The New York Flute Club N E W S L E T T E R April 2004 2004 Young Artist Competition Winners

EONIE WALL, 23, is currently pursuing a In Concert L master’s degree at 2004 NYFC YOUNG ARTIST WINNERS the New England Conser- Leonie Wall, Philipp Jundt, Conor Nelson vatory of Music, where she studies with Jeanne Bax- Sunday, April 18, 2004, 5:30 pm tresser. A native of Ottawa, CAMI Hall, 165 West 57th Street she completed her bache- lor’s degree at McGill Uni- Program versity in Montreal with Histoire du Tango ...... Astor Piazzolla Timothy Hutchins in 2002 Conor Nelson, flute; Ayano Kataoka, marimba and was principal flute of l’Orchestre des Grands Bal- Fantaisie on Themes from Der Freischutz ...... First Place lets Canadiens de Montreal for their 2001–2002 season. Caprice No. 24 (Rampal-Jundt)...... Nicolo Paganini She spent last summer with the orchestral training pro- Philipp Jundt, flute; Linda Mark, piano gram at the Music Academy of the West, studying with Tim Day and Jeanne Baxtresser. In the summers of 2001 Duo for flute and piano ...... Aaron Copland and 2002, Leonie was a member of the National Youth Orchestra of Canada, touring the Canadian maritime prov- Pièce en forme de Habanera ...... Maurice Ravel inces in 2001 and Asia in 2002. She recently completed a Chant de Linos ...... André Jolivet month-long tour of the Eastern United States and Puerto Leonie Wall, flute; Linda Mark, piano Rico as principal flute of Les Violons du Roy. ❑ Program subject to change. HILIPP JUNDT, 25, is cur- rently a graduate student P at the New England Conser- vatory of Music, where he studies with Jeanne Baxtresser, and a visiting student at Harvard University, where he studies economics. Born in Basel, he is a graduate of the Munich Hochschule, where he studied with András Adorján. He has performed as soloist with numerous European festival and chamber orchestras, including those of Basel, Bern, and Lithuania, and has been a member of the quartet ERGO I N T H I S I S S U E ensemble Toronto since 1999. Recent CDs include cham- ber music for “Sounds Global” in Belgrade, and a set of 2004 Competition Winners ...... 1 Swiss flute concertos accompanied by the Camerata Zurich, Meet the Young Artists Second Place ❑ conducted by R. Tschupp (Guild). From the President ...... 2 The Art of Competition ONOR NELSON, 22, is currently a master’s degree Member Profile ...... 3 student at Yale University, where he studies Chip Shelton with Ransom Wilson. Originally from Canada, he C The Flute-Voice Connection ...... 4 is a recent graduate of the Manhattan School of Music. He by attended the Aspen Music Festival and School as the win- ner of a woodwind WAMSO Young Artists Competition A Chat with Albert Weatherly .... 6 award, and has performed concertos with a variety of or- by Katherine Saenger chestras, including those of Bach and Mozart with the Announcements Toronto Symphony Orchestra in January 2001. His earlier Ensemble Concert Invitation ...... 2 Flute Happenings ...... 3 teachers were Linda Chesis, Susan Hoeppner, Amy Hamilton Third Place Member Announcements ...... 4 and Ruth Laredo. ❑ Classified ...... 4 2 — NYFC Newsletter The Art of Competition by Jayn Rosenfeld

THE NEW YORK FLUTE CLUB INC. had a chance to chat with the winners of our 2004 competition after our Flute Fair last month, and I think 2003–2004 I it’s fair to say (no pun intended!) that they are an ex- tremely focused bunch. The parameters of the compe- Board of Directors Jayn Rosenfeld, President tition were: age limit 27, each contestant to play the “set Ardith Bondi, First Vice President piece,” which this year was the first movement of the Katherine Fink, Second Vice President Prokofiev Sonata, in addition to other music of their choice. Svjetlana Kabalin, Recording Secretary There were 28 contestants in all, who were narrowed down George Kimmel, Membership Secretary From the to six finalists, three of whom placed “in the money.” It is James Blair, Treasurer President these three we shall hear in concert on the 18th. Nadine Asin Rie Schmidt Leonie Wall, our first place winner, had two quite distinct Rochelle Itzen Patricia Spencer experiences, she said: first, auditioning for the three judges (Linda Chesis, Sandra Sue Ann Kahn Stefani Starin Church, and Stephanie Mortimore) in the first round, and then playing for a “real” Robert Langevin Nancy Toff audience, at the Fair in the finals. And perhaps one could say that she had three Barbara H. Williams psychic backboards: the judges, the audience, and herself; that is, she was compet- ing against herself, first of all, to play the best she could, and secondly, and more Advisory Board practically, to get into the final round. That was her goal, and, as it turned out, an Jeanne Baxtresser Gerardo Levy extremely realistic one. She spoke of having the confidence one has if one has Harold Jones Laurence Libin prepared “meticulously” (her word) and the insurance one has, if well-prepared, of Marya Martin not being disappointed. This is strikingly mature, and devoutly to be wished. Conor Nelson, 22 years old, seems to thrive on competition. He has entered the Past Presidents NY Flute Club competition before. In his previous appearance he placed among the Georges Barrère ...... 1920–1944 John Wummer ...... 1944–1947 top six, and this time, he got to third. He joked that if he enters again…hopefully, Milton Wittgenstein ...... 1947–1952 there’s nowhere to go but up. He said, in fact, that rather than a sense of competi- Mildred Hunt Wummer ...... 1952–1955 tion in the preliminary round, there was a supportive camaraderie among the Frederick Wilkins ...... 1955–1957 contestants. I can imagine a hanging together rather than hanging separately type of Harry H. Moskovitz ...... 1957–1960 atmosphere. Conor said he used this competition partly for his own purposes, that Paige Brook ...... 1960–1963 Mildred Hunt Wummer ...... 1963–1964 is, to focus his flute-playing, to have a clear and immediate goal. He felt it was quite Maurice S. Rosen ...... 1964–1967 different to play in a flute competition versus, for example, a general concerto Harry H. Moskovitz ...... 1967–1970 competition. Again the word “focus” comes to mind. He mentioned that he used his Paige Brook ...... 1970–1973 friends very constructively: he “grabbed them,” put them in a room, and made them Eleanor Lawrence ...... 1973–1976 listen to him, so he could test his memorization—a very gentle form of exploitation Harold Jones ...... 1976–1979 Eleanor Lawrence ...... 1979–1982 to be sure. These mini-performances prepared him to be excited instead of nervous Paige Brook ...... 1982–1983 when he finally arrived at LaGuardia and the big hall on the big day, virtual to actual. John Solum ...... 1983–1986 Philipp Jundt admired our organization, and didn’t mention his own, which had Eleanor Lawrence ...... 1986–1989 to be considerable. But this is the perfect place to acknowledge the fine work of Pat Sue Ann Kahn ...... 1989–1992 Zuber who managed all aspects of the competition, and of Kathy Fink, who was Nancy Toff ...... 1992–1995 Rie Schmidt ...... 1995–1998 superbly in charge of the whole Fair. They plus the many selfless volunteers made a Patricia Spencer ...... 1998–2001 great day for us. Heroes all round. Jan Vinci ...... 2001–2002 Recently there was an audition for a flute opening at the , and 100 flutists were picked to audition from a larger pool of flutists who wanted to Newsletter be heard. Does that make some of you happier to be amateurs? ❑ Katherine Saenger, Editor 115 Underhill Road Ossining, NY 10562 (914) 762-8582 [email protected] An Invitation for Ensembles Alice Barmore, Layout/Production If your ensemble would like to play at the NYFC’s Photos of the 2004 125 Christopher St., #4H May 9 concert, please contact Ensembles Coordi- Flute Fair New York, NY 10014 nator Rochelle Itzen immediately at 212-982-2703 are available for viewing (212) 675-9706 (phone and fax) (phone) or [email protected] (email). [email protected] online at Post-concert refreshments will be needed. Please www.peterschaaf.com/ www.nyfluteclub.org phone Beatrice Strauss (718-859-5280) if you can proofs/flutefair2004. bring something. Copyright © 2004 by The New York Flute Club Inc. unless otherwise noted. All rights reserved. April 2004 — 3

FLUTE HAPPENINGS . In 1988 Chip became a Member Profile flutist exclusively, attending Manhattan FREE to current NYFC members, this section lists upcoming performances by members; flute-related School of Music full time for two years contests, auditions, and masterclasses organized/ Chip Shelton sponsored by members; and brief descriptions of as a major, studying with John members’ new recordings, sheet music, and NYFC member books. Send submissions to the Newsletter Editor. since 1988 Purcell, , and musicianship master Dr. Helen Hobbs Jordan. O C T OAPRIL B E R ’04 2 0 0 2 Employment: Dual Thursday 8:00 pm careers as a multi-flutist/Summit Records High school: Chaminade High School in APR recording artist and a Manhattan orthodon- 8 The Sylvan Winds with SVJETLANA Dayton, Ohio. KABALIN, flute, will appear as part tist (two-and-a-half days/week) specializ- of the Cutting Edge concert series in a program ™ ing in Invisalign clear, removable braces. Degrees: Three pre-med years at the including works and talks by composers Oteri, University of Cincinnati; DDS (Howard Shatin, Zannoni, and Deak. A recent recital/performance: Featured University, 1969). • Greenwich House Music School, 46 Barrow artist at the Nomme International Jazz Street, NYC • Admission $15 general, $10 Festival in Estonia in October 2003, and Most notable and/or personally satisfying students/seniors • Info, call 212-242-4770 or visit www.gharts.org. a standing-room-only performance at the accomplishments: Founding and leading A-Trane Jazz Club in Berlin during the the Jazz Flute Orchestra (mid to late Saturday 8:00 pm APR same European jaunt. ’90s); playing with the 10 Palisades Virtuosi with MARGARET NY Jazz Flutet (a four-person offshoot SWINCHOSKI, flute, will perform Career highlights: Four critically-acclaimed of the same group still in existence). works by Fauré, Debussy, Dutilleux, Ravel, CD releases since 1996, including A Labor along with the world premiere of the newly Warm-up commissioned Three Scenes from the of Love (RUP Records), Onaje Allan Gumbs; Favorite practice routines: Mountains by Robert Manno. consists of orofacial exercises, hand/ 3 Flutes Up and More What Flutes 4 • Unitarian Society of Ridgewood, 113 Cottage (Satellites Records), Ryo Kawasaki and Roy arm/body stretches, overtones; scales Place, Ridgewood, NJ • Admission: $15 general; Meriwether; and Flute Bass-ics (Summit and arpeggios from Julius Baker’s Daily $12 students/seniors • Info, call 201- 836-1124 or Records, www.summitrecords.com), Exercises with metronome; etude-like 201-488-1149 or visit www.palisadesvirtuosi.org. featuring bassist Ron Carter. All releases reading; songs practiced with metronome, Sunday 7:00 pm APR received major radio airplay, especially drum machine, or play-along recording. 18 UpTown Flutes, with CARLA AULD, Flute Bass-ics which was on the Jazz- Practice time varies between one and ELISE CARTER, PATRICIA DAVILA, week Jazz Chart the entire months of eight hours depending on life’s demands. KAREN DEMSEY, Jeanne Fessenden, John December 2003 and January 2004. McMurtery, VIRGINIA SCHULZE JOHNSON, Becky Vega, in recital. Complete career highlights available at Other interests: Quality time with family and community; exercise at nearby fitness • Our Redeemer Lutheran Church, 344 Washing- www.chipshelton.com. ton Avenue, Dumont, NJ • Admission: $12 center; health foods; combining travel suggested donation • Info, call 212-539-3565 or Current flutes: Haynes ; Altus with music performance; using comput- visit www.depts.drew.edu/music/beyond. , J.B.Weissman exotic wood ers and related technologies without Saturday 3:00 pm , and most recently, a Hogenhuis being completely consumed by them. APR contrabass flute, custom made in the 24 LINDA WETHERILL, flute, will perform Orlando Jacinto Garcia’s Netherlands. Altus C flute and Yanaga- Advice for NYFC members: Brush, or at   Sonorous Wind for solo bass and C flute. She sawa B flute with B foot, both custom- least rinse/swish thoroughly after eating, will be joined by Constellation Trio members fitted with Wesley End-Blown head- before playing your flute. You’ll cut Steve Salerno, guitar, and Terry Keevil, oboe, joints. [Chip is both a clinician and down significantly on flute repairs, for performances of Joel Thome’s Twilight of the Ideal and Robert Martin’s Amulets. endorser for the Wesley Flute Co. overhauls, and other unsavory results of a “sticky-icky” flute. At the point of • Horace Mann Auditorium at Columbia (www.endblown.com)]. Teachers College, 120th Street at Broadway, experiencing pain or discomfort while NYC • Admission: $10 donation requested. Influential flute teachers: Musical training practicing, take a stretching break, Sunday 7:30 pm began with drums in preschool, piano switch to a different flute (piccolo, alto, APR in grade school, and clarinet/choir in etc.), when possible, to modify your 25 The Da Capo Chamber Players with middle and high school. Upon arrival playing position, and redirect the way PATRICIA SPENCER, flute, will per- form “Da Capo Downtown,” featuring works by in NY in the ’70s, saxophone and flute the muscles and tendons are being Kyle Gann, Frederic Rzewski, David Lang, John studies included workshops with Bill stressed. And lastly—unless you are Mackey, Derek Bermel, and Dennis DeSantis. Barron, Jimmy Heath, Frank Wess, Frank totally incapacitated—do some music • The Knitting Factory, 74 Leonard Street, NYC Foster, Yusef Lateef, , and every day! ❑ • Admission: $15 general, $10 students/seniors.

Flute Happenings Deadlines Issue Deadline Mail date May 2004 04/01/04 04/22/04 4 — NYFC Newsletter

FLUTE The Flute-Voice Connection by Robert Dick HAPPENINGS t has been a virtually eternal the barrier of their inhibitions to express O C T OMAY B E R’04 2 0 0 2 maxim in music that the per- themselves vocally. Being someone who former should “SING!” Flutist, started to sing as an adult, who was Saturday 8:00 pm MAY tubist, pianist, timpanist: the totally convinced he could not sing, this 1 The Volanti (JILL musician who is singing inside is spoken from heartfelt experience. As CRAWFORD, KATHERINE Iis going to play more musically and long as we don’t believe we can sing, we MCCLURE, Elizabeth Stewart, and BARBARA HIGHTON WILLIAMS) will perform a pro- expressively than the musician who also often believe somewhere down gram including quartets by Bozza, Kuhlau, isn’t. This is a fundamental truth of deep that our musicianship is somehow Dubois, Castérède, Schocker, and McMichael. musical art, something that should be fake. • Miller Chapel at Princeton Theological taught and practiced from the first lesson For flutists and other wind players, Seminary (Alexander Road at Dickinson), on every instrument—and even before including the brass, there is also a Princeton, NJ • Admission is free • Info, call 609-497-7890. an instrument is started. The voice is the stunningly important reason to develop direct route to connection with the spirit vocal technique alongside the ur-truth MEMBER ANNOUNCEMENTS and soul of music, all periods, all styles. that singing releases your musicality. For To get into the magic zone where us wind artists, there is the unique and AUDITORS WELCOME at a free flute you’re singing the music inside yourself, powerful physical connection between masterclass by on Monday, there is no better way than to actually the resonances in the body and those in April 26, at 4 pm, at the JCC Thurnauer sing. Thinking about it just won’t get School of Music, 411 East Clinton Avenue, the job done. While many musicians Tenafly, NJ. Performers to be pre-college students who live and study in NJ. Directions, are quite comfortable using their voices, The voice is the di visit www.jcconthepalisades.org. Additional others aren’t. The goals of this article are “ info, contact Michael C. Reingold at to explain what really physically hap- [email protected] (email) or pens when we use our vocal cords as and soul of 201-569-7900 x376 (phone). part of flute tone production, and to ROBERT STALLMAN—Flute masterclasses, encourage the folks who think they the instrument. Use of the vocal cords lessons and chamber music coaching this sum- simply can’t sing. mer in Prague, Czech Republic, with Ameropa is as important in the creation of faculty of string and wind soloists from the I don’t mean to be didactic or beautiful tone as use of the lips. Czech Philharmonic and Royal Concertgebouw irritating, but must firstly say that there Let’s digress a little to help set the Orchestra, internationally renowned pianists really is no such thing as “I can’t sing” scene. There was a time when no and string quartets. The two week intensive except in rare instances where there is program, July 25–August 8, is for serious effective answers were available to the students, young and old, amateurs and actual damage to the larynx or some following questions: professionals. Common language is English. other physical issue that interferes with For brochure with complete details, email the voice’s function. For physically 1) Why is it that many flutists have your address to [email protected] normal folks—and especially those who no idea what is going to happen when or call 215-893-9030. are musically inclined—“I can’t sing” they first start playing each day, even though they are diligently practicing C L A S S I F I E D really means “I don’t sing.” This is typically a consequence of “I don’t like and are clearly “in shape”? And fur- NEW CD by Petina Cole. Works for Flute to sing because I don’t sing well.” ther, for those who are in shape, what’s By People I Know, a diverse collection of Without working to connect the voice the cause of “bad days” and why is it classical and new age music by living to the inner ear, even someone with that these “bad days” don’t seem to be composers, for flute with other instru- in a cause and effect relationship to ments. “...a CD unlike anyone else’s, and excellent musical hearing may not be one that is refreshing to listen to.”—com- able to sing in tune. Given this frustrat- practice? poser Katherine Hoover. Info/sound clips ing situation, avoidance is a common 2) Why is it that if ten flutists were to and purchase, visit cdbaby.com/petina. response. And so a negative cycle feeds play on one flute, they all would sound SEEKING HIGHER LEVEL INSTRUCTOR on itself, affirming the illusion of “I can’t different—and if one flutist were to play with teaching studio in Orange, Rockland, or sing” rather than the truth of the matter, on ten flutes, she would sound very Bergen Counties for advanced high school which is “I just need to allow myself to student. Please call Clare Herceg at 845- much the same? 469-5742 or email [email protected]. be a beginner, to make mistakes and to get through the beginning phases of 3) And, most frustrating of all, why is Members may advertise in this section for $10 for it that flute teachers had no answers to up to 320 characters/spaces. Your ad should be singing, just like everything else.” submitted by hard copy or email. Name and phone Before going on to explain the these questions? “You just have to work number are required. Deadline is the same as for through the bad days” or “It sounds Flute Happenings submissions. Ads must be paid enormously important physical connec- for in advance. Make checks payable to the New tion between the voice and the flute right when it feels right” are certainly York Flute Club and mail to the Newsletter Editor. tone, let me first say that it is wonderful true—but are merely encouragements, when those who avoid singing get past not answers. April 2004 — 5

There are answers now, and actually Now let’s look at those questions again… I’m often amazed at how many musi- have been for some thirty years. This cians don’t know much about sound. Is it 1) Why is it that many flutists have no vital information has come from our a fear that engaging the intellect will make idea what is going to happen when they colleagues the acousticians, the people one less expressive? Or (dare it be said) first start playing each day? who do the science of sound. Their laziness? Or simply a belief that our teachers The classical image of the flutist’s data makes it possible to connect know everything we’ll need to know? If body (in a very simplified description) the science and art of music, to under- the 20th century taught us anything, it is is in three parts: posture and breath, the stand how the flute tone really works— that no single tradition has all the answers. how those rare artists such as Julius mouth (articulation and embouchure), Creative solutions emerge from synthesis Baker had their incredible consistency, and fingers. There’s a huge hole in this of information from many sources. We then a consistency that seems to elude model, because the throat is missing. If can fuse our knowledge and technique many other fine players and dedicated we are not conscious of such an impor- with our emotions and make art. students. tant part of production, we can’t be A few tips: The existence of resonances in the surprised if there are days where we’re mouth and throat of flutists and other “on” and days we’re “off.” I believe that Using a simple scale pattern, first wind players was scientifically proved every musician ought to sing as a play a short phrase, then sing it, then by a series of experiments at the Acous- normal, vital part of daily work. I warm sing it and play the flute simultaneously, tics Laboratory at Case Western Reserve up vocally when starting to practice—it then play it. On the last repetition, University in the 1960s and 1970s. (This saves so much time and I don’t have to concentrate on feeling the voice and laboratory was acknowledged in the wonder if my tone will be there or not. hearing your voice in your inner ear. Sing a passage first, then play it. (If scientific community as one of the When playing and singing simulta- neously, always sing softly and gently! When playing in the second and third rect route to connection with the spirit octaves, still sing softly, so that the air moves slowly and easily through the f music, all periods, all styles. vocal cords, then purse the lips forward ” to make the air go fast at the embouchure. leading acoustics labs in the United this is too difficult, play the passage, then Listen to your voice first, then the flute. States during that period.) For a lucid sing it, then play it again.) To amplify on No matter how out of tune your voice explanation of resonances in the flutist’s this idea, when you play the passage after may be with the flute at the beginning of body, see Arthur Benade’s Fundamen- singing it, be sure to feel your voice and a note, don’t move to another flute note tals of Musical Acoustics, first published to hear your voice clearly in your inner until you have corrected the vocal in 1975 and now available as a Dover ear as you play. It has to be your voice intonation. paperback. to be effective—listening to someone If your lips are “buzzing” when you The flute, or other wind instrument, else’s voice won’t change your body. play and sing simultaneously, it means acts like a speaker, broadcasting its That’s why it is as important to have you’re singing too loudly and are a bit sound out into the world, and back into vocal technique as it is to have great out of tune. First reduce your vocal volume the player’s body AT THE SAME TIME, breath control, embouchure and fingers. by half, then correct the intonation. ALL OF THE TIME. The sound flows 2) Why is it that if ten flutists were to both ways simultaneously. This is fact, Practice singing, and singing and play on one flute, they all would sound not opinion. playing, until the first signs of vocal different—and if one flutist were to play The throat is a powerful resonator fatigue. It may only be a minute or two on ten flutes, she would sound very and makes a major contribution to the at first, but you’ll be amazed at how much the same? flute tone. If you hold the vocal cords endurance grows! I often find myself The tone of the flute starts with the ready to sing the note you’re playing, sharing this koan: The voice will open air oscillating in and out of the embou- either in unison or in an octave relation- like a flower when watered with the chure hole. The sound then passes back ship (usually one or two octaves below love of daily practice. and forth through four primary resona- the flute), then the throat will amplify tors. These are the flutist’s chest, throat, Above all, explore the joy of express- that note, giving it richness, stability and mouth and flute. There are secondary ing yourself with your voice! It is depth. I was fortunate enough to be the resonators too, like the sinus cavities. amazing how fast progress will come if person who connected the science and Since three of the four primary resona- we just give ourselves the chance, a few the art back in the late 1970s. I named tors and all of the secondary resonators minutes a day. © Robert Dick 2004 this technique of silent (but physical and are in the flutist’s body, the sound goes accurate) singing “throat tuning.” For an with the flutist, not the flute.  explanation and a practice regimen, Robert Dick’s book Tone Development through please see my book, Tone Development 3) Why is it that flute teachers had no Extended Techniques is available from MMB Music through Extended Techniques. answers to these questions? at 800-543-3771 or http://www.mmbmusic.com. 6 — NYFC Newsletter

KATHERINE SAENGER: How often does A Chat with Albert Weatherly a headjoint cork have to be replaced? on Flute Mechanics and Repair by Katherine Saenger Some people do it every six months and swear that it is the single most impor- tant thing you can do for your flute. first met Albert Weatherly in the summer of 2003, at a dinner hosted by ALBERT WEATHERLY: The simple Jayn Rosenfeld at her home, immediately after our annual “newsletter plan- answer is that a cork has to be replaced ning” meeting. I had first heard of Mr. Weatherly in the mid-’60s. I was 11 years whenever it is no longer tight and not old, and John Jackson, my first private flute teacher (in the days when music sealing well. But this will depend on teachers still made house calls) told me and my parents, “He is a wonderful man how tightly it was inserted in the first You have to meet him.” Well time went by, lots of time, and we finally did place, and also on the quality of the Imeet. Dinner conversation ranged over many topics, and Albert expressed a willing- cork. If you can move the cork assem- ness to provide a few words on flute mechanics and repair for the NYFC Newsletter. bly by overtightening the crown, or by I sent him a list of questions by email, and in mid-February met him in his favorite bumping it with the cleaning rod when hotel lobby in midtown Manhattan to discuss his answers. During the course of our drying the inside of the headjoint, then conversation he filled me in on some basic biographical facts. Born in 1924, he spent it’s time! his early child- [Albert says that he gets the tightest hood in Coffey- possible fit by doing the final cork- ville, KS (popu- tightening after the cork is already lation 10,000). Crown fairly snugly in place at the correct Cork At age five he position, 17 to 17.25 mm from the 17 mm moved to Tulsa, center of the embouchure hole. This Tightening nut OK, his home tightening is done with the tightening until young nut (see figure), not the crown.] adulthood. Threaded rod Quality corks, inserted tightly, can and Albert started do function well for many years. If the playing the flute plays better by changing the cork Disk piccolo in the Cork assembly, inserted every laundry day, then I suspect the third grade, and through wide end of cork is too loose in the first place. Or the flute tube. took up the there’s a big “power of suggestion” flute in his first factor at work there.

KATHERINE SAENGER KATHERINE year of high If a player wants to move the cork school. He was at Juilliard from 1941–45 (with time out for a WWII stint with the Air around and determine a “best place,” Force Band), and studied with Georges Barrère. After several years as a professional two corks are needed: (i) a test cork, flutist (playing with the orchestras of Leon Barzin, Sigmund Romberg, Lauritz Melchior, intentionally made smaller for an easy Erno Rapee, and Morton Gould, as well as the Radio City Music Hall Orchestra, the fit, to allow fooling around, and (ii) the Ballets Russes Orchestra, and the National Symphony Orchestra in Washington, DC), permanent cork, to be inserted as he grew tired of the touring life. One day he walked into Verne Q. Powell’s (VQP’s) tightly as possible at the position shop, needing a repair on his flute, and walked out with a job offer (conditional on desired by the player. In any event, performance, though VQP officially hired him before Albert finished his first week). a loose cork defeats its purpose. At the time (around 1950), Powell was a three-person shop comprising VQP, John Schwelm (a former Haynes employee), and Hans Haugaard (a Danish woodworking Which is better: the original cork craftsman, also from Haynes, who taught Albert the essentials of flute repair). John Gilliam plumped up in boiling water, or a had just left, and Albert was his replacement. Albert says VQP was always pleased by new cork? the coincidence that both Gilliam and Albert were from Coffeyville, not far from VQP’s A new cork, of course! Good corks own hometown of Fort Scott, KS. Gilliam and Albert eventually met years later (after cost next to nothing, so why use the a flute repair lecture Albert gave at an early NFA convention), and still speak regularly. old one? And it won’t take longer than After about three years at Powell, Albert moved to NY to set up his own shop, a couple of months for the boiled cork working at 74 West 47th Street for 30 years and at 56 West 45th Street the next to shrink back to its original size. 20 years after that. In the mid-’60s he helped the Sankyo factory get started with some materials and ideas, which led to a long association with the company as its Do you know of any synthetic materials exclusive US importer. And he remained on good terms with Powell, making about that might be preferred for the headjoint 25 headjoints for them one year in the early ’80s. cork? Albert has many interests in addition to flute repair. He’s micromachined proto- Good cork is soft, pliable, has few type medical devices, studied mechanical drafting, and designed a special ma- imperfections, is lightweight, cheap, hogany flute case (1,500 of which were built and sold with the help of his long- long-lasting, easily removable, and time friend and partner Ayako Uchiyama). He also enjoys the revelations provided would appear to be a perfect material. by his two microscopes. Very quickly, I was charmed by his vitality and modesty, What synthetic material can offer all of and impressed with the depth and breath of his mechanical talents and knowledge. these advantages? April 2004 — 7

In VQP’s early manufacturing days, What’s the best pad? Homogenization and the like—forget Mr. Powell would solder a silver disk The one that (i) seals the best, (ii) lasts about it. Voodoo works both better and inside the tube at the right place, the longest, (iii) is the quietest, both quicker. And Mr. Powell felt the same. obviating the need for a cork and going down and coming up, and (iv) is eliminating any possibility of experi- the least subject to becoming sticky in What do you think about the old flutes mentation. Unfortunately the soldered humid weather. vs. the new flutes? disk made it inconvenient to clean the The new flutes are much better me- inside of the tube thoroughly at service Do you have a favorite pad type? chanically. periods, so it did not become standard. I prefer wool felt pads with good pad But the concept proved his belief in skin. When good pad skin is not avail- Do you think that the material that the a permanent “best” position and a able (most of the time) I use a propri- flute body is made from affects the perfect seal. etary synthetic skin. sound of a flute? What about the wall thickness? What are the most common problems What’s the best home remedy for a sticky The material must have some effect, but people bring their flutes in for? The pad? I’m not sure the listener can consis- hardest problems to fix? The trickiest Baby cornstarch applied to the face of tently separate silver from gold, thin place you ever found a leak? the pad (via a cigarette paper to deposit tubing from heavy tubing, and so forth. Most common: combinations out of it there) at the time the pad is sticky. But to the player, they feel different. synch, lack of lubrication, pads not Later, swallow two aspirins, and apply It seems that thin tubing makes for covering well. Most difficult: bent tubing more cornstarch to work overnight. In a quicker response and thick tubing is (either the main flute tubes or the the morning, the moisture will be gone. slower to respond. But also thin may mechanism tubing). Trickiest leaks: It does require repeating, but it also works be difficult to control and heavy tubing partially unsoldered embouchure plate, and causes no harm. Do not damage the difficult to get moving…like furniture! tiny holes in the solder around a pad skin by repeatedly wiping it! tonehole. What flutes are easiest to repair and why? What do you think about the trend of The better made the flute, the easier to What can customers do to make your shortening older headjoints to get the repair it. What makes for problems? (i) job easier? flute up to a higher A? Are the results as uneven toneholes, (ii) posts too high, Keep the flute away from dust and heat; bad as some people think? Does it really (iii) keys not coming down parallel to remember that tubing dents easily put the whole flute scale off? the tonehole, (iv) keys not centered against anything harder than thin silver. This is answered logically. If the flute is precisely over the tonehole, (v) odd flat, and you can’t buy another up-to- shape key cups that don’t nest the pad Any common misconceptions? date instrument, then it must be short- comfortably, (vi) levers and arms made Yes. People seem to be surprised that ened or you will play all notes flat. So is of material too soft to be stable, (vii) flutes change over time, even when not it better to have all the notes flat, or only adjustment screws which are too loose being played. They’ve been away from some notes off a slight bit because the to hold their adjustment position. the flute for a few years and expect the tube is shorter? flute to be the same when they come To find out how much it actually will Could you describe some of the most back to it. But the pad skin dries out, affect the scale and pitch, try this: Pull interesting and/or best playing flutes pad felt loses its shape when not out 3 mm, test-play. Then, understand you’ve seen over the years? What made contacting the toneholes, and the that cutting off 3 mm will produce only them so good? lubrication dries up. the same degree of change (though in I appreciate the original Lot flutes for the opposite direction). I’ve never found their beautiful sound, but all the major Do you have any advice for people it to be a problem, especially compared manufacturers today have some fine starting out in the repair field? to playing every note below pitch. instruments. I usually cannot analyze Realize how difficult and tedious it There’s another foolproof solution: why a few are especially outstanding. often can be. Don’t be frustrated with don’t play that flute with any other trial and error, and count on a lot of instruments! Thanks so much. It’s been a pleasure ❑ practice time. Remember, someone can talking with you. I studied with Harold Bennett for several tell you how to play the flute, but you years during the early ’70s and my flute  learn only with practice. Do every job was regularly subjected to his vibrator/ as well as you can. Katherine Saenger is the editor of this homogenizer treatments.* Do you think Newsletter and a research staff member at the his treatments had any good effect, other Any advice for the do-it-yourselfer? IBM T.J. Watson Research Center in Yorktown than to bring more business your way? Don’t do anything unless you really Heights, NY. know what you are doing, and remem- * Mr. Bennett would apply a vibrator (a handheld, electric-powered device designed for body ber that it’s very easy to make things massage) to different parts of the flute tube for several seconds, claiming that it put the metal worse. atoms back in order. The New York Flute Club Park West Finance Station P.O. Box 20613 New York, NY 10025-1515

April 18, 2004 concert

Sunday 5:30 pm • CAMI Hall, 165 W. 57th (across from Carnegie Hall) 2004 NYFC COMPETITION WINNERS

84th Season 2003–2004 Concerts From the Greetings! Hope you all enjoyed the Flute Fair! April brings us a concert by our 2004 Young Artist October 19, 2003 • Sunday 5:30 pm Editor: FLUTISTS OF THE NY PHILHARMONIC winners: Leonie Wall (1st place), Philipp Jundt (2nd place), and Conor Nelson (3rd place). Congratulations November 23, 2003 • Sunday 5:30 pm to all! FULA FLUTE ENSEMBLE from West Africa A highlight of this issue is an article by Robert Dick December 21, 2003 • Sunday 5:30 pm on the flute-voice connection. Convinced you can’t sing? CHRISTOPHER KRUEGER, Baroque Flute Saint Peter’s Church, 346 W. 20th at 8th Ave. From the Looking for an explanation of the “good day/bad day” phenomenon? Wonder how singing might help your January 18, 2004 • Sunday 5:30 pm Editor ARIFE GÜLSEN TATU, Turkish National Artist flute-playing? Read the article. Even yours truly, a timid non-singer, was ready to pick up her flute and try singing February 29, 2004 • Sunday 5:30 pm while playing…except I had to write this “From the Editor.” [Note added in HARVEY SOLLBERGER 65TH BIRTHDAY TRIBUTE with Harvey Sollberger and assisting artists proof: I finally did try it, and it felt weird, but fun and worthwhile.] Also in this issue is an extended Q&A with Albert Weatherly, well known March 14, 2004 • Sunday, All Day FLUTE FAIR 2004 — A DAY AT THE OPERA to many of our members from his 50 years in the NY flute repair business. I LaGuardia High School of Music and Art and provided the Q’s (including several suggested by Ann Cecil-Sterman), and Performing Arts Albert provided the A’s. It was a delight to work with him. Readers with April 18, 2004 • Sunday 5:30 pm ideas for more questions should send them to me in case we decide to do 2004 NYFC COMPETITION WINNERS a sequel. May 9, 2004 • Sunday, 3:00 pm Chip Shelton, a NY-based jazz flutist with a part-time day job as an 2004 NYFC ANNUAL ENSEMBLE PROGRAM orthodontist, is this month’s Member Profile subject. Chip’s advice to mem- Kaplan Space at Carnegie Hall bers on the virtues of tooth-brushing before playing is about the most Concerts are at CAMI Hall, 165 West 57th Street authoritative and professional opinion any of us are likely to get on this (across from Carnegie Hall), unless otherwise noted. subject, so take note! All programs are subject to change. Tickets $10, only at the door; free to members. For more information, Anyway, all for now. visit the NYFC website at www.nyfluteclub.org or call Best regards, (212)799-0448. Katherine Saenger ([email protected])