The New York Flute Club N E W S L E T T E R April 2005 2005 COMPETITION WINNERS SARAH YUNJI MOON, age 19, was born in Seoul, Korea. She started playing the at the age of four, the flute at nine. She made her professional debut as a soloist with the Seoul Philharmonic when she was 11. After her family SARAH YUNJI MOON moved to Canada in the year 2000, she continued her music edu- cation with Nora Shulman at the Royal Conservatory of Music in 1st place winner Toronto. Sarah has won numerous awards and scholarships, includ- ing prizes at the Canadian Music Competition, the national finals at the Canadian Music Festival, and the Tom Thomas scholarship com- petition. Last year, she won the Toronto Symphony Youth Orches- In Concert tra Concerto Competition, which resulted in her solo appearance 2005 YOUNG ARTIST WINNERS with the Toronto Symphony Orchestra. She is currently studying at Sunday, April 17, 2005, 5:30 pm New England Conservatory with Jeanne Baxtresser. ❑ CAMI Hall, 165 West 57th Street SOOYUN KIM, age 23, is currently pursuing a master’s degree at the New England Conser- Ballade ...... Frank Martin vatory under the tutelage of Paula Robison. A Rapid Fire ...... Jennifer Higdon native of Korea, she performed both Mozart Jessi Rosinski, flute concertos with the Seoul National Philhar- Linda Mark, piano monic Orchestra at age 14, and appeared as soloist with the Seoul Symphony Orchestra Syrinx ...... Claude Debussy and the Yewon Orchestra. At age 16, she made Sonata ...... Lowell Liebermann her U.S. debut performing the Nielsen Flute Sooyun Kim, flute SOOYUN KIM Concerto with the New Jersey Symphony Or- Linda Mark, piano 2nd place chestra. Kim has won top prizes at the James winner Pappoutsakis Flute Competition (2003), the Sonata in E Major, BWV 1031 ..... J.S. Bach Greater Boston Flute Association Competition Sonata ...... Francis Poulenc (2003), and the National Flute Association Com- Fantaisie on Themes from petition (1997) and has performed with the Jeunesse Musicale World Der Freischutz ...... Paul Taffanel Orchestra (Berlin, Germany), the New York String Orchestra, and the Sarah Yunji Moon, flute Budapest and Borromeo String Quartets. This season, Kim will appear TBA, piano as soloist with the New Amsterdam Symphony Orchestra at Riverside Church in NYC. Sooyun was a Juilliard Pre-College Division student, Program subject to change. and obtained her bachelor of music from the New England Conservatory, studying with Renée Krimsier and Paula Robison. ❑ I N T H I S I S S U E JESSI ROSINSKI, age 24, is currently a first year graduate stu- dent at the New England Conservatory where she studies with 2005 Competition Winners ...... 1 Renee Krimsier. She received her bachelor of music in flute Meet the Young Artists performance summa cum laude from the Hartt School as a fel- From the President ...... 2 lowship student of the Performance 20/20 Program. Jessi fin- Flute Fair Reflections ished second in the 2005 Pappoutsakis Memorial Competition, Member Profile ...... 3 and has been a featured soloist with the Emerson String Quar- Katherine McClure tet and Hartt Percussion Ensemble. She recently returned from Frances Blaisdell: Our Link an East Coast tour with the Callithumpian Consort, a Boston to Georges Barrère ...... 4 new music ensemble. An active teacher, Jessi currently serves by Barbara Highton Williams JESSI ROSINSKI on the faculty at the Winchester (MA) Community Music School Announcements 3rd place and will be a guest teacher at the Stratford International Flute Flute Happenings ...... 3 winner Festival this summer in England. Her teachers have included John Member Announcements ...... 4 Ensemble Program Concert and Wion, Laura Gilbert, Elena Duran, and Barbara Hopkins. ❑ Annual Meeting Announcement ...... 9 2 — NYFC Newsletter Flute Fair Reflections by Jayn Rosenfeld ear Friends: THE NEW YORK FLUTE CLUB INC. D 2004–2005 The Flute Fair shone with value and virtue, wonderful flute playing and talks and exhibits, excited children and adults Board of Directors soaking up the events of the day, and, last but not least, your Jayn Rosenfeld, President valorous Flute Club Board and volunteers basically working Ardith Bondi, First Vice President their heads off to make a smooth, accessible day. We must Katherine Fink, Second Vice President name by name: Barbara H. Williams, Recording Secretary ❏ Kathy Fink, who planned and executed the programming Don Hulbert, Membership Secretary From the James N. Blair, Treasurer President with the help of Nancy Toff, who has a direct line to our founder and guardian angel, Georges Barrère; Rochelle Itzen Seth Rosenthal ❏ Connie Boykan, our liaison with LaGuardia and its amenities; Svjetlana Kabalin Rie Schmidt ❏ Rochelle Itzen and Stefani Starin, who ran the adults’ and children’s Ensemble Fred Marcusa Patricia Spencer Happenings; Patti Monson Stefani Starin ❏ Pat Zuber, who ran an inspiring competition, and Pat Spencer, ditto the masterclass; Nancy Toff ❏ Sharon Powers, who delivered all those flute and music exhibitors, Barbara Advisory Board Highton Williams, who took charge of selling Club members’ goodies, and Laura Jeanne Baxtresser Robert Langevin George, who unearthed our many member-volunteers; and Harold Jones Gerardo Levy ❏ Ardith Bondi and Rie Schmidt and Svjetlana Kabalin, Lords High Everything Else. Marya Martin We most certainly could not have done without all of you, our members. A word about the competition. Susan Lurie made a brilliant observation at the Past Presidents Georges Barrère ...... 1920–1944 evening concert. We were sitting and admiring Leone Buyse’s smooth, serene John Wummer ...... 1944–1947 perspective on Barrère’s programming predilections. Her control and love of music Milton Wittgenstein ...... 1947–1952 were equally evident. Susan contrasted her style of playing with that of the young Mildred Hunt Wummer ...... 1952–1955 finalists in the competition, and described it as a change of generation, or school, Frederick Wilkins ...... 1955–1957 or tradition. The 20-year-olds play in a more extroverted manner, as performers or Harry H. Moskovitz ...... 1957–1960 Paige Brook ...... 1960–1963 salesmen, as a total package of performance. There is more obvious physical Mildred Hunt Wummer ...... 1963–1964 involvement and showmanship, and quite frankly, there is more speed. I’m torn on Maurice S. Rosen ...... 1964–1967 whether this is or isn’t a good thing. Susan tried to create a context, saying that Harry H. Moskovitz ...... 1967–1970 Leone Buyse studied with the first generation of American pedagogues, and is more Paige Brook ...... 1970–1973 directly connected to the European/French school of playing. The “kids” are Eleanor Lawrence ...... 1973–1976 Harold Jones ...... 1976–1979 products of the younger teachers, and are more strictly “American.” We talked about Eleanor Lawrence ...... 1979–1982 the influence of new instruments, which are louder and project so brilliantly. And I Paige Brook ...... 1982–1983 thought about the influence of video games, Internet interactive immediacy, about John Solum ...... 1983–1986 robots, and animation, and speed and media overload in general. That young Eleanor Lawrence ...... 1986–1989 people are “jazzed up” is a simplistic description, but maybe it’s true…. What do Sue Ann Kahn ...... 1989–1992 Nancy Toff ...... 1992–1995 you think? In the end, we admire the enormous talents of players of all ages. And Rie Schmidt ...... 1995–1998 we have to be amazed by the increase in numbers of good/great young players: the Patricia Spencer ...... 1998–2001 level of excellence is going up to flood level. It is thrilling. ❑ Jan Vinci ...... 2001–2002

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Copyright © 2005 by The New York Flute Club Inc. unless otherwise noted. All rights reserved.

PHOTOS: PETER SCHAAF April 2005 — 3

FLUTE HAPPENINGS

Member Profile High school: Princeton High School in FREE to current NYFC members, this section lists upcoming Princeton, NJ. performances by members; flute-related contests, auditions, and Katherine McClure masterclasses organized/sponsored by members; and brief NYFC member descriptions of members’ new recordings, sheet music, and books. Degrees: BA in music/French (Skidmore Send submissions to the Newsletter Editor. since 1997 College, 1977), MA in music/flute perfor- O C T O B E R 2 0 0 2 Employment: Teacher at the mance (Mason Gross School of the Arts, APRIL ’05 Lawrenceville School, the Rutgers University, 1988), DMA studies PHOTO: BOB BROWN Thursday 7:00 pm Westminster Conservatory, and her (Mason Gross School of the Arts, 1988-89). APR 7 Palisades Virtuosi with MARGARET private studio. In addition to freelance SWINCHOSKI, flute, Donald work, she is the Edison (NJ) Symphony’s Most notable and/or personally satisfying Mokrynski, , Ron Levy, piano, and principal flute and is second flute with accomplishment(s): Performing the the Orpheus Male Chorus of Ridgewood will the Riverside (NJ) Symphonia. Liebermann and Prokofiev sonatas in perform an “Orpheus with his Lute” program including world premieres by Godfrey 2004 (though not on the same pro- Schroth and Ron Levy, and works by Manno, Recent recital/performance: A September gram!). She also enjoys presenting Lane and Gluck. 2004 recital of flute and harp music in outreach programs in local schools. • Lincoln Center Library, 40 Lincoln Center the “Nassau at Six” series at Nassau Plaza, NYC • Info, call 212-870-1630 or visit www.palisadesvirtuosi.org. Presbyterian Church in Princeton, Favorite practice routines: Yoga, then centered around Katherine Hoover’s Wye’s Tone Book, starting low and slow, Sunday 7:00 pm “Dances and Variations” with three and doing harmonics, whistle tones, APR dancers from the American Repertory buzz tones, multiphonics, more melodic 10 MICHAEL PARLOFF will close the inaugural concert season of Ballet School; a January 29, 2005 recital patterns in the second and third octaves, “America’s Dream Chamber Artists” of flute and piano music in the “West- listening for intonation and for a vibrant with a performance of Mozart’s Concerto for minster Performs” series at Bristol Chapel tone. She concludes with Reichert Nos. 1 Flute and Harp with harpist Bridget Kibbey. in Princeton, centered around a sonata and 4, Taffanel & Gaubert scales in • Peter Jay Sharp Theatre at Symphony Space, for flute and piano by resident Westmin- different articulations, chromatics, and 95th Street and Broadway, NYC • Admission: $30 general, $25 members, $15 students/seniors ster Choir College/Conservatory com- any repertoire she needs to prepare. $15, children $10 • Info, call 212-864-5400 or poser/pianist Laurence Altman. visit http://www.symphonyspace.org. Other interests: Katherine and her Career highlight(s): Playing Otto husband Bob Brown enjoy walking, Sunday 2:00 pm APR Luening’s “Three Canons” for two flutes visiting the gym, and going to the 17 Palisades Virtuosi with MARGARET with Sue Ann Kahn at the NYFC’s movies (he moonlights as a movie SWINCHOSKI, flute, Donald Harvey Sollberger 65th Birthday Tribute reviewer for the Princeton Packet, the Mokrynski, clarinet, and Ron Levy, piano, will perform an “All-American!” program of in February 2004; performing as princi- local paper). She also treasures time works by Bernstein, Ives, Copland, and pal with the Irish Concert Orchestra with spent with her young adult son (Will- Lampkin. featured singer Ronan Tynan in Carnegie iam), stepson (Nick), parents (Don and • First Presbyterian Church, 150 East Palisades Hall in October 2004. Laura Lee McClure), and brother (Ted) Avenue, Englewood, NJ • Admission: $15 and his family. She says, “I’m also fond donation (suggested) • Info, call 201-568-7373. Current flute: Semi-handmade artist model of a good novel now and then, although Friday 8:00 pm Prima Sankyo with C foot (c.1985) acces- it takes me forever to finish one!” APR sorized with a newer headjoint (c. 1997) 22 Palisades Virtuosi with MARGARET and additional footjoint from Sankyo (B Advice for NYFC members: “Every musi- SWINCHOSKI, flute, Donald Mokrynski, clarinet, Ron Levy, piano, and foot, 1995) and a Powell flute with C cian, whether professional or amateur, guest pianist Linda Sweetman-Waters will foot (No. 43, c. 1920s). Armstrong and should become familiar with some kind perform “A Starry Night,” a concert in di Medici alto flutes, and Burkhart- of relaxation technique: Yoga, Alexander, memory of Richard Lane. Program to feature Feldenkrais, or some combination.” the world premiere of Lane’s Trio for the Phelan and Haynes piccolos. Palisades Virtuosi and works by Chopin, Other than that, she’d like to repeat the Baier, and Holst. Influential flute teachers: Jayn Rosenfeld, advice she took from many • Unitarian Society of Ridgewood 113 Cottage William Bennett, Julius Baker, Jean-Pierre years ago when agonizing about how Place, Ridgewood, NJ • Admission: $15 Rampal, Michel Debost, Pierre Sechet she measured up to students at some of general, $12 students/seniors • Info, visit www.palisadesvirtuosi.org. and Philippe Suzanne (baroque flute), the more competitive music schools: “If (Cont’d on next page) James Scott, and Robert Dick. you enjoy it, just do it!” ❑

Flute Happenings Deadlines Issue Deadline Mail date May 2005 04/07/05 04/28/05 4 — NYFC Newsletter

FLUTE HAPPENINGS

O C T OAPRIL B E R ’05 2 0 0 2 Saturday 8:00 pm APR 30 NANCY HOROWITZ, flute, will perform Beethoven’s Trio in D Major, Op. 87 (arr. for two flutes and alto flute), Gordon Jacob’s Introduction and Fugue (for piccolo, flute, and alto flute), and Shostakovich’s Four Waltzes (arr. for flute/ piccolo, clarinet and band) with colleagues from the Waldwick Band. • Crescent School, 165 Crescent Avenue, Waldwick, NJ • Admission is free. Info, call 201-263-9630. O C T OMAY B E R’05 2 0 0 2 Sunday 8:30 pm MAY 1 MICHAEL PARLOFF (flute) and Friends will present a program of music for various combinations of flute, viola, cello, , and piano by Haydn, Gareth Farr, Carl Vine, Erwin Schulhoff, Nielsen, and Reinecke. • Weill Recital Hall, 154 West 57th Street, NYC • Admission: $35 general, $15 seniors/students • Info, visit http://www.midamerica-music.com/ weill_may.htm.

Sunday 4:00 pm MAY FRANCES BLAISDELL: 8 Sextets by Poulenc, Heiden, and others will be performed by KATHERINE McCLURE, flute, Esma Pasic- Our Link to Georges Barrère Filipovic, piano, Melissa Bohl, , Ken Ellison, clarinet, Ivy Haga, , Dan Wions, , and Tom Buckelew, alto by Barbara Highton Williams saxophone, in a Westminster Performs: Kaleidoscope Series concert. • Bristol Chapel, Westminster Choir College, PHOTO COURTESY OF FRANCES BLAISDELL Princeton, NJ • Admission: $10 general, $5 rances Blaisdell may be the oldest living student of the New York Flute students/seniors • Info/tickets, 609-921-2663. Club’s founder, Georges Barrère. In this centennial-year celebration of his arrival in the United States, it was a privilege to talk with her about him, her other teachers, and flutists of an earlier era. MEMBER ANNOUNCEMENTS FFrances was an active part of the New York musical scene for fifty years, and remains one of the New York Flute Club’s longest-standing members. In 1930 she PATRICIA HARPER’s residential flute class in became first flute, under Leon Barzin, of the National Orchestral Association, and Brownsville, Vermont, will take place June soon after, joined Barrère to play Bach’s Brandenburg Concerto No. 4 under the 19–25. Email for application and repertory baton of Walter Damrosch at Madison Square Garden. She was first flute in the list: [email protected]. New Opera Company, under Fritz Busch, and in the New Friends of Music under Pantasmagoria 2005 featuring Peter Lloyd Fritz Stiedry, and was soloist at . In 1933, she played first and ROBERT DICK will be presented by flute in the orchestra when Stokowski conducted the opening concert of the new “whooosh” and the Flute Studio of the University at Buffalo’s Music Department. . In 1937 she was refused an audition for the opening as assistant Events to include an intensive techniques first flute of the , but 25 years later became the first woman retreat (July 7-9) and daily masterclasses, wind player to play (as an extra) in that orchestra. workshops, and concerts focussing on With her husband, clarinetist Alexander Williams, she and three other Philhar- Baroque, French school, 20th century and contemporary (July 11-15). For information/ monic players formed the Blaisdell Woodwind Quintet, which toured the east coast application contact CHERYL GOBBETTI and had a regular series on NBC and CBS radio. In the late ’30s, she played HOFFMAN at [email protected] or 716- numerous concerts with soprano Lily Pons. During the war, she played on Broad- 884-3062, [email protected] or way, and later taught at Mannes, the Manhattan School of Music, NYU, and the 716-645-2765, x 1257. ❑ Dalcroze School. In 1959 she became principal flute of the Ballet. April 2005 — 5

In the first week of March, I caught up with Frances by telephone at her home Although Mr. Wagner played in the near , where she has taught since she was hired just a month Philharmonic, the salary wasn’t very after “retiring” from New York in 1973. good in those days, [but because] there was so much work in New York, he BARBARA HIGHTON WILLIAMS: right away. I liked him very, very would also play a show many nights. Frances, I still remember gratefully the much, and was very close to him. We He knew everybody, and they had summer I studied with you. Twenty lived on a farm in a small town in New wonderful parties at their house—they years later, you continue to enjoy Jersey (Red Bank), and I used to spend lived on 57th Street across from Carn- teaching! weekends with the Wagners because I egie Hall. And even when there weren’t FRANCES BLAISDELL: I am teaching played in a children’s orchestra in New big parties, people were dropping in all one day a week now, and I have some York, and the rehearsal was Sunday the time. He meant a great deal to me. very talented students at Stanford…I’ve morning, when there was no train in always loved the teaching. from Red Bank. So I used to stay Tell us about how you came to study overnight with the Wagners, who had with Georges Barrère. Regarding your own training— In 1928 I applied for admission to the I understand you began your flute Institute of Musical Art in New York studies at the tender age of five! (the undergraduate school of the future Yes, my father, who owned a lumber Juilliard). I was given a date to audition business, was an amateur flutist. He for Mr. Barrère. As I walked into the had played an eight-key wooden Meyer foyer, a woman [at the] desk said, “And flute, until he went to the University of what can I do for you?” I said, “I’m Pennsylvania in Philadelphia in 1905 Frances Blaisdell, and I’ve come to play and came across a Boehm system flute. for Mr. Barrère.” She said, “You’re On examining it, he was sure it must Francis Blaisdell!? Oh, there must be be better than his, and bought it. But some mistake.” And I said, “No,” (I he didn’t buy a fingering chart. He just thought she meant I had the wrong figured it out for himself. The finger- day), “I have a letter, and this is the ings he worked out were actually right day and the right time.” She said, harmonics. And that’s what he taught “No, it’s not that. We expected a boy.” me, starting me out on the piccolo. You see, someone in the office had When I was eleven, my father wrote spelled my first name with an i instead to Ernest Wagner to ask him if he of an e. She said, “Every student would teach “my Jim.” (My father had accepted into this school is a potential been terribly disappointed that I was a professional musician, and there’s girl, and always called me Jim.) When nothing you can do with it, because we went to meet him, Mr. Wagner saw there is not one woman playing any me and said, “No. I won’t take a girl, PHOTO COURTESY OF NANCY TOFF instrument in any orchestra anywhere Ernest Wagner, Frances Blaisdell’s first teacher, played in because there is nothing she can do the New York Philharmonic from 1900 to 1928. His in the world. So there is no future for with it. It would be a waste of my time method for beginners was published in 1918. you at all, and we would lose our and of your money.” My father said, investment. I am sure you under- “Your time will not be wasted, nor will no children. I’d have my lesson Satur- stand….” I said, “No, I do not under- my money,” and insisted that I play for day at noon, and then I was free to stand. Just because I am a girl, I can’t him. So I did, and Mr. Wagner asked, roam the city all afternoon. I had to be have an education? I can’t go home and “Who taught the little girl?” My father back by five o’clock for dinner. Then tell my father that I didn’t play for Mr. was so proud of me it was pathetic. he took me to the Philharmonic—they Barrère. Can’t I even play for him?” And But, of course, everything was wrong— played concerts every Saturday night— she said, “Well, the time has been tonguing, fingering, everything. But Mr. and the following morning I went to reserved. I guess you can play for him, Wagner agreed to try me for six initial my rehearsal. but he will not take you. I want that lessons. I had to learn everything over Mr. Wagner came from a musical understood.” from the beginning. It would have been family in Chicago. His father had been So I climbed the long stairs up to his so much easier for both of us if my in the Chicago Symphony, his brother studio, with such a heavy heart, and father had never taught me anything. was in the San Francisco Symphony, just about in tears, to think that I was and I guess they had music in their going to be denied this opportunity just Tell us about Mr. Wagner. house all the time…. I worked mainly because I was a girl. I knocked on his He played piccolo in the Philharmonic on études with him, and had a fairly door, and I’ll never forget the shock all his life. He was a wonderful person. good technique [by the time] I went to when he opened the door. As I said, I My father had been [very] strict and the Juilliard, but not a great deal of the came from a farm in New Jersey, where severe with us. Mr. Wagner was so repertoire. So it was revolutionary all were everyday, ordinary New Jersey warm and understood the situation when I got to that stage with Barrère. people. And there stood this man, very 6 — NYFC Newsletter tall, with a full black beard (unusual in There was also Jack Petrie…and later 1928) and glasses without rims on a James Hosmer, who also played at the black ribbon. And he said, “Come in. Metropolitan Opera. Later, quite a bit Your name?” He was very much later (1935 or ’36) some girls began to annoyed that I had no accompanist. come. Ruth Freeman, from Cleveland, And I could hardly understand him, was the first. We never were really he had such an accent. He let me play accepted on an equal footing with the my piece all the way through—and you men, but she was very successful in can guess—it was Chaminade, our New York as a freelancer. And there well-worn friend. was Anabel Hulme from the Northwest. When I finished, he just looked All very talented people. right through me with those little black beady eyes. I had no idea what he Did you know Ruth Freeman well? expected or whether I had played Yes…She was a terribly hard worker. well. But finally he said, “You go to We all were! Barrère was very demand- zee office, and you tell zem I want ing. When I started with him that year, you, and, if nécéssaire, you have full he said, “Four hours of practice a day scholarship. Comprenez-vous?” “Oh, minimum!” And the scales and the yes!” I understood very well! I can arpeggios, something like the Taffanel remember gathering up my flute case— and Gaubert [17 Daily Exercises], had to

didn’t bother to take the flute apart— PHOTO COURTESY OF FRANCES BLAISDELL be memorized, and there were metro- I just got out of that room, my heart Critic Leonard Liebling of the New York American wrote of nome marks for them…and we did all pounding, and rejoicing so much, so Blaisdell’s Philharmonic performance, “It just so the Andersen [études]. Ruth always different from the way I had walked up happened that I had never before heard a woman came wonderfully prepared. She had ten minutes before! So down I went to perform a major work on the flute, and at a symphony an unusual embouchure and played a concert, and the experience proved to be an instructive the lobby, all the time saying, “I’m in, and edifying surprise. Miss Blaisdell impressing me as little differently. Had a big sound. Ruth I’m in!” The secretary sent for Miss von an artist of quite uncommon attainments.” was a very little person, about five feet Hornbostel, the registrar, a very grim tall, and very popular in the school. person. I told her what he’d said, and There was about $40 million, as I She played a lot of chamber music, and she said, “I think it is a great mistake! remember…. This was 1932. I had always played well. Very reliable. She A great mistake.” gotten a bachelor’s in ’31. played a lot in New York and made a The flute players there were hand- fairly good living. She played in the So, what was it like there? picked—everybody was very talented. orchestra after I left. (We had a won- We had a great many fine young flutists There was Frederick Wilkins, who derful conductor there—Albert there. I am not quite sure…(this was a came from California. He went on to Stoessel—a tremendous musician, long time ago!) [laughs] how many of be first flute in the New York City wonderful ear, also very demanding.) them came to the Institute, or how Opera, and in the New York City Ballet, many of them came later to the where he played for many years. Since Would you describe Barrère’s class Juilliard. The Juilliard was a graduate that was just a seasonal job, he also lessons? school, and a wonderful one. It was played at the Music Hall; he was maybe Amazing. They were sixty minutes to down on the east side of New York in the number one freelance flutist in New the dot. He never looked at his watch an old brownstone house. They had York. He did the Firestone Hour, the that I remember. But you never got any such an outstanding education. They Telephone Hour, all those big shows extra time. He was busy. He didn’t played every chamber music piece… that were important, and later he taught have it. and they were thoroughly coached in at the Juilliard in the prep department. Barrère was a natural, and a great it. They didn’t get just a smattering of There was Victor Just, who later played teacher, though not in the traditional things. They only took piano, strings at the Metropolitan Opera. He was one way. He couldn’t explain how to and voice students. In his will Mr. of the first ones. Robert Morris came produce a beautiful tone, but you Juilliard had said those were the only from Cleveland, and later became the learned by listening to him. I heard Jim instruments to be included, but he second flute in the New York Philhar- Hosmer ask him one day (we all five made one little loophole—he said “or monic. There was also a flutist named sat there for the lessons), “Could you anything that would add to the stu- Robert Bolles, from Nebraska, who help me with my tone?” And Barrère dents’ development.” They wanted to later became the Dean of Music at the said “No, you figure it out for your- do opera, because the singers needed University of Florida. self—you’ll remember it much better.” to learn that repertoire more than We had class lessons at the Juilliard That’s a pretty big order. We…didn’t anything else, and couldn’t do it like [they had] at the Paris Conserva- know what to figure out. And the without an orchestra. So that gave them tory. There were five of us. There were vibrato—I had a terrible time with that, the opportunity to set up the graduate no other girls. To my knowledge I was because I played with a fast nanny-goat school. And there was so much money. the first girl [wind player] in the school. vibrato, which he hated, and so did I. April 2005 — 7

He said, “Sing! Can’t you sing?” And and then there were a lot of French In a nutshell, could you say what it was angry about it, you know. And meekly things, like the Fauré Fantaisie and that you got from him? I would say, “Mr. Barrère, how do you the Enesco Cantabile and Presto. He The inspiration. To hear week after sing?” And he would pick up the flute played a great deal, and that was the week after week such a high level— and play something like the Orpheus, wonderful thing, to hear that. always you had that example to hope until you would just melt, it was so Now Arthur Lora also taught at the to…not achieve, maybe, but to ap- gorgeous, and I had no idea how he Juilliard School. proach. did it. But Fred Wilkins got it right away. He figured out what he did, Did you ever work with Lora? What was he like? and helped me with mine. No. I knew him for years. He was very Barrère had a very high opinion of Then when I went to Moyse, he great friends with the Wagners, and he himself (as he should have). He really said the same thing—”The vibrato is came to many of their parties. I loved wanted us to call him “Maître”—I never too fast!” I said, “I know—what should his playing. He was first flute in the could quite bring myself to do that. He I do?” “Well. You sing.” [Laughs] “It opera, and was just a magnificent artist. was always “Mr. Barrère” to me. At that should sound like a singer. You shouldn’t [He was at Juilliard] a long time, and time, and for many years, if you were be conscious of the vibrations. It very much respected. And his pupils not a Barrère student in New York, you should be a warm, singing tone.” loved him. had very little opportunity. He con- And when I went to Kincaid, he Barrère played for us so much, and trolled the market completely. said, “The vibrato is too fast.” I thought, he had a great sense of humor, and (However, John Wummer told me “If he tells me to sing, I’m going to hit was always very witty, but always very that when he came to New York, he him with my gold flute!” But he didn’t. businesslike and demanding. A high went to Barrère for a lesson, and Kincaid was something else. He had an level was established and maintained Barrère said, “There is nothing I can analytical mind, and he could say to always. teach you. You are a consummate you, “Two plus two is four because…” artist.” And he never had another He could spell things out, and there are lesson. And of course, Wummer was Lawrence Gilman of the New York Herald Tribune once some of us who have to have it spelled wrote of Blaisdell, “She added, incidentally, to the a great, great artist. He had the most out. It was just wonderful…. He said, decorative values of the occasion, standing straight unusual embouchure I’ve ever seen…. “There’s a muscle in your throat with and slim and undismayed, gowned in black velvet, at He played way out of the left side of the front of the platform. These decorative values are which you cough, and that controls the not to be despised, even by musicians.” Bruno of his mouth. But what came out of his speed of the vibrato.” Hollywood took this publicity photo. mouth was wonderful. He never missed And he said, “Now play this little a note, never missed a beat. I used to exercise: start on C and play chromati- sub quite a bit in the New York Philhar- cally down through low G, four notes monic, and it was wonderful what he to a beat, four beats to a measure, four could do.) pulsations to a beat, sixteen pulsations The [number one teacher] before to a measure, at [MM=] 72, and no tone, Barrère had been Carl Wehner [first just like a little tea kettle whispering on flute in the New York Philharmonic]. I the stove, and get that perfectly even never heard him, but I have heard that with the metronome.” And then the he was a fine player. Mr. Wagner used same thing again: “Don’t make it hard. to talk about him a lot. It was very sad [Now] all you do is say, ‘Ha ha ha ha because his pupils dropped him like a ha ha.’” A throat staccato. And the next hotcake [for Barrère]. Everyone wanted step is the same production, but you the new French school, so different put the support under it and it’s more from the heavier German style. of a “Whoo whoo whoo whoo whoo Barrère had such gorgeous whoo.” But it has to be controlled. sound…mellifluous. It wasn’t always (Then Fred found this could be applied [uniformly] sweet. It was lush, and to exercises in Bona’s little book, beautiful, and big, but he had a thou- Rhythmic Articulation.) Kincaid would sand colors. And he could change it so have us [apply this controlled vibrato much—it was just wonderful what he to] things like Handel sonatas—any could do with that. I don’t think I ever slow movements. And that settled that heard a flute player who was his equal. problem. But Barrère had no idea how And I wasn’t the only one who thought to teach vibrato. so. It was remarkable…just beautiful, what he did. So at that point, it was all repertoire? He wore a great big fedora. He That’s right…. Of course, we did all looked wonderful in it. With that big the Bach sonatas; we did much Handel; hat and his beard, he was a command- and the Mozart concerti, and Quantz; PHOTO COURTESY OF FRANCES BLAISDELL ing figure. At parties, time after time, he 8 — NYFC Newsletter

would come into a room, and a silence support that idea.” And he said, “Well, would come over the crowd. He had a are you trying for the Naumburg prize? presence. He told me that he worked I can’t arrange for you to win that, but very hard to keep his French accent— I can arrange for you to lose it. And if that it was one of his biggest assets you go to France you will not win that when he went on the road…[laughs]. prize.” I was stunned…and said, “Very He was a very warm and caring well. I don’t go to France.” And we man, but kept a professional distance. went on with the lesson. Well about a month later, the BW: Did he give you great moral [Naumburg] family took the committee support throughout your career? to court and said their father did not Oh, yes. All the students at the Juilliard want winds competing for this prize, adored him. We felt he took a personal and the court upheld the will. We were interest in each one of us. But there not allowed to play. And I went to was one incident in the spring of 1932. France. At Christmas time in 1931, Juilliard had There I met, through a Philharmonic put on a children’s opera called Jack horn player whom I knew, a Parisian and the Beanstalk. And it was so [oboist] named Michel Nazzi, and he successful, even up there at 120th Street, knew Gaubert well, and said “I’ll set

NEW YORK FLUTE CLUB ARCHIVES that they decided to take it down to up an audition for you…and take you Broadway, where we played it for to meet him.” Gaubert was a tremen- about a month. Of course it was a dously respected flutist and musician. union job, and I made a lot of money He was conductor at the opera. [He for those times. And always in the back replied to Nazzi that] he didn’t teach of my mind had been the thought I in the summer, adding “And I couldn’t would like to go to France and study care less about an American girl flute with Gaubert. player.” So that was out. But Nazzi said, There was a contest in New York, “I have arranged to have [Marcel] for which I was hoping to play, called Moyse hear you.” So I played for the Naumburg, and you had to memo- Moyse, and studied with him. rize two concert programs, and the committee would choose from those Was there a radical difference in what programs. You could win a New York you brought back? recital, probably Town Hall, and a I had had three lessons a week, and contract with a manager, and a tour there was an enormous improvement through the United States. It was a big in my technique. Barrère was disap- prize. That year the committee had pointed that I had studied with another

LIBRARY OF CONGRESS LIBRARY decided to include winds [for the first teacher and the lessons were uncom- time], although the will stated it was for fortable all that fall. But I was playing strings, piano, and voice. in the National Orchestral Association, So I was working very hard on these which Leon Barzin conducted. And at two programs with Mr. Barrère…. And the December 1932 concert, when the I walked into my lesson one day and I violin soloist was indisposed, I was said, “I’m going to France this summer asked on short notice to play Mozart’s to study with Gaubert.” I was so stupid! D Major Concerto. From this I got a lot The temperature in that room fell about of recognition. And when I went for 30 degrees in one split second, and his my next lesson, he knew I’d played eyes narrowed and he said, “You have that, and he just held out his arms, the best teacher in the world right now! and gave me a great big hug, and the Why would you think of another?” And [tension] was all over. I said I thought it would be a wonder- ful experience to go to France, and I’d Tell us a bit about your later studies always liked Gaubert’s music. He said, with Kincaid. “Go to France, but don’t study.” So I He of course was a Barrère student, said, “I don’t think my family would too. But Kincaid also learned a great deal from [Philadelphia Orchestra The program at the bottom was the New York Flute oboist] Marcel Tabuteau, who was such Club’s October 1944 memorial concert for Barrère. a great artist, and disciplined everybody

NEW YORK FLUTE CLUB ARCHIVES He had died the previous June. around him. I heard more than once April 2005 — 9

at all, and was not a practical person. NOTICE OF ANNUAL MEETING American music had no recognition. Sunday, May 15, 2005 at 6 pm People didn’t like it. It wasn’t done CAMI Hall; 165 West 57th Street, New York City very much. He was in such bad physical condition, he passed on he annual meeting of the New York Flute Club, Inc. will be held on Sunday, prematurely. But people thought he May 15, 2005 at 6:00 pm. At that time we will elect officers and members of was one of the most talented, if not the the board of directors. All current members are eligible and encouraged to greatest, American composer we ever T had. That’s a big statement. But Barrère attend and vote. The meeting will precede the spring ensemble concert which begins at 6:15 thought that. pm, featuring flutists who have participated in the NYFC ensemble program. There will be a reception following the meeting. ❑ You have an autographed score of Density 21.5. 2005 ANNUAL ENSEMBLE CONCERT Yes, I got to know Varèse very well— I was playing a lot with a trio and he If your ensemble would like to play at the NYFC’s May 15 concert, please contact was coaching us. One night, he Ensemble Coordinator Rochelle Itzen immediately at 212-982-2703 (phone) or brought this piece out and worked with [email protected] (email). me a little on it, and I played it on a Post-Concert Refreshments Needed for May 15th—Please contact Beatrice Strauss (718- broadcast, I think it was for WNYC…. 859-5280) if you can bring something. Requested items include wine, soda, cheese, crackers, cookies, grapes, and other nibbles. Please help us make a nice end-of- Did you ever have any contact with year celebration. ❑ Hindemith? No. I remember the first performance that Barrère did of his sonata. But I that at a Philadelphia concert, when the time. We worked some on it, but not never met him. Now when I look back, strings were going too high, Tabuteau a lot. I learned grouping from him. I am so sorry—Chaminade was living! would come out after intermission and [Editor’s note: See John C. Krell, And a lot of these French composers! give a much lower A than the 440, just Kincaidiana, p. 31, published by the And I went to France very often, and if to bring them down—[laughs] right in National Flute Association.] This was [only] I’d just known enough to look the middle of a concert! always so helpful in the ballet, when them up…! It was an interesting period. And people like [Julius] Baker told we did the big works and never had I did work with Enesco. He conducted me that when he played at Curtis and much time to rehearse them. They were a WPA Orchestra concert at the Metro- Tabuteau was coaching the woodwind hard—a lot of Bartok, and things like politan Opera House. I was first flute, quintet, Tabuteau demanded much that. Without that grouping I would and in rehearsing his Romanian from those people, and got it. I know have had trouble. Rhapsody, I had just played the flute that he worked with Kincaid a lot after I am not a writer, but I’ve often cadenza at the beginning a bit too fast, he went into the orchestra. And to get thought that I might like to write a and he leaned over, and, continuing to into the Philadelphia Orchestra, Kincaid book about these four great teachers, conduct, just whispered, “Pas trop vite, had to do a piano and theory audition because the contrast was so interesting. mademoiselle.” It was so thoughtful of for Stokowski! He didn’t want just a And each one had much to offer. But him not to stop and single me out in flute player. He wanted a good musi- certainly the giant of them all was front of all the men. cian. Barrère. No question about that. Kincaid was a wonderful man. I Speaking of composers Barrère champi- loved him very much. I didn’t study Did you ever hear anything from oned, I understand you had a part in with him regularly…because by then Barrère about his old French friends, the first tryout of Henry Brant’s Angels I was busy with a family, and with a like flutist Louis Fleury, and composers and Devils at Juilliard, with the com- career. It’s not easy to juggle both, like Massenet, Saint-Saëns, Fauré, those poser conducting. What do you remem- you know. he knew before leaving France? ber about that? No. Well, it was a very demanding piece. What impact did he have on your There were eleven flutes, and I played playing? Did he ever speak of the composers the solo flute part. It was a very Well he got that vibrato straightened whose works he premiered after coming interesting work, and still is. He was a out. That was the biggest thing. And a to the United States, like Schmitt, Griffes, very talented young composer, with much more open tone, because he was Pierné, Milhaud, Roussel…. interesting ideas, and quite revolution- a first flute in the orchestra, and knew No, he didn’t. Just a little about Griffes, ary. This was a long time ago, and I what that meant…to build up that whom he respected greatly, and whom don’t think any of us had ever heard or sound, whereas Barrère was more of he was always so sad about, because played a piece like this, so it was hard a chamber music player. My technique Griffes was already so ill…really to learn, and to put together. But we was pretty well established by that starving, you know. He had no money were all pretty good players, and we 10 — NYFC Newsletter worked hard at it, and I think it was a How did you manage the “juggling” of good performance. [Editor’s note: family and career? Frances played this on the CRI LP with Well, that was hard, too, because I had Frederick Wilkins as soloist.] met Alex when I was 18 and he was 23, and he had a good job, and wanted Back to your career—I know you weren’t to be married, and I didn’t want to be allowed to play in the New York Philhar- married. I’d been bitten by this career monic for a few decades after that initial bug, and I felt I couldn’t juggle both, breakthrough as soloist under Barzin, unless I were well-established. And so and that after playing with Stokowski for I went on, and he’d get very much the opening of the Juilliard, he couldn’t annoyed, you know…. We would play get you into the Philadelphia Orchestra. a job together, and then we would start How did you cope with that kind of having dates again, and he’d say, “Let’s rejection? be married now!” And I would say, “No I remember Stokowski saying, “I would I’m not ready yet.” Finally, when I was like to take you to the Philadelphia 25, he said, “I am going to ask you once Orchestra, but I would never get you more, and I’ll never ask you again.” So past the board of directors, and the I said, “All right. This time I’ll say yes.” women on the board would be the ones We’d been married about six years that would fight you the most.” Amazing. before Alexandra was born. I had a

PHOTO COURTESY OF NANCY TOFF chance to get used to the one role Why? This 1953 program included works of Loeillet, Handel, before I added still another. When she [Laughs] When I was young, [women] and Bach; the premiere of Anis Fuleiman’s Sonata for was only five months old, he was didn’t like to [see] women as soloists. flute and cello, Debussy’s Syrinx, the Dutilleux Sonatine, drafted. Ninety dollars a month from They wanted men. It was more interest- and the Martinu Trio. the government wasn’t enough to pay ing for them. I wouldn’t say I expected the rent in New York. But I soon got a it, but I was not surprised. But you heard that song, “I got plenty o’ show, and there was a wonderful older know, almost always in life, when one nuthin’,” it just…I don’t know why it woman in our apartment building (at door closes, another opens. And there spoke to me so much, but it just 116th Street and Riverside Drive), who always seemed to be something. I seemed to break the gloom! And I came down at seven o’clock every played a lot of chamber music. I played thought, well I’ve got plenty of nuthin’, night and sat there until I got home at a lot of things with ensembles like the too! There was always so much good midnight, for a dollar each night. So it Gordon Quartet, which was a recog- around me. And my mother was so all worked out. I couldn’t have had a nized, fine quartet. I played at the supportive…that was a big help, you career married to a businessman. He Library of Congress with them. There know, to have that support, always. So, wouldn’t have understood that I had to was the New Opera Company. There I never was bitter. play Christmas day, and holidays, and were always interesting things to do. nights, and Sundays. But Alex, of I never lacked for work. You were married to [the late] course, understood. Alexander Williams, first clarinetist of It was a little hard when I was How did you avoid becoming bitter, and the Philharmonic…. playing the ballet [beginning in 1958/ not lose your wonderful sense of humor, Yes. He was the assistant first when we 59], because we had eight perfor- and contentment, and generosity? were married, and then he became first. mances a week and many rehearsals, Well, I had no reason to be bitter at all! Then he went to the NBC Symphony as and I had two children then—John was I had so many opportunities. I could solo clarinet with Toscanini for the last there. But I had Mondays off, so I only be grateful. Sometimes it was ten years of the orchestra. So we had a remember on Mondays I used to cook difficult, especially at the beginning. wonderful life, and he especially, because a roast or bake a ham or a turkey. So I Very difficult. I remember when I was he had no prejudice to fight, the way I had the nucleus of a meal, and then if I first starting out. At first, after I’d played did. He was 18 when he went into the were teaching, I could just add a baked the solo with the Philharmonic, and New York Symphony with Walter potato, and a vegetable or salad. So we another with the National Orchestral Damrosch conducting, and from there had dinner…and then I’d go off and Association, I had lots of opportunities he went to the Philharmonic, and from play the ballet. I would wait on the because I was sort of a freak, and there to NBC. So all his life, he played bridge until the train came in (we were people couldn’t imagine a girl flutist…. the best music with the best conductors now living in Middletown, New Jersey) But then opportunities dried up. I too in the best halls with the best soloists in to make sure Alex got off it, because had to earn my living. It was depression the world. And as an orchestral musician, the children were alone in the house. time, and my family couldn’t help me you can’t ask for more than that. And he And then as soon as I knew he had much at all. So I got quite depressed, thoroughly enjoyed it all. He adored come home, I would drive the fifty and I remember going with a friend one Toscanini. For many, he was very disagree- miles to New York. It’s amusing now night to see Porgy and Bess. And when I able to work with, but Alex loved him. when I look back, but it didn’t always April 2005 — 11 seem that way. We worked at it, and it What was she like? And there were many, many small all worked out. She was just lovely…so beautiful. She choral societies around the New York didn’t even have to sing. She could just area, in New Jersey, Connecticut, and Let’s back up a moment and talk about stand there, and the audience would so on. I would play a group of solos at your career in the earlier years. have gone wild, they loved her so their concert, and then an obbligato In 1932 I started playing with the Phil much. And she made such a beautiful with the choir. I did a lot of that. Never Spitalny Girls’ Orchestra, and we had picture. But it was the hardest job I paid very much— $50, $75, something the General Electric Radio Show every think I ever had, because you can’t like that. But…it was fun to do, good Sunday night on NBC, and that paid wait until you hear the voice. That’s too to do. I had a lot of that. So you see, $29.70 a week. Thirty cents was taken late. [You have] to be in perfect sync I had no trouble making a living, really. out for Social Security, believe it or not. with the voice. So I memorized every- So that was the mainstay of my sup- thing she did, things like the mad scene Was it through Fred Wilkins that you port, and we played some vaudeville, from Lucia, and just watched her very later got the job in the New York City but not a lot. But when we did, it was carefully, because I could tell a little Ballet Orchestra? $72 a week more, and that was big bit, and anticipate what she was going Yes. We were great friends. We played money in those days. Living was cheap. to do. I never had any problem. We did in the ballet together, and some in the I paid six dollars a week for a room in some recording, too, and there is a CD opera. He was always very helpful. When New York. I shared an apartment with still available. they needed another flute, [conductor] three other girls on 112th Street near And then, I had a fascinating Hugo Fiorato said to Fred, “Why don’t Broadway, and food was inexpensive. experience with the Bach Circle, we give one of the girls a chance?” Fred So it was easy to save money to go to organized by harpsichordist Yella Pessl. said, “Let’s take Frances.” I didn’t have Europe in the summer. We gave wonderful concerts in Town to audition. Soon after I joined, Fred Then there were things like the Hall. All these things took time, of gave up his position, and I became the job at Radio City Music Hall. They course, to rehearse, and I loved doing first flute. At what was probably the made a beautiful gold lamé dress for that kind of playing. We played a lot height of his career he’d met Richard me and I played five shows a day there of other places, too. We never went Bosse, who owned the Artley Flute for two weeks. They wrote a special further than Indianapolis. But we did Company, and had gotten very much little piece for me, and I stood at the small tours and we played in the New involved helping them produce better very back of the stage, and there were Jersey-New York area. And there was instruments. Then he went to work for two Rockettes on either side of me— the New Opera Company, conducted them and toured the country as “Mr. for decoration, I guess! There was an by Fritz Busch; and the New Friends Flute.” He used to give masterclasses all eight-bar intro when I was to walk of Music, organized by the president of over, and they would have a whole setup from the back of the stage up to the Bloomingdale’s, whose wife was of five flutes—a C-flute, a piccolo, alto footlights…. And the first day, when Hortense Monath, a pianist whose and bass flutes, and an E flute. Of course that curtain opened, and I saw that career he wanted to launch. We did they wanted to sell those flutes…. So vast, enormous, tremendous audito- mostly Mozart and Haydn symphonies he did that, I think, most of his life. rium, all black, I just froze, absolutely with [conductor] Fritz Stiedry. Almost Murray Panitz was the piccolo player, terrified, and one of these Rockettes all in the orchestra were refugees. This and Fred played second. (Panitz later said, “Get going, kid, and smile.” And I was when so many were coming from went to Philadelphia to take Kincaid’s did both those things. [Laughs] After a Vienna. They were fine musicians, and place.) So it was a great section, and couple of shows it was easy, of course, played so well. Stiedry was very we were all wonderful friends, and had but I’ll never forget that experience. I demanding, but he did a great job. such good times together [laughs]. It just assumed I was walking into the was lovely, you know, wonderful…the caverns of hell or something. It was whole ballet orchestra. Fiorato didn’t awful. [Laughs] That must have been care whether you were white or black 1934 or ’35. or yellow, and he had no prejudice Then I did quite a little work in the against women. There were a lot of studio of Frank LaForge, I think the girls in that orchestra. best accompanist in New York. He mainly played for Metropolitan Opera What a varied and wonderful career! singers. And one day he said to me, It’s been quite a ride! “Lily Pons is coming here next week for a rehearsal. I am playing for her New  York recital, and she needs a flutist. Barbara Highton Williams is a freelance You come to that rehearsal, and if she flutist in Princeton, New Jersey, where she likes you, maybe she will want you to PHOTO: IRA N. TOFF maintains a private studio, and teaches at In February 1993, Frances Blaisdell spoke about her life play the recital.” And I played for her and career at a standing-room-only concert of the New Westminster Conservatory. She thanks Nancy for a number of years—all her New York Flute Club. She was introduced by then-president Toff and Alexandra Hawley for helpful back- York recitals. Nancy Toff and special guest Jean-Pierre Rampal. ground and editorial assistance. The New York Flute Club Park West Finance Station P.O. Box 20613 New York, NY 10025-1515

April 17, 2005 concert

Sunday 5:30 pm • CAMI Hall, 165 W. 57th (across from ) 2005 NYFC COMPETITION WINNERS

85th Season 2004–2005 Concerts From the Greetings! Hope you all enjoyed the Flute Editor: Fair last month! April brings us a concert by our 2005 October 24, 2004 • Sunday 5:30 pm Young Artist winners: Sarah Yunji Moon (1st place), BOREALIS WIND QUINTET Sooyun Kim (2nd place), and Jessi Rosinski (3rd place). November 21, 2004 • Sunday 5:30 pm MARCO GRANADOS, flute Interestingly (as you will find out if you read their front- Latin American chamber music page bios), all three are students at the New England December 12, 2004 • Sunday 5:30 pm Conservatory (as were two of last year’s winners). KARL KRABER, flute Congratulations to all! Chamber music with piano and strings From the The major portion of this newsletter issue is taken At CAMI Hall, 165 West 57th Street Editor up by an interview of Frances Blaisdell by Barbara January 30, 2005 • Sunday 5:30 pm Williams. “The First Lady of the Flute” shares anecdotes CARLA REES, alto flute Contemporary music and Boehm transcriptions and reminiscences that illuminate several decades of New York musical February 20, 2005 • Sunday 5:30 pm history as well as the pedagogic styles of some legendary flutists: Ernest STEFAN HOSKULDSSON and ELIZAVETA Wagner (her first professional teacher), Barrère, and Kincaid. I don’t think KOPELMAN, flute and piano duo I will ever tire of hearing about Frances’ amazing Juilliard audition. Her The new Met Opera Orchestra flutist and his wife subsequent success in spite of the discrimination so many accepted as March 12, 2005 • Saturday, All Day legitimate left me newly in awe of her talent and determination, and FLUTE FAIR 2005—THE BARRÈRE LEGACY: Leone Buyse, guest artist grateful for her example. Katherine McClure is this month’s Member Profile subject, a NJ-based April 17, 2005 • Sunday 5:30 pm 2005 NYFC COMPETITION WINNERS flutist some of you may remember from Harvey Sollberger’s 65th birthday May 15, 2005 • Sunday, 6:00 pm tribute last year, when she performed Otto Luening’s “Three Canons” for 2005 NYFC ANNUAL ENSEMBLE PROGRAM two flutes with Sue Ann Kahn. Maybe I’d heard that work before, but it Concerts are at CAMI Hall, 165 West 57th Street was their performance that inspired me to buy the music (which, I am (across from Carnegie Hall), unless otherwise noted. happy to say, is fun to play and not excessively difficult). All programs are subject to change. Tickets $10, only All for now. Hope to see you at the concert. at the door; free to members. For more information, visit the NYFC website at www.nyfluteclub.org or call Best regards, (212)799-0448. Katherine Saenger ([email protected])