 13 nfaonline.org Summer 2011 The Flutist Quarterly 53 National Flute Association 39th Annual Convention Charlotte, North Carolina, August 10–14, 2011

3–3:50 pm Musician’s Yoga II with Mia Olsen Finland, Macedonia, New York, and 218–219 See Saturday 8 am. the Pacific Rim.

3:30–4 pm Youth Flute Day: Inspiring the Next 5–6 pm Medical Issues of Flutists 213 D Generation 217 A Susan Fain, Nina Heumann, Stephen Zachary Kellogg performs jazz standards Mitchell, Lea Pearson, and Michael by Jobim, Porter, and Parker, and Treister will share up-to-date information Emma Resmini performs classical on prevention and treatment for several repertoire by Vivaldi and Kennan. medical issues, including voice and speech, hearing, hand surgery, soft 4–5 pm Visit the Exhibits tissue injuries, and dental issues. Exhibit Hall C2 NFA Board Members will be at the NFA booth and available to visit. 5:30–7:30 pm Lifetime Achievement and National Westin Providence Service Awards Reception and Gala “Charlotte has several fantastic art Ballroom Dinner museums, some very close to the Katherine Borst Jones, Carol Wincenc, and Trevor Wye are honored. Dinner is convention center. There is also a great preceded by a reception. children’s museum called Discovery 6–6:50 pm Marya Martin and Nicole Riner in Place (it’s fun for grown-ups, too!) Ballroom A/D Concert There are also loads of yummy restaurants Marya Martin performs the world premiere of Eric Ewazen’s Sonata for in Uptown Charlotte!”— Amy Flute and Piano and Nicole Riner performs Eastern European gems. 4–5 pm Youth Flute Day: The Next Generation 213 D Masterclass with Paul Edmund-Davies 6–6:50 pm Chamber Works for Flute Youth Flute Day participants only. 213 D Wendy Cohen, Kathryn Daniel, Diane Boyd Schultz, and Lois Bliss Herbine 5–5:50 pm Apollo and Dionysius: The Lyre and perform chamber works by Draganski, 213 A the Flute—Past, Present, and Future Dohnanyi, and Dorff (world premiere). In a presentation filled with imagery and music, Peter Westbrook examines 7–7:45 pm Pre-Gala Lobby Concert symbolism in the history of music, art, Belk Theater Featuring the Metropolitan and and world culture and suggests what it Lobby Florida Flute Orchestras conducted by tells us about the future. Paige Dashner Long. 5–5:50 pm Headliner: Paula Robison Ballroom B/C Paula Robison and guitarist Fred Hand 8–10 pm Concerto Gala present a program of songs of the spirit Belk Theater This event, conducted by Bruno including traditional spirituals, hymns, Ferrandis, opens with Mike Wofford’s and love songs arranged by the duo. specially commissioned Tapestry 39 for strings, the Professional Flute Choir, 5–5:50 pm Knight Winds in Concert and the Jazz Flute Big Band. Jean 217 D The Knight Winds Ensemble with Ferrandis, Holly Hofmann, Christina Nora Lee Garcia, a combination of Jennings, Marina Piccinini, and Carol saxophone quartet and flute ensemble, Wincenc perform works by Gordeli, performs works by Whitacre, de Falla, Foss, Uebayshi, Schnyder, and Jobim. Piazzola, Ponce, and Puente. 10:30 pm–12 am Late Nite Jazz with the NFA Jazz Flute 5–6 pm Happy Hour: Keowee Chamber Music Westin Providence Big Band Westin Lounge with Kate Steinbeck Ballroom Ali Ryerson, Roger Neumann, and Relax with a fusion of fresh, sensuous Bryan Kennard lead winners of the sounds of the modern wooden flute NFA Jazz Flute Big Band Competition and classical guitar along with the in a performance with special guest percussive groove of cajon, bongos, appearances by Holly Hofmann and djembe, amd kanjira in spirited inter- Madeline Vergari (aka Madeline pretations of music from Brazil, Neumann).

54 The Flutist Quarterly Summer 2011 nfaonline.org PROGRAM AND SCHEDULE SUBJECT TO CHANGE Sunday, August 14 10–10:45 am Ears to You: Hearing and Noise 217 A Dr. Stephen Mitchell presents a lecture with audiovisual aids explaining the 8–8:50 am iRest/Yoga Nidra problems affecting the ears of flutists 217 A This interactive workshop with Nicole of any age. Various methods of ear Molumby and Tanya Penny will focus evaluation, treatment, and protection on how meditation, specifically the 10- will be discussed. step process, iRest, can be easily integrated into the university flute studio class. A 10–10:50 am Opera-Inspired 20-minute group meditation will be Ballroom A/D Carlo Jans, Jennifer Keeney, and Sergio included so participants may experience Pallattelli perform works by Mozart, the process first-hand. Doppler, Donizetti, Singelee, and Borne.

8–8:50 am Lift, Play, Love: Resistance Training 10–11 am Professional Flute Choir Concert 213 A Angela McCuiston will help you improve 218–219 Carlo Jans, conductor your endurance, combat muscle weak- ness, and overcome any fears of injury 10:30–11:20 am Gaubert: The “Renoir” of the Flute by walking you through how to lift, 213 D Patrick Williams presents a recital with what exercises to do, and how to warm commentaries on works for flute and up before you play. Bring a towel and piano by Philippe Gaubert, featuring wear comfortable clothes. some of his less-frequently performed repertoire such as the Sonatas, the 9–9:50 am South Carolina Flute Society Stars Suite, and the Ballade. 217 D Representing a diverse musical field in South Carolina, North Carolina, and 11–11:50 am Music of Jikken Kobo Georgia, Wendy Cohen, Teri Forscher- 213 A Mihoko Watanabe will lecture on Milter, Erinn Frechette, Jessica Hull- works by Yuasa, Fukushima, and Dambaugh, Angela Massey, Jennifer Takemitsu through their Japanese Parker-Harley, John Samuel Roper, and context as well as their influence from Christopher Vaneman perform a stellar the Jikken Kobo, or Experimental concert of solo and chamber music. Workshop of the 1950s, using pictures, sound clips, and demonstrations on 9–9:50 am Serbian Composers Japanese traditional flutes. 213D A lecture/recital by Myrna Brown International Scholarship recipient 11–11:50 am OH–IO Celebrating KBJ Andjela Bratic presenting the works of 217 D Morgann Davis, Kimberlee Goodman, Serbian composers Milankovic, Konjovic, Amara Guitry, Ellen Blanchard Babic, Grgin, Vujic, and Mladenovic. Huntington, Amy Likar, Nicole Molumby, and Kana Murakoshi come 9–10:30 am Piccolo Masterclass together to celebrate 2011 National Ballroom B/C Jean-Louis Beaumadier, soloist of the Service Award Recipient Katherine National Orchestra of France, instructs Borst Jones. performers chosen in the Piccolo Masterclass Competition. 11–11:50 am Works for Flute and Cello Ballroom B/C Jill Heyboer and Susan Milan perform 9:30–10 am Between Two Worlds chamber works by Gaubert, Blake, and 211–212 Sue Ann Kahn performs works by Brownlow. Rochberg and Jaffe. 11–11:50 am Constance Grambling Lane Memorial 9:30–10 am Flute Choir Lobby Concert 211–212 Students and colleagues of Constance Prefunction 1 Charlotte Flute Choir Grambling Lane, flute professor at the University of South Carolina for 35 years, 9:30–10:20 am Practicing Efficiently: Scales and perform a concert in her memory. 213 A Daily Exercises A demonstration, using old wine in 11:30 am–12:20 pm Flutists Reaching Out new bottles. Trevor Wye with Tomomi 213 D Three inspirational flutists—Celine Matsuo, Kayoko Minamino, KoYu Ferland, Mary Procopio, and Linda Wang, and Alaina Diehl. Mintener—share how they use their

SUNDAY, AUGUST 14 nfaonline.org Summer 2011 The Flutist Quarterly 55 National Flute Association 39th Annual Convention Charlotte, North Carolina, August 10–14, 2011

musical talents to help people around Melissa Wertheimer perform works by the globe. Learn how each flutist uses Jennifer Higdon and Katherine Hoover. performing, teaching, researching, and creative fundraising to improve and, in 2–2:50 pm High School Flute Choir Concert some cases, save the lives of hundreds 218–219 of people in Ethiopia, Haiti, and China. 2–2:50 pm Escaping the Excuse Trap 11:30 am–12:30 pm Collegiate Flute Choir Concert 217 A Tired of excuses? Make your studio an 218–219 Roger Martin, conductor excuse-free zone—or as near so as humanly possible! Learn how to 12–12:50 pm Chamber Works for Flute and “Escape the Excuse Trap” today with Ballroom A/D Percussion Debra Youngblood! Carla Copeland-Burns and Kim McCormick perform Engebretson, 2–2:50 pm Music from South America Dempster, Montague, Lewis, and Buss. Ballroom A/D Nicole Esposito, Michel Bellavance, Nora Lee Garcia, and Rogerio Zerlotti Wolf 12–12:50 pm The Memory Map 3.0 perform Luzuriaga, Acosta, Piazzolla, 217 A Are you memorization-challenged? Zarba, Guarnieri, and Gnattali. This fun, interactive workshop with Melissa Colgin-Abeln illustrates simple 2–2:50 pm Full Spectrum ways to get started. Attendees will have 213 D Sherry Kujala, Gerald Carey, and Keren the opportunity to begin mapping with Schweitzer-Lippmann perform works provided handout templates and examples. for flute and low strings by Kessleman, Amaya, and Uebayashi. 12:30–1:20 pm Russia and Latvia 211–212 Franziska Nabb and Inna Gilmore 2–2:50 pm Suzuki Flute: Ability Development for perform Vasilenko, Tsybin, 211–212 Every Child—Pedagogy and Rachmaninoff, and Vasks. Inspiration for Every Teacher Rebecca Lile Paluzzi, Laurel Ann 12:30–1:30 pm Flute Choir Concert: Maurer, and Wendy Stern introduce Prefunction 1 Flute Frenzy and Flutissimo! Flute Choir and showcase the Suzuki Flute Method followed by a brief concert featuring 12:30–2 pm Young Artist Competition Finals Suzuki students from across the U.S. Westin Providence and Canada. Ballroom 2–3 pm High School Flute Choir Concert 1–1:50 pm Charlotte Symphony Flutists: Past and Westin Providence Rebecca Meader, conductor Ballroom B/C Present Ballroom Present and past members of the CSO—Jennifer Dior, Erinn Frechette, 2–3:30 pm E Pluribus Flutum Rehearsal with Shirley Gilpin, and Amy Orsinger Westin Providence Zara Lawler Whitehead—perform a concert of solo Ballroom and chamber music works. 3–4 pm Visit the Exhibits 1–1:50 pm Performers Analytic Toolbox Exhibit Hall C2 213 A Michelle Cheramy introduces flutists to recent discoveries in how the brain 4–6 pm Unity Through Diversity: Closing reacts to and processes musical sound Westin Providnce Ceremonies and will explore how performers can Ballroom A global showcase highlighting the combine this information with simple convention theme. We will close with analytic strategies to create compelling pomp and circumstance featuring Zara on-stage performances. Lawler’s creation “E Pluribus Flutum,” which fuses folk and classical traditions 1–1:50 pm Higdon and Hoover with mass choreography. The convention 217 D Lori Akins, Maria Harman, Leslie closes with the NFA’s traditional Marrs, Mary Matthews, Nancy performance by all convention attendees Schneeloch-Bingham, Jan Vinci, and of Bach’s Air.

56 The Flutist Quarterly Summer 2011 nfaonline.org PROGRAM AND SCHEDULE SUBJECT TO CHANGE

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

The Austin (Texas) Flute Mor,” by Lisa LeMay; “When Irish Eyes Are Smiling, arr. Phyllis Choir played the flute choir Avidan Louke; “A Gaelic Offering,” by McMichael; “Irish Aire arrangement of “Poem” by and Jig,” arr. Michael Kibbe; “Song of the Bard,” by Ralph R. Charles Griffes November Guenther; “Mixing the Malt,” by Peter Martin; and “Galway 2010 on an All-Griffes Pro- Piper,” arr. Mary Jean Simpson. gram. Local pianist Lynda Oswalt played the difficult The Raleigh Area Flute Associa- piano works. Other events tion’s newly formed YouTube last fall included a program Flute Choir, conducted by of crowd pleasers at a Sonja Noykos, will perform at retirement home, featuring the NFA Convention. RAFA’s the choir’s bass player on 2011–2012 season will open Kelly Via “The Old Grumbler” for with an Alexander Technique bass solo and flute choir. Kelly Via’s French Nativity Suite workshop led by Pamela rounded out the Christmas season in December. In January, Jill Felber Nelson on September 25. The the choir held its second annual January Flute Jam for stu- RAFA Flute Fair on November 12 will feature flutist Jill dents and club members, featuring Bryan Kennard, jazz Felber and pianist Dianne Frazer. Visit raleighflutes.org. flutist, and Rachael Lopez, flutist from the Austin Symphony. Approximately 40 students attended, plus club members. On April 16, Mimi Stillman Kennard taught participants how to play jazz motifs, inviting was the guest artist for the everyone up to the microphone. Lopez gave a masterclass on 18th Annual Hampton Roads classical pieces. Following lunch served by club board mem- Flute Faire on the campus of bers, nine students gave solo performances they were Old Dominion University in preparing for competition. The club celebrated its 20th year Norfolk, Virginia. Stillman led in 2011 by inviting Kelly Via to be guest conductor at its masterclasses with high school Spring Recital April 9. Via directed his own pieces. Prior to and college competition win- the recital, the Austin Flute Club held its annual Young ners that focused on developing Artists Competition at the University of Texas in March. Mimi Stillman a soloistic approach to inter- There were three divisions—piccolo, ninth and 10th grades, pretation and tone production, and presented a recital with and 11th and 12th grades—with professional judges for each pianist Charles Abramovic. Other highlights included an division and cash prizes for the winners, who performed in appearance of the American Sax Quartet in conjunction recital a week after the competition. Winners in the senior divi- with a class on woodwind doubling by Jim Nesbit; ethnic sion were Jay Cho, first place; Rebecca Teng, second place; and flute demonstrations by Kathleen Joyce-Grendahl; and a Anisa Wakil, third place; with honorable mention to Carlyn seminar for military flutists led by Jennifer Turner of the Hendler, Michael Nguyen, and Hannah Grounds. Junior divi- Armed Forces School of Music. Visit flutefaire.com. sion winners were Crystal Kim, first place; Courtney Regester, second place; and Daniel Smarda, third place; with honorable The Long Island Flute Club is pleased to announce the mention to Kaysie Tam. Jacquelin Reyes took honorable men- finalists and winners in its annual high school and college tion in the piccolo division. The Flute Choir presented two all- flute competitions. In the high school division, the finalists Irish programs, one on St. Patrick’s Day, March 17, at a retire- were Julia Hollreiser, Megan Lyons, and Sudheer Nuggehalli. ment home, and the other in a weekly series of noontime The fourth place Ivy Jacobson Prize was awarded to Erica downtown concerts that have been running in Austin for 25 Mumford; the third place Jan Benson Prize was awarded to years. The club’s Irish repertoire includes “By Kells Waters,” by Frances Flancbaum; the second place Irma V. Miller Prize Kelly Via; “Falconer,” by Catherine McMichael; “Innes Glas was awarded to Sarah Peskanov; and Suzanne Farber was the

nfaonline.org Summer 2011 The Flutist Quarterly 59 SPOTLIGHT ACROSSTHE MILES Arizona Flute Society recipient of the Harold Bennett Memorial First Prize. In the College Division, third place went to Samantha Clarke; second place went to Bridgette Funaro; and Sara Aomori was awarded the Samuel Baron Memorial First Prize. All finalists and winners performed in Gary Schocker conducting the choir. Tara Helen O’Conner a recital March 13 at the Half The Arizona Flute Society was founded in May 1999. Its mission Hollow Hills Community Library, followed by the award- is to promote the enjoyment and appreciation of the flute, assist members in achieving musical excellence, and facilitate an ing of prizes and a reception. The LIFC closed out its 27th exchange of ideas among flutists, teachers, and flute enthusiasts. season with a recital performed by Tara Helen O’Connor, Membership is open to any individual with an interest in the flute; flute, with Margaret Kampmeier on piano. The recital, the society currently has more than 150 members. which was performed in the Red Ballroom of Westbury The AFS maintains a music library with more than 100 pieces House at Old Westbury Gardens, featured works by Bach, that can be checked out by members. AFS also sponsors the Alla Reynolds, Maresz, Mower, Widor, and Daugherty. Visit Breve Flute Choir, so named because it gives busy flutists the longislandfluteclub.org and Facebook. opportunity to enjoy playing in a flute ensemble with only two rehearsals before the perform- May 19–21 the 34th Annual ance. For the 2011 season, Alla Texas Flute Festival was held at Breve’s guest conductor was the University of North Texas, Kelly Via, piccoloist with the College of Music, in Denton. Atlanta Ballet Orchestra and Guest artists Linda Toote, Macon Symphony Orchestra. Jonathan Keeble, Jill Felber, and Via has written flute choir Seth Morris performed recitals arrangements including a win- as well as conducted master- ner in the NFA’s 2002 Newly classes and workshops. Visit Published Music Competition Linda Toote and a finalist in 2004. The AFS texasflutesociety.org. has commissioned a piece by Via for the choir to premier at The Arizona Flute Society presented two 2011 regional and Kelly Via and Leslie Etzel the NFA 2012 convention. Past all-state masterclasses for high school flutists in January. AFS NFA premiers have includ- The classes, taught by Christina Steffen and Katrina King, ed “Ikebana,” commissioned from Gary Shocker for the 2010 Alla focused on techniques, tempos, and style to help stu- Breve performance. dents work out the “bugs and kinks” before the audition. In AFS sponsors the AFS Flute Festival and Competition annually, February, AFS featured the 2011 Alla Breve Flute Choir open to flutists of all ages. Competition participants must select a piece from the repertoire list. Prize money goes to the top concert event with guest conductor Kelly Via, piccoloist with three performances in each group, and scholarships to the AFS the Atlanta Ballet Orchestra and Macon Symphony Summer Flute Camp are awarded to first-place winners. Orchestra. The AFS 2010–2011 raffle drawing was included First offered in 2008, the AFS Summer Flute Camp has grown in in the event. Prizes included wooden Stand It Up! flute attendance and popularity each year. The 2011 session’s featured stands, a tote bag, a case cover, a piccolo with case, a crystal artists are Viviana Cumplido and April Clayton. Past guest artists flute, and a full scholarship to the AFS 2011 Flute Camp to have included Jim Walker, Brian Gordon, and Emily McKay, with be held in June. The 2011 Summer Flute Camp will be held classes conducted by Sherry Finzer, Christina Steffen, Keh at Tempe Church of the Nazarene in Tempe June 1–4 and O’Daniel, and other local flute professionals. This year’s dates are will feature guest artists Viviana Cumplido and April June 1–4 (more information in regular listing at right). In fall 2010, the season started with a new event, the Autumn Clayton. The program includes warm-ups, daily ensembles, Affair. This salon concert, held at the Heirloom Restaurant in recitals, and masterclasses with workshop topics on flute Scottsdale, featured a performance by the Caliendo flute and maintenance and repair, warm-ups and tone, extended tech- guitar duo. The 2009 season opener was Greg Patillo and Project, niques, jazz improv, audition preparation, and piccolo. The presenting a beat-boxing masterclass and concert. Guest con- camp will be offered as a four-day event with the option to ductors and performers at AFS Flute Choir masterclasses have purchase single-day tickets. Visit azflutes.org or contact included Phyllis Louke, Christopher Caliendo, Elizabeth Buck, [email protected]. Tadeu Coelhu, Göran Marcusson, and Gary Shocker. Visit azflutes.org or contact [email protected]. —Suzanne Pearson Send information about flute club activities, and high-resolu- tion images if available, to Dolores August, Flute Clubs Spotlight profiles active flute clubs and choirs. Articles are assigned in advance, but we welcome queries from active organizations for consideration. Contact Dolores Coordinator, [email protected]. August for information.

60 The Flutist Quarterly Summer 2011 nfaonline.org Walfrid Kujala’s new book: The “sequel” to the Vade Mecum

NEW: From Progress Press The Flutist's Vade Mecum The Articulate Flutist: of Scales, Arpeggios, Trills Rhythms, Groupings, Turns and Trills and Fingering Technique by Walfrid Kujala by Walfrid Kujala $18.95 $22.95 Walfrid Kujala's newest publication The Flutist’s Vade Mecum is an all- features 60 pages of comprehensive encompassing approach to the study articulation, rhythm and trill exercises, and and perfection of scale, arpeggio, and trill 15 pages devoted exclusively to the study technique. This book is intended not just of Bach and Mozart examples. for the initial learning of scales and Five cantatas illustrating Bach's authentic arpeggios but for permanent and ongoing articulations are excerpted, and a wide improvement of this material through range of exercises for improving your diligent review. Think of this Vade Mecum technique, articulations, trills, and applica- ("Go with me” in Latin) as a steady tion of alternate ﬁngerings for the Mozart D companion, always available for Major Concerto are also included. review and renewal.

Special offer: order both books for $35 Purchase online from our website at www.walfridkujala.com or contact your local music bookstore. progress press

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www.earlyflute.com [email protected] Honor Roll of Donors to the National Flute Association The National Flute Association extends its heartfelt thanks to the following individuals and organizations whose generous contributions help to sustain its operations, programs (such as cultural outreach, special commissions, publications/recordings, and flute choir), and endowments. The list reflects donations received from November 1, 2010, to May 1, 2011.

FOUNDER ($5,000 and above) George S. PopeGE FRIEND ($1–$49) COCultural Outreach Bickford W. and Laura Christine E. PotterGE Rebecca Tryon AndresFB DHDavid Hart Fund GE GE Brannen Ronald Prechel Timothy E. ArnetteU FCFlute Choir Fund Margaret Jane RadinGE Jean M. BurnettGE FBFrances Blaisdell Fund PLATINUM ($2,500–$4,999) Deborah L. RagsdaleMB Jeanine CaririU GE Sue A. RuppGE Cathy ClareMB General Endowment Fund LC GOLD ($1,000–$2,499) Nancy Schneeloch-BinghamDH Caroline DawsonGE Legacy Circle Angeleita S. FloydGE Angela Allen SherzerGE Karen B. DemseyGE MFMiscellaneous DH, FB, GE, MB GE Leonard L. Garrison Sign of the Silver Birch MusicGE Ann Droste MBMyrna Brown Fund Sarah JacksonGE U Claire Durand-RacamatoGE Wayne Summers PRPublications/Recordings Fund Victoria & Andrew JichaGE GE Ann FairbanksGE Cynthia R. Tate SC GE Special Commissions Fund Nagahara Flutes/NNI Inc. GE Ai GoldsmithMB Paul Taub SPF GE GE Special Projects Fund Fenwick Smith The Flutist’s FaireGE Sheryl Goodnight GE SP Mark & Judith ThomasGE Sy Helderman Special Publications FB SILVER ($500–$999) Anna ToughMB Alison Hubbard UUnrestricted FB GE The Abell Flute Co. Ann S. VinodU Yeva Johnson FB GE Anonymous Donor Nancy M. VinsonGE Janice S. King GE GE Katherine Borst Jones Michel WaplerMB Elie Litov FB U Marie B.Garritson Jureit Jasper WelchGE Mary Minsk GE, MB Brooks de Wetter-SmithGE Linda Mintener U WOOD ($100–$499) Robert WilloughbyDH Nancy L. Mulholland Robert AitkenGE Jean NakamotoFB Windward Flutes Ltd.U Francesca ArnoneGE, U Mary PetersonGE Deborah Rebeck AshGE Rolfe PittsGE DONOR ($50–$99) Mary BerkDH, FB, GE, MB Lisa SchroederGE Eva AmslerGE Amy Rice BlumenthalGE April ShowersFB Diane Barton-BrownGE Claudia H. BrillGE Robert SingerFB Judith BentleyGE Andrew CallimahosMB Maria StibelmanGE Joanne Ennis BourquinGE Beth E. ChandlerGE Cynthia C. StokesGE Elizabeth M. BrightbillGE Chesapeake Flute ConsortNULL Glennis M. StoutGE Chesapeake Flute ConsortMB Robert F. ColeGE Michael TreisterGE Linda CykertGE Linda CrisafulliGE Karen Van DykeFB Nan Wood DaviesGE Zart Dombourian-EbyGE Kristin WebbMB GE Darlene DuganGE Rev. William Morris Evans Eileen YarrisonDH GE The Flute Pro ShopGE Diane Gold-Toulson Alan ZaringFB MB Anonymous DonorFB Susan S. Goodfellow DH Wilda M. HeissGE Margaret Foote Jamner DEDICATIONS GE Betty Austin HensleyMB Ellen Kaner Andrew Callimahos In U Eric HooverGE Jane Lenoir Memory of Lambros FB Jerry JenkinGE Janet Maestre Demetrios Callimahos & GE Trudy KaneGE Rebecca Malone Helen Callimahos Hurry GE Robert KatayamaGE, MB Joyce Oakes Marjorie Koharski in Memory GE Peter KatzGE Ann C. Pearce of Helen Callimahos Hurry Jonathan KeebleU Wendy H. RolfeDH Wayne Summers In Memory of Marjorie KoharskiGE Helene RosenblattGE Helen Callimahos Hurry Sherry KujalaGE Jean RosenblumFB Anna Tough In Memory of Sherry & Walfrid KujalaGE Lisa Garner SantaGE Helen Callimahos Hurry Leslie Seid MargolisFB Sherry’s Flute Repair & SalesGE Roger B. MartinGE John SolumGE LEGACY CIRCLE/ Richard A. Mc PhersonGE Sue SwilleyNULL PLANNED GIFTS Dorli McWayneGE Gail D. VehslageMB Katherine Borst Jones Madeline NeumannGE Susan WallerFB Eric Hoover and Deborah Gaynor Edith K. NishimuraFB, MB Stephanie A. WheelerDH Carol Kniebusch Noe Phyllis T. PembertonGE Richard WytonGE Gwen and Dick Powell

62 The Flutist Quarterly Summer 2011 nfaonline.org

NFA News Updates on committee activities and other news of interest from the national office Selected Alto Flute Repertoire Recommendations from the Low Flutes Committee

he Low Flutes Commit- Bozza Aria; alto, piano (ALRY) Ttee is compiling a list of Telemann Six Canonic Sonatas; 2fls (altos) (various publishers) outstanding repertoire for Vadala Sea Change; alto, piano (Southern) alto, bass, and contra bass flutes that will be available on Level F the NFA website in the future. Genzmer Pan; fl (alto) solo (Peters) The following pieces repre- Giovaninni Morocco; fl (alto), piano (RBC Publications) sent about half of the alto Gottsche-Niessner Nachfaltergedanken; fl/alto (Zimmerman) repertoire we have chosen. Jacob Pied Piper (The Spell); fl (alto)/picc (Oxford) The pieces are shown in Louke As the Clouds Parted; fl (alto),piano (ALRY) order of difficulty as deter- Molnar-Suhajda Voices from the Deep; three altos, two Chris Potter mined by the NFA Pedagogy basses, one contra bass, other optional Committee’s criteria chart; A is the easiest level, K the hardest. low flutes (flute.net) For a detailed description of the skills needed for each level, Scottish Folk Song The Banks of Ayr; fl (alto) solo (ALRY) please refer to the Pedagogy Committee’s publication Selected fl/alto – indicates that one person alternates between both instruments Flute Repertoire and Studies or visit nfaonline.org. There are no Level A pieces written specifically for alto. If Level G you are an absolute beginner (level A), any number of begin- Bach Four Bach Fugues; two altos (Falls House) ning flute method books will help you learn to read music and Beethoven Largo, alto, piano (Progress Press) show you the fingerings. For level B players, someone who Holcombe Blue Flute Funk; alto, piano (Musicians) would typically be in the second year of playing, there is an McMichael Baikal Journey—Ancient Friend;alto, entry in the Collections section. piano (ALRY) Mower Sonnets; alto, piano (Boosey & Hawkes) Solos and Chamber Music Level H Level C Aquino A Taste of Brazil; alto, piano (Assunto Grave) Datshkovsky Lullaby for Alexandra; alto, piano (Southern) Dahl Variations on a Swedish Folktune; flute, Part Spiegel im Spiegel;alto, piano (Universal) alto (Presser) Debussy Syrinx; fl(alto) solo (Jobert) Level D Dunleavy Music for Foul Play; alto, bass, contra bass, Dallinger Day-Times: Three Pieces; fl (alto) solo (Doblinger) subcontra bass (National Library of Australia) Palmer Raga Kalyan: aalap; alto, CD (Harpistic Publications) Erb Music for Mother Bear; fl (alto) solo (Merion) Rhone Bethlehem Pastorale; fl (alto), piano (ALRY) Gunn Lunar Mural; alto, CD (davidgunn.org) Schocker Atlantis; alto, piano (Falls House) Harwood Sonatina; alto, piano (Progress Press) Tung Alone in the Rain; alto, piano (flute.net) Hoover Two for Two; alto/bass, piano (Papagena) fl (alto) – indicates that this is a flute part that could also be played on alto Level I or that the piece includes an alternate part for alto. Albert Three for Two; alto/bass, contrabass (adriennealbert.com) Level E Clarke Within; picc/fl/alto, CD (ianclarke.net) Archer Signatures; fl (alto) solo (Canadian Music Centre) Galloway Alabado; soprano, alto, piano (NFA Library) Burnette Stone Suite—Cliff Palace Ghost Dance;solo Liebermann Eight Pieces; picc/fl/alto/bass solo (Presser) [hij] alto, flute choir or alto, piano (Pine Castle) Kessner Tous Le Matins; alto solo (Theodore Front)

nfaonline.org Summer 2011 The Flutist Quarterly 65 NFA NEWS Level J Sollberger Hara; alto solo (Peters) Francaix Le Colloque des deux Perruches; flute, alto Veldhuis Lipstick; fl/alto, CD (Muziekgroep Nederland) (Schott) Luppi-Betts Vier Stucke für Vier Floten; picc/fl/alto/bass Collections solo (Peters) A lowercase letter indicates just a few pieces at that level, an Mower A Night in Greenwich; alto solo (Itchy Fingers) Mower Obstinato and Scareso; alto/bass solo, flute uppercase letter indicates several pieces at that level. choir (Itchy Fingers) Takemitsu Toward the Sea; alto, guitar (Schott) Potter Alto and Bass Flute Solos—Beginning and Intermediate; alto, piano (Falls House Press) [bCDE] Level K Wolzein/Noble Six Folk Songs; fl(alto), guitar (Southern) [D] Lindquist Nakoda; alto solo (amplified) (ellenlindquist.com) Schwantner Silver Halo; picc, flute, alto, bass (Schott-Helicon) Prepared by the NFA Low Flutes Committee: Christine Potter Snyder Concerto for Alto Flute and Flute Ensemble; (chair), Marion Garver Fredrickson, Martin Melicharek, Paige solo alto, flute choir (JP Publications) Long, Andrea Graves, and Peter Sheridan.

To Your Health! Updates from the NFA Performance Health Care Chair

Many of these folks have been working to improve health care for flutists their whole lives, and it is an honor to work with them. We are developing information for the NFA website. Our content will include descriptions of health care topics of concern to flutists; information on many treatment modalities, including how and when they might be helpful to flutists; resources and links; archives of relevant Power Point presentations from past NFA conventions; and bios of the above committee members. We are hard at work compiling material, and hope to have the initial page up this year. We welcome any and all feedback on how to make this page the first stop for all flutists Lea Pearson with questions about performance health care issues. s the incoming chair, I share here my excitement about Have you wanted someone to ask questions of at the con- Anew developments in the health care area for NFA. We vention? Well, for the first time in several years, we are going have a dynamite committee that consists of representatives to have a table staffed with health care practitioners in the of many professions. All are flutists, and many are health exhibit hall. There will be hours posted for each practitioner care professionals: so you can decide whom you want to talk with and when. We can address questions you might have about how to proceed Susan Fain, physical therapist with various health care issues; obviously, we will not be Stephen Mitchell, ear, nose, and throat physician offering medical advice! Ellen Shapiro, physical therapist You will also find at the convention several helpful panels Chip Shelton, dentist and presentations on topics from breast cancer to injury pre- Susan Harmon, medical librarian Michael Treister, hand surgeon vention and updates in hand surgery, physical therapy, hear- Lee Van Dusen, chiropractor ing, and chiropractic. As always, we are available for questions by e-mail or Other members have a professional interest in the field: phone during the year. If you have concerns and are not sure Laura Erickson where to turn, please e-mail me at [email protected] or Marilyn First call me at 614-353-7259. Karen Lonsdale Here’s to your health! Mary Louise Poor —Lea Pearson

66 The Flutist Quarterly Summer 2011 nfaonline.org Represent Yourself Career and Artistic Development Committee Convention Offerings

Laura Barron Stephanie Jutt Alberto Almarza Eva Amsler Jill Felber o all enterprising and creative flutists,the NFA’s Career Entrepreneurs, educators, engineers, and artists use these visual Tand Artistic Development Committee announces its thinking diagrams to brainstorm and problem solve. Second Annual Mini-Conference of activities, which will be On Saturday at 9 a.m., participants will attend Dorion held at the upcoming Charlotte convention. Comprised of Consort founder Eva Amsler’s “You in Your Work” presenta- four career-related workshops, this mini-conference is tion. This workshop will cover how to develop projects that designed to help flutists bring their wildest project ideas to are an authentic self-expression. Topics will include repertoire fruition. The committee (Laura Barron, Stephanie Jutt, selection, fusing flute playing with one’s other passions, Alberto Almarza, Eva Amsler, and Jill Felber) is asking for sub- choosing meaningful collaborations, cultivating a pedagogical missions from participants who have entrepreneurial ideas in philosophy, and developing multimedia projects. the fledging stages of development. Six flutists will be selected to work on their project ideas in a masterclass format with our New Mentorship Program workshoppresenters. To ensure optimal continuity, the com- Additionally, Career and Artistic Development Committee mittee recommends that participants attend all four consecu- members will offer private, 15-minute mentoring sessions to tive workshops, during which they will be able to flesh out all interested participants. Mentors will make sign-up sheets their concepts and begin project planning. We invite interest- available during the workshops (8–10 a.m., August 12 and 13), ed flutists to send inventive project proposals (500-word max- and sessions will be scheduled throughout the convention at imum) to committee chair Laura Barron at laura@laurabar- various times. Mentors’ bios are listed on nfaonline.org. ron.net by July 1, 2011. There are no application or participa- Let us help you realize your wildest project ideas. Please sub- tion fees for these workshops, though all participants must be mit your proposal to [email protected] by July 1, 2011. registered convention attendees. —Laura Barron

Mini-Conference Schedule On Friday, August 12, at 8 a.m., participants will attend Florida A Love of Flute—A Will State professor Eva Amsler’s “You on the Page” workshop, which will cover how to effectively write bio, cover letter, press release, to Share It and website copy. The material will have relevance for flutists id you know you can help shape the future of the producing solo and chamber music performances, developing NFA with just a few simple sentences in your will? entrepreneurial projects, seeking students, or pursuing college D Called a charitable bequest, this type of gift works well teaching positions. Ellen Johnson, Kansas Community College for people who believe in the NFA but can’t part with flute teacher, will co-present. money today. Bequests offer: On Friday at 9 a.m., participants will attend University of Wisconsin professor Stephanie Jutt’s “You in Pictures” workshop, Flexibility. Because you are not actually making a gift until which will cover how to ensure that you are reflected in everything after your lifetime, you can change your mind at any time; from your headshot to the graphic materials that you develop for posters, brochures, and websites. She will also introduce “brand- Versatility. You can structure the bequest in many ways, ing” concepts and discuss the importance of design, font, color, including leaving a percentage of your estate to us; and title selection. This workshop will also touch upon logo development. Pittsburgh freelance flutist Laura Lentz will co-present. Convenience. You have access to your assets through- On Saturday, August 13, at 8 a.m., participants will attend Bach out your lifetime. Dancing and Dynamite Festival Director Stephanie Jutt’s “You in Your Work” presentation. This hour will introduce all workshop Visit nfaonline.org/organization/bequests. participants to the valuable techniques of Mind-Mapping.

nfaonline.org Summer 2011 The Flutist Quarterly 67 Notes from Around Conventions, festivals, competitions, and other global flute activities the by Christine Erlander Beard World The first European Piccolo Festival will take place August 27–28 at the Planinka Hotel in Jezersko, Slovenia, featuring international piccoloists Jean-Louis Beumadier (France), Nicola Mazzanti (Italy), Danielle Kiefer (Australia), Nicole Esposito (United States), and Christine Erlander Beard (United States); Slovenian piccoloists Nataša Paklar Marković, Anamarija Tomac Bouriokov Nan Raphael Krečič, Mateja Kremljak, and Matjaž Blocki, Bridget Bolliger, Denis Bouriakov, Morwenna Collett, Debeljak; and alto flute specialist Geoffrey Collins, Margaret Crawford, Christine Draeger, Neil Carla Rees (U.K.). The schedule includes lectures, master- Fisenden, Vernon Hill, Sylvie Leprohon, Luca Manghi, Janet classes, warm-up sessions, and recitals focusing on solo and McKay, Lamorna Nightingale, Lisa Osmialowski, Prue Page, chamber music for piccolo. Registration options include one- Rosamund Plummer, Teresa Rabe, Nan Raphael, Jane Rutter, day, two-day, and single event tickets. Visit piccolo-festival.eu. Peter Sheridan, Emma Sholl, Rebecca Steel, Alexa Still, Virginia Taylor, Janet Webb, and The Fisenden Flute Ensemble. Visit aus- The World Flutes Festival III is scheduled for September tralianflutefestival.com or contact Lyndie or David Leviston at 21–25 in Mendoza, Argentina. The Festival promotes the [email protected]. interpretation of world flutes through a full connection to the present moment. Artists on all varieties of flutes from around the globe will conduct lectures, workshops, and recitals, including Native American flutists Carlos Carty (Perú/Brazil) and Gera Clark (United States); Japanese flute expert Marco Lienhard (United States); Alison Brown Sincoff (United States) presenting American chamber music; and ensembles Lachrimae Verae Rosariensis (Argentina), Ensamble Kuref (Chile), Fuga Vivace di Nocchiole (Argentina), and Arte Nativo (Perú). Pre-registration is required and space is limited. Visit worldflutesfestival.org or contact [email protected]. From left: Gian-Luca Petrucci, Raffaele Trevisani, Ulrich Nicolai, Philippe Boucly, Christina Fassbender, Ludwig Böhm, Lorna McGhee, and Łukasz Długosz. The Australian Flute Festival will be held October 1–3 at the ANU The Second International Theobald Böhm Competition for School of Music in Canberra, with Flute and Alto Flute took place April 2–8, 2011, in Munich, a pre-festival professional develop- Germany. The festival concert of jurors held April 2 in the ment aimed at flute teachers to be Cuvilliés Theatre attracted about 350 people, filling the held on September 30. The AFF ground and the first floor. Philippe Boucly from France will include competitions, work- played variations on a French folk song, Op 2; Łukasz Długosz shops, and performances featuring from Poland played a Polonaise, Op. 3; Gian-Luca Petrucci a long list of international and from Italy played variations on an Italian opera aria, Op. 6[a]; Australian flutists, including Lisa- Lorna McGhee from Scotland, who now lives in Vancouver, Maree Amos, Shaun Barlow, Aldo Canada, played a fantasy on Scottish folk songs, Op. 25; Raffaele Aldo Baerten Baerten, Molly Barth, Kathryn Trevisani from Italy performed variations on another Italian

68 The Flutist Quarterly Summer 2011 nfaonline.org prize (E5,000) went to Martin Belič from Slovenia; second prize (E3,000)to Egor Egorkin from Russia; and third prize (E1,500) went to Chaiwon Ra from South Korea. The winners of the special prizes for alto flute were Martin Belič from Slovenia and Anna Švejdová from the Czech Republic; the winner for flute with open G sharp key was Alexander Marinesku from Russia. Each winner of a special prize received a silver flute headjoint. The competition was well attended with about 60 listeners, and the concert of the winners drew about 180. Many thanks to all who helped to make the events run so smoothly, especially to Siegfried Mauser, the president of the Hochschule für Musik und Theater, who offered the rooms at no From left, Martin Belič, Toru Nomura, Gian-Luca Petrucci, Egor Egorkin, Łukasz Długosz, Alexander Marinesku, Ulrich Nicolai, Lorna McGhee, Philippe Boucly, cost; his assistent Dorothee Göbel; and, at the Gasteig, Tom Christina Fassbender, Anna Švejdová, Ludwig Böhm, Chaiwon Ra, and Werner Eckart. Hopfinger and Andreas Krause. Thanks also to the Deutsche opera aria, Op. 4; and Christina Fassbender from Germany Gesellschaft für Flöte under president András Adorján and to the played an elegy arrangement [27]. All soloists were accompa- seven jurors—Ulrich Nicolai (president), Philippe Boucly, nied with great enthusiasm by the Münchner Łukasz Długosz, Christina Fassbender, Lorna McGhee, Gian- Hochschulsymphonieorchester, conducted by Ulrich Nicolai. Luca Petrucci, and Raffaele Trevisani; the three pianists—Betty Following the festival concert, a dinner in the Seehaus in the Lee, Michaela Pühn, and Yumiko Yamamoto; and the partici- Englischer Garten drew together about 100 descendants of pants of the competition. I also thank my assistant Anna Theobald Böhm along with spouses, the musicians, and guests of Onofrichuk. Finally, thank you to the donors of the competition honor. At 6 p. m., a wreath was placed on the grave of Theobald prizes: Otto Eckart München, Yamaha Europe, Musik Bertram Böhm in the Alter Südlicher Friedhof and Lorna McGhee played (Muramatsu), Michel Parmenon, Manuel Arista, and Verne Q. Böhm’s Op. 31, Souvenir des Alpes, Andante pastorale. Powell. Additional thanks for their support go to Werner Fischer On April 4–6, the first round of competitions drew 27 partic- (Hans Kopitzki), Jörg-Rainer Lafin, Tobias Mancke, Musik ipants from 17 countries: Germany, France, Great Britain, Bertram (Muramatsu), Musik Meyer (Altus), Peter Spohr, Frank Ireland, Italy, Latvia, Poland, Russia, Switzerland, Serbia, Hammon (Miyazawa), Haruo Uesawa, Jonathan Myall and Top Slovenia, Czech Republic, Hungary, Australia, Japan, South Wind (Patrick Onn), Christopher Abell, Sanford Drelinger, and Korea, and the United States. The second round drew 16 partici- Kanichi Nagahara. pants, and seven participants played for the third round. First —Ludwig Böhm The Enormous Scale of Albert Cooper by Trevor Wye

Because of his work with “the Cooper Scale,” master flutemaker Albert Cooper directly and profoundly affected modern flute music. But his humility and generosity as a person are perhaps more likely reasons for the bounty of friends who remember him. Editor’s Note: The friendship of flutist and pedagogue Trevor Wye and flutemaker Albert Cooper began in the 1960s and continued for a half a century, burnished in recent years when Wye spent much time with Cooper in the final decade of his life. At the request of and with gratitude from The Flutist Quarterly, Wye wrote the following piece and assisted in gathering the tributes from a few of Cooper’s many friends, also included here.

lbert Cooper, master flutemaker, died after a short illness Enter Flutemaking AJanuary 25, 2011, at the age of 87. Cooper, born April 12, Early in 1938, Albert’s father visited the renowned London 1924, in Hull, England, was best known for his fine craftsman- flutemakers Rudall Carte & Co. at 23 Berners Street, Soho, to ship and his celebrated Scale. Ernest Cooper, Albert’s father, was have his flute adjusted. While he was there, the showroom staff a musician, first playing the flute and later doubling on the sax- mentioned that there was a shortage of flutemakers in their ophone and clarinet. In the 1920s, Ernest married Mary Agnes, workshop, so Albert applied to become an apprentice and was and Albert Kendall Cooper, their only child, was born. accepted. He left school at the earliest date possible, which was The family moved to London, where Albert attended Easter 1938, and signed the Articles of Apprenticeship to work Pollard’s Hill School in Streatham and never missed school or there until he was 21 years of age, this being the custom. played truant. It wasn’t that Albert was a “good boy”—he just However, two years after the outbreak of World War II, Albert naturally conformed to whatever the regulations required. was called up for the army, so his apprenticeship agreement School was not a particularly happy memory because Albert, had to be broken. with his northern accent, didn’t fit in very well. Pollard’s Hill After the war, Albert returned to what was now known as was a new school with new staff, and in the first month, there Rudall & Carte, where he was said to be a quiet worker, just were few books, and the school was even short of ink, pens, getting on with the job at hand. Though there was much and pencils. Albert showed talent at metalwork and woodwork chat and banter in the workshop, Albert was the silent one, but was poor at all other subjects. speaking only when spoken to and rarely communicating Though young Albert was brought up in a musical atmos- with his co-workers. He left Rudall & Carte in 1959, initial- phere, he didn’t play an instrument himself. “I couldn’t even ly to set up on his own to repair and overhaul flutes, but get a sound out of a milk bottle!” he said. In his last school soon he changed to making flutes, which continued year, he began playing the saxophone and clarinet, though, as throughout the rest of his working life. He travelled widely he admitted, he never reached a high playing level. But it was to flute events and conventions the world over, his extensive a good hobby and enabled him to play in local bands and reputation as an innovator and fine craftsman making him occasionally in local theatres for shows such as those staged a welcome visitor to flutemakers, particularly those just at the Theatre Royal in Streatham. starting up.

70 The Flutist Quarterly Summer 2011 nfaonline.org What else was Albert Cooper so famous for? The World’s Flutemaker: Remembering Albert Cooper Counting the Ways First, among flutemakers, Albert was generous with both his Friends and colleagues from around the time and technical expertise. Some may have been suspicious world recall the man behind the Scale. on first meeting him because he was liberally willing to offer advice and help to anyone who asked for it. In the commercial world, information equals money, but to Albert, information was something he had gleaned from others, including expert players, repairers, and flutemakers, throughout his life. It didn’t seem to occur to him to protect this knowledge. Second, performers were surprised at how much he knew about the flute from their perspective. He was able to listen to them with a clear understanding of the problems they had, then to help and advise. He was a storehouse of information picked up from reputable soloists the world over, and it enabled him to appreciate performing problems. A common problem was top G#, often a sharp note and not one with the nicest tone—also the landing point after the initial scale in the famous Daphnis and Chloe solo. Albert installed a simple attachment to the G# From left, Bob Brannen, Albert Cooper, and Bick Brannen. key; when that key was pressed down, the attachment allowed the key cup to partially close the C hole—the left thumb key. It first met Albert Cooper in spring 1974, when I was made performers’ lives easier. And it was only one of several giz- general manager of Verne Q. Powell Flutes. They had sent me to London at the insistence of Fenwick Smith mos he introduced. I to find out about Albert’s work on flute scales and tuning. The third and most famous of his accomplishments was his Albert and I spent several days in deep discussion famous Scale, referred to as the Cooper Scale. This scale was a about flutes, flute history, flute scales, flutemakers, and set of figures setting out the correct position of the tone holes flutemakers’ shortcomings, of which he felt there were a or notes on our flutes, which addressed the longstanding pitch number. He also found time to take me over to meet the difficulties players had experienced for many years. Before folks at the Flutemakers’ Guild, which I found fascinat- Cooper, we played flutes that were lower pitched but had been ing. Talk about a history lesson! Little did I know that shortened or altered in rather clumsy ways to bring them up to from that hectic week in London would spring a friend- modern pitch. ship and collaboration, and ultimately a partnership, that would span more than 25 years. The Scale When Albert agreed to let Powell build flutes with his To understand the history of the Cooper scale, we must return scales, his motivation was not financial. He hoped that to his days at Rudall & Carte, the London flutemakers where he by having a maker such as Powell build better in-tune was apprenticed in 1938. He began there as a “dogsbody” doing flutes, the European flutists he wasn’t able to serve him- menial jobs, including sweeping the floor, but as he did so, he self would be able to get instruments with his scales. observed the experienced craftsmen making flutes and remem- Upon my return to the United States, we set about build- bered what he saw. In time, he began making keys for military ing prototypes and testing flutes with the new scales. fifes, moving on to repairs and overhauls. Flutes were sent in They were absolutely everything Albert (and Fenwick) from the world over for repair as the company’s customers had said they would be, and we prepared to build them began playing imported flutes such as those of Haynes and and to show them at the NFA convention in August 1974. Powell from the U.S. and the German Hammig as well as the Albert was to join us for the unveiling. The flutes, and French instruments, Louis Lot and Bonneville. As these instru- Albert, were an instant and enormous success. ments passed through the workshop, Albert became troubled Unfortunately, this led to a situation which none of us by the differences in scales among them. could have foreseen. The flutes with the new scales were Of course, there should be no disparity. Each maker claimed so popular that Powell’s waiting list jumped from four to eight years, and as a result very few of the new scale to build its flutes to “equal temperament” and in tune, but as flutes made it to Europe in the first few years. This was time passed, Albert realized this couldn’t be so, as there were very distressing to Albert. COURTESY BICK BRANNEN

: major differences among them. In 1959, when he left Rudall &

RIGHT Carte to set up a repair service, he soon began making flutes for

; Brannen Brothers which he devised his own scale, or tone hole positions, based on In the meantime, I had left Powell in 1977 to start my what he saw as the faults and virtues of the flutes he had seen own business. I was making only piccolos, most of which and measured at R&C. were sold to Powell, when in May 1978 Albert’s new London had always been a place where players, even amateurs, business manager showed up at my shop and asked if I

COURTESY TREVOR WYE messed around with flutes and headjoints, adding extra keys, could recommend another flute company, possibly :

LEFT inventing new key systems, retuning their flutes and re-cutting or Japanese, that could make flutes for Albert’s European

nfaonline.org Summer 2011 The Flutist Quarterly 71 customers. I asked if he would let us try, as my brother replacing the lip plate on headjoints. After Böhm exhibited his Bob and I had just started Brannen Brothers Flutemakers, new flute in 1847, the English players set about “improving” it. Inc. Albert and his manager agreed. We immediately pro- There followed a range of new key systems, from the 1855 and posed that up to one half of our production would go to 1867 Systems to Radcliffe, Siccama, and Rockstro Systems and European customers and Albert was thrilled. many more. In the 1930s, the performing pitch rose to A=438 and Since my original involvement with Albert regarding by international agreement in 1939 to A=440. Those who owned scales, he had worked almost exclusively on headjoint a beautifully made older Rudall & Carte flute wanted them design. His remarkable headjoints and the scales made “retuned,” so they were sent in to the workshop and the keys the new Brannen-Cooper flutes an immediate success, “stretched” on to a longer, lower-pitched wooden body. This and our partnership was off and running. method of retuning was familiar to Albert as he both observed Over the next 20-plus years, Albert and his wife the work being done and assisted the workmen. Philomena traveled to virtually every NFA convention in this country and to flute events all over the world. In 1982 I travelled from the U.S. to Japan with Albert and Mena Collaborations for part of their “Round the World” odyssey. While in Alongside this English tradition of altering flutes, enter William Japan we toured the Muramatsu and Yamaha factories Bennett, who in 1955 was playing a Louis Lot, the scale of which and attended the first Japanese flute convention. was rebuilt by Charles W. Morley, probably to a Rudall & Carte scale. Bennett was dissatisfied both with the scales of the rebuilt Albert Memory Lot and with the U.S. flutes he had tried, so he set about retuning My fondest “Albert memory” of that trip has nothing to it according to his ear and experience. To do this, he first removed do with flutes. One day during our Japanese tour, our the tone holes (saddles) from the flute and hard-soldered them guide had taken us out to lunch at a local truck stop (at onto a piece of scrap tube, then cut them out leaving enough our request) and as we were leaving Albert noticed men remaining material to allow them to be replaced in a new posi- building a new house on an adjoining lot. He was off tion, a technique known as “patching.” This tradition of altering like a shot and before long he was climbing all over the flutes to improve the scale was, and still remains, an essential tool site. Our guide, Mr. Cho, was horrified that Albert in the search for better intonation; unfamiliar to U.S. makers, it might be injured, but Albert’s curiosity had gone super- might account for these makers’ reluctance in the early days of sonic. With Mr. Cho translating, Albert spent nearly an Cooper’s Scale to alter their flutes. hour learning how the Japanese build homes, and they Another London orchestral principal, Elmer Cole, calculated even let him try some of their traditional tools. It was a an equal-diameter tone hole scale, as set out by Theobald magical moment, and one of the few times I ever saw Böhm, known as Böhm’s Schema, where all the tone holes were Albert excited about something other than flutes. Sadly, of the same diameter. He devised a “correction graph” to enable no one had a camera to record it. the maker to re-position them when employing tone holes of a Albert wore his modesty on one sleeve and his pas- smaller diameter. Richard Lee, another London player, was also sion for flutes (and flutists) on the other. I think this is involved in retuning his flute; he, Bennett, and Cole were all in why he was so believable. It was never about him, but regular contact with Albert Cooper, whose home became a about what he shared with others. He made people clearinghouse for information on “the scales.” Meanwhile, the think, but—equally importantly—people energized Taylor brothers, Christopher and Richard, and Alexander Albert’s creativity with their questions. I often had the Murray, all London Symphony Orchestra players, made their feeling that he could listen to a room full of flutists all talking at once about their problems and come up with own suggestions, based on the Cooper flutes they played and a solution for every one of them. Aside from his techni- their criticisms of “the scale.” cal ingenuity, he knew more alternate fingerings than Albert Cooper listened to everyone and tried to satisfy any flutist I’ve ever met. every proposition, and out of this collaboration, the Cooper It is ironic that Albert became so well known and Scale was born. loved outside of England before most of his own coun- trymen caught on, which they of course did in short The Scale’s Evolution order. In the end, he truly became the world’s flutemak- In later years, Albert remarked, “Cooper’s Scale? What’s that? er. He might not have thought of himself this way, but There isn’t ‘a’ Scale. There is a constant revision taking place so the rest of us did. that, at any one time, there is a set of figures which you can use In 1998 at the NFA convention in Phoenix, Arizona, to design your flute, but these will change in the light of expe- Albert was awarded that organization’s highest honor— rience. I altered the scale a little as the years went by, mostly the Lifetime Achievement Award. It is only fitting that he according to certain criticisms levelled at it.” was the first non-flutist ever to be given this accolade. It would be fair to assert that Cooper’s Scale was a continu- The great Danish flutist, Poul Birkelund, summed up ing process and that London players were the main contribu- the importance of Albert’s work thus: “Before Albert I tors. Much later, Albert himself said, “I wish people would just would practice eight hours a day with four hours of exer- call it ‘the scale’ and not ‘Cooper’s Scale.’ ” cises so I could play in tune. Now I play only music!” At various times during more than 30 years, Albert gave the latest “scale” figures, often different from his earlier scales, to —Bickford W. Brannen those who asked for them. Sadly, in copying the scale of Cooper 72 The Flutist Quarterly Summer 2011 nfaonline.org flutes or the written figures Albert had given, some makers the device that tightly grips silver parts allowing them to be cut made errors, and when these were passed from maker to while spinning. As he pointed out, it was controlled by his feet, maker, a variety of inaccurate scales resulted. so his lathe had an infinite number of speeds and was, in that When Albert retired, the “scale” required updating, and, as he sense, a more sophisticated machine. himself said, it needed review in the light of ongoing experience This was his approach to flutemaking: keep it simple, and criticism. Work on this began some years ago, and revision using plain tools and just his bare hands. Headjoint tubes is already the subject of a paper that has been published. This were shaped using reducing rings and a hammer, working in paper also suggests ways to test a flute and correct faulty intona- the garden on a sawn-off tree trunk. Though he had keywork tion and what to look for when buying a new flute. castings made, he also cast his own parts using molten silver and an uncooked potato, which, when applied to the open- Extraordinary Engineer ing of the mold, rapidly became hot, and the steam forced A look at Cooper’s wonderfully crafted flutes reveals an extraor- the silver into the furthermost crevices. dinary engineer, everything being made with great care and The British Flute Society was presented with the most impor- accuracy. His flutes were, and still are, marvellous examples of tant of Albert’s workshop tools when he retired. Albert was the silversmith’s art, both beautiful to look at and highly reliable. asked, “What is your favorite tool, perhaps the one you used the He could easily have afforded an electronic, multi-task lathe with most in your flutemaking day?” He showed an old file—possibly multiple speeds and precise controls, but instead, he used the 150 years old—and said it was used by other craftsmen before base of an old treadle sewing machine on which he built a chuck, him. The file had been polished and its side sharpened.

accompanying letter, he mentioned that he had problems, as well as doubting the accuracy of his calculations. It tran- spired that he had suffered a number of minor strokes, which explained to those who knew him well why his speech and movement had become impaired. He became slower and more absent-minded. I shall never forget when he flew over especially for the official introduction of the Kingma-System, together with Anne Laberge in De Ijsbreker (a concert hall in Amsterdam). I picked him up at Schiphol and noticed that he was carrying something very heavy. The dear man had brought with him his “mandrills” (tools for drawing out headjoints), carefully packed in newspa- per and tied up with string. He handed them to me with the

Eva Kingma and Albert Cooper. words: “I want you to carry on with these. They are yours, I can’t manage anymore.” I was deeply moved. he death of Albert did not come as a surprise to me, I took Albert to meet my great-uncle Dirk Kuiper in but memories of him did come flooding back. We met Nederhorst den Berg. Kuiper and Cooper sat next to one anoth- Tin 1987. Of course the name Albert Cooper was a er on the sofa—a historic moment. They had known of one household name. I had admired him from afar for many another by name for years but had never expected to meet in years due to his immeasurable contribution to the develop- person. They had much in common, always trying to find their ment of the flute. He was one of the most innovative own way against all odds and coming up with something from flutemakers since Böhm. nothing. It was a special meeting for both of them. I decided to take the bull by the horns and write to him Our paths crossed many times at American exhibitions; it about the problems concerning an open-holed bass flute that was how Albert handled himself there that made me admire had been ordered by Robert Dick. While opening the key his unbelievable modesty. Everyone wanted to meet him, but cups provided endless new possibilities, it brought with it he never really understood why. He found his immense con- intonation problems that I was unable to solve by myself. I tribution to the flute world grossly exaggerated. remember well that after receiving my letter, he phoned He became famous because of the fantastic flutes that he three times to ask me if he had understood it correctly. built. Due to his way of thinking, the so-called Cooper scale is “Cooper speaking” was always the way he announced him- known worldwide. Flutists everywhere sent headjoints to him self. “An open-holed bass flute? No, that’s impossible!” He with the request to fit a Cooper lip plate, and he retuned older invited me to London and offered his help. This was the instruments as well as adapting others. What didn’t he do? beginning of a wonderful friendship. Albert’s openness and willingness to help other makers in He followed my progress with great interest and enthusi- an unselfish way, without ever passing judgment, was in asm, calculated the intonation for two different bores of alto itself a lesson in life. If you thought what you had done was flute, and was immediately enthusiastic when I decided to in any way important, he would bring you back to earth with build a bass flute. He also provided me with the intonation his humility and modesty. As everyone worldwide knows, for a Contr’alto flute in G—a new model that he had never Albert worked in a tiny shed in his back garden. I would sit even worked on. It was with the calculations for this instru- next to him on a gas cylinder, one of my legs supported by a

COURTESY EVA KINGMA ment that I noticed that something might be wrong. In the bucket and the other on a cardboard box. His workbench nfaonline.org Summer 2011 The Flutist Quarterly 73 would be in total chaos, but he knew where to find everything. sheets, hands that since his youth had worked hard, filing, I was always moved to see how happy he was in his small shed soldering, etcetera. He told me then that he was sad that his with broken windows, where it must have been impossible to life was changing, that he had wanted to do so much more. work more than an hour or so during the winter months. A Albert was also a lonely man. If you didn’t happen to share number of people and companies offered to build him a new his interest in flute-building and music in general, he had workshop, but he found the idea complete nonsense. very little conversation. He was fascinated by his work well Once when I visited him, he was up a ladder painting his into old age, always seeking new solutions to old problems. hall—he was already in his 70s—and had just painted his front I am relieved that he is now at rest, but will never forget door a vivid purple. I asked him why he did not have it done this man, to whom I am infinitely grateful for what he meant, professionally, but he found that he could not possibly approach not only to me, but to all of us. Albert was small of stature; anyone else for such a job. He could be very stubborn! his house and workshop were small; and his car was small; While he was recovering in hospital from a couple of but, oh, what a great man! accidents, I spent a number of days at his bedside. I saw his enormously strong hands lying on top of the bed —Eva Kingma

His attitude toward his house was like that too. He could have lived luxuriously, but chose to stay where he had lived all lbert’s work was of amazing accuracy, fastidious- his life, in an unassuming, semi-detached house in Clapham. ly turned out on a primitive treadle lathe. His His workshop was rudimentary, a small wooden tool shed, the Apride was to turn a cup so that it had crystal-clear edges, where other makers would be happy with round- kind you can buy at any garden center, though large enough to ed surfaces. The mechanics of his flutes were superior to contain a small workbench and his tools; visitors observed his all others. (The notes all came out incredibly easily, but work only from the outside. perhaps even too easily for some). He listened well to After he retired in 2003, Albert continued meeting with play- what everyone said, incorporated the information gained ers and discussing flutes. After a time, he could no longer look in his collective knowledge stockpot, and constantly updat- after himself adequately, so his last few years were spent in a ed his designs according to feedback. He was extremely nursing home. Albert was fortunate to have Jane and Annemarie generous with his time and often did the most extraordinary Emerson to look after him with great devotion in his final years. repairs and alterations for minimal charges. His most important work was that of improving the Remembering Albert Cooper scale of the modern flute. He was the focal point or melt- Albert Cooper’s funeral service on February 14 at Christchurch ing pot for ideas on the subject of scale, largely inspired Priory, Eltham, England, was attended by many flutists from by the work of Elmer Cole, who, in the early 1960s, around the world. Albert’s young great-niece, Katie Higgins, recalculated the Böhm Schema and started work on charmingly played Fauré’s Sicilienne and a tribute performance defining how the pitch of a note was changed with dif- was given of an arrangement of the Cantique de Jean Racine by ferences in diameter, depth, enclosure of tone notes, and Fauré for flute choir and organ. The players, several of whom addition of open holes to the keycups. were playing Cooper flutes, were Adrian Brett, Wissam Albert’s highly intelligent correlation of feedback result- Boustany, Lynda Coffin, Judith Fitton, Sir James Galway, Dave ed in a flute scale vastly superior to all previous scales. He Heath, Christopher Hyde-Smith, Jorg-Rainer Lafin, Susan was fun and had sparkle, and we all loved him. Milan, Francis Nolan, Julie Fiona Stewart, Richard Taylor, —WIBB, aka William Bennett Douglas Townshend, Averil Williams, and Trevor Wye. At the reception that followed, his many friends remembered his ooper was my mentor. Before I met Albert, my humility, his deference to others, and his kindness. attitude had been that of a manufacturer, but Albert’s legacy was the information he had amassed in his Cwhen I met him, he unhesitatingly shared his life and his willingness to share it, believing he was merely the knowledge of all his skills and insights with me, and caretaker of that knowledge, giving it freely to any who asked. taught me how to really to make top class handmade An unforgettable man. flutes. I changed my outlook, and the best way of giving thanks would be for me to hand on to the next generation of flutemakers the traditional and workmanship Trevor Wye teaches at his flute studio in Kent, England, a one- skills and other information that he gave to me so year residential course for postgraduates. Performing engage- freely. I hope to be able to pass some of his legacy onto ments take him worldwide, including annual appearances in others with the same generosity that he has given to the United States, Japan, and Taiwan. (He always travels in everyone else. business class, having a fear of it being known that he crashed May he rest forevermore in peace. in economy.) He enjoys serving on juries for international —Shuichi Tanaka competitions and presenting his 50 Variations on the Carnival of Venice for 60 Flutes and Piano. He knew Albert Cooper est in peace, Albert, knowing that the instrument since the 1960s and for the past 10 years visited him regular- you helped perfect has illuminated the world with ly at his home in Streatham, where he made notes, took the beauty of sound. photographs, and made recordings with a possible biography R —Dave Heath in mind.

74 The Flutist Quarterly Summer 2011 nfaonline.org first met Albert Cooper in 1956 when I went to work at the firm of Rudall, Carte. I didn’t have much contact with him Ithen, as I was a mere learner and he was one of the top makers. He was not known as Albert there; he had a nickname of Harry (don’t ask me why). It wasn’t ’till much later that I found out his name was Albert. After he set up on his own and we set up the Flutemakers Guild, I had much more contact with him. He was very generous with his knowledge and in other ways. When my wife and I went to the New York NFA convention in 1986, he was there at the airport to greet us and show us the ropes. Similarly, once at a flute gathering in southern Italy, he offered to take us to Rome and show us ’round, as he could speak Italian. My wife and I visited him regularly in his various nursing homes and were saddened to see the decline from the old Albert we had known. He was well looked after by his two nieces, Annemarie and Jane. —Harry Seeley

Albert Cooper in 1986. knew dear Albert for over 40 years. During my career I have owned three of his flutes, including the last he made, Iwhich I still have. He visited my masterclass courses for at least a decade, where he entertained students with anecdotes from a bygone era of flutemaking and answered their many questions with clarity and humor. He was also on the committee when I was chairman of the British Flute Society. He masterfully created the nearest to a perfect scale as we are ever likely to have and excelled in key-work design that made virtuosity easier. He and his wife Philomena became dear friends, and I enjoyed many a visit to his house in Clapham, with tea in the living room and much flute talk. Flutists and flute manufacturers around the world recognize his remarkable contribution to the development of the flute. I personally feel honored to have known and befriended him, and I shall miss him very much. —Susan Milan

Albert Cooper at work. ear Cooper-san, it is with great sorrow that we have received the sad news of your passing. I well remem- and others. Eva Kingma is a master flutemaker in Dber when you invited me to your home in October Holland, well known for her Kingma System and her spe- 1985. We had a pleasant time together for three days. We cialized work with lower flutes. She collaborates fre- talked about flutes and flutists, and you showed me personally quently with American flutist Robert Dick. British flutist the process of flutemaking. I am sure that you treated all of your William Bennett was an early collaborator with Cooper flutemaking acquaintances with this kindness and respect. and other British flutists in work on flute acoustics and You were a great leader of flutemakers in the world. The the resulting Scale. He was a key influence on Altus flute has improved and become a greater instrument by your flutemaker Shuichi Tanaka. Harry Seeley began making hand and influence. flutes in 1948, worked at Rudall Carte in the 1950s, These words that you said are deeply etched into my mem- cofounded the Flutemakers Guild, and worked there ory: “The flutists in my town are the most skilled artists in the until his retirement in 1998. Susan Milan was the first world. They raised me and taught me. Without them, I would woman to be appointed a member and Principal of the not be what I am today.” Royal Philharmonic Orchestra, beginning a career as an Please accept our heartfelt condolences and deepest sym- orchestral principal, chamber musician, soloist, teacher, pathies. Sincerely yours, and lecturer. She is professor and fellow of the Royal —Hiroshi Aoki College of Music. Hiroshi Aoki is a flutemaker with Muramatsu Flute. Flutemaker Shuichi Tanaka is former Bickford W. Brannen is co-founder of Brannen Brothers chairman of Altus Flutes Japan and among the Japanese Flutemakers in the United States. His work has produced flutemakers who worked with British craftsmen in devel- acoustical and technical innovations, but more important oping flutes with acoustical innovations. British flutist to him are his collaborations with Albert Cooper, Johan and composer David Heath has written works for Sir Brögger, David Straubinger, Eva Kingma, Robert Dick, James Galway, violinist Nigel Kennedy, and others. COURTESY TREVOR WYE

nfaonline.org Summer 2011 The Flutist Quarterly 75 NEW PRODUCTS Recordings, music, and other products by and for NFA members

MSR Classics announces the En Trio: De la Barre, Sonate en trio in G; Hotteterre, Sonate en release of A Treasury of German trio in B minor; Couperin, La Françoise from “Les Nations”; Baroque Music, the latest record- Leclair, Deuxième Recréation de Musique ing by the Hanoverian Ensemble. The release is the seventh in a Music for Lord Abingdon: Haydn, four London Trios; J.C. series of acclaimed recordings Bach, Quartet in G for two flutes, viola and violoncello; J.C. made by the period-instrument Bach, Trio in C for two flutes and violoncello; Gretry, two flute ensemble since 2002. duets; Abel, Trio in G for two flutes and violoncello The new CD consists of five chamber music works by Quantz, Telemann: Six Concertos for two flutes with bassoon, strings Telemann, and Fasch and five solo organ works by Buxtehude, and continuo Pachelbel, Lubeck, and J. S. Bach. The performers are John Solum, transverse flute; Richard Wyton, transverse flute and Music for Louis XV: Michel de la Barre, ten Suites for two flutes recorder; Nina Stern, recorder; Arthur Fiacco, cello; and Kent Tritle, organ and harpsichord. The organ is a tracker organ Telemann in the French Style: Ouverture from Musique de made by Paul Fritts for Vassar College and is based on historic Table, Paris Quartet & Two Trio Sonatas north German models. Two of the chamber works combine transverse flute with recorder, a rare combination of wind A Treasury of German Baroque Music: Chamber music and instruments since only a handful of such works exists. organ works by J.S. Bach, Buxtehude, Fasch, Lübeck, The Hanoverian Ensemble was formed a decade ago to per- Pachelbel, Quantz, and Telemann. form and record great instrumental music from the baroque and classical eras. Much of the repertoire recorded by the The Hanoverian Ensemble is a group of distinguished ensemble features two flutes. The flute in the 17th and 18th centuries was a notable “social” instrument, being a feature of musicians who specialize in historical performance on period life at many of the royal courts of Europe. It stands to rea- instruments. Their programs feature the great music of the son that two flutes playing together became the norm from baroque and classical eras, performed with an expertise devel- the very beginning of the one-keyed flute. By a ratio of oped from many decades of concert and recording experience. almost two to one, flute music published in France between The ensemble includes from four to 10 players, depending 1692 and 1729 (at the initial development of the one-keyed upon the repertoire. John Solum made his debut as soloist transverse flute) was scored for pairs of flutes rather than with the Philadelphia Orchestra and has since appeared as single flutes. Of the 49 works recorded by the Hanoverian soloist and chamber music player in 37 countries. He is inter- Ensemble in its series of seven CDs for MSR Classics, 38 of nationally known for his recordings of more than 80 works for them feature pairs of flutes. These seven CDs thus constitute flute and has appeared at major music festivals throughout the a rare opportunity to hear a broad sampling of this previ- world. His many editions of music are published by Oxford ously underrepresented repertoire. University Press. Richard Wyton began his musical training as a chorister at New York’s Cathedral of St. John the Divine and The recordings are as follows (in order of release from earliest made his professional debut at the age of 12, singing a role to most recent): with the New York City Opera. As a flutist he has performed coast-to-coast on both modern and historical instruments at Bachanalia: W.F. Bach, two flute duets; C.P.E. Bach, Trio Sonata universities and concert series and has recorded for for flute, violin and continuo; J.S. Bach, Partita for solo flute; Arabesque, Centaur, CRI, Epiphany, Innova, MSR Classics, J.C. Bach, Quartet in D for two flutes, viola and violoncello. and Music Minus One. Visit hanoverianfoundation.org.

76 The Flutist Quarterly Summer 2011 nfaonline.org Albany Records announces the release of David S. Lefkowitz: Music of Contradictions. Repertoire includes “Duo”; “With/Without [Con/Sol (-ation)]”; “(Sur)Real (Cine-)”; “Surfer’s Guide for the Perplexed”; “E Duo Unum”; “Canonical Variations”; and The Fashionable Suite. The music is performed by flutists Julie Long and Jennifer Roth; clarinetists Ralph Williams and Jonathan Sacdalan; violin- ists Daphne Chen and Paul Colette; Silu Fei, viola; Carter Dewberry, cello; guitarists Buzz Gravelle and Sam Vierra; The Lopatin Flute Company is proud to announce its latest Andrea Thiele, harp; pianists Walter Ponce, Stella addition to its SquareONE family of flutes. The SquareONE Maksoudian, and Jeri-Mae G. Satolfi; The Definiens Project; Semi-Professional model is a medium-wall (.016”), all-ster- and David Lefkowitz, conductor. For much of his composi- ling concert flute with soldered tones holes, designed to pro- tional career, David S. Lefkowitz has enjoyed creating music duce the same SquareONE sound as the professional model with different, often contradictory, faces (atonal yet tonal, but at an affordable price. The SP 1000 series features Y-arms fast yet slow). He studied music composition at the rather than pointed and stainless steel springs rather than Eastman School of Music, Cornell University, and the # white gold, but each of them include open holes, a C trill, and University of Pennsylvania, with such teachers as Samuel a B-foot with gizmo in the base price. Customers will have Adler, George Crumb, and Karel Husa. His music has been their choice of in-line or off-set G keys, and a split-E mecha- performed throughout Asia, the Middle East, Europe, and nism or a high E facilitator (lower G insert) are available the Americas. He has won numerous national and interna- options. As with the professional model, the SP is made to the tional competitions including the Fukui Harp Music Lopatin Scale. Lopatin, a graduate of the Juilliard School and Awards Competition and the ASCAP Grants to Young a former member of the Metropolitan Opera Orchestra, pro- Composers Competition. He has also won prizes and recog- duced his first flute with his signature SquareONE mecha- nition from the National Association of Composers, USA, nism in 1989. He designed a SquareONE alto flute in 2005 Pacific Composers’ Forum, the ALEA III International and a SquareONE piccolo in 2009. Visit lopatinflutes.com or Competition, and the Society for New Music’s Brian M. send an e-mail to [email protected] to request a free PDF Israel Prize. Visit albanyrecords.com. file of Dreams to Reality: Designing a SquareONE Alto Flute.

The tiny piccolo is in the spot- Centaur Records is pleased to light on the newly released announce the release of East PicCollage from Talaton. The Meets West. The CD features second solo CD of Gudrun Leonard Garrison, flute and Hinze, piccoloist of the Leipzig piccolo, and Kay Zavislak, Gewandhausorchester, this piano, in works by Asian recording includes the world composers and Western com- premiere recordings of three posers writing in an Asian pieces, performed with Ge- style. Asian works include wandhausorchester and MDR Toshio Hosokawa’s “Lied,” Sinfonieorchester colleagues along with the pianist Markus written for the NFA’s Young Artist Competition in 2007; Toru Zugehör. The concerto by Australian composer Barry Takemitsu’s Air, his last work, and Isang Yun’s virtuosic McKimm incorporates the Celtic quality of the piccolo, harp, “Garak.” Western works include “Honami” by Wil Offermans, and bodhrán together. Other pieces are Daniel Dorff’s Three Pieces by Pierre-Octave Ferroud, and the première “Sonatine de Giverny” and “Flash!”; “Noble Tafelmusik,” by recording of David Loeb’s Scenes from the Japanese Robert Delanoff, reminiscent of the folklore of Asia Minor; Countryside for solo piccolo. Garrison and Zavislak are faculty at and Vivaldi’s Concerto in A Minor. Visit talanton.de. the University of Idaho.

Duo Rubicund announces the release of its debut CD, Imaginary Landscapes, featuring Erica Coutsouridis on flute and Meredith Connie on guitar. The recording centers around works by living American composers with a narrative thread. “Hidden Tango” by Jerry Owen begins the CD; “Once Upon A…” by Gary Schocker, “Dances in the Madhouse” by David Leisner, and “Fireflies” by Andrew Earle Simpson take the listener through the Rapunzel fairy tale, a social event at an insane asylum, and a range of scenes from a sunflower field to an oily garage to a quiet starry sky. Rounding out the CD are Meredith Connie’s “Stolen Moments” and Dusan Bogdanovic’s “Deep Voices,” both recorded here for the first time. Visit duorubicund.com.

nfaonline.org Summer 2011 The Flutist Quarterly 77 NEW PRODUCTS DreamboxMedia proudly an-nounces the release of The Russian Romantic Flute. In this new recording, Haynes Artist Inna Gilmore delves into her heritage to explore a world of Russian and Soviet post-romantic music rarely heard in the West. Featured works include Sergei Vasilenko’s Springtime Suite, Vladimir Tsybin’s Four Concert Etudes and Concerto Allegro No. 2, and works by Gliere, Lyadov, and Rachmaninoff. As a protégé of Alexander Korneyev, Moscow Conservatory professor of flute, and the artist who premiered Vasilenko’s Suite nearly half a century ago, Gilmore claims a direct lineage to the present works. Since her début as a concerto soloist at Tchaikovsky Philharmonic Hall, Gilmore has appeared regularly as a soloist and orchestral member in the Moscow Autumn Music Festival, premièred new compositions in the Moscow Hall of Composers, and won numerous prizes and awards. After immigrating to America, Gilmore formed a duo with her husband, pianist Brian Gilmore. Together they have performed, won prizes in international competitions, and appeared on radio programs. They will present repertoire from their newly released CD at the 2011 NFA convention in North Carolina.

Inward, a new CD from Divine Art/Metie Sabudo Records is Records, features Richard Craig performing pleased to announce contemporary works by Dominic Karski, the release of Colors Brian Ferneyhough, Evan Johnson, Malin by New York-based Bång, Salvatore Sciarrino, John Croft, and Bas Duo. Colors is a Richard Barrett. The repertoire is the result of collection of pieces six years of collaborations, throughout which published from 1907 the works have played a large part in Craig’s to 2006 performed development as a musician. Since the begin- by flutist Elyse ning of his career in 2004, Richard Craig has Knobloch and gui- focused his development on interpreting contemporary music, initiating new tarist Peter Press. Featured works have strong ethnic works, and extending the expressive range of the flute. His dedication to real- ties to Eastern Europe, the Balkans, Brazil, izing works of the avant-garde and developing new repertoire has led him to Argentina, and the Basque region of France. This is be invited to perform with ensembles Klangforum Wien and MusikFabrik a first recording in this genre of Bartok’s “For and to tour extensively, performing such festivals as MaerzMusik, Vienice Children;” the selected miniatures of Romanian Biennale, Wittener Musiktage, Warsaw Autumn, ULTIMA, and Festival and Slovakian impressions played use a variety of d’Automne. Craig was born in Glasgow and studied flute at the Royal flutes accentuating the playful and soulful quali- Scottish Academy of Music and Drama. He has worked with composers ties that are so exceptionally Bartok. Atanas Brian Ferneyhough, Beat Furrer, James Dillon, Salvatore Sciarrino, Kaija Ourkouzounov’s “4 Legendes” is a new work with Saariaho, Richard Barrett, and Helmut Lachenmann and musicians Emilio extended techniques for both instruments that Pomarico, Enno Poppe, Stefan Asbury, Barry Guy, Roberto Fabbriciani, and abounds with Bulgarian rhythms, instrumental Rohan de Saram. Recent broadcasts include WDR Cologne, YLE Finland, interplay, and intimate melodies. Argentinean Radio France, Radio Nacional de España, Swedish Radio, ARTE, and composers Piazzolla and Merlin offset each other Icelandic RUV. In 2010, he was appointed Visiting Fellow in Performance at with distinctly different styles rooted in their the University of Aberdeen and was awarded an arbetesstipendium from the country, while Villa-Lobos and Ravel round out Swedish Arts Grant Authority for 2009/10 in recognition for his work in con- these selections bridging the continents. Visit temporary music. Visit richardcraig.net. cdBaby.com/cd/basduo or basduo.com.

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78 The Flutist Quarterly Summer 2011 nfaonline.org Theodore Presser Company announces the release of multiple was nominated for a Grammy as “Best Classical Composition new works including more than 100 new and previously unpub- of the Year” in 2001. lished works by Eric Ewazen; Amazing Grace: Eight Songs of the The Concertino, Op. 50, by 19th-century flute virtuoso Spirit, performed worldwide by Paula Robison and guitarist Giuseppe Rabboni, has been reworked for piccolo and piano Frederic Hand; and Carter Pann’s “The Bach Buch” for Chamber by Jean-Louis Beaumadier. Ernesto Lecuona, known as the Winds. Presser also is distributing new flute works from Falls Cuban Gershwin, wrote Malagueña as the sixth and final House Press and Billaudot, notably Trevor Wye’s “Away in a movement of his Suite Andalucia for piano, referring to the Manger” for flute quartet, Giuseppe Rabboni’s Concertino Op. southern Spanish port city of Malaga. Ann Cameron Pearce’s 50, and an arrangement and an original work by Ann Cameron arrangement for flute choir of this flamenco piece is a study in Pearce, “Malagueña” and “Cosmic Horizons” respectively. contrasting tempi and styles, with impish themes, driving bass Among the more than 100 new and previously unpublished lines, frivolous arpeggios, and a dramatic flair. Pearce’s origi- works by Eric Ewazen now or soon to be available are “A Song nal composition “Cosmic Horizons” for flute choir, written in from the Heart” for trumpet and piano, a seven-minute piece celebration of the Raleigh Area Flute Association’s 25th appropriate for intermediate to advanced players; “Fantasia,” for anniversary, exemplifies the organization’s unofficial motto: alto saxophone and band, which will also be available with a “The sky is the limit.” The main theme evokes meteors zipping piano reduction; and the upcoming Sonata No. 1 for flute and sporadically throughout the solar system, and the secondary piano, which will receive its premiere by Marya Martin at the theme suggests the mysterious nature of outer space, with the 2011 National Flute Association convention in Charlotte. A fac- “star” being a singing bowl or hand bell and wooden dowel. ulty member at the Juilliard School since 1980, Ewazen has stud- These works are for advanced players. ied with Milton Babbitt, Samuel Adler, Warren Benson, Joseph Founded by Louis Billaudot (1871–1936), this full-line French Schwantner, and Gunther Schuller. publisher remains a family business. Visit billaudot.com/en. The Amazing Grace: Eight Songs of the Spirit for flute and guitar, a American publisher Falls House Press discovers and publishes collection of eight “spirit songs” representing the collaboration new flute compositions and republishes repertoire that is out of between NFA Lifetime Achievement Award recipient and New print. Visit fallshousepress.com. Theodore Presser Company is a England Conservatory faculty member Paula Robison and full-range music publisher and distributes the music of more Grammy Award-winning composer and guitarist Frederic than 30 publishers from around the globe, with a combined sales Hand, features songs drawn from all over the world. These catalog that features more than 60,000 available works. Visit works can be performed as a suite in recital or used as individ- presser.com or send an email to [email protected]. ual hymns in worship services. Carter Pann’s The Bach Buch: 18 Transcriptions of J.S. Bach for Chamber Winds, a collection of 18 of Bach’s most celebrated keyboard and instrumental works transcribed by Pann for a flexibly Can’t Find it? Gotta Have it? scored ensemble of 10 woodwinds, includes “Jesu, Joy of Man’s The complete index of articles in The Flutist Desiring” from Cantata 147, Sarabande from Overture in the French Manner, Two-Part Invention No. 6, and more. Suitable Quarterly, volumes 16 through 32, is now online! for individual movements to be used with school ensembles or Visit nfaonline.org features within band concerts, the publication also includes and look under the Flutist Quarterly section extensive historical and musicological notes by Pann. The collection is best suited for advanced players. Pann’s music has of the site to find the index. become known for its blend of crafty, popular-sounding idioms, (A printed index to issues prior to volume 16 is subtle humor, and haunted melodic writing. His music has available from the NFA office on request.) been performed around the world and his Piano Concerto

nfaonline.org Summer 2011 The Flutist Quarterly 79 Reviews of flute-related recordings, REVIEWSREVIEWS books, and other items of interest Book Susan J. Maclagan scale, cork plate, countersink, crescent key, and cross key. And A Dictionary for the skipping ahead to the R section, how about “ragging” and Modern Flutist “round shouldering”? Also, did you know that the letters spelling out the nickname of our distinguished friend WIBB © 2009 Scarecrow Press are actually his initials, William Ingham Brooke Bennett? The dictionary is well illustrated, especially the 14 appendix eading a dictionary from chapters having to do with such topics as “Various Flute cover to cover is not the R Classifications,” “One-Keyed, Two-Keyed, and Simple- sort of thing I would normal- System Flutes,” “The Family of Boehm-System Flutes,” and ly do, but Susan Maclagan’s “Common, Modern Flute Options.” Appendix 11, written by beautifully laid-out book has Trevor Wye, who incidentally is an NFA 2011 Lifetime proven to be a notable excep- Achievement Award recipient, is “An Easy Guide to tion. Reading consecutively all Checking Your Flute Tuning and Scale.” the way from “Abdominal Speaking of flute tuning, one of the most exciting discoveries Kick” to “Zwerchpfeife,” I found this 245-page tome to be a cornucopia of valuable information. for me was this entry in the dictionary: “REAL TIME TUNING This is a very special kind dictionary, one that answers just ANALYSIS—Free computer software for measuring the about any conceivable question that a reader might have intonation of flutes while playing at normal speed and thus regarding the construction, mechanics, repair techniques, avoiding the danger of the player inadvertently correcting acoustics, and history of the flute. Though there are some notes when playing into a tuner. Conceived by Australian biographical sketches of notable composers and performers, flutemaker and researcher Terry McGee (b. 1948) and realized and some coverage of various playing techniques and musical by New Zealand flute player and computer scientist Graeme terminology, by far the main thrust of the dictionary has to Roxburgh in 2008. See www.mcgee-flutes.com/RTTA.htm.” do with what one might call the “anatomy” and “physiology” Sure enough, after logging on to that website, I could easily of the instrument. download the free software, opening up a realistic method for I learned for the first time about things like acoustic documenting my pitch tendencies in equal temperament, just impedance, age-hardening, articulated key, aulophobia, intonation, or any other tuning system. back-connector, bead, bladder skin, block-mount, bonding, Incidentally, the words and names in bold type shown in the brazing, brille, brossa lever (I actually knew about that, but above paragraph indicate cross-references in the dictionary. you should too), bumper, burnishing, bushed embouchure There are a generous number of such cross-references (no, this doesn’t refer to tired lips), buzz-head (what?!), throughout the book, greatly enhancing its usefulness. casting, chambering, cladding, clutch, cold drawing, Cole —Walfrid Kujala

CDs

Vision (mostly slow) movements from baroque and 20th century lit- Karin Marcello erature (Telemann, J.S. Bach, Faure, Debussy), making it a © 2009 Marin Marcello great addition to the collection of any casual music apprecia- tor looking for gentle ambience. It is impressive that Marcello ision is the debut was able to gather a wide array of accompaniments, from piano V CD from free- to guitar, and even a full orchestra for one movement of lance flutist and com- Rodrigo’s Danza from Fantasia para un gentilhombre, which poser Karin Marcello. helps lend a variety of colors to her playing. The highlight of the The title is taken from program is Tarot by B. Hartglass, an evocative unaccompanied Marcello’s only original solo which I found myself listening to again and again. Marcello composition to appear has created a very listenable CD that can survive beyond the on the CD, a contemplative, atmospheric little study in circu- extremely small audience of the classically trained flutist. lar melodies. The majority of the CD is a collection of short —Nicole Riner

80 The Flutist Quarterly Summer 2011 nfaonline.org Below: Music for almost become one in sound quality” as they merge togeth- Low Flutes er in the final melodic moments. Sheridan explains the joke Peter Sheridan of “Block Party,” last of the three vignettes, thus: as the party © 2009 Move Records fun fades, “one party goer does not want to leave. Can you guess which one…?” I think I did, but naturally will not ho knew? Certainly commit myself here. Wnot me. Sure, Gary Schocker’s “Adventures Under a Leaf” for C flute most of us know about (Lisa-Maree Amos) and bass flute features five peeks into the alto flute in G (four the fauna of shadow. Each is aptly titled: Fern, Hosta, Mint, notes below C flute), the Monkshood, and Poppy, and each “has great character” bass flute in C (one bringing “a new compositional idea to the flute duo genre.” octave below C flute), “Elegy” for contrabass flute and piano, transcribed by com- and even the contrabass poser Bruce Lawrence from his original cello work, lasts but flute (two octaves below the C flute). But did you know, for a brief three minutes but flows through lament, praise, and example, that there is a flute lower than the contrabass (called consolation and highlights the “expressive voice of the con- the sub-contrabass in C and sounding three octaves below the trabass flute…also known as the gentle giant.” Sheridan pays C flute) and yet another even lower? It’s an “extra large piped tribute here not only to the composer’s father (artist George instrument known as the hyperbass flute in C.” This monster, Feather Lawrence) but to his own (Patrick) “who inspired “of which only one model exists” to Peter Sheridan’s knowledge, my musical development.” sounds a full four octaves below middle C. “There is a Difference Between Apples and Men,” by This is only a small representation of what I learned read- Vinny Golia, for contrabass flute and vibraphone (played ing the liner notes to this marvelous CD (with Claire here by Peter Neville) has been excerpted from a larger work Cooper, piano). Containing music commissioned especially for contrabass flute and (various) percussion. Opening with for this recording, it features “A Small Sonata for a Large a kind of “spatial improvisation,” it bleeds into a “metered Flute” (bass flute and piano) by Gary Schocker with a love- dialogue” exploring how “timbre, tessitura, and time” can ly opening Moderato that lays the groundwork for the flow- play with musical material and ends with a return of the ing Cantabile (II) and morphs into the delightfully “quirky opening rubato in which the two instruments “almost rhythms and short incomplete melodic lines” of the “snap- exchange one another’s timbres.” I found this exploration py” dancing final movement. “Irish in the Lowlands” (bass intriguing, but still unfortunately have absolutely no clue as flute, Irish flute-piccolo, and contrabass flute), written and to what really is the difference between apples and men. played by Sheridan Stokes, opens with a “rhapsodic song” Different atomic arrangement? for contrabass and bass flute, then changes mood “as the two “And the Giant Began to Dance…” for sub-contrabass flutes initiate a romping dance of joy” with a “pulsating flute by Peter Sheridan was, I confess, the first track I lis- drum rhythm” in contrabass entrance, and a “classic Irish tened to on this CD. I think I knew just from the title that folk-like sound” when the Irish wood piccolo dances the music forward. Finally, these “gentle giants of flutes” say “a this little piece would delight from beginning to end…and it touching farewell” as the music closes. does! One pictures the lumbering giant getting to his feet, “Virtuosic Etudes,” arranged by Peter Sheridan from beginning to find his rhythm, beginning to feel freer to music by Hilary Taggart, Jules Demerssemann, and Ernesto move from lurch to dance. He tires too quickly, however, for Kohler, feature alto flute, bass flute, and contrabass flute my taste, as I wanted him to feel his large body move even consecutively. Well-grouped as virtuosic expressions, these more. I doubt many of us will ever be able to play this provide examples of what a fine player of these lower flutes touching miniature, but I am grateful that Sheridan has can accomplish—with, one suspects, a great deal of practice recorded it for our delight. and a ginormous air supply! “Below,” by Alex Shapiro for contrabass flute and electronics, Phillipe Gaubert’s lovely “Madrigal,” transcribed for alto evolved from Sheridan’s request that Shapiro create a “work for flute and piano by J. Saworski (piano), steps back from the the gorgeous lyricism and driven outbursts of the contrabass virtuosic and into the lyrical loveliness we all know so well. flute.” What she has accomplished is nothing short of astonish- “City Vignettes,” by Patrick Neher (himself a virtuoso dou- ing: First capturing the sounds of the Pacific humpback whale ble-bassist), paints three pictures for contrabass flute, dou- electronically, she then pairs their melancholy singing with the ble bass, and piano. In “Corner Encounter,” inspired by the echoing deep voice of the contrabass flute. The result is an conversation between Neher and Sheridan after one of exceptional blend of eerie suboceanic soundings wherein one Neher’s recital performances in Melbourne, we share sometimes cannot tell if whale or flute is swimming into our Sheridan’s delight at the jazzy tunes “with a hint of Native consciousness. This is a brilliant, lovely, and true work of art American flavour.” “Lunacite” “is a play on words, as the that reminds us to both appreciate and treasure our most inti- mood of the movement can be heard as night music.” Here, mate connections with the natural world. “the contrabass flute and double bass (Heather Price) —Cynthia Stevens

nfaonline.org Summer 2011 The Flutist Quarterly 81 CDs Diamonds movement.’” The piece was written for and performed by Uncovered Jean-Pierre Rampal on the occasion of his 65th birthday and Deanna R. Little remains unpublished. This appears to be the only commer- cially available recording of the piece. © 2008 Deanna Little, The sonatas by Thomas Pasatieri and Emma Lou Diemer Jerome Reed, Michael both include dolce middle movements and feature listenable Fleming writing for flute and piano throughout. This is the only recording of the Pasatieri and the only recording of the n her debut record- Diemer with piano (rather than harpsichord). Diemer’s ing, Deanna Little I sonata was dedicated to NFA founder Mark Thomas. joins forces with Jerome Canadian composer Denis Bédard’s sonata is the jewel of Reed at the piano to produce an impressive CD that will be a this recording, featuring lovely harmonies and singing valuable addition to any flutist’s library. The five works Little melodies that make listening a delight. In the first movement, and Reed have recorded are all 20th-century sonatas by North Little uses a dolce sound that soars over the piano writing and American composers, but only one of the five, Samuel allows Bédard’s masterful writing for the flute to come to Zyman’s 1997 Sonata for Flute and Piano, approaches standard repertoire. The remaining pieces comprise a body of lis- the fore. The work is reminiscent of Satie, Poulenc, and tenable, solid repertoire that can augment the usual suspects occasionally Feld, and even in the rapid passages, lyricism is that appear on many graduate and faculty recitals. never far behind. Diamonds Uncovered features high-quality playing from This is not the only recording of Samuel Zyman’s sonata, and both performers. Little uses a variety of color, vibrato, and it is the only piece on the CD that has become somewhat stan- dynamics that propel each performance forward. Her sound is dard in the flute repertoire. This virtuosic piece is performed especially beautiful in the lower to middle register, where it is admirably by both performers, who manage beautiful clarity often full and focused without an overdone forcefulness that through excellent articulation. Little never sacrifices sound and can creep into lower-register flute playing. The upper register Reed does not allow the piano to become overwhelmed by the is not as compelling, sounding somewhat compressed at adventurous harmonies and agility of the writing. The perform- times. This does not seem like a color choice but rather an ance of the first movement is especially strong. unintentional product of the recording process, either in With this recording, Deanna Little and Jerome Reed have microphone selection or sound mixing. made a substantial contribution to the recorded repertoire. As The first sonata, by David Diamond, features flute and many of the pieces contained in Diamonds Uncovered are not piano parts of equal difficulty and importance, in which the yet well known, this CD has the potential to introduce some last movement subtitle is the amusing “‘Hommage’ to the crit- excellent works to the field. ic who said: ‘too bad they did not play together in the last —Rebecca Johnson

Songs of Sequoia Trio); one for oboe and piano (“On Holt Avenue”); a b California: piece for solo B clarinet (“Chansons de la Nature”); and the Music for Winds finale, a piece for oboe, clarinet, bassoon, and piano (“Sea Quartet”). Flutists listening may become sad that more was and Piano not written for their instrument. In fact, it would not sur- Music by Jenni prise me if flutists wanted to “borrow” “On Holt Avenue,” Brandon, Greg given Brandon’s beautifully crafted lyricism. It is apparent in Milliren, flute many of her works that she often thinks vocally, which trans- ©2010 Jenni Brandon lates well on the flute. Music Brandon’s chamber ensemble works utilize each instrument’s characteristic timbre to portray all of the program- omposer, conduc- matic elements in exciting ways. For instance, in the second Ctor, and vocalist movement of Goldfish Songs, entitled “Celestial: Looking Jenni Brandon uses nature as the source of inspiration for Heavenward…,” the flute performs harmonics to depict the each composition on her debut CD, Songs of California. These angelic way the celestial goldfishes’ eyes are fixed atop their works were all completed between 2002 and 2009 and depict heads, making them always look upward. In Pleistocene Epoch, aspects of nature past and present. the bass clarinet gurgles, clicks, and produces murky tones Only two works here include flute: Five Frogs for woodwind when depicting the tar pits that preserved animals that lived quintet and Goldfish Songs for solo flute/alto flute. The other long ago. Finally, in Five Frogs, each instrument of the quintet tracks include a piece for bass clarinet (Pleistocene Epoch: The is featured in particular ways to suit the characters presented. Great Ice Age); one for oboe, clarinet, and bassoon (The For example, the bassoon creates a splendid bullfrog impres-

82 The Flutist Quarterly Summer 2011 nfaonline.org sion in the low register, the horn plays the role of bug prey by ing, I had the pleasure of being outdoors, so I could vividly buzzing on the mouthpiece, and the clarinet is featured as experience the moods and characters of her compositions. leaping from here to there. This is a great chamber music disc, and I look forward to Each piece demonstrates Brandon’s ability to creatively use hearing and performing Brandon’s works in the future. the sounds and techniques of wind instruments. While listen- —Tess Miller

The Birds: Original hope and pride. This piece was composed in 2005 and would Works for Piccolo make an absolutely charming addition to any recital program. and Piano Next up is an enjoyable little interlude by Leos Janacek entitled “Marsch der Blaukehlchen,” composed in 1929. This brief Peter Verhoyen, work is performed impressively and with great sprightliness. piccolo Following it, a three-movement piece by living Belgian com- © 2009 Peter Verhoyen poser Piet Swerts, “Le Tombeau de Ravel,” pays homage to the master work Le Tombeau de Couperin by Ravel. The last eter Verhoyen comes movement, Petit Oiseau Mechanique, takes the piccolo to epic Pfrom an impressive heights in regard to range. This piece provides great depth and background of training range for the piccolo and the piano; it is a beautiful ode to the and experience, and his variety of colors the piccolo can achieve. virtuosity shows in this outstanding CD showcasing several The inevitable programmatic correlation between the piccolo lesser-known pieces from the piccolo repertoire. Verhoyen is and a bird comes to us in the next three works on the album. Yves accompanied by pianist Stefan De Schepper, who plays master- Bondue’s “Five Senses of Birds,” written in 2007, is a fun, pro- fully in the varying styles on this disc. The CD takes listeners grammatic romp through birdsong. The terrific “A Little Bird through the variety of colors and timbres that the piccolo can Told Me” was written by Jan Haylebroeck in 2009 for this record- employ and the charming way composers have written for it. ing project. The second movement, Not an Ancient Story, In Sigfrid Karg-Elert’s “Impressions Exotiques,” listeners are employs the pianist as a ragtime musician playing blues patterns treated to the lush sounds of the piccolo in the lowest range; and progressions for the piccolist and pianist. “Meeting a Verhoyen brings elegance and agility to this little gem. This piece, written in 1919, is made of five movements for flute, but Mockingbird in Texas,” by Wilfried Westerlinck, is the only unac- the performer is asked to switch to piccolo for the movement companied work on the CD and yet another charming opportu- aptly entitled Colibri (Hummingbird). nity for the piccolo to sing its birdlike song. In his work “Souvenirs,” American composer Robert Beaser “Momento” is a dense work by Wouter Lenaerts, born in integrates, as always, folk tune elements into his incredibly 1981 and now teaching composition at the Brussels complicated work. The piece provides an intellectual tapestry of Conservatory of Music. This work was also commissioned for composition that challenges the performer and the listener, but this recording project and has five movements, all relatively the final product presented by Verhoyen and De Schepper is short. The outstanding writing for the piccolo highlights the truly stunning. The movement Ground O was written in swiftness of this lovely instrument. The piece, composed in response to the tragic events of September 11, 2001. Verhoyen 2009, ends this exciting CD with bravura and leaves the lis- plays with sensitivity and grace during this movement, and the tener impressed by both the work and the performances. striking chords in the piano leave the listener with a feeling of —Kimberlee Goodman

Turbulent Winds: pieces seem to have that modal, Slavic flavor while remaining Music from tuneful and very listenable. The CD provides new exposure Eastern Europe to rather good professional-level quintet music that could The Prairie Winds be a welcome addition to any quintet’s library. Prairie Winds has a Chicago-area, all-star cast led by flutist (Jonathan Keeble) Jonathan Keeble of the University of Illinois and rounded out ©2010 Albany with players from the Chicago Symphony, the Chicago Lyric Records Opera, and the DePaul University music faculty. The literature his album is a on this album allows each performer to demonstrate his or Tpleasant collection her own expert playing, and the group itself is incredibly of largely unfamiliar cohesive, playing with nuance and flexibility as if they were woodwind quintets, one. A wonderfully varied and spirited collection, this album including composers Ferenc Farkas, Endre Szervanszky, and should find its way to your shelves. Pavel Hass, along with the classic Ligeti Bagatelles. All of the —Nicole Riner

nfaonline.org Summer 2011 The Flutist Quarterly 83 CDs Weiss Family and harpsichord. Great sound and convincing phrasing all Woodwinds around make listening a pleasure. All three siblings have Dawn, David, recorded a solo piece for this CD. Dawn’s “Le Merle Noir” is accurate and light, effectively portraying the blackbird’s song and Abraham that Messiaen was trying to recreate. It is refreshing to hear Weiss such a great recording from a time in which editing was less © 1978; 2010 common. The Bourdeau Premier Solo for bassoon and Crystal Records Hindemith Sonata for oboe are of equal quality. More than 30 years later, the Weiss siblings provide two live he musical world recordings from a recital at the University of Southern Thas had many California. Both are world-premiere performances of works illustrious families written for the group. The siblings have aged well and play that have contribu- together magnificently. The oboe playing is the most compelling ted greatly to composition and performance, often forming of the three—a testament to the outstanding quality of David successful chamber groups. This CD is the result not of a Weiss’s playing that does not diminish what his siblings have to touring family chamber group but of three highly successful offer. The flute sound is sweet and warm, though the use of siblings on different instruments who have occasionally come vibrato is not as integrated into the sound as it was on the earli- together to play together on a recital or to put out a recording. er recordings. Intonation and blend are excellent throughout. Flutist Dawn Weiss served the Oregon Symphony as principal Tomas Svoboda’s Trio was commissioned in memory of the flute for 25 years. David Weiss was principal oboe of the Los siblings’ grandmother, Henrietta Neukrug. The composer Angeles Philharmonic for 30 years, and Abraham continues to chose to create a somber setting in the outer movements with play principal bassoon with the Rochester Philharmonic, a more cheerful inner movements to represent memories of post he has held since 1970. Four works included on the Neukrug’s life. Carol Worthey’s “Sandcastles” is a sweet, pro- recording were originally released on a 1978 LP, also on grammatic work about a family told through an oceanside Crystal Records. These works have been digitally remastered setting. The work begins and ends with a charming melody for this 2010 release and are joined by two newly composed meant to represent the family. Both works were composed by trios recorded live in 2010. prolific living composers and will be positive additions to From 1978, the recording opens with a beautifully per- future recital programs. formed Vivaldi Sonata in G Minor for flute, oboe, bassoon, —Rebecca Johnson

The Balkan this fate; there are constant and often sudden changes in Project tempo, meter, mood, timbre, harmony, and rhythmic pattern, Cavatina Duo reminding me a little of the treatments of the tango by Astor Piazzolla. Listeners will easily hear why the Balkan region is © 2010 Cedilla considered to be the “crossroad of civilization,” as it has his- Records torically been a dwelling for the coexistence and intermingling of many Eastern and Western cultures. his is a truly inspi- The flute and guitar ensemble becomes the perfect medi- red CD in terms of T um to express the emotion and electricity generated by these both the artists’ per- pieces. Separately, the performers demonstrate mastery on formance and the com- their own instruments. Moliner’s artistry on the flute con- positions that resulted from this project. veys sorrow, melancholy, elation, and a wide range of diverse Cavatina Duo (Eugenia Moliner, flute, and Denis Azabagic, emotions through tone colors, clean articulation, and fluid guitar) brings to life the exciting music of the Balkan region fingers. The guitar performs many roles. At times, Azabagic using luscious timbres, precise rhythms and tempos, and is asked to provide a strong harmonic underpinning; some- meticulous attention to detail. times he is a provocative ostinato; and occasionally, he comes The folk-inspired songs and dances come from various coun- to the forefront with his dynamic and virtuosic solos. Most tries of the Balkan region, including Serbia, Bosnia, Macedonia, impressive is his role as percussionist. At times I thought I Bulgaria, and Croatia. Most of the composers were commis- heard a tambourine or a drum and had to listen again, only sioned for this project, and most are not from the Balkans. Their to discover that the guitar was creating those sounds. arrangements go beyond mere quotations of traditional Together, Cavatina Duo members’ extreme performance pol- melodies; each piece is an interpretation and exploration into ish allowed me to close my eyes and vividly see dancers, the essence of what the melodies intend to invoke. dreamers, and lamenters. Despite the fact that folksongs and folk dances have the I highly recommend this CD for anyone interested in pan- potential to be repetitive, these arrangements do not suffer cultural music. The liner notes provide detailed information

84 The Flutist Quarterly Summer 2011 nfaonline.org about each song or dance, such as the countries from which guitarists wishing to perform or study the works for themselves. the melodies originated, the people who might have danced Best of all, the performances will inspire your imagination and or sung them, and any cultural significance these songs may take you on a provocative sonic journey. still have today. A list of publishers is also provided for flutists or —Tess Miller

Beauty in Fallen,” and Auld’s newly commissioned “Voyage to a New America: New Land,” by Steven Giammarino—hearken back to a pre-indus- Music for Flute trial America filled with natural places, folk tunes from the old Carla Auld countries, and pride in our early settlers’ roots. These tunes © 2010 Carla tend to evoke a simplicity and sweetness of purpose, though Auld/MSR Classics there are some representing a more thoughtful introspective voyage to the new world. In general, the CD makes for pleas- n the flutist’s own ant, traditionally tonal listening. words, this CD is a I Auld’s playing is equally pleasant, with an optimistic, light collection of music that serves a “need for sound. It is no feat that she has managed to surround herself the citizens of the with such excellent supporting musicians, to the point of even United States to putting together her own (very skilled) orchestra (including Ana remember the magic and spirit of the innovation and individ- Maria Rosado, guitar, and the Beauty in America Orchestra). ualism” that America represents. Really, these pieces—selec- This collection represents a clever theme in our literature and tions from Beaser’s wonderful “Mountain Songs” with guitar, can be enjoyed for its consistently happy endings. Gary Schocker’s “Green Places,” Mark O’Connor’s “The —Nicole Riner

New American The evocative sounds of “Wind-Space” conflict slightly with Masters, Vol. 3 the rest of the disc. The “…simple, elegant waltz” by Fred Palisades Virtuosi Messner evokes many elements of Tin Pan Alley in his “Eine © 2010 Albany Rcords Kleine Abendmusik.” Dick Hyman, who has performed with Benny Goodman and written notable film scores, arranged one his is the third vol- of his own piano works about a Floridian parrot to generate a Tume of newly com- whimsical piece for this trio that evokes his jazz performing and missioned works by composing experience. Randall E. Faust’s Three American the Palisades Virtuosi Portraits begins from the standpoint that, whether for leisure or (Margaret Swinchoski, work, all Americans travel. After the meandering lines of the flute; Donald Mokrynski, Traveling Toccata, Faust presents the spiritual travel that many clarinet; and Ron Levy, Americans pursue in the hymn-like movement entitled piano). This ensemble’s Reflective Rhapsody. The quaint third movement, Homecoming mission is to add substantially to the existing repertoire for flute, March, rightly points out that once the travels have ended, clarinet, and piano focusing on American composers. Although all Americans always celebrate the return home. Finally, the preem- of the composers are living, most works represent styles and ele- inent silent film composer and accompanist Ben Model comments of American music from the first half of the 20th century. posed “The Spice of the Program” as a tribute to comedy films of Eric Ewazen’s Palisades Suite (a trio for our time) consists of four movements that represent emotions we feel during our the silent era. It was possible for me to generate a silent film in “journey through life.” Much of the writing in this work fea- my imagination that would fit perfectly with this score. tures the flute and clarinet playing harmony while the piano The Palisades Virtuosi has an excellent performance plays block chords, which becomes repetitious. However, there dynamic and years of collaborative experience. The ensemble are moments of “beauty, sadness, anguish, and hope,” as the presents each composition appropriately, energetically, and movements are titled. The simple melodies and traditional flawlessly. With the exception of its contemporary-style harmonies are extremely accessible. “Wind-Space,” this CD represents an era of American music The Palisades Virtuosi requested a piece that would com- that may or may not have been given much attention on the memorate the 9/11 tragedy, and Brian Schober took up the chal- concert stage. In our current era of “all styles all the time,” an lenge. The intention of “Wind-Space” is to represent wind pass- overwhelming majority of composers represented here chose ing through open spaces rather than to comment on any specif- to visit early- to mid-20th-century popular aesthetics—a ic circumstance or event during that time. This is an extremely focus that perhaps was most effective for this CD. After listen- meditative piece that requires the listener to be present and ing to New American Masters, I am left with some big ques- aware of not only the sounds but also the silences. The use of alto tions: What is “new” American music? And what is the music flute and bass clarinet creates captivating colors when the instru- that will define our current era? ments are used together and separately. —Tess Miller

nfaonline.org Summer 2011 The Flutist Quarterly 85 CDs Barn Dances rollicking, often whimsical suite with piano accompaniment Scott/Garrison that nicely sets the tone for the rest of the CD—it displays Duo charm and a sense of humor while showcasing the formidable virtuosity both performers seem to have in spades. © 2010 Albany Records There is also an art to choosing music for a recording, and it can be a challenge to create a program that is engaging from he collection on start to finish, particularly for a mixed chamber group that Tthis CD boasts might not have as many “standards” in the repertoire that we active names in con- all know and love. Barn Dances accomplishes this task handi- temporary music: ly: Not only do I thoroughly enjoy listening to every piece, so Libby Larsen, famil- lovingly played by Shannon Scott (clarinet) and Leonard iar recently deceased Garrison (flute), but the performers leave me wanting more. composers Richard This CD is a great little collection of flute and clarinet duos, Rodney Bennett and Roger Nixon, and a few you’ve probably and an equally great model of superb musicianship. never heard of. The title piece, Larsen’s Barn Dances, is a —Nicole Riner

Haydn: name of ‘Divertimenti’ as ‘new works’ for London.” Divertimenti The instrumentation on this recording is for flute, oboe, clar- for the Salomon inets, horns, violas, cello, and double bass. The Solstice Ensemble (with Isabelle Lamfalussy, flute and direction) states that its “aim Concerts was to have the benefit of the tone-colours of the woodwind, Solstice Ensemble while preserving the chamber-music character and giving more © 2009 Pavane Records depth of sound with the addition of the double bass in every divertimento.” The trio by Michael Haydn is for horn, viola, and eing a lover of music of double bass and “owes its originality and its place in musical Bthe Classical period and a history to its highly virtuosic use of the viola and double bass.” bit of a history buff, I was The performances are on original period instruments or pleased at the opportunity to hear the relatively unknown six reproductions of period instruments, which lends a historical divertimenti by Joseph Haydn and a trio by his younger broth- authenticity to the listening experience that I found to be quite er Michael. The program notes are quite thorough and pro- charming. The musicians effectively recreate the mood and vide a fascinating insight into the history and creation of the style of this genre and of the period—lighthearted music pieces. Although the divertimenti were originally commissioned intended to entertain both the listener and the performer—by by the King of Naples, Haydn revamped them a bit during his their sensitivity to phrasing, dynamics, and ensemble. A most time in London and his connection with Johann Peter Salomon. satisfying listening experience. He tweaked the instrumentation and “presented them under the —Rebecca Hovan Music Three Pieces all, they’re great fun to play. This particular arrangement is for Debussy three lesser-known works in the flute repertoire, making it a (arr. for flute and piano special treat: “Romance,” Faun,” and “Wonderful Evening.” by T. Smirnova) They are all incredibly short (none over two minutes in length) and could be played by savvy high school or early college ©2008 Muzyka/C.F. Peters students, though they are also nuanced enough to serve as a Corp. palate-cleanser on a professional’s program. The piano parts are also reasonable for a student accompanist at the college level. here are many wonderful Ttranscriptions of various “Faun” is the most technically challenging, flitting in and Debussy piano pieces and out with 16th-note passages to depict the playful movements songs, but I always welcome of a young animal. It also opens with a free statement remi- new versions. Each arranger niscent of Syrinx, and one that allows a student performer to has a new interpretation of experiment with expressive colors and rubato. “Romance” and the parts and new voicings to “Wonderful Evening” are both quaint, lyrical lullabies, though utilize those special color changes Debussy prized—and above they wander enough harmonically to challenge a younger

86 The Flutist Quarterly Summer 2011 nfaonline.org player’s ear. I was unfamiliar with these tunes and found them always occurring on low notes, making it a more challenging very charming, so I am grateful to have them in the collection. sell for the performer). I do not know if Smirnova is a flutist My only complaint is with the egregious use of flutter tongue as well as a composer, but perhaps other flutists will agree that in every single tune; rather than supporting the musical line, Debussy’s piano pieces are beautiful without the flutter. it seems like a special effect for the sake of special effects (and —Nicole Riner

Flute Pieces with Piano just causes muscle tightness and the result is less air, not more.” Gary Schocker In the notes for “Green Places,” Schocker describes how the © 2010 Music Minus One work is a concerto for flute and chamber orchestra commissioned by Sir James Galway, who gave the premiere at the Adair ary Shocker’s Pieces for Festival in Ireland and the U.S. premiere with the New Jersey GFlute with Piano Accomp- Symphony. This published edition is an arrangement for flute animent is a welcome addi- and piano transcription. Three different gardens are musically tion to the flute and piano lit- depicted, and these create the three movements of the concer- erature. The edition contains to: Topiary, Nightblooming, and Trollgarden. three CDs: one with the Printed piano accompaniment is available for purchase as a piano part alone, recorded separate album through another publisher, Theodore Presser beautifully by Hugh Sung, Company. As a performer who wishes to study both the flute one with Schocker and Sung and piano parts together, I found the concept of marketing the together in a mellifluous flute and piano parts as separate volumes to be purchased ensemble, and one with a slower tempo “practice” accompani- independently inconsistent. I would have preferred the piano ment part, recorded once again by Sung. The pieces by scores to be included with the flute parts, for ease of both study Schocker in this edition include “Dances and Daydreams,” and performance. “From my Journal,” “Native American Suite,” “Regrets and Regardless of this criticism, the works are wonderfully Resolutions,” “Green Places,” “Arirang,” “At Night,” “Scherzo,” idiomatic for flute and are accessible for players of all ages. In and “In Memoriam.” Schocker gives beautiful explanations and practice tips for each work in the Forward of this edition. fact, “Dances and Daydreams” is written as “11 Pieces for Flutists I especially appreciated the notes for “Arirang” and “Green of All Ages.” Schocker, an excellent flutist and composer, has been Places.” In the notes for “Arirang,” Schocker describes the work instrumental in expanding and refining the literature of contem- as a well-known Korean folk song but then further insightful- porary flute music for players of various levels. These works have ly discusses the movement in terms of the performer’s use of a programmatic appeal that provides interest for the listener. In breath. He states, “When I breathe, I avoid pulling up. Instead, addition, the inherent flair, naturalness of effects, and sustained the breath seems to come in at body level all-around, rather appeal of these works by this master flutist create a new and wel- than being pulled down my throat, which tightens the physical come group of contemporary compositions for flutists. mechanism. Try to take less breath; usually grabbing at breath —Andrea Loewy

Tall Grass for Flute According to the program notes included in the score, “Tall Quartet and Piano Grass is a tone poem…inspired by the ‘last great swath of (adapted from string tall grass prairie in the nation’ (National Geographic, April 2007), which is found in the Flint Hills of eastern Kansas.” orchestra) The music itself represents the “cycle of life in the Flint Catherine McMichael Hills” beginning with fire, represented by the first note (F), © 2010 Alry Publications and continuing through the emergence of spring—green grass, birds, spring breezes, the coming of summer and the atherine McMichael is “tall, undulating grass,” and the anticipation of autumn “as Cone of those composers frost coats the golden grass” preparing for the seasonal cycle who continues to produce to begin again. music that is full of both The piece is scored for four flutes and piano, the piano part fresh, new ideas manifested an adaptation (not a reduction) of the original parts for string in pleasing melodies and orchestra. Flute 1 occasionally switches to piccolo. Each of the harmonies and interesting, nonmusical elements that serve as parts is equal in importance and difficulty, requiring players of inspiration and programmatic interest. I am happy to report relatively equal skill level. Some of the rhythms are a bit tricky that Tall Grass is yet another work with all of these qualities. at first glance, and rhythmic intricacies between parts require

nfaonline.org Summer 2011 The Flutist Quarterly 87 Music careful ensemble work to be effective and successful. There are parts move together rhythmically and harmonically, giving a also ensemble challenges between the flutes and piano that are sense of calm respite between periods of activity, possibly sug- easily remedied by careful study of the score and awareness of gesting the change of season. A lilting middle section in com- others’ parts. pound meter suggests the “tall, undulating grass” as it sways in The piece begins with two bars in triple meter marked the warm summer breeze. The piece ends with a return of the Lento, which introduces the symbolic F. This is followed by a presto from the beginning, ultimately ending with sustained Presto section in which the tempo is set by staccato eighth- chords in the flutes supported by staccato fragments in the note passages in the piano while the flutes play sustained notes piano leading to the final chord. and legato quarter-note passages. Eventually the flutes pick up McMichael has contributed yet another gem for the flute the light, staccato figures, presented in pairs (first and second repertoire—truly a pleasure for performer and audience alike. together, third and fourth echo), while the piano takes up the She always takes us on a musical journey, and I was not disap- legato passages from the flutes. pointed in this piece. Even if the story behind the piece were Throughout the piece, there is much interplay among the unknown to the listener, the music evokes the journey, and it flutes, often dialoguing in pairs or with the piano, interspersed is ultimately completely satisfying. with more homogenous, homophonic sections in which the —Rebecca Hovan Flute Duets with Piano Forward’s tone is both down-to-earth and witty. Schocker Gary Schocker states that each movement of “Three Dances for Two Flutes” © 2010 Music Minus One takes a famous flute solo from the orchestral repertoire as a motive for further development. In the first movement, Easy going, he states, “The mood is playful, almost daffy. Don’t be volume of flute duets afraid to try different things each time you try it—vary vibra- with piano accompani- A to speed and style, and even pitch to make things funny.” The ment by the renowned flutist Gary Schocker is aptly theme repeats many times—which is the joke of this move- named Gary Schocker Flute ment. Here the quote is from “Til Eulenspeigel” by Strausss. Duets with Piano. Its four In the first movement of “Two Flutes on the Loose in works, with wonderfully Fujian,” Schocker humorously writes, “Hand-in-hand is a gen- descriptive titles, are “Three tle walking kind of piece. There is no big drama here, just Dances for Two Flutes (Easy everyday life in a small village….Avoid heavy vibrato in the Going, Moody, Coffee high soaring middle section, which will make the octaves Nerves),” “The Further Adventures of Two Flutes,” “Three harder to tune between the two flutes. There is no big ritar- More Dances for Two Flutes (Swallow that Goldfish, Smoke, dando at the end and the last note should evaporate, so no Scherzo no-no),” and “Two Flutes on the Loose in Fujian accents there, please.” (Hand-in- hand, My Father’s Lullaby, Favorable Wind).” On the I recommend this volume strongly for advanced students full-performance CD included with the music, Schocker plays who wish to practice at home in a structured way with the first flute, Keith Underwood plays second flute, and Hugh Sung CDs. I do feel that the lack of piano score is a detriment. It plays piano. The performances are stellar. Three practice CDs would need to be purchased separately from a different pub- included consist of second flute and piano with selected slower lisher (Theodore Presser Music). It would be best to have the tempi for practice purposes; first flute and piano with selected complete work for study in one volume, especially since the slower tempo accompaniments; and piano accompaniment full performance (flutes and piano) is included. Nevertheless, without either flute part, again with selected slower tempi. there is a need for this sort of material, and the wonderful The layout and organization of the CDs and printed scores compositions and first-rate performances give the advanced are excellent. The music is printed very clearly with Schocker’s student needed resources. detailed articulation, dynamic, and phrasing markings. The —Andrea Loewy SAVE THE DATE Las Vegas, Nevada Chicago, Illinois August 9–12, 2012 August 14–17, 2014 (Caesars Palace) (Hilton) New Orleans, Louisiana Washington, D.C. August 8–11, 2013 August 13–16, 2015 (Marriott Hotel at French Quarter) (Marriott Wardman Park)

88 The Flutist Quarterly Summer 2011 nfaonline.org :ME:G>:C8: I=:7DA9C:L=:69?D>CI;GDBE:6GA

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EZVga8dgedgVi^dc*).BZigdeaZm9g^kZCVh]k^aaZ!IC(,'&&-%%".),"(',* lll#eZVga[ajiZh#Xdb Join us for flute choir rehearsals, youth recitals with jazz flutist Zachary Kellogg and classical soloist Emma Resmini, a masterclass with Paul Edmund-Davies, tours through the exhibit hall, and breakout sessions with renowned flutists in this packed for youths ages 8-13 day specially for youth. $50 per youth ages 8-13; $25 per Saturday, August 13 accompanying adult. (Two adults maximum at special rate; an unlimited number of additional 8:30-5 pm adults at non-flutist guest one-day rates are welcome.) Charlotte Convention Center Register at nfaonline.org

Sigfrid Karg-Elert Wolfgang Amadeus Mozart 30 Caprices op.107 for solo flute 6 Sonatas for flute and piano KV 301-306 (edited by Rien de Reede) Vol. I + Vol. II (edited by Konrad Hünteler) Sigfrid Karg-Elert Carl Frühling SonataAppassionataop.140forsoloflute Fantasie op. 55 forfluteandpiano (edited by Rien de Reede) (edited by Emily Beynon)

Viotti Gianella Mercadante Marco Buongiorno Nardelli 3duettiitalianifortwoflutes Gradus at Linos (edited by Rien de Reede) Technical exercises on Chant de Linos Johann Joachim Quantz Nardini Dôthel Giordani Mancinelli 6sonatasfortwoflutesop.5 4 duetti italiani for two flutes (edited by Rien de Reede) (edited by Rien de Reede)

Raymond Guiot Felix Mendelssohn-Bartholdy Do it Duet for two flutes Songs without words for flute and piano Fantaisie for flute and piano (edited by Benoît Fromanger)

Francesco Santucci Francesco Santucci Difficile ma possibile for flute and piano Serenata e Tango for flute and piano (bass and drums ad libitum) Honorable Mention at NFA 2010 Winner of NFA 2010 Newly Published Music Competition Newly Published Music Competition

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National Flute Association Celebrating 40 Years Rubies! of Artistry and Vision August 9-12, 2012 Las Vegas, Nevada Caesars Palace

ome join in the celebration as we • Some 6,000 members annually from salute the NFA for 40 years of all 50 states and 50 countries; accomplishments! We are an C • Seven books and four CDs enriching amazing organization, and Caesars and illuminating the historical and Palace will be a sumptuous and fitting pedagogical understanding of the setting to commemorate and honor the flute; flutists, music, and scholars who have built our remarkable association, and to • The largest lending library of flute experience the inspiration that will pro- music in the world, where NFA mem- pel the next generation of the NFA. bers have access to a collection of more As a community, we have achieved so than 15,000 works; Zart Dombourian-Eby much together—just take a look at what • Cultural outreach scholarships in 15 we’ve done over the past four decades: cities nationwide; form and mail it, along with supporting • Forty landmark annual conventions • Thirteen Myrna Brown Scholarships, proposal materials including recordings that include concerts, lectures, and helping to sponsor flutists from 13 and list of audio-visual needs, to: workshops of the highest quality and countries to participate in the NFA the largest flute trade show in the world; and our conventions; Zart Dombourian-Eby NFA 2012 Program Chair • Forty-five Lifetime Achievement Award • The unification of thousands of and National Service Award winners, 2515 10th Avenue West devoted volunteers, donors, members, Seattle, WA 98119 who exemplify the mission and goals industry associates, and staff in the [email protected] of the NFA and who have brought the common cause of the flute. flute to ever-greater heights of artistry, All non-flute choir applications must be pedagogy, and scholarship; Please help us make these festivities truly postmarked by October 1, 2011. All • One hundred and twenty-five memorable! Planning has already begun, flute choir proposals must be post- thought-provoking issues of The and we welcome any and all ideas, sug- Flutist Quarterly; gestions, and proposals from every mem- marked by November 15, 2011, and ber. Let the energy and excitement of Las must include an audio CD (no DVDs) • More than 70 commissioned works for Vegas and the heritage of the NFA inspire made within the past 15 months, with various members of the flute family; your convention creativity! exact timings. • Fifteen competitions on an annual or Please complete and submit the online rotating basis producing hundreds of proposal form available on the NFA web- winners and promoting the highest site at nfaonline.org. Additionally, please —Zart Dombourian-Eby, Program artistry in young flutists; print out the completed submission Chair, 2012 Convention

nfaonline.org Summer 2011 The Flutist Quarterly 91 NFA Office, Coordinators, Committee Chairs Please check the NFA website for any changes and updates to addresses, phone numbers, and e-mail addresses: nfaonline.org

NFA OFFICE Program Book Editor Historical Flutes Convention Performers ARCHIVES AND LIBRARIES Chief Executive Officer Anne Welsbacher Linda Pereksta (2007) Sally Humphreys (2008) NFA Librarian Phyllis T. Pemberton 7213 E. Chelsea St. University of Wisconsin–Oshkosh 380 E St. Bob Diaz 26951 Ruether Ave., Ste. H Wichita, KS 67206 Department of Music Salt Lake City, UT 84103 NFA Music Library Santa Clarita, CA 91351 316-440-2800 800 Algoma Blvd. 801-355-8859 c/o University of Arizona Libraries 661-713-6013 fax: 316-440-2801 Oshkosh, WI 54901 [email protected] 1510 E. University fax: 661-299-6681 [email protected] 920-424-4226 Graduate Research Tucson, AZ 85721-0055 [email protected] [email protected] Program Book Advertising Michelle Cheramy (2007) 520-621-7010 Sales Representative Convention Director School of Music [email protected] Steve Wafalosky Jazz Madeline Neumann Memorial University LaRich & Associates, Inc. Kris Keith (2010) OTHER APPOINTMENTS 26951 Ruether Ave., Ste. H of Newfoundland 512 East Washington St. 5129 Glenaire Dr. Santa Clarita, CA 91351 St. John’s, Newfoundland Chagrin Falls, OH 44022 Dublin, OH Development Consultant 661-299-6680 Canada A1C 5S7 440-247-1060 614-263-1702 Christa Flueck fax: 661-299-6681 [email protected] Fax: 440-247-1068 [email protected] [email protected] [email protected] High School Soloist [email protected] Director of Public Relations Low Flutes Cristina Ballatori (2009) Membership Director Ann Rosenblum (2008) Program Book Bio Editor Christine Potter (2009) University of Texas at Brownsville Maria Stibelman 12 Princeton St. Lisa Van Dusen (2007) 2985 18th Street Fine Arts Dept./Music 26951 Ruether Ave., Ste. H Summit, NJ 07901 26629 N. 45th Pl. Boulder, CO 80304 80 Fort Brown Santa Clarita, CA 91351 908-608-1325 Cave Creek, AZ 85331 303-443-3330 Brownsville, TX 78520 661-713-2072 fax: 908-608-1326 480-473-4877 [email protected] 585-880-4381 fax: 661-299-6681 [email protected] [email protected] [email protected] [email protected] New Music Advisory Gala Fundraising Dinner Chair Jazz Flute Soloist Flute Choirs Coordinator Dianne Aitken (2010) Publications Director Angeleita Floyd (2008) Ali Ryerson (2010) Kelly Via (2007) 116 Earl Grey Road Anne Welsbacher 3743 Beaver Ridge Cir. 12 Longview Dr. 965 Daisy Ct. Toronto, Ontario 7213 E. Chelsea St. Cedar Falls, IA 50613 Brookfield, CT 06804 Lawrenceville, GA 30044 Wichita, KS 67206 ph/fax: 319-268-1001 M4J 3L5 Canada 203–740–2044 770-935-1379 661-313-8274 cell: 319-290-2852 416-465-3967 [email protected] [email protected] [email protected] [email protected] [email protected] aliryerson.com Flute Clubs Coordinator NFA Online Administrator COMMITTEE CHAIRS Nominating Jazz Flute Masterclass Dolores August (2009) 1809 Sevilla Road Brian Covington Advisory Committee Beth Chandler (2010) Bryan Kennard Fort Worth, TX 76116 [email protected] Leonard Garrison (2010) 3215 Briarwood Ct. 8100 N. Mo Pac Expy. #243 682-553-0979 Lionel Hampton School of Music Harrisonburg, VA 22801 Austin, TX 78759 [email protected] CONVENTION Music Room #206, University of Idaho 540-574-3772 216-224-3123 Program Chair Moscow, ID 83844-4015 Fax: 540-568-7819 [email protected] Flute Research Coordinator Lisa Garner Santa 208-885-6709 [email protected] Michelle Cheramy (2007) Texas Tech University fax: 208-885-7254 Jazz Flute Big Band Ali Ryerson (2009) School of Music Box 42033 [email protected] Pedagogy 12 Longview Dr. Memorial University Lubbock, TX 79409-2033 Stacey Graham Steele (2009) Amateur Resources Brookfield, CT 06804 of Newfoundland [email protected] 110 Poplar Forest Dr. Lisa Fahlstrom (2007) 203-740-2044 St. John’s, Newfoundland Slippery Rock, PA 16057 1216 Travis View Ct. [email protected] Canada A1C 5S7 Assistant Program Chair 724-794-2127 709-737-7477 Meg Griffith Gaithersburg, MD 20879 aliryerson.com 301-948-5333 [email protected] [email protected] Texas Tech University Masterclass Performers Box 42033 fax: 301-279-1323 Grants Committee [email protected] Performance Health Care Jill Heyboer (2007) Lubbock, TX 79409-2033 Lea Pearson (2010) Music Department Danielle Hundley (2008) [email protected] Archives and Oral History 3085 Kenlawn St. Missouri State University 1124 Collier Rd. Nancy Toff (2007) Columbus, OH 43224 901 S. National Ave. Moscow, OH 45153 Convention Director 425 East 79th St., #6F 614-353-7259 Springfield, MO 65897 513-876-0885 Madeline Neumann New York, NY 10075 [email protected] 417-836-4875 fax: 513-362-6709 26951 Ruether Ave., Suite H 212-772-1343 [email protected] [email protected] Santa Clarita, CA 91351 [email protected] Piccolo 661-299-6680 National High School Flute Choir International Liaison Carl Hall (2009) fax: 661-299-6681 Career and Artistic Development Ronda Ford (2009) Aldo Baerten (2009) 1352 Metropolitan Ave SE [email protected] Laura Barron (2009) 9226 Constance Mezenlaan, 11 Atlanta, GA 30316-1670 196 W. 18th Ave. Lenexa, KS 66215 Sint Genesius Rode 404-377-6112 Local Arrangements Chair Vancouver, BC 913-888-9546 Belgium B-1640 [email protected] Danielle Miller Wunderlich Canada V5Y 2A5 [email protected] Ph/fax: 003223811575 10255 Reindeer Way Ln. 604-875-8865 [email protected] Charlotte, NC, 28216 [email protected] Special Publications Newly Published Music 352-359-2212 Patricia Harper (2008) Jennifer Robin Lau (2007) Legal Advisor to the Board [email protected] Commercial Members 38 Oak Dr. Center of the Arts Linda Mintener Beth Chandler (2010) Centerbrook, CT 06409 MSC04 2570 3976 Plymouth Cir. Convention Equipment Chair 3215 Briarwood Ct. 860-767-0629 1 University of New Mexico Madison, WI 53705 Kimberlee Goodman Harrisonburg, VA 22801 [email protected] Albuquerque, NM 87131 608-231-1680 4783 Cherry Park Dr. 540-574-3772 505-401-2398 fax: 608-266-3049 Columbus, OH 43230 Fax: 540-568-7819 World Music [email protected] [email protected] 614-805-5261 [email protected] Peter Westbrook Masterclass Reporter, [email protected] 13012 Magellan Ave. Orchestral Audition and Masterclass Cultural Outreach Jennifer Parker-Harley (2008) Flutist Quarterly Terri Sundberg (2010) Rockville, MD 20853 Lee Chivers (2008) Exhibits Management University of South Carolina UNT College of Music 240-481-2213 1933 E. Renee Dr. Jim Magee School of Music 1155 Union Circle #311367 [email protected] Phoenix, AZ 85024 N’Awlins Trade Show and 813 Assembly St. Denton, TX 76203-5017 Columbia, SC 29208 623-580-5244 Convention Services, Inc. 940-565-3756 COMPETITION COORDINATORS 612 Highland Ct. 803-777-4853 [email protected] [email protected] [email protected] Mandeville, LA 70448 General Coordinator Myrna Brown International 985-626-3046 Development Diane Boyd Schultz (2009) Piccolo Artist Liaison and Scholarship fax: 985-727-3940 Katherine Borst Jones (2007) University of Alabama Hillary Feibel (2009) Coordinator [email protected] 4635 Rutherford Rd. School of Music, Box 870366 6435 West Jefferson Blvd. #138 Angeleita Floyd (2007) Powell, OH 43065 Tuscaloosa, AL 35487-0366 Fort Wayne, IN 46804 3743 Beaver Ridge Cir. Exhibits Assistant 740-881-5008 205–348–4532 260-450-6674 Cedar Falls, IA 50613 Patti McCleney fax: 740-881-5252 [email protected] [email protected] ph/fax: 319-268-1001 N’Awlins Trade Show [email protected] cell: 319-290-2852 and Convention Services, Inc. Endowment Baroque Flute Artist Professional Flute Choir [email protected] P.O. Box 8538 Richard Wyton Nancy Schneeloch-Bingham (2007) Pamela Youngblood (2009) Mandeville, LA 70470-8538 Myrna Brown Society P.O. Box 294 Hayes School of Music Texas Woman’s University ph/fax: 985-893-9521 PO Box 425768 Eva Amsler (2007) West Redding, CT 06896 Appalachian State University [email protected] Denton, TX 76204 1650 Snowball Wy. 203-938-0667 Boone, NC 28608 940-898-2495 Tallahassee, FL 32301 [email protected] 828-262-6447 Showcase and Exhibitors’ [email protected] 850-877-2096 [email protected] Concert Coordinator Graduate Research [email protected] Rebecca Johnson Michelle Cheramy (2007) Young Artist DFAC 2415 Dept. of Music School of Music Collegiate Flute Choir Virginia Broffitt NFA Library Liaison Eastern Illinois University Memorial University Dorli McWayne (2008) School of Music, Western Illinois Univ. Sandy Schwoebel (2008) 600 Lincoln Ave. of Newfoundland 780 Merlin Ln. 1 University Circle 2102 E. Florence Dr. Charleston, IL 61920 St. John’s, Newfoundland Fairbanks, AK 99709 Macomb, IL 61455 Tucson, AZ 85719 217-581-6627 Canada A1C 5S7 907-479-6701 309-298-1064 520-321-4821 [email protected] [email protected] [email protected] [email protected] [email protected] YourYour Band and Orchestra Authority Largest Selection | Best Prices | Expert Advice

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