VOLUME XXXII, NO.F1 ALL 2006

THE LUTIST QUARTERLY

THE OFFICIAL MAGAZINE OF THE NATIONAL ASSOCIATION, INC

Table of CONTENTS THE FLUTIST QUARTERLY VOLUME XXXII, NO. 1 FALL 2006 DEPARTMENTS 5 From the President 53 Passing Tones 9 From the Editor 54 From the Development Director 13 Letter to the Editor 57 From the Research Coordinator 15 High Notes 59 From the 2007 Convention Program Chair 19 Across the Miles 60 New Products 22 Student Spotlight 62 Reviews 25 Notes from Around the World 66 NFA Coordinators & Committee Chairs 29 Technology 69 Index of Advertisers 32 FEATURES 32 Reflections on the Mozart Flute Quartets by Sue Ann Kahn Shady areas persist in the provenance of Mozart’s flute quartets, particularly regarding portions of the Quartet in C. But for the author, who was drawn to the flute by that very quartet, the pleasure of Mozart’s repertoire remains.

38 Crossing Borders: Solo and for Flute by Haitian Composers by Mary Procopio Haitian visual art and popular music are well known outside of the country, but Haiti also has a wealth of classical music. Among the prominent composers who have woven their country’s traditional music and Haitian vodou into their classical works are Werner A. Jaegerhuber and Julio Racine.

38 46 Stephen Preston: A Complete and Utter Novelty Interview by Eldred Spell; editing and transcription by Amara Guitry A bad flute and a late start in life were among the planks in the foundation of Stephen Preston’s internationally acclaimed career. An interview between him and his distinguished friend and colleague, Eldred Spell, explores Preston’s spin into baroque flute performance.

Cover Photo: Victoria Stehl

THE NATIONAL FLUTE ASSOCIATION 26951 RUETHER AVENUE,SUITE H SANTA CLARITA, CA 91351

FOUNDED NOVEMBER 18, 1972 IN ELKHART,INDIANA

This magazine is published quarterly by the National Flute Association, Inc., a nonprofit organization. The statements of writers and advertisers are not necessarily those of he National Flute Association, Inc., which reserves the right to refuse to print any advertisement.

ISSN 8756-8667 2006 National Flute Association, Inc. 46 29

nfaonline.org Fall 2006 The Flutist Quarterly 3 OFFICERS Mark Thomas Founder & Honorary Life President 824 Charter Plce. Charlotte, NC 28211-5660 704-365-0369 (phone/fax) [email protected]

Katherine Borst Jones President 4635 Rutherford Rd. Powell, OH 43065 740-881-5008 fax: 740-881-5252 jones.6@osu .edu

Alexa Still Vice President Sydney Conservatorium of Music Macqaurie St. Sydney, NSW 2000 Australia 011 61 2 93511266 [email protected] [email protected]

Sue Ann Kahn Immediate Past President 96 Fifth Ave. #4-J New York, NY 10011 212-675-1932 [email protected]

Patricia George Secretary 311 S. 8th Ave. Pocatello, ID 83201 208-234-4922 [email protected]

Teresa Beaman Treasurer Department of Music, CSU-Fresno 2380 E. Keats Ave. MS/MB77 Fresno, CA 93740-8024 559-278-3975 [email protected]

Carol Dale Assistant Secretary Dept. of Music, University of Mississippi Oxford, MS 38677 662-234-2978 [email protected]

BOARD OF DIRECTORS Robert Aitken (2006–2008) 14 Maxwell Ave. Toronto, ON M5P 2B5 Canada 416-481-4967 fax: 416-481-0040

John Barcellona (2005–2007) 9462 Castlegate Dr. Huntington Beach, CA 92646 714-964-2382 fax: 714-964-2650 [email protected]

Zart Dombourian-Eby (2006–2008) 2515 10th Ave. W. Seattle, WA 98119 206-285-0206 [email protected]

Rhonda Larson (2005–2007) 514 49th St. Grand Junction, MI 49056 269-434-8462 (phone/fax) [email protected]

Amy Porter (2006–2008) 1647 Broadway Ann Arbor, MI 48105 734-623-4853 [email protected]

Jim Walker (2005–2007) 401 Rockedge Dr. Oak Park, CA 91301-3841 818-991-4320 fax: 818/991-9797 [email protected] From the PRESIDENT reetings! Memories of our August Your board of directors met for many get-together in Pittsburgh remain hours contemplating reports and dis- Gbright. We were treated to many cussing ideas. How can the NFA do wonderful events by both recognized and more for more of you? Important areas new faces from all over the world as well of discussion included enhancing our as from this fine nation. Special congratu- Web site, improving relations with our lations are extended to Lifetime commercial members, development Achievement Award recipients Jeanne issues such as corporate sponsorship, Baxtresser and Stephen Preston. Grateful and increasing membership benefits. thanks must be extended to program Maintaining and improving services chair Thomas Robertello and assistant and our convention, while keeping costs program chair Emily McKay, who donated down, remains our biggest challenge. many hours to put together a convention Some of the decisions are as follows: full of inspiration and delightful surprises. Bylaws were reviewed, appended and Performers and presenters are to be approved. thanked for their superb efforts, all con- Online voting for NFA offices will tributions in kind. Thanks also to the commence in 2007. many exhibitors who support the NFA Giya Kancheli will be commissioned with their membership and presence at for a 20-minute flute and strings the convention each year. And a special chamber work. Katherine Borst Jones word of thanks to local liaison Wendy The three-year, three-event rule Kumer and her Team ICON, members of becomes the two-year, three-event the Pittsburgh Flute Club augmented by rule effective 2007; all stated rules and many of you, our loyal members. exceptions remain the same, with the president. We thank outgoing board Yet another word of thanks must be exception of tribute events, which will members John Barcellona, Rhonda extended to the many volunteers who be exempt from the new two-year rule. Larson, and Jim Walker, who were most serve as committee members and chairs, A Web site advisory board will be progressive in their thinking. Outgoing competition coordinators and judges, the appointed. secretary Patricia George was exceptional elected board of directors, and executive A membership recruitment committee in her difficult duties of capturing and committee of the board. These people was established. distilling all that was accomplished. Sue spend countless hours dreaming up High School Soloist awards were Ann Kahn, our outgoing immediate past projects and putting them into practice, increased. president, has served for three remark- all for the benefit of all NFA members. A Flute Competition will able years as an inspiring and wise leader. Grateful thanks to outgoing chairs and begin in 2009. She has been our voice of reason and coordinators Lori Akins, Jane Berkner, A third edition of the Selected Flute eloquence on so many occasions. Please Catherine Bull, Lisa Garner Santa, and Studies produced by the pedagogy thank all of these people for their out- Brenda Trautman. committee will be published in hard standing contributions to our NFA. As a dues-based organization, volun- copy. It has been my great privilege to serve teerism is integral and essential to the The special publications committee success of our amazing NFA. While of will produce a CD, the fourth in the as your president for a second term. I course we welcome your financial support NFA Historical Flutist Series: Maurice wish to thank in particular our talented for our endowment to ensure our Sharp. NFA staff, Phyllis Pemberton, executive future, your yearly membership and A member verification system will be director; Madeline Neumann, conven- attendance at our convention are what available to commercial members to tion manager; Anne Welsbacher, publi- really keeps the NFA invigorated and rele- enable them to offer discounts to NFA cations director; and Maria Stibelman, vant. We are looking for volunteers to help members only. membership manager. They are the glue with grant writing, development, that hold this organization together day insurance, marketing, and many other Winter is approaching, and the volun- in and day out. more mundane tasks. If you have not teer leadership of the NFA changes as Thank you for your support and gotten involved and would like to serve, well. On November 1 our new leaders individual contributions to this amazing please contact our vice-president, Alexa will consist of Alexa Still, president; Patti organization. I am proud to have attended Still, who also serves as nominating chair. Adams, vice president; Carol Dale, secre- 30 straight conventions. I hope to double We welcome your involvement. And of tary; Lori Akins, secretary-elect; and that number! See you in Albuquerque! course if you would like to contribute Robert Aitken, Joanna Bassett, Beth financially, we will be most grateful as Chandler, Zart Dombourian-Eby, Hal well. Let’s get to New York City in 2009 Ott, and Amy Porter, board of directors. I with an endowment of $1 million! will assume the role of immediate past —Katherine Borst Jones nfaonline.org Fall 2006 The Flutist Quarterly 5 #(NWVG6QQVKP¶;WNG warmly celebrates the Christmas spirit, drawing on the natural beauty ¥scoreandpartsareavailableforperformance •order the CD and listen to music at ofinstrumentsfromtheßutefamily.Frompoignanttoplayful,thisexceptionalcollectionofvibrant new arrangements from some of Hollywood’s most talented composers and orchestrators www.ßutetootinyule.com uniquelycapturestheexcitementandgraceoftheholidayseason. Burkart instruments are at once beautifully hand-crafted works of art and ultimate performance tools for the flutist. Now the classic elegance of the professional flute and is enhanced by precision in parts and innovation in materials. In the hands of the player, Burkart instruments deliver the full promise of any piece of music, in any style.

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2 Shaker Road #D107 Shirley, MA 01464 USA 978-425-4500 · www.burkart.com THE FLUTIST QUARTERLY Anne Welsbacher, Editor Christine Cleary, Tadeau Coelho, Chelsea Czuchra, Kiku Day, Mia Dreese, Amy Hamilton, Contributing Editors Tony Watson, Masterclass Reporter THE DUO Steve diLauro, Advertising Sales Representative Victoria Stehl, Art Director Jennings-Johnson 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 New Release Houston, Texas Zart Dombourian-Eby Works by Fauré, Principal Piccolo Seattle Symphony Charles Griffes, Seattle, Washington Christina Jennings, flute , Susan Goodfellow Lura Johnson-Lee, piano Associate Professor of Flute A.J. McCaffrey University of Utah and Salt Lake City, Utah Amy Likar Jeffrey Mumford Flute, Piccolo, and Alexander Technique Oakland, California Betty Bang Mather Professor of Flute Emeritus University of Iowa "The Jennings-Johnson Duo CD is a spectacular display of extraordinary Iowa City, Iowa Roger Mather musical poise and technical brilliance. The artistry of these two musicians is Adjunct Professor of Flute (retired) University of Iowa most compelling and gratifying in this beautifully programmed CD." Iowa City, Iowa Jerrold Pritchard Professor of Music Emeritus California State University - Jeanne Baxtresser San Bernardino, California Former Principal Flute, New York Philharmonic Eldred Spell Professor of Flute Western Carolina University Cullowhee, North Carolina fluteworld.com flute4u.com cdbaby.com Michael Stoune Available at , , , Associate Director of Graduate Studies, School of Music amazon.com, bestbuy.com, and powellflutes.com. Texas Tech University Lubbock, Texas Nancy Toff Music Historian Christina Jennings can also be heard on recent Albany record releases which include New York, New York Michael Treister, M.D. Shulamit Ran’s flute “Voices” with the Bowling Green Philharmonia (Troy Orthopaedic and Hand Surgeon Amateur Flutist 743) and The Starry Messenger (Troy 776). Both available at www.albanyrecords.com Chicago, Illinois Reviews Board Robert Dick Adjunct Associate Professor of Flute www.christinajennings.com 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 Gwen Powell Professor of Music Emerita University of Arizona Tucson, Arizona Rick Soule Professor of Flute University of Nevada Las Vegas, Nevada 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, Executive Director Madeline Neumann, Convention Manager Maria Stibelman, Membership Manager Brian Covington, Web Design Consultant From the EDITOR

rom the cab driver’s chatter on the The exhibition hall, under all that ride in from the airport, I gathered light, was cheerful and active, and Fthat the near-perfect early August inspiring, as always, and strolling its weather was highly unusual for clean and roomy confines this year Pittsburgh—and indeed, that city saw a was a particular pleasure. I can only number of unusual sights during the imagine that for the people tied to week of the 34th annual NFA conven- their booths throughout the day, the tion. Welcome banners in nearby streets arching glass windows and sunshine and the mayor’s proclamation that streaming through them must have August 10–13 were “National Flute been welcomed. Association Days in the City of Longtime member Martha Rearick Pittsburgh” greeted the 2,592 attendees was to have attended the convention; Anne Welsbacher who made their way from across the her untimely death in May prompted a country and the globe to the conven- behind-the-scenes flurry of activity as a tion. Local shop and café owners com- fitting event was planned in her memo- mented to me (“are you with those flute ry, and the resulting tribute offered the people?”) about the enticing sights of verbal and musical talents of a broad groups of flute-laden people scurrying range of samples from the huge popula- past them on the street, bound for tion of her fans, from Jeanne Baxtresser Heinz Hall or other performance ven- to Jill Weakland, age 13, Rearick’s last ues. But the real sights and sounds student. The next issue of The Flutist occurred under the very large tent of Quarterly will include more content in Pittsburgh’s handsome convention memory of Martha Rearick. center, a work of art in its own right, I very much enjoyed the variety and just as beautiful in function as it is aes- quality of the performances in the thetically. exhibitor’s concert, featuring many Just a small handful of my memories people with whom I have worked via from this year include a mesmerizing the somewhat soulless network of rendition of “Amazing Grace” by Caen computer lines; it was much nicer to Thomason-Redus, one of a half-dozen see and hear them live. gifted performers in “African-American Nancy Andrew informed and enter- ICONS: Past Present and Future,” a 90- tained in her lecture-recital on the sight minute session that simply evaporated. reading examination pieces in the Paris (This trick of time repeated itself Conservatory tradition. Her energy and throughout the convention.) top quality have already gotten me I was baffled and humbled once again excited about the next convention, in by the judges’ hard work in selecting Albuquerque, which she will pilot. winners for the young artist competi- Insights on many events not touched tion; in my admittedly layperson’s view on here can be found in our expanded (my background is piano and ), all coverage on the NFA Web site, at six of these young flutists were winners. nfaonline.org. There you will find (They were winners in spirit and attitude, many more images and twice the too, it struck me later: I enjoyed noting number of reports of last year’s online that some of the finalists sat together debut of Web convention coverage. amiably when the winners were announced at the closing ceremonies.) —Anne Welsbacher nfaonline.org Fall 2006 The Flutist Quarterly 9 &LUTES OF ELEGANT QUALITY AND CRAFTSMANSHIP

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Letters to the EDITOR Sam Baron

ince fall 2005, a consortium of Sam Baron’s students Shas been collaborating to organize a commission in his honor. Through a democratic process, Joseph Schwantner was selected to compose a 20-minute sonata for flute and piano, dedicated to this beloved teacher and flutist. If the consortium’s NFA proposal is accepted, the sonata will be premiered at the Albuquerque convention in August 2007. More than 40 of Sam’s former students and colleagues have generously pledged donations toward the commis- sioning fee. These contributions have amounted to half of the funding necessary to make this sonata possible. Therefore, the consortium intends to supplement these contributions by seeking additional matching grants. However, donations from additional interested parties would be greatly appreciated. Please contact me at

[email protected] for more information.

Sam Baron, who died in 1997, played with the New York Woodwind Quintet —Laura Barron, Vancouver, BC (above) in the 1980s and 1990s. ! Invites you to the 35th Annual Convention VIVA LA FLAUTA! August 9-12, 2007, in Albuquerque, New Mexico Celebrating the cultural contexts of the flute, investigating traditions, and exploring new horizons. • Flutists from around the world • Workshops and flute choirs • Concerts by renowned artists • Historical presentations • Masterclasses, competitions, exhibits • New music and fresh perspectives

Visit nfaonline.org or call 661-299-6680

nfaonline.org Fall 2006 The Flutist Quarterly 13

HighNews andNotes activities about the accomplishments of National Flute Association members and the flute world International Flute Orchestra: 12 Years Strong by Doris Spooner Hall n May, the International music culture in Latvia combining professional education IFlute Orchestra (IFO) with enlightenment, expand international contacts, and toured the Baltics, play- enrich partnerships. After the concert, flute students shared ing in St. Petersburg, information with IFO members about Latvian music pro- Russia; Tallinn, Estonia; grams. Riga and Sigulda, Latvia; In Sigulda, the third IFO concert was performed at the and Helsinki, Finland. Concert Hall Baltais Fligelis. IFO members spoke with flute Conductor John Bailey students of the Sigulda Music School, sharing information and IFO founder Nancy about various types of , practice and other topics, and Clew led one piccolo, 10 C the school’s 32-year-old band program. flutes, four alto flutes, The final IFO concert was in the historic town of Tallinn four bass flutes, and two at the Toomkirikus Cathedral, or the Dome Church. The The program for the concert in Sigulda, contra-bass flutes. The early 13th-century Dome Church was the head church of Latvia, in 2006. program included works the Estonian Knights, became a Gothic Basilica in the 15th depicting the countries visited on the tour, among them the century, and currently is a still-functioning Evangelical Russian, Latvian, and Estonian national anthems arranged Lutheran church. The morning following the concert, IFO by IFO member Marty Melicharek and works by members ferried to Helsinki, where sightseeing stops includ- Tchaikovsky, Sibelius, Mozart, Liszt, and others. The IFO ed the John Sibeluis Monument. Sibelius is considered one of was joined by local flutists on the final piece in Riga and the most famous conductors and composers to have come out Sigulda, Latvia. of Finland. In St. Petersburg, the first IFO concert attracted a packed Throughout the tour, the IFO performed for full audiences. audience at Our Lady of Lourdes Church, a traditional Many people had never heard a flute orchestra. Concerts were Roman Catholic church. The audience’s lengthy applause attended by flute students, teachers, parents, music school warranted two encores, although the concert lasted an hour administrators, and the community. We look forward to next and a half. Preceding the IFO concert, a February concert year’s tour to Greece. from the series entitled “… Only Mozart!” had been held with the State Hermitage Orchestra, and soloists from the Doris Spooner Hall is an associate professor of flute at Mariinsky Theatre’s Academy of Young Singers featured Alabama A&M University in Huntsville, Alabama, and former as conductor and featured soloist, in con- principal chair of the Huntsville Symphony Orchestra. nection with the Program of the Second International Festival held at the Hermitage Theatre in Russia. The pro- International Flute Orchestra gram included passages from Mozart’s operas Marriage of The International Flute Orchestra (IFO) was founded in Figaro and Don Giovanni, as well as his Concerto for Flute 1995 by director Nancy Clew. Members of the 2006 IFO and Orchestra. are John Bailey (also conductor), Eva Amsler, Claudia In Riga, the second IFO concert was held at the Jazeps Brill, Sharyn Byer, Nancy Clew, Loretta Contino, Debbie Vitols Latvian Academy of Music Grand Hall with a full Duby, Doris Hall, Pat Harbach, Betty Hensley, Barbara audience. The Latvian Conservatoire sits at the heart of Riga on Krisjana Barona Street, where it has existed since its Dinger Jacobson, Paige Long, Marty Melicharek, Judy founding in the early 20th century. It served as classic type Moore, Nancy Nourse, Martha Oestreich, Virginia music education, establishing ancient traditions of the Schulze-Johnson, Glennis Stout, June Turner, David famous St. Petersburg Conservatoire, where Jazeps Vitols Tweed, Sandy Wacha, and Penny Zent. Membership in taught for 30 years. JVLAM is the only music establishment the International Flute Orchestra is by invitation; in Latvia providing higher music education in performing interested professional flutists may contact Clew at arts, music pedagogy, conducting, flute, and creative works [email protected]. on the doctoral level. The core of its mission is to develop a

nfaonline.org Fall 2006 The Flutist Quarterly 15 HIGH NOTES teacher and performer at the College of Music at Colorado University–Boulder. McKay is the new assistant professor of flute at Northern Arizona University. Owen is the new principal flutist of the U.S. Army Field Band. Powers is the new piccolo soloist of the West Point Band, and Shin will be assistant professor of flute with the University of South Carolina.

n June, NFA member IJosé Valentino Ruiz performed with Jim Walker at the Bands of America Summer Symposium held at Illinois State University

LINDA CICERO as a Yamaha Young Frances Blaisdell accepted her award at Stanford’s commencement ceremony. Performing Artist of the ongratulations to flutist and NFA member Frances year. Last year, Ruiz per- CBlaisdell, who received the 2006 Lloyd W. Dinkelspiel formed at the NFA jazz Award for Distinctive Contributions to Undergraduate flute masterclass. Ruiz, José Valentino Ruiz 18, is a freshman jazz Education at Stanford University on June 18 at the university’s performance major and student of University of Southern 115th commencement exercises. Blaisdell was cited for Florida flute professor Kim McCormick. The National her extraordinary teaching, mentorship and support to Foundation for Advancement in the Arts has twice named generations of students that emphasizes all the qualities Ruiz a merit award winner in . Most recently he Stanford values—intellectual curiosity, integrity, excellence, was awarded the USF School of Music Outstanding discipline and hard work; for her patience, wisdom, and Woodwinds Merit Award. More information is available at uncompromising insistence on the highest standards of josevalentino.com. musicianship and artistry from all of her students—majors and non-majors alike—in teaching them to overcome the hilean born flutist Viviana Guzman seemingly insurmountable and realize their full potential; Crecently returned from a 35-concert for teaching that music is not just playing notes on a page tour of the U.S. (Louisiana, Texas, but the expression of the best that is within us; and for California, Florida, Kansas, Missouri, New playing a pure tone that will resonate with Stanford students York, New Hampshire, Kentucky, for years to come. Pennsylvania, Maryland, North Carolina, Michigan), Chile, Peru, Argentina, Slovenia, ongratulations to NFA members Francesca Arnone, and , which included concerts and CLeonard Garrison, Christina Jennings, Emily McKay, Viviana Guzman masterclasses in the Florida Flute Festival as Sean Owen, Diana Powers, and Donna Shin. Arnone will be well as at the Slovenian Flute Festival. In the assistant professor of flute at the College of Creative Arts U.S., she performed with her quartet Festival of 4 with at West Virginia University. Garrison will be assistant Richard Patterson, classical guitar (U.S.), Guillermo Rios, professor of music at the Lionel Hampton School of flamenco guitar (Spain), and Radim Zenkel, mandolin, Music at the University of Idaho. Jennings will be flute (Czech Republic).

16 The Flutist Quarterly Fall 2006 nfaonline.org Keefe

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The Central Ohio Flute Association will hold its 34th Flute ensemble Flauto Badinage performed at the flute festival April 21-22, 2007, featuringing guest artist International Flute Choir Festival at Pacific University in Robert Aitken. The event will be in collaboration with the Fresno, California, in February, and at Flute Salad in Simi Johnstone Woodwind Master Teacher Series, which will Valley, California, in March. The ensemble performed several feature the world premiere of a trio for flute, viola, and movements of The Planets (Holst/Avidan-Louke), Primerio harp by Stephen Paulus written for Katherine Borst Jones Amor (Silva), and Luiza (Jobim). Memories of East Tennessee and COSMOS. Junior high and high school students and (Scott), Les Etoiles (McMichael), and A Gaelic Offering young adults (age 27 and younger) who reside in Ohio (McMichael) were also performed at a February benefit concert. may compete at the convention for cash prizes; application (with $25 application fee) and tape are due February 23, The Florida Flute Association, Inc., will hold its 31st Annual State Convention Flute Fair at the Hilton Orlando/Altamonte 2007. For information, contact Kathy Cameron, Springs January 26–28, 2007. Recitals, competitions, lectures, [email protected], or visit http://cofa.osu.edu. flute choirs, and dozens of exhibitors will be attended by 600 association members and their families. Featured guest On May 31, the Chattanooga Flute Choir performed in artists Amy Porter and Ali Ryerson will present solo recitals Carluke, Scotland, in a joint concert with the Carluke and warm-up sessions and act as judges for the Young Artist Primrose Orchestral Flutes. The joint venture was a result of Competitions. Additional teachers and presenters include CPOF member John Chalmers’ discovery of the Susan McQuinn and Karl Barton. For information, contact Chattanooga group on the NFA Web site five years ago. CFC Lindsay Hager, program chair, at [email protected]; director Nora Kile began an e-mail correspondence with Karl Lutgens, exhibits, at [email protected]; or Grace Petree, Chalmers, and they met for the first time in July 2005 when executive director, at [email protected]. the Chalmers family visited Florida. Kile and her husband traveled to Lakeland to meet them, and the idea of a joint The Flutes of Howard University hosted its fifth annual Flute concert was born. The two groups performed separately, Fête, featuring guest flute artist Harold Jones, January 12, on then combined for the last four numbers. Two were selected the campus of Howard University in Washington, D.C. Jones and conducted by CPOF Director John Bryce, and two were presented a program of two compositions by W.A. Mozart in selected and conducted by Kile. Bryce pulled out two encores celebration of the 250th anniversary of Mozart’s birth; for the combined groups to perform, ending with a rousing Concertino, Op. 107 by Cecile Chaminade; and eight spirituals rendition of “Lord of the Dance.” After the concert, the arranged especially for Jones in honor of the 20th observance Chattanooga Flute Choir spent the next seven days touring of the Martin Luther King Jr. holiday. Jones was assisted in the Glasgow, Edinburgh, and the Scottish Highlands. Kile and recital by pianist Raymond Jackson and the Flutes of her husband remained an extra three days to visit with the Howard University, directed by Saïs Kamalidiin. The senior Chalmerses and watch the CPOF march in three parades. members of the FOHU are Maya Colemon, Shyesha Osler, and Jamal Brown. The guest artist for Flute Fête 2007, to be held January 11, 2007, is flutist/composer James Newton. The Chicago Flute Club will hold its annual Flute Fair For information, contact Kamalidiin at 202-806-7093 or at March 11, 2007, at the Northeastern Illinois University [email protected]. Fine Arts building (3701 W. Bryn Mawr Avenue, Chicago) with special guest artist Rhonda Larson performing. For The Flute Society of Kentucky held its 2006 Kentucky Flute information, contact Jessica Garcia at 630-832-6850 or e-mail Festival, featuring guest artist Tadeu Coelho, at the [email protected]. University of Louisville January 13–14. The festival included performances by other flutists and flute choirs, as well as The Falmouth Flute Choir (Massachusetts) recently per- competition finalists and winners. Stephanie Rea served as formed at Falmouth’s Arts Alive Festival. The summer season program chair and Kathy Karr as site host. Photographs of included performances at local venues. The choir, which the event, shot by Robert DeMattina and prepared by includes up to 10 members, performs music from most genres, Webmaster Sonny Burnette, are available for viewing on including classical, folk, fiddle, and jazz. Its instrumentation the society’s Web site. The 2007 Kentucky Flute Festival will allows for performance with the addition of and . be held January 12–13, 2007, at Eastern Kentucky University

nfaonline.org Fall 2006 The Flutist Quarterly 19 ACROSS THE MILES in Richmond. NFA President Katherine Borst Jones will be Technique instructor Dale Beaver from Columbus, Ohio. the guest artist and will present masterclasses and concerts The event included exhibits, clinics on orchestral playing throughout the weekend. There will be solo competitions for and Alexander Technique, and masterclasses of the high all levels and a flute choir for everyone, as well as concerts school and collegiate competition winners. Brown per- and clinics throughout the event. There also will be a formed a recital of primarily contemporary music. In Concerto Competition, with the winner performing W.A. January, the ISU Department of Music hosted Lea Pearson Mozart’s Concerto in D Major accompanied by a select flute for the university’s Martin Luther King Day celebration. ensemble. A raffle for a donated Williams Flutes headjoint Pearson, who has researched the lives and works of African will be included; the drawing for the raffle will be held during American Women Composers, presented a recital of their the final concert of the festival on January 13. Tickets are $10 works and lectured to women’s studies classes. and may be purchased at any time; proceeds will be used to sponsor future flute events in Kentucky. Visit fskentucky.org. On May 22, the International Flute Orchestra, led by Nancy Clew, departed from New York for a concert tour. The The Flute Society of St. Louis held its Solo Clinic Day orchestra toured and performed in St. Petersburg, Russia; February 26 at the University of Missouri–St. Louis. Jill Riga and Sigulda, Latvia; and Tallinn, Estonia. Concerts were Heyboer (Missouri State University), Cheryl Gore, and performed under the direction of conductor John Bailey. Cindy Bauer worked with students on solos they had been The group also met with other flutists, and in Riga and preparing. Heyboer held a question-and-answer session with Sigulda some of them performed with the IFO on one piece. flutists and parents and performed a solo, and the FSSL Youth (See “High Notes,” this issue, for more on the IFO tour.) Flute Choir and all three clinicians performed three selections together. The First Annual Scholarship Competition was The Kansas City Flute Association (KCFA) sponsored its held on April 8 at Webster University. Mark Sparks (St. Louis second annual Rising Stars Competition, this year for two Symphony Orchestra) and Paula Kasica (Webster University) levels: grades 7–9 and 10–12. In the first round in served as adjudicators for the day. Flutists performed their September, six finalists in each category were selected. In selections for Sparks or Kasica and received a 20-minute the finals in October, three winners from each level were masterclass. In the college category, Farah Zolghadr, from awarded, and those winners were presented in a KCFA- Western Illinois University, received first place; Amanda sponsored recital in early November. For information, contact Blaikie from the Principia College received second place; and the KCFA director of student activities at [email protected] Mary Bassett from Northwestern University won an honor- or the KCFA president at [email protected]. able mention. In the high school category, Annie Dare received the first place award and Maria Garcia received the The Long Island Flute Club’s 20th season opened with an second place award. The Membership Concert was held May ensemble concert October 15. The newly formed LI High 7 at the University of Missouri–St. Louis. The FSSL Adult School Honors Flute Ensemble and the LIFC Adult Flute and Youth Flute Choirs each performed several pieces for the Ensemble were featured. The 18th annual LI Flute Festival program, concluding by combining for Borne’s “Carmen will be held November 18, 8:30 a.m.–4:00 p.m., at Molloy Fantasie,”featuring Anita Uhlmann as the soloist. Afterward, College. This year’s theme is “The Flute in Chamber Music” elections were held for the 2006–2007 board. The new FSSL with guest artists Jill Sokol and the group NuBotl. LIFC Board: Susannah Happ, president; Anita Uhlmann, vice cofounder and first president, Ted Mordoff, will be honored president; Colleen Donohue, treasurer; Andrea Clark, sec- at the festival for his many years of service to the LIFC and retary; Debbie Woolverton, member; and Jennifer Garrison NFA. December 2 is the annual Ensemble Holiday Music Brown, member/newsletter editor. The FSSL Youth Flute Concert, a fund-raiser for United Cerebral Palsy. The annu- Choir, along with Ron Simmons, performed at the St. al LIFC High School Competition takes place February 3–4, Vincent’s Art Fair in the LaSalle neighborhood on May 21. 2007, at Nassau Community College, with the winners being The FSSL performed the national anthem for a Cardinals presented in recital March 11, 2007. For information, con- baseball game in the new Busch Stadium on August 4. tact Amy Kempton, president, at 516-676-3045 or Lauren Osnato, treasurer, at 516-795-7745. The Greater Cleveland Flute Society will host a recital and masterclass given by visiting guest artist Tadeu Coelho Magic Flutes Flute Choir performed a jazz concert at the November 12. The event will take place in the Cleveland Brentwood Art and Wine Festival in Brentwood, California. Music School Settlement, a historic mansion in the heart of The choir also performed its winter concert “All Creatures University Circle. The recital portion includes works of Handel, Great and Small,” featuring music portraying animals, at St. Guarnieri, Lacerda, Burton, and Silva. Also performing will be Matthew’s Catholic Church in San Mateo, California. Magic Luiz Coelho, Shaker Heights resident and Tadeu’s brother. Flutes is based in San Mateo, and is directed by Pamela Together the Coelho brothers will perform Villa-Lobos’ Ravenelle. Choros No. 2 for Flute and Clarinet. A masterclass will follow with three participants. The Nashville Flute Choir performed a program of English Christmas music at several locations around Nashville in Indiana State University, Terre Haute, held its 2005 Flute late 2005, including both public venues and area retirement Fair October 15–16. Featured guest artists were flutist Jennie homes. In spring 2006, the choir performed its “Irish Spring” Brown from Wheaton College in Chicago and Alexander concert in Nashville and in nearby Columbia, Tennessee.

20 The Flutist Quarterly Fall 2006 nfaonline.org The program showcased Irish flute music, from traditional and winners’ recital, flute choir reading sessions, exhibits, folk songs such as “Star of the County Down” and “The Last workshops, and more. For information, visit rfaonline.org Rose of Summer,” to contemporary compositions for flute or call 585-234-4RFA. choir, including Catherine McMichael’s “A Gaelic Offering.” Also on the bill were an audience sing-along of “When Irish The 42 members of the Space Coast Flute Orchestra, with Eyes are Smiling,”“I’m Looking Over a Four-Leaf Clover,” director Nancy Clew and guest conductor Shaul Ben-Meir, and “My Wild Irish Rose.” The concerts also featured special presented their spring concert “Flutes On Fire” for an guests, local Irish band Wishing Room. Most recently, the audience of more than 400 in Indialantic, Florida, on April 30. Nashville Flute Choir accompanied dancers from a local Among the pieces on that program were “Furient” from school of dance at their recital at the Tennessee Performing Symphony No. 6 by Dvorak; “Russian Sailors Dance” by Arts Center in downtown Nashville. The choir performed Gliere; “Chrysanthemum” by Puccini; Rumanian Rhapsody selections from the Royal Fireworks for the ballerinas. The No. 1 by Enesco; and Allegro Molto from Symphony No. 40 by Nashville Flute Choir plans to perform its Irish concert at Mozart, all arranged for flute orchestra by Shaul Ben-Meir. On more venues, play at a member’s wedding, and record its first July 29, members of the orchestra presented a program of CD. The Nashville Flute Choir is directed by Karen Mitchell solos and ensembles at Suntree United Methodist Church in ([email protected]), who founded the group in Melbourne, Florida, where the fall concert of the orchestra will 2001, and includes 12 flute players from Nashville and Middle be held October 29. The Space Coast Flute Orchestra is com- Tennessee. posed of all adult flutists; all its concerts are free. On May 13, flute students from the University of Nebraska at Omaha spent a day in Riga, Latvia, interacting with flute The Texas Flute Society is proud to announce that Mathieu students in that city during one of the stops on the UNO Dufour of the Chicago Symphony Orchestra presented a Symphonic Wind Ensemble’s 17-day tour to Lithuania, masterclass August 25. The next Texas Flute Society Annual Latvia, Estonia, and Norway. Five undergraduate flute Flute Festival will be held at the University of North Texas, May majors represented UNO on the 2006 tour: Anna Hall, 17–19, 2007. Guest artists will be Leone Buyse, Fenwick Smith, Taurice Alexander, Erika Jeck, Carolyn Weston, and Allison Elena Yarritu, and Mimi Stillman. For more information, Gilbert. Students of all ages studying with Inga Grinvalde in contact Velma Bogart at 817-467-0158 or [email protected]. Riga performed solo and chamber pieces, after which UNO Information can also be found at texasflutesociety.org. professor of flute Christine Beard and her husband, Michael Beard, conducted the UNO flute ensemble in a performance UpTown Flutes (UTF), a professional flute ensemble at Drew of works by Ricky Lombardo, Amy Rice-Young, and University, Madison, New Jersey, announces its 2006–2007 Catherine McMichael. The BF3 trio, an award-winning flute season; all concerts are in New Jersey. A concert showcasing trio at UNO, also performed selections by Kummer and the Downes Sonata for Eight flutes was held October 12, at Telemann during the concert. The afternoon concluded William Paterson University in Wayne. Composer Andrew with everyone participating in a flute choir reading session Downes, from the U.K., was in attendance. Future concerts are of several works by American composers, which Christine November 12, at the First Presbyterian Church of Ridgewood; Beard then presented to Grinvalde as a gift. In return, December 4 at Our Redeemer Church, Dumont, with the win- Grinvalde presented Beard with a collection of Latvian folk ner(s) of the UpTown Flutes Performance Competition for tunes arranged for flute solo and . students grades 7–12; February 2007, date TBA, Workshop with the New Jersey Youth Symphony Flute Choir and Flute Forum, (Diana Charos Reilly, conductor); March 8 at Caldwell College, Caldwell; and April 13 in the Concert Hall at Drew University. The group will showcase Octet per a flautes by Peter Bacchus. On March 18, 2007, the 13th Annual New Jersey Flute Choir Day will be presented by the Music Department at Drew University. The program will be directed by Virginia Schulze-Johnson, with Patricia Davila as program assistant. All classes will be taught by members of UpTown Flutes and guest artists. This program draws up to 145 partic- ipants annually with an audience of 400-plus. The 2007 pro- gram will feature composer Peter Bacchus in a work for flute solo and flute ensemble accompaniment. Members of the UpTown Flutes are Carla Auld, Elise Carter, Patricia Davila,

Christine Beard and Inga Grinvalde (bottom row, first and second from left) with Karen Demsey, Jeanne Fessenden, John McMurtery, Rebecca flute students from UNO and Riga, Latvia. Vega, and Virginia Schulze-Johnson, director. Visit the group’s new Web site at uptownflutes.com. The Rochester (New York) Flute Association Fall Flute Fair will be held October 27–28. The featured guest artist, Please send information about flute club activities to Christine Gary Schocker, will perform a recital and give a master- Cleary, Flute Clubs Coordinator, 2022 Wedgewood Drive, class. Other fair events included the annual competition Grapevine, TX 76051; [email protected].

nfaonline.org Fall 2006 The Flutist Quarterly 21 STUDENT SPOTLIGHT by Susie Woo Music— Profession or Hobby?

The students who should pursue music as a career are those who can’t imagine them- selves doing anything else, says this skilled musician, who ultimately chose a career in medicine but continues an active love affair with her flute.

ronically, the first time I was really sure that I had made orchestras—any group I could. My musical activities the right decision not to pursue a career in music was became a welcome escape from the other stresses of college Iduring my summer in Tanglewood. I had been accepted activity. In medical school, I had relatively little time to as one of four flutists to participate in the Boston practice or play, but I was able to record for a pop CD produced University Tanglewood Institute Young Artists Orchestra, by a classmate, and I auditioned and subbed for the and I was excited to be there—but I immediately felt out of Durham Symphony Orchestra. place. I was still playing my student model flute and had Now, living in Seattle for my residency in internal medicine, borrowed a piccolo to play for the summer. I hadn’t trained I have been playing principal flute for the Puget Sound with a famous teacher or at a precollege program associat- Symphony Orchestra, a young community orchestra that, ed with a prominent conservatory. I went to U.C. Berkeley, frankly, is a reason to stay in this city. The orchestra members not Berklee College of Music. I knew that I had earned the are my friends and life outside medicine. Many are like me, right to be there, but it took quite a while for me to feel like and have found a way to continue playing at a high level while I belonged. pursuing careers in electrical engineering, software design, business, and law. We love our jobs, and we love music. I realized that the environment that made everyone else feel I have the best of both worlds. I have friends who have been so comfortable was one that I had to adjust to, and that I was happy and successful working in professional orchestras, and different from most people there. I didn’t live and breathe I have others that have been scarred and embittered by the music, and I couldn’t imagine the pressure of having to process of seeking work in music (not unlike some of my depend on my playing for my livelihood. I had the dedication colleagues in medicine). Because it is a difficult path, I think and discipline to practice every day for a summer, but not for the students who should pursue music are those who simply a lifetime. can’t imagine themselves doing anything else. As is the case in many Asian families, music as a profession Similarly, though, if you love music, you will find a way to was never really encouraged. My parents are a lot more liberal keep it in your life. Other doctors often asked me, “How do than most, and may well have supported me if I had wanted to you find the time to continue playing?” It’s easy when it’s pursue a career in music, but I’d always imagined myself going fun. And how could I not play when I’m lucky just to have to a strong academic university, gaining a wider breadth of the chance? knowledge, and becoming a doctor. And that’s what I did. But I did keep my hands in music as well. I minored in Music on the Side music, but took all the major level music classes that I could. If, like me, you are thinking of doing music “on the side,” I My classes (and time) were divided almost equally between offer a few observations for maintaining an active amateur science and music. My best friends at Berkeley were those I flute career. The flute is definitely a challenging instrument met through music. to be competitive with as a hobby because of the sheer numbers I played in the chamber music program, in the U.C. of flutists, so doing well may require emphasizing slightly Berkeley Symphony Orchestra, graduate student pieces, pit different skill sets than those of a professional musician.

22 The Flutist Quarterly Fall 2006 nfaonline.org That tape recorder was as invaluable and unforgiving as any teacher I had had.

Learn to practice efficiently. Although I still remember for that tape recorder, which was as invaluable and unfor- the days when etudes and playing with the metronome were giving as any teacher I had had. The recorder helped me be done only under duress, I have come to realize that my objective and self-critical, to decide what I wanted to sound teachers were right all along, and that etudes often offer the like, and to pick my performance apart to work toward that key to meaningful practice. The best six dollars I ever spent goal. Most nonprofessional musicians stop taking lessons in was probably on The Modern Flutist. Since I don’t practice college or earlier, so being one’s own coach becomes increas- every day, and at times have gone weeks to months without ingly important. It’s easy, though, to get used to the way you playing, I’ve figured out how to get back into shape relatively sound, to pick up a bad habit, or feel a little lost in interpretation quickly, and what to expect during that process. I’ve learned of a passage or piece. Whenever that inkling of unease or lack of to be patient, and not to overly concern myself with tone confidence creeps into my playing, I find that even a few lessons and flexibility in the initial stages of picking up the flute with a great teacher are well worth the time and money. In a again, because I know that strength and endurance will only single lesson, Wendy Wilhelmi helped me avoid musical clichés come with time; I try to focus on technique, rhythm, and I didn’t know I was falling into, taught me a few trick fingerings phrasing instead, until the rest catches up. If I’m pressed for that made the impossible possible, and gave direction and time, a little practice on a difficult passage every day is bet- character to a few listless phrases. No one else can be as brutally ter than the periodic marathon session. I consciously tailor, critical and helpful as another flutist; be open to that feed- schedule, and escalate my practice sessions, until I’m playing back, and know who and when to ask. at least every other day or daily to be at my best before a Have good equipment, and take care of it. My parents concert. It’s also nice to have a favorite warm-up. I prefer bought me a professional flute as a graduation gift from one that gets me to concentrate on tone, pitch, and relaxing college, but looking back, I definitely could have used it and trusting my embouchure before a rehearsal or performance. before then. I still forget to get a “clean, oil, and adjust” every Be a good sight-reader. This skill is invaluable, no matter year or two, but I shouldn’t, because it has made a noticeable what group you’re playing in, because there will be plenty of difference in pitch, response, and evenness of tone every time. times when the music (or practice time) will not be available Be involved and connected to your flute and music com- to you beforehand. The less you have to concentrate on munity. The Seattle Flute Society is quite active, and being a notes, the more you can play musically, watch the conductor, member keeps me informed of local flute events. Going to a or be aware of other people’s parts. I still remember my first recital, masterclass, or symphony concert is sometimes exactly flute teacher, Ginny Atherton, teaching me that there was what I need to get inspired and motivated to work on a new actually a “technique” to good sight-reading. “Before you piece, strengthen a weakness in my technique, or try to take my even pick up the flute, scan the page for key and time signa- playing to a higher level. It’s a way to get introduced to new ture changes, tempo changes, accidentals, the fastest notes, repertoire and new interpretations of old “standards,” and to solos, and hints like ‘espressivo,’ ” she said. Be prepared for practice being a good listener. Being supportive and simply being those key points in the score, and you’ll be in good shape. present at different events also will help you network and find Often, playing in rhythm, on time, and in tune are just as playing opportunities that fit your musical needs. important as getting all the right notes. Knowing key Above all, have fun! Enjoy playing with others, and they will excerpts, of course, will always help. Sight-reading takes enjoy playing with you. Remember why you love being a flutist, practice too, so I tend to combine this tip with the above, be proud of your talents and your hard work, and never forget and read an etude or baroque movement (also usually good how lucky we are to share this wonderful gift of music. for the tongue and embouchure) to start off a practice ses- sion. I’ll usually play the piece at least twice—the first time Susie Woo continues to be an enthusiastic member of the for pure sight-reading, and subsequently to add musical Puget Sound Symphony Orchestra and the Lake Union Wind nuance and to assure myself that I can play the technical Quintet. She is an acting instructor at the University of parts I missed the first time. Playing flute duets is also an Washington Medical Center. She will resume medical training excellent sight-reading exercise, in addition to exposing in July 2007, when she begins a fellowship in cardiology with strengths and weaknesses, and promoting camaraderie. a special interest in heart failure. Learn to teach yourself, but get expert help when you need it. In college, a friend opened my eyes to the gaping Editor’s Note: Student Spotlight features insights, ideas, advice, holes in my orchestral skills and repertoire. I decided that I and other information for and by students. The aim of this depart- needed to go to a summer orchestra camp, and Tanglewood ment is to provide practical, meaningful content for young flutists was the only one that I could apply for, based on age, as I was from their peers, ranging from middle and high school students already out of high school. I snuck into rooms in the student to college-level flutists. Anyone who enjoys writing and considers center late at night to practice, and taped myself on my the flute an important part of her or his future is welcome to contact boom box to figure out how to improve my audition per- us with article ideas and submissions. We also look forward to feed- formance. I prepared for that audition on my own, except back and suggestions from adult flutists.

nfaonline.org Fall 2006 The Flutist Quarterly 23

Notes from Around Conventions, festivals, competitions, and other global flute activities the Festivals and Conventions World The Internacional Junio Musical in Xalapa, Mexico, this year open to anyone with an interest in , including featured music from Brazil. Flutist Tadeu Coelho performed beginners. Attended by nearly 50 people, the program a recital and gave masterclasses. For more information on included four days of intensive study and playing, evening the festival, held annually in June, visit juniomusical.org.mx. performances, including a students’ concert, and talks on dif- ferent aspects of shakuhachi. The popularity of the shaka- The Festival de Flauta Monterrey 2006 will take place in hachi, a Japanese vertical bamboo flute, can be traced not Monterey, Mexico, November 6–10. Among featured soloists only to its haunting sound and natural sonority, but also to and teachers will be Nora Lee Garcia, Merrie Siegel, Helen its Zen Buddhist roots—because it traditionally is used as a Wolf, and Tadeu Coelho. For more information, contact Luis tool to reach enlightenment, it plays a role in attracting peo- Alfredo Gonzalez at [email protected]. ple who are interested in Eastern philosophies. Eleven teachers from several countries in Europe, the U.S., The XXII International Music Festival, Lima, Peru, will be and Japan taught, played concerts, and lectured. Fourteen held January 8–26, 2007. The festival’s focus is on educators, classes provided participants with a variety of styles and music teachers, Suzuki, early education, and parents. For more genres of shakuhachi music, from Buddhist meditative solo information, send an e-mail to [email protected] or repertoire to Japanese folk song and jazz. The aim was to visit suzukimusica.com.pe. present to the European audience the shakuhachi’s varied possibilities. The Dutch Flute Society celebrates its 15th anniversary on A group of teachers are creating the European Shakuhachi March 3, 2007, at Theater Griffioen in Amstelveen near Society, to enable shakuhachi players in Europe to network Amsterdam. The celebration will feature Sharon Bezaly, and organize future events through the society. The society Jean-Louis Beaumadier, Mike Mower, Elisabeth Weinzierl will also ensure that the summer school remains an inclusive and Edmund Wächter, Lea Pearson, Eleonore Pameijer, event, representing many different schools and genres played Abbie de Quant, Aldo Baerten, and many others. For on this wind instrument. For further information send an information, visit nfg-fluit.nl. e-mail to [email protected] or [email protected], or visit shakuhachisummer-soas.com. Berlin will be the host city for the Flute Festival, March 9–11, 2007, cosponsored by the German Flute Society and the Berlin Philharmonic Foundation. Featured performers are Ándrás Adorján, Mario Caroli, Silvia Careddu, Christina Fassbender, Michael Hasel, Christoph Huntgeburth, Magali Mosnier, James Newton, Andrea Oliva, , Roswitha Staege and her Berlin flute class, Jelka Weber, Jacques Zoon, Kyle Dzapo, and Wolfgang Rüdiger. Works are by Hören Sie Kammermusikwerke von Joachim Andersen, , , Pierre Boulez, Bernhard Heiden, André Jolivet, Max Reger, Wolfgang Rihm, Albert Roussel, Camille Saint-Saëns, Arnold

Schönberg, Erwin Schulhoff, Heitor Villa-Lobos, William Students at the first Shakuhachi Summer School performing Sankyoku (ensemble Waterhouse, and others. For information, visit floete.net. music of Shakuhachi, koto, and shamisen).

Workshops and Classes The Fourth Annual Flute Masterclass, with Aurèle Nicolet The first Pan-European Shakuhachi Summer School with and Felix Renggli, is planned for November 28–December 1 Koto (zither) and Shamisen (lute) was held at SOAS, in Boswil, Switzerland. For information, visit kuenstler- University of London, July 19–22. The summer school was hausboswil.ch.

nfaonline.org Fall 2006 The Flutist Quarterly 25 NOTES FROM AROUND THE WORLD Competitions Dutch-Surinam flute player Ronald Snijders visited the The first International Theobald Böhm Competition is former prison cell of Nelson Mandela during a recent visit November 21-23, with a festival concert November 26, in to Robben Island near Capetown in South Africa. Snijders Munich. The festival concert will feature the Bavarian State performed “O Africa” in the cell where Nelson Mandela had Orchestra (of which Böhm was a member from 1818 to been held prisoner for more than 20 years. The song is 1848), under the direction of Peter-Lukas Graf. Participants among those he recorded for a new CD. include the winner of the competition and flutists András Adorján, Benoît Fromanger, Marianne Henkel, Michael Kofler, Andrea Lieberknecht, Emmanuel Pahud, Tatjana Ruhland, and Henrik Wiese. Jury members for the competi- tion are András Adorján (chair), Benoît Fromanger, Konrad Hünteler, Hermann Klemeyer, Andrea Lieberknecht, Tatjana Ruhland, and Henrik Wiese.

The first European Competition for Violin, Flute, and Composition, “Kostas Nikitas,” is March 1–10, 2007, at the State Conservatory of Thessaloniki, Greece. The competition is addressed to artists who were born, live, or study in Europe. It will be divided in three parts; the third part will take place at Thessaloniki Concert Hall with partici- pation by the Thessaloniki State Orchestra. For more information, contact State Conservatory of Thessaloniki Fragon 15, 54625, Thessaloniki, Greece; 30 2310 510551, Ronald Snijders in Nelson Mandela’s former prison cell. 30 2310 522158 (fax); [email protected]; or visit europeancompetition.gr. Vincent Cortvrint, flute and piccolo player of the Royal Concertgebouw Orchestra, began an appointment in Mark Xiao of Australia took first prize at the Sydney Flute September as professor of flute at the Conservatory Festival’s inaugural solo competition held July 15. Rotterdam. Competitors performed a baroque work, a French romantic work, and a contemporary work. Judging the competition PopFiles, a Netherlands-based online directory, lists more were Emily Beynon, principal flute of the Royal than 250 popular music stages, 100-plus record companies, Concertgebouw Orchestra, Amsterdam, and Felix Renggli agents, impresarios, and nearly 200 pop festivals in the from the Basel Music Academy, Switzerland. Xiao studies Netherlands. PopFiles Netherlands includes addresses, flute at the Australian National University’s Canberra phone and fax numbers, e-mail and Web addresses, and School of Music with Virginia Taylor and Vernon Hill. The general information about programs and stages. Visit winner’s prize is a handmade silver flute by Vernon Q. adresdata.nl. Powell. The remaining top flutists were Adrian Failla (Australia), Mette Leroy (New Zealand), Christine Morris Flutist Stephanie Rea performed Mozart’s Concerto in G (Australia), and Liu Ye (China). For more information, Major at the 13th International Trujillo Bach Festival in visit sydneyflutefestival.com.au. Trujillo, Peru, August 11. Musicians from Mexico, the U.S., Brazil, and Peru, including the Trujillo Symphony Orchestra, Valerio Sannicandro won first prize at the second Aeolian Trio performed at the 10-day festival, which features music, Composition Competition for his piece, Clinamen. The dance, and film. competition is sponsored by the Aeolian Trio (Carin Levine, flute; Peter Veale, oboe; and Pascal Gallois, bassoon) and Farewell Bärenreiter Verlag, Bayerische Rundfunk, Jeunesses Joan Marie Bauman, who has written for this department Musicales Germany, and the International Musicinstitute for more than three years, has resigned her post with The Darmstadt. Three third prizes were awarded to Eduardo Flutist Quarterly. Many thanks to her for her significant Moguillansky (for his Tempo Guisto), Péter Köszegy (for contribution to the NFA and the magazine during her Ariadne’s Thread), and Mark Steinhäuser (for Winter- tenure; we wish her well in her future endeavors. Nachtmusik der See). The works were premiered by the Aeolian Trio at a concert June 28 in Munich. —Reported by John Bailey, Tadeu Coelho, Chelsea Czuchra, Kiku Day, and Mia Dreese Et Cetera Please send information about flute-related events and Robert Bigio was appointed the new editor of Pan, the activities in locations outside of the U.S. to one of our member magazine for the British Flute Society, in June. Born international news reporters: Mia Dreese, redactie@nfg- in the Middle East and educated in Canada, Bigio has lived fluit.nl (The Netherlands); Mary Procopio, [email protected] in England since 1973. He is a freelance flute player and (Caribbean); Chelsea Czuchra, Dörrmattweg 1, 5070 Frick, teacher in London, and is now best known as a flute maker Switzerland, 41 62 871 6944, [email protected]; and Tadeu Coelho, of wooden flutes. The June 2006 issue, his first, features a [email protected] (Brazil). For all submissions, please copy Anne complete redesign and articles on Taffanel and Barrère. Welsbacher, [email protected].

26 The Flutist Quarterly Fall 2006 nfaonline.org Introducing Drelinger’s New Maetrix™ Headjoint

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TECHNOLOGY Achieving Balance: by Sarah Merrow Clean,Oil, and Adjust For both the technician and owner, a flute’s annual C/O/A involves more than a defined set of mechanical adjustments. It’s an opportunity for communication, art, and balance.

on’t say you weren’t warned. The flutemaker must have told you, or the Ddealer who sold your flute, or your teacher. Somebody told you that you should have your flute cleaned, oiled, and adjusted once a year. But you can’t bear to part with it; you’re practicing, preparing for an audition, you have commitments, and it’s playing just fine. You’ll take it to a repair person soon, promise. The jewels in your flute: paper shims, pad washers, and paper washers, among other parts. A few years pass, and your constant companion is not estimate. After that, and before you get your instrument speaking clearly. It seems out of tune with the world, back, playing like new, here’s what likely happens. She dis- protesting with unbecoming clacks. You alter your tech- assembles the flute, and dips the body tubing into an nique. Making music gets harder. But the change was so ultrasonic cleaning tank, which removes oils and grit from gradual, you think it’s you, not the flute: I really stink. I’ll inside the posts and other hard-to-reach places. She dries the never be any good—maybe I should just quit! head, body, and foot tubes, and hand-polishes them with a Take a close look. Tarnished spit spots and swirly finger thin layer of silver polish, then blows or wipes the posts clean smudges camouflage the silver tube. Tufts of your cat’s fluffy in preparation for lubrication. (Not that cleanliness, when it undercoat have collected around the mechanism tubing, comes to flutes, is always next to godliness. One customer of anchored in crannies by some mysterious, black residue. mine swore that wiping a fingertip on the side of his nose There’s crud inside the embouchure hole, and the head before playing gave him just the right tackiness between finger joint’s crown turns too easily; the head cork is loose. Your and key, and was the secret to his flawless technique.) neglected flute needs an appointment for a “clean, oil, and Some customers ask to have their flutes buffed to adjust” or C/O/A. This is the term commonly used by remove scratches, but this practice is normally reserved for flutemakers and repair technicians to mean regular mainte- overhauls, not annual cleaning; machine buffing actually nance. It is not an “overhaul”; both services leave your flute removes metal, and, done too frequently, can reduce tube shiny and clear-voiced, but they’re not the same. In the thickness, changing the response of the flute. simpler clean, oil, and adjust, parts are not normally Next, if your flute is built this way, the technician will replaced, and the mechanism is not normally repaired, just unpin the mechanism with a few, delicate (we hope) taps adjusted. Ideally, a C/O/A should be done annually. of the hammer, and slip each key off its steel rod, like More particularly, in a C/O/A, you clean the body tubing, unstringing pearls from a necklace; gently polish the keys; keys, and mechanism, replace old oil with new, level pads swab out the key tubing and clean the steel rods with alco- that are leaking, perhaps replace pads that are frayed or hol. The final step before repinning and reassembling is to broken, correct key adjustments, check and/or replace the oil each key. head cork, adjust spring tension, and play. Oil is important. Different keys need oil in differing amounts, and with different frequency. Lack of oil can What Happens in the Shop cause premature wear on the mechanism tubing; when it Techniques vary, of course. In a typical approach, a good dries up, metal rubs against metal, wearing down the surfaces repair technician will first go over your flute, take notes on the holding keywork in position, and creating “lateral play,”

EMANUEL ARISTA condition and fit of pads and mechanism, and give you a cost that side-to-side movement you might feel if you grab a

nfaonline.org Fall 2006 The Flutist Quarterly 29 ACHIEVING BALANCE: CLEAN, OIL, AND ADJUST

key and try to move it back and forth. Without oil, dirt on empirical knowledge: One learns by doing. Learning to enters the crevices between keys, causing the mechanism to adjust and balance any one type of flute takes years of practice, feel sluggish, accelerating the breakdown of metal-on-metal and keeping track of the peculiarities of multiple flute brands surfaces. When play develops in the mechanism, the seal of the and padding systems only adds to the difficulty. A repair person pads is compromised. A sideways shift of only a few thousandths who gets to know your flute, who remembers your preferences of an inch, where the pad impression meets the tonehole, can and playing style, is a rare and valuable colleague. create a leak. The price of a clean, oil, and adjust appointment can range Levelling pads and correcting the adjustments take time from $150 to $400, or even more. This spread reflects more and finesse. The instrument calls the shots here; every flute than the differences among repair shops in their hourly rates; has its own mechanical tendencies. Your repair person will it means that time must be spent taking apart the flute and hunt down leaks with a feeler gauge, usually made with a getting to know its quirks before an intelligent cost estimate narrow strip of cigarette paper. She places it in the gap can be made. Even with this good-faith effort, it’s often hard between pad and tone hole, and withdraws it slowly with the to correctly estimate the amount of work a flute will require. cup closed. Testing each point around the pad for even pressure, If the cost estimate turns out to be significantly off, the repair she then removes pads from their cups to shim them, often person should be able to explain why. The flutist, meanwhile, several times for any given pad, filling leaks with slivers and should try to listen and remain open. rounds of paper measuring one, two, or three thousandths Dozens of things affect pads and keywork, but generally of an inch thick, thus eliminating even the slightest leaks. speaking, for a flute serviced every year or two, the cost of a After this, she regulates the precise opening and closing of C/O/A will be less than if the instrument hasn’t been profes- the keys, adding or subtracting pieces of felt, cork, and paper sionally maintained. The cost will be more if one or several to the adjustment surfaces of the mechanism. pads need replacing. In that case, you’ll have to wait longer and pay more; it takes time to find and order pads that fit The Art of Balance your flute precisely, to install them, play the flute, and allow Flute repair comes down to the art of balancing. Successful old and new pads to settle into a state of equilibrium. Less technicians have a streak of perfectionism, which they balance predictable elements include the frequency of playing and against the the age and condition of each instrument, as well your technique; if you squeeze or exert sideways pressure on as its ability to remain in stable adjustment. They balance the the keys of the right hand, for example, it can affect the wear time spent with a flute, making it play as well as it can while on pads and mechanism. Other factors, such as climate, air considering the needs and sometimes financial constraints of pollution, and how you clean and store your flute, also influence the flute’s owner. Every flute presents the technician with a its condition. window of balance—in the proper relationships between Flute technicians don’t have an organization that educates spring tension, tightness of mechanism, and the feel of stable and upholds industry standards, like the Piano Technicians pads. Craft work in general, and flute work in particular, relies Guild, but maybe we should. The flute world is growing and changing quickly. Instrument and pad choices are broad and varied, and flutists need access to competent, quali- fied help. If you’re contacting a repair shop for the first time and are uncertain about the credentials of the flute technician, ask for recommendations from a few cus- tomers. You’re trusting this person with a precious, perhaps irreplaceable, partner. Don’t feel shy about asking questions. Expect cogent answers. Real music can happen when the lines of communication between player and technician remain satisfyingly open. A carefully main- tained flute will play for years longer than a poorly maintained one. And if you’re happy with your flute, you want it to last forever.

Sarah Merrow plays and repairs fine flutes in Cambridge, Massachusetts.

30 The Flutist Quarterly Fall 2006 nfaonline.org Largofor * and Piano by Ludwig van Beethoven

Transcribed by Theobald Boehm Edited by Dr. Andrea Redcay Graves

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For more information and for ordering instructions check our website: www.progress-press.com Reflections on the Mozart Flute Quartets Shady areas in the provenance of Mozart’s flute quartets persist, particularly regarding portions of the Quartet in C. But for the author, who was drawn to the flute by that very quartet, the pleasure of Mozart’s repertoire remains.

by Sue Ann Kahn

t has always struck me as ironic that the composer who kindled my interest in the flute was thought to have hated the instrument. When II was a young beginner, my favorite music was ’s recording of the Mozart quartets for flute and strings. There were only three to listen to; modern editions omitted the Quartet in G (K.285a) until the publica- tion of the new Mozart edition (NMA, 1962). Having recently recorded what I believed to be four original quartets by Mozart, I find that irony has continued to pursue me: Mozart clearly did not write the Quartet in C, the quartet that had always been my favorite, a fact that surfaced when I came to write the liner notes for the recording. VICTORIA STEHL

32 The Flutist Quarterly Fall 2006 nfaonline.org Concerning the provenance of the quartets, this much seems certain: In early November 1777, shortly after his arrival in Mannheim, Mozart became friends with court flutist Johann Baptist Wendling. Because Mozart failed to secure a hoped-for appointment at the Mannheim court, he and his mother badly needed funds to carry them through the winter in Mannheim until they could pursue their fortunes in Paris and elsewhere. To help their finances, Wendling arranged for one of his amateur pupils, surgeon Ferdinand Dejean, to commission from Mozart a number of quartets for flute and strings and also some . Mozart did write some music for Dejean but apparently not all that was promised; he was paid, in the end, half his fee. Exactly how much music Mozart was to write and for what forces is not certain, and contradictory accounts about the commission abound in the Mozart family letters. The Concerto in G (K.313/285c), the transcription of the from C major into D (K.314/285d), the Andante in C (K.315/285c), and the Quartet in D (K.285) were no doubt written to fulfill the Dejean commission. Another quartet was probably completed, evidence pointing to the one in G. The Quartet in A (K.298) was written in Vienna in 1786 or 1787, and the Quartet in C (K.Anh.171/285b) was almost certainly forged by a copyist or composer (or two), identity unknown, using Mozart material from a 10-bar sketch and from his “Gran Partitta.”

Quartet in D, K.285 Happy 250th birthday to , 1756–1971. For any flutist, the Quartet in D, the first to be composed and the most often performed, is the most immediately gratifying been seriously questioned, and no autograph exists. Since to play. Written in the typical style of the day, Leopold Mozart was consistently annoyed with his son’s the texture is dominated by the flute, which takes the place of failure to promptly complete the Dejean commission, might the first violin. The key of D, a felicitous key for the flute of he have composed the quartet himself to speed things Mozart’s time, still feels easy and fluid for the modern flute. along? (Although the quartet’s opening Andante bears an The tessitura lies consistently higher than in the other three uncanny resemblance to Leopold’s liturgical aria for tenor, quartets, and the flute appears bright against the strings. The Panis Omnipotentia, orchestrated by Wolfgang, I have no plaintive Adagio can be rendered quite softly, since the strings actual evidence at all for this theory!) are pizzicato throughout. It has remained a charming staple of The music certainly doesn’t feel “Mozartean” to play. The the flute chamber music repertoire. texture is monochromatic, the flute part does not feel There is certainly no hint of any dislike Mozart may have idiomatic. The skittish scales that decorate the second movement had for the flute in his compositions for Wendling nor in the are the only flutistic element in the whole composition. That magnificent flute parts in his piano concertos and other said, the music is of lovely, sweet character, and I have been works. Mozart scholars have debated his supposed abhorrence happy to perform and record it. of the instrument and have variously suggested that he disliked having to concentrate so much on music for one instrument Quartet in A, K.298 and/or that he disliked Dejean personally. I have long heard The autograph paper and thematic material of the Quartet the theory that Mozart wrote the Andante (K.315) as a substitute in A firmly place its date to 1786–87, written in Vienna. Its for the Adagio movement of his G Major concerto, either composition speaks to the popularity of the flute/strings because Dejean didn’t like the music or because he found it combination among amateurs. Then, as now, creating music too difficult to play. for flutists to buy was a burgeoning business. The style of K.298 is that of quatuors concertants, popular in the latter Quartet in G, K.285a decades of the 18th century in France and other countries. My questions about the Quartet in G have remained unanswered. The flute, an instrument particularly favored by gentlemen, Could Mozart have written a relatively simple piece for replaced the first violin of a string quartet. Rather than the Dejean because the first compositions proved to be too flute dominating the texture, as in the Quartet in D, here all complex for an amateur? It is music of an archaic style, far four instruments play integral roles. As in other quartets of less challenging technically than the first quartet, and in the this genre, the variation movement is a gratifying means of relatively easy key of G. The authorship of the work has not giving each player a solo turn.

nfaonline.org Fall 2006 The Flutist Quarterly 33 REFLECTIONS ON THE MOZART FLUTE QUARTETS Mozart did write some music for Dejean but apparently not all that was promised; he was paid, in the end, half his fee.

the amateur flutist of his day. The Concerto for Flute and Harp (K.299/297c), written in 1778 for the Duc de Guines and his daughter, is in C in deference to the limitations of the harp, not a chromatic instrument in the 18th century. Because of the particular intonation challenges of that key, it is hard to imagine that Mozart wrote the Andante in C to fashion an easier concerto movement for Dejean, although its music is airy and the tessitura of the flute of limited range. One is also reminded Celebrations abounded in Vienna (above) and other cities worldwide in this Mozart year. that Mozart transcribed his oboe concerto Knowing Mozart’s admiration for the vocal writing of from C into D for Dejean’s comfort. , I always liked to imagine that the The entire second movement of the Quartet in C derives opening Thema of the quartet (in a simple folk style like the from the penultimate movement of Mozart’s great Serenade charming Andantino from Bach’s D Major Quintet for flute, in B-flat (K.361/370a) 1783–84, known as the “Gran strings, and continuo) might be a quote from, or homage to, Partitta,” for 12 winds and double bass (alas, no flute). In J. C. Bach. Chastened by research, however, I now know that addition, the quartet’s first movement contains 10 meas- Mozart’s theme is from a song by Franz Anton Hoffmeister, ures of modulatory material from a Mozart autograph of Mozart’s friend and publisher. Hoffmeister was a prolific 1781. These appear in the development section (bars composer (he wrote more than 100 flute duets and 46 quartets 149–58) and, once one is aware of them, seem disjunct in for flute and strings), whose works enjoyed a popularity with style with the rest of the movement (but lots of fun to his contemporaries. The refrain of the quartet’s third move- play). The only quartet of the four to have been published ment is a quote from an opera of Giovanni Paisiello, another in Mozart’s lifetime, it was long accepted as part of the Dejean contemporary melodist of simplicity and charm. It is possible commission. However, Mozart does not list it in his own cata- that Mozart wrote the quartet for the Jacquin family, friends log of compositions, even though its publication date is of Mozart who would have known the references to well- 1788, after the catalog’s inception. known tunes of the day and enjoyed Mozart’s playful setting The Quartet in C, like K.298 in A, is in quatuors concertants of them (suggested in a private communication with Neal style, favoring dialog among the instrumental parts and with Zaslaw, editor of the not-yet-published new edition of the a solo variation for each instrument. Surely we love the work Köchel catalog; the quartet manuscript is among the many for the beauty and charm of the second movement. Much of Mozart manuscripts owned by the Jacquin family). its music is the same as that of the “Gran Partitta,” although From the Thema of the first movement, a set of charming some telling chromatic melodies are simplified. The tran- variations ensues; the key of A is a happily mellow one. The scriber (a copyist? a Mozart pupil?) is fairly faithful to the last movement of the quartet radiates the most charm of all. material except in three significant places. The cello varia- Mozart, obviously enjoying himself, enjoins his friends to tion adds repeats of the first eight and last 12 bars, but sadly play it with exactly the right touch: “Allegretto grazioso, omits a beautiful inner variation of 20 bars, a tender duet for má non troppo presto, peró non troppo adagio. Cos-cos- clarinet and basset horn that presages the material of the con molto garbo ed espressione.” (“…but not too quickly, Adagio to come; its removal renders the variation prosaic however not too slowly. Just so, with much elegance and and robs the movement as a whole of the perfection of its expression.”) original architecture. The viola variation creates constant 16th-note motion, The Contested Quartet in C, K.Anh.171/285b only intermittent in the original, which, again, weakens the If it was music in the key of C that attracted me to Mozart in composition. The problematic string unison in the quartet

the first place, C major certainly was not the key of choice for version is a moment of high drama in the Serenade: the VICTORIA STEHL

34 The Flutist Quarterly Fall 2006 nfaonline.org entire band of 13 plays a fermata chord in C major, forte with diminuendo. The Adagio then rises from the decay of that mighty chord, like a beautiful landscape appearing out of a mist, a special moment. In the quartet version, the empty flute measure with fermata invites a brief cadenza as an introduc- tion to the Allegro, but the touching effect of the original is lost a bit in translation. It comes as a relief to find that, after all, the favorite music of my youth contains much Mozart material of the highest quality. My colleagues and I can continue to play it with joy, without consigning it wholly to another composer. After all, there are so very few masterpieces for flute by the great composers; we treasure every note they may have written. Transported by the Adagio of the Quartet in C, I am content to remain in heaven.

Sue Ann Kahn won the Walter W. Naumburg Award as a mem- ber of the Jubal Trio and performs and records with the trio and other ensembles. She gives recitals and masterclasses nation- wide and is a consistent advocate for the flute and its music. Kahn has served the NFA in various capacities and was NFA president in 2005. She teaches flute and chamber music in New Mozart information center in Vienna, Austria. York at Mannes College of Music, Columbia University’s Music Lustig, Roger. “On the Flute Quartet, K. 285b (Anh. 171),” Mozart-Jahrbuch (1997): Performance program, and New York University. 157–79. Wolfgang Amadeus Mozart. Neue Ausgabe sämlicher Werke [Neue Mozart-Ausgabe], Bibliography ed. Internationale Stiftung Mozarteum Saltzburg (Bärenreiter, Kassel, 1855–1991). Anderson, Emily, ed. Letters of Mozart and His Family. London: MacMilllan, 1966. Pohanka, Jaroslav. Forward to Neue Mozart-Ausgabe, VIII/20/ii, Quartette mit einem Blasinstrument, 1962. Leeson, Daniel N. “A Revisit: Mozart’s Serenade for Thirteen Instruments, K.361(307a), the ‘Gran Partitta,’“ Mozart-Jahrbuch (1997): 181–223. Sadie, Stanley. Mozart: the Early Years, 1756–1781, (Norton, New York, 2006).

Levy, Janet. “Quatuor concertant,” The New Grove Dictionary of Music and Weinmann, Alexander. “Franz Anton Hoffmeister,” The New Grove Dictionary of VICTORIA STEHL Musicians, 2nd edition, vol. 20, 665. Music and Musicians, vol. 11, 589–99. 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

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nfaonline.org Fall 2006 The Flutist Quarterly 35 he ABELL FLUTE company O Specializing in oehm system wooden flutes, headjoints and whiles, handmad in grenadill and erling silve. O 111 Grovewood Road Asheville, nc 28804 usa 828 254-1004 voice, fax www.abellflute.com

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Crossing Borders: Solo and Chamber Music for Flute

by Haitian Composers by Mary Procopio

Haitian visual art and popular music are well known outside of the country, but Haiti also has a wealth of classical music. Among the prominent composers who have woven their country’s traditional music and Haitian vodou into their classical works are Werner A. Jaegerhuber and Julio Racine. nown as the poorest country in the Western Haitian vodou, an often misunderstood and misrepresent- Hemisphere, Haiti is rich in culture and folklore; its ed religion, is an integral part of Haitian culture, identity, and Kmusical genres continually evolve and respond to the life. In April 2003, vodou became an officially recognized reli- change brought about by the political, social, and economic gion in Haiti. It is a syncretic religion that blends African climate of the country. While Haitian popular musical forms spiritual traditions with Catholicism, and “a religious prac- like konpa and mizik rasin have gained wide exposure outside tice focused on the spiritual and emotional well-being of its of the country, Haiti also has a wealth of classical music— practitioners.”1 More than a religion, vodou is a way of life mizik savant ayisyen. The origins of mizik savant are in the and an expression of culture that encompasses art, music, traditional music of Haiti, and this music draws upon the and dance. In 1804, vodou was instrumental in providing melodies and rhythms from the indigenous ceremonial Haitians with the inspiration, courage, and strength required music of Haitian vodou. to gain their independence, just as it plays a large role in Such Haitian composers as Werner A. Jaegerhuber Haitians’ ability to survive in present-day Haiti. (1900–1953) and Julio Racine (b. 1945) borrow melodies and rhythms from vodou ceremonial music and incorporate Vodou’s Influence on Haitian Classical Music these traditional elements into their art music compositions. Haitian indigenous culture and traditional music have long Utilizing elements taken from the vodou ceremony gives influenced Haitian classical music. Prior to the first U.S. occu- mizik savant a distinctly Haitian sound. While ceremonial pation of Haiti, from 1915 to 1934, many Haitian composers music is often associated with the peasants and rural Haiti, it identified with European cultural models to distance them- is recognizable by people from all walks of life. Indeed, all selves from the negative perceptions foreigners had of Haitian forms of Haitian culture—from art and dance to literature culture.2 Yet, during and after the U.S. occupation, many of

and poetry—find inspiration in vodou. these composers began to identify with lower class Haitians and COURTESY MARY PROCOPIO

38 The Flutist Quarterly Fall 2006 nfaonline.org Both Racine and Jaegerhuber follow the example of other classically trained composers—like Bartók and Villa-Lobos—by composing art music based on the traditional music of their country. started incorporating elements taken from vodou ceremonial movements of this composition, Jaegerhuber successfully music into their musical works. These elements included rhyth- bridged the gap between traditional music and classical music. mic variations taken from ceremonial drumming, melodies, In the middle of the first movement (Andante), Jaegerhuber and text—in the case of vocal music—taken from religious and utilizes the ceremonial song “Dambala Oh” in the flute part (ex. rural folk songs, and language in the form of Haitian Creole. 1a), which differs slightly rhythmically, but not melodically, Werner Jaegerhuber was the first Haitian composer to con- from his ethnographic transcription (ex. 1b). duct his own ethnographic research by going into the moun- tains to study the music of the peasants. Jaegerhuber saw himself duty bound to incorporate the indigenous music of Haiti into his art music compositions for it to reach its fullest potential. He realized the creation of a distinctly Haitian musical experience by taking the music of the vodou cere- mony out of context and transforming the melodies in his art music compositions. By incorporating musical transcrip- tions into his works, Jaegerhuber utilized Haitian traditional Ex. 1a. Jaegerhuber, Trio, first movement (flute part), mm. 48–54. music in a way that appealed to a broad base, reached out to an international audience, and attempted to bring together the Haitian peasantry and elite class in a manner that was unprecedented and at times controversial.3 By appropriating the music of the peasants and incorporating folk and cere- monial songs into his classical compositions, Jaegerhuber ensured that his music would appeal to a broad range of Haitians (for its indigenous attributes) as well as to foreign audiences (for its classical and Western attributes). Ex. 1b. Jaegerhuber, ethnographic transcription No. 15, “Dambala Oh” (Jaegerhuber 1985, 91). The Flute Compositions by Werner Jaegerhuber As one of the most prolific composers in Haiti’s history— In the trio’s second movement (Allegretto), Jaegerhuber uses with more than 60 compositions to his credit that spanned all the basic melody taken from the ceremonial song “Solè Oh” in genres—and as the most prolific Haitian composer of music the flute part (ex. 2a). While the melody is altered both for flute, Jaegerhuber has made a significant contribution rhythmically and melodically, the intervals are the same; it to Haitian art music. In addition, his contribution to is obvious that Jaegerhuber was quoting this song from his ethnographical research has had a significant impact on ethnographic transcription (ex. 2b). those who succeeded him. Most (if not all) of Jaegerhuber’s flute compositions were written in 1951–52, shortly before his death.4 This period “marked a peak time for classical music in Haiti.”5 Jaegerhuber’s sudden output of works for flute during this time might have been due to his writing music for Depestre Salnave, one of Haiti’s most accomplished flutists. Salnave studied at the Montpellier Conservatory in France, and later returned to Haiti to teach at the conservatory created in the 1950s. According to Racine, “the world of classical music in Ex. 2a. Jaegerhuber. Trio, second movement (flute), mm. 31–41. Port-au-Prince was not very large…Jaegerhuber and Salnave had the opportunity [to meet] on many occasions and learned to appreciate each other’s talents.”6 One of Jaegerhuber’s works that incorporates ceremonial music is his Trio (1952) for flute, viola, and cello. This is Jaegerhuber’s best written, most complex—musically, rhythmi- cally, and harmonically—and most expressive composition for flute. In this trio, Jaegerhuber was most successful in realizing the means by which to connect Haitian traditional music with art music. By utilizing several ceremonial songs taken from his Ex. 2b. Jaegerhuber, ethnographic transcription No. 14, “Solè Oh” (Jaegerhuber ethnographic transcriptions in the flute part of three 1985, 90).

nfaonline.org Fall 2006 The Flutist Quarterly 39 CROSSING BORDERS: SOLO AND CHAMBER MUSIC FOR FLUTE BY HAITIAN COMPOSERS

National Palace (President’s Band), Port-au-Prince, Haiti, August 2004. Opening page: author working with a brass band at the Léocardie and Alexandre Kenscoff Cultural Center in Mirebalais, Haiti.

In the fourth movement of this work, Jaegerhuber uses While Jaegerhuber utilized traditional elements in many another ceremonial song, “Erzili E,”in the flute part (ex. 3a). of his musical compositions, a number of his works for Like “Solè Oh,” “Erzili E” (ex. 3b) has a 5/8 meter in flute are rooted in the Western art music tradition. His Jaegerhuber’s ethnographic transcriptions but appears in 4/4 composition for solo flute, Preludio (1952), illustrates the meter in the trio.7 Though in two different meters, this influence of J.S. Bach and other baroque composers on melody bears the closest resemblance to its original form as Jaegerhuber’s musical output. The first movement, compared to the other examples previously noted. However, Preludio, is reminiscent of the Bach studies for strings.9 unlike the other examples, this one does not complete the The second movement, In Fugam, reflects baroque influ- entire melody; rather, the last five measures depart from ences as evidenced by its form, harmonic structure, use of what is found in the original transcription. This may have ornaments, and implied counterpoint. In addition to the been necessary to create the transition that Jaegerhuber prelude and fugue style that Bach utilized so often, the desired into the next section of the piece. harmonic outline utilized in some measures demonstrates a direct relation to the same technique used in Bach’s . The use of appoggiaturas, imitative passages, and motives are reminiscent of Vivaldi and Handel, while the amount of chromaticism, large intervallic leaps, and extended range reflect the piece’s modernity. Another Haitian composer who was inspired and influenced by Jaegerhuber is flutist, conductor, and composer Julio Racine. Like Jaegerhuber, Racine utilizes the melodies and rhythms taken from the ceremonial music of Haitian

Ex. 3a. Jaegerhuber, Trio, fourth movement (flute part), mm. 14–20. vodou in his music for flute. Through his musical endeavors Racine continues Jaegerhuber’s tradition of educating audiences about Haitian music and culture.

The Flute Compositions by Julio Racine Julio Racine studied composition at the University of Louisville and has written a number of orchestral and chamber works, including two major works for flute.10 He is the former director of the Orchestre Philharmonique Sainte

Ex. 3b. Jaegerhuber, ethnographic transcription No. 12, “Erzili E” (Jaegerhuber Trinité and the Holy Trinity Trade School in Port-au-Prince 1985, 88.) and currently resides in Louisville, Kentucky. As a young man in Haiti, Racine studied with noted flutist Depestre Along with his Trio for flute, viola, and cello, other chamber Salnave, the person to whom Jaegerhuber dedicated much works for flute by Jaegerhuber that incorporate traditional of his flute music. While Racine never had the opportunity melodies include: Musique pour Aieules de J.F. Brierre (1951) to meet Jaegerhuber, he stated that Jaegerhuber “had a for flute, viola, and cello, Invocation (1952) for flute, viola, and profound influence” on him, and that he “embraced cello, and Divertimento (1951) and Les Petites Serenades (N.D.), [Jaegerhuber’s] philosophy for having a music that is fun- 8 both composed for flute, violin, and viola. 11

damentally Haitian.” COURTESY MARY PROCOPIO

40 The Flutist Quarterly Fall 2006 nfaonline.org A mural in Leogane, Haiti.

Racine’s Tangente au Yanvalou for flute and piano (1975) In Tangente au Yanvalou, Racine uses triple meter to utilizes traditional rhythmic elements derived from the invoke the dance-like quality of the yanvalou, as well as ceremonial music of Haitian vodou. This piece is inspired rhythmic variations. In Racine’s words, as the title of this by the yanvalou, one of the basic Haitian folkloric rhythms piece suggests, the music you will hear is “a tangent to [the and an elegant ritual dance that originated in the area of yanvalou] in the sense that it only touches and suggests West Africa now known as Benin. Racine’s most recent [the yanvalou rhythm] and then moves away.… Very often composition for flute and piano, Sonate Vodou Jazz (2004), during the course of the piece the yanvalou either is missing combines rhythmic and melodic elements from the vodou one step or has one step extra.”16 The yanvalou is in 12/8 ceremony along with jazz idioms and harmonies. Racine’s meter. There are places where Racine incorporates the arrangement of Haitian folk songs for voice and piano yanvalou rhythm in the flute melody, but leaves out a beat (2004) fuses jazz and Haitian rhythms and utilizes jazz har- or adds one beat extra (ex. 4 and 5). monies in the piano accompaniment, and works equally well on flute. By utilizing traditional elements in his compositions, Racine ensures that Haitians are able to relate to his music. At the same time, through his classical compositions, he is pro- viding those who are unfamiliar with Haitian music a glimpse into Haitian culture. As Racine himself once noted: All through my career, I have met numerous artists. Ex. 4. Racine, Tangente au Yanvalou (flute part), mm. 16–17. Some came to Haiti and soloed with the orchestra, some came and gave recitals of all sorts. I have also met an infinite number of people from different corners of the world. The one thing I realize is that Haitian arts, except for painting, are not known at all. It is always a big surprise when those visitors discover that indeed there is such a thing as Haitian Ex. 5. Racine, Tangente au Yanvalou (flute part), mm. 31–32. classical music, and people who wrote the music are Haitians. Consequently, I have decided to expose that music as much as possible. In fact, being an Racine’s Sonate Vodou Jazz utilizes Haitian folk melodies as echo of the Haitian soul itself, that music gives a well as light jazz melodies. This three-movement work utilizes good insight of the Haitian culture.12 a variety of complex rhythms and lyrical melodies taken from ceremonial music, and presents both the flutist and According to Racine, Haitian music is rhythmically driven, pianist with technical and musical challenges throughout the and rhythmic development is the most important element in piece. For example, the second movement, entitled Pryê Racine’s music.13 Racine focuses on the rhythm from several (prayer), utilizes melodic material in the flute part that ref- 17 angles—in his words, “what was the rhythm like in the erences the lwa, Ezili (ex. 6), and in the third movement, past, what form does it take today, and what could it Racine references the ceremonial song “Dambala” in the flute evolve into in the future.”14 “…[R]hythm is the most impor- part (ex. 7). The energetic, intense, and somewhat playful tant element…in any Haitian melody. In Haitian melodies outer movements contrast greatly with the somber and [one should] always try to detect the implied accents.”15 somewhat haunting opening of the middle movement. COURTESY MARY PROCOPIO

nfaonline.org Fall 2006 The Flutist Quarterly 41 CROSSING BORDERS: SOLO AND CHAMBER MUSIC FOR FLUTE BY HAITIAN COMPOSERS

Author performing with the junior members of the Orchestre Philharmonique Sainte Trinité, Leogane, Haiti, August 2004.

as they strive for a sound that is distinctly and identifiably Haitian. In addition to Jaegerhuber and Racine, other Haitian composers who have written for flute include: Martha Jean-Claude (1929–2001), Nostalgia for C instrument and piano (N.D.); Carmen Brouard (1910–2006), Deux Ex. 6. Racine, Vodoo Jazz Sonata, second movement (flute part), mm. 9–13. Pieces for flute and piano (1968); and Lina Mathon- Blanchet (1902–1993), Haitian Folk Tales for woodwind quintet (N.D.). Haitian classical music is receiving more exposure outside of Haiti in the 21st century, thanks to the efforts of Haitian and non-Haitian scholars, composers, and performers who have dedicated themselves to the promotion of Ex. 7. Racine, Vodoo Jazz Sonata, third movement (flute part), mm. 71–74. Haitian music in Haiti and throughout the world. Haitian composer and scholar Claude Dauphin is a music professor In a discussion regarding the traditional elements found at the University of Québec in Montréal and an active in his music, Racine reminded me that when interpreting performer and promoter of Haitian classical music. In the his compositions or arrangements, one needs to remember U.S., Haitian conductor Jean Montes, director of orchestral “the beauty of Haitian life and culture resides mainly in its studies at Virginia Commonwealth University, hopes to contrast and ambiguities.”18 start an orchestra based in Virginia that will perform and Both Racine and Jaegerhuber follow the example of promote Haitian music.19 other classically trained composers—like Bartók and Composers and performers of non-Haitian decent also Villa-Lobos—by composing art music based on the traditional recognize the importance of Haitian music. John Jost, an music of their country. Just as Bartók and Villa-Lobos introduced the world to the music of their countries American composer and choral conductor at Bradley through their classical compositions, so too have Haitian University in Illinois, has taught in the U.S. and Haiti for composers Jaegerhuber and Racine provided an opportunity more than 30 years and promotes the music of Haitian for non-Haitians to learn more about the indigenous composers, writes his own music based on the traditional music of Haiti through their art music. The solo and music of Haiti, and arranges Haitian folk songs for various chamber flute compositions by Jaegerhuber and Racine instrumentations. Janet Anthony, an American cellist who are a valuable addition to the flute literature in that they is on the faculty at Lawrence University in Wisconsin, has expose students to music of another culture and present traveled to Haiti several times a year since 1996 to teach students with the opportunity to gain a deeper under- and perform.20 standing and appreciation of Haiti’s music, which is rich In the summer of 2004, several American musicians who in cultural tradition. teach at the music camp affiliated with the Ecole Sainte Trinite formed the group Zanmi Ansanm pou Misik Conclusion: Haitian Music in the 21st Century Ayisyen.21 Our goals are to perform and promote the music At home and in the diaspora, Haitian composers and of Haitian composers, to commission new pieces based on musicians in the 21st century continue to draw upon and traditional Haitian music, and to educate the American

incorporate the traditional music of Haiti in their compositions public about Haitian music and culture. COURTESY MARY PROCOPIO

42 The Flutist Quarterly Fall 2006 nfaonline.org In its attempt to unite Haitians at home and abroad, 5. Julio Racine, e-mail message to author, March 22, 2004. mizik savant ayisyen promotes a sense of Haitian identity 6. Ibid. 7. One possible explanation for Jaegerhuber using 4/4 vs. 5/8 meter could be by crossing class and social boundaries, as well as international that he thought his music would be performed by non-Haitians and easier for borders. At the same time, mizik savant serves as an educational them to read in 4/4; or perhaps he found it easier to score the melody this way vehicle that reaches out to an international audience and within the framework of this movement. 8. Both the flute and viola parts are unavailable (missing) for Jaegerhuber’s Les enables non-Haitians to obtain a deeper understanding of Petites Serenades. The flute part of Divertimento, is available; however, the the controversial history, religion, and culture of Haiti strings parts are not. It is unfortunate that the latter two pieces are missing through its music. > parts; both look to be substantial and worthy of performance for their cultural and musical offerings. 9. This refers to the popular concert studies taken from Bach suites and prel- Mary Procopio is a flute instructor at the University of udes for violin and cello that have been arranged for flute. Michigan–Flint and the Flint School of Performing Arts, 10. Racine’s Tangente au Yanvalou and Sonate Vodou Jazz are available and teaches classes in ethnomusicology at Mott Community through fluteworld.com. 11. Julio Racine, e-mail message to author, January 28, 2005. Racine men- College. She holds a doctorate in flute performance with a tioned that “Jaegerhuber was a master in the melodic aspect of [Haitian] concentration in ethnomusicology from Michigan State music” and that in “picking up the torch after him [Racine] concentrate[s] University, and has done extensive research in Haiti and in mainly on rhythmic developments.” Haitian communities in the U.S. Her dissertation, “Haitian 12. Julio Racine, e-mail message to author, March 25, 2004. 13. Julio Racine, e-mail message to author, October 7, 2003. Classical Music, Vodou, and Cultural Identity: An Examination 14. Ibid. of the Classical Flute Compositions of Haitian Composer 15. For example, in the measure that the flute enters in Tangente, Racine told Werner A. Jaegerhuber,” provides additional information on me that I should “suggest a discrete accent on the third note” of the bar when I perform the piece. the pieces and composers discussed in this article. 16. Julio Racine, e-mail message to author, October 7, 2003. 17. The difference in spelling for Ezili is not a grammatical one. A new orthog- Notes raphy for Haitian Creole was mandated by the Haitian government in 1979, 1. Michael D. Largey, Vodou Nation: Haitian Art Music and Cultural yet various scholars and several of my sources use different spellings in refer- Nationalism (Chicago: University of Chicago Press, 2006), 3. ence to Erzili and other Iwa. 2. Ibid, 4. 18. Julio Racine, e-mail message to author, January 28, 2005. 3. Michael D. Largey, “Ethnographic Transcription and Music Ideology in 19. In Haiti, Haitian violist Père David César has been director of the Ecole de Haiti: The Music of Werner A. Jaegerhuber.” Latin American Music Review 25 Musique Sainte Trinite for the past several years. no. 1 (2004): 19. 20. There are also many musicians, including Jost, Anthony, and myself, who 4. Jaegerhuber’s music for flute is not yet available through a publisher. The promote awareness of Haitian music and culture through benefit concerts. author is currently editing Jaegerhuber’s manuscripts and hopes to have them 21. This title translates as “friends together for Haitian music.” We are record- available by December. ing our first compact disc with hopes that it will be available by December.

nfaonline.org Fall 2006 The Flutist Quarterly 43

Stephen Preston: A Complete and Utter Novelty Interview by Eldred Spell

A bad flute and a late start in life were among the planks in the foundation of Stephen Preston’s internationally acclaimed career. An interview between him and his distinguished friend and colleague, Eldred Spell, explores Preston’s spin into baroque flute performance.

nother week of masterclasses at a flute retreat in I took a year off school and just played at home—just practiced North Carolina has just concluded. Stephen Preston and had lessons with a man called Albert Honey. Ahas made his annual migration through the mountains to Cullowhee, home to Western Carolina University and So, having started with the fife at age 14 and with a Preston’s friend and colleague, Eldred Spell. Preston loves the wooden Louis Lot, you still managed to get into a quite lush forests of these mountains, and delights in hiking, reputable school. kayaking, and bird-watching. Before returning to London The Guildhall. It was the best music school in England at the and a busy schedule of teaching, performing, and choreography time. I studied with Geoffrey Gilbert, who was incredible. He work, Preston relaxes at home with Spell. Beneath the shade was one of the best teachers of any subject I studied, let alone of an enormous bank of rhododendrons, two old friends talk. flute. I learnt with him for three years. And while I was doing that, I formed a trio with a couple of friends: , How did you get started with the flute? who was the son of the famous cello teacher, , I bought a fife at a yard sale and played in the school band for and , the harpsichordist and founder and awhile. I was 14, I guess, and later they wanted a flute player original director of the English Consort. in the school orchestra, so they shoved a tree trunk of a Louis Lot on me. Was he a harpsichordist at the time? Yes,he had been an organ scholar, but he switched over to the A wooden Louis Lot? That was your first flute? harpsichord and was studying at the Royal College at the time. Yeah, a thick, heavy one. It was hard work on the right hand. Our trio rapidly became very successful, and I was playing The cork on the tenons was very worn, and the footjoint used professionally before leaving college. to drop off in performance. And this was on modern instruments? I’m surprised it didn’t put you off the flute altogether. Modern instruments. Yes. There are so many obstacles to being a musician; there must be some great motivation to overcome them. Somewhere along the line you must have encountered COURTESY ELDRED SPELL Obstacles only exist, I mean real obstacles, when you’re not a baroque flute. , desperate to do something, don’t they? I certainly did have Because of playing in a harpsichord trio, we played quite a lot obstacles to overcome. I started quite late and I had a bad of baroque music, although we did do a reasonable amount

flute. So there was a lot of ground to cover in a short while. of contemporary stuff, too. And I had a new music ensemble ABOVE AND INSET

46 The Flutist Quarterly Fall 2006 nfaonline.org as well. I wasn’t really interested in baroque flutes at the time. toured extensively. All the groups used me as an identifying The only thing I read about them was that they were attractive label, because at that time the baroque flute gave these groups to look at, but when it came to playing, about fit for firewood. their most distinctive period instrument voice. And when I heard them, it did seem true. However, we were doing a tour and stayed with this amateur recorder player— That worked to your advantage? a wonderful man. He was the vice-consul in Suez, but a It certainly did—and it gave me an interesting career. At the very un-British-Empire sort of person for all that. He loved same time as I was playing baroque music, I continued to the Arabs. He really admired them. Anyway, he had a late- extend my research work into the late 18th century and then 18th-century flute. He brought it out and I tried it, and I into the 19th century. This put me way ahead of most other realized that everything I’d read was basically rubbish. So period instrument performers and it was a long time before he lent me the flute and I had it for a number of years, just anybody started doing that. So I recorded things like the sort of puttering around with it, and gradually developed Weber Trio and his sonatas, and for radio I did the Beethoven more interest in it. So that’s how it started—an accident, Variations, things like that, long before it really got going as a not a revolt. commercial proposition.

Did you have musical examples to listen to? My impression is that you got there quite a bit ahead of No! There were harpsichordists and there were recorder everyone else. players. There weren’t professional players of any other period I was there a long time ahead. instruments in England at that time. I was a complete and utter novelty, for what that’s worth. In the trio I played modern I will never forget your appearance at the NFA flute, and then I’d do one number on baroque flute. But there Convention in Detroit in 1981, where you played a were other things, you see. I had to get a flute at A=440 Böhm concerto. I had been working my way back in because that was the pitch at which we played. And it had to time, from the modern flute to Charles Nicholson in be as loud as possible. So basically, what we were trying to do the 1820s. I had been working in relative isolation and was to get me to play a baroque flute like a keyless, wooden, suddenly there was someone on stage bringing it all to modern flute. When the trio broke up, I continued working life. You had a Monzani presentation model ivory flute seriously on the baroque flute with no other idea, except out with gold trim. of interest. I lived near a museum with a famous collection of That’s right. It was a really pretty flute. The concert was in the wind instruments, the Adam Carse collection. They used to beautiful old orchestra hall. So that’s where we met. After the let me take instruments out and play them. So I used to go convention you took me to East Lansing to see all the piles of and practice on their instruments. The woman who was stuff you had collected on the 19th-century English virtuoso the curator there was a big noise in the ethnomusicology player, Charles Nicholson. world and friends with the curator of the Paris Conservatoire collection of old instruments. Between them I remember you staying up into the wee hours sight- they organized a traveling exhibition to tour England and reading all of this early 19th-century music on the France for a year. And they asked me to play for it. appropriate instrument. I had been doing research on it I was offered a year’s worth of work and decided to devote for years at that point, but had not really heard it. You myself to the baroque flute. Not that I knew it at the time, but completely changed my line of reasoning and inquiry. it would spin into a lot more work after and continue into an It was amazing—all those tunes. It’s so funny to see them all international career. I formed a trio with Trevor Pinnock now in facsimile editions. You know, when we started, and the viola de gamba player, Jordi Savall. And so we nobody was doing that. toured for a year playing with this traveling exhibition. We went to wonderful places, were wined and dined, and had a It was considered rubbish—and not in an affectionate great time. And that’s how it started. way. Your interest in later flutes created a bit of a I went on with Trevor and Jordi to make my first recording, problem, didn’t it? which was the flute sonatas of J.S. Bach. The sonatas were At one point I was practicing 10 flutes a day. I’d line them up, recorded in a church close to where Sir John Eliot Gardner from baroque through various 18th- and 19th-century models lived, and I met him for the first time in a local pub. His words to early Böhm flutes. It was a lot of work. to me were, “That thing can’t play chromatically, can it?” That is a lot of different fingerings to remember. And that recording led to a rather impressive recording Worse than that, it’s a lot of different tunings, because I used career. original instruments, not copies. One of the great problems Yes. I did a lot of recording with the English Consort, the early on was that there were very few good copies. I remember , and later with the English doing a concert at the Purcell Room in the South Bank (in Baroque Soloists, Roger Norrington’s London Classical London), listening to a flute cracking as I played it. It cracked Players, the Monteverdi Choir and Orchestra, and numerous in every single joint. I could hear little clicks as the cracks chamber groups. I also made a lot of solo recordings and opened—it was amazing, disconcerting.

nfaonline.org Fall 2006 The Flutist Quarterly 47 STEPHEN PRESTON: A COMPLETE AND UTTER NOVELTY

whole lot of vital strands of my career and interests together, about music being made according to the way we feel, the way we move, emotionally and physically. Try to think about an emotion that is not accompanied by a physical move- ment—there isn’t one. For example, one of the nicest is feeling happy and relaxed. It occurred to me, when I listened to birdsong, how it bubbles out. That’s how I started. Initially I was influenced by Messiaen’s bird-inspired music. It’s very difficult for any flute player not to be. Think of Le Merle Noir. I started off working atonally, using Slominsky’s Encyclopedia of Scales, but I was unhappy with the results. Then I went on to work with a quarter tone scale, which, remarkably enough, I found in an 18th-century .

That must have been Delusse. Exactly. Delusse’s L’art de la flute. I avoided learning that scale for years, and quite rightly, as I discovered it’s really pretty difficult. Once I could do a quarter tone scale, I found I couldn’t really improvise with it for two reasons. A lot of it is physically difficult, but there’s also the problem of finding a center that will provide a systematic point of reference for both the performer and the listener. I needed not just a scale of sounds, but also an improvisational system in which I could employ those sounds to musical effect. As a result, Old friends: Stephen Preston and Eldred Spell. when this work didn’t take me to where I needed to be, I ended up exploring all the fingerings on the flute and finally I’m a bit relieved to hear that you actually practiced all created a system by a process of stages based on binary arith- these different instruments, because my experience metic. The fingerings are the equivalent of binary arithmetic digits. In other words, working from the bottom of the flute to was that you just picked everything up and played it the top, an open hole is a zero and a closed hole is a one. and it seemed to be completely under control. That’s very kind of you to say. No, I spent hours of my life So, if you start with zero, all fingers are up. The fingering practicing those things. And in the end, I burnt out on it. for “one” closes the ring finger of the right hand. Isn’t Every morning I would line them up, practicing most of the this really the same note? day on slow warm-ups followed by long technical exercises. No, not exactly. When we repeat a note on the flute, it sounds like the same note over and over again. When a bird does it, I can’t imagine doing that for a lifetime. it’s like speech—there’s always going to be a slight inflec- No. By the ’90s I was heading in a different direction. I’d tion—and the same thing happens in my fingering system. learned about 18th-century dance and was choreographing What you get with some fingerings, such as “one,” are small it. I had formed a dance company in 1981, London Baroque changes of harmonic content, minute and subtle changes of Dance Theatre, then another in 1991. By that time I had got timbre. Other fingerings produce large-scale changes. myself out of nearly all of the various performing ensembles Overall, the sounds and intervals are surprising and unpre- I had been performing with. I was working on dance and dictable and totally unlike a scale of fixed intervals. The choreographing more and more. notes of my binary arithmetic scales move unexpectedly, like birdsong. Also, because the fingers move naturally, one at a And now you’ve come back to the flute in a way that time, rather than in combinations of cross-fingerings, I can certainly surprised me. play with great volubility. Sometimes the flute is moving For five years I worked on a research degree (PhD) into bird- effortlessly over wide intervals, and at other times it seems to song, creating both a new technique and improvisational be doing hardly anything, except changing color very, very forms with the baroque flute. Why did I do that? Actually, slightly. because I love the flute. I was going to do it originally with dance, but I’m not a dancer. I only choreograph, and I didn’t Are you trying to imitate specific birdcalls? have the resources to finance my dancers to do the research No. If you imitated, you’d end up being a rather bad mimic, I needed to do. Whereas, all I needed for this research was or you could be a good mimic, I suppose, and go on TV

myself and my flute. Actually, it’s been great, as it’s brought a shows. Birds sing birdsongs better than we do. What is COURTESY ELDRED SPELL

48 The Flutist Quarterly Fall 2006 nfaonline.org important about my fingerings is that you can do it like movement; you can do it according to the way you feel; you can do it in bursts of energy. I have a group with an American flutist, Amara Guitry, who came to London on a Fulbright to study with me. We did our first tour in the spring of 2003 and another one this year. We call ourselves Ecosonic.

You’re not just doing your own music, are you? We do mixed performances of new music for baroque flutes, improvisations, and baroque and 19th-century music. We play a wonderful piece by John Thow called “To Invoke the Clouds,” which can be played in both solo and duo versions and on either baroque or modern flutes. He also has written Flute Lure, which is a solo piece. We have also been perform- ing our own version of John Luther Adams’ Songbirdsongs.

You’re interested in encouraging composers to write Spell with fellow Ecosonic, Amara Guitry. for the baroque flute? Why would a modern composer Another thing about performance practice: suppose we want to write for an “obsolete” instrument? have a phrase which rises, say the scale up to high F in “Dance Many composers are interested in early instruments. John of the Blessed Spirits.” At the time it was written, you would Thow plays baroque flute, as well as the 19th-century flute, have been expected to crescendo. It makes perfect sense phys- although he was trained as a modern flute player. He loves ically. It’s like a great sigh. If you suppress that because it’s the possibilities for inflection, rather similar to what I use in regarded as better technique to play quietly in the upper reg- my improvisations. ister, then a coldness comes over the music, and then it’s sim- ply about how to play the flute. There is a danger in shaping Let’s talk a bit about your teaching. I find your music a certain way because it’s the current fashion, rather approach a bit different. than letting the music speak according to the way it feels and Well, most of us have far more technique than we’re able to flows. If you think of music like speech, if you heard some- utilize. We tend to underplay because we worry about this, body speaking without expression or by artificially shaping and we worry about that. There is an accumulation of mem- how they spoke, you would think there was something ories about the process of learning—the difficulties. And too strange about them. Far too often playing is like an image of many of us are unable to drop them. We’re unable to say, expression rather than real expression. “Well, that’s easy now. I can do it.” My contention is that we learn all this technique, and we actually do far more than we It’s a reproduction. think we can, most of the time. What stops us from doing it Yes. It’s form without content. And I learned that from play- is that we don’t truly apply our technique. The application of ing old instruments. I learned that instruments had been technique is the expression of music. If technique is driven by designed to be played in certain ways and you should play expression or meaning, it is far more likely to work than if it them like that. In other words, you shouldn’t play a modern is driven from the other end for its own sake. flute like a baroque flute anymore than you should play a baroque flute like a silver flute. There is an awful lot you can Like trying to remember a string of nonsense words? learn from what a baroque flute does. If a baroque flute is Yes. But there’s another thing which I’ve learned from dance. being passionate, obviously it sounds on a relatively small Music is about physical movement. We tend to think of it as scale, but the equivalent on a modern flute isn’t to play small; a brain thing. And what is interesting is that when you do it’s to play passionately on an appropriately larger scale. What something to dance, you use much larger muscles and you performance practice should really be about is what music become aware of impetus and flow. The trouble with playing means, not just what it sounds like. most musical instruments is that we use tiny muscle move- ments that don’t make us feel enough as if we’re moving. So, the expression must come from the student rather When we’re excited, our muscles are more tense or more than the teacher? I suppose the ultimate application of poised, and when we’re relaxed, they soften. If you listen to a this comes from the Suzuki method. I know you have really expressive player, and Wibb’s a good example, or done work with Suzuki students. Galway, there is a softness in their playing. If they’re playing Yes, I’ve done dance work with Suzuki students, which was something soft and beautiful, it sounds soft and beautiful, it really good. I did classes with Anna Thibeault in England. doesn’t sound like something pseudo-soft or like a carving of Since Suzuki teachers and pupils can play from memory, I

COURTESY ELDRED SPELL something soft. had them dance and play. That reshaped their phrasing with-

nfaonline.org Fall 2006 The Flutist Quarterly 49 STEPHEN PRESTON: A COMPLETE AND UTTER NOVELTY There is a danger in shaping music a certain way because it’s the current fashion, rather than letting the music speak according to the way it feels and flows.

out my having to say anything. And that is also true with If you listen to old flute recordings, you hear how much some exercises I use. They can reshape a pupil’s playing with- playing has changed in 50 years. You could actually reduce out them thinking about it. It’s sort of a joke for somebody that to 10 years. How could we possibly know what they did like me who has spent so much time thinking about things. centuries ago? Our conceptions of sonority are so totally dif- “Don’t think.” It’s really good not to think. You need to feel. ferent. In the 18th century, they played in rooms with people And you need to feel, not just in an emotional way, but in a heavily clothed, often very closely packed together, with the physical way. If you can feel physically what you’re doing, heat of candles and candelabras hanging just over their then I really think you are doing the right thing. heads. I strongly suspect we’d be appalled at their ideas of what a good sound was. I think that sound to them was Yet, you’re very good about technique. shape. Early-19th-century tone exercises are less about the My approach to technique is based mostly on observations. quality of sound than the ability to crescendo and decrescen- I’m somewhat wary of technique. There are so many people do. One does wonder whether the primary idea of tone, at who say you should do something this way, or you should do least with the Germans and English, was to be able to create something that way. But some common sense and a tiny bit dynamic nuance, and that it wasn’t much about color. The of historical perspective will show you that people have done French, interestingly, were more concerned with color. You things in many different ways. Human beings create tech- play old French flutes and they don’t have much dynamic nique, technique doesn’t create us. Also, there’s still far too range; they’re all color. much emphasis on lengthy practice. If we’re going to treat technique as a purely physical thing, we should do what ath- Authenticity—what is it? letes do. They observe what they do and maximize their First of all, authentic is doing something that is genuine, is learning. We shouldn’t waste hours banging away, ruining true; and that means that any musical performance can be our bodies, or worse than that, ruining our minds. We tend authentic. So that’s one very important level of authenticity. to think of muscles, but everything takes place in the brain. The other, on the specialist side, is that it’s authentic in the The hand occupies one of the largest areas in the brain, and sense that the musician has tried to take into account factors we should think of practicing physical technique as actually which contribute to the making of that particular piece of developing our brains, not our hands. music in a way that the composer might have intended. It’s not ignoring the fact that 300 years have passed. It actually I can’t let you off without talking a bit about perform- tries to look at music on its own terms as far as possible, ance practice and the concept of authenticity. I’m sup- because it removes that arrogance about you, or our culture, posed to know something about this, but confess I still being the first point of reference and everything else being feel insecure when approaching a new piece. secondary. I think it’s a pity, this insecurity. But insecurity is better than It gives us a way of moving forward, very much like new arrogance. After all, no one picks up Shakespeare and says, music. My interest in performance practice has never been because I can read words, I understand everything that about fashions and styles of playing. Rather, it’s always been Shakespeare is about. It is prevalent amongst flutists to think about investigating music and music making. > that because one can read music, one understands what music is about. Authenticity is an interesting thing. When I Eldred Spell is professor of flute at Western Carolina started I had the attitude that we could pick up old books University. A popular recitalist and clinician, he has and reproduce old styles—accurately, so that they were real. appeared throughout the U.S., Canada, and England. Spell What we meant by authentic was what Christopher serves on the editorial board for The Flutist Quarterly and Hogwood said—“scrape away the varnish.”In some ways we has been a member of the board of directors of the National do scrape away the varnish, but we put our own layers on. Flute Association and its Performance Health Care We can take that metaphor further, as there is a school of Committee. He maintains a substantial collection of historic thought about the cleaning of paintings whereby you can flutes and performs primarily on a 19-century instrument by take off too much varnish and turn the picture into some- Louis Lot. Spell holds a PhD from Michigan State University. thing it never was in the first place. I’m convinced that’s what His teachers include Clement Barone, William Bennett, we do in general in performance practice. We do things that Israel Borouchoff, Geoffrey Gilbert, and Stephen Preston. weren’t done. We do what they tell us to do in books, but as we know, even from our own modern teaching methods, few Thanks to Amara Guitry for transposing and editing the people actually do what they write. interview and to Anna Thibault for brokering the article.

50 The Flutist Quarterly Fall 2006 nfaonline.org

PassingPassing Information about absent friends TonesTones harles O. DeLaney, 81, professor emeritus at Florida State University, died at his home July 8, 2006. CDeLaney was an active member of the National Flute Association, and served as the organization’s president in 1986; he received the Lifetime Achievement Award at its 1998 convention, and was a member of the NFA Cultural Exchange Delegation to China. He also was a founding member of the Florida Flute Association. DeLaney was professor of flute at FSU College of Music from 1976 to 2000. He had previously taught at the University of Illinois (1952–76), where he was associate conductor for the University Orchestra and musical director for the university’s musical productions. He also had been an instructor at the University of North Carolina (Greensboro) and Earlham College. A native of Winston-Salem, North Carolina, DeLaney served in the Army Signal Corps. He held degrees from Davidson College (BS in psychology and education), the University of Colorado (MM in flute and composition), and the Conservatory of Lausanne, Switzerland (virtuosity degrees in flute and viola). He served as flutist and Charles O. DeLaney conductor at the Brevard Music Center for 16 summers. He was director of instrumental music and conductor of the Symphony Orchestra at the North Carolina Governor’s School for seven years. Additionally he was music director and conductor of the Albany (Georgia) Symphony Orchestra from 1979 to 1988. DeLaney appeared throughout the United States as a soloist and clinician. His three recordings of contest pieces for flute, released by the Selmer Company during the 1960s, were the first recordings of that literature; they were accompanied by the man- ual, The Teacher’s Guide to the Flute. He pioneered the revival of early flutes and published a number of compositions, including “’and the Strange Unknown Flowers” for solo flute and “Variations on an English Folksong” for alto flute. He also composed two film scores, notably The Marshes of Glynn, based on the poem by Sidney Lanier, the 19th-century, southern poet and flutist. Of Charles DeLaney, flutist and friend Karl Barton said, “Those who knew him well have many fond memories, and chief among these were his fabulous (and sometimes unending) stories. Perhaps the best tribute I can recommend is for us to share with one another and the larger flute community from the wealth of tales he gave so freely, or to recount the tribulations to which he subjected those of us lucky enough to count him as one of our teachers. Let us join together to celebrate and recount his vast legacy to the flute world. Charlie was an incomparable man, musician and flutist who will be sorely missed.”DeLaney is survived by his wife, Susan, son Timothy (and wife Kristyn) of Atlanta, son Thomas of Brooklyn, New York, daughter Teresa Mathews (and husband Evan) of Tallahassee, Florida, sister-in-law Linda DeLaney of Sarasota, Florida, and an extended and cherished family of musicians and former flute students all over the country. Memorial contributions may be made to FSU College of Music, Office of the Dean, Tallahassee, FL 32306-1180; the National Parkinson Foundation; or Covenant Hospice.

rayda J. Oston, 67, died April 29, 2006, after a short illness. She was born in Brooklyn, New FYork, March 14, 1939, and later moved to Massachusetts, where she lived for 25 years. She had resided in Albuquerque, New Mexico, since 1990. Oston was a founding director of Brannen Brothers in 1978. In 1994, she conceived of the Brannen-Cooper Fund to honor Albert K. Cooper’s lifelong contributions to flutemaking and served as fund coordinator until 2002. For several years, she also served as the company’s executive vice president. Osten’s life was rich with many interests, experiences, and accomplishments. She was a gourmet cook and opera buff. She volunteered for hospice, the Samaritans, the Women’s Shelter, and the United Way. Working in various fields from mental health to flutemaking, she was at times a scientist, an administrator, Frayda J. Oston and a business executive.

lutist Neville Amadio, who spent more than 50 years with the Sydney Symphony Orchestra, died May 29, 2006, at the age Fof 93. Amadio joined the Sydney Symphony Orchestra as a 15-year-old boy in 1927. He went on to hold the position of principal flutist with the group for 51 years. Amadio was also a solo and chamber music performer, the professor of flute at the New South Wales Conservatorium of Music, and a founding member of Musica Viva, a group that produces classical and chamber music concerts. Sydney Symphony managing director Libby Christie said the whole orchestra was saddened to hear of Amadio’s death. “Neville was a man of immense talent who made such a remarkable contribution not just to the Sydney Symphony but to classical music on the world’s stage,” she said. The current principal flute with the orchestra, Janet Webb, noted that Amadio “was such a huge figure in Australian flute playing because he was with the orchestra for so long.”Amadio is survived by his wife, Hilda, and his daughter, Robin.

nfaonline.org Fall 2006 The Flutist Quarterly 53 From the DEVELOPMENT DIRECTOR By Richard Soule, NFA Development Director 15th Lifetime Achievement Awards Banquet National Flute Association Convention August 12, 2006, Pittsburgh, Pennsylvania

Jeanne Baxtresser Stephen Preston and Katherine Borst Jones “You have given me permission to move on.” Preston’s teaching career includes posts at all four of London’s —Jeanne Baxtresser music colleges: the Royal Academy, the Guildhall School, Trinity College of Music, and the . His PhD work he National Flute Association honored two world-class at Dartingon College of the Arts influenced him to create new flutists at its annual lifetime achievement awards banquet ways of improvising, techniques Preston later referred to as Tbenefiting the NFA endowment. A capacity crowd Ecosonics, a new musical and improvisational language he witnessed the presentation of one award to baroque flutist developed from research and experimentation. His latest work Stephen Preston and the other to former New York includes duo recitals with baroque flutist Amara Guitry and the Philharmonic principal flutist Jeanne Baxtresser. development of an improvisation ensemble with acoustic com- In presenting the award to Stephen Preston, NFA President poser and cellist Thomas Gardner. Of Preston’s teaching style, Katherine Borst Jones said, “…you have been a courageous Guitry said, “Dr. Preston is an extraordinary teacher; he pioneer in the early-music field both as a musician and a inspires and guides rather than dictates. Always extremely choreographer, a sought-after teacher who believes in showing generous with his time and knowledge, he is that rare teacher the way rather than dictating it.”Referring to Preston’s many that does not tell you what to do, but instead helps guide you to achievements, Borst Jones cited the influence on his career your own musical personality. He is constantly teaching others of an 18th century boxwood flute loaned by Arthur Watts, and sharing in the learning process, leading the way with open- the vice-consul to the Suez and an amateur recorder player, as ness to new musical experiences.” well as study with Belgian gambist Wieland Kuijken. Among Of Jeanne Baxtresser’s achievements as a flutist and teacher, Preston’s many achievements were his membership in the NFA Immediate Past President Sue Ann Kahn listed many original English Consort, the Academy of Ancient Music, the highlights including upholding an increasingly higher standard London Baroque Soloists, and the English Baroque Soloists. of artistic excellence for the flute, its performance and its literature,

54 The Flutist Quarterly Fall 2006 nfaonline.org old and new; enhancing flute pedagogy assistant program chair Emily McKay, A portion of each ticket price went and music education; creating and and publications director Anne directly to the endowment, helping the sponsoring significant projects relative Welsbacher. NFA past presidents in organization toward its goal of the $1 to the flute and flute playing; and attendance included John Bailey, million mark. Banquet attendees were encouraging the spirit of helpfulness Penelope Fischer, Bernard Goldberg, also advised on other ways to contribute and fellowship among (flutists) and the Katherine Borst Jones, William to the NFA including wills and flute world. Montgomery, George Pope, and bequests, life insurance gifts, gifts of “Her life history reads as a clear path Richard Soule. The Pittsburgh Flute stock, and charitable gift annuities. moving strongly, positively, unerringly Club honored Goldberg, its longtime For information on how to contribute forward,” said Kahn, who described mentor, founder of the club, and for- to the NFA and help the endowment Baxtresser’s teaching as lessons in life mer principal flutist of the Pittsburgh reach its goal, please contact me directly skills as well as in flute technique. “The Symphony, by purchasing an entire at [email protected] or call me at lessons learned: focus on who you are, table in his honor. 702-895-3377. what you are doing, check your ego at the door, don’t be disheartened by com- petitiveness or insecurity. Make the music important.” 5BJ )FJ 4IBLVIBDIJ Past President Kahn’s presentation speech also focused on her interviews * -  "" 1/ - with some of Baxtresser’s colleagues. >ŽiÀʜvÊÌ i To her amazement, she reported, “…I (was) struck by how her artistry, -11/ integrity, dedication, quiet confidence, - >ŽÕ >V ˆÊi>`œˆ˜ÌÊvœÀÊÌ iÊ-ˆÛiÀʏÕÌi warmth and wholeness of spirit shines ÊÛiÀ̈V>Þ‡ i`Ê ÞLÀˆ`ʈ˜ÃÌÀՓi˜Ì Vœ“Lˆ˜ˆ˜}ÊLœÜˆ˜}ÊÃÌޏiÃÊEÊÌiV ˜ˆµÕiÃÊ`ˆÃ̈˜V̈ÛiÊ̜ÊÌ iÊÌÀ>`ˆÌˆœ˜>Ê through every interview.” >«>˜iÃiÊà >ŽÕ >V ˆÊÜˆÌ ÊÌ iÊV>ÃÈV>Ê7iÃÌiÀ˜Ê œi “ÊyÕÌi° Prior to her student days at the Juilliard ˆÌÃÊ-Ì>˜`>À`Ê ‡ÊœÀÊ ‡ÊœœÌ]ʏ̜ÊEÊ7œœ`ʏÕÌià School of Music, Baxtresser attended the Interlochen Academy. Her first orchestra ÜÜÜ°Ã >ŽÕ >V ˆ°Vœ“ position following graduation from " /9 °  6 -" ] *°"° "8 ә{] 7/-]  ™x{™ä Juilliard was principal flute of the / \ ­ÇäÇ® {x™‡Î{äÓ U 8\ ­ÇäÇ®{x™‡Î{Î{ U “œ˜ÌÞJà >ŽÕ >V ˆ°Vœ“ Montreal Symphony, followed by 15 years as principal flute of the New York Philharmonic. Baxtresser is professor of flute at Carnegie Mellon University in The Pedagogical Techniques and Methods Pittsburgh and is in demand worldwide for her masterclasses and clinics. Of her of Flutist William Montgomery recent work as a teacher, Kahn said, “She prepares her students for every possibility and celebrates their efforts. This book presents the Each (student) is helped to see what is teaching philosophies, really important, how to go beyond inse- curities, competitiveness, and ego. pedagogical approaches, Jeanne’s students are now becoming techniques, and methods master teachers in their own right; her profound advice reverberates through of flutist William the years, as her students now help oth- ers.” Montgomery. The success of this year’s banquet was measured not only by the achieve- “a ‘must-have’ for any flutist who is ments of the award recipients but also interested in exploring pedagogical by the generosity of those in atten- concepts and techniques” dance, who came to celebrate our (Dr. Pamela Youngblood, Texas Woman's University) Lifetime Achievement Award recipi- ents and to help the NFA’s endowment to grow. Honored guests attending this To order the book The Pedagogical Techniques and Methods of Flutist William year’s events included Honorary Life Montgomery, please e-mail Linda Kirkpatrick at: [email protected]. You President Mark Thomas, the NFA’s will be sent an order form for the Mellen Press. The book will be selling for $39.95 until officers and board of directors, execu- the end of December 2006. After that time, the price will increase significantly. The tive director Phyllis Pemberton, 2006 book may be purchased directly through the Mellen Press web site for $109.95 program chair Thomas Robertello and

nfaonline.org Fall 2006 The Flutist Quarterly 55 LORNA MCGHEE AND HEIDI KRUTZEN ARE HAPPY TO ANNOUNCE THE RELEASE OF THEIR SECOND CD Canada New Works for Flute & Harp

An eclectic program to reflect Canadian musical diversity and innovation, including three world premiere recordings of Krutzen/McGhee commissions. www.krutzenmcgheeduo.com Available in stores and directly from Skylark Music: www.skylark-music.com Catalogue #:SKY0603 “Technical virtuosity...exceptional expressive quality...the Krutzen/McGhee Duo [is] a very exciting and forward thinking combination.” – Pan Magazine, British Flute Society From the RESEARCH COORDINATOR Winning Dissertations

he 2006 Convention in Pittsburgh first to address systematically Jolivet’s “A Symbolist Melodrama: The featured presentations by the two philosophy, aesthetic, and composi- Confluence of Poem and Music in Twinners of this year’s Doctoral tional practice as it had evolved by the Debussy’s La Flûte de Pan” Dissertation Competition sponsored end of his life. by the NFA Research Committee Many aspects of Ascèses support an Laurel Astrid Ewell (John Bailey, Susan Nelson, Ardal interpretation of the piece as an impor- West Virginia University Powell, Michael Stoune, and Nancy tant referential work. The composition Claude Debussy’s work Syrinx for solo Toff). Dissertations by Michelle A. bears many striking similarities to one of Cheramy, DMA, Rice University, 2006, flute has captured the imagination and Jolivet’s self-identified paradigmatic and Laurel Astrid Ewell, DMA, West interest of performers and scholars for works of the 1930s, the Cinq Incantations Virginia University, 2004, were selected nearly a century. Composed in 1913 as for solo flute. In addition, the unaccom- for their outstanding contributions to incidental music for Psyché, a dramatic panied monophonic medium is one in flute study. Each summarized aspects of poem by French symbolist poet and her doctoral paper for the convention which Jolivet did not work for 30 years, playwright Gabriel Mourey, the work audience. Complete abstracts are making his return to it in the 1960s has since become a standard of the included below. particularly striking and important. solo . Anders Ljungar- This study approaches the investigation Chapelon, editor of a new edition “Dwelling in the Secret: André Jolivet’s of Ascèses, and of Jolivet’s final years, based on a recently recovered period Ascèses in the Context of his Life and from several directions. It first positions manuscript, has challenged traditional Philosophy” Ascèses within the biographical context conceptions of the work’s compositional of the last 15 years of Jolivet’s life, and context. The piece known as Syrinx was actually titled La Flûte de Pan by Michelle A. Cheramy suggests that Jolivet’s activities of this Debussy and appeared as a musical Rice University time support a reading of Ascèses as a component of a melodrama within defining composition. The document the play just prior to the death of Pan. This document presents a case for next presents a detailed exploration of The principal evidence supporting the viewing Ascèses (1967) for solo the state of Jolivet’s aesthetics and setting as a melodrama comes from flute/clarinet as a paradigmatic work in world view as they had evolved by the lines of poetry inscribed as cues before the compositional output of French 1960s, presenting a unified model of m. 1 and m. 9. These inscriptions orient composer André Jolivet (1905–74), a Jolivet’s philosophy from which the flow of the words to the music. work reflective of his aesthetic and philo- Ascèses can be seen to have sprung and The recovery of a probable primary sophical ideals as they had developed by suggesting ways in which Ascèses source manuscript invites a new look the 1960s. Seen from this perspective, reveals the strength of particular influ- at this piece, taking into consideration Ascèses serves as a touchstone for a ences on Jolivet’s later thought. The connections between Mourey’s Symbolist deeper understanding of the aesthetic extramusical materials of the work are poetry and Debussy’s compositional procedures. The analysis of the poem and philosophical stance from which then considered for how they confirm and music reveals a process crafted by Jolivet was working during the last and expand the understanding of the composer that presents the symbolist decade of his life. In addressing issues Jolivet’s worldview as presented. The associations between poem and music. surrounding Ascèses, the document document concludes with a consideration This project contains analyses of the also addresses an important gap in of the manner in which Jolivet translates relevant portions of the poem, the scholarship relating to the life and his late aesthetic ideals into compositional music, and performance suggestions work of Jolivet: while the details of practice and, through a detailed analysis that enhance the unique confluence Jolivet’s early life and work have been of the piece, how Ascèses reflects, at a between word and music. explored to at least some degree by deep structural level, the most important other writers, this document is the of them. —Rachel Lynn Waddell

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RESIDENTIAL SUMMER FLUTE CLASSES with PATRICIA HARPER Greenville, South Carolina – June 10 - June 15, 2007 Brownsville, Vermont – June 24 - June 30, 2007 NEW: Monterey, California - July 9 - 13, 2007 For information and repertory list: e-mail: [email protected] (SC class) [email protected] (VT and CA classes) telephone/fax (860) 767-0629 From the PROGRAM CHAIR hat a fantastic convention we boring states (Arizona, Utah, Colorado, have just had in Pittsburgh! Texas) will work with us to host this as a WBravo to program chair Tom truly Southwestern convention. “Many Robertello and his assistant, Emily hands make light work.” To volunteers McKay, for creating such a rich, vibrant from these organizations, we thank you program. Kudos to all those who pre- in advance for your participation. sented and performed, and thanks to An informal slogan for this convention the many volunteers, including local is “Come early … stay late.”If you know chair Wendy Kumer and members of New Mexico, then you know what I the Pittsburgh Flute Club, who helped mean. If this will be your first trip to make things run so smoothly. “The Land of Enchantment,” consider As I take the reins for the Albuquerque spending additional time here. If you convention in 2007, I am humbled by the love the visual arts, the world-famous immensity of the task but also excited by galleries of Santa Fe and Taos beckon. For the immense possibilities. New Mexico is those who seek a rich musical experience my home state and a refuge to which I to complement our convention, the have returned year after year. It is a joy to Santa Fe Chamber Music Festival and invite you to Albuquerque to celebrate all the Santa Fe Opera offer performances aspects of the flute, to share the rich on both sides of our dates. Native Nancy Andrew Native American and Hispanic cultures American and Hispanic cultures of the of the region, and to enjoy the breath- region can be explored both through taking scenery of Albuquerque and its visits to Albuquerque sites such as Old environs. (The elevation of 5,200 feet Town, the Indian Pueblo Cultural will be a bit breathtaking, too!) Center, and the Hispanic Cultural Over the past year, I have made several Center, and through day trips to the visits to the Albuquerque Convention northern Pueblos and prehistoric ruins. Center to become familiar with the space, And finally, the dramatic beauty of the the surroundings, and the staff. This will landscape awaits: horizons that stretch be a fabulous location for us. We have an to infinity, mountains that inspire awe, auditorium for evening concerts, large and the play of light on the land that has rooms with excellent acoustics for day- drawn artists for decades. We will be rec- time concerts, and smaller rooms named ommending magical destinations in for area Indian Pueblos such as Taos, future columns, including hints for Laguna, and Cochiti. The two hotels the budget-minded. Additional infor- adjacent to the convention center— mation can be found at itsatrip.org the Double Tree and the Hyatt—are and newmexico.org. comfortable, convenient, and classy. Our slogan for the 35th convention in The La Posada Inn a few blocks away Albuquerque, ¡Viva la Flauta!, sums up offers authentic, historic southwest the spirit of the convention: a celebration hospitality. Restaurants abound in the of the flute in all its aspects. As the area, including those specializing in evening concerts take shape and the our mouthwatering Southwestern cui- proposals flow in, I can tell you with sine. (Distinctive to New Mexico are excitement that there will be a special our blue corn tortillas, home-grown cultural “flavor” to this convention. chilis, and sopaipillas.) Come help us celebrate our passion for A special strength of this location is the our beloved instrument and its music in Albuquerque Flute Association. The one of the most enchanting parts of the leadership, vision, and energy of this country. Participate, present, perform, community of flutists is inspiring. volunteer, attend—but most of all, be Founded in 1986, the organization there! See you in Albuquerque in ’07! sponsors an annual Flute Fiesta and a national competition, as well as other activities. The flute clubs in all the neigh- —Nancy Andrew, Program Chair nfaonline.org Fall 2006 The Flutist Quarterly 59 NEW PRODUCTS Recordings, music, and other products by and for NFA members

Sonaré Winds is now shipping the SP-500 piccolo, made Zéphyros Winds has released a CD of from a polymer material to enhance resonance. The music by Gounod and Mozart. SP-500 headjoint is cut at the Powell factory to further Zéphyros flutist Jennifer Grim is fea- enhance resonance and make the SP-500 easy for stu- tured in a performance of Gounod’s dents to play. A modified version of the Powell scale is Petite Symphonie. The disc also also crafted at the Powell factory, and silver-plated includes Mozart’s Serenade in E-flat keywork is provided by Sonaré’s partner in China. Major K375. For information, visit Sonaré Winds offers a family of flutes, piccolos, and zephyroswinds.com. trumpets, partnering with other instrument makers such as Verne Q. and Blackburn Trumpets to create affordable instruments with pro- fessional features and sound. For more information, call 978-461-6111 or visit sonarewinds.com. MakeMusic, Inc., has released Finale 2007 for Macintosh and Windows-based computers. This music notation software upgrade includes new features designed to enhance productivity and offer broader creative options. Finale 2007 offers the ability to automatically create and format parts as a score is created; these parts are dynamically linked, but only where this is desired. Finale 2007 is the first music notation software that runs natively on both Intel- and PowerPC-based Macs as well as Windows- based computers. KONTAKT Player 2 is integrated into Finale 2007. Imported digital video is automatically synchronized with nota- tion as users compose, edit, and play back scores. Additional features include Fit to Time, user-definable frame rates, the ability to write time code to the score, and the option to send SMPTE/MTC to external devices. Users also can select from a variety of Latin percussion rhythms. For more information, visit finalemusic.com. ! 3EAMLESS #ONNECTION "ETWEEN )NSTRUMENT AND -USICIAN (ANDCRAFTED INSTRUMENTS DESERVE THE VERY HIGHEST LEVEL OF CARE %ACH INSTRUMENT THAT IS SELECTED FOR YOUR CONSIDERATION IS THOROUGHLY EXAMINED AND OPTIMIZED BY 3USAN PRIOR TO SHIPMENT

3USAN 3HOCKEY 9OUR &LUTE AND 0ICCOLO 3PECIALIST #ONTACT 3USAN AT £‡nää‡Çä{‡{În™ ÜÜÜ°VÕÃ̜“ÃiiVÌ܈˜`°Vœ“ " %JWJTJPO PG 5IF 8PPEXJOE  #SBTTXJOE REVIEWSREVIEWS Reviews of flute-related recordings, books, and other items of interest CDs Flute Loops: The CD opens with a work for six flutes, Flute Loops, Chamber Music by Cynthia Folio divided into two choirs and joined by piano. It is interestingly Centaur Records scored, and would appeal to those seeking challenging flute choir literature. Many flutists are looking for worthwhile pieces for flute and voice. Two Songs on Poems by Stephen Dunn is scored for this combination, plus triangle. It is a significant contribution to works for this setting and well worth performing. Seven Aphorisms for Woodwind Quintet is one of the most engaging works in recent years for this ensemble. It is short, slightly under 10 minutes in length, and contains a plethora of textures, moods, and personalities at once captivating and entirely original. Flute Fantasy,for solo flute, is the earliest work on this collection, dating from 1976. It explores the lyrical uses of extended techniques that are nearly “standard” in many such compositions for flute today. It is well within the technical ability of many high school players, and is a great introduction to pitch bends, a few multiphonics and the like. Folio’s Trio for flute, cello, and piano should become a standard work for that combination, alongside the Weber and Martinu trios. It is lyrical, yet has a wonderful rhythmic life of its own that reminds one at times of the energy of the Martinu trio. Four ‘Scapes is a creative setting for four flutes doubling on piccolo, alto flute, and , using a few extended t is always challenging to find refreshing new works with techniques. Perhaps the most unusual combination of Iflute that are musically satisfying, provide evidence of instruments on this CD is Developing Hues for flute and thorough craftsmanship, and speak with authority and bass clarinet. This is a demanding work for both instruments originality. Flute Loops: Chamber Music by Cynthia Folio (2005) that explores extremes of ranges and dynamic subtlety, fits this description beautifully. Cynthia Folio is an associate reminiscent of some of Villa-Lobos’ music. The last movement professor of theory at Temple University, a fine flutist, and is essentially in octaves, but with a lively dialogue between an exceptionally interesting composer. both instruments. Flute Loops is a 77-minute excursion into Folio’s creativity The final work on the recording, Through Window’s over a period of nearly 30 years, beginning in 1976. Each of Lattices, is in one movement and scored for flute, the eight works on this CD has its own personality. The listener clarinet/bass clarinet, violin, cello, percussion, and piano does not feel as if Folio is trying to work through the same exploring a kaleidoscope of timbres filled with rich interplay ideas from one piece to another. If there is, however, a among all players. This CD is extremely well presented— thread that connects these pieces together, it is Folio’s crafts- varied works and exceptional performances. For flutists manship, which skillfully interlaces tonal and linear textures looking for new, challenging, and creative music in widely into a whole that seems logical, and almost inevitable. Every diverse styles that are very personal and also accessible, this work on this recording has an individuality that provides an is a “must” recording. intriguing view into the mind of this fine composer. —Brooks de Wetter-Smith

62 The Flutist Quarterly Fall 2006 nfaonline.org Books Beyond Talent: all with accompanying examples, grids, and checklists. Nearly Creating a Successful every page is divided into subheads. Tips, quizzes, check lists, Career in Music, by (true) case histories (anonymously, from the author’s files), and worksheets are in different fonts and very accessible. There are Angela Myles Beeching examples of grants, promotional letters, budgets, fund-raising Oxford University Press, 2005 documents—even how to write an invitation to a party to launch a CD. Chapters contain discussions of attitudes toward or the past 20-plus years, performing, keeping a performance journal, and working Fthe primary extracurricular through health and injury problems. event for fledgling performers Each chapter ends with “Suggestions for moving ahead,”which has been the masterclass. Now it outline ways to actively put the principles of the chapter into seems to be the career-building- practice. And if anyone feels they need more, an appendix tools seminars, on which circuit includes additional resources, books, Web sites, and organizations. Angela Myles Beeching figures In the middle of the book is an interlude that asks fundamen- prominently. A cellist and tal questions: Why are you in music? (with motivational quiz); director of the New England How do you define success? What kind of partnerships are you Conservatory Career Services Center, Beeching’s book, Beyond creating through your performances? and How meaningful is Talent, leaves nothing to chance. It is based on the axiom that your work? Readers may reassess their commitment to the pro- successful musicians make their own “career paths” individually, fession after internalizing the preceding chapters that present the and that these always require an entrepreneurial approach. overwhelming complexities of creating Web sites, demos, and It begins with basics—goal setting and people skills—and CDs. However, “taking the journey from Chapter 1 to the end,” proceeds step by step: recording terminology and how to choose as recommended, may leave readers feeling qualified as career a recording engineer; letterhead and business cards; how to write counselors themselves. a bio, a press release, a contract; time and financial management, —Susan Goodfellow

Taffanel, appeared on nearly every page. Genius of the Flute, Blakeman has catalogued the archive of Taffanel’s letters, by Edward Blakeman papers, and photographs, hitherto rarely consulted, for what began as a doctoral thesis. Flutists will feel immediate rapport Oxford University Press, 2005 with further insights into beloved repertoire; a personal connection to familiar names of players and composers; and affanel’s importance to a sense of being part of the flute world of Belle Epoque the flute world as com- T France through Taffanel’s contributions to music, cultural poser, conductor, performer, history, and humanity. and teacher is incalculable; Items of special interest abound. There are excerpts from also incalculable is the scope the correspondence between Taffanel and Joachim Andersen, of Taffanel, Genius of the especially as relating to Taffanel’s admiration of Andersen’s Flute, which sets its subject in the middle of his time compositions. There are lists of personnel, programs, and historically and shows the reviews for each season of the Taffanel-founded Chamber musical and cultural influ- Music Society for Wind Instruments. We find 15 years of lists ences that shaped his of students, repertoire, and award winners for the thought and how he subsequently shaped the course of Conservatoire flute class, along with pithy faculty evaluations French music. for each student (in 1893, for Barrère: “He made a little I first randomly opened this book to an account of the pre- progress;”in 1904, for Pierre Camus,“Good intentions paralyzed miere of Charles Widor’s Suite for Flute and Piano. Intrigued, by being too nervous”). We have accounts of the final editing I flipped to another page and alighted on an evaluation of the of the best-known Concours pieces; of Taffanel’s champi- editions of the Weber flute/cello/piano Trio, with Taffanel’s oning of the music of Wagner (he conducted a highly metronome markings for each movement. Hoping for three acclaimed Paris Opera premiere of Die Meistersinger), and pearls in three tries, I opened the book again and found this his interest in advances in flute making. Eighteen pages of time Taffanel’s progress report to the father of his student photographs show the artist, letters, programs, and pages Leopold Lafleurance (who later preceded Philippe Gaubert as from his manuscripts. professor at the Conservatoire). As I then read the book I gave copies to all of my graduating university flute majors. through, I discovered that musical and historical gems —Susan Goodfellow

nfaonline.org Fall 2006 The Flutist Quarterly 63

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