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VOLUME XXXIII , NO . 1 F ALL 2007

THE LUTI ST QUARTERLY

THE OFFICIAL MAGAZINE OF THE NATIONAL FLUTE ASSOCIATION , INC 19191 B flute 2-18.qxd:DausProfile.qxd 9/25/079:07AMPage2 QUALITY . SUPPORT . PROFESSIONALISM D la riuaini all and in clean articulation clear a provides headjoint the EC exceptional and instrument is the throughout quality tone The JfryKae,Picplflute, Principal Khaner, -Jeffrey “ hldlhaOrchestra Philadelphia I’ hildwt yYFL-874H. my with thrilled m Y PNSON EPENDS K J AMAHA EFFREY . HANER VALUE registers 874H YFL . .”

©2007 Yamaha Corporation of America. All Rights Reserved. 19191 flute 2-18.qxd:DausProfile.qxd 9/25/07 9:07 AM Page 3 Table of CONTENTS THE FLUTIST QUARTERLY VOLUME XXXIII, N O. 1 F ALL 2007 DEPARTMENTS 5 From the Chair 61 From the Research Chair 9 From the Editor 62 NFA Office, Coordinators, Committee Chairs 13 High Notes 63 Technology 50 Student Spotlight 65 Passing Tones 53 Notes from Around the World 67 New Products 55 Across the Miles 70 Reviews 58 From the Development Director 81 Index of Advertisers FEATURES 16 16 Debussy, Painter of Sound and Image by Mimi Stillman The colorful Impressionism of artists Monet, Degas, Manet, and others readily can be heard—and played—in Claude Debussy’s musical works. Art Nouveau and Arts and Crafts movements also influenced this visually oriented composer. 24 Frank Wess: Quintessential Jazz Flutist by Peter Westbrook When it comes to instigating, playing, and passing to future generations the great tradition of jazz flute music, Frank Wess just keeps going and going. When not playing, Wess composes and arranges. 28 The Musical Road Less Traveled by Helen Spielman Five flutists share information about the career choices they made and the successes they have found. They also offer advice for other flutists considering a nontraditional career in music. 34 Commissioned Works from the High School Soloist Competition: John Heiss’ Fantasia Appassionata, Episode IV by Ronda Benson Ford 24 Both Walt Disney and Beethoven inspired this 1994 work. The composer described his involvement in the premiere of his piece as one of the best experiences of his life. 42 Onward and Upward: The Ever-Evolving Career of Joshua Smith Interviewed by George Pope Already a well-seasoned orchestral principal flutist at age 38, Joshua Smith is exploring other ways to “reach out” beyond the orchestra into chamber music, festival appearances, masterclasses, and more.

Cover: Courtesy Giraudon, Musee Marmottan, Paris, France/ The Bridgeman Art Library

THE NATIONAL FLUTE ASSOCIATION 26951 R UETHER AVENUE , S UITE H SANTA CLARITA , CA 91351

FOUNDED NOVEMBER 18, 1972 IN ELKHART , I NDIANA

This magazine is published quarterly by the National Flute Association, Inc., a nonprofit organization. The statements of writers and advertisers are not necessarily those of the NFA, which reserves the right to refuse to print any advertisement. The NFA does not promote or endorse any products, companies, or artists referenced in the editorial content of The Flutist 42 Quarterly. SSN 8756-8667 © 2007 National Flute Association, Inc. 63

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OFFICERS Founder, Honorary Life President Mark Thomas 824 Charter Pl. Charlotte, NC 28211-5660 phone/fax: 704-365-0369 [email protected] Chair of the Board Patti Adams 2840 Coliseum St. New Orleans, LA 70115 504-895-5908 [email protected] Vice Chair of the Board Leonard Garrison Lionel Hampton School of Music Music Room #206, University of Idaho Moscow, ID 83844-4015 208-885-6709 fax: 208-885-7254 [email protected]

Secretary Lori Akins 5113 Glenaire Dr. Dublin, OH 43017-9479 614-766-1838 [email protected] Chair of the Finance Committee Teresa Beaman Department of Music CSU, Fresno 2380 E. Keats Ave. Fresno, CA 93740-8024 559-278-3975 [email protected] Assistant Secretary Shelley Collins Delta State University Dept. of Music, P.O. Box 3256 Cleveland, MS 38733 662-843-6341 [email protected] BOARD OF DIRECTORS Joanna Bassett (2006–2008) 85 Maywood Ave. Rochester, NY 14618 585-383-0650 [email protected]

Bickford Brannen (2007–2009) 559 Pearl St. Reading, MA 01867-1142 781-910-3978 [email protected] Beth Chandler (2006–2008) 626 Sunrise Ave. Harrisonburg, VA 22801 540-574-3772 fax: 540-568-7819 [email protected]

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

Christopher Krueger (2007–2009) 38 West Pomeroy Lane Amherst, MA 01002 413-256-4552 [email protected] Hal Ott (2006–2008) Department of Music Central Washington University Ellensburg, WA 98926 509-963-1103 fax: 509-963-1239 [email protected] 19191 flute 2-18.qxd:DausProfile.qxd 9/25/07 9:07 AM Page 5

From the CHAIR

Many Cogs in a Great Organization

lbuquerque was a really great tion officially opened, so we were able to place for the convention; full of discuss this at the annual general meeting Afriendly people, the facilities and at the town hall meeting. The elec - had a much more inviting and open tion process for the offices of secretary, feel than many venues we’ve been in, chair of the finance committee (formerly the artists were inspirational, and the known as treasurer), and chair of the programming was just fabulous! board of directors remains unchanged, Or at least I hear it was from simply but we voted to alter the election of board everyone I talked to, and the myriad members from an election of three from of people who thanked me for the a nominated six to a ratification of a slate convention during rides in the elevators. to fill that year’s vacancies. Alexa Still It is always lovely to be thanked, of The election process we have used has course, but the thank-you’s and kudos provided a steady stream of well-known for the convention must go to our professional players and teachers who summer, the remaining time of the board amazing program chair, Nancy have done admirable duty as board meetings was mostly spent getting neces - Andrew; our fabulous staff; and all of members, but also meant that someone sary issues like mission statements the convention volunteers! who wasn’t well known was unlikely to updated (fundamental to courting To be very honest, I didn’t get to hear be chosen. And, we didn’t make great sponsorship), confirming new job much; some of the first evening concert, friends in the three who weren’t chosen! descriptions and commitments for some of the second evening concert This change to a slate is intended to make board members (adopting the “give or whilst typing away on my laptop at the it more possible for board members to get” approach that non-profit arts boards back, and a bit of the concert prior to represent the diversity of our member - normally have), and brainstorming on the closing ceremonies. Because the full ship and for the NFA to benefit from how we can get professional develop - board has only met in the summers, it the best skills to be found amongst our ment help development to get the NFA’s has been very difficult to get through the membership. By offering a slate for budgets healthier in the long term. business required without meeting every ratification, the board’s nomination The NFA already runs a very tight day for many hours. Add the work that is committee can carefully consider what ship thanks to fastidious treasurers and done in meetings of subcommittees by sort of board expertise we need and be the great care our staff members have the board and executive committee, very selective. Over the next few years, exercised in monitoring our expenses and you’ll understand why these vol - this will be a little confusing as we shift over the years. We are proud of using unteers just don’t get to attend much from two-year terms to staggered three- our resources efficiently. However, this of the convention. year terms for the six board members, means there is no fat to trim, or spare Aside from essentially missing the but we are ready, now, to hear your change to funnel in a different direction, convention, it is a great honor to have thoughts about members who have the and we don’t want to cut back on the served the NFA with these colleagues. skills we need on the board. On the Web convention or any service for our We are all in this knowing that we are site, you will find a nomination button. members. So funding professional just small cogs in a great organization… Please use it! development help requires change. I an organization that has greatness At the midwinter meetings of the think we will soon have a good plan. For because of the ongoing contributions of executive committee, we decided to now, check the Web site for the latest so many individuals. The board worked hire a development professional (I news, and please share your views in the hard; it is of utmost importance to us all wrote about this in the spring issue). newly launched NFA forum! that the NFA continues to be the leading Then, we essentially got stuck, wary of In this issue, there is an article about organization for flutists! using endowment funds for what must the Lifetime Achievement Award winners The first big decision happened on the be termed an operating expense and Peter Lloyd and John Wion. We had a Wednesday meetings before the conven - lacking any obvious alternative. This fabulous gala dinner celebrating their nfaonline.org Fall 2007 The Flutist Quarterly 5 19191 flute 2-18.qxd:DausProfile.qxd 9/25/07 9:07 AM Page 6

From the CHAIR continued accomplishments with close friends much, much more! We are trying to Giger, and Leighann Daihl (Baroque and students alike and raised a little push our funds to $1 million by the Flute Artist). more money for endowment. This is a next convention. The members of the Finally, I want to say thank you for very special, moving event; several board all donated already. At an your support of the NFA. We live chal - first-time attendees told me they amount close to $830,000 at the time lenging and increasingly busy lives, wouldn’t miss this dinner in the of writing, Teresa Beaman, our chair but somehow people still find a way to future. Get ready to join us for of finance, has figured if every member contribute. Thank you for sharing and Jonathan Keeble’s program in Kansas gives $28.50, we’d be there today ! inspiring me! Thanks to outgoing City, when we will present a National The other convention-related news I board members Robert Aitken, Zart Service Award to Gerald Carey and have the pleasure of sharing is results of Domburian-Eby, Amy Porter, Secretary Lifetime Achievement awards to our competitions. (Find complete Carol Dale, and Katherine Borst Jones. Bickford Brannen and James Walker! information on the NFA Web site.) Welcome to the new secretary-elect This year, Gwen Powell, our interim Winners this year (listed in first, second, development director and stunning and third place respectively) are Hye Shelley Collins, secretary Lori Akins, master of ceremonies, managed to Sung Choe, Gregory Milliren, and vice chair of the board of directors sneak in a plug for bequests and Rachel Taratoot Ciraldo (Young Artist); Leonard Garrison, new board members briefly outlined the status of our Heather Zinninger, You-Kyoung Kim, Bickford Brannen, Robert Dick, and endowment. We use these funds to pay and Rebecca Johnson (Orchestral Chris Krueger, and Patti Adams, chair for commissions, publications, out - Audition); Stephanie Kwak, Elizabeth of the board of directors for 2007–2008. reach scholarships, and competitions. Stern, and Elizabeth Lu (High School We are in excellent hands! Of course we have a wish list for Soloist); and Sarah van Cornewal, Sarah —Alexa Still D

THE DEAN YANG FLUTE

nvision a flute crafted with the precision and beauty worthy E of professional flutists. Yet it is a flute tailored to meet a modest budget. Dean Yang has created such an instrument.

Dean Yang flutes www.dean-yang.com [email protected] 248-540-7970

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THE FLUTIST QUARTERLY Anne Welsbacher, Editor John Bailey, Christine Cleary, Tadeau Coelho, Chelsea Czuchra, Kiku Day, Mia Dreese, Amy Hamilton, Sandra Howard, Lyndie Mostart, Mary Procopio, Contributing Editors Tony Watson, Masterclass Reporter Victoria Stehl, Art Director Steve diLauro, Advertising Sales Representative

Editorial Advisory Board John Bailey Professor of Flute University of Nebraska–Lincoln Lincoln, Nebraska Leone Buyse Joseph and Ida Kirkland Mullen Professor of Flute Rice University Houston, Texas Zart Dombourian-Eby Principal Piccolo Seattle Symphony Seattle, Washington Susan Goodfellow Associate Professor of Flute University of Utah Salt Lake City, Utah Amy Likar Flute, Piccolo, and Alexander Technique Oakland, California Betty Bang Mather Professor of Flute Emeritus University of Iowa Iowa City, Iowa Roger Mather Adjunct Professor of Flute (retired) University of Iowa Iowa City, Iowa Jerrold Pritchard Professor of Music Emeritus California State University–San Bernardino San Bernardino, California Eldred Spell Professor of Flute Western Carolina University Cullowhee, North Carolina Michael Stoune Associate Director of Graduate Studies School of Music Texas Tech University Lubbock, Texas Nancy Toff Music Historian New York, New York Michael Treister, M.D. Orthopaedic and Hand Surgeon Amateur Flutist Chicago, Illinois Charles Wyatt Flutist, Writer Nashville, Tennessee Reviews Board Robert Dick Adjunct Associate Professor of Flute New York University Composer/Performer New York, New York Penelope Fischer Principal Flutist, Ann Arbor Symphony Member, Detroit Chamber Winds Ann Arbor, Michigan Patricia George Professor, Performer, Masterclass Teacher, Author Pocatello, Idaho Ruth Ann McClain Flutist and Studio Teacher Memphis, Tennessee Brooks de Wetter-Smith James Gordon Hanes Distinguished Professor of Flute University of North Carolina–Chapel Hill Chapel Hill, North Carolina John Wion Professor of Flute The Hartt School West Hartford, Connecticut National Flute Association, Inc, Staff Phyllis T. Pemberton, Chief Executive Officer Anne Welsbacher, Publications Director Madeline Neumann, Convention Director Maria Stibelman, Membership Director Brian Covington, Web Design Consultant The National Flute Association does not promote or endorse any products, companies, or artists referenced in the editorial content of The Flutist Quarterly or other NFA publications. 19191 flute 2-18.qxd:DausProfile.qxd 9/25/07 9:07 AM Page 9

From the

he 2007 convention has joined the fully archived lifeE, so pleasDe enjoy this ITOR ranks, and from the accounts I have new feature. (Please note the rules and Theard, as well as my personal expe - policies that apply, however, so that the riences there, it rates as high among them experience is enjoyable and productive as its locale in Albuquerque. My hat is off for all participants.) to all the strong-lunged flutists who A lively description of the convention’s played in this lofty event’s rarefied air. Lifetime Achievement Awards gala If you were unable to attend the 35th dinner, along with its honorees for this convention, you can learn more from our year and excerpts from their acceptances third annual collection of online conven - speeches, is included in this issue of The tion chronicles, posted at nfaonline.org. Flutist Quarterly . Also in this issue, the Also online are results of the competi - winning abstracts for the 2007 research tions and elections. (If you plan to submit competition are included. Jazz flutist a proposal for the 2008 convention, Frank Wess is featured in profile; he is please remember that the deadline is now one of many individuals described in a October 1; find more information about presentation on the history of jazz at the this in the summer 2007 issue of this 2007 convention. Also of interest in this magazine, or online.) issue, we hope, are our feature article by Anne Welsbacher Online you also will find a new benefit Mimi Stillman on Debussy’s visually of NFA membership: the member oriented compositions; an interview by We are always happy to hear from forum. This online discussion board George Pope with flutist Joshua Smith; you about NFA publications; please offers opportunities to hold myriad and an article by Helen Spielman pro - feel free to contact me at any time at conversations with like-minded indi - filing a handful of flutists who have [email protected]. If I can’t viduals on all things flute. You also can carved nontraditional professional lives answer your question, I will do my create new discussion topics. The forum for themselves—and who offer insights best to find someone who can. is designed for ease of use and a long, for others hoping to follow in their paths. —Anne Welsbacher

Reinecke: Concerto for Flute & Orchestra; Ballade for Flute & Orchestra (2 CD Set)...... MMO CD 3368 Two great Romantic works for flute and orchestra in a fabulous new MMO release. Listen to master flutist Katarzyna Bury perform these classics with the Rousse Symphony Orchestra; Take her place as the star virtuoso with the full orchestra under Maestro Nayden Todorov! Includes slow-tempo practice accompaniments to get you up to speed!

Romantic Classics for Flute & Piano (2 CD Set) ...... MMO CD 3371 Spanning the Romantic era, from classic Viennese melodies of Schubert to ground-breaking French classics of Debussy - there is something here for all flutists. Virtuoso Bury teams with celebrated accompanist Dominik Hormuth for this breathtaking excursion through some of the greatest pieces ever created for the flute-piano form. This Music Minus One learning and performance edition presents a perfect introduction for flutists to a broad spectrum of music of varying tech- nical difficulties. Deluxe edition includes a second compact disc featuring -20% slower-tempo practice versions you can use to learn each piece. Includes: Debussy The Little Shepherd (Le Petit Berer); Le Petit Nègre; Donjon Pan (Pastorale); Fauré Berceuse, op. 16; Reichert Mélodie, op. 16; Rêverie, op. 17; Souvenir du Para; Schubert Gute Nacht; Ständchen; Das Fischermadchen; Schumann 2 Romanzen ‘Nicht schnell,’ op. 94/1 and ‘Einfach, innig,’ op. 94/2

Fantasias for Flute: Classics with Piano (2 CD Set) ...... MMO CD 3378 A 2-CD collection chock-full of gorgeous fantasias for flute and piano. From Chaminade's classic Concertino to Borne's magnificent Fantasia on Bizet's Carmen. An album of classics to delight you and hone your skills. All pieces are on state competition repertoire lists. Listen to virtuoso flutist Christine Soroka perform reference versions with accompanist Sarah Takagi; then perform with Ms. Takagi as your partner! Includes: Doppler Fantaisie Pastorale Hongroise; Chaminade Concertino; Borne Fantasy on Themes from Bizet’s ‘Carmen’; Briccialdi Il Carnevale di Venezia. Each edition includes a beautiful, newly engraved solo part on easy-read ivory paper; and compact disc featuring complete version; and an accompaniment version minus you, the soloist!

Music Minus One The name of quality in accompaniment recordings since 1950. 50 Executive Boulevard • Elmsford, NY 10523-1325 • Tel: 800 669-7464/914 592-1188 • Fax: 914 592-2751 Visit us on the web at www.musicminusone.com

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OE& K& @9QF=K2 L@= ?=F=KAK G> 9E=JA;9F >DML=E9CAF?

H J E H:J E :GG 77

The Wm. S. Haynes Company announces the production of a limited edition ßute: The Rampal Edition Flute. Only 50 of these very special ßutes will be made over the next two years to celebrate the 50th anniversary of Jean-Pierre RampalÕs 1958 debut concert in oaddaYe k& `Yqf]k [gehYfq$ af[& the United States.With his debut tour began a life-long relationship )* ha]\egfl klj]]l with the Wm. S. Haynes Company.The Rampal Edition Flute is a Zgklgf$ eYkkY[`mk]llk (*)). .)/ ,0*%/,-. replica of Mr. RampalÕs ßute using the original molds to forge the ooo&oek`Yqf]k&[ge keys. For more details, please contact the Wm. S. Haynes Company. 19191 flute.rev.pg11.qxd:DausProfile.qxd 9/25/07 9:15 AM Page 11

Introducing The Grain Oriented Wood-Air-Reed™

Sandy Drelinger’s research has shown for the first time that blow edge shape and material has a profound effect on headjoint performance. This was authoritively recognized when Drelinger was awarded a U.S. patent for this invention. Since its introduction years ago, literally thousands of Gold-Air-Reed® & Platinum-Air-Reed® heads have been sold.

What Is A Grain Oriented Wood-Air-Reed™?

Traditionally wood flute and piccolo headjoints have the blow edge cut parallel with the direction of the wood grain as shown by the arrow of Illustration one. Due to the nature of the wood such an occurrence is seemingly unavoidable as the grain orientation of the wood predetermines the grain direction at the blow edge. During the past three years, Drelinger directed its research toward learning the effects of a wood blow edge added to an all precious metal headjoint. The results of these experiments led to the development of the Grain Oriented Wood-Air-Reed, referred to by its acronym GO. By rotating African Blackwood, with the grain structure oriented as shown by arrow of Illustration two, we are able to achieve Two results characterized by a robust sound and tonal purity free of extraneous harmonics, even when playing softly in the high register. 2 3 8 9 - 6 2 4 - 0 0 8 - 1 What Are The Benefits Of Our Hybrid Headjoint ? n o i t a

m 012345678910 r o f n i When incorporated into an all metal r e h

t Drelinger headjoint, the r VIOLIN u f ™

r Go-Wood-Air-Reed combines to o F One form a hybrid whose sound is derived from both materials. ALL METAL FLUTE . d e v

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R Go-Wood-Air-Reed headjoint HYBRID s t h

g posseses virtues found in our wood i R l l and metal headjoints. The graph A

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e has the potential to make a seamless r D

7 tonal blends with other instruments. Apparent brightness increases with number 0 0 2 ©

The passionate pursuit of headjoint perfection 19191 flute 2-18.qxd:DausProfile.qxd 9/25/07 9:07 AM Page 12 19191 flute 2-18.qxd:DausProfile.qxd 9/25/07 9:07 AM Page 13

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

In conjunction with the dedication, flutist Carol Wincenc, assisted by Sherman, Chautauqua Symphony principal clarinetist Eli Eban, and pianist Patti Wolf, presented the opening concert of the Harry Logan Chamber Music Series. Wincenc performed works by Debussy, Enesco, Griffes, Poulenc, Uebayashi, and Varèse. Several of these pieces were originally premiered and performed by Barrère, including the Charles Griffes Poem and Edgard Varèse Density 21.5. Barrère gave the world premiere of the Poem in 1919. Maritza Morgan painted a mural at 8 Prospect, Chautauqua, titled “Poem”; the flutist depicted in the work is Carol Wincenc, a longtime friend of Kay and Harry Logan. Logan also performed the piece as a concerto winner with the student orchestra in 1957. Varèse wrote Density 21.5 for Kay Hardesty Logan, left, and Nancy Toff. Barrère’s platinum flute, made in 1935, which was the first one made in the United States. Barrère premiered the work he Georges Barrère Flute Studio at the Chautauqua on February 16, 1936. TSchool of Music in Chautauqua, New York, was dedi - cated on June 25. Cutting the ribbon to the studio was President Tom Becker and principal donor Kay Hardesty Logan (former principal flutist of the Columbus Symphony Orchestra). Preceding the cutting of the ribbon, Nancy Toff, author of Monarch of the Flute: The Life of Georges Barrère , presented a slide/lecture presentation about Barrère’s summers at Chautauqua. Barrère was principal flutist of the New York Symphony and Chautauqua Symphony Orchestra, associate conductor of the Chautauqua Symphony Orchestra, and conductor of the Chautauqua Little Symphony. He also taught at Chautauqua from 1921 to 1941. For her biography of the flutist, Toff interviewed many of Barrère’s colleagues at Chautauqua, and with the assistance of its late historian Alfreda Irwin made extensive use of the Chautauqua Archives in her research. Toff is vice president and editorial director at Oxford University Press. In 1994 she was the curator of the exhibition “Georges Barrère and the Flute in America” at the New York Public Library for the Performing Clockwise from left: Rie Schmidt, Wendy Stern, Elizabeth Brown, and Sheryl Henze. Arts, for which she wrote the catalog. For her research on Barrère, Toff received the Dena Epstein Award for Archival lute Force marks its 25th anniversary season with a concert and Library Research in American Music from the Music Fat Weill Recital Hall at Carnegie Hall on January 17, 2008, Library Association. featuring two premieres. Current principal flutist of the Chautauqua Symphony, To celebrate, the group will present a new quartet by the Richard Sherman, as the teacher at the School of Music, will Pulitzer Prize-winning American composer Joseph teach in the new studio. The studio will house numerous Schwantner in a commission made possible by the Barrère photos, along with a picture of Kay Hardesty Logan Brannen-Cooper Fund and other generous donors. The when she was a student at Chautauqua. The centerpiece of the second premiere is a piece by flutist and composer studio is a bronze bust of Barrère done by Marion Sanford, Elizabeth Brown, a 2007 Guggenheim Fellowship recipient which had been housed in the library in recent years. and the newest member of Flute Force.

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HIGH NOTES

Flute Force is the first professional flute quartet in the recording on VAI. Flute Force has also recorded on the United States. The ensemble has received grants from the Newport Classics, CRI, Innova, and Windham Hill labels. National Endowment for the Arts, Chamber Music America, Performing on the instruments of the flute family (piccolo, the New York State Council on the Arts, and Meet the flute, alto, and bass) in various combinations, Flute Force offers Composer. In its 25-year history, Flute Force has commissioned varied programs, chamber music performances for all types of and premiered more than 20 new compositions for the flute audiences, educational concerts, and masterclasses for students quartet and has served as a model for flute quartets through - of all levels. Through its performances, recordings, and out the country. commitment to expanding the library of work for this In addition to new works for the flute quartet, Flute medium, Flute Force has established the flute quartet as a Force has explored little-known works for the ensemble. bona fide genre in the chamber music community. Flute Force will open the season of the La Conner Based in New York City, Flute Force’s members are Institute (Washington State) with a performance of “Flute Elizabeth Brown, Sheryl Henze, Rie Schmidt, and Wendy Quartet,” a 30-year-old work by American composer Stern. When not appearing as a quartet, all four players are Roupen Shakarian. This composition was written and prominent members of the musical community, performing published in Amsterdam. in the New York Philharmonic, Philadelphia Orchestra, New Rie Schmidt’s classic transcriptions of Ravel’s Daphnis and Jersey Symphony, Orchestra of St. Luke’s, American Chloe and Samuel Barber’s Adagio for Strings can be heard Symphony Orchestra, Orpheus, and others. (with guest artist Julius Baker) on the ensemble’s Pastorale Visit fluteforce.org for more information. 19191 flute 2-18.qxd:DausProfile.qxd 9/25/07 9:07 AM Page 15 19191 flute 2-18.qxd:DausProfile.qxd 9/25/07 9:07 AM Page 16 19191 flute 2-18.qxd:DausProfile.qxd 9/25/07 9:07 AM Page 17

DDeebbuussssyy,, Painter of Sound and Image

by Mimi Stillman The colorful Impressionism of artists Monet, Degas, Manet, and others readily can be heard—and played—in Claude Debussy’s musical works. Art Nouveau and Arts and Crafts movements also influenced this visually oriented composer.

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DEBUSSY , P AINTER OF SOUND AND IMAGE

la ude Debussy (1862–1918) wrote some of the most beautiful and evocative flute music ever written— “Syrinx” for solo Cflute, the Sonata for Flute, Viola and Harp, and the promi - nent flute solos of Prélude à L’après-midi d’un faune are iconic sta - ples of our repertoire. Considering additionally the flute parts of the orchestral La mer, Nocturnes, and Images , the opera Pelléas et Melisande , and the ballets Jeux and Khamma , it is clear that Debussy gave the flute a significant role throughout his corpus. Several elements that recur throughout his flute writing show the influences of artistic styles such as Impressionism and Art Nouveau and literary styles and themes such as the symbolist emphasis on color and

dreams. Analyzing Debussy’s flute writing in its artistic context N Mimi Stillman R O C R

provides valuable insight for us as interpreters. E P P E P A R I

Debussy, who wrote “J’aime les images presque autant que thought. The composer considered the musical arabesque to : E V O

la musique” (“I love images almost as much as music”) be an ornamented line, curving “naturally” or in accordance B A ;

1 Y was an extremely visually oriented composer. His own with “nature,” just as the Art Nouveau artists celebrated the R A R

8 B I writings and the recollections of those who knew him shapes in nature. The arabesque appealed to his admiration L T R attest to the close linkage of music with visual art in the for natural instinct over academic rules. He composed two A N A M

composer’s creative mind. La Mer, Images, Estampes , and Arabesques for piano in 1888–89, the year before he heard E G D I

Asian music for the first time. He wrote about the arabesque R the piano Préludes are just a few of his numerous pieces B E H inspired by visual images, and the parallels between his in baroque music: “that was the age of the ‘wonderful T /

2 E arabesque,’ when music was subject to the laws of beauty C

music and Impressionist art have been frequently studied. N 9 A R

inscribed in the movements of Nature herself.” The musical F

Among the artists and styles he is known to have admired , S I R

evocation of nature was one of Debussy’s ultimate goals in A

are Manet, Degas, Monet, Turner, Rodin, his friend P , N

music, and he expressed his conviction that “composers A

Camille Claudel, the English Pre-Raphaelites, and T T

3 O

alone have the privilege of capturing all of the poetry of M

Japanese prints. Less known but equally important is the R A

the night and day, of the earth and of the sky, to reconstitute M

composer’s fascination with Art Nouveau, a movement E E S

their atmosphere and to give rhythm to the immense U

that flourished in Europe between 1880 and 1900. M

10 , palpitation of nature.” N O D U

Debussy found the “wonderful arabesque” especially in A R I

The Ornamental Line of Art Nouveau G

the intricate, curving contrapuntal lines (“harmony / )

In the late 1880s, Debussy embraced the Art Nouveau style 6 2

formed out of melodies”) in Bach and in the Palestrina 9

4 1

that was in vogue at the time. It grew out of – 0

and Orlando de Lassus masses he heard in Rome as a 4 8

Impressionism and was connected to the English 1 young Prix de Rome winner and later at the church of ( E D

pre-Raphaelites and the Arts and Crafts movement. Art 11 U

Saint-Gervais in Paris. The Javanese music that Debussy A L C

Nouveau artists thought of utilitarian objects, furnishings, and , T

heard at the 1889 Exposition Universelle appealed to his pre - E N

tools as works of art, and developed a highly decorative, O

existing concept of the arabesque because of its ornamented M , )

intricate style of representing figures and nature. They focused S A

lines. The native musicians, who had never attended a V N

on the line, especially in the winding curlicues of vines, A conservatory, formed their curving, arabesque-like C

5 N flowers, and women’s hair. Debussy’s cantata La Damoiselle 12 O L

melodies “instinctively” and “naturally.” I O élue (1887–88), based on the text by British poet and ( Debussy frequently wrote arabesque-like lines for the 2 7 8

pre-Raphaelite artist Dante Gabriel Rossetti, reveals the 1

flute. For example, in “Syrinx,” winding runs give the piece a , E R

influence of the Art Nouveau movement in its cover illustration V sense of spontaneity. Debussy wrote it in 1913 as incidental A 6 H E

by Debussy’s friend Maurice Denis (image on page 45). In L

music for his friend Gabriel Mourey’s play, Psyché , in , E S I

the illustration, the winding curves of the woman’s hair which the music was to represent the last melodies Pan R N U are characteristic of this highly stylized and symbolic art 13 S played on his flute before his death. In the opening motif, : N O I

form. Lines moving upward represented positive emotions the repetition and 32nd notes gracing the principal tones S S E R such as happiness and hope, and downward lines conveyed lend an air of tentative improvisation. As the music devel - P M I

7 : sadness and emotional decline. S ops, Debussy’s runs cover a growing range. In example 1, E G A The Art Nouveau concept of the ornamental line, the the flute line cascades downward in chromatically pat - P S U O I

“arabesque,” which originally referred to a motif in Arabic terned 32nd notes. The descending line and decrescendo V E R art, is connected to a central theme in Debussy’s musical from mf to the p in the next measure is in keeping with the P

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Art Nouveau practice of connecting falling lines with In contrast with “Syrinx,” where the composer injected a emotional decline and diminishing of energy. variety of intervals to give his scales an exotic “otherness” for his musical portrayal of an ancient Greek theme, these solos Ex. 1 from La mer keep to stepwise motion, connoting smooth - ness and sunlight dappling the waves.

Impressionism’s Colors While the arabesque element in Debussy’s flute writing can be linked to the Art Nouveau style, other elements in his After the climax (see example 2), Debussy takes the flute music for the instrument are closely related to Impressionist line progressively lower until the end of the piece, using art, especially his musical treatment of color. Impressionism the winding arabesque of the opening theme. With the grew out of the rejection of established styles by an innova - hushed p dynamic and perdendosi marked on the descend - tive circle of French artists including Claude Monet, Auguste ing whole-tone scale, Debussy has the flute virtually fade Renoir, Camille Pissarro, Alfred Sisley, and Berthe Morisot. 14 away into the atmosphere. Inspired by their colleague Edouard Manet, the English painter J.M.W. Turner, Japanese prints, and other influences, Ex. 2 these artists rebelled against the highly formalized academic styles of the official Salon exhibitions sponsored by the French government. Originally rejected by the Salon, they exhibited at the Salon des Refusés sanctioned by Emperor Napoleon III, then at the Impressionist exhibitions starting in 1874. Their major innovations included painting out of doors en plein air rather than in the studio; relying on the senses rather than tradition; new techniques including the pointillism of Georges Seurat and Paul Signac or those derived from photography by Edgar Degas and others; and a realist interest in nature, as in Monet’s efforts to capture the different effects of light in his water lilies, haystacks, and other series of paintings. The term “impressionist” was first used pejoratively in a review of Monet’s 1872 painting “Impression: sunrise” (opening image). The name stuck and Several passages from La mer also evoke the Art Nouveau was adopted by the painters themselves. Monet’s fascination arabesque, notably the flute solos after measure 4 in the first with light and color in this painting is characteristic of movement (example 3), De l’aube a midi sur la mer (From Impressionism. His thick, disjointed brushstrokes convey Dawn to Noon on the Sea). Debussy’s use of conjunct the essence of forms, ocean, and light rather than their dis - motion provides gentle oscillations within the arching flute tinct features. line. The lines rise, then fall, both in range and in dynamic, What the Impressionists did in art, Debussy did in music. revealing how Debussy’s flute writing is linked to an Art He turned away from the established style of composition, Nouveau ideal. overturning tradition and creating his own individual style, which would influence generations of composers. Though Ex. 3 he was trained at the Paris Conservatory in the academic style, Debussy rejected aspects of common practice harmo - ny and musical structures and forms he deemed rigid in favor of music that emphasized color, texture, and counter - point. He explored new vistas of aural color, unlocking every instrument’s unique timbre and creating new combinations of sound through his orchestration. Fin-de-siècle artists and commentators linked music synesthetically with the visual arts, describing music in visu - al terms and images in terms of sound. Paul Gaugin wrote that “color…is vibration just as music is.” 15 Charles Baudelaire pointed out that “the art of the colorist is evi - dently in some respects related to mathematics and music.” 16 Renoir was probably the first to apply the term Impressionism to music in speaking to Richard Wagner in 1882. 17 Wagner, whose operas were immensely popular in late 19th-century France and were a formative influence on

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DEBUSSY , P AINTER OF SOUND AND IMAGE Debussy, had articulated the concept of Gesamtkunstwerk , Ex. 5 an art form encompassing music, drama, poetry, and dance. The Russian composer Alexander Scriabin’s compositions, including Poem of Fire and Poem of Ecstasy and his use of the color organ, which projected colored lights as it played, are vivid examples of the synesthetic commingling of art forms. Debussy’s music was often compared to visual art, and in particular the Impressionist style. The program note writer at the 1905 premiere of La Mer connected the composer’s orches - tration with painting a “palette of sounds…by skilful brush - strokes designed to convey in gradations of rare and brilliant colours the play of light and shade and the chiaroscuro of the ever-changing seascape.” 18 The critic and writer Camille Mauclair, who wrote one of the earliest books on Impressionism, compared Debussy to the Impressionists: “The landscapes of Claude Monet are in fact symphonies of lumi - nous waves…and the music of Monsieur Debussy, based not on a succession of themes but on the relative values of sounds in themselves, bears a remarkable resemblance to these pic - tures. It is Impressionism consisting of sonorous patches.” 19 Debussy himself declared that “Music has this over painting … it can bring together all manner of variations of colour and light—a point not often observed though it is quite obvious.” 20 Acknowledging his friend the critic Emile Vuillermoz’s com - parison of him to Monet, Debussy wrote, “you do me a great honour by calling me a pupil of Claude Monet.” 21 Debussy’s use of tone colors is especially dramatic throughout his Sonata for Flute, Viola and Harp, in which Performing Debussy’s Tone Colors he virtually melds the instruments together in seamlessly Debussy’s music affords us, as flutists, the opportunity to shifting combinations of sound. The first movement, employ a wide range of tone colors, and perhaps no music Pastorale, opens with the harp playing a rising figure exemplifies this more strikingly than the solo flute open - picked up by the flute (example 6). After the flute’s arpeg - ing of Prélude à L’après-midi d’un faune . A whole orches - giated hairpins, the viola enters in unison with the flute on tra sits silently onstage while Debussy, with a single flute, an E. Here, the performers must blend timbres, dynamics, breaks centuries of tradition in just over three measures. and vibrato to dovetail smoothly. The tritone outlined by the C-sharp–G compass of the passage is harmonically nebulous; a tonal center of E Ex. 6 Major is only hinted at in the third measure (example 4). Marking the passage p and doux et expressif , Debussy uses the haunting timbre of the flute’s low register and veiled quality of C-sharp to convey a mood of mystery and indo - lence. In performance, we can focus the audience instant - ly in on the flute solo with a very soft but lush tone and carefully calibrated gradations of dynamics and vibrato.

Ex. 4

At measure 2 (example 5), the opening theme recurs with vari - ations and orchestral activity. This time, some of the passages recall Debussy’s use of the Art Nouveau arabesque, especially the way first and second flutes hand off the chromatic runs in measure 27. The many crescendos and decrescendos invite the flutist to shade the tone colors with coolness and warmth, Debussy creates a poignantly delicate texture with his opening up for a singing f at measure 28. nuanced use of the three instruments. With great economy

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What the Impressionists did in art, Debussy did in music. He explored new vistas of aural color, creating new combinations of sound. of means, Debussy transforms the mood for the opening of the Final to one of resolute energy and rhythmic drive (example 7). Here, the harp lays the foundation with rapid alternations of a perfect fifth, the viola interjects pointed pizzicatos, and the flute enters with an accented, rhythmi - cally varied motif. Debussy highlights the plucked string element of both harp and viola, and brings out the per - cussiveness of flute articulation with his use of accents. In performance, we tongue the accent notes strongly to mimic the plucking of viola and harp.

Ex. 7 . D T L , R E B A F & R E B A F M O R F N O I S S I M R E P H T I W D E S U ; 7 8 9 1 S L O H C I N R E In Nuages , the first of his orchestral Nocturnes , Debussy G O R

. makes dramatic use of tone colors to evoke clouds. The V E R

, title resembles that of the series of “Nocturne” paintings 0 8

9 by J.M. Whistler, another painter whom the composer 1 ,

S 22 I

R admired. At measure 7, the flute begins an extended solo A P ,

S based on a pentatonic scale (example 8). Debussy used the T R A pentatonic and whole-tone scales throughout his works in S E D

T his move away from traditional harmony, because they E S

E avoid the clear tonicization of major and minor scales. C

N This drawing by Debussy’s friend Maurice Denis illustrates principles of Art E I The flute, together with harp, floats above suspended C Nouveau that are reflected in Debussy’s work. S S

E strings, creating a calm, lyrical character. D S R U E T I Ex. 8 Debussy’s flute writing is distinctly expressive in its use of D E ,

N tone color, images, timbre, and arabesque-like passages in N A M

R his flute writing. The compelling kinship of music and visu - E H Y

B al art in Debussy’s mind encourages us to keep our eyes, as 8 1

9 well as our ears, open when interpreting the exquisite flute 1 –

4 music of this great master of sound and image. > 8 8 1 S E R T

T Mimi Stillman is a soloist and chamber musician at concert E L :

Y halls and festivals throughout the United States, Europe, and S S U

B Mexico. Stillman teaches masterclasses at universities and E D

E flute societies, presents lecture recitals, is a published author D U A

L on music and history, and is devoted to educational outreach. C

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DEBUSSY , P AINTER OF SOUND AND IMAGE At 12, Stillman was the youngest wind player ever admitted 18. Ibid., 16. to the Curtis Institute of Music, where she received her BM 19. Quoted in Lockspeiser, vol. 2, 18. studying with Julius Baker and Jeffrey Khaner. On her CD 20. Ibid., 16. MIMI , she recorded her award-winning book of arrange - 21. Debussy to Emile Vuillermoz, January 1916, Debussy Letters , 313. ments of Debussy’s songs, Nuits d’Étoiles: 8 Early Songs 22. Jane Bathori in Debussy Remembered , 180; Dolly Bardac in Debussy (Presser). A PhD candidate in history at the University of Remembered , 199; Nectoux, Harmonie en bleu et or: Debussy, la musique et les Pennsylvania, she wrote her master’s thesis on Debussy: The arts , 104-11; Roberts, Images: The Piano Music of Claude Debussy , 139-41. Influence of Asian Music on Claude Debussy: A Study in Cultural Contact. Her Web site is mimistillman.org. For Further Reading Endnotes Debussy on Music . Ed. François Lesure and Richard 1. Claude Debussy to Edgard Varèse, in Edward Lockspeiser, Debussy: His Life and Mind , vol. 1 (London: Cassell, 1962), 113. Langham Smith. New York: Alfred A. Knopf, 1977. 2. Jean-Michel Nectoux, “Portrait of the Artist as Roderick Usher,” in Debussy Studies , ed. Richard Langham Smith (Cambridge: Cambridge University Press, Debussy Letters. Ed. François Lesure and Roger Nichols. 1997), 108-38; Nectoux, Harmonie en bleu et or: Debussy, la musique et les arts Cambridge, MA: Harvard University Press, 1987. (Paris: Fayard, 2005). 3. Debussy to Jacques Durand, March 1908, in Debussy Letters , ed. François Lesure and Roger Nichols (Cambridge, MA: Harvard University Press, 1987), Fulcher, Jane F., ed. Debussy and His World. 188; Madame Gérard de Romilly, “Debussy professeur,” in Cahiers Debussy Princeton, NJ: Princeton University Press, 2001. (Geneva: Minkoff, 1978), New Series 2, 3-10; Recollections of Dolly Bardac, Robert Godet, Jacques Durand, and Ricardo Viñes in Debussy Remembered , ed. Lockspeiser, Edward. Debussy: His Life and Mind. 2 Roger Nichols (Portland, OR: Amadeus Press, 1992); Lockspeiser, Debussy: His Life and Mind , vol. 1, 183. vols. London: Cassell, 1962, 1965. 4. Lockspeiser, Debussy: His Life and Mind , vol. 1, 118-21; The Cambridge Companion to Debussy , ed. Simon Trezise (Cambridge: Cambridge University Press, 2005). Nectoux, Jean-Michel. Harmonie en bleu et or: 5. Roberta Waddell, ed., The Art Nouveau Style (New York: Dover Debussy, la musique et les arts . Paris: Fayard, 2005. Publications, 1977), ix-x. 6. Nectoux, Harmonie en bleu et or: Debussy, la musique et les arts , 78-87; Paul Roberts, Images: The Piano Music of Claude Debussy (Portland, OR: Amadeus Nichols, Roger. Debussy . London: Oxford University Press, 1996), 50-51. Press, 1972. 7. For the connection between Debussy’s melodic writing and Art Nouveau, see Julie McQuinn, “Exploring the Erotic in Debussy’s Music,” in The Cambridge ______. Debussy Remembered. Portland, OR: Companion to Debussy , 134; Caroline Potter, “Debussy and Nature,” in The Cambridge Companion to Debussy , 145; Boyd Pomeroy, “Debussy’s Tonality: A Amadeus Press, 1992. Formal Perspective” in The Cambridge Companion to Debussy , 158-61. 8. Debussy, “Du goût,” S.I.M. (1913), in Debussy on Music , ed. François Lesure and Pasler, Jann. “Timbre, Voice-leading, and the Musical Richard Langham Smith (New York: Alfred A. Knopf, 1977), 278-79. Arabesque in Debussy’s Piano Music.” In Debussy in 9. Debussy, in Musica , October 1902, in Debussy on Music , ed. François Lesure and Richard Langham Smith (New York: Alfred A. Knopf, 1977), 84. Performance . ed. James R. Briscoe. New Haven: Yale 10. Review for the S.I.M., November 1913. University Press, 1999. 11. Debussy to Eugène Vasnier, November 24, 1885, in Debussy Letters , 14; Debussy to André Poniatowski, February 1893, Debussy Letters, 40-42. 12. For Debussy’s relationship with nature, see Caroline Potter, “Debussy and Roberts, Paul. Images: The Piano Music of Claude Nature,” in The Cambridge Companion to Debussy , 137-51; for more on Debussy Debussy . Portland, OR: Amadeus Press, 1996. and Asian music, see my master’s thesis, The Influence of Asian Music on Claude Debussy: A Study in Cultural Contact (University of Pennsylvania, 2003). Smith, Richard Langham, ed. Debussy Studies . 13. Anders Ljungar-Chapelon, Preface to “Syrinx” (Sweden: Autographus Musicus, 1991), 3. Cambridge: Cambridge University Press, 1997. 14. For more on Impressionism, see Grace Seiberling, “Impressionism,” Grove Art Online , Oxford University Press, 4-28-2007, http://www.groveart.com. Trezise, Simon. The Cambridge Companion to Debussy . 15. Paul Gaugin to André Fonteinas, March 1899, in Linda Nochlin, Impressionists and Post-Impressionists, 1874-1904 (Englewood Cliffs, NJ: Cambridge: Cambridge University Press, 2003. Prentice Hall, 1966), 178. 16. Quoted in Edward Lockspeiser, Debussy: His Life and Mind , vol. 2 (London: Roberta Waddell, ed., The Art Nouveau Style . New Cassell, 1965), 17. York: Dover Publications, 1977. 17. Ibid., 19; Lockspeiser, Debussy: His Life and Mind , vol. 1, 92n. Erich Graf A Flute Recital: Bourne (Carmen Fantasie) Bach (c minor suite) Nobis (from western mountains) Roussel (Joueurs de Flute) Prokofiev (Sonata) Berio (Sequenza) Gaubert (Sonata #3) Classical Musings: a VHS music video setting Flute Masterworks: of excerpts from A Flute Poulenc (Sonata) Recital to the beauty of Debussy (Syrinx) Utah’s National Parks Varése (Density 21.5) and their environs.

Erich Graf . Aeolus Recordings www.erichgraf.com

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Largofor Alto Flute* and Piano by Ludwig van Beethoven

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progress pp press For more information and for ordering instructions check our website: www.progress-press.com 19191 flute 19-33.qxd:DausProfile.qxd 9/25/07 7:42 AM Page 24 Frank Wess: Quintessential Jazz Flutist

by Peter Westbrook When it comes to instigating, playing, and passing to future generations the great tradition of jazz flute music, Frank Wess just keeps going and going. When not playing, Wess composes and arranges.

ll branches of the music world love awards and polls, instrument as a gimmick. Later, given a popular platform and in jazz the best known of these are Down Beat in Count Basie’s reed section, he was to bring the sound to Amagazine’s annual Critic’s and Reader’s polls. While a wide audience. not perfect, these illustrate major trends in jazz over the past 50 years. One such trend is the widening acceptance of the Early Years flute as a jazz instrument. Prior to 1960, there was no flute Frank Wess was born January 4, 1922, in Kansas City, category in the critic’s poll, only a category called Missouri, but grew up in Sapulpa, Oklahoma. For a small “Miscellaneous Instrument,” but in 1959, first place went to a mining town it proved a curiously fertile ground for musi - flutist. His name: Frank Wess. cians; several well-known jazz artists grew up in the area. By the following year, there were enough jazz flutists to Perhaps it was something in the water. Whatever it was, it warrant a separate category. The first winner: Frank Wess. He got to Wess by the time he was 10 years old, when he took was being recognized, according to noted critic Leonard up the alto saxophone. Three years later, in 1935, when the Feather, as “the first jazz star to record extensively and with Wess family moved to Washington, D.C., Wess continued complete success as a flute soloist.” his studies at Dunbar High School. Forty-six years later, in the most recent poll, the winner is It was here that the flute first entered Wess’s life. “My high Frank Wess. Still going strong at age 85, he is, says fellow school teacher, Henry Grant, gave me a flute when I was 14 flutist Lew Tabackin, “the quintessential jazz flute player.” years old,” he says. “But I didn’t have the money to get a Universally admired not only as an instrumentalist but also teacher and I couldn’t do it by myself. So I just waited until I as a composer and arranger, Frank Wess has carried the baton could do it.” The flute was returned to Grant. of jazz flute from its very beginning to the present, passing it on Continuing his formal training on the saxophone, Wess to two or three generations of performers while, magically, still began performing in area dance, theater, and club bands. It retaining it himself. When he first started, there were virtually was at this time that he was first exposed to jazz. He heard no models for an up-and-coming jazz flutist. Rather, his first various territory bands on the radio and at local dances— major influence was the famous tenor saxophonist Lester he particularly remembers Andy Kirk and his Clouds of Young, who had developed a new playing style that emphasized Joy—and he was also stimulated by one his schoolteachers, long, flowing, melodic lines, and a light tone quite different an alto sax player. As he told Jazz Times in 1983, “He used from earlier players. Young’s approach turned out to be strong to have a little group that rehearsed in his house for different enough not only to inform Wess’s tenor style, but also to give gigs. I used to hear them all the time, and they were always him the whole cloth out of which he could construct a style of playing jazz. That’s what caught my ear. That’s what made jazz flute playing, one of the very first that did not treat the me want to play.”

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It was during these years that he first heard the great Lester Young, known to everyone as “Prez.” “When I heard Lester Young, that was that,” Wess recalled in a 2003 Down Beat interview. He recounted his first meeting with the legendary tenor saxophonist, then a star of the Count Basie band:

Basie came through town for a dance at the Lincoln Collonades…Prez was staying at a three-story rooming house, and a friend of ours brought us there. Prez came out in his pajamas, with his horn in his arm… We asked him how he made all those funny sounds, and he showed us…Prez’s sound was totally different… His concept was different, and his rhythm was so good. I was very influenced by him as a kid. I used to try to play all the things he played.

Wess also switched from alto to tenor saxophone; later he would jam with Young when the saxaphone player was in town.

WWII and the Call of the Flute Meanwhile, Wess moved on from high school to Howard University’s Conservatory of Music, where he worked with the house band at the Howard Theater. By 1940, he was a sideman with Cab Calloway’s elder sister, singer and band - leader Blanche Calloway. At this point, however, World War II intervened and, like so many musicians of his generation, Wess found himself in the army. He was assigned to an army band where he honed his Wess performing at a party celebrating the 82nd birthday of fellow jazz musician James Moody, in 2007. skills on both tenor and clarinet, and gained experience as leader of a swing band that toured North Africa with singer “I knew it worked before I started doing it. I just had to get Josephine Baker. command of the flute,” he reports in his typical, matter-of- When he got out of the army the opportunity finally pre - fact way. “People like anything if it’s done correctly.” sented itself for him to take up the flute. After another three He seems to have done a lot of things correctly, as he was years on the road, he grew tired of traveling and wanted to now admitted to what, for a jazz musician, amounted to stay in Washington with his young family. In 1949, finding graduate school—the Count Basie Orchestra. himself eligible for the G.I. Bill, Wess enrolled as a flute major at a Washington conservatory, the now defunct Modern Graduate School School of Music. It was an extensive education; Wess stayed with the Count Wess’s teacher there was Wallace Mann, principal flute with from 1953 to 1964, during which time he was largely the National Symphony Orchestra. “When I first told him I responsible for the renewed success of the band. He took wanted to learn flute purely for jazz he just laughed,” Wess many of the tenor saxophone solos that were a hallmark of recalls. Later, Wess studied with Harold Bennett in New York. the band, a role formerly played by Lester Young. When Working with these teachers Wess obtained a solid grounding Basie needed a lead alto, Wess took on that role. He exploit - in classical flute technique, setting him apart from other flutists ed his growing skills to become one of the band’s principal M O C

. emerging in jazz at this time, who were largely self-taught. composer-arrangers. He helped Basie identify and recruit Z Z A J In this, Wess was something of a pioneer. Taking a conser - key players. And, most important from our perspective, N I A T

N vatory training and adapting it to the needs of jazz was to Basie started to feature Wess’s flute. As Wess recalls: U O M

Y become a trend for flutists that continues to this day, exem - “[Arranger] Don Redman asked Basie if he had heard me K C O

R plified by Hubert Laws, who studied with Julius Baker at play flute. Basie said ‘no,’ so Redman said ‘you should hear F O

Y Julliard, as well as Tabackin, Paul Horn, Holly Hofmann, and him.’ Basie said, OK, and told me to play whatever solos I S E T

R NFA Jazz Committee chair Ali Ryerson, among others. But it wanted on flute.” U O C was Frank Wess who led the way. Basie loved it, as did his arrangers, mainly Ernie Wilkins, O T O

H Graduating from the Modern School of Music with a bach - who began to incorporate the flute sound in the band’s reed P Y K

S elor’s degree in flute performance, Wess bgan playing the section, frequently voicing the flute with muted trumpet, to N I D

A instrument on his jazz gigs. He seemed to have no difficulty produce a distinctive, lighter sound, in contrast to the hard- R D E

N in gaining acceptance for the instrument. driving swing audiences had come to associate with the band.

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FRANK WESS : Q UINTESSENTIAL JAZZ FLUTIST

Wess played flute solos with the Count Basie Orchestra as early as 1954. In the decades following, he continued to influence the sounds and great players of jazz. This new sonority made its recorded debut, along with For the next 20 years, Wess made his living doing largely Wess’s first recorded flute solo, on Perdido , in 1954. There commercial work. He played for Broadway shows, did televi - had been no more than two or three flute solos recorded by sion and studio work, and was in demand as a composer and jazz artists prior to this, but now the instrument gained arranger. Along the way, he interspersed this activity with the extensive exposure during Basie’s popular radio broadcasts. more purely jazz-oriented gigs that came along, until, even - This was to continue after Wess left the band, as Wess had tually, jazz work could again become his main focus. helped Basie bring in another saxophonist/flutist, Eric Dixon. Wess has worked with some of the great names in jazz, They can be heard together on flute in a classic recording with from Clark Terry and Philly Joe Jones to Woody Herman and a Basie-led small group, the Kansas City Seven . Toshiko Akiyoshi, and has led recording sessions for several The Basie band flourished through the early 1960s. By major labels. Over these years his style—clear, direct, ele - 1964, however, the situation had changed. Some of the bet - gant, swinging—has remained remarkably consistent. And ter players had left, the standard started to slip, and Wess felt now, the body of work he has created has finally earned him it was time to move on. His legacy was secure; by now the the title of NEA Jazz Master, only the second flutist to be sound of jazz flute was well established in the music busi - honored with this award. ness. Bud Shank was taking flute solos with the Stan Kenton Today, Frank Wess continues to appear and record as a orchestra; Sam Most was recording with Buddy Rich; Herbie soloist, along with other jazz masters, such as pianist Hank Mann was two years away from his first major hit; Moe Jones; as his 1993 CD title puts it, he is Tryin’ to Make My Koffman had already had his, with Swinging Shepherd Blues. Blues Turn Green ! His flute work continues to figure promi - The voicings that Wilkins had popularized with Basie were nently, and is perhaps best showcased in the group Flutology , being picked up by other arrangers—Henry Mancini and where he is featured alongside Ali Ryerson and Holly Neal Hefti, for example, and Stan Kenton’s writing crew on Hofmann. There can be no better introduction to the sound > the West coast. Influential arranger Gil Evans voiced three of the flute in jazz. flutes under Miles Davis’s muted trumpet on Summertime, Peter Westbrook is the author of The Flute in Jazz: Window on their famous 1959 Porgy and Bess recording, and exploit - on World Music . He is a regular reviewer for The Flutist ed alto and bass flutes in his later writing. Many arrangers Quarterly and other publications. See fluteinjazz.com. followed, as the sound spilled over from the jazz world into Hollywood movie scoring. Mancini established the sound of Suggested Listening low flutes in his 1963 Pink Panther score. By the 1970s it had become common, to the point of being a cliché. Class of ’54— Count Basie/Frank Wess , 1201 Music, 1954 It’s The Real Soul— Gene Harris/Frank Wess , Concord In Demand Jazz, 1995 As Wess emerged from the Basie band and began to freelance in New York, he found himself very much in demand, having Without a Doubt— Frank Vignola/Frank Wess , Koch won the Down Beat Critic’s poll for the sixth successive year. Jazz, 2000 “A lot of people knew me from playing flute, especially with First Date— Flutology, Capri Records, 2003 Basie. That was one thing that was good about being in the band,” he says. “I got the exposure that I hadn’t gotten in all the Hank and Frank— Hank Jones and Frank Wess, Lineage years prior to that.” Records, 2006 As he told Down Beat , his transition from Basie into anoth - er paying gig, in the pit band for a Broadway show, was almost Wess’ induction as an NEA Jazz Master can be seen seamless: “I came home and I got everything straightened out at youtube.com. Type “Frank Wess Jazz Master” in for doing Golden Boy with Sammy Davis. I went out and got the search box. Also, visit iaje.org/jazzmasters.asp paid with Basie one Thursday; the next Thursday I got paid for and select Wess’s image. Golden Boy. I never missed a payment.”

26 The Flutist Quarterly Fall 2007 nfaonline.org 19191 flute 19-33.qxd:DausProfile.qxd 9/25/07 7:42 AM Page 27 19191 flute 19-33.qxd:DausProfile.qxd 9/25/07 7:42 AM Page 28 The Musical Road Less Traveled: Alternative Careers for Flutists

by Helen Spielman

Five flutists share information about the career choices they made and the successes they have found. They also offer advice for other flutists considering a nontraditional career in music.

hen young flutists look to their future, they often envision a wonderful, traditional career: winning a coveted orchestral position or teaching at a prestigious academic institution. While these paths are possible and fulfilling for Wsome, less traditional, but equally exciting lifework beckons others. Five flutists—from a Grammy Award winner to an adult beginner—share their stories and advice on forging innovative professional careers.

RHONDA LARSON “Say yes every time something “I started out with the myopic belief that classical music was challenging comes along, as the only real or legitimate music out there,” Rhonda much as you can. You never Larson remembers. “I was know where it might lead you.” immersed in becoming a clas - sical flute soloist. But deep in —Rhonda Larson my heart, I wanted to make music that might be more week later when they were both planning to be in New York. inclusive, music for the ‘wider Inside the magnificent Cathedral of St. John the Divine, Winter public’ that might have a larg - simply said to her, “Just start playing.” er impact. I wanted to offer Larson explained, “I knew he wasn’t asking to hear something positive and to be my latest Paganini. He was saying, ‘Make something up.’ To a relevant to the time I was liv - classical musician, those can be paralyzing words, but for the ing in. I wanted my music to serve on the level of the soul.” first time in my life, I created some kind of music that I had no Today, Larson travels the world as a renowned soloist and idea existed inside of me. Something larger took over.” teacher, performing her own music. She says it is a life she Larson joined the Paul Winter Consort and toured interna - Y H P

found through the serendipitous and timely acquaintance of tionally for seven years. She was exposed to traditional village A R G O

many people who guided her, as well as through the evolu - music from Russia, Africa, and Brazil. Using “seeds” from T O H tion of quiet inner thoughts. She carried these nearly sub - classical repertoire to develop her own pieces, she began P W O L

conscious thoughts for years because she didn’t know how to composing music, and created the first of her two solo CDs. S N I W

change her classical music life. She also acquired the first of her ethnic flutes, a focus that , W O L

A month before her graduation from the University of remains a passion today. S N I Idaho, the Paul Winter Consort performed there. At a work - W

“My path is ‘following my heart’ and I have no doubt that it E V E T

shop, Winter noticed Larson, and invited her to meet him a is available to any flutist who wishes to say yes to this same S

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‘inner listening’ of what to follow, musically,” Larson says. “Following my heart means paying close attention to what I am “I follow my instincts and moved by in music. prepare for the consequences. “Be technically ready for anything,” she advises. “Pay atten - tion to what music you really, honestly like, and how you would It’s hard in the arts.” —Don Bailey like it to be for your audience. Act with courage even though fears are present. Say yes every time something challenging Festival in Italy, where I performed with the resident string comes along, as much as you can. You never know where it quartet and organized the chamber music concerts. I recent - might lead you. Sometimes you will only get the smallest hint ly recorded one of Gian Carlo Menotti’s operas with princi - of a clue as to your next step. pal players from the Dallas Symphony and Opera orchestras. “I am clear in my desire to live a full, real life first, with music “I follow my instincts and prepare for the consequences,” as the path to do so. I’m not interested in fame, I’m interested Bailey says. “It’s hard in the arts.” Bailey advises flutists to stay in in effectiveness. I want my music to serve people and con - shape, because we are only as good as our last performance. A tribute to humankind in some positive way—music is that professional, friendly attitude is imperative, he says. “Be proac - big for me. I want to give something back that is real to the tive by creating your own tours, recordings, and recitals.” human heart.” Bailey intends to do more tours and recordings. He can’t Larson recently realized that goal, living in the Middle East promise he’ll stay put. “I need to be stimulated and inspired. and teaching flute to young Palestinians, ages 10–27, who I am a restless spirit.” have been through untold suffering. LEA PEARSON DON BAILEY “I once heard Kathy Borst Don Bailey, a freelance musi - Jones say to her students, cian based in New York City, ‘Follow your interests and has achieved the perfect bal - get really good at one thing.’ ance to which so many musi - That’s what I’ve done,” Lea cians aspire. He enjoys two Pearson says. “I never careers—one as a flutist, the intended to be a profession - other as a software training al musician. I saw my family consultant for international play boring gigs, so I went law firms. The financial secu - into mental health and edu - rity of the consulting allows cation, but I couldn’t live him to be selective in his without music.” music pursuits, which keeps Pearson went back to his passion for music alive. grad school to study flute, and He’s not sure whether he a traditional orchestral job chose an alternative career or followed. She also taught itin - whether it simply evolved. erantly and became involved in many arts education programs. In college, Bailey says he was naive about what a life in “Something was wrong, because I was always playing music meant, so he double-majored in music and psycholo - with pain. At age 45, I decided to either learn how to use gy and spent seven years as a vocational counselor for hear - my body better or stop playing. I was offered a graduate ing impaired job seekers. At age 27, he missed music and assistantship at Ohio State, so I moved my whole family to entered graduate school, studying flute at the University of pursue my DMA.” Pearson also studied Alexander North Texas, then at Aspen and in France with Albert Tipton Technique with Barbara Conable, the founder of Andover and Alain Marion. After beginning a professional career in Educators, and was among the first group of musicians Dallas with the Dallas Chamber and Bach orchestras, he later officially trained to teach Body Mapping. Leaving her fam - taught at a small Louisiana university, where his interest ily for six months, she fulfilled a 12-year goal to study with withered without inspiration. In 1992 Bailey moved to New York City to freelance. To pay the bills, he took a temp job in “Life is a series of choices and a law firm, and still works flexibly as a software consultant, often remotely via the Internet, but only as a means to an compromises. No one else can end. “My flute comes first,” he says. “I never believed that I was a nonflutist,” says Bailey. “I was tell you what you should do, always involved in flute clubs, an excellent way to make when. If you want something friends and contacts. Eventually, I stopped doing the nightly gigs that are so draining. I played on cruise ships and pro - that’s different, structure your duced my own recordings. Now I tour with my favorite pianists, and attend festivals, most recently the Spoleto life to get it.” —Lea Pearson

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THE MUSICAL ROAD LESS TRAVELED : A LTERNATIVE CAREERS FOR FLUTISTS Liisa Ruoho in Finland. The thesis Pearson wrote to earn her degree was her golden opportunity; it became the basis “I’d rather have a positive person for her book about Body Mapping and flute playing. who plays a 9 than someone “It’s only been in the past two years that I have finally found work that pulls together all my strengths and abili - who plays a 10 and has an atti - ties—helping musicians understand and use their bodies healthfully. With this clarity and passion that I’m doing tude. We get paid for having the right thing for me, I try to balance what’s most effective, because I can’t do everything. In my heart, I’ve always identi - fun. Personality is a big factor.” fied myself as a musician, even when I’ve had other identities.” —Jim Lasota Pearson’s career partly found her, she says. Body Mapping was what she needed to support her own musi - wonderful L.A. chamber orchestra series, and church and cianship, and what she feels she was born to do. solo recital gigs.” “I love to empower people to make their own changes— Once, Lasota took a flute lesson from Carol Wincenc. She to make the musical choices they want because they have told him, “People who graduate from Eastman and Juilliard access to their whole mind/body. can’t find as much work as you have.” In fact, Lasota gave this “Life is a series of choices and compromises. When you interview from his car, driving to a gig on the freeways in want to be a musician, and have relationships, and per - L.A. form, and teach, you’re constantly faced with the need for “When people say ‘think out of the box,’ I say, is there a patience. Which one will I do now? No one else can tell box? I’m motivated by challenges like ‘no you can’t,’ and you what you should do, when. Music is one part of who ‘that’s not the way it works,’ and ‘it’s not normal.’ The bottom you are, but it’s not all of who you are. Our music schools line is how you play,” he says. put people into molds. If you want something that’s dif - Lasota’s strength in computers, and his analytical and ferent, structure your life to get it. organizational skills, have led him to become an orchestral “Stay open,” Pearson advises, “and use your senses to be contractor. When he travels, he conducts his contract busi - alert, alive, and awake to the present. That’s how we’re ness from anywhere in the world. designed to work.” “I have many people to hire. I have top-notch players who behave miserably. Others cannot wait to show up and take JIM LASOTA out their instruments,” Lasota says. “On the musicianship Jim Lasota always wanted to scale, I’d rather have a positive person who plays a 9 than play the flute, but couldn’t someone who plays a 10 and has an attitude. We get paid for because there was a clarinet having fun. Personality is a big factor.” in the closet. The first thing Lasota believes a plethora of music work is available; you he did after high school was just have to find where you fit in. He says being thick- buy a used flute and teach skinned and tenacious are helpful traits. “Perfect players himself to play. When some - don’t exist, and there’s room for a thousand good players. one in the arts community Always be your own teacher; there’s always room to get bet - panicked because a flutist ter. Study math and science, which are so vital in music. cancelled out of a job at the “By going through the back door, I’ve been a featured last minute, Lasota got a call soloist with orchestras in Europe. You have to be flexible and to sub in a musical theater. It look at all the options.” was the first step to his cur - rent work as an orchestral KAREN BOGARDUS contractor and performer. “In my heart, New York City This was exactly what he was always where I wanted wanted to do. to be. Something about it “I moved to Los Angeles because of music,” Lasota says. “I felt right, but it was hard in was determined that I could work a conventional job and do the beginning,” Karen music, too. I got a position with AT&T and still have it 26 Bogardus remembers. “I years later.” temped in an office for five To find opportunities to play flute, Lasota started dialing months, and practiced churches from the phone book. He was excited about the evenings. It was scary, with N E tons of great players in the S “no” responses because each one, he knew, would get him R E D

city, and I had to figure out N closer to a “yes.” He got playing jobs at several churches, got A

. C .

how to make a living and D

a teacher, and made a million calls until he received his first : T H

still be a flutist.” G

yes—and, “I was right there sliding in,” he says. “Since then I R E

I’ve had my calendar filled a year in advance, with three to Her nontraditional path V O B four musical theater companies, as principal flute with a led her to a successful free - A

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lance music career. Bogardus earned her MA at Northwestern and began a DMA at the University of North Texas that she “It’s not just about playing didn’t complete because she became principal flute in an the flute—it’s about wearing orchestra in Mexico. After playing principal in most of Mexico’s major orchestras, Bogardus went to New York. “I different hats. Playing in an hardly knew anyone in the city. I should have called my old college friends—they could have helped jump-start my orchestra is different than career. I finally hooked up with one wedding contractor and playing on Broadway. then met other freelancing musicians. I started getting more work, and did my New York debut at Weill Hall.” You have to adapt.” Now Bogardus’s calendar is full, playing in regional —Karen Bogardus orchestras, operas, and on Broadway. She regularly plays in Wicked and Les Miserables , and has toured with Phantom of “Having people skills and a work ethic are more important the Opera . Bogardus records for films, PBS, Nickelodeon, than how well you play. I try to have fun and make playing and pop CDs. enjoyable for my colleagues. Being a team player, having a pos - “Most of the work I get is through recommendations. If itive attitude, and being reliable are extremely important.” someone gives me a job, I try to give them work when I need Bogardus juggles many jobs—including teaching students a sub. I’m doing a Celtic show now with a big contractor in her private studio and at two schools—so she stays organ - because several musicians recommended me. I always send ized in her date book and for tax purposes. ‘thank-you’ e-mails after a job, and find other ways to keep “New York is a pretty easy place to get enough work to stay my name fresh in contractors’ minds, like mailing them busy. I encourage anyone to have a career as a flutist in the Christmas cards,” she notes. U.S. You may not have exactly the same opportunities I do, “I visualize the kind of job I want, and I believe that when I but you can be a flutist.” > put that energy out in the universe, it comes back to me,” Bogardus says. Helen Spielman has also taken a nontraditional career path. Bogardus plays principal, second, piccolo, alto, bass, pen - She is a flute teacher and performance anxiety counselor who nywhistle, and recorders. “There’s a big difference in these works with clients privately by phone and in her office in roles,” she says. “It’s not just about playing the flute—it’s Chapel Hill, North Carolina. Spielman presents her workshop about wearing different hats. Playing in an orchestra is dif - Performance Anxiety from Inside Out throughout the U.S. ferent than playing on Broadway. You have to adapt.” and internationally. Her Web site is unc.edu/~hbs. Eurhythmionics for Piccolo and Piano by Steve Kujala

What began as a modest piece entitled TAKE YOUR PICC (straight out of the famous Kujala family pun center) was premiered at the 1979 NFA Convention in Dallas, TX. Now its outgrowth, EURHYTHMIONICS, has ended XSDVDEHWWHUFUDIWHGDQGPRUHPDWXUHSLHFHRIPXVLFWKDW,IHHOLVÀQDOO\ZRUWK\RI WDNLQJLWVSODFHDORQJVLGH the growing concert repertoire for the piccolo. -Steve Kujala

EURHYTHMIONICS is a hybrid of eurhythmy*, Europe ZKHUHPDQ\RI P\PRVWLQÁXHQWLDO composers/heroes came from), rhythm, and phonics.

*Eurhythmy: rhythmical movement; a system of harmonious body movement to the rhythm of spoken words progress pp press For more information and for ordering instructions check our website: www.progress-press.com

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Commissioned Works from the High School Soloist Competition Part III: A Pedagogical and Analytical Performance Guide of John Heiss’s Fantasia Appassionata, Episode IV

by Ronda Benson Ford

Both Walt Disney and Beethoven inspired this 1994 work. The composer described his involvement in the premiere of his piece as one of the best experiences of his life.

Editor’s note: This is the third in a four-part series about the National Flute Association’s High School Soloist Competition, which is presented annually at the NFA convention in August.

lutist and composer John Heiss, commissioned by the distortion, exaggeration, and elusiveness resulting from its National Flute Association to write a piece for the 1994 departure from current stylistic and structural norms. high school soloist competition, wanted to write a work Throughout its use, fantasia has often simply meant to F 5 that would be expressive, emotional, and dramatic. It occurred improvise.” Appassionata means impassioned or filled with to him early in the writing process that Fantasia Appassionata intensity. 6 In explaining his choice of these words to could be written in an arch form with a soft beginning, a soft describe his composition, Heiss offers the combination of 7 ending, and a climax in the middle, which does happen in the Walt Disney and Beethoven. Heiss confirmed to me that he 1 piece. Heiss also decided to begin the piece on an A 1, because was specifically thinking of the Walt Disney film Fantasia for the first term and of Beethoven’s Sonata Appassionata, he believes this to be a pitch frequently heard in one’s head. 2 Op. 57 for piano for the second term, because of the fiery Heiss attended the premiere of Fantasia Appassionata, passion displayed in the piano sonata. 8 performed by the competition finalists on August 18, 1994, 3 The term “toccata” also loosely applies to Fantasia in Kansas City, and describes the experience as one of the Appassionata . Toccatas are “a virtuoso composition for key - best of his life. Each performer highlighted particular board or plucked string instruments featuring sections of aspects of the piece, such as dramatic pauses, fast tonguing, brilliant passage work. Praetorius states that these pieces and timbral changes. 4 are ‘intended to make the impression of being played Fantasia Appassionata , subtitled Episode IV , is Heiss’ fourth impromptu.’ ” 9 The brilliant passages of the cadenza give composition in a series of works for solo instruments, similar to the impression of being improvised. “Toccata” literally those found in Vincent Persichetti’s Parables (1965–1986), means “to touch,” and Heiss explains that rather than Luciano Berio’s Sequenzas (1958–2002), and Mario touching a key on a keyboard, the flutist should be touching Davidovsky’s Synchronisms (1963–1974). The Episodes are the air going into the flute with the tongue. written for solo instruments, with Episode I for violin, Fantasia Appassionata requires some extended techniques, Episode II for double bass, and Episode III for viola. such as key slaps and harmonics, and also makes use of non- The word “fantasia” is defined as “an ingenious and metric and graphic notation. Throughout this article, I will imaginative instrumental composition, often characterized by refer to specific lines of the piece, since there are no measure

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numbers. There are 14 lines in the work. When referring to In the first measure of line 10, example 4, Heiss recommends specific pitches, middle C will equal C 1, the third space C in dividing the initial grace notes as 4+4, and then stresses that the treble clef will equal C 2, and so forth. the group of notes before the 5/4 measure contains an even septuplet divided into 4+3; these notes should all be played at Key Slaps the same speed. Some performers have incorrectly played this When I inquired of Heiss what types of key slaps he wanted additive rhythm as four 16ths and three triplets. 15 in the piece, he reminded me that at least three types are pos - sible on the flute. The first is used to help flutists articulate Ex 4. Fantasia Appassionata, Episode IV , line 10. notes below G 1. This is described by William Kincaid as “fin - gering the desired note and then discreetly opening and snapping the G key of the flute at the exact instant that the note is tongued. This technique starts the air column vibrat - ing to help achieve a clean attack. The sound of the slap should not be heard over the note.” 10 Natural Harmonics The second type of key slap is what Heiss intended for this Some high school students may not be familiar with natural piece. The sound is one in which the flutist slaps down the keys harmonics or what is also called the overtone series. These associated with the note being played while simultaneously are indicated in music with a circle (0) above the note. tonguing the note, 11 similar to the key slaps used by Varèse in According to flutist and composer Robert Dick, “natural har - Density 21.5 . The desired sound should be a short pitched monics are defined as notes produced by overblowing a reg - resonance of the tube of the flute and will not be loud. 12 ular fingering. This is the simplest of all the ways to vary the 16 The third type of key slap, described by Heiss as the dri - flute’s tone quality.” If middle C is overblown on the flute, est and least loud of the three, is a slap with no air, and the following harmonics are possible on the C flute: 13 contains only the sound of the keys clicking. Heiss indi - Ex. 5. cates key slaps with a plus symbol (+) above the notes as shown in the following example. Ex. 1. Fantasia Appassionata, Episode IV , line 4. To produce the harmonics as required in line 13, the flutist needs to overblow only one octave, which is the easiest harmonic to produce. Ex. 6. Fantasia Appassionata, Episode IV , line 13. Heiss uses both nonmetric and graphic notation in Fantasia Appassionata to free the music from the structure that meter implies. In Heiss’s use of nonmetric notation, he includes dis - tinct rhythms but no bar lines, as shown in line 8 of the piece. Ex. 2. Fantasia Appassionata, Episode IV , line 8. The last pitch of the piece contains an unusual and delicate harmonic. Heiss suggests adding the second trill key on the flute in addition to the standard fingering for E 2 to produce the pitch softly. 17 One marking in Fantasia Appassionata requires further clarification. On line three, Heiss marks a sextuplet run in the Graphic notation, using an increasing or decreasing number 3/8+3/4 measure as quasi glissando , but the notes in the run of beams within a grouping of notes, appears in several are not chromatic. Since the piece was written in 1994, several places within Fantasia Appassionata. As beams diverge and people have asked Heiss about this marking. He explains that multiply, the flutist should accelerate; as beams converge, the he did not want a chromatic run and purposely wrote the run 18 flutist should decelerate. In these graphic notation sections, with a turn in it as shown in example seven. the flutist must also decide how to divide each rhythmic group. In line 9 of Fantasia Appassionata , Heiss recommends Ex. 7. Fantasia Appassionata, Episode IV , line 3. dividing the first group as 2+2+2+3. Then, beginning on the G2, he recommends dividing it as 2+2+2 to create a hemiola effect. At the C 2, he recommends initially dividing this as 14 2+2, followed by 3+3. See example 3 below. Fantasia Appassionata is marked as Misterioso e dolce , so the Ex. 3. Fantasia Appassionata, Episode IV , line 9. flutist should try to create a sense of mystery throughout the work by emphasizing all the musical gestures. Heiss also includes interesting remarks within the written music, such as “...calling,” “...considering,” and “...purposeful.” Heiss thought of these terms while working on the piece and

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Commissioned Works from the High School Soloist Competition Part III: John Heiss Heiss had an opportunity to work on the solo flute piece Density 21.5 with its composer, Edgard Varèse, and from that experience he encourages students learning contemporary music to contact the composer for insight.

John Heiss, opening page and above.

believed these would help students to better understand various Ex. 9. Fantasia Appassionata, Episode IV , lines 5–7. phrases and moments in the music. For example, in the sections marked “...purposeful,” the flutist needs to be very exact rhythmically. 19 Some of these words are shown in example 7, line three of the piece. Much like his idol, Charles Ives, Heiss uses the composition - al technique of musical quotation in some of his works. Quotation is “music alluding incidentally to other music.” 20 Heiss indicates the word “...singing” on the ninth line of the piece because the intervals at the end of line 8 continuing into line 9 are shaped like the flute entrance in the second movement of Stravinsky’s Symphony of Psalms ( 1930), which presents a fugue for the woodwind section. Beginning at the Tonguing is different for each player, and the flutist should first 16th note in line 8 and continuing through line 9, Heiss experiment in the cadenza section to achieve the cleanest writes several wider intervals, such as minor 9ths, minor 7ths, tonguing possible. The cadenza is shown in example 9. and augmented and diminished 5ths for expressive purposes. It would be extremely difficult for a singer to actually sing Tonal Centers line 9, but most flutists know how to play in a singing man - Although Heiss uses atonality in Fantasia Appassionata , various ner. Because the Symphony of Psalms is for chorus and tonal centers appear throughout the piece. Locating and empha - orchestra together, Heiss considered this indication in the sizing the tonal centers helps convey the mood and direction of music appropriate. 21 the piece, and also communicates the points of arrival and departure to the audience. Throughout the piece, Heiss repeats Ex. 8. Fantasia Appassionata, Episode IV , lines 8–9. the same pitch to emphasize the pitch center, and the flutist must keep increasing the intensity on the repeated notes to keep all the notes from sounding exactly the same. The concept of atonality may be a foreign idea to some high school students.

The following chart identifies the tonal centers in the piece. Section Lines Tonal Center First 1–4 1 A The most technical section of the piece is the cadenza. Heiss 4D creates excitement in the cadenza by first having the flutist Cadenza 5–10 double-tongue on a single note, then double notes, triple 8 A notes, and quadruple notes, and finally play single pitches 9–10 F that are not repeated, all of which gives a feeling of forward Second 11–12 C motion to the climax at line 8. Both double and triple tongu - Coda 13–14 ing and articulation changes should be used to produce the 13 D-flat short staccato notes more easily. 14 E

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Seven pitch centers occur in this work, beginning with the composition with Otto Luening 26 at Columbia from 1962 to opening A 1 and then moving to D 1 as the second pitch center 1965, and also took a one-semester course with Henry in line 4. The climatic point of the piece, which follows the Cowell 27 during his studies at Columbia. Heiss describes cadenza, goes to the third pitch center of A 3. Fantasia Cowell as quite casual, offering students numerous options Appassionata ends on the pitch center of E 2 in line 14, and if with regards to compositional style. 28 one considers the opening A 1 as “tonic,” this serves as a tonic While at Columbia, Heiss had an opportunity to work on to dominant relationship with the piece ending on a half the solo flute piece Density 21.5 (1936) with its composer, cadence. Example 10 contains the pitch centers of D 1 and A 3. Edgard Varèse, and from that experience he encourages students learning contemporary music to contact the com - Ex. 10. Fantasia Appassionata, Episode IV , lines 4 and 8. poser for insight. 29 Heiss studied flute privately with Arthur Lora from 1960 to 1964. He also met Milton Babbitt 31 when he came as a guest lecturer to Columbia University. During the summers of 1962 and 1963, Heiss attended the Aspen Music Festival in Colorado, where he studied flute with Albert Tipton 32 and composition with Darius Milhaud. 33,34 In 1965, Milton Babbitt convinced Heiss to transfer to The concept of rhetorical emphasis in speech also applies to Princeton University in New Jersey to study composition, music. One of the most common examples of rhetoric is promising to help him obtain a teaching position upon Lincoln’s Gettysburg Address, which contains the phrase graduation. At Princeton, Heiss studied composition equally “...government of the people, by the people, for the people, with Babbitt, Edward Cone, 35 and Earl Kim. 36 During Heiss’s shall not perish from the earth.” 22 Heiss uses rhetorical last semester of study at Princeton, Robert Craft 37 and Igor emphasis in lines 9 and 10, by having the flutist play three Stravinsky came to Princeton to perform an all-Stravinsky long F 2s, with flourishes following the first and second Fs, as program with the school orchestra. Unfortunately, Heiss shown in the example below. could not play in the orchestra, as he was scheduled to take his comprehensive exams during some of the rehearsals. Ex. 11. Fantasia Appassionata, Episode IV , lines 9–10. Because Heiss has perfect pitch, Cone instead asked Heiss to attend the few orchestra rehearsals for which he was avail - able to listen for incorrect notes in the orchestral parts. After the first rehearsal, Heiss gave the list of incorrect pitches to Craft. Once Stravinsky discovered the source of this list, he inquired of Heiss, “Are you the pitch doctor?” 38 After graduating in 1967 from Princeton with an MFA in composition, Heiss accepted a position at the New England Conservatory because of its independence as a music school Similarities between Fantasia Appassionata and Varèse’s Density as well as the numerous performing opportunities in the 21.5 include the use of quarter note triplets and key slaps in Boston area. 39 At that time, Gunther Schuller 40 was the new both solo works, as well as the frequent dynamic contrasts. head of NEC, and he and Heiss worked well together. 41 Although Heiss did not intentionally imitate Varèse, he admits that he probably felt the presence of Varèse subcon - Tonal and Atonal sciously, because Density 21.5 , a landmark work for solo flute, John Heiss describes his early works as oscillating between serves as a departure point for contemporary music. 23 From the two distinct styles, one that is tonal in nature and the other viewpoint of a high school student, the Fantasia Appassionata that is atonal. During his early period, these two styles were serves as a fine introduction to recent contemporary music. regarded as irreconcilable. As he has matured as a composer and person, the two styles have converged in his works. Musician Early in Life According to Heiss, “The distinction now seems rather artificial John Carter Heiss 24 first studied piano at the age of 4 and start - and not only irrelevant, but undesirable and unnecessary. So, ed learning the flute at the age of 9. Heiss began playing in the contemporary music in the last 30 years, I would say, has school orchestra in seventh grade. He took flute lessons with started to find something quite natural in the utilization of James Hosmer, then second flutist with the Metropolitan these two so-called separate styles in conjunction with each Opera Orchestra. 25 other.” 42 Heiss also points out that the idea for the merger of Heiss attended Lehigh University and graduated in June the two styles was already proposed in compositions by 1960 with a BA in mathematics. Upon graduation in 1960, Charles Ives a century ago, such as in The Unanswered Heiss moved to New York to pursue his musical interests. Question (1906). 43 Because he did not have a music degree, Heiss took under - Heiss participated in founding the musical ensemble graduate music courses at Columbia University in New York Boston Musica Viva in 1969 with conductor Richard and then entered the master’s degree program. Heiss studied Pittman. 44 Heiss helped with repertoire suggestions, musical

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Commissioned Works from the High School Soloist Competition Part III: John Heiss

guests, and contacts with both composers and critics. 45 He 25. Heiss, interview. worked with this ensemble until 1974, when flutist and friend 26. Otto Luening (1900–1996) was an American composer who studied with Fenwick Smith 46 took over Heiss’ duties with the ensemble. Ferruccio Busoni. He taught at Columbia University from 1944 to 1968 and Also in the 1970s, Heiss periodically substituted with the helped set up the Columbia-Princeton Electronic Music Center. His works are Boston Symphony Orchestra. Heiss still teaches at NEC. His notably diverse in style and genre. Paul Griffiths, The Thames and Hudson Encyclopaedia of 20th-Century Music (New York: Thames and Hudson Inc., current duties include classroom instruction, studio lessons 1986; reprint, 1992), 111. in both flute and composition, and conducting the NEC 27. Henry Cowell (1897–1965) was an American composer. He studied briefly 47 Contemporary Ensemble. with Charles Seeger, but mostly explored music on his own. He covers tone clusters, atonality, and polytonality in his book, New Musical Resources , published in Ronda Benson Ford taught music history at Truman State 1930. Ibid, 55. University in spring 2007 on a sabbatical replacement position. 28. Heiss, interview. She is second flutist with the Topeka Symphony and has 29. Vanessa Breault Mulvey. “Seven 20th-Century Pieces John Heiss Teaches played with orchestras in Missouri, Kansas, Illinois, Texas, Everyone.” Flute Talk , July/August 2003, 5. and Arkansas. She received her doctoral degree in flute 30. Arthur Lora taught at Juilliard and was the principal flutist in the NBC Symphony performance and pedagogy from the University of Southern from 1948 to 1952 under the direction of Arturo Toscanini. John Wion, “Orchestra Mississippi, her master’s degree in flute performance from Principal Flutists.” http://homepage.mac.com/johnwion/orchestra.html (2005), Illinois State University, and her bachelor’s degree in music accessed August 22, 2005. 31. Milton Babbitt is an American composer who joined the music faculty of education from the University of Central Arkansas. Ford’s Princeton in 1938 after studying with Roger Sessions. Babbit’s study and analyses of teachers have included John Bailey, Danilo Mezzadri, Kyril Schoenberg’s later serial works has greatly influenced study of 12-tone composition in Magg, Alexander Murray, Max Schoenfeld, Bootsie the United States. Griffiths, The Thames and Hudson Encyclopaedia of 20th-Century Mayfield, and Carolyn Brown. Ford performed with the Music , 23. International Flute Orchestra at the 2005 NFA convention 32. Albert Tipton (1917–1997) was principal flutist in the St. Louis Symphony and also toured with the IFO to Eastern Europe in 2004. from 1946 to 1956. He became principal flutist in the Detroit Symphony in 1956. He also taught at Rice University in Houston during the 1980s. Kathleen Goll- Endnotes Wilson, “Albert Tipton—A Scholarly Musician,” Flute Talk , December 1987, 6. 1 1. Pitch A is commonly assigned the frequency of 440 hertz. 33. Darius Milhaud (1892–1974) studied at the Paris Conservatory and was a 2. John Heiss, interview by author, November 2, 2004, Lenexa, KS, digital recording composer, conductor, and pianist. He helped found the Aspen Music Festival in by phone. 1949 and has been described as a folklorist who crossed between pop culture 3. Gwen C, Powell, ed. Preservation and Change . 1994 NFA Convention in Kansas and high art. Randel, ed., The Harvard Biographical Dictionary of Music , 589. City, Missouri. Santa Clarita, CA: The National Flute Association, Inc., 1994. 34. Heiss, interview. 4. Heiss, interview. 5. Don Michael Randel, ed., The New Harvard Dictionary of Music (Cambridge, 35. Edward Cone (1917-2004) was an American composer and theorist who taught MA: The Belknap Press of Harvard University Press, 1986), 299. at Princeton University and is known for his analysis of music of Stravinsky, Webern, 6. Webster’s dictionary defines impassioned as “filled with passion or zeal and and Schoenberg. Griffiths, The Thames and Hudson Encyclopaedia of 20th-Century showing great warmth or intensity of feeling.” Frederick C. Mish, ed., Webster’s Music , 53. Ninth New Collegiate Dictionary (Springfield, MA: Merriam-Webster Inc., 1984), 36. Earl Kim (1920–1998) was an American composer of Korean descent who 603. studied with Schoenberg in Los Angeles and with Roger Sessions in New York. He 7. Walt Disney’s animators have created a world of magic and whimsy, even for taught at Princeton and Harvard universities and his works are highly refined in orchestra music as visualized in the film Fantasia . http://www.justdisney.com/ style. Ibid, 103. walt_disney/ (2005), accessed September 18, 2005. 37. Robert Craft is an American conductor. His relationship with Stravinsky has pro - 8. Heiss, interview. 9. Randel, ed., The New Harvard Dictionary of Music , 859. duced numerous recordings. Griffiths, The Thames and Hudson Encyclopaedia of 10. John C. Krell, Kincaidiana: A Flute Player’s Notebook , 2d ed. (Santa Clarita, 20th-Century Music , 55. CA: The National Flute Association, Inc., 1997), 22. 38. Heiss, interview. 11. Sheridon Stokes and Richard Condon, Special Effects for Flute , (Santa 39. Ibid. Monica, CA: Trio Associates, 1976), 16. 40. Gunther Schuller is an American composer and conductor who taught at the 12. Robert Dick, The Other Flute: A Performance Manual of Contemporary New England Conservatory from 1967 to 1977. His compositional influences Techniques , 2d ed. (St. Louis, MO: Multiple Breath Music Company, 1989), 136. include Stravinsky, Schoenberg, and Babbitt, as well as jazz. Griffiths, The 13. Heiss, interview. Thames and Hudson Encyclopaedia of 20th-Century Music , 162. 14. Ibid. 41. Heiss, interview. 15. Ibid. 16. Dick, The Other Flute , 9. 42. Ibid. 17. Heiss, interview. 43. Ibid. 18. Ibid. Perhaps an attitude, a certain slitheriness, is being requested. The notes 44. “Richard Pittman is Music Director of Boston Musica Viva, which he founded are to be played as written. and has led to international distinction as one of the best new music ensembles in 19. Ibid. the world.” Richard Pittman, “Full Biography of Richard Pittman,” http://richard - 20. Paul Griffiths, ed. The Thames and Hudson Encyclopaedia of 20th-Century pittmanconductor.com/pageID.shtml?ful2, accessed September 2, 2005. Music (New York, NY: Thames and Hudson Inc., 1986: reprint, 1992), 145. 45. Heiss, interview. 21. Ibid. 46. Fenwick Smith has long been a member of the Boston Symphony and Boston 22. President Abraham Lincoln, “Transcript of Gettysburg Address (1863),” Chamber Music Society, and has taught at the New England Conservatory and the http://www.ourdocuments.gov/doc/php?doc=36&page=transcript (2000), accessed July 27, 2005. Tanglewood Music Center. Kyle Dzapo, ed., Coming Together: Primary Sources 23. Heiss, interview. and New Perspectives , 2005 NFA Convention in San Diego, California. (Santa 24. A brief biography of John Heiss is included in The Harvard Biographical Clarita, CA: The National Flute Association, Inc., 2005), 199. Dictionary of Music . Randel, ed., 373. 47. Heiss, interview.

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Onward and Upward: The Ever-Evolving Career of Joshua Smith

Interviewed by George Pope

Already a well-seasoned orchestral principal flutist at age 38, Joshua Smith is exploring other ways to “reach out” beyond the orchestra into chamber music, festival appearances, masterclasses, and more.

oshua Smith, principal flute in the Cleveland Orchestra, When you first started playing with the orchestra, was born and raised in Albuquerque, New Mexico. We did John Mack, the veteran principal oboist, support Jmet at his home in Cleveland in January to talk about his and guide you? amazing career, how he reached this point in his musical life, Yes, he was a great mentor. He had this immense amount of and his plans and dreams for the future. I first met Smith experience and a great way of communicating the basic princi - when he was 15 years old and playing in a masterclass I ples and needs. He was a great resource for understanding how taught in Albuquerque. I told my friends in the Albuquerque and what to do. Flute Society, “This young man is very talented; he has a bright future ahead of him.” Little did we know. He was also thrilled to have you as a colleague. Josh, it’s great to see you again. Let’s talk about the That whole relationship between first flute and first oboe is beginning of your career. When did you join the really so important. It’s such a central part of the orchestra, so it was wonderful to have someone who was so easy to work Cleveland Orchestra? with and was so helpful. I started in fall 1990, 17 years ago. I had never played in a pro - 6 0

fessional orchestra, beyond my experience at the Curtis 0 2

Mack passed away last summer, a great loss for the Y Institute of Music, and I only did a tiny bit of principal flute A W D

musical world; but it must have been a real loss for E playing when I was there. The most challenging thing for me B E T T

at first was that everything was coming at me so quickly. you personally. E N N A

Every program had music that I had never played before, and It’s amazingly sad. He hadn’t played with the orchestra for N ©

there was this necessity that everything needed to be there . about four years, but I was able to spend a good amount of S O T O

Right there! It was exciting, and the challenge was to be pre - time with him at the hospital toward the end. It was strange H P L L

pared all the time. and sad, but very special. The one thing he could have A

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“It was great to study with someone who, just by example, and by observing his life, and hearing him play, made me realize that this lifestyle was about creativity and not just about how to play the flute.”

con versations and get excited about until the very end was way you play it. When I’m teaching, although I don’t consid - music. It was his life. er myself a conductor, I can use my hands to lead someone to play a phrase the way I understand it or want it to sound. In 17 years, you’ve had two music directors and countless guest conductors. Who were the conductors Did you find that with your flute teachers as well; who really stand out for you? were they demonstrative in that way? I’ve enjoyed the relationships I’ve had with both directors Sometimes, but I think it’s something I’ve learned more from (Christoph von Dohnanyi and Franz Welser-Möst). I’ve other players, and especially from sitting in the orchestra. learned a lot from both of them, and continue to learn from Jeffrey Khaner, principal flute of the Philadelphia Orchestra, the current music director. One of the guest conductors with and Julius Baker, former principal flute of the New York whom I’ve really enjoyed working is Pierre Boulez. Philharmonic, were probably not that physical as teachers. And I think that Frank Bowen probably talked a little more What’s special about Boulez? I have always enjoyed than he showed; I got more from all of them by listening to watching him conduct, and the results he gets from them play rather than from seeing what they did. the orchestra are amazing. Would you talk about your early training on the flute It’s hard to exactly put it into words, which says a lot for his with Frank Bowen in Albuquerque? talent. He has the ability to draw a sound out of the orches - tra that’s specific and suits the music just by the way he I was really fortunate to have studied with Bowen, who I con - sider to be the best teacher I can possibly imagine. I started moves. He doesn’t have to talk a lot about what he wants and studying flute in the second grade, and I studied with Frank what we have to do to make it happen; he just moves his fin - from the fifth grade all the way through high school. He gers in a certain way, and you do it. instilled so much in my training; the combination of disci - pline with artistry was so well balanced in his teaching style. Can you elaborate on “the way he moves”? I can remember being 12 or 13 years old when he talked to It’s his complete physical presence; his artistry is really subtle, me about color, taking a sound and shading it many ways. He and it’s expressed through how he moves. I think that is never talked about exactly how to do it, but would make me something so many conductors don’t really understand. aware of its importance.

It’s really all the musicians need if the conductor He would demonstrate the color, and you would listen trusts them. and re-create it. What a gift at such an early age. That’s what is really special about Boulez. For better or for I feel really lucky, because some people don’t ever have that worse, every conductor makes motions with their hands and experience, and some only get it later in their training. It was body that are somehow interpreted by musicians without our great to study with someone who, just by example, and by even knowing it. Boulez understands that, and the result is observing his life, and hearing him play, made me realize that really good; it’s not always like that. this lifestyle was about creativity and not just about how to play the flute. I can remember a conversation with him at his His gestures express exactly what he wants. Do you University of New Mexico studio, when I was in the fifth or think this ability to respond to conductor’s motions is sixth grade, in which he asked me what I thought the differ - something one learns, perhaps “by osmosis” while ence was between being a good flute player and being a good playing in an orchestra, or did you get instruction artist. That was really fortunate to be exposed to. from your teachers about how to play in an orchestra? That’s a good question. I was trained to be very connected to String players and pianists seem to have this discus - what’s going on visually, and that it’s important. Otto Werner sion much earlier than wind and brass players. Did Mueller, the conducting teacher at Curtis, was really good at you play in all your school ensembles and local youth getting us to respond to what was happening, even if it was symphony? bad. One of his ways of teaching was to insist the orchestra Luckily, the public school system in Albuquerque supports a give the conductor what he was asking for, even if it didn’t youth symphony. It was a nice program with good conduc - make sense, so that the conductor could understand that tors, and we played real music. So I played from middle what he was doing might be wrong. A really a good musician school, at maybe 13, through high school. Early on I under - will understand instinctively that there is something in the stood the excitement of sitting in an orchestra, and how way someone conducts a phrase that will visually affect the thrilling and fulfilling it could be.

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AN INTERVIEW WITH JOSHUA SMITH You were beginning to understand the joys and the Were there differences in their style of teaching? Did possibilities of a life in music. What propelled you you get different things from them? into the next step? Probably. Baker’s approach was more hands-off. If you were When I was 15 I went to Tanglewood for the Boston awake and smart and had the ability to catch what he was University Tanglewood Institute program; that was the first doing when he played for you, his presence and his playing time I was surrounded by people who were intensely and instilled a strong feeling of what needed to be done and what competitively interested in music, and who were dedicated you were capable of. As far as telling you how to do it, that to being musicians. That’s the first time I thought that I was lost on most people. But he certainly set a really high wanted to pursue music seriously. When I came home I standard, and his sound was so beautiful. Even when he was asked Frank about the right schools, the right approach, how 75 years old and would play in lessons, you would think, to make it happen. I listened to a rehearsal of Brahms No. 1, “How did he do that!?” But if you asked him, he would just with Leonard Bernstein and the Boston Symphony say, “Oh, you just have to practice,” which is ultimately the Orchestra, that summer. I remember saying to myself: I can answer. Jeff was so different from what I was used to; he imagine doing that, and I want to be doing it within 10 years. already had a very successful career. He set disciplinary It’s just weird that it actually worked that way. And it’s not expectations: You will do this, and you will do this for this because I went about it with a strong sense of ambition, but long, and you will get something out of it if you do it, and if I thought it was cool and I wanted to do it soon. you don’t, then it’s your problem.

And sooner than you thought! After you graduated He gave you a really structured way to practice. from high school you went to the Curtis Institute; did Yes, and that was good for me. I had all of this creative infor- you audition at other schools? mation swimming around in my head from Frank, and a basic sense of discipline, but I hadn’t thought about how to Frank made it clear that the most important reason to go to channel it. That’s why Baker and Khaner were really good for any school was the teacher. I don’t remember him telling me me. Jeff also didn’t spend a lot of time explaining mechanics, that some flutists are “orchestral players” and some are but he was clear that it was important to understand the “soloists.” He knew many wonderful flutists, and he would mechanics. If something is not working, but you understand say some of them might not get an orchestra position due to the concept of how it should be working (and again Baker their personal style. I don’t think I understood what he was was really good at that), then you needed to figure it out. saying at that time, but he made me aware that it was realis- tic to pursue an orchestra job. You had just turned 21 in 1990 when you started play- ing with the Cleveland Orchestra. Do you feel that Because of the difficulty of earning a living as a there was a real balance between learning the techni- soloist? Sure, and it’s still that way. So when we talked about schools, cal and the artistic aspects of your job? The Cleveland we discussed the question of college environment versus Orchestra is really famous for both. conservatory, and the question of teachers. At that time I realized that, through the necessity of figuring things out Baker was considered to be the teacher you went to if you on my own, you can not solve any problem one way or the wanted a career in orchestras. He was on the faculties of both other; you have to understand that there is a balance. You Juilliard and Curtis. Frank didn’t know that much about Jeff can solve a technical problem in an artistic way by conceiv- Khaner at that point, but he knew that Jeff was a student of ing what you want musically, and then going for the musical Baker. I did a grand tour of all of the schools and took les- thought. Then the technical problem gets solved. But then sons with these people, a process I recommend to all of my you have to go back and understand what got solved so that students. Through this tour I came to the realization that if you can do it again. And vice versa: there might be a com- I was serious about music I should go to a conservatory and pletely musical or creative idea that you have in your head dive in fully. So I auditioned at five or six different places, that you have to figure out a technical solution for, like some and ended up getting in to all of them, which was exciting. seemingly insignificant thing you do with your body, that Coming from Albuquerque, I didn’t really know who my will make it work. I think they are well balanced. competition was from the major cities. I had the ability to choose between the Cleveland Institute of Music, Juilliard, That is an aspect of your playing that I’ve been able to and Curtis; it did seem like Baker would be the best teacher observe up close, watching you take a single phrase to work with, and in a smaller school. and working at it during the entire intermission of the rehearsal to achieve your musical goal. I’ve also Curtis has a distinctive educational structure, and you observed this in your masterclasses; you balance the could study with Baker and Khaner at the same time. two issues, telling the student “decide what you are That was really the most attractive thing about going to going for, and now let’s find a way to get there.” Curtis; I was really torn between Jeff and Julie [Baker], and I The first thing a student has to understand—although it realized I could work with both of them at Curtis. seems to be one of the later things students come to under-

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“You can not solve any problem one way or the other; you have to understand that there is a balance.”

stand—is to honestly hear themselves so that they can react. tra makes a real commitment to style, so that was renewed There is usually a difference between what they hear them- and augmented in my “to-do” list. Also people skills: I selves doing, and what they are actually doing. Once they can learned slowly and through trial and error how to relate to hear that, then they can understand how to fix it. The pure colleagues. I’ve progressed a lot in that skill since I was 20. ability to react to what is going on is important. When did you first play a concerto with the orchestra? What are some of the other things you’ve learned In my second season I played the Kent Kennan Night Soliloquy while playing in the orchestra? at the Blossom Music Festival (summer home of the Cleveland The first thing I learned was that it was a lot easier than I Orchestra). We recorded the Mozart Flute and Harp Concerto thought it would be. Everyone was playing at such a high the season after that. Then I performed the Penderecki level, and was so essentially professional, that it was easy to Concerto and the Nielsen. I’ve only started getting used to the plug in to. Fortunately, I had a good experience in the idea of playing a concerto. I’ve done it enough now that it youth orchestra, learning how you relate to your col- doesn’t feel like outer space. At the beginning, the thought of leagues, how you carry yourself on stage, how you don’t coming on stage in front of your colleagues and the audience, talk when people are playing. For the most part that was rather than being in the middle of the music, felt weird. continued into the professional experience; and sometimes it works and sometimes it doesn’t, and sometimes we Are there any other experiences of your orchestral behave like kids. life that you would like to talk about? You men- tioned that your fear is that someday someone is Well, that’s human nature. going to find out how much fun you’re having, and Also learning music quickly, which was an important part of my training with Baker, a specific aspect of his pedagog- that it’s not work at all. ical style. He didn’t want to hear you play the same piece Last night, sitting in the middle of a great orchestra playing over and over. Frank was very happy to spend a whole Beethoven’s Ninth, I found myself enjoying it so much that semester on one sonata; you would spend a couple of I thought, “Wow, I get paid to do this; it’s so great!” I’m glad weeks working on the first phrase and then you’d move on I can still feel that way. Even though it’s very challenging, one of when you understood how it was supposed to work. With the great aspects of the orchestral life is that it does have a rapid Baker you performed the sonata for him with a pianist; cycle. There are constant new influences, and the demands every lesson was a performance. And then you moved on are constantly changing. The specific experiences with the no matter what. You had to have a different piece the next orchestra I remember the most are the ones that are more out week. He would remember: If you had played the Prokofiev of the ordinary. When we play complete operas or the St. Sonata, for example, and came in to review it again, he Matthew Passion, for example, these performances really stand would say, “No, we already did this.” So I learned repertoire out. The Bach doesn’t come up very often, but to get to perform in a fast cycle, which was helpful when I started in this wonderful music once in a while is great. This year the Cleveland. I’ve learned the importance of approaching complete Der Rosenkavalier and next season we’re performing every piece with its own sense of specific style. This orches- Dvorak’s Russalka—gorgeous music.

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AN INTERVIEW WITH JOSHUA SMITH

can’t make the CDs until there is a demand. That’s what I’m struggling with now, and that’s why I hired someone to help me tackle these issues. My impression of your playing in the orchestra has always been that of a chamber musician. Is that what you’re striving for? It’s not just about playing the flute: i.e., these are the notes; the composer’s wishes are to be followed explicitly. It’s about understanding, through the concept of chamber music how the voice of the flute fits into the overall context of the piece, and for what reasons and in what way. The mistake is to imag - ine that a part written for the flute in an orchestral composi - tion is any different from that in a piece of chamber music. Of course, there are differences in your approach, but the overall idea of how you fit into the context should be the same. It’s about being a complete musician, isn’t it? Did you Joshua Smith do that consciously when you stepped into the geous music. orchestra? Did it come from your training? Do you have any concerto performances? Yes, it was conscious, and it does have everything to do with The orchestra is in the process of commissioning a concerto Frank Bowen. He is the first person who instilled that con - for me, but there aren’t any details available yet. Also, I have cept in my head. It’s not about the mechanical aspects; it’s been able all along to stay active in chamber music. about figuring out your relationship to the overall picture. Looking at it that way makes it a more creative process. You’ve initiated and coordinated a chamber series at the Cleveland Museum of Art that started in spring 2007. Are there certain conductors who approach the orches - When I ask myself, what is my purpose for reaching out tra setting with more of a chamber music attitude? beyond the orchestra, the first answer is I’m looking for a con - Sure. Those are the ones who are the most fun to work with; sistent sense of artistic fulfillment, which won’t necessarily they ask you to not be focused on them, but allow you to listen always be in the orchestra. One aspect of this search is finding to what’s going on, and be able to gauge what you need to do collaborators that you really enjoy playing with. It is also really without relying on them so much. You feel like you have per - satisfying to be able to think through programs, like planning sonal impact, that you’re not just following instructions. I’m a garden, placing certain pieces next to each other so that they sure that’s why some people like playing chamber music, and illuminate each other. That was my favorite aspect of organiz - don’t like playing in orchestra because they don’t have that ing these programs for the museum. It’s not something we get freedom. I believe the freedom is there if you ask for it. the opportunity to do as orchestral players. It is obvious that you have a very powerful voice, not Are you going to record a solo or chamber music only as an orchestral player, but also in your solo and CD soon? chamber music performances, and as a master teacher. I’m planning to do a recording with the harpist Yolanda Your willingness to share all of these talents is inspiring. Kondansiss of music by Takemitsu and Debussy; it’s a great It comes down to the same fact: It is about the music. Each of program. But I have mixed feelings about recording. I feel us has something to offer that’s personal and interesting, but that I have a lot to say, and I’d like the opportunity to say it, ultimately we’re translating a language that’s already written. but I’m so much more thrilled with the idea of live perform - I’m at a point in my career where I’m looking for more oppor - ances. The recording industry is changing so much. If there tunities to reach out beyond the orchestra, like masterclasses, was a way that people would be interested in buying record - chamber music, and festivals. Some people tend to believe, and ings of live performances, I’d be more interested. perhaps for some people this is true, that a person is either an I have seen more live performances available for sale orchestral player or a soloist. I think of myself as a musician, period, exploring every musical opportunity. through the Internet. Even the Cleveland Orchestra is recording the Beethoven Ninth in live performances. George Pope is professor of flute at the University of Akron and It’s more cost effective, and ultimately more interesting to instructor of flute at the Baldwin Wallace Conservatory. He listen to. More orchestras are doing that now. I’d like to be a performs and records with the Solaris Quintet, and has played part of bringing that into the chamber music realm. Another principal flute in the Akron Symphony, the Canton Symphony, aspect of my exploration is working with a manager, the Monteux Festival Orchestra, and currently with the although it is kind of a “chicken-and-egg” experience. The Blossom Festival Orchestra and Festival Band. He has served demand for appearances will come from recordings, but you the NFA as president, program chair, and board member.

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Join the NFA member forum!

Everybody’s buzzing about the newest NFA membership benefit – the online forum, where members can talk about all things flute. Join an ongoing conversation, or create a new one of your own! Log on to the members access page at nfaonline.org and follow the easy directions to join the fun! 19191 flute 34-49.qxd:DausProfile.qxd 9/25/07 10:13 AM Page 48

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STUDENT SPOTLIGHT Competition Success

by Abigail Coffer

Research, practice, and a community of sup - port are the key components to successful competing. Also crucial, according to the winner of the NFA’s 2006 High School Soloist Competition, is the ability to prepare—and then let go and enjoy the experience.

t all began one evening when I was in bed with a high learn into my own style of playing. For instance, I found I fever. Mom came into the dark room with a rather large could actually see the Hawaiian petroglyghs and Australian Ienvelope. The return address read “National Flute rock paintings Ayers describes in “Time’s Graffiti: Lucky Association.” Noticing the thickness, I immediately knew Calligraphy.” This helped me remain focused and add that this brown packet held something more than the character to my performance, as well as stay truer to the judges’ comments from the recording I sent earlier that year composer’s intentions. to the NFA High School Soloist Competition. In addition to Learning the extended techniques was also challenging. the comments, it included a newly commissioned flute piece Norma Rogers of the Nashville Symphony Orchestra (and and an invitation for me to compete in the final round of the my teacher at the time) recommended and initiated a con - High School Soloist Competition at the 2006 convention. sultation with a specialist in extended techniques, who That was the beginning of many months of great excitement taught me the basics of how to produce multiple pitches at and nervousness. I was anxious to heal quickly to start practicing once. In addition, playing for many different people and the newly commissioned work by Lydia Ayers entitled “Time’s requesting their input, listening numerous times to the Graffiti: Lucky Calligraphy.” This piece was very different and demo track on the accompaniment CD, and studying the new to me in that it interspersed extended techniques through - computerized flute part proved invaluable as I gained out, many of which I did not know. But I was excited to knowledge and familiarity with this piece. learn more about it, as well as the other two compositions to After I find my own insight of a work, I then study interpre - play: C.P.E. Bach’s Hamburger Sonata and Frank Martin’s tations by other performers. While studying Bach’s Ballade. With these three pieces, I began the competition Hamburger Sonata, I listened intently while reading along preparation, and found throughout the process recurring with my sheet music and scribbling notes as the recording themes of research, practice, and support. played. What I learn I can then incorporate into my own style. Research develops understanding, which increases confidence. Research For any competition, research is essential. A performer Practice gains knowledge of pieces by studying composers as well as Although setting aside time each day to practice is essential, other artists’ interpretations. I read about the composers’ focused practice occurs by setting goals. Instead of simply style of writing and their background, and apply what I picking up my flute and playing, I plan my practice, define

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Competitions become more enjoyable and enlightening when the experience unites musicians, family, and friends.

my intentions, and choose just one section of each piece to patience and gentleness has kept me excited with the flute perfect. I found it especially useful to start with the end sec - from the very start. Andy Peters, organist of the Brentwood tions and work back to the beginning, which ensured that I United Methodist Church, gave many helpful tips as we both knew the work thoroughly. practiced for national competitions that month and When the notes of the pieces are in my fingers, I then swapped notes. The list continues as I think of everyone, and practice the performance aspects of playing. I performed the I realize I could never have competed without everyone’s three pieces in order for family, friends, teachers, and influence. anyone who cared to listen as many times as possible, while In addition to support from family and friends, a sense of wearing appropriate attire so I could adjust how to breathe camaraderie strengthens by meeting other contestants. I in my stretchy purple dress and stand tall in clumsy high- regret I did not meet the finalists of this particular competi - heel shoes. After each mock competition, I would receive tion, because they all played wonderfully and I would have feedback and practice privately what I had learned until loved to talk with them. One of my favorite memories from it was time for another mock competition. The more I prac - a previous competition was when the brass and woodwind tice in front of an audience, the more my performance finalists played with a deck of cards back stage. The games anxieties diminish. kept our minds from wandering and us from becoming When I practice, I also try to get the feel of the mentality nervous, while developing our friendships and strengthening of the competition, which, for me, is of disorder and confusion. support for each other. Competitions become more enjoy - Anything to prepare me for the strangest of outside distractions able and enlightening when the experience unites musicians, strengthens my ability to focus on the music. I have learned family, and friends. from the conductor and director of the Curb Youth While filled with surprises, competition experiences burst Symphony, Carol Nies, who centers the orchestra’s attention with learning opportunities. During the NFA High School by conducting the pieces while dramatically altering the Soloist Competition, there were many new things to surprise tempo. When my little sister directed me at home, I learned me, such as the unfamiliar area of Pittsburgh, rehearsing with that many sections of the pieces were not quite under my a new accompanist, and competing in front of a larger audience. fingers yet, which hindered me from following her tempo All of these were daunting because I did not know what to changes. Practicing the feel and mentality of the competi - expect and therefore how to prepare. tion by performing for others and preparing for distractions What I have learned from this is that some things are just increases competence. impossible to prepare for. I find the most comfortable competition experiences to be those I have practiced for as A Little Help from Friends best I could, but then let go. I focus instead on the per - The final common theme I find in the competition experience formance aspects: play for the enjoyment of the audience, is the need of support and camaraderie. A performer uses present myself with confidence, and have fun with the outside ears to perfect playing and receive feedback. I accompanist. For everything else, count on surprises abundant, enjoyed and am grateful to many people who enriched not rely on resources around, and trust that all will turn out only my competition experience, but who have blessed my well in the end. Competing is about following passions and life as well. Norma Rogers gave me invaluable advice, as well learning to improve while enjoying the process. Moreover, as her time, patience, and encouragement. She also introduced competing is about musicians doing their best when faced me to wonderful teachers who broadened my knowledge in with challenges. different areas. (Thanks Julia Harrison, for the tips on extended technique. Thanks Tadeu Coelho, for all the rhythmic Abigail Coffer, of Nashville, Tennessee, studies with Deanna and stage presence advice.) Diane Davich-Craig, director and Little, flute professor of Middle Tennessee State University. flutist of the Nashville Chamber Players, gave me performance Past teachers include Tadeu Coelho, Norma Rogers, Diane opportunities in front of diverse audiences, broadened my Davich-Craig, Mary Wilkosz, and Laura Lentz. In addition knowledge of the baroque period as a whole, and lent me to NFA’s High School Soloist Competition, Coffer received her headjoint to produce clear high notes for “Time’s first place in the Mid-South Flute Festival High School Graffiti; Lucky Calligraphy.” Soloist Competition, Curb Youth Symphony Concerto Family, friends, and grandparents continually gave Competition, and Curb Records Young Musicians Concerto encouragement and support, mock competition after mock Competition, and was featured soloist, accompanied by the competition, with an endlessly joyful heart. I am thankful, Nashville Symphony, in the performance of Frank Martin’s too, to my homeschool band director, Jean Miller, whose “Ballade.”

nfaonline.org Fall 2007 The Flutist Quarterly 51 19191 flute 50-66.qxd:DausProfile.qxd 9/25/07 8:02 AM Page 52 19191 flute 50-66.qxd:DausProfile.qxd 9/25/07 8:02 AM Page 53 Notes from Around Conventions, festivals, competitions, and other global flute activities the World Competitions Et Cetera The First International Flute Competition Maxence Nordic Instrumental Music for Colleges and Universities , the Larrieu will be held November 2–11 in Nice, Côte-d’Azur, catalog of works selected by Mark Lammers and published France. Jurors for the competition are Maxence Larrieu, in 1991, has been updated. Completed in September 2006, Geneviève Amar, Philippe Bender, José-Daniel Castellon, the update was sponsored by the Nordic Cultural Fund. The Guy Cottin, and Philippe Pierlot (France); William 2,206 items in the catalog include works for band, orchestra, Bennett (U.K.); Shigenori Kudo (Japan); Robert Langevin and the instruments of those ensembles in solo and small (Canada); Salvatore Lombardi and Giuseppe Nova (Italy); group forms. There are now 160 listings for flute and 165 and Ransom Wilson (U.S.). The event includes a confer - listings for various woodwind ensembles. Visit wasbe.com ence on the composer Jean Francaix on November 9, along and select “Resources.” with concerts and expositions on his works. With one exception, all the rounds and expositions will be at the Former flute player Peter van Munster has put a free supple - ment of his Repertoire Catalog for piccolo, alto, and bass flute CNR (Conservatoire National of Region) in Nice, Avenue on his Web site. The online supplement contains new de Brancolar, 06000 Nice. The concert of the jury members material gathered since the 2004 release of the catalog. The site will be performed at the Salle Acropolis in the center of includes a space for visitors to post comments. Visit petervan - Nice November 2. Born in Marseille, Larrieu belongs to munster.nl. the Rampal School. He received the First Prize of the Superior National Conservatory of Music in Paris and the The Dutch Flute Society celebrated its 15th anniversary First International Prize of Geneva. He held the post of with the release, and free mailing to members, of a CD solo flute at the Paris Opera, which he left to be professor containing radio recordings from 1950 to 1980. The CD of virtuosity classes at the National Conservatory of includes works by or featuring Carl Friedrich Abel, Johan Geneva and at the Superior National Conservatory of Feltkamp, Ernest d’Agrèves, Jan Prins, Louis Andriessen, Music of Lyon. Larrieu has made more than 100 recordings. Lucius Voorhorst, Charles Koechlin, Mia Dreese and Eric For more information about the competition and its program, Dequeker, André Caplet, Philippe Gaubert, Paul Verhey, visit atraverslaflute.fr. Willem Pijper, Peter van Munster, Kazuo Fukushima, Gaspar Cassadó, and Derek Moore. The fifth “Domenico Cimarosa” International Flute Competition, Bart Schmittmann is the new chair of the Dutch Flute Society. held every two years, will take The previous chair was Mia Dreese, who held the position for 15 place near Rome in Aversa, Italy years and was one of the society’s founders in 1992. Dreese will (the hometown of the famed continue as editor of DFS’s quarterly member magazine, Flûit . Italian composer), November 22–24. Application is limited to Please send information about flute-related events and activ - flutists born after December 31, ities in locations outside of the United States to one of our inter - 1968. The contest is composed of national news reporters: Patricia Nagle, [email protected] three rounds: a qualifying round (France); Tadeu Coelho, [email protected] (Brazil); Chelsea for solo flute; semifinals featuring Czuchra, Dörrmattweg 1, 5070 Frick, Switzerland, 41 62 871 accompaniment on piano; and a final 6944, [email protected] (Switzerland and Europe); Kiku Day, round in the form of a concert featur - [email protected] (U.K); Mia Dreese, [email protected] ing a full orchestra. Applications will (the Netherlands); Sandra Howard, [email protected] be accepted until November 3 (mail - (France and Europe); Lyndie Mostart, Australasia (Australia ing stamp will be held as proof). and New Zealand), [email protected]; and Mary Contact [email protected] Procopio, [email protected] (Caribbean). Please copy Domenico Cimarosa or visit concorsocimarosa.it. Anne Welsbacher, [email protected].

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Your Ad Could Have Appeared Here! Nederlands Fluit Genootschap Dutch Flute Society . . . and reached all (5,500-plus) members of the National Flute Association, the largest flute organization in the world! QUARTERLY FLUIT NFA members/The Flutist Quarterly readers are looking for flute-related products and services. Worldwide shipping! Will they see your message—or just those of your competitors? Wordt lid en ontvang de Contact Steve DiLauro at 440-238-5577 or [email protected] nieuwe NFG-cd gratis! to discuss how you can [email protected] Advertise in The Flutist Quarterly! www.nfg-fluit.nl 19191 flute 50-66.qxd:DausProfile.qxd 9/25/07 8:02 AM Page 55

Across by Christine Cleary the Miles

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

The Atlanta Music Academy Flute Choir grew in its 2006–07 Gardborn (Cincinnati, University of Cincinnati season to 26 members representing 13 high schools and three College–Conservatory of Music); second place, Megan colleges in the metro area. The AMAFC commissioned Kirk Russell (Dayton, Wright State University); third place, Vogel to arrange the third movement of his The Secret Allison Ballard (Cleveland, Case Western Reserve Language of Snow for flute choir and wind ensemble, and University). The 25th competition will be held on April 19, performed its world premiere with the Peachtree Symphonic 2008. This competition will be expanded to include flutists Winds (an adult concert band) in concert at the University from any state or country. Contact Kathy Cameron at of Georgia in Athens. The choir performed at the Flute [email protected] or visit cofa.osu.edu. Festival Mid-South held at the University of Alabama in Tuscaloosa. The AMAFC paid tribute to eight graduating The Flute Society of Kentucky will hold its annual Kentucky seniors in their seventh and final concert of the season on Flute Festival January 18–19, 2008. Special guest artist May 20. The AMAFC plans to release its second CD in the Michel Debost will present a concert and a masterclass. The near future. Visit amaflutes.homestead.com/home.html. festival also will feature other clinics and concerts and special flute choir sessions for everyone. In addition, the Flute Society of Kentucky sponsors a number of competitions whose final rounds are held at the festival. The preliminary deadline for the competitions will be in the fall. Visit fskentucky.org.

Flutissimo! Flute Choir (Texas) performed the national anthem for the August 20 game of the Fort Worth Cats baseball team. Applications are being taken for performance membership for FFC’s October series. The theme for this October is “The Four Elements.” The group will perform “Ritual Fire Music,” by Manuel de Falla, arr. Shaul Ben-Meir (a world premiere); “Niege au Printemps” (“Snow in Springtime”), by Will Ayton (unpublished); “Cloud Forms,” by Cecil Effinger; “Fire and Ice and Other Miracles,” by Deborah F. Anderson; “Haru no Umi” (“The Sea in Spring”), by Michio Miyagi, arr. Sandra Howard; and “The Elements,” by Cynthia Folio. Conductor Tom Connely will also pre - pare an encore piece pertaining to the theme from a tune Atlanta Music Academy Flute Choir not yet selected. Performance dates are October 5, 7:30 p.m. at Lakewood Retirement Community in Fort Worth; The Central Ohio Flute Association held its 24th annual October 9, preconcert recital with New Philharmonic competition during the flute festival held on April 21. The Orchestra of Irving at Carpenter Hall in Irving, with a per - winners, all from Ohio, in each division were junior division, formance of The Secret Language of Snow for flute choir first place, William Bolton (Bratenahl, Hawken School); sec - and orchestra as part of the orchestra’s performance; ond place, Erica Jung (Dublin, Dublin Coffman High October 14, 6:30 p.m., at Richland Hills United Methodist School); and third place, Stephanie Carter (Cortland, Church in North Richland Hills; and October 28, 7:30 Lakeview High School); senior division, first place, Jennifer p.m., at St. Stephen’s Presbyterian Church in Fort Worth. Zhou (Columbus, Upper Arlington High School); second Rehearsals began August 2 at Richland Hills United place, Heidi Keener (Bristolville, homeschooled); and third Methodist Church. Interested flutists should contact artis - place, Satoko Shimisu (Westerville, Thomas Worthington tic director Janice Spooner at [email protected] High School); young artist division, first place, Pethrus or 817-283-1213.

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ACROSS THE MILES

The Hot Springs (Arkansas) Flute Ensemble, a community the Myrna W. Brown competition and about the 2008 fes - intergenerational flute choir associated with National Park tival, which will showcase guest artists Renee Siebert, Community College, is making practice recordings of its Andrea Oliva, Elizabeth McNutt, and Rebecca Garfield, program selections at the beginning of each semester. The visit texasflutesociety.org. CD gives members the opportunity to hear how their parts fit in with the rest of the group when they are practicing individually. It has been helpful for high school members during marching band season and for retired members who frequently travel. For more information, contact Jackie Flowers, music director, at [email protected].

The International Flute Choir Festival at Fresno Pacific University will host its 11th annual festival February 22–23, 2008. Leone Buyse will be the guest artist. Events include an artist solo recital, masterclass, jazz flute, several flute participation classes, flute choir performances, free flute repairs, and exhibits. Call Janette Erickson, director, at 559-243-0303 or write to Fresno Pacific University, 1717 S. Chestnut Ave., Fresno, CA 93702.

The Rochester (New York) Flute Association held its annual Fenwick Smith, left, and Leone Buyse played at the Texas Flute Society festival. RFA/Hochstein Flute Camp July 23–27. This collaborative offering focused on fun with fellow flutists through group lessons, workshops, and choir rehearsals designed to help students increase their knowledge of tone production, rhythm, and technique, and concluded with a performance on Friday evening. The RFA will hold its 2007 Flute Fair November 9–10. Guest artists will be Göran Marcusson and Tim Carey. The fair will include a masterclass by Marcusson, a competition with a winner’s recital, workshops, flute choir reading sessions, and exhibits. Visit rfaonline.org.

The Texas Flute Society hosted its 30th annual Flute Festival in May. More than 1,000 students, teachers, and adult flutists participated in the festival by performing solos and ensembles as well as attending concerts and masterclasses given by guest artists Mimi Stillman, Fenwick Smith, Leone Buyse, Elena Yarritu, Martin Amlin, Lisa Garner Santa, and Nancy Mimi Stillman, Claire Johnson, Lynne Jackson, and Marilyn Arey were among Andrew. Claire Johnson, past TFS president and founding participants at the Texas Flute Society’s festival. member, received a Lifetime Achievement Award. Johnson was instrumental in beginning the Texas Flute Festival 30 The Tucson Flute Club, now 35 years old, wrapped up its years ago, and she was also helpful in starting the Myrna W. 2006–07 season in May with a potluck/cookout and mem - Brown Competition, now in its 22nd year. Johnson also bership. Interim directors filled in to start the year while began and teaches Floot Fire, a summer flute camp for the TFC board sought a replacement director for five-year beginning through high school students. In honor of leader Deena Reedy, who had resigned to pursue other Johnson, Terri Sundberg, associate professor of flute and professional interests. Sandy Schwoebel began the year’s chair of instrumental studies at the University of North activities in October 2006, directing a Hallowe’en Texas, became the first person to hold a new, prestigious “Spookfest” concert featuring performers in costume. The category of TFS membership, that of life member. Rebecca program included McGinty’s “Masques,” Louke’s “Of Powell Garfield, from Houston, was first place winner of Wizards and Witches,” and arrangements of “The Magic this year’s Myrna W. Brown Artist Competition. In second Flute,” “Night on Bald Mountain,” and “Danse Macabre.” place was Bonnie Ham from Highland Falls, New York; In November, TFC member Sue Agnew soloed with Deanna Little, from Murfreesboro, Tennessee, took third Tucson’s Sonoran Winds on “Night Soliloquy,” and in early place. The Texas Flute Society thanks Velma Bogart for her December, TFC members Christine Harper, Paula Karrer, service as president, and for the time and energy she put and Sandy Schwoebel joined flutist/saxophonist/arranger into her presidency. Marilyn Arey is the new president and Greg Armstrong in a concert by the High Notes, a jazz Tara Richter is vice president. For more information about flute quartet. Later in December, a TFC ensemble under

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the baton of Renée Bond provided Christmas music for UpTown Flutes, a professional flute ensemble at Drew the Tucson Botanical Gardens’ “luminaria nights.” TFC University, Madison, New Jersey, celebrates another season musicians also played for the greening of the sanctuary of performances in 2006–07. Members are Carla Auld, Elise at its regular rehearsal venue, St. Philip’s in the Hills Carter, Patricia Davila, Karen Demsey, Jeannie Fessenden, Episcopal Church. In January, a TFC workshop for adult John McMurtery, Rebecca Vega, and Virginia Schulze- amateur flutists led by University of Arizona flute pro - Johnson, director. UpTown Flutes performed at several con - fessor Brian Luce was well attended. Also in January, TFC cert series throughout New Jersey during last season and welcomed its new ensemble director, NFA stalwart and sponsored a Student Performance Competition, and mem - former University of Arizona flute professor Gwen bers coached and presented the 13th annual New Jersey Powell. Spring activities began with a “Sweet Evening” Flute Choir Day, titled “Just Breathe,” with guest artist Peter Valentine’s Day concert presented in conjunction with Bacchus. Recitals planned for the 2007–08 season include the local Desert Aires Clarinet Choir. In March, many November 17 at the First Presbyterian Church of Verona, TFC members attended the University of Arizona’s New Jersey; December 2 at Church of the Redeemer, annual Great Southwest Flute Fest, featuring presenta - Dumont, New Jersey; and February 29, 2008, at Drew tions by Mimi Stillman, Nan Raphael, Linda Chatterton, University with guest artist Peter Bacchus. In March 2008, and Kate Prestia-Schaub. In April, TFC members Renée UpTown Flutes will present a recital and workshop at the New Bond and Christine Harper paired up to play the York Flute Fair, and on March 30, 2008, UpTown Flutes, Cimarosa Double Flute Concerto with the Southern presented by the Music Department at Drew University, Arizona Symphony Orchestra. Also in April, TFC mem - will coach the 14th annual New Jersey Flute Choir Day ber, NFA founding member, and former University of with guest artist Katherine Hoover, who will lead works Arizona flute professor Phillip Swanson and his Foothills presented by student flute ensembles. The program is directed Chamber Ensemble Woodwind Quintet presented a con - by Virginia Schulze-Johnson, [email protected], and pro - cert. In May many TFC musicians (including members gram assistant, Patricia Davila. Visit uptownflutes.com. of the Youth Flute Choir) offered solos or played in ensembles at the annual Members’ Recital, and in July a Please send information about flute club activities, and group of TFC performers presented a concert at the high-resolution images if available, to Christine Cleary, Green Valley (Arizona) Arts Series. Many thanks to all Flute Clubs Coordinator, 2022 Wedgewood Dr., Grapevine, who helped make this year so successful. TX 76051; [email protected].

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From the DEVELOPMENT DIRECTOR By Gwen Powell, NFA Development Director 16th Lifetime Achievement Awards

National Flute Association Convention August 11, 2007, Albuquerque, New Mexico

ore than 130 NFA members gathered in Albuquerque on MSaturday, August 11, to honor the best of the best in the flute world. The Lifetime Achievement Award is pre - sented annually at this dinner to our most esteemed colleagues for their diverse and important contributions over many years. This year’s Annual Lifetime Achievement Awards Gala Fundraising Dinner paid tribute to John Wion and Peter Lloyd. The dinner is also a fundraising event, providing revenue to the NFA Endowment through a portion of each ticket sold. Before dinner, it was announced that the NFA Endowment, John Wion Peter Lloyd which was begun just 15 years ago, has a current balance of $840,000! This is something to celebrate, since the NFA Endowment underwrites Principal flutist in the New York Opera for some 30 years, major educational outreach and also commissions several new John Wion has collaborated with some of the world’s elite per - pieces each year. There were four NFA commissioned pieces formers, such as the Tokyo, Emerson, and Manhattan string premiered at the Albuquerque convention alone. quartets and pianist Gilbert Kalish. He has appeared as a Interim endowment chair Gwen Powell issued a challenge, soloist in New York’s major concert halls and has taught and on behalf of the board, that we all pitch in to build a million performed in Italy, Mexico, Peru, Finland, Canada, and of dollar endowment fund by next convention, counting pledges as course, his home country, Australia. well as cash contributions. She called attention to this statistic: Teaching is an important aspect of his career, evidenced by if every member donated $28.50 to the NFA, the million dol - many devoted students. lar goal would be accomplished. He taught flute at the Hartt School from 1977 to 2007. He The awards presentation immediately followed the meal has published articles, edited otherwise unavailable music, with Alexa Still and Katherine Borst Jones presenting the and edited and published nine volumes of opera excerpt awards to John Wion and Peter Lloyd, respectively. books, recorded on the Hartt Productions label. And most recently, Wion has published a substantial autobiography: “John Wion became an esteemed flutist and teacher Gold, Silver and Wood; A Flutist’s Life. “Somehow he even managed to fit in being a program chair through a combination of a winning personality, for the 1986 NFA convention in New York and president of the some lucky breaks, astute business sense, and plain NFA in 1984. Some of us would attest this is almost impossible,” hard work. In the most appropriate acknowledge - quipped current NFA chair, Alexa Still. ment for a remarkable career, the NFA is delighted to present the Lifetime Achievement Award to John “Have you ever heard the music to Star Wars , recordings Wion. And we all look forward to seeing what he of the Barry Tuckwell Wind Quintet or the London does next!” Philharmonic? If so, you have been listening to the extraordinary playing of English flutist, Peter Lloyd. —Alexa Still, from her presentation speech Performer in these groups and many others for over 20

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years, teacher at summer Oxford classes, Indiana Lloyd’s eloquent comments are often quoted by his former University, and now the Royal Conservatory of Music in students. For example, “you don’t make a sound—you allow Manchester, England, Peter Lloyd is revered by students it,” and “an hour of scale work a day for a month will dras - and music aficionados everywhere.” tically transform your playing,” and “you don’t practice to improve your best, you practice to improve your worst,” and “I’m not trying to teach you to play the flute, I’m trying to —Katherine Borst Jones, from her presentation speech teach you to teach yourself,” and “it’s not about you , it’s about the music.” Lloyd comments on his life as a musician: Peter Lloyd has had a long and distinguished career as “The extraordinary fact about all the arts is that although soloist and orchestral and chamber musician, and he is an we can never achieve our ideal, we can still strive to get nearer inspirational teacher as well. He has worked with Caratge, throughout our lives.” Rampal, Gilbert, and Moyse. He is former principal of the This 16th annual celebration of outstanding quality and BBC Northern Orchestra, London Symphony Orchestra, leadership amongst our peers is also a celebration of NFA’s and Royal Philharmonic Orchestra. After leaving the L.S.O. quality and leadership. Over the past 35 years, NFA has in 1987, he spent six years as professor of flute at Indiana totally changed the flute landscape. It has developed into University, before returning to the Royal Northern College something truly vital. For information on how you can of Music as head of flute studies since 1993. He continues to make a tax-deductible donation to the NFA, or to learn travel internationally, teaching and giving masterclasses about including the NFA in your will or estate, please contact annually in Australia, the United States, and Canada. His Gwen Powell, NFA interim development director, at extensive pedagogical work is now available on CD. 520-529-3748 or [email protected].

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

• Comprehensive instructional material on “In this book, Kujala demonstrates repeatedly that true artistry is excerpts from 28 orchestral masterworks born of strict self-discipline and the development of analytical skills”

• 92 pages (9 x 12, softbound). Includes ´7KH ZLVGRP KHUHLQ ZKLOH LQWHQGHG WR EHQHÀW WKRVH ZKR SOD\ WKH ÁXWH SKRWRV IURP VLJQLÀFDQW PLOHVWRQHV LQ WKH and piccolo, provides countless principles and insights for any musi- orchestral career of Walfrid Kujala. cian who is in serious quest of a higher performance level.” Alan Heatherington, Music Director Ars Viva Symphony Orchestra Lake Forest Symphony Orchestra progress pp press For more information and for ordering instructions check our website: www.progress-press.com

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NFA CONTRIBUTORS NOVEMBER 1, 2006—AUGUST 26, 2007 General ($1–$49) Friend ($50–$99) Kirsten Carlson Kim T. Ashwell Anne Adams Beth E. Chandler Rick Bandy Lori Akins Robert F. Cole Deborah Bandy Beth Behning Carla Copeland-Burns Karen Betz-Griewahn Jane Elizabeth Bell Zart Dombourian-Eby Linda Caillavet Megan Blewett Darlene Dugan Jenna Charles Calixto (Myrna Joanne Ennis Bourquin Arthur J. Ephross Brown) Leone Buyse Leonard Garrison Mary Ellen Cerroni (Myrna Brown) Andrew Callimahos (Myrna Patricia George Linda Cykert Brown) Patricia Harper (Myrna Brown) Stuart DeLaney Deborah Coble Wilda M. Heiss Melanie Delcid (Myrna Brown) Sheri D. Conover Betty Austin Hensley (Myrna Ann Droste Michel Debost Claire Durand-Racamato Brown) Paul Lustig Dunkel Ina Mae Holt Martha A. Egan Mara Gabriel Merrilee Elliott Helen Callimahos Hurry (Myrna Susan S. Goodfellow Jennifer A. Elliott Brown) Erich Graf (Myrna Brown) Ann Fairbanks Jerry Jenkin (General & Myrna Flutes of Distinction Richard R. Hahn Brown) Thomas R. Forsgren Jane Hahn Katherine Borst Jones Diane Gold-Toulson John T. Howard Trudy Kane (General & Myrna Linda Hartig Yeva Johnson Brown) Annette Heim Tamara Kagy Robert Katayama (General & Don Hulbert (David Hart) Ellen Kaner Myrna Brown) Ignatius Impellizzeri Tara Kazak Marjorie Koharski Judy Kuszmaul James Gay Landstrom Laura Sanborn Kuhlman Margaret Foote Jamner (David Lee Lattimore Wendy Webb Kumer Hart) Harold Leinbach Beth Kupsco Gay Kahkonen Larea Leis Joanne Lazzaro Twila Kelly Margart A. Peterson Marlee Lindon (Myrna Brown) Irene Pruzan Martha Kitterman (Myrna Brown) Little Piper Lisa Garner Santa Walfrid Kujala Katherine H. McClure Sherry Kujala Patricia Schmid Dorli McWayne Elaine Layne Nancy Schneeloch-Bingham Martin Melicharek III Gerardo Levy (David Hart) Ervin Monroe Leslie Maaser (Myrna Brown) Christine Michelle Smith (Myrna William Montgomery Nancy Mentch (Myrna Brown) Brown) Linda Mintener (Myrna Brown & John Solum Louise Murphy General) Patricia Spencer Marjorie Phillips Clara B. Mortiboy Kathleen J. Spurgeon George S. Pope Julie Mynett Paul Taub Amy Porter Karin L. Nelson (David Hart) Judith Thomas Christine E. Potter (Myrna Brown) Joyce Oakes Mark S. Thomas Deborah L. Ragsdale (Myrna Anna Belle O’Shea Michael Treister Brown) Hal Ott Susan Waller Paula Robison Ann C. Pearce Stephanie A. Wheeler David Scarbro Nina M. Perlove Robert Willoughby (David Hart) Angela G. Allen Sherzer Mary Peterson Theresa H. Wilson Fenwick Smith Albert Pietsch Edward M. Young Ignace Vanmoerkerke Rolfe Pitts Julia K. Vasquez Ronald Prechel Nancy M. Vinson Ellen Rakatansky Donor ($100–$499) Toby Rotman Patti Adams Silver ($500–$999) Mary DeLano Sholkovitz Robert Aitken Jim V. Hart (David Hart) Alexa Still Deborah Rebeck Ash Cynthia C. Stokes Joanna Bassett Sandra J. Tiemens Teresa Beaman Gold ($1,000–$2,499) Yaada Weber Linda J. Beirn Angeleita S. Floyd Jack H. Wellbaum (Myrna Brown) Francis Blaisdell (Myrna Brown) Victoria Jicha Barbara Highton Williams Sue Blessing Rosemary Wood Claudia H. Brill President’s Circle ($5,000-$9,999) Sallye Zeringue Roberta Brokaw Carol Dale 19191 flute 50-66.qxd:DausProfile.qxd 9/25/07 8:02 AM Page 61

From the RESEARCH COORDINATOR Winning Dissertations he 2007 convention featured presentations by the winners “The Flute Music of Shulamit Ran” of the Doctoral Dissertation Competition sponsored by Elizabeth Brightbill, DM, Indiana University, 2006 Tthe NFA Research Committee. Dissertations were selected for their outstanding contributions to flute study. This document explores compositions for flute by Pulitzer Prize-winning composer Shulamit Ran. It describes and “A Performer’s Guide: Suite Paysanne Hongroise by Béla analyzes East Wind for Solo Flute (1987) as well as three other Bartók/arranged by Paul Arma” works by Ran that feature flute: Sonatina for Two Flutes Cristina Ballatori, DMA, University of Colorado–Boulder, 2006 (1961), Mirage for Flute/Amplified Alto Flute/Piccolo, Clarinet, Violin, Violoncello, Piano (1990), and Voices for a Recognized today principally as a composer, Béla Bartók devoted much of his life to the collection, analysis, and categorization of Flautist with Orchestra (2000). This study examines form, folk music in his native Hungary as well as Romania and unifying elements, and Middle Eastern style characteristics in Slovakia. Bartók wrote no original music for flute; however, East Wind and analyzes Sonatina , Mirage , and Voices more his student Paul Arma is responsible for the arrangement of generally, primarily in comparison to East Wind . In addition, two works for flute and piano, Three Popular Hungarian it explores Ran’s collaborations with flutists and includes Songs and Suite Paysanne Hongroise. Both works were input from the composer and two flutists with whom she has derived from Bartók’s Tizenöt magyar parasztdal (Fifteen worked: Patricia Spencer and Mary Stolper. Hungarian Peasant Songs) for Solo Piano, and each has East Wind is of primary interest because it is Ran’s only become a standard in the flute repertoire. unaccompanied solo flute work. It demonstrates Ran’s A vast amount of information pertaining to Bartók’s life and ability to balance diverse compositional elements; its formal work as an ethnomusicologist and the use of folk song material clarity is complemented by its fantasy-like character and in his arrangements and original compositions is available. striking contrasts in expression, which fully exploit the Despite the prominence of Suite Paysanne Hongroise in the flute range of the instrument. East Wind is also singled out literature, little information surrounding Arma’s transcription because it marks a point in time when Ran, an Israeli- or its roots in Bartók’s original piano composition is found. This American, began to more freely express aspects of the project is an effort to fill the void in current research, by musical style of her homeland. Although there are traces of compiling the most pertinent information regarding Bartók’s Middle Eastern influence in some of her earlier works, Hungarian folk music research, the history of folk music in these elements come to the forefront in East Wind . This is Hungary, as well as the style and performance practice of this most evident in the modal and ornamental qualities of the music into a comprehensive performer’s guide to Paul Arma’s opening motive of the piece. transcription for flute and piano, Suite Paysanne Hongroise . The analyses of Ran’s mature flute compositions contribute to Given the highly programmatic nature of Suite Paysanne a greater understanding of her music through the identification Hongroise , a familiarity with Hungarian folk song traditions and of salient style characteristics. The composer’s adherence to a performance style, the texts and origin of each of the songs small, intervallic idea as a unifying element, her attraction to arranged in Bartók’s original piano score, as well as an motivic transformation as it relates to structure, her combi - examination of the composer’s own recorded performances of nations of modal, octatonic, and chromatic sonorities, and Fifteen Hungarian Peasant Songs for Piano are valuable for a thor - her use of complex rhythms and dramatic contrasts are evident ough understanding and interpretation of Arma’s transcription in all three works. for flute and piano. Interviews with Ran reveal the influence of prominent This document contains an examination of traditional flutists throughout her career. Particularly important is her Hungarian folk music and its characteristic style and structure, childhood experience working with the flutists of Israel’s and explores the influence of rhythm and the Hungarian Radio Orchestra, Hanoch and Sharona Tel-Oren, who pre - language on its performance; this research, along with an miered Sonatina when Ran was only 12 years of age. Their analysis of Bartók’s own recorded performances of the original serious attention to her work inspired her to continue her piano score, serve as the basis for the performing suggestions compositional pursuits. Also significant are the relationships provided for each of the folk songs arranged in the Suite . with flutists that resulted from and were enriched by her Additional information provided in this document include: the National Flute Association commissions ( East Wind and original Hungarian texts and English translations for each of the Voices ). The insights of the composer, Stolper, and Spencer folk songs arranged in the Suite Paysanne Hongroise ; Bartók’s elucidate the compositional and collaborative processes and classification of melody, place of origin, year of collection, and provide a broader perspective for the study and performance tonal center; and a listing of variations between the original of Ran’s music. piano score and Arma’s transcription for each song. —Rachel Lynn Waddell nfaonline.org Fall 2007 The Flutist Quarterly 61 19191 flute 50-66.qxd:DausProfile.qxd 9/25/07 8:02 AM Page 62 19191 flute 50-66.qxd:DausProfile.qxd 9/25/07 8:02 AM Page 63

TECHNOLOGY Headjoints: by Sarah Merrow Mystery vs. Mastery Making a headjoint draws on rigorous training in the mechanics of sound and surgical skills in measuring and cutting. But to produce a quality head, a flute maker also needs the ability to dream, hear, and intuit.

hen it comes to headjoints, the more you know, the more you realize you don’t know. We all favor a Wflute-and-head combination that has a good, open high register, minimal air turbulence, a full low register, an even transition through the middle, and enough resistance to allow musical expressiveness. What more? One that rings with

a tone we adore. Some of us, urged on by a sound we can only Risers are cast like pieces of jewelry, ready to solder under the lip plates. imagine, are willing to spend years of our lives in search of it. Lip plates are shown here fresh from the stamping dies. There is plenty of material on headjoint acoustics, design, and shopping. Two articles, Roland Stycos’s “Shopping for a thousands of headjoints, and consulted with countless customers. In her dreams she hears the sound of her heads New Headjoint,” and Patricia George’s “All About Headjoints” playing around the world—all at once. When helping players provide solid, practical information. One finds plenty of recent select a headjoint, she first listens to how they describe scientific explorations, both controlled and uncontrolled, to sound, then “translates” this to her own experience. inspire or confuse, starting with Arthur Benade’s 1965 article, A headjoint might sound “reedy,” “bright,” or “growly”; one “Analysis of the Flute Head Joint .” Eldred Spell’s article flute maker compiled a list of 300 adjectives describing the “Anatomy of a Headjoint” is available online. With readable sound of the flute. Depending on how sound projects into the diagrams, it gives a concise summary of design elements: room, “buzzy” might indicate “noisy,” or it might mean “rich.” headjoint tapers, risers, striking wall, corks, crowns, and more. Flute maker Emanuel Arista points out that evaluating (See sidebar for more information about these articles.) headjoints isn’t so much like comparing apples with oranges as comparing oranges that are more acidic with The Mystery Remains oranges that are sweeter. In the introduction to his article, Spell wrote: “During the What these makers emphasize is context. How a headjoint past few years a number of design changes have caught on, feels to play, and how it sounds, are not the same. What most of them emanating from London.…Some of the mystery instrument had the flutist been playing the moment before? surrounding the design and manufacture of headjoints has Who is listening? From behind or in front of the flute? At been removed, at least among those actively involved.” what distance, in what kind of space? Almost certainly, the Londoners he referred to were Albert Flute maker David Williams speaks of having a “handle on Cooper, William Bennett, Elmer Cole, and Trevor Wye. In the last real magic that exists in the world. People think com - the 1960s and 1970s, these flutists, designers, and makers puters are magic….The real magic is music and musical worked collaboratively on scales and headjoint design. Most instruments. We make the wands, you know.” headjoints now sold are built using parameters—for hole dimensions, wall height, angles, and norms for overcutting Choices and undercutting—derived from the work of these men. The musical character of a silver headjoint is formed with Nevertheless, a mystique still surrounds state-of-the-art, each consecutive choice made—of material, tools, methods, hand-cut headjoints. As with sport cars and wine, names for and more. The tubing, ordered to meet specifications for headjoints run to the racy, esoteric, or eclectic. It seems you wall thickness, temper or hardness, and alloy, is first cut to need a masterclass in market choices, or at least an online proper length. Then it must be “drawn” down over a mandrel, W O R

R tutorial, simply to test out a few heads. a steel rod filed to a precise taper that bears the internal dimen - E M

H In her 18 years of work with a flute-making company, sions of the headjoint. That takes human muscle and the help A R A

S Elizabeth Watson has cut by hand the embouchures for of an arbor press, a venerable tool used in many industries.

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HEADJOINTS : M YSTERY VS . M ASTERY

Next, to make the lip plate, a flute maker starts with a sheet draw this cup. They’re going to sketch the same cup, with the of silver perhaps .032” thick. He might trace the shape, cut it same tools, in the same light. But the result will look different.” out with metal scissors, file it even, then hammer it, one blow Headjoint makers first train to be consistent. Next, with at a time, around a mandrel shaped as the lip plate. Or, with skill and control, they learn to work within a domain a few heavy, custom-made tools called dies and a foot- or electric- thousandths of an inch wide, to craft the difference—between powered “punch press,” he might stamp out an oval shape with the sound of any head, and the sound of theirs. one bang, and with a second punch of the machine form the plate’s curves and beveled edges. An undersized embouchure Sounds hole is punched here, too, which is then enlarged and refined Abell started his business because “I had a sound in my head using round files. that was wood.” Williams strives for the timbre and response Next, the flute maker matches up the opening on the underside he loves, and admits it’s an evolving practice. Watson believes of the lip plate to the top of the connecting riser, or chimney, usu - that every headjoint is a compromise of some sort. Heads that ally a casting. A torch solders them together, and then solders are easier to play, that do everything they’re supposed to do, this lip plate assembly to the tube. Drilling through the riser, may not sound very interesting or rich. Arista prefers those the flute maker punctures the head tube at the bottom. headjoints that require some getting used to, revealing their Using files, at this point the flute maker might want to cre - merits and charms only after you work with them for a time. ate a curve for the chin, or lower the overall height of the Using a cutting tool with comfortable handle and a sharp, wall. He files and sands smooth the lip plate. Polishing and three-sided blade, headjoint makers work to spec, but it’s an engraving can come later. intuitive, empirical process. For example, Watson says, she might be inclined to cut more aggressively on one angle, or Final Sculpting back off on another. So to be consistent, she tries to reverse The head now assembled, an eager flute maker could tootle on that; she’ll dig in where she naturally might back off, and back its sharp and shiny edge. But, even with all the basic shapes in off where she wants to be more aggressive. place, he wouldn’t produce anything you’d call lovely. Coming at If it turns out to be a marvelous headjoint, she’ll file this the end of a process already replete with options, the final sculpt - experience away with others like it. “This,” she says, “is how ing—hand-carving the inside of the embouchure hole to the headjoints are really made.” proper dimensions; undercutting the bottom of the riser’s wall; As I watch, Arista “opens up” a head with a stuffy sound, and overcutting the top—offers flute makers a significant oppor - scraping the walls, trying to maintain desired angles, increasing tunity to construct the sound of their dreams. both the front-to-back and diagonal dimensions, removing Flute makers protect, covet, and sometimes share risers with barely a tenth of a millimeter. But now, though much better, colleagues; risers have a major effect on the sound of the head - the sound is a bit “hissy” and notes are cracking. With a few joint, and their shapes can vary widely. Some end up in deft motions, he smooths out the striking edge. Clean and embouchure holes that look almost rectangular, or more oval. clear, its voice bears no resemblance to what I heard just The riser might flare into a trapezoid at the bottom where it joins minutes earlier. High or low, more or less, curving or straight, the tube, or it might be symmetrical. The blowing wall might be sharp or rounded—peering into that hole, the possibilities straightish, or bow like a plumped pillow. But when building a seem endless, and cutting embouchures takes courage. The modern concert flute, there are limits to what you can do. prize each maker seeks is a truly distinctive sound. So here is a truth and a paradox: Most makers of professional, When Abell paid a visit to Albert Cooper in England, he was hand-cut headjoints adhere strictly to common measurements; accompanied by English flutist Kate Lucas. She tried out a new at the same time, they explore an infinite number of variables. headjoint made by Cooper, and exclaimed, “Albert, what did you do? This is an amazing headjoint!” Albert Cooper’s response was Recognizing this paradox, and accepting that every cut affects “What do you mean, what did I do? It’s just a hole.” the outcome, is what makes this work so satisfying. The goal is for a height of 4.9 or 5.0 millimeters on the front, Sarah Merrow plays and repairs flutes in Cambridge, striking wall; the difference between these numbers is four Massachusetts. thousandths of an inch, or the thickness of a stiff piece of paper. The angle of the wall should incline toward the tube at seven degrees; the distance from front to back is 11.8 or 11.9 For More Information millimeters—diagonally across, a similarly tight range. Benade, Arthur H. “Analysis of the Flute Head Joint,” The Of course, rounded edges become harder to measure; as they Journal of the Acoustical Society of America , Vol. 37, No. 4, work, makers insert into the hole gauges clearly marked with April 1965, p. 679. measurements, checking their progress toward compliance. George, Patricia. “All About Headjoints,” Flute Talk : Watson says, “as a headjoint maker you’re not fighting to be Vol. 25, No. 10, July/August 2006, p. 32. different; you’re fighting to be consistent.” Stray too far from the parameters, says flute maker Chris Abell, Spell, Eldred. “Anatomy of a Headjoint,” Flute Worker , and “you’ll have a hole that doesn’t sing bass or doesn’t sing May 1983 treble.” He adds, “but within those parameters is a world where Stycos, Roland. “Shopping For a New Headjoint,” Flute you touch this or touch that, and interesting things happen.” Talk : Vol.24, No. 4, December 2004, p. 15. Picking up a coffee cup, Watson says, “You tell two people to

64 The Flutist Quarterly Fall 2007 nfaonline.org 19191 flute 50-66.qxd:DausProfile.qxd 9/25/07 8:02 AM Page 65 PPaassssiinngg Information about absent friends TToonneess hristine D. Nield-Capote died April 27, 2007, after a brief struggle with Cbrain cancer. She was an alumnus of the North Carolina School of the Arts, having been a high school as well as undergraduate student at NCSA in the late 1960s and early 1970s. She had extensive private study with Philip Dunigan, James Galway, and Marcel Moyse in the United States as well as Europe. Nield- Capote was the principal flutist with the Florida Grand Opera and the Florida Philharmonic for numerous years, and for the past 16 years was professor of flute at the Frost School of Music at the University of Miami. She was principal flutist with the Boca Raton Philharmonic Sinfonia, and enjoyed performing a wide musical variety of recitals and chamber music every season. She participated in numerous festivals, including the Accademia Chigiana in Italy, Festival Miami (UM), Library of Congress, Marlboro Music Festival, and the New England Bach Festival. She recently performed at Carnegie’s Weill Hall for a Ned Rorem tribute with the Bergonzi Quartet as well as David Maslanka’s Song Book for Flute and Wind Ensemble at Interlochen, Michigan (2006). Nield-Capote recorded solo, chamber, and orchestral music on the Albany, Altarus, Audiofon, Centaur, Coronet, and Harmonia Mundi labels as well as for the international television Christine D. Nield-Capote series Joy of Music . She was an advisory board member for the Marcel Moyse Society. As a member of the Florida Flute Association and the National Flute Association she performed, gave masterclasses, and judged competitions for these organizations. Nield-Capote made her home in Boca Raton, Florida, and is survived by her husband, Manuel Capote, and their teenage son Nicholas. A memorial service followed by a reception was held May 19, 2007, at North Creek Presbyterian Church in Coconut Creek, Florida.

hilip Sieburg, 87, died March 30, 2007, in Whitewright, Texas. Sieburg was born PNovember 30, 1919, in Freidorf, Austria-Hungary. He came to the United States through Ellis Island with his parents, Elizabeth and Mathias Sieburg, at the age of 4. They resided in Chicago, Illinois, and Philip attend Lane Tech High School, where he began studying music at the age of 15. Three years after he first picked up the flute, he was accepted into the Chicago Civic Orchestra (Conservatory for Orchestral Training). Two years later he was playing with the Chicago Symphony, touring all major symphony halls including Carnegie Hall in New York. In 1941, at the age of 21, Sieburg signed a contract with the Indianapolis Symphony; soon after the U.S. joined World War II, he enlisted in the Navy, where he served for almost four years. Following the war he moved with his wife and daughter to Pittsburgh, Pennsylvania, where he was hired to play with the Pittsburgh Symphony under the direction of Fritz Reiner and became a music professor at Duquesne University. In 1952, he and his family returned to the Chicago area, where Sieburg played solo flute on WGN radio and television. In 1964, he rejoined the Pittsburgh Symphony for a world tour, performing for the Queen of England, the Shah of Iran, and other dignitaries. Sieburg also played the Lyric Opera and performed concerts in the Park. Sieburg taught privately, at one point teaching more than 100 students at one time. He taught at DePaul Philip Sieburg and Roosevelt universities in Chicago, Valparaiso, and Indiana universities in Indiana and Duquesne University in Pittsburgh. He has been cited in the book History of the Flute and publications written by former students. Preceded in death by parents, Mathias and Elizabeth (Linster) Sieburg, and brother, Peter Sieburg, and his brother’s wife, Barbara, Philip Sieburg is survived by his wife, Anna; daughters, Pat Perry of Lowell, Indiana, and Pam (George) Goldthwaite of Whitewright, Texas; six grandsons; brother, Raymond (Judy) Sieburg of Chicago, Illinois; and friend of the family Tim May .

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PASSING TONES

ouis Moyse, flutist, pedagogue, and cofounder of the Marlboro Music School and Festival, died of heart failure July 30, L2007. He was 94. The son of French flutist Marcel Moyse, Louis Moyse was born in Scheveningen, Netherlands in 1912. He studied flute and piano at the Paris Conservatory. Early teachers were his father and his father’s teacher, Philippe Gaubert—who had studied with Paul Taffanel, the founder of the modern French school of flute playing. In 1920s Paris, Moyse was a member of the Opéra-Comique and played in orchestras that accompanied silent movies. He worked with composers Gabriel Fauré, Claude Debussy, Bohuslav Martinu, and Maurice Ravel, and collaborated with Duke Ellington, Adolf Busch, and Reynaldo Hahn. At age 19, Moyse was awarded the Conservatory’s Premier Prix. He worked as an assistant to his father, who joined the fac - ulty of the Conservatory in 1932. Lukas Foss was among Louis Moyse’s students. In 1934, Marcel Moyse formed the Moyse Trio, with Louis on piano and daughter-in-law Blanche Honegger on the flute. The Moyse family moved to Argentina after World War II and later moved to Brattleboro, Vermont, where they comprised Marlboro College’s music department and, along with Adolf Busch and Rudolf Serkin, founded the Marlboro Music School and Fesival in 1950. The school drew some of the world’s greatest musicians. While at Marlboro, Moyse taught, performed on flute and piano, conducted, and intro - duced his own works. In 1951, Moyse cofounded the Brattleboro Music Center, and in 1969 cofounded what became the New England Bach Festival. He conducted and performed at both institutions, and introduced his oratoria, “Ballad of Vermont,” at the Brattleboro Music Center Spring Festival in 1972. Moyse taught for many years at the University of Toronto and Boston University, and taught privately in Westport, New York, and later in Montepelier, Vermont, where he lived for the last nine years of his life. He often taught and performed in Japan, and he gave annual masterclasses in Saint Amour, France, the home town of his father, until 2005. Moyse published more than 100 editions, methods, and arrangements for flute, and was longtime head of the flute depart - ment at G. Schirmer Publishers. In July, approximately two weeks before his death. Moyse conducted an ensemble of 15 flutes, bassoon, cello, and piano in his arrangement of Rossini’s comic opera, Il barbiere di Siviglia, at the Montpelier Unitarian Church. The concert was the closing event in a 15-day masterclass in which Moyse taught 15 flutists from the U.S., Italy, Switzerland, and Australia for 10 days. Louis Moyse is survived by his wife Janet, four children from his first marriage, four stepchildren, a sister, and several grandchildren.

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NEW PRODUCTS Recordings, music, and other products by and for NFA members Nina Perlove, DMA, University of Arc Duo—Heather Holden, flute, Cincinnati, has created Real Flute, a and Bradley Colten, guitar—is new educational online resource of pleased to announce the release of flute performance videos on YouTube. its debut CD. Self-titled Arc Duo , Real Flute, an ongoing project, contains the CD is a collection of the Duo’s free videos of varied repertoire from favorite repertoire: works by Robert Telemann Fantasies to world premieres Beaser, Joan Tower, Ned Rorem, of new chamber works for flute. By and Astor Piazzolla. Arc Duo is a midsummer 2007, the project had recipient of Artists International’s received more than 27,000 views. Free 2003 Chamber Music Award and video subscriptions are available. Future plans include online the 2005 Outstanding Alumni Winners Award. Past perform - tutorials, a video blog, and more performances. Perlove has per - ances include tours throughout the United Sates and Canada, formed throughout the United States and Europe. She holds including appearances at the NFA Convention in Las Vegas. degrees in music from the University of Michigan, where she In the Duo’s home base of New York City, performance studied with Keith Bryan and Leone Buyse, and the University of highlights include recitals at Caramoor Music Festival, Cincinnati College–Conservatory of Music, where she studied Lincoln Center’s Bruno Walter Auditorium, Merkin Concert with Bradley Garner and Jack Wellbaum. As the recipient of a Hall, and Carnegie Hall. Arc Duo was awarded a Chamber Fulbright grant, she spent two years in Paris, where she studied Music America Residency Partnership Grant in 2006 to fund with Sophie Cherrier (at the Conservatoire National de Region de the Duo’s outreach program with Lenox Hill Neighborhood Paris) and the late Alain Marion. Her doctoral thesis, on the late House in New York City. This grant funds workshops, flute works of Aaron Copland, won the 2004 National Flute masterclasses, and concerts for those who would not normally Association Dissertation Prize for outstanding contribution to have access to classical music. In 2004, Arc Duo launched flute scholarship. She has taught for more than 15 years and is on its commissioning project, and since has introduced to the Northern Kentucky University faculty. As executive director of audiences new ensemble repertoire. The Duo has debuted the Starling Project Foundation from 2002 to 2007, she won works by Judah Adashi, David Leisner, and Duncan Neilson, awards for the teaching Web site Violinmasterclass.com; created a and is slated to debut new pieces by Roland Dyens and summer music school in Beijing, China; commissioned pieces Shafer Mahoney. In 2003, Arc Duo initiated a residency based on diverse folktales; and created and performed in chamber partnership program between the Diller-Quaile School of music concerts for economically disadvantaged school children. Music and Mt. Sinai Medical Center in New York City and Visit http://youtube.com (type “perlove” into the search box). performs regular concerts for patients, families, and staff at the Cardiac Care Center. For more information about Arc Duo, visit arcduo.com. For information about the CD, Artful Audio has released I Wonder visit cdbaby.com. As I Wander: Carols for Two Flutes and Piano , a new Christmas CD featuring Anne Carlson and Maya Barbara Hopkins has released a Lewis on flutes, with arrangements new recording of the Telemann and piano by Alicia Lewis. The Methodical Sonatas on the repertoire includes traditional Cardinal Classics label. Hopkins carols in new arrangements. combines performances of five Menotti’s Amahl and the Night sonatas with detailed study notes Visitors and Berlioz’ Trio of the Young Ishmalites are among the on baroque ornamentation. CD’s selections. NFA member Anne Carlson has performed at Included are suggestions for ana - NFA conventions and is past president of the Seattle Flute Society. lyzing the sonatas, a glossary of NFA member Maya Lewis performed at the 2005 Convention. ornaments Telemann uses, and Alicia Lewis is a published composer and arranger who draws on information on articulation and style. She also includes the her background in theology and ethnomusicology. “rules for baroque ornamentation” developed by the late Sam Baron. Hopkins earned her DMA from SUNY at Stony Brook, MakeMusic, Inc. has unveiled Finale 2008, offering playback studying with Baron. She is a member of the Hartford options, productivity enhancements, and more control. Symphony Orchestra and flute professor at the University of Finale can now record/import a mono or stereo audio file to Connecticut. Visit barbarahopkins.com. enhance playback. More than 250 instrument sounds from the makers of the Garritan Personal Orchestra are included The new Sankyo-Kingma flute was presented by Emmanuel free. In addition to orchestral instruments are saxophones, Pahud and Matthias Ziegler at the Flöten Festival Berlin in trumpet and trombone mutes, jazz bass and drums, guitar, March. Designed by the Dutch flute maker Eva Kingma, the and more. Visit finalemusic.com. model is available in nickel-silver, silver, and gold.

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The sixth entry in our ongoing series JAMES GALWAY presents...

TCHAIKOVSKY’S Flute parts edited by GREATEST MELODIES Sir James Galway for Flute and Piano - now arriving at a music store near you! Great music at a great price! (Ask for Presser 414-41192, only $22.95)

TCHAIKOVSKY’S GREATEST MELODIES includes: • None But the Lonely Heart • Symphony No. 5 (Movement III) • Chanson Triste (No. 2 from • Symphony No. 6 (Movement I) Twelve Pieces, Op. 40) • Waltz (from Sleeping Beauty) • Mélodie (No. 3 from Three Pieces • Romeo and Juliet (Overture-Fantasy) [Souvenir d’un Lieu Cher], Op. 42) from Swan Lake: • Andante Cantabile • Dance of the Swans (from String Quartet, Op. 11) • Waltz • Waltz (from Serenade for Strings) • Scene • Concerto No. 1 for Piano and from The Nutcracker: Orchestra (Movement II) • Overture Miniature • Concerto for Violin and Orchestra • Dance of the Reed Flutes (Movement II - Canzonetta) • Chinese Dance • Symphony No. 4 (Movement II) • Waltz of the Flowers

Previously released James Galway editions:

BOEHM MOZART BRUCH KOEHLER Twelve Grand Studies, Rondo alla Turca Kol Nidrei 15 Easy Exercises Op. 15 Two Flutes & Piano Flute & Piano Op. 33, Book 1

James Galway’s Christmas Album covers Galway’s arrangements from two of his classic Christmas CD recordings! James Galway and collaborator/arranger David Overton have provided wonderful new performing editions of these Galway classics. Read Galway’s thoughts and advice on each selection, for a behind-the-scenes glimpse at his unique approach to these seasonal favorites. Includes 13 selections, with optional 2nd Flute and Snare Drum parts. (Presser 114-41268, $19.95)

 NEW Flute-only catalog available for download from www.presser.com - click on New Releases

We look forward to seeing All Presser titles are available you at the NFA convention. wherever you buy music and Please stop by to see these online at www.presser.com. and our other new releases Sign up for Presser for FLUTE. eMail Updates at the Presser website. 19191 flute 67-83.qxd:DausProfile.qxd 9/25/07 9:45 AM Page 70

RREEVVIIEEWWSS Reviews of flute-related recordings, books, and other items of interest CDs Mostly French the first modern players of the baroque flute. Willoughby is, of Robert Willoughby, course, very well known and very highly regarded in the United flute, Wilbur Price and States, but less known in Europe than he should be. I was pleased when a copy of this CD found its way across the Atlantic and Julian Martin, piano delighted when I listened to it. © 2006, Boston Records The French works on this disc were recorded in 1973. Included are works by Ibert, Roussel, Debussy, Poulenc, obert Willoughby is one of Honegger, Fauré, Milhaud, and Martinu. The playing is Rthe great flute players and exemplary: cool, restrained, musicianly, unfussy and unshowy. teachers of the 20th century. The one non-French work, Martinu’s Sonata, certainly justifies For most of a decade from just the “Mostly French” of the title: Martinu lived in Paris for after the second world war, he was assistant principal flute in the many years and wrote the piece for Georges Laurent, the Cleveland Orchestra under George Szell. In 1955 he chose to French-born first flute in the Boston Symphony Orchestra. become a teacher at the Oberlin Conservatory of Music, where Robert Willoughby studied with Georges Laurent, and, quite he had time to play chamber and solo music, and where he apart from the beauty of the playing, this performance must remained a much-loved teacher for 37 years apart from a brief stand as a record of a performance style that the composer might leave of absence to play principal flute in the Cincinnati have expected and admired. This is a wonderful disc. Symphony Orchestra under Max Rudolf. He also became one of —Robert Bigio

Josephine Baker: A Life European audiences from the 1920s until her death in 1975, of Le Jazz Hot! but whose 2006 centenary went largely unnoticed. Imani Winds Imani Winds’ live presentation of this material is more of a multimedia presentation than a simple recital, with 1920s © 2007, Koch International costumes, film clips, and dance. Perhaps a DVD will capture Classics the show in its entirety. In the meantime, the CD presents the underlying music which, fortunately, stands by itself. It hings are looking up for consists of two suites, Portraits of Josephine by Coleman the woodwind quintet. A T and La Belle Sirene Comme le Comedien by the group’s good outlet for flutists’ skills, French horn player Jeff Scott, both illustrating aspects of and endowed with some Baker’s life and work. Also on the CD are three of Baker’s solid repertoire, it has never - theless remained a bit of a backwater—Amazon.com has best-known songs, including the showstopper Please Don’t 546 wind quintet listings compared to 2,399 for string quar - Touch My Tomatoes, arranged by Scott and performed with tet! But fresh air has been blowing through this territory of great gusto by vocalist René Marie. Executed flawlessly by late, and no one has done more to create it than Imani the quintet, whose sound is supplemented by percussionist Winds, with its 2006 Grammy nomination (for The Classical Joseph Tompkins and by extensive doubling—Coleman Underground ) and two ASCAP/Chamber Music America plays piccolo, flute, and alto flute, Miriam Adam is on clarinet awards for “adventurous programming.” The brainchild of and bass clarinet, Toyin Spellman-Diaz plays English horn and flutist Valerie Coleman, the group’s African American/ oboe, and bassoonist Monica Ellis wields a soprano saxo - Hispanic heritage has led it to explore repertoire by jazz and phone—the music is full of color, and soaked in the spirit of Latin artists such as Wayne Shorter, Paquito D’Rivera, and both Le Jazz Hot and early 20th-century expressionism: Mongo Santamaria, along with the more traditional Armstrong and Ellington via Stravinsky and Milhaud. Mendelssohn, Ravel, Elliot Carter, Villa-Lobos, and Cesar Imani Winds’ publicity material refers to the group as Franck. The group’s most recent release, launched at a June “genre-busting.” There are some genres these days that need 3 celebration at Harlem’s Apollo Theater, is a tribute to busting! Imani Winds does just that, while creating highly Josephine Baker, the extraordinary expatriate American satisfying music. singer, dancer, and humanitarian, who conquered largely —Peter Westbrook (fluteinjazz.com)

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Liquescence character for the next section that includes an angular, Richard Arnest virtuosic flute melody with unusual harmonic shifts. The © 2004, Music Under upper strings add to the rhythmic drama with unexpected Construction pizzicato notes, while the flute utilizes flutter tonguing and some interesting harmonic effects. Once again, the energy subsides incinnati-based composer and the opening returns before ultimately fading away. CRichard Arnest incorpo - Liquescence affords the flutist the opportunity to demon - rates lyricism and virtuosity, strate the many components of a fine musician, from lyrical as well as interesting modal playing to technical display. The strings players, on the other harmonies and unexpected hand, have a more supportive role and provide the structural character shifts, into his Liquescence for flute and strings foundation of melody, rhythm, and color. Being secondary to (Vn I and II, Va, Vc, Cb). Written in 2004 and chosen as the the flute, the string writing is simpler and more straight for - winning composition of the First International EPICMU - ward, which allows the piece to be performed by accomplished SIC competition, Liquescence begins with a slow section string players as well as by less advanced students. The variety of based on a pentatonic melody and improvisatory in charac - ter. A lively section follows that achieves a graceful lilt from characters in this multisection, 10-minute composition makes it the compound meter. The ground bass lends itself to an appealing to a wide range of audiences. ever-changing flute obbligato that increases in intensity In short, Liquescence is a delightful addition to the repertoire before melting into a slow section reminiscent of the opening. for flute and strings. An energetic rhythmic ostinato in the strings establishes the — Lisa Vanarsdel

Chamber Music for combination. It is refreshingly rich, expressive, and an Flute absolute delight to listen to. Although all flutists seem to Jeanne Baxtresser have more than a casual acquaintance with Philippe © 2006, Cala Records Gaubert, few know his Three Watercolors for flute, cello and piano. The work is typical of his writing, well-crafted, t takes only a few moments relishing in that wonderful French sensitivity to timbre. Iinto the first work, Devienne’s Baxtresser’s recording of Barber’s Canzone on this CD Duo for Flute and Viola in C provides food for thought and grounds for considerable Minor, Op.5 No.3, to realize discussion. It was recorded in 1996, and is more satisfying that this is a listening treat. than her very fine performance of the same work nine years The recorded sound on this earlier, as heard in her CD, A Collection of My Favorites , CD is very clean, smooth, and spacious, while retaining a released in 2006. This recording has more delicate entrances charming intimacy. and nuanced phrases, although the ensemble playing is not Featured are works by Devienne, Dring, Gaubert, Barber, quite as precise in spots as the earlier version. In both ver - and Copland. Jeanne Baxtresser’s accomplices in this offer - sions, her final phrase is an octave higher than Barber’s pub - ing include some of the principal chairs in the New York lished score, the final note being two octaves higher than Philharmonic, with whom she played for many years: written. The Canzone is introspective and dark in mood. Stanley Drucker, Judith LeClair, Philip Myers, Cynthia Altering the final phrase in both recordings changes the fin - Phelps, Joseph Robinson, and Alan Stepansky. The playing ishing taste on the palate, much as one might react when throughout is ravishing, and the chamber music reflects a joy of music making with good friends. tasting two beautifully vintaged wines. The published ver - Baxtresser has one of the most expressive sounds in sion and Baxtresser’s changes are each attractive, but leave recording today. There is a richness to her playing that very different impressions. makes one forget for a moment that it is not a voice. She This recording of Barber’s Summer Music for Wind sings in a way that should inspire all wind players, whether Quintet, Op. 31 may be the best recording available of this flutists or not. Intonation among each of the chamber music central work. The ensemble playing is spectacular, balance is combinations is absolutely impeccable. The precision of marvelous, and the musical impact is rich and rewarding. ensemble playing is nearly always razor sharp, yet the The program concludes with Copland’s Duo for Flute and ensemble achieves a flexible spontaneity that breathes life Piano. Baxtresser’s performance showcases her singing into the music. phrasing and sparkling tonal presence. She explores many Most listeners will be unfamiliar, perhaps, with only one colors in the course of this well-known and loved work. It of the composers represented on this recording, Madeleine has been recorded countless times, yet seldom with such Dring (1923–1977). Her Trio for Flute, Oboe and Piano sensitivity. This is a must-have recording. deserves to find its way into the standard literature for this —Brooks de Wetter-Smith

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CDs A Collection of time. What can be criticized in assembling this recording is also My Favorites its strength. That being said, one expects first-class playing, a gor - Jeanne Baxtresser geous sound, lightning quick articulation, perfect technical con - © 2006, MSR Classics trol, and interesting musical perspectives from this artist. They are all there. or flutists looking for a “best Baxtresser’s sound takes on more personality in the later Fof” compilation of memo - performances. There is greater variety in her vibrato and tonal rable performances, look no palette. In her earlier recordings on this compilation, her further. This is the real thing! orchestral perspective is clear. Debussy’s beloved Prélude à Jeanne Baxtresser brings her L’après-midi d’un faune, performed in this version with piano, enormous experience, warmth, is luscious, vibrant, rich, sensual, transparent—just what one and beautiful playing front and center. This CD joins numerous would wish to hear with orchestra—but it seems to miss some sessions from between 1986 and 1996, and includes many play - of the intimacy the music calls for in the leaner timbre of the ers, including her former teacher and former principal flutist of piano. This is music for a smaller space than an orchestral setting. the New York Philharmonic, Julius Baker. Baxtresser’s playing, nevertheless, is what all flutists should aspire There are advantages and disadvantages to issuing a compila - for. She plays throughout with an un-self-conscious grace. After tion. The chief strength lies in its enormous variety, from piano all, it is about the music! Such generosity of musicality is rarely to jazz trio to orchestra, from C.P.E. Bach to Bolling. What is heard. The joy in listening to this recording is being stretched in missing is the pleasure of hearing more works in their complete - new directions, hearing old favorites rendered in stunning clarity, ness. Listening to the third movement of Kuhlau’s Trio, Op. 119, in new and unexpected ways. The program includes works by the third movement of C.P.E. Bach’s Concerto in D Minor, only Debussy, Bartók, Chopin, Kuhlau, Rachmaninov, Barber, C.P.E. three movements from Bolling’s first Suite for Flute with jazz Bach, Gershwin, Bolling, and Cowell. trio, are but teasers—engaging and disappointing at the same —Brooks de Wetter-Smith Mozart Flute Quartets Music from heaven it certainly is! And, the ensemble perform - Sue Ann Kahn, flute ance of Sue Ann Kahn, Eriko Sato (violin), Ronald Carbone © 2006 Albany Records (viola), and Alexander Kouguell (violoncello) was made in heaven, too. I recommend this recording to all Mozart lovers, and lutist Sue Ann Kahn writes especially to those who are beginning the lifelong journey of Fin the program notes, “It has learning to play chamber music. The tempi are intelligently always struck me as ironic that chosen, the phrasing subtle, and the style is classic and tasteful. the composer who kindled my Dynamics are carefully observed, and the string players’ perform - interest in the flute was thought ances perfectly support the delicate nature of the flute writing. to have hated the instrument. Sue Ann Kahn has served as president of the National Flute When I was a young flutist, my favorite music in the whole world Association and teaches on the faculties of Mannes College of was Julius Baker’s recording of the Mozart Quartets for flute and Music, New York University, and in the Music Performance strings…I actually wore out the grooves of my favorite, the Program at Columbia University. Quartet in C. It was, I thought, music from heaven.” —Patricia George

After Syrinx… and written for Amelia Freeman, is a one-movement piece October Trio divided into six sections. Mary Karen Clardy, flute The highlight of this CD is the seasoned performance © 2006, Encore Performance of Debussy’s challenging Sonata pour Flute, Alto et Harp . Recordings: Ron Meyer Most recordings of this work sound like a group of very fine performers who have assembled to record the work; however, very flutist’s favorite com - this recording is of a performance by an ensemble (with Eposition for the flute has to Barbara Sudweeks, viola, and Susan Dederich-Pejovich, harp) be Debussy’s Syrinx. What a whose members have performed the work many times. The delight to hear Mary Karen Clardy’s sensitive performance balance is excellent . The tempi are chosen from experience immediately followed by Sir Richard Rodney Bennett’s and the music breathes with a simple ease. The quality of this Sonata after Syrinx (1985). According to the liner notes, much of Bennett’s works stem from quotation either used as performance alone is reason enough to purchase the CD. a starting point or as an integral element in the composition. Also included on the CD is Francois Devienne’s Duo for So far, Bennett has used Syrinx as source material on five Flute and Viola and the Elegiac Trio by Sir Arnold Bax. occasions. This work, commissioned by the Nash Ensemble —Patricia George

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Mozart By Arrangment accompaniment. The Romanza movement of this work is recog - Chamber Soloists of nizable as the final strains of music from the movie Amadeus. It is Austin wonderful to hear this grand work presented with flute. Kraber’s beautiful flute playing begins the second work, Piano ©2007, Pierian Records Sonata No. 15 in F Major. This piece was transcribed by Hoffmeister in 1802. The instrumentation includes flute, violin, reasures from the genius of viola, and cello. It is very interesting to hear the flute serve as the Mozart are revealed in this T melody maker in this work. The first movement is quite a tech - CD by the Chamber Soloists of nical workout for all of the instruments. The second movement Austin, composed of Gregory Allen, piano; Karl Kraber, flute; Jennifer Bourianoff, violin; is a beautiful rolling melody. The flutist does an excellent job of Joan Kalisch and Bruce Williams, viola; and Barrett Sills, cello. creating long phrases and flowing lines. Playing a beautiful sup - This fine offering includes three works by Mozart originally porting role is Sills on cello. Kalisch masterfully handles the written for piano. They have been previously transcribed and beautiful viola part in the Rondo movement. arranged by Karl Czerny and Franz Anton Hoffmeister. In the last work, Piano Sonata No. 11, in A Major, K. 331, the Although the flute repertoire is already graced with many won - quartet is heard in a charming set of variations. Attention is paid derful solo and chamber works, these pieces make a great addi - to style and great care given to the appoggiaturas in each part. tion. They allow the flute to play a crucial role in the creation of Each instrument plays a vital role in this work; all of the instru - these masterpieces in a chamber setting. ments play a solo role at one point. Violinist Bourianoff provides Piano Concerto No. 20 in D Minor, K. 466 was transcribed by excellent intonation and creates a wonderful partnership with Czerny in 1817. Czerny reworked this piece for chamber ensemble the flute. The recording ends with the famous Rondo Alla Turca . including piano, flute, two violas, and cello. Allen offers mastery as This movement is executed gracefully and with great skill. piano soloist on this work. The flute and strings provide the —Kimberlee Goodman Music Sonata for Flute and Basso This three movement work (Affectuoso, Presto, Allegro ) Continuo, A Minor was written for the then-common transverse flute, yet Wilhelmine von Bayreuth according to the editors, it may also be played on the © 2006, Furore modern flute. Besides the full keyboard score, a basso part is included that could be played on the bassoon or violon - his recently discovered man - cello. The virtuostic writing in the Presto clearly illustrates Tuscript by Frederick the that Wilhelmine preferred “wild thundering flute playing” Great’s sister, Wilhelmine von over an effected performance. The edition is well laid out Bayreuth (1709–1758), is a welcome addition to the flute repertoire. It could easily be and is printed on very easily read, cream-colored paper. Its programmed on a concert of music by women composers or on level is for advanced-intermediate/advanced. a program featuring music from the courts of Berlin or Bayreuth. —Patricia George

Tre Duetti Italiani per due movement begins with a 6/8 introduction and an allegretto Flauti immediately following. Giovanni Battista Viotti The three-movement duet by Luigi Gianella (1778–1817), Luigi Gianella who was a flutist in the La Scala Opera Orchestra, features a Saverio Mercadante more challenging first flute part; however both parts do © 2006, Edizioni Riverberi Sonori exchange melodic sections. The first movement is a da capa (riverberisonori.it) Romance-Adagio . The second movement is in the minuet/trio form, and the third is a Polonaise-Allegretto . ovanni Battista Viotti (1755– The final duet is a two-movement work by Saverio G1824), who is best known for Mercadante (1795–1870), who is best remembered today for his his violin compositions, has written a two flute concerti. The writing in this duo, while brillant, is far substantial three-movement duet for simpler than that of either concerto. two flutes. The difficulty level between the two parts is about This edition is well laid out for easy reading and page turns. equal. The first movement begins with an operatic slow intro - The editor notes that dashes used in previous editions have duction that segues into a charming Menuetto . The second been replaced with dots in this edition. movement alternates between major and minor, and the third —Patricia George

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Music Variations on a Theme by two-octave grace note flourishes reminiscent of The Art of Beethoven for Solo Flute Preluding by Gariboldi. The composer writes that Variation 3 Michael Braz is a loving homage to Fur Elise. Variation 4 turns from minor © 2007, ALRY Publications to major in a quick double-tonguing variation. Variation 5 Etc., Inc. embodies characteristics from the sonatas by Poulenc and Prokofiev. The Finale is based on Beethoven’s Turkish March, ichael Braz, professor of and the movement concludes with a 6/8 parody of the Scherzo Mmusic at Georgia Southern from Symphony No. 9. The theme is restated at the end. University, has written a clever set This work will be an excellent addition to the recital of five variations, Finale, and “encore” repertoire. It is suitable for advanced high school and Epilogue, based on the slow movement of Beethoven’s college flutists. There are two problems with page turns that Symphony No. 7. Also incorporated in the variations are occur in the middle of variations that could have been motives and gestures inspired by the flute literature in general. improved with better formatting. The Introduction, which is cadenza-like, begins with dramatic —Patricia George

Eine Kleine Nachtmusik In this arrangement for flute, violin, and piano, the flute W.A. Mozart, arr. Kazuo mostly takes the first violin part of the original and the violin Tokito the second violin part. The piano fills the missing harmony © 2006 Theodore Presser Co. and keeps the rhythmic feel of the original viola and cello/bass parts. This makes for a fairly simple keyboard part, but with- out as much musical interest as there is in the flute and violin here is always a need for addi- Ttional good “gig” music or parts, which contain most of the melodies. The parts are all music to be played for the pleas- nicely printed and very easy to read. The flute and violin parts ure of the performers. This are well laid out on the page. There is not a single page turn arrangement of the Eine Kleine that is not at the end of a movement on either part. Nachtmusik helps to fill this If you are a flute, violin, piano working trio, this arrangement need in a very nice way. It is the will be a welcome addition to your repertory. If you are an ama- complete work, all four movements, so it will fill over 15 min- teur, it will be something quite fun to play with musical friends. utes of music for prewedding or other uses. —Keith Pettway

Save the Date: Upcoming NFA Conventions

August 7–10, 2008, Kansas City, Missouri

August 13–16, 2009, New York City, New York

August 12–15, 2010, Anaheim, California

August 8–11, 2011, Charlotte, North Carolina

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NFA Office, Coordinators, Committee Chairs Please check the NFA Web site for any changes and updates for addresses, phone numbers, and e-mail addresses: nfaonline.org

• NFA Office Program Book Bio Editor • Competition Coordinators Young Artist Lisa Van Dusen (2007) Karen Evans Moratz (2003) Chief Executive Officer 1947 Gravel Rd. General Coordinator Jordan College of Fine Arts Seneca Falls, NY 13148-8720 Phyllis T. Pemberton Lisa Garner Santa (2007) Butler University The National Flute Association, Inc. 315-568-1233 [email protected] School of Music 4600 Sunset Ave. 26951 Ruether Ave., Ste. H Texas Tech University Santa Clarita, CA 91351 Indianapolis, IN 46208 661-713-6013 Gala Fundraising Dinner Chair Box 42033 317-253-1891 Lubbock, TX 79409-2033 fax: 661-299-6681 Gwen Powell [email protected] [email protected] 5101 East Oakmont Dr. 806-742-2270, ext. 279 Tucson, AZ 85718 [email protected] Convention Director 520-529-3748 • Archives and Libraries Madeline Neumann [email protected] Baroque Flute 26951 Ruether Ave., Ste. H Nancy Schneeloch-Bingham (2008) NFA Librarian Santa Clarita, CA 91351 • Committee Chairs Hayes School of Music Bob Diaz, Music and Dance Librarian 661-299-6680 Appalachian State University NFA Music Library fax: 661-299-6681 Advisory Committee Chairs Boone, NC 28608 [email protected] Alexa Still c/o University of Arizona Libraries Sydney Conservatorium of Music 828-262-6447 1510 E. University [email protected] Membership Director Macquarie St. Tucson, AZ 85721-0055 Maria Stibelman Sydney, NSW 2000 520-621-7010 Australia Chamber Music 26951 Ruether Ave., Ste. H [email protected] Santa Clarita, CA 91351 011 61 2 93511266 Andrea Graves (2004) 661-250-8920 fax: 011 61 2 93511287 (attn: Alexa) 120 Richmond Rd fax: 661-299-6681 [email protected] Macomb, IL 61455 • Other Appointments [email protected] [email protected] 309-836-2374 [email protected] Director of Public Relations Katherine Borst Jones Publications Director Irene Pruzan (2004) Anne Welsbacher 4635 Rutherford Rd. Convention Performers 5951 Petunia Ln. 7213 E. Chelsea St. Powell, OH 43065 Amy Hamilton (2003) Wichita, KS 67206 740-881-5008 Orlando, FL 32821 fax: 740-881-5252 154 King St. 316-440-2800 Oakville, ON L6J 1B2 phone/fax: 407-238-9378 fax: 316-440-2801 [email protected] [email protected] [email protected] Canada Amateur Resources 905-339-2658 NFA Online Administrator Lisa Fahlstrom (2007) [email protected] Flute Choirs Coordinator Brian Covington 1216 Travis View Ct. Kelly Via (2008) [email protected] Gaithersburg, MD 20879 DMA/PhD Dissertation 965 Daisy Ct. 301-948-5333 Rachel Lynn Waddell (2003) Lawrenceville, GA 30044 • CONVENTION fax: 301-279-1323 Hillsdale College [email protected] 770-935-1379 Howard Music Bldg. [email protected] Program Chair 2008 79 E. College St. Kansas City Program Chair 2008 Cultural Outreach Hillsdale, MI 49242 Horace Young Jonathan Keeble 517-607-2366 Flute Clubs Coordinator University of Illinois 410 SE Crestview Christine Cleary (2004) Pullman, WA 99163 [email protected] 1114 West Nevada St. 2022 Wedgewood Dr. Urbana, IL 61801 713-817-3754 217-722-5959 [email protected] High School Soloist Grapevine, TX 76051-7706 [email protected] Ruth Ann McClain (2008) 817-421-6663 Historical Flutes 5760 Barfield Assistant Program Chair 2008 Linda Pereksta Memphis, TN Flute Research Coordinator 836 S. Clearview Pkwy., #353 Rebecca Johnson 38120-2054 Michelle Cheramy (2008) 1010 North Busey Ave. River Ridge, LA 70123 901-683-4110 School of Music Urbana, IL 61801 504-818-0581 fax: 815-846-1556 812-786-4526 [email protected] [email protected] Memorial University of Newfoundland [email protected] St. John’s, Newfoundland Jazz Jazz Flute Masterclass Canada A1C 5S7 Convention Director Ali Ryerson (2004) Holly Hofmann (2005) 709-737-7477 Madeline Neumann 12 Longview Dr. 26951 Ruether Ave., Suite H Brookfield, CT 06804 1125 Via Las Cumbres [email protected] Santa Clarita, CA 91351 203-740-2044 San Diego, CA 92111 661-299-6680 [email protected] 858-292-1814 Grants Committee fax: 661-299-6681 aliryerson.com [email protected] Patricia Spencer (2003) [email protected] 215 West 90th St. #1G New Music Advisory Masterclass Performers New York, New York 10024 Local Arrangements Chair 2008 Molly Barth Jill Heyboer (2007) Rebecca Dunnell 126 SE Macy St. Music Department 212-873-1065 Northwest Missouri State University McMinnville, OR 60640 Missouri State University fax: 646-619-4462 Music Dept. 800 University Dr. 503-435-1393 901 S. National Ave. [email protected] [email protected] Maryville, MO 64468 Springfield, MO 65897 660-562-1791 fax: 660-562-1346 Nominating 417-836-4875 International Liaison [email protected] Leonard Garrison [email protected] Matej Zupan (2004) Lionel Hampton School of Music C.9. Avgusta 72 Exhibits Management Music Room #206 National High School Flute Choir 1410 Zagorje ob Savi Virginia Schulze-Johnson (2007) Jim Magee University of Idaho Slovenija, Europe N’Awlins Trade Show Moscow, ID 83844-4015 Department of Music and Convention Services, Inc. 208-885-6709 Drew University 386 40 811 811 612 Highland Ct. fax: 208-885-7254 Madison, NJ 07940 fax: 386 1 516 11 34 Mandeville, LA 70448 [email protected] 908-875-3211 [email protected] 985-626-3046 [email protected] fax: 985-727-3940 Archival and Oral History Legal Advisor to the Board [email protected] Nancy Toff (2007) 425 East 79th St., #6F Newly Published Music Linda Mintener (2003) Exhibits Assistant New York, New York 10021 Jennifer Robin Lau (2008) 3976 Plymouth Cir. Patti McCleney 212-772-1343 Center of the Arts Madison, WI 53705 N’Awlins Trade Show and Convention [email protected] MSC04 2570 phone/fax: 608-231-1680 1 University of New Mexico Services, Inc. 608-266-3049 (office) P.O. Box 8538 Pedagogy Albuquerque, NM 87131 Mandeville, LA 70470-8538 Rebecca Hovan (2004) 505-401-2398 [email protected] phone/fax: 985-893-9521 23685 Arlene Ave. [email protected] [email protected] Elkhart, IN 46517-3643 Masterclass Reporter, Flutist Quarterly 574-875-5447 Orchestral Audition and Masterclass Tony Watson (2003) Showcase and Exhibitors Concert Coordinator [email protected] Jennifer Parker-Harley (2008) 1722 Hummingbird Ln. NE Nora Kile (2003) 3106 Summit St. Performance Health Care Atlanta, GA 30307 1802 Glen Stone Ln. Columbus, OH 43202 Hixson, TN 37343-3106 Stephen A. Mitchell (2008) 404-964- 4142 423-842-4570 4820 Redcastle Ridge 614-261-0780 [email protected] [email protected] Nashville, TN 37211 [email protected] 615-386-9089 NFA Library Appointee Program Book Editor fax: 615-832-7888 Piccolo Artist Anne Welsbacher [email protected] Rebecca Arrensen (2004) Brian Luce (2004) 7213 E. Chelsea St. 1429 Stoney Creek Cir. P.O. Box 210004 Wichita, KS 67206 Piccolo Carmel, IN 46032 University of Arizona 316-440-2800 Mary Kay Ferguson (2004) 317-818-0004 Tucson, AZ 85721-0004 fax: 316-440-2801 3420 East Fairfax [email protected] 520-621-7015 [email protected] Cleveland Heights, OH 44118 fax: 520-621-8118 216-321-2713 Professional Flute Choir [email protected] [email protected] Program Book Advertising Sales Representative Diane Boyd Schultz (2006) Steve DiLauro LaRich & Associates, Inc. Special Publications University of Alabama School of Music, Box 870366 Myrna Brown International Liaison 15300 Pearl Road, Suite 112 Susan Waller (2003) TBA Strongsville, OH 44136-5036 224 Kent Pl. Tuscaloosa, AL 35487 440-238-5577 San Ramon, CA 94583-3748 205-348-7110 fax: 440-572-2976 925-829-4922 fax: 205-348-1473 Myrna Brown Society [email protected] [email protected] [email protected] TBA

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SUBSCRIPTIONS Editorial deadlines for The Flutist Quarterly apply primarily to departments Receipt of The Flutist Quarterly is a benefit of membership in the National Flute providing news of interest about flutist activities and products. Unsolicited feature Association, Inc. Subscriptions are available to libraries and institutions at a charge articles, items for review, and news about member achievements may be sent at of $35 per year. Personal subscriptions are not available. The Music Library Catalog any time for consideration; submissions to Across the Miles, Canadian News, and (6th ed.) is also available to libraries and institutions at $15 per copy. Notes from Around the World departments should be sent to their editors at least one week prior to deadline dates to be considered for inclusion. Queries via e- ADDRESS CORRECTIONS mail or phone about feature article topics prior to submission are welcome at Bulk rate mail is not forwarded. Send address corrections to: Maria Stibelman, any time. Send editorial materials for the fall issue by June 1; the winter issue by Membership Services, 26951 Ruether Ave., Ste. H, Santa Clarita, CA 91351; September 1; the spring issue by December 1; and the summer issue by March 1. 661-250-8920; 661-299-6681 (fax); nfamembership@aol. com. The NFA will be Please note these earlier submission deadlines, effective as of May 2007. responsible for one missed magazine in the event an address change crosses in the mail. Missed issues due to bad addresses are available at the rate of $10 per copy Please send submissions (except Across the Miles, Canadian News, and Notes through the membership services manager. from Around the World—see those departments for contact information) to: Anne Welsbacher BACK ISSUES 7213 E. Chelsea St. Members and nonmembers may purchase back issues of The Flutist Quarterly Wichita, KS 67206 at the rate of $10 each through the membership services manager at the 316-440-2800 address listed above. fax: 316-440-2801 [email protected] EDITORIAL GUIDELINES Please submit manuscripts electronically as Word files attached to an e-mail No submissions will be returned unless accompanied by a stamped, message that clearly states what you are submitting. (Unidentified attachments self-addressed envelope. might be deleted as a virus security precaution.) If you are unable to submit via e-mail, please send submissions as Word files on a CD. Please include a single- ADVERTISING GUIDELINES spaced, printed copy of your submission. Guidelines, deadlines, and fees are available at nfaonline.org/fqadvertising.asp, Submissions should also be accompanied by a signed letter stating that the or contact Steve diLauro. Deadlines for The Flutist Quarterly are: fall issue, material contained in your submission (1) is entirely original; (2) has not been August 1; winter issue, November 1; spring issue, February 1; summer issue, May previously published; and (3) is not currently under consideration for publication 1. Please note these earlier submission deadlines, effective as of May 2007. elsewhere. (Electronic submissions need not be signed but should include these three statements.) Manuscripts under copyright need to include permission to Please send advertising submissions and queries to: duplicate 10 copies for review purposes only. Steve diLauro, NFA Advertising Sales Representative You will be notified that your manuscript has been received by the editor. LaRich & Associates, Inc. Authors of manuscripts accepted for publication will be sent a permission-to- 153000 Pearl Rd., Ste. 112 print form. Accepted manuscripts will, when appropriate, go through a review Strongsville, OH 44136-5036 process. Authors might be asked to revise manuscripts during this procedure. The 440-238-5577 editor reserves the right to edit all articles for style, content, or space requirements. fax: 440-572-2976 The Flutist Quarterly budget does not include honorariums for authors. [email protected] 19191 flute.rev.pg79.qxd:DausProfile.qxd 9/25/07 9:50 AM Page 11

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INDEX OF ADVERTISERS “Anne Pollack has raised the art of Abell Flute Co. 40 flute maintenance to a new level." Altus Flutes America, Inc. 12 8)"5 - Sir James Galway Banff Centre, The 8 Brannen Bros. Flutemakers, Inc. 83 Burkart Flutes and Piccolos (2) 68, 82 WORKS Cantilena Records 80

X Cardinal Classics 41 X

X "O "NB[JOH 7JSUVPTJUZ Carlini, Louis A. 54  : P

W presenting the Headjoints of: V Chicago College of Performing Arts 41 S '

M Clarion Insurance 39

V NDJG U F Classical Collection Inc 40 8

P ;AJI:

S Crystal Records 27 L T H 

D Drelinger Headjoint Co. (3) 11

P LDG@H N /:$ 3FQSFTFOUBUJWF Emerson, division of Conn-Selmer 79 Fluit 54 J E O Anne H. Pollack /Master Flute Technician G Flute Exchange, The 81 P ! Discerning Flute Dealer . . . since 1976 Flute Network/Little Wizard Enterprises 54 : P R

V Flute Specialists, Inc. 23 S '

M Flute World 49 V  3FQBJST  $POTJHONFOU 4BMFT  .BODLF )FBEKPJOUT U F

E Paul Fried Flutist 75 8

P Authorized to install Straubinger Pads. FedEx for Out-of State service.

S Global Choro Music Corporation 4 L T 

D Erich Graf 22 P N Green (Tom) Flutes, Inc. 52 24/7 Patricia Harper 52 Hammig Piccolos (see also Miyazawa) 78 William S. Haynes 10 Italian Flute Society 54 Jupiter Band Instruments, Inc. 14–15 Keefe Piccolos 52 Kemler, Katherine 41 Kingma Flutes 48 Landell Flutes 32 Bradley Leighton 32 Little Piper/Dean Yang Flutes 6 Lopatin Flute Company 40 Lyric Flutes (see also Miyazawa) 15 Magnolia Music Press 22 Mancke-Flutes 48 Miyazawa Flutes, Ltd (3) 7, 15, 78 Muramatsu America 77 Music for Healing & Transition Program 40 Music Minus One (2) 9, 32 National Flute Association 41, 47, 54, 57, 62 New England Flute Shop, The 32 Northwind Cases 40 Ogura Flute Works 47 PAN 66 Simon Polak 47 Progress Press (3) 23, 31, 59 Theodore Presser 69 Sagerman Flutes 54 Sheridan Flute Co. 74 Southern Music Company 48 Syrinx Flute Repair 48 Tai Hei 81 Tap Music Sales 52 Wehr’s Music House 48 Williams Flutes 84 Windplayer Publications 40 Winzer Press 33 Yamaha Corporation of America 2 Your Flute Works 81 19191 flute 67-83.qxd:DausProfile.qxd 9/25/07 9:45 AM Page 82

19191 flute back cover.qxd:DausProfile.qxd 9/25/07 9:41 AM Page 84

Williams Flutes, Boston, MA USA phone: 1-781-643-8839 or visit: williamsflutes.com

THE NATIONAL FLUTE ASSOCIATION , INC . NON PROFIT ORG US POSTAGE PAID 26951 RUETHER AVE ., SUITE H LOS ANGELES , CA SANTA CLARITA , CA 91351 90052 PERMIT #1831

ADDRESS SERVICE REQUESTED