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Flutes, No Boundaries

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Flutes, No Boundaries JanuaryJanuary 2000 2000 — 1 The New York Flute Club N E W S L E T T E R Flutes, No Boundaries an interview with Sue Ann Kahn by Geoffrey Kidde This interview was conducted at Mannes There are some flute duos on this concert College of Music, where Sue Ann Kahn is too, Ibert’s Deux stèles orientées with Director of the Preparatory Division, and soprano, and our own arrangement of where she teaches flute and coaches Fauré’s Dolly Suite for flute and harp. chamber music in the college. As a flutist, Sue Ann Kahn is a founding member of GK: Before the Jubal Trio, you were in a the Jubal Trio (with Christine Schadeberg, group called “Bach’s Uncle.” soprano, and Susan Jolles, harp). Recent SK: Yes, Bach’s Uncle (flute, oboe, ’cello recordings include “Jubal Songs” (CRI and harpsichord) also played lots of music CD 738) with the trio and a solo album arranged by members of the group. Our “Jacques around the Clock: Chamber full name was “Bach’s Uncle is not a Rock Music by Jacques Ibert” (Albany Troy 145). Group,” so of course rock fans came to We met in Sue Ann’s office at Mannes on hear us in droves. We regaled them with a busy Tuesday afternoon in November. Satie, Milhaud, Bartók, Bach, Couperin, Rameau, and the pièce de résistance of every Sue Ann Kahn: Geoff, it’s good to see you. concert, the Carter Quartet. They dug it! Usually, we’re discussing contemporary (Cont’d on page 6) music, arranging for performances of new works. It’s so nice to be talking about flute- In Concert related topics today, and the Jubal Trio. THE JUBAL TRIO* Geoff Kidde: It’s good to see you, too. So the Sue Ann Kahn, flute Jubal Trio’s Flute Club concert has an inter- Christine Schadeberg, soprano esting perspective—the seeds of modernism? Susan Jolles, harp SK: Yes, we’ve chosen music that reflects New Currents— the start of the modern age in France, in The Modern Age in France the decades right before and right after I N T H I S I S S U E 1900—similar to this fall’s “Modern Starts” January 30, 2000 5:30 pm exhibit at the Museum of Modern Art. The Lighthouse Because we’re performing for the Flute 111 East 59th Street Sue Ann Kahn ............................. 1 Club, we also picked pieces that feature Interview with Program Geoffrey Kidde the flute. Songs From the President ..................... 2 GK: For the Debussy Sonata for flute, Dolly Suite (flute & harp) Chamber Musings —Gabriel Fauré viola and harp, you’ll be joined by violist Fêtes galantes II New York Flute Fair 2000 .......... 3 Karen Ritscher. Otherwise, is the program Preview the Jubal Trio, or are there different Sonate pour flute, alto, harpe Member Profile ........................... 4 combinations? (with Karen Ritscher, viola) —Claude Debussy Patricia Harper SK: Well, we always try to present as Member Perspectives ................. 5 much variety in color and styles as Deux stèles orientées (flute & soprano) Ardith Bondi on possible, so often we alternate works for —Jacques Ibert Dalcroze Techniques the Trio with our duo combinations Russian Songs Announce ments (flute/harp, flute/voice, harp/voice). I —Igor Stravinsky Flute Happenings ....................... 3 think the Debussy Sonata is the greatest (Program subject to change) chamber work for the flute, and we need Member Announcements ........... 4 * See page 3. to collaborate with a guest artist to do it. Obituaries ................................... 4 2 — NYFC Newsletter From the President: Chamber Musings by Patricia Spencer THE NEW YORK FLUTE CLUB INC. 1999-2000 he New York Flute Club has had the special fortune, in recent seasons, of presenting at least one chamber Board of Directors Patricia Spencer, President T ensemble in our Sunday afternoon concert series. Rie Schmidt, First Vice President Showing the flute as a partner in a wide variety of sonic .. Barli Nugent, Second Vice President textures, these programs give us a kaleidoscope of flute Nancy Toff, Recording Secretary colors. Our instrument can sound remarkably different Susan Lurie, Membership Secretary when paired with a harpsichord, or a clarinet, or a group Ardith Bondi, Treasurer of strings—an aural experience perhaps comparable to Sandra Church viewing a sculpture in different lightings or from different angles. Darla Dixon Where do chamber groups come from? How do they survive, in this North American Susan Friedlander culture where even large, “stable” institutions—orchestras, museums—are constantly Rochelle Itzen threatened with funding problems, lack of understanding, indifference? Why might a Sue Ann Kahn talented young flutist choose to enter this seemingly tenuous, mercurial profession? Mindy Kaufman Gerardo Levy What can an interested young flutist do to pave the way toward a chamber music career? David Wechsler The “why” question is easy. Among many ready reasons, one can observe: Patricia Zuber (1) The opportunity to take an active role in repertoire selection. (2) The opportunity for a decisive role in shaping the interpretation of a work. Chamber Advisory Board Julius Baker musicians are hooked on the unfathomable process of developing a musical Jeanne Baxtresser shaping of a work in collaboration with respected colleagues—the stimulating Harold Jones give and take of musical ideas, trying to search out the composer’s generating Eleanor Lawrence musical forces, testing each other’s methods for pulling the listeners into the Laurence Libin maelstrom of the piece, the opportunity to “get their hands dirty” making deci- Past Presidents sions about tempos, dynamics, and other issues. (3) The opportunity to bring Georges Barrère .................. 1920–1944 something unique to the cultural life of the country. John Wummer ...................... 1944–1947 A brief response to the question of how to prepare, or “pave the way” Milton Wittgenstein ............ 1947–1952 would be foolhardy and misleading. Yet a few general thoughts spring to mind: Mildred Hunt Wummer ...... 1952–1955 (1) First, of course, listen to as much chamber music as you can, as well as Frederick Wilkins ................. 1955–1957 setting up as many situations as possible for yourself to play in ensembles. Harry H. Moskovitz ............. 1957–1960 Paige Brook ........................... 1960–1963 (2) Play the piano parts of your flute sonatas on the piano (even if very slowly), Mildred Hunt Wummer ...... 1963–1964 while singing your flute part. The register is not important for this; and even Maurice S. Rosen ................ 1964–1967 if your voice won’t do exact pitches you will be surprised at how much you Harry H. Moskovitz ............. 1967–1970 learn. If you don’t play the piano, just go very slowly, playing only the bass Paige Brook ........................... 1970–1973 line, one finger, perhaps just one phrase each day. You are not planning to Eleanor Lawrence ............... 1973–1976 perform anything this way—you are working on internalizing the different Harold Jones ........................ 1976–1979 lines of the piece. (3) If possible, take some organizational or arts adminstra- Eleanor Lawrence ............... 1979–1982 Paige Brook ........................... 1982–1983 tion courses. Even better, sign up as a volunteer intern (for a year, or a summer) John Solum ........................... 1983–1986 with a chamber group you admire. (4) A whimsical suggestion: study with teachers Eleanor Lawrence ............... 1986–1989 who have very different approaches, to help expand your own flexibility. (Not Sue Ann Kahn ...................... 1989–1992 appropriate for everyone; and it’s best to tell your teachers what you are doing!) Nancy Toff ............................. 1992–1995 The best resource to consult on the question of “how they survive” is also an Rie Schmidt ........................... 1995–1998 active guiding angel in making survival possible: Chamber Music America. Visit Newsletter their web site (www.chamber-music.org) or write to them at 305 Seventh Av- Katherine Saenger, Editor enue, New York, NY 10001, or attend some sessions at their National Conference 115 Underhill Road this week, January 14–16, 2000, at the Crowne Plaza Manhattan. Ossining, NY 10562 And where do chamber groups come from? Not founded by lawyers or bank (914) 762-8582 presidents, or even by valuable hard-working board members, they are started [email protected] by musicians and friends with an idea and a lot of optimism. Alice Barmore, Designer If you like, please let us know your own responses to these questions. 125 Christopher St., #4H (Perhaps the Newsletter Editor would include them in a future “Member Perspec- New York, NY 10014 tives” column!) ❏ (212) 675-9706 [email protected] PICCOLO MASTERCLASS with Jan Gippo—To be scheduled around his Copyright © 2000 by The New York Flute Club Inc. February 27th concert appearance. For more information, contact Patricia Zuber All rights reserved. at (phone) 201-750-7989 or (email) [email protected]. January 2000 — 3 FLUTE New York Flute Fair 2000 HAPPENINGS Svjetlana Kabalin, Program Chair J A N U A R Y Bonita Boyd, Guest Artist Look for January 16, 2000 brochures and Sunday 2:30 pm Sunday, March 19, 2000 registration forms The Long Island Composers’ Alliance 8:30am–7:45pm in the mail after presents a concert of music for flute, clarinet mid-January! and piano featuring music and performances Union Theological Seminary by Geoffrey Kidde and other LICA compos- ers and performers. 100 Claremont Avenue (between 120th and 122nd Streets) • Merrick Library, 2279 Merrick Avenue, Merrick, NY. A full day of concerts, lectures, workshops, exhibits and competitions January 29, 2000 designed to intrigue, inform and invigorate flutists of all ages— Saturday 8:00 pm professionals, amateurs, and students Margaret Swinchoski, flutist with the Westchester Symphony, in New York PROGRAM TO INCLUDE: premiere of From the Hudson Valley by Leo Kraft. BONITA BOYD Masterclass and Concert • Theater A, SUNY, Purchase, NY • Admission Other Concerts and Performances THE JUBAL TRIO $35 & 55, $5 student rush • Info: (914) 631-4313.
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