VOLUMEXXXV , NO . 4 S UMMER 2 0 1 0

THE LUTI ST QUARTERLY

Rudall, Rose & Carte: The art of the flute in Britain

Claude Bolling at 80 The Flute Duets by W.F. Bach Illuminating Tradition: The 2010 NFA Convention

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www.miyazawa.com 800.967.6733 [email protected] Table of CONTENTS THE FLUTIST QUARTERLY VOLUME XXXV, NO.4 SUMMER 2010 DEPARTMENTS 5 From the Chair 65 NFA News 7 From the Editor 71 Notes from Around the World 10 High Notes 74 New Products 14 Flute Shots 75 From the 2011 Convention Program Chair 39 Across the Miles 42 Illuminating Tradition: 38th Annual 76 Reviews NFA Convention in Anaheim 88 NFA Office, Coordinators, 60 Contributors Committee Chairs 18 62 Student Spotlight: Brook Ferguson 93 Index of Advertisers

FEATURES 18 Rudall, Rose & Carte: The art of the flute in Britain by Robert Bigio “It would be a difficult task to name a professional flute player in Great Britain who does not play on one of our instruments,” says a Rudall Carte catalog of the 1930s. This was no idle boast: for over a century virtually every professional flute player in Britain used one of their instruments. 26 Wilhelm Friedemann Bach’s Six Flute Duets: A Tercentennial Appreciation by Leonard Garrison In his brief overview of the life and times of this eldest son of J.S. Bach, born 300 years ago this year, the author offers background, musical analyses, and suggestions for performance. 34 Claude Bolling: A Living Legend Turns 80 by Pamela Sklar Duke Ellington’s “spiritual son” talks about his pleasure with the success of his collaboration 26 with Jean-Pierre Rampal, his musical influences, and his love of trains. 58 Optimistic Realist: 36 Years and Counting with the Indefatigable Gwen Powell by Patti Adams Gwen Powell has given her energy to the NFA since its second convention, only one of many reasons she has been honored with this year’s National Service Award. Anaheim, the home of the first and this year’s convention, plays a serendipitous role in Powell’s contributions as well.

Cover image: Robert Bigio; carved ivory eight-keyed flute by Rudall & Rose, London, c. 1830. Helen Valenza Collection. Gold flute, Richard Carte’s 1867 Patent, by Rudall, Rose & Carte, London, c. 1868. Private collection, U.K.

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

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

34 ISSN 8756-8667 © 2010 National Flute Association, Inc. 62

nfaonline.org Summer 2010 The Flutist Quarterly 3 OFFICERS Founder, Honorary Life President Mark Thomas 824 Charter Pl. Charlotte, NC 28211-5660 phone/fax: 704-365-0369 [email protected] markthomasflutist.com

Chair of the Board Leonard Garrison Lionel Hampton School of Music Music Room #206, University of Idaho Moscow, ID 83844-4015 208-885-6709 fax: 208-885-7254 [email protected]

Vice Chair of the Board Jonathan Keeble University of Illinois 1114 West Nevada St. Urbana, IL 61801 217-333-8142 [email protected]

Secretary Sandra Saathoff 1515 223rd Pl. NE Sammamish, WA 98074 425-836-4758 flutes@spu.edu

Chair of the Finance Committee Debbie MacMurray 4554 Leathers St. San Diego, CA 92117-3419 858-663-6389 fax: 513-492-4580 [email protected]

Assistant Secretary Francesca Arnone West Virginia University Division of Music P.O. BOX 6111 Morgantown, WV 26506-6111 304-293-4841 x3191 [email protected]

BOARD OF DIRECTORS Kimberly Clark (2009–2011) 15202 Circling Hawk Ct. Houston, TX 77095 281-550-4275 [email protected]

Daniel Dorff (2009–2012) 221 Meadowbrook Ave. Upper Darby, PA 19082 610-306-9480 [email protected]

Adrianne Greenbaum (2008–2010) 58 Ridgeview Ave. Fairfield, CT 06825 203-374-0607 [email protected] www.klezmerflute.com

Paul Taub (2008–2011) 1513 25th Ave. Seattle, WA 98122 206-328-5010 [email protected]

Linda Toote (2009–2012) 55 Arlington St. Newton, MA 02458 617-964-3571 [email protected]

Clifford Tretick (2008–2011) PO Box 1066 Mechanicsburg, PA 17055 828-242-4489 [email protected] From the CHAIR

Leonard Garrison

am looking forward to seeing many gems. The current success of the NFA featuring Joseph Mariano, previously of you soon in Anaheim. Each NFA owes much to our National Service sold out, is again available. If you stop Iconvention reflects the current state Award recipient Gwen Powell, who has by the NFA booth during dedicated of the flute in its diverse glory, and served unstintingly as president, pro- exhibit hours on Friday and Saturday, Program Chair Cindy Ellis has served gram chair, library liaison, banquet you can meet the NFA board and me, up a delightful assortment of treats. The chair, and many other positions. She is learn about how the organization evening Gala Concerts include magnanimous, tireless, modest, and full works, and voice your opinions. Chamber Music with a Twist, which of humor. I am continually grateful to The Board will work intensively promises to redefine the medium, a Gwen, as my involvement in the organ- throughout the convention, meeting concert featuring Lifetime Achievement ization originated with her invitation to each morning. In the past couple of Award recipients Leone Buyse and serve as a competition coordinator. years, the pressure to work through a Fenwick Smith and their many accom- While you’re in the mood to eat, dizzying agenda has been relieved by plished students, the Saturday Gala reserve a ticket for the Flute Lover’s our monthly conference call meetings, Concerto Concert, and a Sunday finale Lunch on Friday with the always enter- which enable us to give ample consider- exploring the theme “Illumination.” taining Jim Walker and the new ation to many issues and to engage the Please join me at the Fundraising Teacher’s Breakfast on Saturday with Dinner Saturday evening honoring guest speaker Tadeu Coelho. board more actively. It is an honor and three of our greatest (reserve your place For the first time, convention attendees pleasure to work with such a great team by contacting the NFA office). Current from any state can receive professional with a broad spectrum of viewpoints. high standards of flute playing owe development credit through California Thinking beyond Anaheim, please much to Leone and Fenwick, who both State University at Fullerton. Please see mark your calendars for our convention led stellar careers in the Boston nfaonline.org for registration details. in Charlotte on August 11–14, 2011. Symphony and through their teaching Please support our exhibitors, who Send proposals to perform and present continue to produce leaders in the flute depend on your purchases in the exhib- to Program Chair Lisa Garner Santa by world. Both have enriched the solo and it hall. While there, visit the NFA booth October 1, 2010. chamber repertoire through commis- to check out our publications. The Happy fluting to all. sions and seeking out little known Historic Recording Series Volume 2 —Leonard Garrison

nfaonline.org Summer 2010 The Flutist Quarterly 5 THE FLUTIST QUARTERLY Anne Welsbacher, Editor Erica Whitcombe, Copy Editor Christine Cleary, Amy Hamilton, Contributing Editors Lee Chivers, Masterclass Reporter Victoria Stehl, Art Director Steve DiLauro, Advertising Sales Representative Editorial Advisory Board John Bailey Professor of Flute University of Nebraska–Lincoln Lincoln, Nebraska Leone Buyse Joseph and Ida Kirkland Mullen Professor of Flute Rice University Houston, Texas Michelle Cheramy Associate Professor of Music Memorial University of Newfoundland St. John’s, Newfoundland Zart Dombourian-Eby Principal Piccolo Seattle Symphony Seattle, Washington Susan Goodfellow Associate Professor of Flute University of Utah Salt Lake City, Utah Amy Likar Flute, Piccolo, and Alexander Technique Oakland, California Betty Bang Mather Professor of Flute Emeritus University of Iowa Iowa City, Iowa Roger Mather Adjunct Professor of Flute (retired) University of Iowa Iowa City, Iowa Jerrold Pritchard Professor of Music Emeritus California State University–San Bernardino San Bernardino, California Eldred Spell Professor of Flute Western Carolina University Cullowhee, North Carolina Michael Stoune Associate Director of Graduate Studies, School of Music Texas Tech University Lubbock, Texas Paul Taub Professor of Music, Cornish College of the Arts Flutist, Executive Director, Seattle Chamber Players Seattle, Washington Nancy Toff Music Historian New York, New York Michael Treister, MD Orthopaedic and Hand Surgeon Amateur Flutist Chicago, Illinois Brooks de Wetter-Smith James Gordon Hanes Distinguished Professor of Flute University of North Carolina–Chapel Hill Chapel Hill, North Carolina Charles Wyatt Flutist, Writer Nashville, Tennessee Reviews Board 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 John Wion Professor of Flute The Hartt School West Hartford, Connecticut National Flute Association, Inc, Staff Phyllis T. Pemberton, Chief Executive Officer Anne Welsbacher, Publications Director Madeline Neumann, Convention Director Maria Stibelman, Membership Director Brian Covington, Web Design Consultant The National Flute Association does not promote or endorse any products, companies, or artists referenced in the editorial content of The Flutist Quarterly or other NFA publications. From the EDITOR

Anne Welsbacher

Lifelong Lessons

remarkably gifted 12-year-old depths, so I know little of music theory or Artistic Development Committee); the student, Yibiao Wang, is mak- practice techniques, less of the repertoire technical and acoustical differences Aing his way through Juilliard’s and players of the flute world. But between contrabass and alto flutes— pre-college program and has already through the articles in The Flutist and where I can find or repair these participated in an NFA convention (in Quarterly, interaction with the NFA’s and other low flutes (the Low Flutes 2009), receiving praise on that occa- membership and staff, and, most recent- Committee); the latest crop of com- sion from none other than Sir James ly, reports from the energetic members of posers to have written new music Galway. We’ll no doubt see and hear our many (and growing!) committees, thanks to our commissioning program more of him in the future,in this mag- I’ve learned far-reaching and personally azine and on stages at conventions. enriching lessons. (the New Music Advisory Committee); Another precocious student, Brook Past articles in our “Inner Flute” and all about new projects being Ferguson, who won last year’s Young department have offered insights on the cooked up by our chefs in the Jazz and Adult Competition prize, will be fea- tools of both discipline and joy, guidance Pedagogy committees. tured at this summer’s convention. She on trusting one’s instincts, appeals for And this is just throughout the writes about her competition experi- flexibility when unexpected diversions “school” year; never mind the learning ence in this issue—specifically, about a cross one’s life path, recipes on how to overdrive we all go into every August quandary she faced when she attempt- thrive through a terminal illness. From at the national convention, which this ed to defy some pretty basic laws of our feature articles I’ve learned about the year will be our 38th such event. depth and breadth of talented musicians nature about being in two different There’s lots to entice you to come to places at the same time. in our tribe and about the flute music of Anaheim within these pages as well. I, alas, am neither precocious nor Japan, China, various American and I hope that you enjoy as much as I do young, but I have discovered that I am European countries, and countless eras in still a student, receiving a fine education the wide landscapes of musical history. the lessons you take—and give—under through my day-to-day work on this Most recently, as you will discover the wide and generous umbrella of the magazine. I do not play flute (yet?), and within the pages of this issue, I am National Flute Association. I look forward although I was involved in music for learning about how to succeed as a to continuing my studies with you all. many years, I did not delve far into its self-employed artist (the Career and —Anne Welsbacher nfaonline.org Summer 2010 The Flutist Quarterly 7

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

FA member Margaret January at Weigel Hall Auditorium at the university. She was NCornils performed in her joined by Mark Rudoff, cello; Maria Staeblein, piano; and second solo concert at Carnegie pianist and composer Michael Ruszczynski, in a program fea- Hall in March. She was accom- turing a premiere. Ruszczynski joined Borst Jones for two panied by Sharon Jensen, piano. pieces—a new work composed especially for this occasion, Works included Bach’s Sonata in and “Poem,” composed for her in 1996. Also on the program B Minor for flute and piano, was “Vox Balaenae” (“Voice of the Whale”) by George Crumb BWV 1030, with Kevin Price, and Martinu’s “Trio.” continuo; Debussy’s “Syrinx” Borst Jones is a founding member and co-principal flute of (1913) for solo flute; Poulenc’s the ProMusica Chamber Orchestra, a member of the Sonata for flute and piano (1956); Columbus Symphony, and principal flute of the New Sousa Gary Schocker’s “Musique Band, which has toured in the U.S. and Japan. She has served Margaret Cornils Française” for flute and piano in many roles for the NFA and has performed with sym- (1997); Clifton Williams’ “Pandean Fable” for solo flute (1969); phonies, chamber groups, and festivals around the world. She and Genin’s arrangement of “Carnaval de Venise,”Op. 14. has recorded for CRI, d’Note, and Summit and has commis- Margaret (Peg) Cornils received her bachelor’s and master’s sioned solo and chamber works from such composers as Mark degrees from Northern Illinois University in flute perform- DeVoto and Tom Duffy. Her flute, viola, and harp trio, ance. She has performed in ensembles from theater to orches- Cosmos, has commissioned works from Libby Larsen and tral to chamber, and as a soloist; with artists Isaac Stern and Stephen Paulus, among others. Mstislav Rostropovich, Anne Murray, and Garrison Keillor, among others; and in halls throughout the U.S., from Orchestra Hall in Chicago, to her debut flute recital at Weill Recital Hall at Carnegie Hall in 2008. In 2009, she was named to Who’s Who in America. Teachers have included Geoffrey Gilbert, Charles Delaney, Jacob Berg, Tadeu Coelho, Immanuel Davis, Mary Louis Poor, Gale Coffee, and Peter Middleton. Cornils has judged flute competitions, including the NFA’s Young Artist Competition, and is flute professor at the University of Wisconsin-Platteville.

Maria and Ryan Ramey

FA member Maria Ramey and her husband Ryan Ramey Nrecently commissioned a new piece by Gary Schocker for flute, horn, and piano in honor of their 10th wedding anniver- sary. The trio, “Water Music,” is a short, two-movement work that consists of a lyrical movement titled “Waves” and a dance- like movement titled “Sun.”(The music for the trio is available at flutefinds.com.) The Rameys will premiere the work at the NFA’s national convention in Anaheim in August 2010 as part of the concert “Strange Bedfellows: Music for Flutes, Piccolos, Katherine Borst Jones, center, with former students Rachel Briercheck Steele, Mary Ann Munoz Nelson, Kimberlee Goodman, and Kelley Russell Latshaw. and Unlikely Partners.” Maria plays flute, piccolo, and alto flute, and Ryan plays horn, with various orchestras in the Los FA member and past president Katherine Borst Jones cel- Angeles and Orange County areas. They are also currently Nebrated her 25th anniversary as a member of the faculty recording a full length CD of flute and horn music. Visit of Ohio State University’s School of Music with a concert in rameymusic.com.

10 The Flutist Quarterly Summer 2010 nfaonline.org FA member Liz Pritchett Nhas joined Altus Flutes as sales manager. Pritchett will travel throughout the United States working with Altus flute retailers, teachers, and players. Pritchett is also a flute instructor and has been a flute sales special- ist for J.L. Smith & Co. She has worked with professional and amateur flutists individually and at flutes fairs and music trade Liz Pritchet shows. Altus has been in opera- tion for nearly 30 years. Its flutes are created and crafted by Shuichi Tanaka. Visit altusflutes.com.

Debussy Ensemble he Debussy Ensemble, comprising NFA member Susan TMilan (flute), Ieuan Jones (harp), and Matthew Jones (viola), presented a chamber program at the South Bank’s Purcell Room in March. The ensemble presented the world première performance of “Two Triptychs” by Jacob Thompson. Other works performed are by Bax, Liebermann, Debussy, Fauré, Glazunov, and Mathias.

Antara Ensemble he 14-member Antara Ensemble, led by music direc- Ttor/conductor/flutist Harold Jones, celebrated J.S. Bach’s 325th birthday in performance March 21 at Saint Andrew’s Episcopal Church in New York City. The program included “Sleepers Awake” from the Cantata No. 140, the Brandenburg Concerto No. 4 (with soloists Jones and Harold Archer, flutes, and Ashley Horne, violin), the Brandenburg Concerto No. 5 (with soloists Jones, flute, Carlos Baptiste, violin, and Michael Bunchman, piano), and the Double Concerto (with Ashley Horne and Carlos Baptiste, violins).

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18 The Flutist Quarterly Summer 2010 nfaonline.org Rudall, Rose & Carte: The art of the flute in Britain “It would be a difficult task to name a pro- fessional flute player in Great Britain who does not play on one of our instruments,” says a Rudall Carte catalog of the 1930s. This was no idle boast: for over a century virtually every professional flute player in Britain used one of their instruments. The firm of Rudall Carte, previously Rudall, Rose & Carte and before that Rudall & Rose, dominated the market, and its domination was due in large part to the extraordinary business acumen of one by Robert Bigio man: Richard Carte.

he historian’s dream is to find a shoebox full of doc- So, why is information like this so important to a histo- uments. The historian’s nightmare is to find that rian of the flute? After all, it has nothing to do with the Tshoebox just after the book has been published. In instrument. Well, consider this: Richard Carte, the illegiti- between—half-dream, half-nightmare—is to find the mate son of a common soldier, became a great success as a shoebox just as the book is about to go to the printers. musician, impresario, designer of flutes, and businessman; This half-whatever is what has just happened to me: My he married well above his social station to the daughter of book on Rudall, Rose & Carte was about to be printed when I a cleric at the Chapel Royal; he transformed a smallish came across a box—not a shoebox, but in fact a proper archive firm of flute makers into a large and hugely successful box in a proper archive that had not yet been catalogued. That musical business that sold almost all instruments and pub- box contained a couple of hundred letters by Richard Carte and lished music and books; and he lived, in some style, to a other members of his family, and it led me to ask his descen- grand old age. dants, once again, if they had anything of interest. Just look at the transformation in his fortunes: he was This time, they did: a long-lost trunk was found contain- born in a rather miserable cottage in Silchester—a tiny vil- ing another large bundle of letters and legal papers. Then, I lage 50 miles southwest of London—and 40-odd years later was told of three paintings in the possession of Richard Carte’s acquired a rather grand house in the posh suburb of great-great-great-grandson, who couldn’t identify the subjects. Highgate, north London. Such success does not often hap- It took me about a second to do that for him: they were Richard pen by chance—it usually requires intelligence, business Carte and his wife soon after they were married, and a fellow in acumen, and persistence, and it is often a sign that the suc- the uniform of the Royal Horse Guards with a Waterloo medal cessful person was a very good salesman and therefore on his chest, who was Richard Carte’s father. probably a rather pleasant fellow. Richard Carte’s son, A bit more sleuthing turned up the actual medal, plus the Richard D’Oyly Carte, the promoter of Gilbert & Sullivan father’s commission, signed by George IV, plus a letter by the operas, became spectacularly wealthy, leaving a fortune father, plus photographs taken in the late 19th century of the equivalent today to something like 150 million dollars. house in which Richard Carte was born. The Royal Horse D’Oyly Carte’s son Rupert married the daughter of an earl. Guards then turned up the father’s service record, which con- So there you have it: from illegitimate son of a common tained the remarkable piece of information that Richard soldier to aristocracy in just three generations. Quite apart Carte himself had joined the regiment as a musician—the from the flutes, this is a story of extraordinary achievement, records state that he had red hair, hazel eyes, and a clear com- and finding my box of documents has helped me understand plexion and was three feet eight inches tall, which is not all the man. There is no doubt that Richard Carte is a man I that unusual as he was just 7 at the time. would dearly love to have met.

Left: Richard Carte’s “Old System” flute, made by Rudall, Rose & Carte, circa 1855. Silver. Robert Bigio collection. Above: The author and his flutes: a Rudall Carte 1867 Patent flute; a Rudall, Rose & Carte 1851 Patent flute; and a Rudall & Rose conical Böhm flute.

nfaonline.org Summer 2010 The Flutist Quarterly 19 The Others What about the other members of the firm, George Rudall and John Mitchell Rose? Let me start with Rose, because there is almost nothing to be said about him. There are no letters, either to or from him (or, indeed, about him); no pictures; nothing, in fact, apart from some fantastic flutes. Even the man’s grave is unmarked, although it is in an expensive, brick-lined plot in a prime location in a fashionable cemetery. I have at least been able to determine that he was Scottish, from Edinburgh, although his birth date cannot be determined because in Scotland at the time he was born, there was no compulsory registration of births, and if his birth was registered in his parish, then no record has turned up. There are even three possible years of his birth, ranging over nearly a decade. Rose managed to leave scarce- ly a trace of his existence. George Rudall’s life is easier to document. He was born in 1781 into a well-to-do family in Crediton, Devon (in the southwest of England) where his father was a lawyer, his uncle the vicar of Crediton Parish Church, and his godfather and benefactor a wealthy local landowner, Henry Tuckfield. Rudall became an officer in the South Devon Militia and was posted to Liverpool, where it seems he met the father of the great flute player Charles Nicholson (and, presumably, the very young Charles Nicholson himself) and may have had lessons with the father. The events following Rudall’s time in Liverpool take up an entire chapter of my book and make for some delicious reading, but it is enough for now to say that Rudall fell on hard times. Playing the flute as an amateur was a popular pastime for gentlemen, but Rudall broke with the convention for a man of his class by turning professional: he became a flute teacher (and apparently a very successful one), began to have flutes made in his name by John Willis, then came into some money and in 1821 entered into a partnership with John Mitchell Rose. One of the few mentions of John Mitchell Rose is in the records of a trial in which some of his employees stood accused of steal- ing from the firm. In his evidence, Rose stated that Rudall played no part in the running of the business. Rudall is inter- esting in that his is one of the few cases in his time of a man of his class entering into business not as a sleeping partner, but rather in his own name. At least in the case of Rudall we do have a picture of him in the form of a portrait bust, and there are letters by and about him. His importance in the firm, and in the history of the flute, may not in fact be so great—he simply put up the money to start the firm. Rudall does appear to have been well-liked and admired. There is no record of his having played in public, but he seems to have been a popular player at private parties. Rockstro said, “…as a drawing room play- er he was immensely popular…His expression was absolute- ly enchanting, and his execution, as far as it went, perfect.” (Note well the phrase “as far as it went.”) Rudall was a gentleman of means who invested in a flute-making business. Rose was the craftsman, but his craftsmanship was not, in fact, superior to that of many other flute makers of his day. There are flutes of the 1820s

Rudall and Rose early cylindrical Böhm flute (three views). Gold-plated brass with silver keys. Private collection. ROBERT BIGIO

20 The Flutist Quarterly Summer 2010 nfaonline.org Portrait busts of Richard Carte by A.L. Vago, c. 1860, private collection (left), and George Rudall by Patrick MacDowell, 1842, private collection. Below, the first conical Böhm flute produced by Rudall & Rose in 1843. Metropolitan Museum of Art, purchase, Robert Alonzo Lehman Bequest, 2005 (2005.346.1, .2). Photos by Robert Bigio. and 1830s that are every bit as good as those of Rudall & Theobald Böhm to invent his flute, which is the basis of the Rose (although today they are worth a fraction as much). instrument most of us still use. What Rose had was what many of his competitors seemed Other beautiful instruments were made in London in this to lack: the discipline and business ability to make his firm period: Drouet’s ravishing flutes were made for him by very successful indeed. Cornelius Ward, who was, I believe, the finest craftsman of his day; and Ward’s own patent flute of the 1840s, although a The Business of Flutemaking bizarre design, is an exquisite piece of work. Finally, there The standard of workmanship of flutes made in London in were the makers of flutes a bit further down-market. William the 1820s and 1830s is rarely less than good, and in some Henry Potter, for example, produced consistently excellent cases is truly stunning. John Willis, for example, the maker of but cheaper flutes at the remarkable rate of five or more per the early flutes that were stamped with George Rudall’s day. (When Potter retired in the 1830s, the auction name, produced lovely instruments that he sold under his announcement for his workshop included 200 flutes in stock own name and also stamped with the name of other teach- as well as five lathes. His was quite a large factory.) ers. There are fine examples of craftsmanship by Monzani All this flute activity points to one important fact: the flute (later Monzani & Hill), one or two exquisite pieces by James Wood, and the wonderful flutes sold as Nicholson’s was hugely popular in London in the first half of the 19th cen- Improved, made by Prowse and sold first by Clementi, then tury. One estimate has it that one man in 10 played the flute. by Clementi’s successors, and finally by Prowse himself. That’s a lot of flute players, and it’s a huge market in which a Nicholson’s Improved flutes seem to have been the instru- successful maker might make a fortune. The interesting thing is ment of choice of most professional players in the 1830s. that some excellent makers, such as Willis, Wood and the Many of these flutes had huge fingerholes and the largest wonderful Cornelius Ward, did not manage to make their embouchure holes I have seen on any flute made before or fortunes (Ward is said to have died in a workhouse), while since. They are not popular playing instruments today others, such as Rudall, Rose & Carte, most certainly did. (Rachel Brown describes playing a Nicholson flute as “chal- Their success, as I said, is not due solely to having made a bet- lenging”), but it was the huge sound Charles Nicholson him- ter product than anyone else, but rather to discipline, consis- self was able to produce on one of these flutes that spurred tency, and business acumen—in a word, management.

nfaonline.org Summer 2010 The Flutist Quarterly 21 Richard Carte’s 1851 Patent flute (three views), left, made by Rudall, Rose & Carte, c. 1855. Silver. Carte’s 1867 Patent flute (three views), 1934. Cocuswood. Robert Bigio collection.

Enter Böhm invention, but there is no doubt in my mind that Carte’s finger- In the 1840s Richard Carte became interested in the Böhm flute, ing system was better than Böhm’s. at that time in its earlier conical version, and persuaded Rudall & Rudall, Rose & Carte have important “firsts” to their credit: Rose, part-owned by his former flute teacher, George Rudall, to They produced the first known gold flute as early as 1856, and begin making it. Rudall & Rose invited Rodol Greve, Theobald had made many more before Louis Lot in 1869 made his only Böhm’s associate, to come to London to show their employees gold flute (the one used by Jean-Pierre Rampal); and they pro- how to make the flute. Rudall & Rose’s Böhm flute number 1, duced the first platinum flute, too, before Haynes made their now in the Metropolitan Museum of Art in New York, belonged very famous instrument for Georges Barrère. to Richard Carte himself. The firm produced an impressive number of different models of flute. In the 1870s they could supply Böhm flutes in wood or In 1847 Rudall & Rose bought the British rights to make the metal, conical or cylindrical; Carte’s 1851 or 1867 Patent flutes, cylindrical Böhm flute (the flute most of us still play), and Carte again in wood or metal, conical or cylindrical; Carte’s “Old promoted that with great vigor. He had enough business sense, System” flutes; Radcliff Model flutes; Rockstro Model flutes; though, to recognize resistance among many of his customers to Clinton model flutes; Siccama model flutes; simple-system flutes learning a new fingering system. For such customers he designed with a conical bore, simple-system flutes with a cylindrical bore; his “Old System” flute, a cylindrical flute like the new Böhm flute and special-order instruments of bewildering complexity, most- but with the same fingering as an eight-keyed flute, and for those ly made for wealthy amateurs. who preferred a conical flute, he offered his“Old System”flute in If a customer wanted it, they made it. It is their enterprise and a conical, wooden version, too. Carte seems to have reckoned flexibility as much as the beauty of their work that makes them that if players might have to learn a new fingering system, he so interesting. > could come up with one that was better than Böhm’s. That was his 1851 Patent flute, which used Böhm’s acoustic design but had Robert Bigio studied at the University of British Columbia in Carte’s own (and to my mind better) fingering system. Carte did Vancouver, Canada, before moving to England, where he received nothing to hide his admiration for Böhm’s work, marking every his PhD at the University of London. He has been a professional flute “Böhm’s Parabola, Carte’s Mechanism.” flute player but now lives parallel existences as a maker of flutes Some years later Carte made a few modifications to the and as editor of Flute, the journal of the British Flute Society. 1851 flute and produced the 1867 Patent flute, which I This article is adapted from Robert Bigio’s upcoming book, believe has the best fingering system yet devised. It is entire- Rudall, Rose & Carte: The Art of the Flute in Britain, to be

ly possible that Böhm was less than delighted with Carte’s published by Tony Bingham. ROBERT BIGIO

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Andersen Etudes Edited by Donald Peck At the early stages of study, these etudes can feel overwhelming and perhaps beyond the grasp of a young flutist. Part of the obstacle with these etudes is that the student often fails to understand the musical, or expressive, value of these works. While the young student will approach these etudes as technical studies, a more mature flutist will return to these studies with a deeper appreciation of them as masterpieces of musical expression, and will occasionally even program Andersen Etudes as recital pieces.

Donald Peck, Principal Flutist of the Chicago Symphony Orchestra for 42 years, has edited three opus numbers of Andersen Etudes - Nos. 30, 33, and 63 - and has provided comments in the introduction which will assist the flutist in achieving a better understanding of the artistic value of the etudes as he or she is learning them for the first time. A better understanding of the music will in most cases assist in one's grasp of the technique. $12.95 each or ALL THREE for a discount Purchase online from our website at www.walfridkujala.com price of or contact your local music bookstore. $30.00 progress press

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Classical Musings: A VHS music video setting of excerpts from A Flute Recital to the beauty of Utah’s National Parks and their environs. Erich Graf . Aeolus Recordings www.erichgraf.com Wilhelm Friedemann Bach’s Six Flute Duets: A Tercentennial Appreciation

by Leonard Garrison

In his brief overview of the life and times of this eldest son of J.S. Bach, born 300 years ago this year, the author offers background, musical analyses, and suggestions for performance.

he year 2010 is the tercentennial of Wilhelm Friedemann to be disjunct, syncopated, intensely chromatic, and riddled Bach, Johann Sebastian’s oldest son, whose six flute duets with suspensions (see Ex. 1): Tare unrivaled in their inventiveness, mastery of counter- point, equality of voices, advanced harmonic and rhythmic lan- guage, depth of expression, and technical challenges. They are also an acquired taste—sight-reading leads to frustration—and have their own logic and beauty, which reveals itself gradually with in-depth study. To encourage their wider appreciation, I offer analysis, performance advice, and comparison of many recordings.

The Life of Wilhelm Friedemann Bach Born to J.S. Bach and his first wife Maria Barbara Bach in 1710, Friedemann spent most of his childhood in Leipzig, where he Ex. 1: Duet III, first movement, mm. 75–81 studied composition and keyboard with his father. He served as organist at St. Sophia’s Church in Dresden from 1733 to 1746 Background of the Duets and at the Liebfrauenkirche in Halle from 1746 to 1771. He Table 1 summarizes the six duets. The first column shows each eventually moved to Berlin, remaining there in increasingly des- movement’s tempo marking, meter, and form; the second col- titute circumstances until his death. He never secured another umn details the harmonic structure; and the third column permanent position. Although at the end of his life he was con- reflects the range of tempi on recordings. sidered Germany’s greatest organist and improviser, his posthu- During Friedemann’s Dresden period, the city was home to mous reputation suffered from fictional accounts of a life of dis- two of the greatest flutists in Europe, Pierre-Gabriel Buffardin solution and drunkenness. (1690–1768) and his student Johann Joachim Quantz Friedemann’s small output includes sonatas, fantasies, (1697–1773). Buffardin, principal flutist in the court orchestra and concertos for keyboard, church cantatas, symphonies, from 1715 to 1749, had close ties to the Bach family. This and chamber music. His style is an amalgam of counter- might have begun in 1712 or 1713, when he taught flute to J.S. point, inherited from his father, and the more modern “sen- Bach’s brother, Johann Jacob Bach, in Constantinople. Quantz, sitive style” or Emfindsamer Stil. His melodic writing tends who lived in Dresden from 1716 to 1741, wrote flute music in

26 The Flutist Quarterly Summer 2010 nfaonline.org a wide range of tonalities and regarded duets as “the most con- venient and useful pieces for learning music.”2 W.F. Bach’s models for flute duets probably included those of Telemann, also close to the Bach family, to which Friedemann’s brother Emanuel attests: “in his [J.S. Bach’s] younger days he saw a good deal of Telemann, who also stood godfather to me. He esteemed him, particularly in his instru- mental things, very highly.”3 Telemann’s Sonates sans basse for two flutes, violins, or recorders (TWV 40: 101–106), first printed in 1726, are exemplary in their fullness of harmony, equality of parts, and counterpoint. Telemann’s XIIX Canons mélodieux ou VI sonates en duo à flutes traverses (TWV 40: 118–123), printed in 1738, have characteristics resembling the middle movements of Bach’s first two duets, which are strict canons.4 In fact, the middle movements of Telemann’s No. 5 and Bach’s No. 2 are both marked Cantabile, in B minor, and in triple meter. Telemann’s Sei duetti (TWV 40: 130–135) share many traits with Friedemann’s: a three-movement fast- slow-fast form,5 the use of keys that are difficult on the traver- so (Telemann’s are in B-flat major, C minor, E-flat major, F minor, B-flat major, and E major), chromaticism, and wide leaps. Telemann’s duets are quoted frequently in the manu- script known as Quantz’s Solfeggi, as are several of Friedemann Bach’s.6 W.F. Bach’s last two duets were written after the death of Buffardin and Quantz and involve more remote modulations. Breckbill conjectures that Johann Philipp Kirnberger’s praise of Bach’s first four duets in his 1771 publication, Die Kunst des reinen Satzes, encouraged Friedemann to write Duets V and VI.7

Modern Editions None of the modern editions of W.F. Bach’s six duets are satis- factory. (See sidebar on page 31.) Kurt Walther had access to original sources, but his edition, now out of print, makes no dis- tinction between original and editorial markings and has many unstylish slurs. The Kalmus edition is directly pirated from Walther, and Wummer retains Walther’s notation, adding suggested breaths. Oskar Peter’s edition is the most faithful to original sources but is vexingly printed in parts rather than score. Though Braun may be the most useful, it has been faulted for lack of a clear distinction between readings from various sources.8

General Performance Issues Appropriate guides for performance practice issues are the Essay on the True Art of Playing Keyboard Instruments (1753) by Emanuel Bach, Friedemann’s younger brother, and Quantz’s On Playing the Flute (1752).9 The Solfeggi provides further advice on tuning, articulation, and rhythm. allegro. Meter is important: the first movements of Duets II, When playing these pieces on a modern Böhm flute, one III, and IV are alla breve, so the tempo needs to be fast enough strives for a light, clear tone that approaches the sweetness of to show the half-note beat. If the lamentabile of Duet IV is too the traverso, with sparing use of vibrato as an ornament on the slow, its length becomes tedious. The numerous recordings most expressive notes, not as a continuous and unvarying component of tone. diverge widely in their tempi (Table 1). Friedemann’s tempo indications—lamentabile, larghetto, Eighteenth-century flute tutors, especially Quantz, show a allegro ma non troppo—are more descriptive than those of his variety of tonguing and slurring styles that players can emu- father, and musicians should distinguish carefully between a late. In stepwise passages it is acceptable to slur or tongue lega- largo and a larghetto and play a presto faster than a vivace or to, although one does not usually slur into a strong beat.

nfaonline.org Summer 2010 The Flutist Quarterly 27 When appoggiaturas occur on a strong beat, they usually take half of the value of the main note and two-thirds of a dotted note (see Ex. 2, mm. 1 and 9). On a weak beat, they are quicker (see Ex. 2, m. 10). Quantz writes that these passing appoggiat- Ex. 2: Duet IV, Allegro e moderato uras are played in the French manner before the beat;10 however, Emanuel Bach chooses to place them on the beat.11 Trills begin on the upper note, on the beat.12 When time per- mits, a suffix should be added to the end of a trill. One should not add an anticipation to the cadential note where none is writ- ten; unfortunately, the Walther, Kalmus, and Wummer editions end the middle movements of Duets I and II this way (see Ex. 3). Concerning dynamics, performers should choose nuances based on counterpoint, contour, and harmony. Most phrases are Ex. 3: Duet I: Larghetto, mm. 33–34 built around harmonic tension and release, with a dissonance such as a suspension or appoggiatura louder than its resolution. When modulating from one key to another, one can show the color of each key with timbre and dynamic. For instance, in the larghetto of Duet I, begin softly in G major but increase the dynamic with the modulation to the dominant in m. 10. The E minor passage in mm. 13–18 calls for a more tragic tone and fuller sound, but the return to D major in m. 19 requires a sweet- er sound. The B-flats hinting at D minor in mm. 25–29 call for a Ex. 4: Duet IV, Lamentabile, mm. 22–24 veiled sonority, and the veil is lifted by the beautiful D to C sev- enth, the movement ending in a confident forte. These duets frequently feature an imitation at a higher level than the original entry, and the answer should be more expres- sive than the original (Ex. 4). I call this Anything You Can Do, I Can Do Higher. Many of W.F.Bach’s binary forms have proportions and char- Ex. 5: Duet I, Allegro, mm. 1–2 acteristics of the emerging Classical sonata form, so it is wise to repeat the shorter first section if not also the second. When tak- ing repeats, performers should consider program time limits and add improvised ornaments.13 Recordings There are at least eight complete CD recordings of these duets and others with selections (see Discography). The Kuijken and Hantaï set is the only period-instrument recording available on the U.S. market, and it is a gem, with clear articulation, precise intonation, delightful subtlety, and stunningly brisk tempos. Their rhythmic freedom is grounded in baroque style, including notes inégales (espe- Ex. 6: Duet I, Allegro, mm. 15–17 cially in the Cantabile of Duet II) and shortened pickup notes (the first movement of Duet IV). The sensitive musi- cianship of Zoboli and Delmastro could win over flutists skeptical of hearing these pieces arranged for other wind instruments. On their recording, Schultz and Schellenberger successfully blend gorgeous flute and oboe sounds and make Ex. 7: Duet II, Allegro ma non troppo, m. 49, with articulation syl- shapely phrases. Graf and Pas-van Riet have flawless timing lables from the Solfeggi and expressively highlight modulations. I am especially fond of the Rampal and Baron performance of Duet IV. They are perfectly matched in their refined nuances in the Lamentabile and their joyful Presto. Duet I in E Minor, F. 54 In the allegro, performers should set a tempo that accommo- dates both triplets and 16ths without varying the pulse, such as quarter=104. One can use subtle phrasing in the opening Ex. 8: Duet II, Cantabile, mm. 3–6 theme to help distinguish arpeggios from scales (see Ex. 5).

28 The Flutist Quarterly Summer 2010 nfaonline.org In mm. 15–17, 41–43, and 73–75, performers can high- light the main notes of an ascending line shared by two flutes and coordinate in a unified crescendo (see Ex. 6).14 Take time to set up the“false”reprise in B minor at mm. 45 and the “real” reprise at mm. 57. The second movement is a strict canon with the second Ex. 9: Duet II, Cantabile, mm. 35–41 flute following one measure behind the first, and the sec- ond should match the first as closely as possible. An 18th-century Vivace was performed slower than play- ers of modern flute may tend to do today.15 The third movement, with this label, offers few technical challenges at the outset and may lure performers into setting an unsustainable tempo. Gauge tempo according to the most difficult passages in the second half, with a feeling of one pulse per measure. Treat mm. 25–30 as hemiola bars with the first flute’s triplets as downbeats. The syncopations of mm. 41–43 build to the climactic high C–E in m. 44; linger here before cadencing with a rhythmic snap. Duet II in G Major, F. 59 A profusion of themes and a substantial development give the allegro non troppo the feel of Classical sonata form. Tongue the opening arpeggios clearly with “ti” on each note16 and create the illusion of one flutist playing arpeggios and the other playing (separated) bass notes. The presumed dynamic is forte, since there is an original piano starting with the pickup to m. 5 and original forte at the pickup to m. 7 (the same passage has original dynamics in the reprise at mm. 56–59). The Solfeggi directs the flutist to play the 16ths in mm. 13–14 unequally, and it specifies the 16ths at mm. 17 49–50 to be “unequal and tied together” (see Ex. 7). Ex. 10: Duet III, Allegro The Cantabile is a strict canon at a distance of two bars until m. 30, where the second flute should emphasize the A- sharp, which contradicts the first flute’s A-natural two measures earlier. The suspensions in mm. 3–4 and 5–6 occur not as expected on the downbeat, but on the second beat; thus the peak of the suggested crescendo occurs on beat 2 (see Ex. 8). Ex. 11: Duet IV, Allegro e moderato, m. 1 Savor the F-sharp/G clash on the downbeat of m.40,prepared by a chain of increasingly expressive suspensions (see Ex. 9). appropriate, given the imitative texture and chromatic har- The alla breve is a fugue, so highlight entries of the subject. monies. Measures 9–12 and 60–63 ascend through daring The gigue, with its folk origins, can be played in a rough style. wide leaps and suspensions to high E-flat. The final fugue The Solfeggi directs that the eighths be articulated sharply presents rhythmic challenges and wide leaps, but the presto and separated from one another.18 marking demands a fast performance. Duet III in E-flat Major, F. 55 The first movement’s tempo is problematic. Despite the indi- Duet IV in F Major, F. 57 cations alla breve and allegro, several recordings proceed at a The Duet in F is the most popular today, and indeed its lugubrious pace (see Table 1). However, many harmonic sur- middle movement is one of Friedemann’s most divine cre- prises demand special attention, and a middle ground ations. The allegro e moderato features rapid figuration approach—80 to the half note—seems best. The expressive and a theme above an“Alberti”bass in mm. 7–8 and 33–34. crux of the allegro is the suspension resulting from the open- The second half shows traits of a Classical development ing imitation and its numerous reinterpretations (see Ex. 10). and presents the various themes out of their original order Bach transforms the original whole-step, C to B-flat, into a and in diverse keys, only returning to the tonic in the last series of more poignant half-steps, each commencing a chro- few bars. In the alla breve, several sources, including the matic adventure, until the reprise at m. 87. The repetitions of Solfeggi, add a trill to the opening theme (see Ex. 11). C-flat and A-flat at mm. 45–48 and the subsequent change Flutists can enhance the major/minor contrasts in mm. from C-flat to B-natural is especially notable. 9–12 and 48–50 by using an opaque color for the flatted Performers should take to heart the adagio ma non notes (the Solfeggi says to play “round and expressive”19) molto marking of the middle movement; eighth=69 seems and brightening the return to the major key.

nfaonline.org Summer 2010 The Flutist Quarterly 29 Measure 24 should start softly to prepare a buildup into the exciting augmented sixth at the end of m. 27. The fermata here is original. Some recordings rush through the lamentabile (see Table 1), while others dwell too much on the smaller notes. An eighth- note pulse of 84 allows one to feel larger groups. This move- Ex. 12: Duet IV, second movement, m. 1–6 ment’s chromatic theme presents all 12 pitch classes and estab- lishes the tonic key without a leading tone (see Ex. 12). Chromatic voice-leading obscures harmonies. The final two measures of the theme use a quasi-retrograde and diminution of its first phrase to modulate to the minor dominant. The closing theme ingeniously refers to the first movement (see Ex. 13; compare to Ex. 11), and the inversion of the first theme begins the second section at m. 25, where the first flute should emphasize E-flat. Ex. 13: Duet IV, Lamentabile, m. 20 Performers must reconcile triple with duple rhythms in the presto. One source notates this movement in 6/8 meter,20 but no modern edition reproduces it. One wonders how the 6/8 version renders the sixteenths in meas. 38-39, where all recordings play four equal notes per beat. Undoubtedly, all 16ths following a dotted eighth should be played as triplets, and 32nds should be played with the last triplet in the bar (see Ex. 14). The Solfeggi, which shows the excerpt in 6/8, presents the 32nds in mm. 32–34 as triplet 16ths (see Ex. 15).

Duet V in E-flat Major, F. 56 The un poco allegro, the longest movement in the entire set, fea- tures a high tessitura. Although contrapuntal, the phrases are shorter and neatly articulated with rests. The second half is long Ex. 14: Duet IV, Presto and developmental and modulates (mm. 53–54) to the distant key of D-flat major. Typical of Friedemann, there is no dominant preparation for the return to E-flat, and this return occurs late in the piece. The largo features a long, wandering theme alternating with a descending sequence in triplets derived from its last meas- ure. In m. 7, Bach introduces unexpected chromatic inflections into the cadential formula, which become an agent of modula- tion (see Ex. 16). The fermata in the penultimate measure invites a cadenza, and Kuijken/Hantaï and Zoboli/Delmastro are the only recordings to oblige. The vivace, a vigorous gigue, recalls the last movement of the earlier E-flat duet with its wide leaps, fugal structure, Ex. 15: Duet IV, Presto and similar key scheme.

Duet VI in F Minor, F. 58 The first movement features imitative texture. The statements of the subject are in closely related keys, but the episodes feature dis- junct chromatic lines that touch upon remote keys. The largo has stark beauty, inviting a simple interpretation. The opening theme seems homophonic, but in fact the second flute imitates the first, changing its intervals. The harmonic rhythm slows down, at times arpeggiating one chord for six bars. Friedemann sneaks in a G-flat in m. 2 before the tonic is well established. (Beethoven would do this!) It returns at the reprise, which deflects to D-flat major just before the end. The vivace is a fugue with a chromatic subject. In the context of a gigue, the pickup into m. 2 should be performed as a triplet, not a duple as written, as correctly per- formed by Kuijen/Hantaï and Zucker/Andon. Ex. 16: Duet V: Largo

30 The Flutist Quarterly Summer 2010 nfaonline.org DISCOGRAPHY 1. Amsler, Eva (flute) and Karl-Heinz Schütz (flute). Wilhelm 8. Rampal, Jean-Pierre (flute) and Claudio Arimany, (flute). Friedemann Bach: Sechs Flütenduette. Ambitus 96 876, 2003. “Duet IV in F Major, F. 57.” Magic Flutes. Delos Records DE 322, 1998. 2. De Wetter Smith, Brooks (flute) and Antonio Carlos Carrasqueira (flute). “Duet IV in F Major, F. 57.” Flautas 9. Rampal, Jean-Pierre (flute) and Samuel Baron (flute). “Duet Fantásticas! Centaur CRC 2621, 2003. IV in F Major, F. 57.” Flute Duets by the Bach Family: J. S. Bach, W. F. Bach, C.P.E Bach. Dover 97264-X, 1966 (LP). Re- 3. Graf, Peter-Lukas (flute) and Gaby Pas-van-Riet, (flute). “Duet released on Samuel Baron: Memorable Performances, 1966- IV in F Major, F. 57.” Two Flutes. Claves CD50-2006, 2001. 1996. New York Flute Club and Cantilena Records 57166- 60462, 2009. 4. Hünteler, Konrad (transverse flute) and Michael Schmidt- Casdorff (transverse flute). Wilhelm Friedemann Bach: Six 10. Ronen, Yael (flute) and Idit Shemer (flute). Wilhelm Sonatas for Two Flutes. Dabringhaus und Grimm MD+G Friedemann Bach: Six Duets for Two Flutes. Liri, 2007. 3110844,1998 (European distribution only). 11. Schultz, Wolfgang (flute) and Hansjorg Schellenberger 5. Kuijken, Barthold (transverse flute) and Marc Hantaï (trans- (oboe). Wilhelm Friedemann Bach: Six Flute Duets. Sony SK verse flute). Wilhelm Friedemann Bach: Six Duets for Two 58965, 1994. Flutes. Accent ACC 9057: 1990 (LP), re-released on CD, 2006. 12. Vogel, Alan (oboe) and Janice Tipton (flute). “Duet IV in F 6. Larrieu, Maxence (flute) and Massimo Mercelli (flute). Major, F. 57.” Oboe Obsession. Delos Records DE 3235, 2000. “Duets III-VI.” Wilhelm Fridemann Bach and Johann Christian 13. Zoboli, Omar (oboe) and Sergio Delmastro (clarinet). Bach: Trios and Duets. Bongiovanni GB 5529-2 (European dis- Wilhelm Fridemann Bach, Six Duets F. 54-59. Stradivarius STR tribution only). 33813, 2008. 7. Nicolet, Aurèle (flute) and Christiane Nicolet (flute). W.F. 14. Zucker, Laurel and Sara Andon (flutes). The Complete W.F. Bach: 6 Duetti a 2 Flauti. Denon (European distribution only) Bach Flute Duos. Cantilena Records 66028-2, 2006.

Conclusion END NOTES Especially in this tercentennial year, Wilhelm Friedemann Bach’s 1. 18th-century sources for these works variously use the labels “duet” and “sonata.” “F” numbers are from Falck, Martin, Wilhelm Friedemann Bach: Sein Leben und duets deserve to be at the heart of every flutist’s repertoire. They seine Werke mit thematischem Verzeichnis seiner Kompositionen und zwei Bildern are filled with boundless invention and spirit and should hold (Hildesheim: George Olms Verlag, 1977; reprint of 1913 edition). a place of honor in the concert hall and—true to their 18th- 2. Edward R. Reilly. “Further Musical Examples for Quantz’s ‘Versuch’.” Journal of the American Musicological Society 17, no. 2 (1964): 163. century function—the teaching studio. But flutists should not 3. Steven Zohn. Music for a Mixed Taste: Style, Genre, and Meaning in Telemann’s play them before developing knowledge of and sensitivity to Instrumental Works (New York: Oxford University Press, 2008), 193. their distinct style. Students should first master sonatas by 4. The Cantabile of Duet II departs from canon in m. 30. Handel, Telemann, and Vivaldi, and duets by Telemann and 5. Except W.F. Bach’s Duet II, which inserts a fugue between the slow movement and Quantz, before tackling W.F. Bach. > the final gigue. Telemann’s earlier duets (TWV 40: 101–106) are in a four-movement “sonata da chiesa” scheme: slow-fast-slow-fast. Leonard Garrison is assistant professor of flute and aural skills at 6. Winfried, Michel and Hermien Teske, ed. Solfeggi Pour La Flute Traversiere avec the University of Idaho and chair of the NFA. He performs in the l’enseignement, Par Monsr. Quantz (Winterthur, Switzerland: Amadeus, 1978). 7. Anita Breckbill. “The Flute Duets of W.F. Bach: Sources and Dating.” In Fluting and Northwest Wind Quintet, the Walla Walla Symphony, and the Dancing: Articles and Reminiscences for Betty Bang Mather on her 65th Birthday, ed. Scott/Garrison Duo and is on the faculties of the Red Lodge David Lasocki (New York: McGinnis & Marx, 1992), 40–41. Music Festival in Montana and Blue Lake Fine Arts Camp in 8. Breckbill, 41. Michigan. His CDs are Superflute and American Reflections. 9. Bach, Carl Philipp Emanuel. Essay on the True Art of Playing Keyboard Instruments. Translated/edited by William J. Mitchell (New York: W.W. Norton & Company, Inc., Previously, he taught at the University of Tulsa and performed in 1949); and Johann Joachim Quantz, On Playing the Flute. Translated by Edward R. the Tulsa Philharmonic. Reilly (Boston: Northeastern University Press, 2001). 10. Quantz, 93–94. Editions of All Six Duets 11. C.P.E. Bach, 98. 12. For a useful summary of how to execute mid-century ornamentation, tempo, and articulation, see Mary Oleskiewicz, ed., Johann Joachim Quantz: Seven Trio Sonatas 1. Gerhard Braun, ed., Sechs Duette für zwei Flöten (Middleton, WI: A-R Editions, 2001), xiii–xvii. (Wiesbaden: Breitkopf und Härtel, 1988). 13. Only Kuijken/Hantaï and Zoboli/Delmastro add significant ornamentation in 2. Six Duets for Two Flutes recordings. (Kalmus Classic Editions, no date). 14. All dynamics in the Examples are suggested by Leonard Garrison. 15. Quantz classifiesVivace as a “moderate Allegro, which is approximately the mean 3. Oskar Peter, ed., Sechs Sonaten für zwei Querflöten between the Allegro assai and the Allegretto.” Quantz, 286. (Winterthur: Amadeus, 1989). 16. Solfeggi, 12. 17. “Die 16tel werden unegal vorgetragen als die geschwindest.;” and “Die 16te une- 4. Kurt Walther, ed., Sechs Duette für 2 Flöten gal und aneinamder hängend.” Solfeggi, 38. (Leipzig: Breitkopf und Härtel, 1939). 18. “Die 8tel scharf gestossen und A marquirt.” Solfeggi, 38. 19. “Ist rund ud ausdrückend zu spielen.” Solfeggi, 38. 5. John Wummer, ed., Six Duets for Two Flutes 20. Braun, Gerhard. “Postface” to Wilhelm Friedemann Bach. Sechs Duette für zwei (New York: International Music Company, 1960). Flöten (Wiesbaden: Breitkopf & Härtel, 1988), vol. 2, 32.

nfaonline.org Summer 2010 The Flutist Quarterly 31 Leone Buyse, six CDs on Crystal: CD314: Love Letters. David Shostac, flute. Borne, Carmen Fantaisie; Ko- CD317: The Sky’s the Limit. Music by Barber, Cage, sins, Love Letters; plus Boehm, Dinicu, & Debussy. Shostac: principal Los Dahl, Amlin, Antoniou, Fine, Nunlist, Tucker. “Solid Angeles Cham. Orch. “outstanding fluent technique” BBC Music Mag. playing and a glistening recording” Fanfare. CD711: In Shadow, Light. Zart Dombourian-Eby, piccolo. Amlin, Sona- CD319: Rivier Revisited. Chamber Music for Flute tina Piccola; Benshoof, Spindrift, & In Shadow, Light. Dombourian-Eby is by Jean Rivier. “loaded with charm” Fanfare. piccolo w/Seattle Sym. “nothing short of amazing.” American Rcd.Guide. CD356: Tour de France. Fauré, Dolly Suite; Saint- CD318: 20th Century Romantic Spirit. Brooks de Wetter-Smith, flute. Sona- Saëns, Tarantella; Bizet, Jeux d’enfants; Debussy, Syr- tas by Gaubert, Pierné, Reynolds; & Foss, 3 American Pieces. “significant reper- inx, Petite Suite, etc. With Michael Webster, clarinet; toire performed with rare sympathy and expertise.” Fanfare. De Wetter-Smith is & Katherine Collier, piano. flute professor at University of No. Carolina, Chapel Hill. CD357: World Wide Webster. Dvorak, Slavonic CD712: Gypsy Wheel. Thomas Robertello, flute. Borne, Carmen Fantaisie; Dances; Debussy, Petite Suite; Brahms, Hungarian Taffanel, Fantaisie; Griffes, Poem; Dzubay, Footprints; Van Brink, Dal Dosai; Zup- Dances; Gottschalk, Four Pieces. With Michael Web- ko, Seven Deadly Sins. Robertello is on the faculty of Indiana University. ster, clarinet; and Robert Moeling, piano. CD714: Flute Agréable. April Clayton, flute. Sonatines by Dutilleux, Fran- CD715: Dedicated to Barrère. Music composed for caix, Sancan; Bozza, Agrestide; Lasser, Sonata. “thoroughly ‘agréable’ listen- celebrated flutist Georges Barrère. Composers: Ca- ing...entirely appropriate stylishness” Musicweb. plet, Woollett, Gaubert, Seitz, Lacroix, Lefort, & Dam- CD713: Take Wing. Lois Bliss Herbine, piccolo. Persichetti, Parable; aré. “marvelous recording” Flute Talk. Daugherty, High and Mighty; Dorff, Sonatine; Krantz, Elliot, Loeb, Mager, & CD716: Dedicated to Barrère, Vol. 2. Leone Buyse Buss. “[You] will not want to miss this recording.” Flute Talk. w/Martin Amlin, piano; & Paula Page, harp. Griffes, CD316: Music for Koto and Flute. Kazue Frances Asawa, flute; Kazue Poem; Varèse, Density 21.5; Riegger, Suite; Roussel, Kudo, koto. Music by Sawai, Yamamoto, Hirai, Miyagi. “A fascinating pro- Andante and Scherzo; Gaubert, Sonatine and Invo- gram; the music is quite beautiful” American Record Guide. cation. Also De Lorenzo, Kriens, Jacquet. CD757: Theodor Blumer, Woodwind Music, Vol. 3. John Bailey, flute; Moran CDs $16.95 each. US Shipping: $2./order; foreign: $10/order. Woodwind Quintet. Ten Waltzes; From the Animal Kingdom; From the Plant ® World (all for flute and piano); Serenade and Theme and Variations . CRYSTAL RECORDS CD710: Wind Effusions. Danilo Lozano, Flute; David Muller, Bassoon. Duos by Villa-Lobos, Schröder, Gabaye, Jan Bach, & Bozza. Piazzolla, Etudes 28818 NE Hancock Road, Camas, WA 98607 USA (solo flute); Osborne, Rhapsody (bassoon). Lozano: founding mbr. Hollywood [email protected] • www.crystalrecords.com Bowl Orch. Muller: former princ. Mexico City Phil. & mbr. Westwood WQ.

Walfrid Kujala’s new book: The “sequel” to the Vade Mecum

NEW: From Progress Press The Flutist's Vade Mecum The Articulate Flutist: of Scales, Arpeggios, Trills Rhythms, Groupings, Turns and Trills and Fingering Technique by Walfrid Kujala by Walfrid Kujala $18.95 $22.95 Walfrid Kujala's newest publication The Flutist’s Vade Mecum is an all- features 60 pages of comprehensive encompassing approach to the study articulation, rhythm and trill exercises, and and perfection of scale, arpeggio, and trill 15 pages devoted exclusively to the study technique. This book is intended not just of Bach and Mozart examples. for the initial learning of scales and Five cantatas illustrating Bach's authentic arpeggios but for permanent and ongoing articulations are excerpted, and a wide improvement of this material through range of exercises for improving your diligent review. Think of this Vade Mecum technique, articulations, trills, and applica- ("Go with me” in Latin) as a steady tion of alternate fingerings for the Mozart D companion, always available for Major Concerto are also included. review and renewal.

Special offer: order both books for $35 Purchase online from our website at www.walfridkujala.com or contact your local music bookstore. progress press

222 Main St. #504 Evanston, IL 60202 847-869-2998 he  ABELL FLUTE 8 D B E 6 C N Y Specializing in oehm system wooden )utes, headjoints and whi les, handmad in grenadill% and erling silve . % $ Y  Grovewood Road Asheville, C8  J H 6    KD>8: ;6M www.abellflute.com Claude Bolling: A Living Legend Turns 80

Duke Ellington’s “spiritual son” talks about his pleasure with the success of his collabora- tion with Jean-Pierre Rampal, his musical influences, and his love of trains.

by Pamela Sklar

I had the pleasure of meeting Claude Bolling in New York in 1982, when I played his first Suite informally with him at a club and Le Parker Meridien Hotel. From 1984 to 2000, I toured for 11 seasons as flute soloist with his Claude Bolling Trio in the U.S., Canada, Mexico, Paris, and Marrakesh. Also touring with us were, at various times, solo guitarists Larry Coryell, Jack Wilkins, and Eric Franceries.

The following interview took place in December 2009 and performed and recorded with a great many famous artists, January 2010 via e-mail between my home outside of New and even produced an all-female vocal quartet. In addition, York City and his home outside of Paris. When I asked him, your Suite No. 1 for Flute and Jazz Piano Trio, recorded with on the telephone, if I could interview him, his response was, Jean-Pierre Rampal, was number one on the Billboard “Why not?” charts for 464 weeks! Claude Bolling turns 80 this year. When I asked him if he Can you tell me about any particular event or experience had any plans for his big birthday, he replied, “No, no, forget that affected you most? it! It is just a date.” Claude Bolling: Jean-Pierre Rampal and I were very proud to be Pamela Sklar: On April 10, you will turn 80. You have a very on the Billboard charts. Week after week we were very happy to successful and versatile career, are one of the most famous realize that our simple suite (flute-piano-bass-drums) was so French jazz musicians, won many awards, honors, and successful. One can imagine that if I would have had the idea for world-wide recognition as a pianist, band leader, composer, a commercial success, I would have written something much orchestrator, and arranger of jazz, classical, and popular more “pop.”Also, at this time, when I thought about (playing) compositions.You’ve written over 100 songs and film scores, a concert in the U.S., I could only imagine something in a

34 The Flutist Quarterly Summer 2010 nfaonline.org little jazz club in small-town America. Thanks to Jean- Pierre Rampal and this Suite, my first concert was at Carnegie Hall!

Would you describe how your collaboration with Jean-Pierre Rampal came about? Jean-Pierre had the opportunity to know about and listen to my Sonata for Two Pianists that I wrote for Jean-Bernard Pommier for a TV show. This gave him the idea and the wish for a musical dialogue between his classical flute and my jazz piano. Jean-Pierre was a very great artist on his flute, as well as very professional. When not playing, he was what we say in French un bon vivant, always ready for fun and jokes. We had some good times, mostly when we were teaching at the Académie Nationale d’Eté in Nice, when we collaborated together musically.

Was the Suite No. 1 difficult to write? The Suite for Flute was my first crossover music success. My

first crossover piece was the Sonata for Two Pianists. Claude Bolling and Jean-Pierre Rampal in December 1975. Concerning the difficulties, everything is difficult when you want to do it well! Willy “The Lion” Smith considered me as his musical son and taught me his style of playing. He was very fatherly. What other music for flute have you written? Errol Garner was very sympathetic, saying that he could Aside from Flute Suites No. 1 and 2, The Picnic Suite is writ- not teach me anything. His playing was instinctive and he ten for flute, guitar, and jazz piano trio. In the Suite for knew nothing about formal music. Chamber Orchestra and Jazz Piano Trio, there is a lot of flute in the orchestra. Also, California Suite has movements for When you were a boy, you lived and studied piano with a two flutes. “La Princesse” for flute, harp, and cello and “Dans woman who played in one of the female bands of that era les Bois” for flute, clarinet, and bassoon (premiered in New (during the German occupation). What are your memories York by Pam with the group L’Arema) are both included in of her and of this period? the recording Strictly Classical. Marie Louise “Bob” Colin was a pianist, drummer, band leader, and trumpet player in a female band—very a la mode Sometimes you are referred to as Duke Ellington’s “spiritual at this time. A friend of my mother who knew Bob from her son.”What was it like to study and work with him? dancing rooms (studio), cabarets, and dance activities knew When I became a fan of jazz music, I greatly admired Duke that she was giving music lessons, mostly piano. This friend Ellington’s music. I have learned much from him, and I was had the good idea for me to go and learn from her how to very proud when he considered me as his spiritual son. Duke become familiarized with various dance and jazz styles; all Ellington was funny in his friendly relationships, very serious music required in ballrooms, cabarets, etc, such as tangos, in his work, and happy when he was satisfied by his music paso dobles, rumbas, fox-trots, etc. and musicians. Bob was energetic, yes! And very talented. She had no fam- ily; was living with her partner Liane Cartier who played I find your flute writing very natural, fluent, and fun to play. accordion, saxophone, and contrabass; and was a vocalist in Did composing for flute come easily to you? their band. I also studied Classical piano with her in Nice With my experience in writing for popular music, cinema, and 1943–1944, during the war. TV shows, I could write for instruments of classical music. Do you have memories of the Occupation? You play great stride piano as well as a lighter, more classical I remember that during the air raids, we were hidden in base- style. Who are your other musical influences and idols? ments, and just waited to go out immediately after the warning. Johann Sebastian Bach, Frederick Chopin, Claude Debussy, Maurice Ravel, Ferdinand “Jelly Roll” Morton, Earl Hines, With whom else did you study Classical piano? Willie “The Lion” Smith, Errol Garner, and Art Tatum. After the war in Paris: Yves Nat, Leo Chaulic (jazz pianist, Concerning Earl “Father” Hines, I had the audacity to ask composer, accompanist for Charles Trener), and Germaine him how to play his way. He was impressed that a young Mounier. Germaine was an assistant private tutor for the kid wanted to play like him,and so he spent an entire after- great classical pianist Yves Nat. She was fond of jazz music,

MICHEL RISTROPH RR noon on the piano of the hotel to show me his tricks. but discreetly.

nfaonline.org Summer 2010 The Flutist Quarterly 35 CLAUDE BOLLING:ALIVING LEGEND TURNS 80

More about Claude Bolling

Bolling Story, by Claude Bolling (2008, co- authored in French with Jean-Pierre Daubresse; editions-alphee.com) La Princesse for flute, harp, and cello and Dans les Bois for flute, clarinet, and bassoon; premiered in New York by L’Arema and is in the recording Strictly Classical (not published, but can be obtained from Bolling through the author)

Bolling with his mother, holding his son.

Once before a performance you startled me by picking up a (Editor’s note: Pamela Sklar adds: I consulted Local 802’s trombone and playing it loudly (but not badly). When did new Recording VP John O’Connor, who said that the AFM you learn to play? was a vibrant union in the ’40s. During that time in New A trombone player in my little band (my group was a septet) York, the popular music scene was unionized, and clubs had gave me a trombone that I tried to play. It was good luck, protective associations. Also, there was a huge strike in the because my little experience on this instrument gave me the late ’40s against the new recording industry when they opportunity to spend my time in military service in the army switched from live radio bands to recordings.) band of the Train des Equipages. (Claude explains: in the army, this is the section in charge of the supplies, which has When you were a teenager, you studied with organist and a marching band that also plays concert repertoire). composer Maurice Duruflé (who premiered Poulenc’s That experience was a great music teacher. At this time Organ Concerto in G Minor and advised Poulenc on the (1950) the National Service was one year and a half long. I organ part). What was this experience like? always was able to leave the army to join the jazz clubs in When I returned to Paris at the end of the war, Mademoiselle Saint-Germain des Près. Colin recommended me to Maurice Duruflé. I studied har- mony and composition with him, which was a very impor- Who were some of the well-known players passing through tant experience. Thanks to his teaching, I became a member Saint-Germaine at this time? of the French author society SACEM (Society of Authors, One of them was Rex Stewart (cornet), coming from the Duke Composers, and Editions of Music) at the age of 15, and was Ellington Orchestra, with whom I have played and recorded a the youngest member of this society. lot. Also, tenor sax player Don Byron from the Count Basie Band and clarinetist Albert Nicholas. Also, Milton Mezzrow, I remember you mentioning your mother. What was she Sidney Bechet, plus trumpet player Roy Eldridge, and many like, and what was her life like? others for recordings. Louis Armstrong wanted me as his Fortunately, my mother, with whom I was living, encouraged group’s pianist, but the American Musicians’ Union didn’t me to study music seriously. My grandmother was already an allow foreigners to play in an American band. artist—semi-professional—and my mother learned to play

Laugh Lines

• Being in the habit of immediately removing my heels fist down on a spoon set up over a fork so it would flip after leaving the stage, I was horrified on one occasion up in the air and land in a glass. It was funnier when he to find them missing. With less than a minute to go missed, and he didn’t give up easily. before we were to walk back onstage, I heard some very • On a more professional note, Claude is one of the loud clacking, like someone walking heavily, dragging most consistent, easy to follow, well-organized, and their feet in shoes with metal taps. It was none other thorough leaders I’ve ever worked with. He is musical than the band leader himself, Claude Bolling, with a big and very clear, and I always enjoyed performing with smile on his face, his wide feet crammed partially into him. Our venues included colleges campuses, major con- my heels. cert halls (Orchestra Hall, Chicago; National Arts • Claude liked to have fun. Maybe because most of his Center, Ottawa, Ontario; Palacio de las Bellas Artes, band, including him, is Aries, we got along great. In Mexico), jazz clubs, a hotel, and festivals. restaurants he had this habit (and talent) of bringing his —PS

36 The Flutist Quarterly Summer 2010 nfaonline.org piano as a young girl in bourgeois society. My mother was sensitive and talented. She painted and was a dressmaker who fabricated some clothing during the war. She had many JSJS friends, including her good friends the Prince and Princess Pignatalli d’Aragon and the tennis player (“Tennisman”) BlackBllaack Jean Lesueur. GGoldolldd PPaPadsad You and Iréne have two dogs, two sons, and two grandsons. ImprovedImproved ttone.on Do you have any siblings? RRealeal goldgold inin the skin. After my mother and father were divorced, my father had three sons (half-brothers) after me. Today I’m very close with OOut-performsut-performs other pads. Didier, who is 15 years younger than me.

In your recent and delightful book Bolling Story, there is a JimJim Schmidt Schmidt photo of you at age 5 with your father. What memories do (559)(559) 875-0659 875-0659 you have of him? What was his profession? My father was very inventive and very active. He had many www.jsengineering.netwww.jsengineering.net different professions, mostly in the motorcar field. He was director of the Hotel Mediterrannée in Cannes—Sofitel, actually. That is the reason why I was born in this hotel. I vis- ited my father when he was a kind of gentleman farmer in the Dijon (France) area. The farm had a watermill to grind wheat for cereal; I still had a good relationship with him. He was very proud of his son, mainly because he himself was a stranger to the world of music.

I always enjoyed your great interest in trains! When did this begin? I’m a very great fan of railroad modeling, after having visited some fantastic realizations at the Pavillion des Chemins de Fer at the Paris Exposition in 1937, and have built several home layouts. The last one is in the Southwest American style of the early 20th century (which coincided with the jazz peri- od I was fond of at this time). It is in a workshop in my house in Garches with the layout around 10 by 5 meters (about 33 by 16 feet). I have built the entire rail system, with electricity, ³,OLVWHQHGKDSSLO\WR7ULOOLXP«ORYHWKHJUDSKLFVDQGKRZSHUVRQDOLWLV´ scenery, and some rolling stock models. (No engines!) I have (OL]DEHWK%URZQ$YDLODEOHDWFG%DE\FRPFGUEIRUG traveled many times on the famous P.L.M.-Paris Lyon Mediterrannée, in their beautiful sleeping cars.

What are you working on, and what are some of your recent career highlights? I am working for concert activities with the big band, combo, trio, or solo, and working to keep in good shape on keyboard! Since 2003, I perform every year in South Korea (big band or crossover music or quintet). In 2006 we celebrated the 50th anniversary of the creation of my jazz big band. >

The author thanks Bolling’s assistant, Manuelle Pefferkorn Mazerand, for sending photos and relaying e-mails. She also thanks Claude Bolling for his interview.

Pamela Sklar performs and collaborates in the New York area with ensembles and composers. She composes classical and jazz chamber music and can be heard with many artists on recordings. Visit pamelasklar.com.

nfaonline.org Summer 2010 The Flutist Quarterly 37

Across by Dolores August the Miles

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

The 13th Annual International Flute Choir Festival at Fresno by Northwest Flute Consort members to organize a youth Pacific University, founded by Janette Erickson, was held flute choir with the goal of improving the youth flute program March 26–27. Teresa Ishigaki directed and the guest artist around Puget Sound. With help from local organizations was Miguel Angel Villanueva. The event included a solo and colleagues, Wolff gathered materials and organized recital, flute choir performances, masterclasses, exhibits, and the ensemble. Students from all around the Puget Sound flute repairs. Visit [email protected]. participate, and the choir performs bi-annually. Visit pugetwoodwindstudio.com.

Flutissimo! Flute Choir finished its 2009–2010 season with newly appointed conductor Marco Jerez in a spring series titled “A Family Affair,” which showcased each of the flute families in the choir. Along with the flutes, the group also focused on their families of players—mother/daughter players, spouses, in-laws, and siblings. The spring series opened with “Piccolos in the Pub,”by Jonathan Cohen, and featured four of the choir’s piccoloists. Featuring only C flutes, the next piece on the program was“The Fluteplayer’s Serenade,”by Thornton His Grace Notes Flutes Ensemble Winslow. Moving on down in pitch, the altos were featured in His Grace Notes Flute Ensemble celebrates its 20th anniver- “Rockin’ Alto-Gether,” by Alex Abbott, and then basses were sary in 2010 with the completion of two new CDs entitled The the showcase of “Basically Basic Bass,”also by Abbot, and “The Fruit of the Holy Spirit and The Good Shepherd. His Grace Old Grumber,”by Julius Fucik. The program ended with pieces Notes is a professional flute ensemble whose members are melding the choir into one harmonious grouping with dedicated to serving Christ by using music to minister to all another Abbott piece, “Hard to Handel,” and another ages in many walks of life. His Grace Notes Flute Ensemble Cohen piece,“Now in Two Flute Flavors.”Flutissimo! Flute appeared at the 2000 NFA Convention in Columbus, Ohio. Choir takes the summer off,and will begin again in the fall with a musical tribute to Ellis Island.

The Song of the Angels Flute Orchestra, based in Los Angeles, can be heard on a new CD with soloist David Shostac performing seven Vivaldi flute concertos. Song of the Angels Flute Orchestra consists of C flutes, altos, basses, contrabass flutes in both C and F, and the rare double contrabass flute. The group specializes in commissioning and Olympia Youth Flute Choir with founder Ninee P. Wolff (left), guest guitarist performing all-flute arrangements Tarik Bentlemsani, and Polish guest conductor Marcin P czkowski (right). David Shostac ą of standard orchestral works and The Olympia Youth Flute Choir, launched in 2009, opened its will perform at the NFA’s annual convention in Anaheim second season with a May 23 performance of “Flutes in in August 2010, where they will present arrangements cre- Spring” at the Washington State Capitol Rotunda. The ated for them of Vaughn William’s Fantasia on a Theme of Olympia Youth Flute Choir was developed when founder Thomas Tallis and Saint-Saens’ Introduction and Rondo Ninee Petchprapa Wolff moved to Olympia and was asked Capriccioso, with David Shostac performing the solo vio-

nfaonline.org Summer 2010 The Flutist Quarterly 39 SPOTLIGHT ACROSSTHE MILES lin line. Further recordings by the Song of the Angels Flute Raleigh Area Flute Association Orchestra are also in the works with planned romantic and French albums expected to be released soon. Visit “You have a lot of talent in those lit- soafluteorchestra.com. tle fingers,” quoted the student, relating what her teacher had told her. The Raleigh Area Flute Quad City Flutes Unlimited performed its 27th annual Association had invited students to spring concert, “2010 Flute Odyssey,” April 30 at write essays on why they deserved to Butterworth Center, Moline, Illinois. The concert was win a free flute. directed by Mary Kae Waytenick with Janet Stodd as artistic How did this come about? During director. The program included “Psalm 19, The Heavens a conversation in an adult painting Declare,” by Marcello/Behnke, “Temple of Heaven,” by class, one participant said he had a Louke, “Night,” by Abt/ Scott, “La Lune et les etoiles,” by Amy Zhang, left, with teacher flute wasting away on a shelf after his McMichael, “Venus and Jupiter,”by Holst/Pierce, an original Julie Frederick flutist wife had died from cancer. His arrangement by Waytenick, “Starring Two Folk Tunes,” and friend suggested contacting his cousin, a RAFA member. That is how I “Night Soliloquy,” performed by Walter Haedrich. Roy received a solid silver Gemeinhardt flute to give to a worthy student. Gustafson, president of the Quad City Astronomy Club, The donor invited RAFA to formulate a plan, and I offered a pro- posal to our board. Members agreed to finance the instrument’s repair provided a visual Power Point presentation of the stars and and cleaning. Our next step was to determine the winner’s qualifica- planets to accompany the music. An offering was taken to tions and selection process (using five defined criteria), prepare an contribute to the Red Cross for relief in Haiti. application, and design a form for teachers to recommend students. (Samples of these forms are available from [email protected].) The Rochester Flute Association will The major requirement was the applicants’ essay. One student present Flute Fair 2010 October wrote, “My mom tells me that there’s always a smile on my face when 29–30 with featured artist John I walk out of a flute lesson.” Another noted that “mastering a piece of Bailey, principal flutist of the Lincoln music on the flute is a way for me to build my self-confidence.” Symphony and professor of flute at Another said that he “discovered the joy of sharing music with others the University of Nebraska-Lincoln. and is learning to express his feelings through playing flute.” I was Flute Fair 2010 will include a Friday grateful to have a committee to share the responsibility of determining evening recital and Saturday master- our winner, for all of the essays were compelling. Teachers recommended their students with convincing descriptions: class with the guest artist, ensemble “hard worker, natural sense of phrasing, motivated, well focused, and coaching, a high school piccolo competition, a flute performance so much talent that is being held back by a poor instrument.” Even John Bailey though we had no problem singling out our winner, we were so competition, workshops, flute choir impressed by other candidates that the RAFA board members were reading sessions, and vendor exhibits. Flute Fair 2010 will be tempted to award each a prize. held at Pittsford-Sutherland High School in Pittsford, New Our winner,Amy Zhang, is a ninth grader who, according to teacher York. The Friday evening guest artist recital will take place at Julie Frederick, got a sweet sound out of her old clunker of a flute, but Nazareth College Wilmot Recital Hall. Visit rfaonline.org or who has the potential to truly excel with a decent instrument. Because call 585-234-4RFA. Amy’s mother did not have the resources to purchase an upgrade flute, the award will offer a tangible step toward fulfilling that potential. Amy The Conejo Valley Flute will perform on her new flute at RAFA’s end-of-year concert, when she will meet her benefactor. Society (Westlake Village, How many other flutes are wasting away in attics, closets, or stor- California), founded and age trunks? We are grateful to this donor who gave his wife’s flute to a directed by Toby Caplan- young person who needed a better instrument. He has the joy of Stonefield, performed knowing the flute is in good hands, and he also gets a tax write-off for April 24 at the High making the donation through RAFA, a 501(c)(3) organization. Street Art Center in RAFA was founded in 1985 with the mission to promote the enjoy- Moorpark for an Arts ment and appreciation of flute playing in the Raleigh area. Its mem- Festival and will perform bership of about 425 hosts four annual events. Founding member Ann an arrangement of Peter Cameron Pearce is a performer and teacher with 55 published flute and the Wolf in June at a choir pieces. Visit raleighflutes.org/rafa/rafa_home_page.htm. local high school. Recent repertoire includes new —Ann Cameron Pearce works arranged by

The new Spotlight column profiles active flute clubs Conejo Valley Flute Society Caplan-Stonefield: “Eili, and choirs. Profiles are assigned in advance, but we wel- Eili,” by Jacob Koppel come queries from active organizations for considera- Sandler;“Vocalise,”by Rachmaninoff (featuring the contrabass tion in a future Spotlight. Contact Dolores August at flute); “Flower Duet,” by Delibes, published by Alry [email protected] for information. Publications; The Mother Goose Suite; and the Debussy

40 The Flutist Quarterly Summer 2010 nfaonline.org Suite. The choir is made up of adults and high school stu- dents. The society performed at the NFA Convention in )/87( 62/26 2002 in Las Vegas. Visit [email protected]. ZLWK 25&+(675$/ $&&203$1,0(17

FKDQJHWKHWHPSR UHFRUG\RXUVHOI ZLWK WKHDFFRPSDQLPHQW DQGPRUH %DFK 'DQ]L 'HYLHQQH 'RQL]HWWL )DXUp *OXFN 0DVVHQHW 0R]DUW 7HOHPDQQ 9LYDOGL IRUPRUHLQIRUPDWLRQ SOHDVHYLVLWRXU ZHE VLWH The Atlanta Metro Youth Flute Choir, directed by Kelly Via. The Atlanta Metro Youth Flute Choir began the 2009–10 &ODVVLFDO&ROOHFWLRQ,QF&RP concert season under its new name. Formerly known as the Atlanta Music Academy Flute Choir, the ensemble is led by director Kelly Via and assistant director Nancy G M N etween round OR Wilson. This year, the members of the choir represented 12 TI ce b and E N ren sq V high schools and two colleges in the Atlanta area. The E ffe ua E V di Handcrafted flutes, re N E e to T highlight of the year was a flute choir showcase perform- h piccolosand headjoints. I R t n N O e e ance at the Florida Flute Fair in Orlando, where the r Specializing in the SquareONE h G M lo o p le ensemble performed “Streaming Green” by Nancy family of flutes. s x ! E Galbraith, “Melange of Neumes” by Stephen Lias, and the Leonard E. Lopatin invites you to first movement of Andrew Downes’ Sonata for Eight experience the tonal qualities and Flutes. Look for the group’s second CD, to be released in superior venting which can be the near future. achieved when you don’t cut corners. Discover why many flute professionals On January 25, the Texas Flute and serious hobbyists consider square Society, in conjunction with the tone holes to be a viable and desirable option, worthy of consideration. University of North Texas College Leonard E. Lopatin & his SquareONE #1 of Music, hosted a three-day event M The Lopatin Flute Company G O 122 Riverside Drive, Studio C featuring Rachel Brown. Professor R IN E Asheville, NC 28801 USA T of baroque flute at the Royal V N E Phone/Fax: 828-350-7762 E College of Music in London, N V T w m E IN ww. s.co R Brown is known for her versatility G lopatinflute MO on modern and historical flutes and recorders. In her first presenta- tion, she discussed her interpreta- Going for baroque: tion of Telemann’s Fantasias, Lee Lattimore and Rachel Brown which included many stories to “bring them to life.” Brown’s performance on baroque flute ornamented the talk. Two days later, Brown performed anoth- er recital in which she played selected works by Quantz, J.S. Bach, and Marais. TFS member Lee Lattimore was also fea- tured on baroque flute in this performance. On May 20–22, the 33rd Annual Texas Flute Festival was held at the University of North Texas College of Music in Denton. Participants attend- ANN VINOD

: ed masterclasses, workshops, and concerts presented by guest artists Amy Porter, Ian Clarke, Elizabeth McNutt, and Daniel ABOVE ; Alexander. Visit texasflutesociety.org.

Send information about flute club activities, and high-reso-

MICHAEL WILSON lution images if available, to Dolores August, Flute Clubs :

TOP Coordinator, [email protected].

nfaonline.org Summer 2010 The Flutist Quarterly 41 3 8 THANNUALNATIONALFLUTEASSOCIATIONCONVENTION

Anaheim Marriott Hotel in Anaheim, California August 12–15, 2010

The excitement is building.We hope to see you all in California soon! This year’s NFA convention offers several “firsts”:

The Career and Artistic Development Committee offers its first seminars on business and career matters: four hours of workshop activities on Friday and Saturday mornings, 8–10 am.

The Low Flutes Committee sponsors concerts and workshops featuring alto, bass, and contrabass flutes.

Kids Kamp: This pilot program on Saturday is for our youngest flutists, ages 8–13. For a nominal price ($20 per person) kids will enjoy programming all their own. Bring your flutes for the hands-on reading session (1–2:30 pm) and then enjoy any other convention offering, including the exhibit room, until 6 pm.This half-day convention experience is sure to be a big hit!

Professional Development Credit: For the very first time, NFA convention attendees can receive one unit of professional development credit ($100 fee) through the Office of Extended Education at California State University Fullerton. Requirements include 15 hours of observation and an outcomes paper to verify attendance; more details will be available on site.

Special Disneyland Ticket Rates: For discounted rates just for our membership, link to the NFA Disneyland Ticket Store at disneyconventionear.com/ZANH10A.

We hope that you all will plan to attend the convention this year…California, here we come! —Cynthia Ellis and Christina Cobas SCHEDULEOFEVENTS

Wednesday, August 11 (pre-convention activities)

8 am–1 pm Young Artists Competition music stand. The Illuminations Flute Elite Ballroom Preliminary Round Orchestra kicks off the convention festivities with a performance 3–6 pm Registration for preregistered Thursday morning. Marquis Ballroom attendees Lobby 6–7 pm Volunteer Welcome Meeting 4–5 pm Illuminations Flute Orchestra Rehearsal Gold Key II Hosted by program chair Cynthia Ellis Marquis Ballroom Directed by Wendy Kumer, coordinated and volunteer coordinators Emily by Kathy Farmer. All are welcome; Outhier and Haley Schwalbe. Meet and however, participants must be pre- greet for convention volunteers—all registered. Bring your flute and a are welcome to join the team! Drop

42 The Flutist Quarterly Summer 2010 nfaonline.org PROGRAM AND SCHEDULE SUBJECT TO CHANGE Hilary Abigana Miguel Angel Villanueva Molly Barth

in if you would like to help out. Ass- 8–9 am Beginning a Flute Choir! ignments and important information Orange County Panel moderated by Dolores August for all volunteers will be given. Ballroom with Angelita Floyd, Debra Youngblood, and Cassandra Rondinelli. Panelists will 7–8 pm Orientation for First-time Convention discuss their successes and provide Veranda Attendees insight into new ways to build an Hosted by Lisa Santa Garner, 2011 NFA ensemble and on how to attract an convention program chair. This is a audience using effective public relations great chance to get hints and advice to methods. make the most of your first convention experience. 8:30–9 am NFA Annual Meeting Marquis Ballroom President Leonard Garrison, presiding. 7–9 pm Registration for all Meet NFA officers and candidates for Marquis Ballroom attendees office. Concert featuring the Illumin- Lobby ations Flute Orchestra immediately follows. 8–10 pm Illuminations Flute Orchestra rehearsal Marquis Ballroom See 4 pm listing for details. 8:45–10:15 am Masterclass Elite Ballroom Featuring flutists chosen from the Masterclass Performers Competition, with Amy Porter, instructor. Thursday, August 12 9–10 am Illuminations Flute Orchestra: Marquis Ballroom Opening Concert 8 am–5 pm Registration for all Wendy Kumer, conductor. Kick off the Lobby Area attendees convention with the annual flute orchestra event! Participation is open 8–9 am Freeing Yourself from Fear of Judgment to all NFA members, as long as there is Grand Ballroom Workshop with Helen Spielman. space available. Pre-registration for the (Salon A–D) Release your need for approval from entire convention is required of all others, find a deeper connection to your participants. authentic performance path, and gain stronger self-confidence in your per- 9 am–noon High School Soloist Competition formances through the techniques Grand Ballroom Final Round explored in this workshop. (Salon F)

PROGRAM AND SCHEDULE SUBJECT TO CHANGE nfaonline.org Summer 2010 The Flutist Quarterly 43 National Flute Association 38th Annual Convention, Anaheim Marriott Hotel Anaheim, California, August 12–15, 2010

Aldo Baerten Li-Ming Chen Tadeu Coelho

9:15–9:40 am Exhibitor Showcase: Important 11 am–12:30 pm Voices from the Deep Veranda Features and Services to Consider Orange County Come hear this concert featuring low Before Buying a Headjoint Ballroom flutes from alto to contrabass, sponsored Sanford Drelinger, presenter. Drelinger by the Low Flutes Committee, one of Headjoint Co. the NFA’s newest offerings. Performers include Christine Potter, Alexa Still, 10–11 am Posture and Position in Flute Pedagogy Andrea Graves, Paige Dashner Long, Grand Ballroom Lea Pearson leads this workshop. Peter Sheridan, Alexandra Baldwin, (Salon A–D) Come explore recommendations of modern teachers, experiment with Marion Garver Frederickson, and different postures and positions, and Kimberly Reighley. develop the ability to determine what is best for you. Bring flutes! 11:30–11:55 am Exhibitor Showcase: Veranda The Windward “Combo” 10–11:30 am Flute Choir Reading Session Windward Eb/D convertible-pitch, Marquis Ballroom Francine Pancost, conductor. Bring taper-bore flute (patent pending), its (North) your flutes! advantages, tuning aspects, and the “speed” and accuracy due to bore and 10 am–5:30 pm Visit the Exhibits embouchure design. Hanz Araki, Platinum Ballroom presenter. Windward Flutes.

10:30–11:15 am Music of Jeinrich Feld 11:30 am–12:30 pm The Artistry and Teaching of Elite Ballroom This recital by Carlo Jans includes the Grand Ballroom James Pappoutsakis Sonata from 1957, which was dedicated (Salon A–D) This long-tenured flutist with the to Jean-Pierre Rampal and voted the Boston Symphony recorded his ideas best flute composition of the 20th century at the 2000 NFA convention. on teaching and playing. Nina Barwell will share his inspired insights and 10:30–11:45 am Piccolo Gems practical advise from these recordings. Marquis Ballroom Concert featuring Nan Raphael, Walfrid Kujala, Lois Herbine, Linda 11:30 am–12:30 pm Two for the Road Toote, Peter Verhoyen, Sarah Jackson, Elite Ballroom A concert of duet music featuring with the California State University artists InSterio, Forbidden Flutes, and Fullerton Wind Symphony; Mitch the Gemini Duo. Fennell, conductor. Enjoy encore style works in succession. To include Fantasy 12:15–1:15 pm Headliner Recital on Irish Airs, a new arrangement of Marquis Ballroom Demarre McGill, principal flutist with “Flash!” for band, the “Patriot of ’76,” (North) the San Diego Symphony, performs. and more! Noon–1 pm Flute Choirs in Concert 10:45–11:10 am Exhibitor Showcase: Gold Key Alcove Featuring the Central Arizona Flute Veranda New Sounds for Trevor James Ensemble and Bel Canto Flutes. Explore the new sounds of Trevor James flutes. Learn about the instruments and 12:30–4 pm Young Artist Competition hear the difference. Matthew Allison, Grand Ballroom Semi-Final Round presenter. Trevor James. Salon F

44 The Flutist Quarterly Summer 2010 nfaonline.org PROGRAM AND SCHEDULE SUBJECT TO CHANGE Program and schedule subject to change

Linda Chatterton Greg Pattillo Lois Herbine

1–1:25 pm Exhibitor Showcase: Innovative Rondinelli discussing ideas for keeping Veranda Instruction=Terrific Tone students on track with their personal (Even in a beginner’s first lesson) progress. Through observing a lesson with a 3–4 pm Headliner Recital new student, participants will hear how amazing a student can sound. Marquis Ballroom Miguel Angel-Villanueva is featured in Kathy Blocki, presenter. Blocki Flute (North) a recital of Mexican and Mexican- Method LLC American composers. Samuel Zyman’s Sonata is included. 1–2 pm Mini-Flute Spa: Phrasing Grand Ballroom Workshop with Patricia George 3:15–3:40 pm Exhibitor Showcase: (Salon A–D) exploring the phrasing gestures of Veranda Keeping Up With the Market down/up and forward flow using Please join Dr. Lindsay Beasley for an intelligent movement. exciting information session discussing instruments and enhancements, teaching 1–2 pm Flute Choir Showcase tools, accessories, and much more! Orange County Musica Nova Flute Ensemble, Dr. Lindsay Beasley, presenter. Carolyn Ballroom Solvvinden Flute Ensemble Nussbaum Music Company. 1–4 pm Piccolo Artist Competition 4–5 pm Visit the Exhibits Elite Ballroom Semi-Final Round Platinum Ballroom 1:30–2:30 pm All That Jazz 5–6 pm PhD/DMA Dissertation Competition Marquis Ballroom A concert of jazz-influenced works Veranda (North) featuring Hollywood studio recording artist Louise DiTullio and flutist 5–6 pm Headliner Recital George Pope. Grand Ballroom: James Walker performs cross-over Salon F favorites for flute and piano by Claude 1:45–2:10 pm Exhibitor Showcase: Bolling, Mike Mower, Bill Mays, Chris- Veranda William S. Haynes topher Caliendo, and Michael Garson. 2:30–2:55 pm Exhibitor Showcase: 5:45–8 pm Myrna Brown Society Dinner and Veranda Elegant New Creations Meet in the Amateur Mixer Join us as we share the new develop- registration area The Myrna Brown Society was established ments happening at Nagahara Flutes: at 5:45 pm for to carry on the friendliness of the NFA new flute model options, our pinless 6 pm dinner during its growing years under the mechanism, an exciting new alloy, and direction of Myrna Brown. Members more surprises on the way! Geraldine are invited to meet for dinner before Morillo, presenter. Nagahara Flutes. the evening concert. Individuals pay 2:45–4 pm “Motivation in the Flute Studio: for their own meals. Groups of no Grand Ballroom How to Keep it Alive in the larger than eight will be led by an (Salon A–D) Dead of Winter” active society member. This is an The Pedagogy Committee presents this opportunity for newcomers and panel with speakers Angelita Floyd, amateur flutists to meet like-minded Debra Youngblood, and Cassandra individuals in a relaxed social setting.

PROGRAM AND SCHEDULE SUBJECT TO CHANGE nfaonline.org Summer 2010 The Flutist Quarterly 45 National Flute Association 38th Annual Convention, Anaheim Marriott Hotel Anaheim, California, August 12–15, 2010

Mary Karen Clardy Mark Dannenbring Christine Potter

7 pm–8 pm Flute Choir Concert 8–10 am Career and Artistic Development Gold Key Alcove Featuring the Rose City Flute Choir. Grand Ballroom Committee Mini-conference Session #1 (Salon A–D) Come for an informative workshop by 8–10 pm Gala Concert—Chamber Music one of the newest NFA committees. Marquis Ballroom with a Twist Topics incude Sell Art, Not Out (8–9 am) Our first gala will thrill with flute and Programming, Proposal Writing, beatboxing artist Greg Pattillo and his and Marketing (9–10 am). group Project, world music artist Suzanne Teng, and blues/funk/rock 9–10 am Chamber Music for Flute and Percussion flute grooves with the Matt Eakle Band. Marquis Ballroom Alexa Still and Teresa Beaman perform Band leader/flutist Matt Eakle encour- in concert with various percussionists. ages everyone to have flutes handy for Works by Kenneth Froelich and audience participation! (Don’t worry; Gareth Farr. you won’t have to play alone!) 9–10 am Expand Your Palette: Vibrant Elite Ballroom Repertoire for Colorful Concerts Attendees to this reading session hosted Friday, August 13 by the NFA Pedagogy Committee will play a variety of etudes and solos taken 8 am–5 pm Registration for all from the NFA publication Selected Flute Marquis Ballroom attendees Repertoire and Studies: A Graded Guide. Lobby Bring your flutes and stands. 8–9 am Warm-Up workshop with 9:15–9:40 am Exhibitor Showcase: All the Music Grand Ballroom Michael Faust Veranda Flutists Want In One Complete Series! (Salon F) Discover Overtones™—an unparalleled 8–9 am Kincaidiana: The Teachings of series of repertoire and supporting Veranda William Kincaid materials for flutists at every level of Lecture on the phrase-shaping tech- study. This progressive collection niques of Philadelphia flutist William includes repertoire, studies, orchestral Kincaid by Lois Herbine. excerpts, and technique. Jim Walker and Susan Hoeppner, presenters. 8–9 am Music by American Composers Frederick Harris Music. Marquis Ballroom Concert featuring Mary Karen Clardy (North) and Sandra Lunte performing works 10–10:25 am Exhibitor Showcase: The Grenaditte by Paul Basler, Robert Beaser, and Veranda Flute and the Ensemble Gary Schocker. The Formosa Flute Ensemble will demonstrate the extreme flexibility of 8–9:30 am Floga: Yoga for the Flutist the Grenaditte Flute to capture various Grand Ballroom Yoga is a valuable tool for stress musical styles within the context of a (Salon E) reduction and for maintaining flute ensemble. Mark Dannenbring flexibility. Come join this workshop and Geoffrey Guo, presenters. Guo led by Suzanne Buerkle and try it out. Musical Instruments Co.

46 The Flutist Quarterly Summer 2010 nfaonline.org PROGRAM AND SCHEDULE SUBJECT TO CHANGE Program and schedule subject to change

Nobutaka Shimizu Nicole Mitchel Robert Dick

10–11 am Music for Piccolo and Piano 11:30–11:55 am Exhibitor Showcase: Grand Ballroom Lois Herbine, Nicole Esposito, and Veranda The Muramatsu Alto Flute (Salon F) Peter Verhoyen perform in recital A discussion of the history and devel- featuring works by Katherine Hoover, opment of the alto flute models available Mike Mower, Francis Poulenc, and others. from Muramatsu, including platinum clad and low B models. Ervin Monroe, 10–11:30 am Flute Choir Showcase presenter. Muramatsu America. Orange County Greater Dallas Youth Orchestra Flute Ballroom Choir, Stanford Flute Ensemble, and Pacific Flute Ensemble perform. 11:30 am–12:30 pm Strange Bedfellows— Marquis Ballroom Music for Flutes, Piccolo 10 am–5:30 pm Visit the Exhibits (North) and Unlikely Partners A mixed chamber music concert 10:15–10:45 am Practical Time Management features Jan Gippo, Madera Winds, Grand Ballroom Lecture featuring Molly Barth discussing Maria Ramey, and Debora Harris. (Salon A–D) tips for more effective practice sessions through time-management skills. 11:30 am–12:30 pm Marianne Gedigian in recital! 10:15–11:15 am Beyond Kohler and Kuhlau: Grand Ballroom Effervescent flutist Marianne Gedigian Marquis Ballroom Music for Flute Quartet (Salon F) performs works by Moquet, Gaubert, (North) Matt Johnson, Dane Anderson, Max and Poulenc. Baldonado, and Jared LeClerc perform as the Gentlemen’s Quarterly,introducing 11:30 am–1 pm Flute Lovers Lunch: listeners to less-familiar flute quartets Newport/ Jim Walker, Guest Speaker by composers such as Guiot, Jeanjean, Rancho Room Jongen, Maurice, and Saint-Saens. Noon–1 pm Low Flutes Ensemble Reading Session 10:30–11:30 am California Innovators and Marquis Ballroom Australian Composers Orange County Christine Potter, conductor/coordinator. Alexa Still and Elizabeth McNutt Ballroom Bring your own instrument and perform in concert works by California participate! composers Stephen Lucky Mosko, François Rose, and Andrew May, and Noon–1 pm Flute Choir Concert Australian composers Miriam Hyde, Gold Key Alcove Featuring the Magic Flutes Flute Anne Boyd, and Carl Vine. Choir and the Cole Conservatory Flute Choir. 10:45–11:10 am Exhibitor Showcase: Veranda Guo Musical Instruments Co. 12:30–2 pm Flute Choir Conducting Tips 11 am–noon Mind Power: The Art of Concentration Grand Ballroom After a successful premiere of this Grand Ballroom Learn specific methods to increase your (Salon A–D) workshop at the New York City con- (Salon A–D) ability to maintain focus, avoid distrac- vention, Carlo Jans returns to work tion, and tame the “chatter” of thoughts with conductors on flute choir con- in order to practice and perform ducting skills. Bring your flute; Jans optimally in this workshop with will write special exercises to be Helen Spielman. performed by the ensemble.

PROGRAM AND SCHEDULE SUBJECT TO CHANGE nfaonline.org Summer 2010 The Flutist Quarterly 47 National Flute Association 38th Annual Convention, Anaheim Marriott Hotel Anaheim, California, August 12–15, 2010

Louise DiTullio Peter Verhoyen Alexa Still

1–1:25 pm Exhibitor Showcase: Sheet music raffle and gifts for all! Veranda Music for Low Flutes Christopher Caliendo, presenter. A program featuring chamber music Caliendo World Music Publishing. for low flutes with performer Peter Sheridan and friends. Introduction of 1:45–2:45 pm Brook Ellen Ferguson in Concert low-sound flutes from the Kotato Flute Elite Ballroom The 2009 Young Artist Competition Company. Peter Sheridan, presenter. winner performs “Pillars of Fantasy,” Ogura Flute Works. a recital of works by Amaya, Gaubert, Dean, and Gandolfi. 1–2:30 pm Robert Aitken: A Composer Portrait Marquis Ballroom A concert featuring the music of Robert 2:30–2:55 pm Exhibitor Showcase: New Yamaha (North) Aitken will include the first full per- Veranda Alto and Bass Flutes Enhance Flute formance of NFA-commissioned work Choir Harmony Discover how the new Yamaha harmony Concerto for Flute Orchestra. Performers flutes enhance flute choir tonal warmth are Dianne Aitken, Eva Amsler, Laura and depth, demonstrated in an interac- Barron, Molly Barth, Lisa Bost-Sandberg, tive performance by the Orange County Valerie Coleman, Robert Dick, Cliff Flute Ensemble. Kurt Witt, presenter. Dunn, Bill Egnatoff, Jill Felber, Jan Yamaha Corporation of America. Junker, Sue Ann Kahn, Zara Lawler, Shin Ying Lin, Elizabeth McNutt, Liessa 2:30–4 pm Before the First Note Norman, Greg Pattillo, Jennifer Rhyne, Grand Ballroom Susan Fain and Patricia George lecture John Savage, Patricia Spencer, Alexa (Salon A–D) on the scientific application of anatom- Still, Paul Taub, Celine Thackson, ical principles in playing and teaching Linda Toote, and Wendy Wilhelmi. the flute. Flute alignment, hand and body placement, and breathing mecha- 1–2:30 pm Remembrance and Healing Concert nisms will be covered. Grand Ballroom A concert in tribute to those we mourn. (Salon F) Performers include John Bailey, 2:45–4 pm Flute Choir Reading Session Kimberlee Goodman, George Pope, Orange County with Ellen Burr Kristen Stoner, Darrin Thaves, and Ballroom Wendy Wilhelmi. 3–4 pm Headliner Recital 1:30–2:30 pm Flute Choir Showcase Marquis Ballroom Nobutaka Shimizu, an internationally Orange County Song of the Angels Flute Orchestra (North) recognized artist from Japan, performs. Ballroom and Southern Arizona Flute Orchestra Shimizu has been the principal flutist perform. of the Japan Philharmonic Orchestra since 1995 1:45–2:10 pm Exhibitor Showcase: Caliendo World Veranda Music Annual Showcase! 3–4 pm Romancing the Flute Amy Porter and John Barcellona perform Grand Ballroom Concert features works from the with Caliendo—live! Caliendo updates (Salon F) romantic era, to include Schubert new publications, including the 8th Theme and Variations, with Aldo flute sonata, performed by Porter. Baerten and Jennifer Grim.

48 The Flutist Quarterly Summer 2010 nfaonline.org PROGRAM AND SCHEDULE SUBJECT TO CHANGE Program and schedule subject to change

Susan Greenberg Matt Eakle Greer Ellison

3–4 pm Committee chairs meeting 8–10 pm Gala Concert with Lifetime Gold Key II Marquis Ballroom Achievement Award Recipients Leone Buyse and Fenwick Smith 3–4 pm Recital of European Artists Solo and chamber music featuring both Elite Ballroom Carlo Jans and Patricia Nagle artists in a concert augmented by per- Featuring the American premiere of formances of former students Hilary Anthony Girard’s Concertino, an arr- Abigana, Li-Ming Chen, Kristin Eade, angement of Carl Gottlieb Reissinger's Ebonee Thomas, and Marianne Grand Sonata, opus 190, for violin by Gedigian. Carlo Jans, and more. 10:30–Midnight Late Night Cabaret with 3:15–3:40 pm Exhibitor Showcase: The Native Elite Ballroom Nicole Mitchell Veranda American Flute in Contemporary Come hear Downbeat magazine’s Music Rising Star Flutist 2005–2009, who was Demonstrating the versatility and also awarded Jazz Flutist of the Year richness of wooden flutes and how 2008 by the Jazz Journalist Association they can enhance flutists’ repertories, and named Chicagoan of the Year as well as providing new cultural 2006 by Chicago magazine. experiences for their audiences. Odell Borg, presenter. High Spirits Flutes. 4–5 pm Visit the Exhibits Saturday, August 14 Platinum Ballroom NFA board members will be at the NFA booth and available to talk. 8 am–5 pm Registration for all attendees 5–6 pm Headliner Recital Marquis Lobby Marquis Ballroom Carol Wincenc performs works by Jake Heggie and others. 8–9 am Pedagogy Breakfast: Newport/ Tadeu Coelho, Speaker 5–6 pm The Jazz Flute Practice Method Rancho Room Sponsored by Pedagogy Committee. Veranda Ali Ryerson presents a workshop on her Jazz Flute Practice Method. Develop 8–9 am Interdisciplinary Performance Basics improvisational skills through daily Marquis Ballroom Zara Lawler leads a workshop on exercises. Learn jazz scales, chord bringing movement and text into flute progressions/substitutions, phrasing, performance using Roussel’s “Krishna” and articulation. Bring your flute and poetry by Mirabai. No experience and stand! necessary: just bring your flute and an open mind. 6–7:15 pm Exhibitor Concert Elite Ballroom Performers to be announced. 8–9 am Flute Tips for Amateurs Orange County Calling all flute enthusiasts! Pointers 7–8 pm Flute Choir Concert Ballroom galore in this workshop led by Shelly Gold Key Alcove Desert Echos Flute Project performs. Binder for those who love to play the flute.

PROGRAM AND SCHEDULE SUBJECT TO CHANGE nfaonline.org Summer 2010 The Flutist Quarterly 49 National Flute Association 38th Annual Convention, Anaheim Marriott Hotel Anaheim, California, August 12–15, 2010

Jim Walker Sarah Jackson Carlo Jans

8–10 am Career and Artistic Development 10 am–5:30 pm Visit the Exhibits Grand Ballroom Committee Mini-conference Session #2 (Salon A–D) Come for an informative workshop by 10:15–11:30 am Mixed Chamber Ensembles one of the newest NFA committees. Marquis Ballroom Concert features Virginia Broffitt and Topics include Grant Writing and (North) Susan Greenberg performing works by Budgeting Techniques (8–9 am) and Bermel, Higdon, Muczynski, Beethoven, World Café (9–10 am). and Albert. 8:30–9:30 am Commercial Members 10:30–11:30 am Open Baroque Masterclass Veranda Meeting Marquis Ballroom with Greer Ellison 9–10 am Asian Influences: Japanese and 10–11:30 am Orchestral Audition Masterclass Marquis Ballroom Taiwanese Influences in Classical Music Grand Ballroom with Catherine Ransom Karoly (North) Concert features Tzu-Ying Jennie Lin (Salon F) and Ai Goldsmith. Gary Schocker’s Traditional Taiwanese Melodies for Two 10:30–noon The Ped-Comm Fix-it Shop: Flutes, Bozza’s Cinq chansons sur des Grand Ballroom Panel Discussion of Chronic Problems themes Japonais, and Takemitsu’s Air (Salon A–D) This panel of pedagogy committee show that European traditions blend members will be led by Stacey Steele. with Asian aesthetics and traditions. Topics include vibrato production, 9–10 am Orchestral Audition articulation, embouchure, hand position, Grand Ballroom Competition and others. Audience participation (Salon F) encouraged. 9–10:30 am Piccolo Artist 10:45–11:10 am Exhibitor Showcase: Elite Ballroom Competition Finals Veranda The Dean Yang Alto 9:15–10:15 am Flute Choir Reading Session A presentation of the various alto flute Orange County Darrin Thaves, conductor. models available from Dean Yang and Ballroom distributed by Little Piper. Karen Matthews, presenter. Dean Yang Flutes. 9:30–10:30 am Spirit of Baroque in 2010: Marquis Ballroom Honoring the Baroque Masters 11 am–noon Practice CPR Leclair, Telemann, Couperin, Corelli, and Elite Ballroom This workshop led by Jennifer Keeney J.S. Bach are featured. Concert features offers CPR for your practice: jump Greer Ellison with Wendy Rolfe, baroque start, revitalize, and breathe new life flute, and Jung Hae Kim, harpsichord. into your practice! Receive 25 10–10:25 am Exhibitor Showcase: “Kirameki Wood “Illuminating” ideas. Bring your flute Veranda Five” Flute Quintet of Japan and creative spirit. Powell Flutes presents the premiere of this wooden flute quintet at its first NFA 11:30–11:55 am Exhibitor Showcase: The Musical convention. This ensemble has amazed Veranda Chameleon audiences with its artistry and elegance… The Musical Chameleon, a flute and and wooden Powell Flutes! Performing piccolo for all genres, as performed by Concerto for Five Flutes by Boismortier. Jim Walker and Molly Barth. Walker Christina Cobas, presenter. Verne Q. and Barth, presenters. Burkart Powell Flutes Inc. Flutes and Piccolos.

50 The Flutist Quarterly Summer 2010 nfaonline.org PROGRAM AND SCHEDULE SUBJECT TO CHANGE Steve Kujala Patricia Spencer Peter Sheridan

11:45 am–12:45 pm Illustration of the Feminine Flute Miyazawa Artist Tadeu Coelho performs Grand Ballroom This lecture/recital with Christine the original version of Varese’s Density (Salon F) Hankin will celebrate the artistry that 21.5 compared to the 1946 score on a women composers have brought to Miyazawa platinum flute with Brögger flute music—despite all the odds! System. Coelho, presenter. Miyazawa.

Noon–1 pm Flute Choir Concert 1–2:30 pm Special Event: Kids Kamp Gold Key Alcove Featuring Camelia City Flute and Ari- Grand Ballroom A brand new convention experience for zona Flute Society Alla Breve Flute Choir. (Salon F) our youngest flutists, ages 8–13. A special Noon–1 pm Headliner Recital: Amy Porter concert with Carol Wincenc will be fol- Marquis Ballroom Featuring works written especially for lowed by a workshop led by Wincenc (North) Porter by Christopher Caliendo and and an open reading session with David Sampson. Barbara Ogar. Bring your own flute! (Separate registration is required for Noon–1:30 pm Contemporary Directions participation. Convention attendees Marquis Ballroom Concert features 20th- and 21st-century may audit the session.) (North) music, including music for flute and electronics, with performers Christina 1:30–2:30 pm Point, Counterpoint: Guenther, Nicole Esposito, Michael Elite Ballroom One Performance, Two Viewpoints Bellavance, Nicole McPherson, Clifford This joint masterclass for chamber Dunn, Janice Misurell-Mitchell, and music groups will be led by 2010 Dane Richeson. Lifetime Achievement Award Recipients 12:15–12:40 pm Exhibitor Showcase: Greg Pattillo and Leone Buyse and Fenwick Smith. Veranda Project Trio 1:45–2:10 pm Exhibitor Showcase: Exploring Tonal Greg Pattillo on Gemeinhardt and Brio Veranda Color Variations with Jill Felber flutes with his Trio, demonstrating their artistry and talent. Special door prizes Experience the endless possibilities of are sure to go down as collector’s items! tone colors through the performance Greg Pattillo and Project, presenters. of Miyazawa Artist Jill Felber. Felber, Gemeinhardt Co., LLC. presenter. Miyazawa Flutes. 12:15–1:15 pm Alma Nova Duo 1:45–2:45 pm Composers Forum Elite Ballroom Jessica Pierce, flute, Almer Imamovic, Grand Ballroom Jake Heggie, Daniel Dorff, Robert guitar, and guest Matt Hillegass, percus- (Salon A–D) Aitken, Robert Dick, and Eric Ewazen sion, perform new flute and guitar music discuss works they composed that are with an Eastern European flair. featured at the convention. 12:30–1:30 pm Troubleshooting Your Flute Section 1:45–2:45 pm Flute Choir Showcase Grand Ballroom This lecture, presented by Julie Hobbs, Orange County The Kirameki Flute Ensemble, (Salon A–D) is for all educators—band directors and flutists alike! Ballroom Hiromitsu Abe, conductor, performs. 1–1:25 pm Exhibitor Showcase: 2–3:30 pm Jazz Flute Big Band Reading Session Veranda Tadeu Coelho Presents: Marquis Ballroom with Ali Ryerson The Brögger System in Action (North)

PROGRAM AND SCHEDULE SUBJECT TO CHANGE nfaonline.org Summer 2010 The Flutist Quarterly 51 National Flute Association 38th Annual Convention, Anaheim Marriott Hotel Anaheim, California, August 12–15, 2010

Marianne Gedigian Patricia Nagle Paul Taub

2:30–2:55 pm Exhibitor Showcase: Introduction of the school attendees, participants in this Veranda New Kingma and Brannen Alto Flute session, led by Kathleen Cameron, will An introduction of this new closed- be exposed to basic principles, sugges- and open-hole alto flute by Greg Pattillo, tions, and exercises for improving tone. as well as a presentation of the Kingma low flute family. Marion Federickson, 5:45–7:45 pm Lifetime Achievement and National Robert Hughes, Greg Pattillo, and Peter Grand Ballroom, Service Awards Reception and Sheridan, presenters. Kingma Flutes. Salon E Gala Dinner Leone Buyse, Fenwick Smith, and 3–4 pm Physical Considerations for Gwen Powell are honored. Veranda Teaching Beginner Flutists A research-based discussion featuring 7–8 pm Flute Choir Concert Karen Lonsdale on how to achieve a Gold Key Alcove Featuring the Los Angeles Flute healthy playing position, as well as Orchestra. appropriate practice and rehearsal set- 8–10 pm Gala Concerto ups for the beginner flutist. Marquis Ballroom Jan Gippo, Michael Faust, Carol Wincenc, and Catherine Ransom 3–4 pm Getting Inside John La Montaine’s Karoly perform the premiere of Eric Grand Ballroom Solo Sonata: Motives, Intervals, and Ewazen’s Piccolo Concerto, Reinecke’s (Salon A–D) Musical Character Concerto, a concerto by Vasks, and an John Bailey presents this lecture/recital orchestral premiere by Jake Heggie per for those new to the work or seeking a formed by the Illuminations Orchestra, fresh perspective. Bring your scores! Steven Byess, conductor. 3–4 pm Alto and Bass Flute Basics 10:30–midnight Late Night Cabaret with Orange County Robert Dick and Christine Potter lead Elite Ballroom Nancy Stagnitta Ballroom this low flutes workshop. Bring your Classically trained, Nancy Stagnitta low flutes! began to play jazz as a young adult. 3–4 pm Beatboxing 101 with Greg Patillo Hear this dynamic crossover artist with Elite Ballroom members of her group from Michigan’s Upper Lower Peninsula, including 3:15–4 pm Kirameki Flute Ensemble: pianist/composer Jeff Haas, for an even- Grand Ballroom Kids Kamp Edition ing of standards, originals, and good fun. (Salon F) This special concert features kid- friendly music for flute ensemble, with Hiromitsu Abe, conductor. For Kids Kamp participants and kids of all ages. Sunday, August 15

4–5 pm Visit the Exhibits 8 am–4 pm Registration for all Platinum Ballroom NFA board members will be at the Marquis Ballroom attendees NFA booth and available to talk. Lobby 5–6 pm In the Clear: Clear Steps to 8–9 am Warm Up with Veranda Improving Your Tone Marquis Ballroom Mary Karen Clardy Geared toward junior high and high (North)

52 The Flutist Quarterly Summer 2010 nfaonline.org PROGRAM AND SCHEDULE SUBJECT TO CHANGE Suzanne Teng Ali Ryerson Linda Toote

8–9 am Amateur 30+ Open Masterclass designed for modern flutists and aims Elite Ballroom with George Pope to help demystify Baroque style and Come learn tips for more successful performance practice with an performances in a friendly, warm, approach that nurtures curiosity instructive atmosphere. and exploration.

8:30–9:30 am College Auditions…Ready or Not? 10–11 am The Maturing Flutist: Veranda Shelly Binder presents an informative, Veranda Problems and Solutions non-threatening primer on college Featuring Dr. Stephen Mitchell. research and audition preparation. 10–11 am Professional Flute Choir Concert 8:30–9:30 am Newly Published Music Concert Orange County Steve Byess, conductor. Marquis Ballroom Flutists chosen from the Convention Ballroom Performers Competition perform works chosen from the Newly 10 am–4 pm Visit the Exhibits Published Music Competition. Platinum Ballroom

9–10 am French Music for Flute and Piano 10:30–11:30 am The Fretless Flute Workshop Grand Ballroom Michel Bellavance, Sandra Lunte, Grand Ballroom Steve Kujala discusses a unique style (Salon F) and Sarah Frisoff are featured in this (Salon A–D) that brings a new dimension to legato concert in this concert of works by playing. Pierne, Rivier, Debussy, and more. 10:30–11:30 am Restless Flute Syndrome Concert 9–10 am It Sounded Better at Home! Grand Ballroom Hilary Abigana demonstrates the Grand Ballroom How often have you (or your students) (Salon F) phenomenon known as Restless (Salon A–D) said that? In this lecture by Linda Flute Syndrome, in which there is an Chatterton, learn self-talk strategies urge or need to dance and act while and visualization techniques to make playing or performing on the flute. performing more enjoyable. 9:30–10:30 am To Accept or Not Accept 11 am–noon Mostly Bach Chamber Works Concert Marquis Ballroom Moderator Sue Ann Kahn and panelists Marquis Ballroom This recital by Tadeu Coelho honors (North) Marianne Gedigian, Jonathan Keeble, Julius Baker. It features several of Bach’s James Walker, and Carol Wincenc most famous arias for soprano and explain their criteria for acceptance to obbligato flute and other Baroque gems. undergrad/grad music schools and 11 am–noon Robert Dick in Concert festivals, and suggest how to maximize Elite Ballroom Robert Dick performs his own original results for yourself and your students. works, including a world premiere of 9:30–10:30 am Open Piccolo Masterclass his newest piece, “Slider Goodbye.” Elite Ballroom Join the Los Angeles Philharmonic piccolo artist Sarah Jackson in this 11:30 am–noon “Idyll for the Misbegotten” by dynamic masterclass. Marquis Ballroom George Crumb Lecture/Recital (North) Susanna Loewy offers an analysis that 9:45–10:45 am Approaching Baroque Music with uses embedded musical traits to explain Marquis Ballroom Primary Sources (and without fear!) how Crumb portrays his environmental This workshop led by Linda Pereksta is message, followed by a performance.

PROGRAM AND SCHEDULE SUBJECT TO CHANGE nfaonline.org Summer 2010 The Flutist Quarterly 53 National Flute Association 38th Annual Convention, Anaheim Marriott Hotel Anaheim, California, August 12–15, 2010

Mindy Kaufman Wendy Rolfe Laura Barron

11:30 am–12:30 pm Collegiate Flute Choir Concert principles that heighten awareness of Orange County John Barcellona, conductor. expression in performance. Wear com- Ballroom fortable clothes .

11:30 am–1 pm Afternoon Delight Concert 1:30–3 pm Music of Slavic Composers Concert Veranda Rebecca Johnson, Karen Johnson, Sue Veranda Featuring Nicole Molumbo, Paul Ann Kahn, and Zara Lawler perform Thompson, and Pamela Youngblood works by Lukas Foss, Albert Roussel, performing works by Blaz Pucihar, Ctr Astor Piazzolla, and others. Sojar Voglar, Jeff Manookian, and Robert Fruehwald. Noon–1 pm Teaching Awareness through Grand Ballroom Movement Workshop 1:30–3 pm Masterclass (Salon A–D) Come try the Feldenkrais Method in Marquis Ballroom Michael Faust, masterclass instructor, this workshop led by Stacey Pelinka. leads performers chosen in the Improve your breathing and free your Masterclass Performers Competition. arms and sound. Wear 2–3 pm Headliner Recital comfortable clothes. Marquis Ballroom Mindy Kaufman of the New York Noon–1:30 pm Young Artist Competition Philharmonic presents works for flute Grand Ballroom Finals and piccolo including the Piccolo Con- (Salon F) certo by Avner Dorman. Dianne Frazer, piano. 12:15–1:15 pm Flute and Clarinet: Together Forever! Marquis Ballroom Chamber music for woodwind duo 2–3 pm High School Flute Choir Concert features Flurinet, with Mihoko Orange County John Bailey, conductor. Watanabe, flute, Elizabeth Ballroom Crawford, clarinet, and James 2–3 pm Divas All! Concert Helton, piano. Grand Ballroom Music for flute and voice featuring 12:30–1:30 pm Flute Choirs in Concert (Salon F) flutists Jennifer Parker-Hawley, Diane Gold Key Alcove Featuring the Fremont Flute Ensemble Boyd Schultz, and Amy Likar. and Davis Flute Choir. 2–3 pm Flute Music of Melanie Bonis 12:30–1:30 pm The Life and Music of Henry Brant Elite Ballroom The life and music of Melanie Bonis, Elite Ballroom Paul Taub and Nancy Toff lead this Romatic-era composer from the Paris lecture about one of the major flute Conservatory, will be presented during composers of the 20th century; will this lecture/recital by Maria Harman. include live and recorded music. 3–4 pm Visit the Exhibits 12:45–1:45 pm World Flutes and More Platinum Ballroom Marquis Ballroom In this lecture, Suzanne Teng shares her 4–6 pm Illuminations Closing Ceremonies (North) knowledge of flutes from other lands. Marquis Ballroom Compositions will feature our conven- 1:30–2:30 pm Movement Principles for tion’s theme, with artists to include Grand Ballroom Expressive Performance Mary Karen Clardy, Michael Faust, (Salon A–D) This workshop, led by Mark Dannen- Patricia Nagel, and the Professional bring, will help explore basic movement Flute Choir.

54 The Flutist Quarterly Summer 2010 nfaonline.org PROGRAM AND SCHEDULE SUBJECT TO CHANGE NEW FOR 2010! Professional Development Credit for NFA Convention Attendance 1 unit of professional development credit for 15 hours convention attendance offered through California State University Fullerton–Extended Education

DETAILS: Pick up a registration form and fill it out. The course is called Music 499: Independent Study. Send back $100.00 fee for the course (check, money order, or credit card) and your completed registration form to: University Extended Education 2600 Nutwood Ave. Fullerton, CA 92831 Attention: Judy Strong, College Park Suite 950 Registration for NFA convention credit closes AUGUST 14, 2010. Forms received with a postmark dated after this date will be returned. VERIFICATION OF OBSERVATION: You will need to turn in a short outcomes paper, postmarked by AUGUST 31, 2010, for verification of your observations. Papers with a late postmark will not be accepted for course credit. REQUIREMENTS FOR OUTCOMES PAPER: List the events and times you attended (must show 15 hours total to receive credit) Summarize the content of each event. Discuss the relevance to your professional discipline of each event observed: What did you learn and how can you apply it in your professional life? Mail outcomes paper to: Cynthia Ellis, Music Department 800 N. State College Blvd. Fullerton, CA 92831 Must be postmarked on or before AUGUST 31, 2010 You may request an official transcript by calling 657-278-2300. Please wait until after September 20, 2010, to call. Last Name ______First Name ______Middle ______

CSUF University Extended Education Registration Form Date ______Print Clearly NOTE: Feel free to duplicate form if extra copies are needed.

CSUF Student ID or Social Security Birth Date (mm/dd/yy)

Email Address Male ! Female ! Have you ever attended as a Yes ! No ! CSUF or extension student?

Street Address City State Zip

Telephone (Home) Telephone (Business) EXT Telephone (Cellular)

Class Number Units Subject Area/Catalog Number and Class Name Print Instructor’s Last Name Fee 105-11141 1 MUS 499- Independent Study Cynthia Ellis $100.00

Total:

Please Note For…

Card number ______Expiration date (Mo./Yr.) ______(Visa, MasterCard, Discover, American Express – when using American Express, the name on the card must exactly match that of the student who is registering.) Online Courses or Hands-On Computer Classes

Signature (Authorization to charge) ______Bill my company. If this is an online class or a class taking place in a lab and you (Purchase order or letter of sponsorship must accompany registration. If registering by telephone, this must be faxed the day of registration.) are a new student, you will need access to the student portal. In the event that the company doesn’t comply with the terms and conditions of its P.O./Agreement/Voucher, the student is responsible for the class fees. Please contact us at (657) 278-2611 so we may provide you with information on how to obtain your CWID and PIN number. Signature ______Date ______

Payment by check, money order or credit card. BY CHECK or MONEY ORDER: make payable to CSUF.

Please mail or bring to: University Extended Education • 2600 Nutwood Ave., Fullerton, CA 92831, College Park, Suite 950, Attn: Judy Strong To register by telephone call 657.278.2611 Nederlands Fluit Genootschap Dutch Flute Society

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Orchestral Techniques for Flute and Piccolo: An Audition Guide by Walfrid Kujala

Orchestral Techniques is the first publication to include comprehensive instructional material that focuses on the technical and stylistic aspects of the main solo and ensemble excerpts from 28 orchestral masterworks.

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222 Main St. #504 Evanston, IL 60202 PH: 847-869-2998 Optimistic Realist: 36 Years and Counting with the Indefatigable Gwen Powell

Gwen Powell has given her energy to the NFA since its second convention, only one of many reasons she has been honored with this year’s National Service Award. Anaheim, the home of the first and this year’s convention, plays a serendipitous role in Powell’s contributions as well.

By Patti Adams

nergetic, enthusiastic, imaginative, passionate—a fitting and often substituted with the Santa Fe Opera Orchestra. In description of Gwen Powell, recipient of the NFA’s 2010 1971, she became professor of flute at Oklahoma State ENational Service Award. Her years of service to the NFA University and, later, head of the OSU Music Department. have been extraordinary in their variety, intensity, and devotion She was principal flute in the Oklahoma Sinfonia and Tulsa and have earned her scores of lifelong friendships with treas- Ballet Orchestra and was named 1980 Oklahoma Musician of ured colleagues and students alike across our flute world. the Year by the governor of Oklahoma. When asked how she found her way to the NFA, she answered Powell received three NEA arts touring grants and presented in typical Gwen fashion: It was in a way to help others. recitals and masterclasses in more than 30 states. She has given “When I was teaching at Oklahoma State University, I concerts in France, Mexico, Poland, China, Greece, the wanted to find a way to make my students aware of the world Netherlands, Italy, and the former USSR. After moving to of flute playing—show them that the world wasn’t limited to Tucson in 1991, she was founding director of the Southwest the Midwest,” she says. Powell’s own early teacher brought School of Music. She was professor of music at the University her to concerts to hear great artists coming through town. “I of Arizona and initiated a career development program for wanted to do that for my students because their experiences musicians, receiving national recognition as the leading pro- are so limited at that age; I wanted them to understand how gram of its kind. big the world is out there!” She is now professor emerita at the UA School of Music Powell’s first NFA experience was the second convention in Advisory Board. She sings with St. Phillips’ Singers, teaches Pittsburgh. “I drove over with students and had a wonderful recorder in an after-school program for at-risk children, guest time. Attending conventions is a living example of what we conducts the Southern Arizona Flute Orchestra, and co-chairs need to be doing. Nothing was ever achieved without enthu- a summer chamber music series in Lake City, Colorado. siasm, and the enthusiasm that you get at these conventions carries you through the whole year. For students trying to Working for the NFA find their way, it’s a wonderful door.” Powell’s first service experience with the NFA was being a Powell never dreamed the NFA would become such a cen- judge for the masterclass competition. “After serving as a tral part of her life. “I first got involved by performing in the judge, I asked if I could be chair of the competition—I felt it Newly Published Music Concert at the Atlanta convention in could be done much better. I thought the only way I could start 1976,” she says. “I was and still am a real champion of new being of service to the NFA was to just ask to do it!” she says. music. I performed a new theater piece by Oliver Knussen. So Recently, Powell attended a flute masterclass in Tucson by many people enjoyed the performance and the piece. All NFA member Carol Wincenc. “I was reminded once again of kinds of doors opened for me as a result!” all the reasons we’re in the NFA,” she says. “It’s this wonder- Gwen Powell grew up in Iowa and attended Northwestern ful community of players. As huge a presence as Carol is in University and Arizona State University. She studied exten- the music world, she’s still so humble; her whole presentation sively with Marcel Moyse in Vermont while teaching and serves the music. She was constantly saying to the kids that freelancing in the Boston area, was principal flute of the New the music is first, the flute second. That the music isn’t there Mexico Symphony and Albuquerque Chamber Orchestra, for the benefit of the flute—the flute is there for the benefit

58 The Flutist Quarterly Summer 2010 nfaonline.org of the music! She was constantly referring to her (and my!) have any development other than the fundraising banquet?” mentor Marcel Moyse. It was marvelous to reconnect and be she says.“Why don’t we have an ongoing commitment to con- reminded of just why we did, and are still doing, what we set tact people one-on-one and introduce them to the concept of out to do. This huge love that we have for the world—music giving money to the NFA after they’re gone? To create a gift is the path to express it. I’ve always been clear in my desire to that keeps on giving—a gift that influences the health of the have a full, real life first. The NFA fits that. It’s the continuum organization? I’d really like to see the development arm of the in our lives. The people. The friendships. The inspiration we NFA take root. I know from my experiences here at the music get from conventions.” school in Phoenix, raising money is an incredibly slow process. Powell has had a broad range of service to the NFA, includ- We need a bigger endowment to put us through these tough ing two years as NFA president, program chair, member and times and through the tough times ahead.” chair of the board of directors, masterclass competition chair, Powell’s optimism supports her development efforts. “It’s Young Artist Competition judge, NFA Library chair, Planned going to be more challenging every year, and that endow- Giving chair, and conductor of the NFA Flute Orchestra, ment is going to keep us alive!” she says.“I’m always so hope- Professional Flute Choir, and High School Flute Choir. ful. This army of volunteers that we’re all a part of is the way Powell was program chair in Kansas City in 1994, and she it’s going to happen.” says that role was her most challenging. “You have to be a very Powell is a seeker of the perfect quotation.“When I have to good juggler. Having a family, being a musician performing make a speech, I start by trying to find a quote that seems and teaching—then you find this elephant in the room with right for the moment—and will spend days looking for it,” you, and it is the NFA Convention in two years!” she says. “My quote for this particular month, in fact I think Powell says she took the job because“president Penny Fischer for this whole year, has been ‘We must be doing what we want found me in a weak moment.” What she remembers most the world to be,’ by Gandhi. That’s what the NFA does. It about that year was that “I was inventing as I went along.” doesn’t just talk about it—it does what the world should be Her year as program chair was also the first year for doing. That’s important. That’s what makes NFA so highly Madeline Neumann, NFA convention director. “We were successful in so many ways.” learning how to do the job together. Now I think it’s much “Our leadership philosophy of the NFA has always been, ‘If easier, because Madeline is there helping the PC along,” you can dream it, you can do it!’ So we dream big and we do Powell says. “The year of 1994 was a wonderful ride. At this big! It’s interesting to me how the NFA manages to plug in the point in my life, I have really good memories of it. At the right people at the right moment. An unrelenting work ethic time, I was just struggling with all the many aspects of it. can enable you to turn what could be a mistake into a success. Because there were no rules to follow, one was just inventing We just don’t let it go—we keep at it until it works. I think the as one went along, and that’s not a good way to do it. I’m so NFA has profited from that kind of approach. We have had to glad there’s a process now.” stay flexible and listen to each other to grow. The inclusive nature of the NFA has definitely played a big role in its success.” Gwen the Librarian After Powell moved to Tucson in 1991, she asked to be NFA NFA Pride Library chair.“The NFA Library seemed to have no advocate on “The NFA has never given up on excellence,” says Powell. “I either side. Members didn’t use it much and no one in the love the fact that we don’t ever settle. We have been constant library knew very much about the NFA except that they got this in our requirement of excellence, from all of us. Year after music from it,” she says. “There needed to be a partnership year, we get the best people to appear at conventions and to built. We needed to make the mission of the library the same participate in our leadership. They are so committed to put- mission as the NFA. We started working with the library dean, ting the best that’s out there on the stage and in our work. and that long relationship is valued on both sides now.” That has never changed. There’s a real integrity in the NFA Powell admits that there is still work to do to give the that I don’t find many places.” library the full recognition is deserves. “I was just there and “We’ve had difficult times, as all organizations have, and checked out an entire set of Moyse etude books because I there have been many challenges,”Powell concedes. But anoth- wanted to start reading through them again,” she says. “Once er Powell quote is, “In the middle of difficulty lies opportuni- I realized what we had, I started actively seeking people who ty.”She says the NFA leadership has lived that quote. might be interested in giving their music to the library.” “My other favorite quote for this moment,” Powell says, “is The beginnings of the library are a typical story of NFA one I say again and again: ‘We make a living by what we do, serendipity. “At the end of the very first NFA convention in but we make a life by what we give’—Winston Churchill. It’s Anaheim, Phil Swanson was the only officer who had driven something we all need to put across our forehead as we go there, and he had an empty trunk,” Powell says. “He said he through the day.” would drive the music home to Tucson and figure out where it went later. That’s how the library ended up in Arizona!” Patti Adams performs with the Louisiana Philharmonic Orchestra in New Orleans and teaches at Loyola University. Developing the NFA She is past chair of the NFA board of directors, was program Powell, currently chair of Planned Gifts, has helped develop chair for the NFA’s 25th anniversary convention in Chicago innumerable policies for the NFA. “I wondered why we didn’t (1997), and chairs the advisory board.

nfaonline.org Summer 2010 The Flutist Quarterly 59 National Flute Association Contributors to the Board Chair’s Appeal Updated as of May 1, 2010

GENERAL ENDOWMENT FUND William Montgomery Mimi Carlson Janet Davidson Romanishin The Abell Flute Co. Madeline Neumann Greer Ellison Jill M Rubio Patti Adams T. Richard Nichols Leonard L. Garrison Lisa Garner Santa Robert Aitken Edith K. Nishimura Patricia Harper Ellen Silverman Eva Amsler Ann C. Pearce Alexandra Hawley Peggy Vagts Trudi Anderson Phyllis T. Pemberton Hawley Family Charitable Julia K. Vasquez Francesca Arnone Mary Peterson Foundation Nancy M. Vinson Deborah Rebeck Ash George S. Pope Wilda M. Heiss Brooks de Wetter-Smith Avanti/GalwaySpirit/ Ronald Prechel Kathy Henkel ConnSelmer Inc. Emily F. Regis Marie B.Garritson Jureit DAVID HART FUND Teresa Beaman Janet Davidson Romanishin Robert Katayama Mary Berk Janet Becker Mary Ross Janet Maestre Susan Fain Sandra Benke Marcia Rudin Clara B. Mortiboy Leonard L. Garrison Sue Blessing Mary Novak Sand Jean Nakamoto Margaret Foote Jamner Robert F. Cole Therese Schneider Merryl D. Newler Linda Crisafulli Angela Allen Sherzer Edith K. Nishimura Christopher Krueger Linda Cykert John Solum James J. Pellerite Ardal Powell Caroline Dawson Maria Stibelman Gwen C. Powell Wendy H. Rolfe Karen B. Demsey Cynthia C. Stokes Mardee Reed-Ulmer Nancy Schneeloch-Bingham Zart Dombourian-Eby Mark S. Thomas Janet Davidson Romanishin Stephanie A. Wheeler Lewis T. Fitch Paul Thompson Sandy Schwoebel Robert Willoughby Angeleita S. Floyd Lenora Warkentin Mary DeLano Sholkovitz Leonard L. Garrison Jack H. Wellbaum Robert Singer PUBLICATIONS/ Jan Gippo Anne Welsbacher Eve E. Slater RECORDINGS FUND Diane Gold-Toulson Jean Ohlsson West Glennis M. Stout Karen Betz-Griewahn Wilda M. Heiss Alan Zaring Fenwick Smith Fritz M. Hessemer CULTURAL OUTREACH FUND Peggy Vagts Julie R. Hobbs Eva Amsler UNRESTRICTED Susan Waller Ina Mae Holt Mary Berk CONTRIBUTION FUND Theresa H. Wilson Eric Hoover Jerry Jenkin Anonymous Eileen Yarrison Victoria Jicha Ellen Kaner Eleanor Duncan Armstrong Katherine Borst Jones Margaret Peg Cornils FLUTE CHOIR FUND Robert Katayama MYRNA BROWN FUND Cynthia Ellis Amy Rice Blumenthal Keefe Piccolo Company Eva Amsler Adrianne Greenbaum Ann Droste Katherine Kemler Mary Berk Katherine Borst Jones Darlene Dugan Marjorie Koharski Andrew D. Callimahos Peter Katz Sally Grant Walfrid Kujala Cathy Clare Jonathan Keeble Ellen Kaner Joanne Lazzaro Leonard L. Garrison Margaret Jane Radin Amy Likar Susan S. Goodfellow Paul Taub Janice S. King Deborah MacMurray Helen Callimahos Hurry Elaine Layne Roger B. Martin Jerry Jenkin SPECIAL COMMISSIONS FUND Martin Melicharek III Katherine H. McClure Robert Katayama Carla Auld Ann C. Pearce Audrey McPherson Edith K. Nishimura Sheri D. Conover Virginia Schulze-Johnson Martin Melicharek III Kathy Henkel Ellen Silverman Mary Minsk FRANCES BLAISDELL FUND Ellen Kaner Corydon S. Sperry Linda Mintener Rebecca Tryon Andres Nagahara Flutes / NNI INC. Glennis M. Stout Joseph Mitchell Joanne Ennis Bourquin Christine E. Potter Eileen Yarrison

60 The Flutist Quarterly Summer 2010 nfaonline.org Visit the NFA Store right from the comfort of your desktop.

Books Compact Disks and much more! Visit nfaonline.org STUDENT SPOTLIGHT A Retrospective from a Busy Young Flutist

The first-prize winner of the 2009 Young Artist Competition recalls the year she spent in two places at the same time, when she decided to perform in a major festival while also competing in the NFA competition— the kind of schedule only the young and foolish would consider.

by Brook Ferguson

t’s a gorgeous summer day in 2006. I’m sitting on a blanket The phone rings from a 617 area code. A very familiar, dulcet- on top of a lush lawn of green grass at a picnic in the toned voice begins asking me a very familiar question.“Will you IBerkshires, struggling to maintain a steady cell phone sig- join the New Fromm Players,”says Michael Nock, “for the 2009 nal through a difficult conversation. I learn that I won’t be Festival of Contemporary Music?”At this point, I think,“Brook, able to compete in the NFA’s Young Artist Competition after give up! Maybe this competition just isn’t in the cards after all.” all because of a scheduling conflict. As much as I wished to go, But then I sit down and compare the festival and competi- I look around, and feel like I’m in heaven. Rosalie’s cookouts tion schedules. After unraveling the twists and turns of the basically are heaven, and later that evening, I will head onstage collective logistics, it becomes clear to me that I could do with my colleagues for our performance at Tanglewood on both. It wouldn’t be easy, but it isn’t impossible. Parade. I make an internal note to try again next year. But I find myself continually swept away making music at Tanglewood. Two more years come and go. Hindsight is 20/20 The year 2009 came quickly, and returning to Tanglewood If I had to choose again, I might have done things differently. as a woodwind player for a fourth season wasn’t on my agen- It’s not that the drive from the Berkshires to Manhattan is ter- da. Generally, string players and pianists are the only instru- ribly long, but the Taconic Parkway is perilous to navigate mental groups asked to return for a fourth year, and even this alone in the dark, especially with all of the inclement weather is somewhat rare. I made another recording for the Young in the northeast that summer. Three round trips in the span Artist Competition, and learned in March that the recording of five days playing multiple concerts of completely different passed the qualifying round. What a relief! I was thrilled to repertoire in each location didn’t make the situation any eas- actually be able to attend the competition before exceeding ier. Thank goodness for audio books and caffeine. The Kite the age limit (gasp) and to finish what I had started three Runner made excellent company. years ago. Once I was actually in New York, the lights and energy were But the universe had a different plan altogether, and it began intoxicating. I went to my various rehearsals with the compe-

to unfold in late April. tition pianists late at night after being on the road. Tim Carey JULISA FUSTÉ

62 The Flutist Quarterly Summer 2010 nfaonline.org and I had a blast preparing the semi-final repertoire: Samuel various meaningful and important ways. Thank you all for Zyman’s Flute Sonata and Gaubert’s Nocturne and Allegro your support over the years: Jeannie Baxtresser, Alberto Scherzando. Tim’s affable working style and dry British humor Almarza, and Marina Piccinini. To teach is to love—and learn- made the rehearsals fly by joyfully. I worked separately on the ing is the greatest gift one can receive. newly commissioned solo piece, Gargoyles by Lisa Bielawa, I’m looking forward to presenting a recital at the 2010 con- which was quite a challenging piece to pull off. vention in Anaheim featuring works of J.S. Bach, Philippe Right before our performance, we were surprised to learn Gaubert, Brett Dean, and Michael Gandolfi—and hope to see that Samuel Zyman and Lisa Bielawa were in the audience. We many of you there! got to play for and meet them after the performance, which added an unexpected boost of excitement to the occasion. Brook Ferguson was born in Northern Virginia. She received her The final round was approaching. Pianist Dan Vellicer and I Bachelor of Music and Graduate Performance diplomas from the worked very methodically on Michael Gandolfi’s Geppetto’s Peabody Institute of Johns Hopkins University and her Master of Workshop and the Polonaise from Taffanel’s Mignon Music from Carnegie Mellon University.Her major teachers were Variations. Even though my energy was low, I was still deter- Jeanne Baxtresser, Alberto Almarza, and Marina Piccinini, and mined. Dan sensed this intuitively and kept digging in his bag, she was deeply influenced by Michael Tilson Thomas, Doriot handing me trail mix and various other high-energy foods to Anthony Dwyer, Toshiko Kohno, and Mark Sparks. Ferguson keep me going. What a guy! We played at 2:00 p.m. and wait- resides in South Beach with her fiancé Daniel Schoenwald and ed for hours to hear the results at the end of the final gala con- is a flutist with the New World Symphony. cert. When the results were announced, I was overjoyed and utterly exhausted. It was such a great moment!

Lessons Learned Gps Uif Looking back, it almost seems like the most difficult part of the competition for me was actually being able to participate. Qjddpmp Tqfdjbmjtu It was definitely worth the struggle, because I learned some- boe gps thing very important. Uiptf Xip Offe I think as performers and achievers, we set out with expec- up Tpvoe Mjlf Pof tations of how things should go in our practice sessions and performances: how long it will take to learn a piece well, the ideal way to feel before a performance, how many hours we LFFGF 65 Divsdi Tusffu should practice to appease the flute gods, etc. In all of my QJDDPMPT Xjodiftufs- Nbttbdivtfuut 129:1 VTB many hours of preparation, I became fixated on planning the Qipof; 892.47:.2737 music to a tee in my image of how it “should” go. CPTUPO F.nbjm; kjnAlffgfqjddpmp/dpn For years, this led me to anticipate to the point of diminishing xxx/lffgfqjddpmp/dpn returns. By creating a logistically challenging environment for myself, and in so stripping my body of the physical energy need- ed to worry about superfluous details, I was free to live in the moment musically and to let my intuition lead me. This was the key that propelled me to do my personal best, and I had a great time letting go. My fiancé has joked since that he’s going to water-board me before every important performance. As tempt- ing as that sounds, I’ve decided to simply let a good lesson stick. I hope that in sharing my experience, flutists entering future competitions will feel encouraged to do their best in spite of any personal difficulties that they may be facing and that per- formers struggling with performance anxiety will have a fresh perspective on managing and conquering their fears. As my teacher Jeanne Baxtresser said, “Honey, it’s all a process!”

To the Future I thank the National Flute Association’s staff and volunteers for continuing to support flutists worldwide by creating won- derful performance opportunities for all of us at the annual conventions. Donna Shin, the YAC coordinator, was especial- ly accommodating and helpful. I also thank my teachers, whose presence I felt in all of my chosen final round pieces in

nfaonline.org Summer 2010 The Flutist Quarterly 63 TEMPO FLUTE The new six monthly magazine of the Association Of French Flute History

Tempo flûte Articles about french flutists, Revue de l’association d’histoire de la flûte française composers, music, flute makers, instruments, CDs…

Historical CDs by Gaubert, Hennebains, Barrère, Laurent, Le Roy, Deschamps, Blanquart, Dufrène

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Spécial générations Tempo flûte Paul Taffanel 7, rue Louis Pasteur Peter-Lukas Graf 95770 Saint-Clair-sur-Epte – France Alain Marion Gladys Bouchet Phone and Fax : 33 – (0)1 30 27 48 80 Juliette Hurel [email protected] Fonds René Le Roy N°1 décembre 2009-mai 2010 www.tempoflute.com NFA News Updates on committee activities and other news of interest from the national office Entrepreneur mini-conference of activities, which will be held Welcome at the upcoming Anaheim convention. Comprised of four career-related workshops, this mini-conference event is NFA Career designed to help flutists bring their wildest project ideas to fruition. CAD seeks participants with entrepreneurial ideas in and Artistic the fledging stages of development; 24 flutists will be selected as workshop participants. To ensure optimal continuity, the Development committee recommends that participants attend all four con- secutive workshops, during which they will flesh out their Committee concepts and begin project planning. Laura Barron Additional auditors are also welcome to attend any of the workshops. There are no application or participation fees for he NFA introduces its new Career and Artistic these workshops, though all participants and auditors must be TDevelopment Committee, created at the request of the registered convention attendees. NFA’s Strategic Planning Committee in response to high Send inventive project proposals (500-word maximum) to attendance numbers at the 2009 convention’s grant-writing, committee chair Laura Barron at [email protected] by July 1. arts management, and career development sessions. Strategic Planning Committee members directed the new committee members to “find ways to make these services available to First CAD Mini-Conference August 13–14, 2010 members year-round…encourage dialogue and raise aware- On Friday, August 13, from 8:00 to 9:00 a.m., participants will ness of the need for arts education advocacy.” attend “Sell Art, Not Out,” led by Laura Barron. The session The Career and Artistic Development Committee brings will help flutists align artistic pursuits with individual personal- together the entrepreneurial experience of flutists Laura ity, strengths, and passions. Working through exercises related to Barron, Stephanie Jutt, Alberto Almarza, Eva Amsler, and Jill six key points, participants will be encouraged to develop proj- Felber. Barron, chair of CAD, is the founder of Forbidden ects that reflect their authentic self-expression. By doing so, they Flutes and the Painted Sky Music Festival and formerly on the will be guided to more effectively cultivate a supportive audience faculties of the Universities of Oregon, Wisconsin, and for their work while maintaining artistic integrity. Northern Arizona. Jutt is a professor at the University of Following, from 9:00 to 10:00 a.m., Eva Amsler and Stephanie Wisconsin-Madison and artistic director of the Bach Jutt will lead “Programming, Proposal Writing, and Dancing and Dynamite Society. Almarza teaches at Carnegie Marketing.” They will help flutists accurately convey their Mellon and is artistic director of Encuentro de Flautas Del project concepts to others by demonstrating how to develop Sur Del Mundo, Chile, South America. Amsler is on the fac- attractive promotional materials that incorporate imaginative ulty at Florida State University and artistic director of the graphic concepts and effective communication skills. This Syrinx Flute Festival in Feldkirch, Austria. Felber, University workshop will also provide a brief survey of current multime- of California-Santa Barbara professor, is the founder of the dia marketing strategies. flute duo, Zawa! On Saturday, August 14, from 8:00 to 9:00 a.m., Molly CAD will offer both career and artistic development guid- Barth, assistant professor at the University of Oregon and for- ance, in recognition of the dynamic interdependence between the artistic and business aspects of a flutist’s career. Plans mer member of the Grammy-Award-winning Eighth include development of a Web page, hosted on the NFA site, Blackbird ensemble, and Laura Barron will lead “Grant containing links to a breadth of online career and artistic Writing and Budgeting Techniques.” This workshop will resources and eventually evolving into an interactive forum enable flutists to shape their ideas while projecting reasonable for sharing resources and ideas. Additionally, CAD will offer a expenses and finding appropriate funding that allows them to mini-conference of workshops at the 2010 Convention with create fiscally sustainable projects. the hope that these workshops become a regular feature of the The final session follows, from 9:00 to 10:00 a.m. “World annual NFA convention. Details about participant submission Café” will feature tables with print resources on programming requirements and mini-conference offerings follow. and proposal writing, marketing and graphic design, and grant writing and budgeting. Participants also may ask ques- To All Enterprising and Creative Flutists tions of workshop leaders. The National Flute Association’s new Career and Artistic Development Committee announces its first Think Like an —Laura Barron, Chair, Career and Artistic Development Committee

nfaonline.org Summer 2010 The Flutist Quarterly 65 NFA NEWS Commissioned to write a work New Music Commissions: for this year’s High School Competition, flutist, composer, 25 Years and Counting and educator Jane Rigler is known for her innovations in he 2010 Convention in flute performance, techniques, TAnaheim is the setting for and musical vocabulary. She the 25th anniversary of the performs widely as a soloist in New Music Advisory contemporary music festivals Committee’s commissioned and with ensembles through- out the world. Rigler’s compo- new works program, which Jane Rigler was formed in 1985 and sitions explore language, social chaired by composer and games, painting, poetry, and movement, and she has received flutist Robert Dick. The first numerous awards supporting her work. Her recent NFA-commissioned work, for NEA/Japan-US Friendship Commission Fellowship gave the Young Artist Competition, Rigler an opportunity to spend six months studying ancient Molly Barth was performed in 1986. The first performance practice, interact with many artists, and perform commission for the High School Soloist Competition joined throughout Japan during her residency. the lineup in 1989. The title of her commissioned work, “InterPresence,” con- I am happy that, as the committee’s current chair, I am able tains four musical images woven together by a single common to carry on that tradition, facilitating the procurement of new gesture in the introduction. This work plays with the physical- works annually, and our committee is grateful to the NFA ity of air, broken-up melodies, and rhythmic percussive games board and the chairs of the High School and Young Artist and gives the performer phrasing, timbre, and timing flexibil- Competitions for supporting these commissions. ity. “InterPresence” is both a reflective and a joyous attempt to This year, we will witness the premiere of the following reveal the unity of all things. works, among others. I look forward to seeing everyone at the convention in Commissioned to write a work Anaheim! for this year’s Young Artist —Molly Barth, Chair, New Music Advisory Committee Competition, composer Kristin Kuster takes musical inspira- tion from architectural space, the weather, and mythology. Recent CD releases include “Breath Beneath” on the PRISM Saxophone Quartet’s New Dynamic Records CD Breath Beneath and “Lost Kristin Kuster Gulch Lookout” on the Naxos CD Millennium Canons: Looking Forward, Looking Back by the UGA Wind Ensemble. Kuster’s music has received sup- port from the American Academy of Arts and Letters, the Sons of Norway, American Composers Orchestra, the League of American Orchestras, Meet the Composer, the Jerome Foundation, the American Composers Forum, American Opera Projects, the National Flute Association, and the Argosy Foundation. Born in 1973, Kuster grew up in Boulder, Colorado. She earned her doctor of musical arts from the University of Michigan, where she is assistant pro- fessor of composition. This year’s YAC commission, “Perpetual Afternoon,” takes inspiration from her work “Perpetual Noon,” which was premiered in Kansas City by Jennifer Nitchman. Kristin Kuster writes, “I find afternoon to be a precarious time of day. I often wish I could freeze the afternoon and make it fully static, non-passing, still. The music of ‘Perpetual Afternoon’ reflects my imagined after- noon, its sounds, if it were more than a few fleeting moments of every day.”

66 The Flutist Quarterly Summer 2010 nfaonline.org The Jazz Flute Big Band Reading Session Is Back!

hanks to the overwhelming success of the first Jazz Flute TBig Band Reading Session at the 2008 Kansas City con- vention, a follow-up jazz reading session has been scheduled for Anaheim. Alternating years with the NFA Jazz Flute Big Band (JFBB) Biennial Competition, this reading session will continue to provide an opportunity for both aspiring and experienced jazz flutists to play in an organized ensemble at our conventions. This summer’s session is slotted for a full hour and a half, 2–3:30 p.m., August 14. The event is open to Ali Ryerson conducts the Jass Flute Big Band at the 2009 Convention. all NFA members. No sign-up is required; all flutists are wel- The NFA has been extremely come to either participate or audit. (BYO music stand!) The supportive of the jazz commit- ensemble—consisting of C flutes; piccolos; alto, bass, and con- tee’s initiatives during my term tra bass flutes; and rhythm section—will read through pre- as committee chair (2005– selected jazz arrangements, with opportunities to improvise. 2010). The realization of the The rhythm section will feature one of LA’s top rhythm sec- NFA Jazz Flute Big Band is a tions: pianist Andy Langham, bassist Chris Connor, and case in point. Last summer’s drummer Kendall Kay. inaugural SRO performance If attendance at this summer’s jazz reading session rivals featuring the winners of the that of Kansas City’s session, the jazz committee has high first biennial JFBB competition hopes of receiving final NFA approval to schedule the event was a landmark success. One Hubert Laws biennially. In addition to providing jazz enthusiasts with a of the highlights of the evening regular playing opportunity, the session would become a was a special guest appearance forum for presenting new jazz arrangements to be consid- by 2003 NFA Lifetime Achievement Award recipient, famed jazz ered for inclusion in the biennial JFBB concert program. flutist Hubert Laws. Sharing the stage with gifted young jazz The arrangers who provided material for this summer’s flutists and seasoned pros alike, Laws’ very presence underscored reading session to be held at the convention in Anaheim— an invaluable gift the NFA offers the flute world: providing an flutists Billy Kerr, Bryan Kennard, and Dominique Gagné— environment for musical growth through mentorship by creat- performed in last August’s convention with the JFBB. Kerr ing performance opportunities for its members. and Gagné were among the arrangers chosen to showcase I look forward to another great convention in Anaheim, their works—original jazz compositions arranged for the where it all began 38 years ago. Kudos to Cynthia Ellis, our JFBB ensemble—in New York City. 2010 program chair, for putting it all together! —Ali Ryerson, Chair, Jazz Committee

Two decades of experience servingSyrinx professional flutists and their instruments with1/6 craftsmanship and BW care Billy Kerr Looking beyond the conventions, this jazz reading session

could also provide an opportunity for arrangers to develop Sarah Merrow Photo: Felix Rust repertoire for any flute choirs interested in performing jazz 343 Medford Street arrangements with a rhythm section. As a recent example, Lisa 2nd Floor Lorenzo, area chair of music education at McGill University in Somerville, MA 02145 BOB CHADWICK : Montreal, Canada, requested and subsequently performed 978.771.7945 JFBB repertoire in a faculty concert presented this past www.syrinxflute.com TOP RIGHT February at the Schulich School of Music at McGill. Syrinx sarah@syrinxflute.com Fine Flute Repair

nfaonline.org Summer 2010 The Flutist Quarterly 67 NFA NEWS All You Ever Wanted to Know…From the Low Flutes Committee

he first in a series of primers from the Low Flutes TCommittee was introduced in the spring 2010 issue of The Flutist Quarterly. We continue in this issue with charts of available features on currently manufactured instruments from low flute manufacturers. This data was compiled by committee members Andrea Redcay Graves and Marion Garver Fredrickson.

—Chris Potter, Chair, Low Flutes Committee Chris Potter plays an old bass flute at the convention in New York.

Rachel Maurer and Chris Potter, chair of Low Flutes, playing on contra flutes. Low flutes join in the extravaganza event with Sir James Galway in 2009. Alto Flutes Maker Curved head B (F#) foot Open holes Large bore Special features Altus Flutes Yes No No No Armstrong Yes No No No Brio Flutes Yes No No No Briolette Flutes Yes No No No Dean-Yang Flutes Yes Yes No No Di Zhao Flutes Yes No No No Emerson No No No No Gemeinhardt Flutes Yes No No No Hogenhuis No No No Yes U-shaped tube James, Trevor Yes No No No Jupiter (and Jupiter di Medici) Yes No No No Kingma, Eva On request Yes Yes Yes Open holes Kingma-Brannen No Yes Yes Yes Open holes Kotato Yes Yes On request No Lopatin Flute Company No No No No Square tone holes and keys Miyazawa No Yes No No Muramatsu No Yes No No Ormiston Flutes No No Yes No 8-key wooden alto, no trill keys Pearl Flutes Yes No No No Powell, Verne Q. (Sonare) No No No No Neel, Christophe Yes Yes Yes Yes Custom maker Sagerman No Yes No Yes Custom maker Sankyo Yes No No No Tianjin Xinhai Musical Instruments Yes No No No Yamaha Yes No No No Gold brass

68 The Flutist Quarterly Summer 2010 nfaonline.org Bass Flutes Maker Trill keys Vertical model B foot available Support system Open hole Special features Altus Flutes Yes No No Left-hand crutch No Briolette Flutes No No No No Di Zhao Yes No No Left-hand crutch No Emerson Yes No Yes Left-hand crutch No Hogenhuis Yes Yes No Knee rest No Large bore option V angle 2 headjoint angles Jupiter Yes Yes No Floor peg or neck No (di Medici model) (di Medici model) strap for vertical models Kingma Yes Yes Yes Floor peg for Yes Large bore option vertical model Kotato Yes No Yes Graphite rod On request Large bore Pearl Yes No No Left hand crutch No Neel, Christophe Yes No Yes Make a suggestion No Custom maker Yamaha Yes No No Left hand crutch No Gold brass

Contrabass (in C) and Other Low Flutes Makers Instrument B foot Trill keys Large bore Open holes Extras Hogenhuis Contrabass No Yes No 2 open holes ¼ tone PVC body, fipple headjoint

Subcontra Goes to A No No No polypropylene body fipple headjoint

Jupiter (di Medici) Contrabass Yes No No No Kingma Contra-alto in G Yes On request No Yes Contrabass Yes On request No On request Subcontra in G Yes No No No

Kotato Bass in F Yes Yes No On request vertical

Contrabass Yes No No No

doublecontra No No No No

Neel, Christophe Contrabass Yes Yes Yes No Custom maker Octobass Yes Yes Yes No

For More Information

Altus Flutes www.altusflutes.com Lopatin Flute Company www.lopatinflutes.com Armstrong www.armstrongwinds.com Miyazawa www.miyazawa.com Brio Flutes www.brioflute.com Muramatsu www.muramatsu-america.com Briolette Flutes www.musicfactorydirect.com Ormiston Flutes www.ormistonflutes.co.uk Dean-Yang Flutes www.dean-yang.com Pearl Flutes www.pearlflutes.com Di Zhao Flutes www.dizhaoflutes.com Powell, Verne Q. (Sonare) www.powellflutes.com Emerson www.emersonflutes.com Neel, Christophe [email protected] Gemeinhardt Flutes www.gemeinhardt.com Sagerman [email protected] Hogenhuis www.hogenhuis-flutes.com James, Trevor www.trevorjames.com Sankyo www.sankyoflute.com Jupiter (and Jupiter di Medici) www.jupitermusic.com Tianjin Xinhai Musical Instruments www.xinhaidimusic.com Kingma, Eva www.kingmaflutes.com Yamaha www.yamaha.com Kingma-Brannen www.kingmaflutes.com Kotato www.oguraflute.com/kotato Find more information at nfaonline.org/resources/commercial.

nfaonline.org Summer 2010 The Flutist Quarterly 69 Sigfrid Karg-Elert Wolfgang Amadeus Mozart 30 Caprices op.107 for solo flute 6 Sonatas for flute and piano KV 301-306 (edited by Rien de Reede) Vol. I + Vol. II (edited by Konrad Hünteler) Sigfrid Karg-Elert Carl Frühling Sonata Appassionata op.140 forsolo flute Fantasie op. 55 forflute and piano (edited by Rien de Reede) (edited by Emily Beynon)

Viotti Gianella Mercadante Marco Buongiorno Nardelli 3 duetti italiani fortwo flutes Gradus at Linos (edited by Rien de Reede) Technical exercises on Chant de Linos Johann Joachim Quantz Nardini Dôthel Giordani Mancinelli 6 sonatas fortwo flutes op. 5 4 duetti italiani for two flutes (edited by Rien de Reede) (edited by Rien de Reede)

Raymond Guiot Felix Mendelssohn-Bartholdy Do it Duet for two flutes Songs without words for flute and piano Fantaisie for flute and piano (edited by Benoît Fromanger)

Francesco Santucci Francesco Santucci Difficile ma possibile for flute and piano Serenata e Tango for flute and piano (bass and drums ad libitum) Honorable Mention at NFA 2010 Winner of NFA 2010 Newly Published Music Competition Newly Published Music Competition

Visit our booth (#100) at NFA Convention SUMMER SPECIAL : FREE SHIPPING FOR ORDERS RECEIVED BEFORE JULY 31ST

www.riverberisonori.it tel/fax + 39 06 44 70 32 90 Notes from Around Conventions, festivals, competitions, and other global flute activities theWorld A new French flute associa- Flute Player Needs to Know About the Body, will also lecture tion and its biannual flute on Body Mapping technique. magazine launched in 2009. Ittzés studied at the Kecskemét Zoltán Kodály Secondary Tempo Flute, pubished by Music School and at the Budapest Liszt Academy of Music. the French Flute History After graduating, he studied at the international Prague Association, is edited by Mozart Academy and Banff Centre for the Arts. He has won Pascal Gresset, who is also prizes in national and international flute competitions, president of the association. including the Grand Prix of the Aleksander Tansman Second The organization joins International Competition for Musical Personalities in together flutists, flute spe- Poland, two Annie Fischer Grants offered for promising young cialists, flute lovers, and soloists, the Franz Liszt Prize, and the Lajtha Prize. He has per- non-flutists interested in formed, led masterclasses, and lectured in European countries the history of the French and in Brazil, China, Canada, and the United States. As a flute from its origins to the member of the UMZE Ensemble, he performed at Carnegie present. The first issue of Hall in 2009. He founded the TeTraVERSI Flute Quartet with Tempo Flute contained arti- former students and has recorded 13 CDs. cles about flute players of different times (Paul Taffanel, Peter- Gavri was born in 1966 in Lukas Graf, Alain Marion, Gladys Bouchet, Juliette Hurel) and Belgrade. He received his new CD and music publication reviews. Future issues will degree at Folkwang College in include articles about French flutists, composers, works, flute Essen in the class of Matthias makers, and instruments. Tempo Flute was unveiled during the Rütters. He was principal flutist Third International Flute Convention in Nice, French Riviera, at the Essen Theater and January 15–17. The next issue will be published in June. Flutist Philharmony Orchestra, in the Pascal Gresset is former editor of Traversieres magazine and New Philharmony of Westfalia, former president of the French Flute Association and has writ- and in the Graz Philhamony. In ten for The Flutist Quarterly. Directors of the board of the Graz he taught as assistant pro- French Flute History Association are Philippe Allain-Dupré, fessor beside Dieter Flury, Guy Collin, Cécile Daroux, Bernard Duplaix, Philippe Dejan Gavri principal flutist of the Vienna François, and Catherine Lefaix. The 40-page Tempo Flute rates Philharmonic Orchestra. He has won international prizes in are 15 euros per year. Visit tempoflute.com or send an e-mail Barcelona (Maria Canals Competition) and at the Lorenzo to Gresset at [email protected]. Competition (Viaggio). As a soloist and chamber musician, he has performed in Europe, the United States, and Japan. The István Széchenyi University For information, visit http://ipc.sze.hu/fmc2010/. will host the first Gyor Intern- ational Flute Masterclass July The 22nd International Forum for Flute 19–28 at Tibor Varga Music and Piano will be held July 32–August 8 in Institute of the István Széchenyi Luxembourg. The forum, founded in 1988 University in Gyor, Hungary. The by flutist and conductor Carlo Jans with masterclass will be led by Gergely Claude Millim, provides an international Ittzés, professor of flute at Tibor summer class for flutists and pianists from all Varga, and Dejan Gavri, professor over the world. at Gutenberg University, Mainz. The forum does not divide active and pas- Lea Pearson (United States), sive participants; its 10 days of masterclasses Gergely Ittzes author of the book What Every begin with auditions used to shape the course

nfaonline.org Summer 2010 The Flutist Quarterly 71 NOTES FROM AROUNDTHE WORLD

of individual participants for the rest of their study. Students The Hong Kong Flute Centre hosted a flute recital and mas- have the opportunity to study with all the professors. The terclass featuring András Adorján May 21–22 in Hong forum’s repertoire includes chamber music, music for flute Kong. The masterclass was held May 21 in the Recital Hall ensembles, and orchestral excerpts. of the Hong Kong Flute Centre. The recital was held the This year, Czech violonist Vaclav Dvorak will work with following day at the Hong Kong City Hall Concert Hall the flutists on repertoire of violin arranged for the flute. and featured Mozart’s Sonata in G Major, KV 301; “Early Under the leadership of Polish harpsichord player Ewa Hungarian Dances” by Farkas; Suite Paysanne Hongroise Rzetecka, flutists will study J.S.Bach flute sonatas. In yoga by Bartók, arr. by Paul Arma; Doppler’s Hungarian sessions, John Schlammes, assisted by Carine Ries, will Pastoral Fantasy Op. 26; Popp’s “Greetings to Hungary”; introduce breathing, stretching, and relaxation exercises. Mozart’s Overture to The Magic Flute, KV 620, for Six The program also includes conferences on several themes, Flutes; and Mercandante’s Three Serenades for Flute Trio expositions of fine instruments, and orchestra audition and Flute Concerto in E Minor Op. 57, arr. for flute solo training. Application deadline is July 9. Send an e-mail and flute orchestra. to [email protected] or [email protected] or visit carlojans.com. U.S. flutist Helen Spielman presented “Perform Confi- The Flute Association of Montenegro (AFCG), a new dently from Inside Out”work- organization bringing together flutists from Montenegro shops for the Oakville Suzuki and the Balkans, Europe, and the world, was created in Association in Oakville, 2009. AFCG is a non-government organization dedicated to Ontario, Canada, and for the serving the needs of professionals, students, and amateur Canadian Flute Association in flutists.“The AFCG was created to benefit anyone who loves Toronto, Canada, on January the flute, and offers learning and performance opportuni- 23 and 24, respectively. On ties for students, teachers, and professional players. Our Feburary 20, Spielman was resources are based on a common passion for the flute and inducted as a Distinguished its repertoire,” says president Nik evi Boris. The organiza- Honorary Member of Sigma tion welcomes all styles of music andč ć flutes, and encourages Alpha Iota, the international submissions about flute events, concerts, items and services Helen Spielman music fraternity. ARTIE DIXON for sale, and other related information for posting on its Web site. In April 2010, the AFCG hosted its first event, a concert featuring French flutist Vincent Lucas. The concert featured works by J.S. Bach, Gabriel Fauré, Pierre Sancan, and Taktakishvili. Visit afcg.org.

Gaubert Vivant!, an international performance project, continues its tour through Britain, France, the United States, and Asia in a multiyear event paying tribute to French flutist and composer Philippe Gaubert. The project, which appeared at the 2008 British Flute Convention in Manchester and in Paris at the Cité des Arts, will tour the U.S. in 2010–11 and Asia in 2012. The U.S. tour begins in October in North Carolina and South Carolina; goes to New York in January 2011 with performances at Carnegie Hall and masterclasses in partnership with the New York Flute Club; and subsequently moves to Florida. The pro- ject’s director is Gigi Sireyjol-Horsley. Gaubert is consid- ered to be one of the key founders of the modern school of French flute playing. The event paying homage to him includes, in addition to concerts and masterclasses, a mul- timedia exhibition of exceptional and hitherto unknown documents, including photos, manuscripts, correspon- dence, and films.

The journal of the British Flute Society has changed its name. Previously Pan, the quarterly journal is now titled Flute. The BFS publication is edited by Robert Bigio. Visit bfs.org.uk.

72 The Flutist Quarterly Summer 2010 nfaonline.org

NEW PRODUCTS Recordings, music, and other products by and for NFA members

Albany Records announces the Meyer Media LLC announces its release of Voyage: American latest release, a debut recording Music for Flute and Harp, featur- by Kristen Stoner, Images for Solo ing flutist Jonathan Keeble and Flute. Available as CD and via Ann Yeung, harp. Repertoire download, this collection fea- includes Stella Sung’s “Dance of tures 12 works for unaccompa- the White Lotus Under the Silver nied flute, by Bozza, Hoover, Moon”; Valerie von Péchy Whit- Ran, Vivanco Sanchez, cup’s arrangement of John Honegger, Larsen, Loudova, Debussy, Stoner, Bond, and Corligliano’s “Voyage”; Jennifer Higdon’s “rapidfire”; Charles Mahoney. Each work is programmatic in some way and Rochester Young’s “The Song of the Lark”; Stephen Andrew explores a different color, timbre, and expressive capability Taylor’s “Pulse Aria, Achoo Lullaby, and Agoraphobia”; Keeble’s of the solo flute. Visit meyer-media.com. arrangement of Marcel Grandjany’s “O bien aimée”; and Gary Schocker’s “In Memoriam.” Many of these pieces draw their Guo Musical Instruments announces the ODM light flute and inspiration from the cycle of birth, death, experience, and the OEM flutes. Light flutes, suitable for children and adults, are renewal of life. designed and constructed to be resistant to hot and cold As a soloist and chamber musician, Jonathan Keeble performs weather and water. Guo Flute Manufacturing was founded in throughout the world. He is principal flute of the Sinfonia da Taichung City, Taiwan, in 1988 and was renamed Guo Musical Camera and professor of flute at the University of Illinois at Instruments Company in 1994. Primary products are the A.D. Urbana-Champaign. Visit albanyrecords.com. Geoffrey and Guo Brothers handcrafted flute. The company also custom-makes a limited line of silver flutes including pic- The Red & Green Company has released Reflections, The colo, alto, and D’amore. In 2004, Guo introduced its new Legendary Pt. Vijay Raghav Rao, available via online outlets Böhm system flute, the cermet flute, which is made without iTunes, Amazon.com, Napster, E Music, Rhapsody, and any soldering; piccolo, alto, and D’amore versions of the cer- MediaNet. Through six decades, Pt. Vijay Raghav Rao has met flute are planned. Visit gflute.com. shaped and influenced classical Indian music. His new album presents four recordings of live performances by the The Kolosko Dimow Duo recipient of the 2008 Zenith of Art Award. Visit announces the release of Border http://itunes.apple.com/us/album/the-legendary-pt-vijay- Crossings, featuring Carl raghav/id352224655. Dimow on flute and bass flute and Nathan Kolosko on classi- cal guitar. Music on the new Theodore Presser Company ann- CD, which includes original ounces another release from prolific music by both musicians, draws flute composer Gary Schocker, a tran- on elements of classical, world, scription of the Bach Arioso for flute and jazz music, reflecting the duo’s aim to break down bound- and guitar. All ornaments are written aries between classical music and other genres. Repertoire out and guitar fingerings are provided includes Kolosko’s “Nayarit,” Dimow’s Klezmer Suite, and the by classical guitarist Jason Vieaux. duo’s collaborative arrangements of four of the Afro Sambas of Schocker is the most-published liv- Baden Powell. “Nayarit” was inspired by John Steinbeck’s novel, ing composer of flute music, with The Pearl. Its four movements explore the themes and characters more than 150 works in print. Sir of the novel, drawing in places on folkloric music from the James Galway premiered Schocker’s Pacific coast of Mexico, where the novel is set. The Klezmer Suite three-movement concerto “Green Places” at Ireland’s Adair evolved from Dimow’s many years of performing and touring Festival and has also performed this work with the New Jersey with the Casco Bay Tummlers klezmer band. Its movements are Symphony. One of America’s leading guitarists, Vieaux plays rooted in the rhythms and scales of klezmer and Middle Eastern more than 50 engagements each year across the U.S. and abroad. music and range in mood from introspection and mystery to joy Highlights of the 2009–2010 season include recitals for Lincoln and celebration. Brazilian guitarist Baden Powell combined ele- Center and 92nd St. Y in New York, two sold-out concerts for ments of classical music and jazz. The duo featured a number of Dumbarton Oaks Concert Series in Washington D.C., a debut his compositions on its first CD, nostalgia, and here returns to with Charlotte Symphony, and recitals for Spivey Hall, Indiana his inspiring music with original arrangements of four of his University, and Toronto’s Mooredale Series. Visit presser.com. Afro Sambas. Visit carldimow.com and nathankolosko.com.

74 The Flutist Quarterly Summer 2010 nfaonline.org 39th Annual Convention 2011 CONVENTION

Unity Through Diversity Many Flutists, One World Charlotte, North Carolina August 11–14, 2011

Lisa Garner

lutists from around the globe sions but would like particularly to All proposals must be submitted in hard will come together to celebrate encourage the following: copy and online. Please complete and Fthe universal language of music in * Programs featuring flutists or flute submit the online proposal form avail- one of the world’s most beautiful cities, choirs from particular cities, regions, able on the NFA Web site at nfaon- Charlotte, North Carolina. The “Queen or countries. line.org. Print out the completed sub- mission form and mail it along with City” exemplifies diversity, from its tradi- * Programs featuring works by com- supporting proposal materials to: tional Southern hospitality to the eclec- posers from particular regions tic NoDa, Charlotte’s Historic Arts or countries. Lisa Garner Santa, Program Chair, District. Join us August 11–14, 2011, to NFA 2011 * Programs featuring classical, historical, celebrate the rich diversity of music, c/o Meg Griffith, contemporary, jazz, fusion, world, or Assistant Program Chair research, pedagogy, and persona found folk music. only in the one world of flute! Texas Tech University * Experiential workshops related to The program committee for the 39th Box 42033 integrating body, mind, and spirit in NFA convention in Charlotte is now Lubbock, TX 79409-2033 music performance and pedagogy. accepting proposals. Applicants submit- [email protected] ting performance proposals are encour- * Pedagogical discussions embracing All applications musical diversity. aged to submit complete programs rather MUST BE POSTMARKED than single works. Programs may include * Workshops incorporating world flutes. by OCTOBER 1, 2010 multiple flutists or flute choirs. The pro- * Historical discussions exploring the evo- —Lisa Garner Santa, Program Chair, gram committee welcomes all submis- lution of flute playing across cultures. 2011 Convention

nfaonline.org Summer 2010 The Flutist Quarterly 75 REVIEWS Items Received March 1, 2009, to March 1, 2010 Books Cool Fire: Paul Moravec Mercy Flute for Dummies Bridgehampton Chamber Music Festival/ Bill McBirnie, Robi Botos Karen Evans Moratz Marya Martin © 2010 Bill McBirnie © 2010 Wiley © 2008 Naxos Mia Cara Improvisation Games for One Player Crushed Violets: Ken Kreuzer Pamina Flute Quartet Jeffrey Agrell Gilber, Choe, Gustafson, Sperber © No Date Listed, Galaxy Records © 2010 GIA Publications Chicago ©2009 Krusher Enterprises Music in Motion The Jazz Flute Practice Method Culture Samples: Concerti for Flute with Abbie de Quant Ali Ryerson Percussion Orchestra © 2009 FineLine © 2009 Thistle Cottage Music Kim McCormick Noteworthy Duo: Between Flute and Guitar, Mastering the Basics © 2009 Capstone Records music by Latin American Composers Phyllis Avidan Louke and Patricia George Doin’ the D Lisa Schroeder © 2009 Fabulous Flute Music Company Alexander Zonjic © 2009 Noteworthy Duo Making Music and Having a Blast!: © 2009 Heads Up International Paul Lustig Dunkel: Live in Recital A Guide for All Music Students Eight Visions Paul Dunkel Bonnie Blanchard © 2009 Paul Lustig Dunkel/MSR Classics © 2009 Indiana University Press Marya Martin © 2009 Naxos Pleasure is the Law The Man with the Golden Flute Nadine Asin James Galway Eric Ewazen: Orchestral Music and Concertos © 2009 Boston Records ©2009 Crossbow Flute Holding AG Marya Martin The Musician’s Way: A Guide to Practice, © 2002 Albany Records Points of Entry: Vol 1 Performance, and Wellness Fireflies: Chamber Music by © Capstone Records 2005 Gerald Klickstein Andrew Earle Simpson Points of Entry: Vol 2 © 2009 Oxford University Press Red Cedar Trio Nina Assimakopoulos The New Elson’s Pocket Music Dictionary ©2009 Flute de Son Classic, Ltd. © Capstone Records 2005 Louis C. Elson, Ed. Flute Mystery Quantz: Private Passion © 2009 Theodore Presser Emily Beynon Rachel Brown Performing in the Zone © 2009 Norway Lindberg Lyd AS © 2009 Uppernote Records Jon Gorrie Serenade © 2009 Jon Gorrie Forellen Quintet Schubert, The Trout; Aldo Baerten Abbie de Quant Unaccompanied Bach: Performing the Solo Works ©2009 Deutschlandradio/PentaTone Music © 2002 Etcetera David Ledbetter Solace © 2009 Yale University Press Giulio Briccialdi: Four Concertos for Flute and Orchestra Jamie Baum Septet CDs Ginevra Petrucci © 2008 Sunnyside Communications After Hours ©2009 Bongiovanni Squarely Baroque Alma Nova Leonard Lopatin/Bach, Telemann, CPE Bach, Haydn: Divertimenti for the Salomon Concerts © 2009 AlmaNova/Bungaloo Music Marais Solstice Ensemble American Kaleidoscope ©2009 Lopatine © 2009 Pavane Records Silverwind Duo: Nicole McPherson, flute, Telemann Fantasias Andrew Seigel, clarinet Hiccup: RTÉ lyric fm commissions 2002–2008 Rachel Brown © 2010 Emeritus Recordings No year listed; Cosmic Sounds, Dublin © 2008 Uppernote Recordings American Vistas Hommage a Poulenc Telemann Twelve Fantasias Leone Buyse Abbie de Quant Aldo Abreu (recorder) © 2009 Albany © 2006 FineLine © 2009 Bressan Records Anton Reicha Woodwind Quintets, Images for Solo Flute Vol 8: Op. 99, Nos. 3 & 4 Triocca: Trios for Flute, Viola, and Harp Kristen Stoner Riona Ó Duinnin Westwood Wind Quintet ©2009 Meyer Media LLC © 2009 Crystal Records No year listed; Cosmic Sounds, Dublin I’m Flying Anton Reicha Woodwind Quintets, 21st Century Gems Jill Allen Vol 10: Op. 100, Nos. 1 & 2 UpTown Flutes © 2009 Westwood Wind Quintet ©2009 UpTown Flutes © 2009 Crystal Records I Remember Vision The Birds: Original Works for Piccolo and Piano Brenda Fedoruk Karin Marcello Peter Verhoyen, piccolo © 2009 Brenda Fedoruk © 2009 Marin Marcello © 2009 Peter Verhoyen Io The Waterloo Recording Session Brazilian Soundscapes Lancaster/Beyer, Vierk, Barbara, Colleen Muriel Danilo Mezzadri Tenney, Polansky © 2009 El Flauto Records © 2009 Blue Griffin Recordings, Inc. © 2009 Anthology of Recorded Music Webster Trio Japan: From Vienna to Budapest Brésil 1900 John Wion, Live Leone Buyse Beaumadier, picc, Carrasqueira John Wion ©2009 Camerata © 2009 John Wion © 2009 Skarbo Wind Effusions Colors of Christmas JS Bach Sonatas for flute and harpsichord Lozano/ Villa-Lobos, Piazzolla, Schroeder, Timberline Players Joshua Smith Gabaye, Osborne, Jan Bach, Bozza © 2008 Nevermind Records © 2009 Delos Productions ©2009 Crystal

76 The Flutist Quarterly Summer 2010 nfaonline.org

REVIEWS Items Received March 1, 2009, to March 1, 2010 Without Borders Flute Etudes Book II Papillon for Flute and String Quartet Asako Arai Mary Karen Clardy Ernesto Köhler © 2009 Albany Undated, Schott © 2008 Falls House Press Woodwind Echoes: Crescent Duo & Eclectic Trio Flute Fundamentals II: The Art of the Phrase Piccolo Italiano Joanna Cowan White Mary Karen Clardy Gary Schocker © 2008 Central Michigan Univ. Undated, Schott © 2008 Theodore Presser Co. Music Flutey Tales for Two Flutes Pictures at an Exhibition (the 5 Minute Four) Air, Op. 106, for Flute and Organ Gary Schocker Mussorgsky, arr. for Flute Choir by Judy Lowell Liebermann © 2009 Theodore Presser Nichimura © 2009 Theodore Presser Co. Gaea for Flute and Piano © 2010 Alry Publications, Etc., Inc. Arirang for Flute and Piano Deborah J. Anderson Prelude and Fugue, Op. 43 Gary Schocker © 2009 Alry Publications, Etc., Inc. Marion Bauer © 2009 Theodore Presser Irish Tunes for Pennywhistle and Flutes © 2009 Hildegard Publishing Co. Animal Flute Duets Dennis W. Ritz Roundeau for Flute and Piano Diana Sanders and Pete Regan © 2008 Falls House Press C.E.F. Weyse © 2008 Falls House Press Looking at More Efficient Practice © 2009 Edition Svitzer with CD Trevor Wye The Bird Song for Soprano and Flute Choir Sechs Sonaten Op. 1 für 2 Flöten oder CD included 2 Violinen Michael Jerome Davis © 2009 Falls House Press © 2009 Alry Publications, Etc., Inc. Groneman Lyric Pieces for Piccolo Solo © 2008 Heinrichshofen’s Verlag, Wilhelmshaven Celestial Fantasy for Flute Trio David Loeb Sky Watch…looking inward… Op. 58, Elton Burgstahler © 2010 Alry Publications, Etc., Inc. © 2009 Alry Publications, Etc., Inc. for Flute Quartet or Choir Melange of Neumes for Flute Choir Deborah J. Anderson Chocolate Mousse Stephen Lias © 2010 Alry Publications, Etc., Inc. Nancy W. Wood © 2009 Alry Publications, Etc., Inc. © 2009 Alry Publications, Etc., Inc. Sleepers Wake, The Voices are Calling Melinda Wagner/Poul Ruders J.S. Bach, arr. Martin Melicharek, III Classical Play-Along: 12 Favourite Works from the Poul Ruders ©2009 Falls House Press Classical Era ©2000 Bridge Beethoven, Haydn, Mozart, Gluck Sonata No. 1 for Flute and Piano with playalong CD Mignonette Op. 97 No. 3: From Grandmother’s Russ Newbury © 2008 Schott Garden for Flute and Piano © 2009 Alry Publications, Etc., Inc. Amy Marcy Beach Concertino for Flute, Strings and Harpsichord Sonata 6 “La Salmonella” for Flute and Piano © 2009 Alry Publications, Etc., Inc. Podgaits Gary Schocker © 2008 Moscow Muzyka Mikrokosmos Op. 90: 5 Stücke für 3 Flöten © 2009 Falls House Press Concerto in G Major, K 318 for Solo Flute and Ivan Shekov © 2008 Musikverlag Zimmermann Sonatine (flute and string quartet) Flute Ensemble Maurice Ravel, ed. Don Bailey, arr. Adam Mozart, arr. Lisa McArthur Mountain and Mesa Manijak © 2009 Falls House Press Katherine Hoover © 2008 Falls House Press © 2008 Papagena Press A Day in the Life of a Flute Sonata in A Major K. 12 Nach Bach for Flute and Piano Elton Burgstahler Mozart, arr. Rebecca Dunnell Gary Schocker © 2009 Alry Publications, Etc., Inc. © 2009 Alry Publications, Etc., Inc. © 2009 Theodore Presser Debussy D Minor Summer Evening at Ile-Ife Arr. Paul Dunkle Nature’s Song Godwin Sadoh © 2009 Edition HH Ltd Benjamin Boone © 2010 Alry Publications, Etc., Inc. ©2009 Wehr’s Music House Diverse Duets 19th Century Italian Music for Flute and Piano Tall Grass for Flute Quartet and Piano Gary Schocker Krakamp, Briccialdi, Tassi, Gariboldi Catherine McMichael © 2009 Theodore Presser © 2009 Bärenreiter-Verlag Karl Vötterle © 2010 Alry Publications Duetto für 2 Flöten GmbH & Co. Sperger Three More Dances for Two Flutes and Piano The Nutcracker (in 5 Minutes) for Flute Choir © 2008 Heinrichshofen’s Verlag, Wilhelmshaven Gary Schocker Based on Tchaikovsky, arr Judy Nishimura © 2009 Theodore Presser Easy Concert Pieces, Band 1, Vol. 1 © 2009 Alry Publications Etc., Inc. Traditional Taiwanese Melodies Schmitz Offertoire for Alto Flute and Piano © 2007 Schott Gary Schocker Laura Pettigrew © 2009 Falls House Press Echoes of Sarah © 2010 Alry Publications, Etc., Inc. Trees Robert Raines Ollie and Me for Flute and Piano Daniel Dorff © 2009 Falls House Press Gary Schocker © 2009 Tenuto Publications Eight Visions © 2009 Theodore Presser Commissioned by Marya Martin through Meet Outside My Window: BIRD Wicked Vicar the Composer Gary Schocker Jonathan Cohen ©2009 Theodore Presser © 2009 Falls House Press © 2009 Falls House Press Flash! for piccolo and piano Pastourelle Yamamoto Perpetuo Daniel Dorff Gunner Berg Michael Nyman, arr. Andy Findon ©2009 Theodore Presser © 2009 Edition Svitzer © 2009 Chester Music Limited

78 The Flutist Quarterly Summer 2010 nfaonline.org At the Wm. S. Haynes Company,

a dedication to the highest level

of craftsmanship is at its core.

Flutemakers use old world skills

in combination with forward

thinking ideals to produce

the most revered ßutes in the

world. Historically,Haynes has

developed crafting techniques

and methods that have been

adopted as the paradigm in the

ßutemaking industry.When you play a Wm. S. Haynes ßute, you know that you are playing an instrument with a history of more than 100 years of mastery in ßutemaking.

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oaddaYe k& `Yqf]k [gehYfq$ af[& )* ha]\egfl klj]]l Zgklgf$ eYkkY[`mk]llk (*)). .)/ ,0*%/,-. ooo&oek`Yqf]k&[ge REVIEWSREVIEWS Reviews of flute-related recordings, books, and other items of interest CDs fashion. In some movements that we have grown accustomed to hearing played at breakneck pace, Brown frequently choos- es a more expansive tempo, creating room for greater nuance. While certainly virtuosic in its conception, this music is never merely virtuosic, and the space for rhetorical inflection is wel- come here. Her closing movement of the E Minor, for exam- ple, takes on an elegant and shapely persona, rather than com- ing across as a mere flurry of articulation. At other times, such as in the exuberant lombardic leaps of the E Major Allegro, and the bravura playing of the collection’s final movement, she sounds almost completely carried away, taking us happily Telemann Fantasias Telemann, Twelve along for the ride. Rachel Brown, Fantasias and Other In Aldo Abreu’s recording, the 12 Fantasias are performed baroque flute Works, Aldo Abreu, on eight different antique recorders from the collection of © 2008 Uppernote Recordings 18th-century recorders Friedrich von Huene (some with substantial restorations hav- from the von Huene ing been performed by von Huene). This concept itself is com- pelling, and the wide-ranging tonal characteristics of these Collection instruments add another level of variety when listening to the © 2009 Bressan Records collection as a whole. For those who do not know the recorder well, the variety of colors makes this a splendid introduction he two recent recordings of Telemann’s 12 Fantasias by to the possibilities of the instrument. Rachel Brown and Aldo Abreu are adventuresome and T Abreu’s playing is extremely fine, with crisp technique and highly individual in their interpretations. (And if you are won- remarkable dynamic shifts, especially considering the dering who on earth needs two more recordings of these recorder’s relative limitations in regard to the latter. The pieces, the short answer is, “You do.”) ornamentation is never as far-reaching as Brown’s, but it is Brown, a player in complete command of the baroque flute, thoughtful and beautifully executed. The choice of a bass never fails to delight and surprise. There is a wonderful recorder for the eighth Fantasia is arresting and slightly breadth and huskiness to her sound. If you are someone who has always thought of the baroque flute as the modern flute’s provocative, especially in the intensely chromatic opening shy sister, then Brown’s recording is essential listening. Her movement. The key noise is somewhat distracting in the sec- intonation is impeccable and the dynamic range vast, espe- ond movement, but it is of relatively minor concern in this cially in the notated echoes. She brings forth the colors and inspiring performance, and I for one am now eager to re- tonal shadings of the less characteristic key areas, heightening envision more of our solo literature through the lens of a their contrasting moods without betraying their considerable bass recorder. difficulties. Her ornamentation displays an astonishing level of Looking at the title and front cover, you would not even creativity and freshness, and one gets the impression that a know it was here, but Abreu’s disc also includes Telemann’s different day might have yielded an entirely different render- Double Concerto in E Minor, played with baroque flutist ing. The free ornamentation is bold in a way that often sur- Suzanne Stumpf and The Musicians of the Old Post Road. prises, yet has a logic that holds up to repeated listening. The This is a beautiful performance in its own right, with first-rate better you know these pieces, the more you will enjoy this play playing by Stumpf and the orchestra, and it is especially love- on expectations. ly to hear the two antique ivory Scherer instruments paired The pleasure of this recording is not just about flamboyant together here. ornamentation, however. The implied fugues are phrased with In the end, what is remarkable about both albums is that clarity and wit, without heavy-handedness. The Dolce of the D each is a testament to the tremendous range of invention in Minor Fantasia, simple in its delivery, is heartbreaking. In the Telemann’s works. Brown and Abreu bring that aspect D Major, she gives us an Alla Francese that is unusually secco across even better than their many predecessors, which is in the dotted leaps, and the result is a clever take on a move- no mean feat. ment that is customarily interpreted in far more grandiose —Linda Pereksta, chair, NFA Historical Flutes Committee

80 The Flutist Quarterly Summer 2010 nfaonline.org Solace CD’s 10 selections, the central item, on tracks 4–7, consists of Jamie Baum Septet a four-part suite dedicated to Charles Ives, originally commis- © 2008 Sunnyside sioned in 2003. Although Baum tells us that this work was influ- Communications enced by Ives’ Fourth Symphony and another of his well-known works, “The Unanswered Question,” Ives enthusiasts may not immediately recognize the New England master in this music. ew York-based flutist But as Baum writes, “My intention was never to rearrange his NJamie Baum is well known to NFA members, music, or to have mine sound like his, but to try and communi- having appeared twice cate the spirit and feel his music has, put to a jazz context.” with the NFA Jazz Flute To add to the mix, “Wheeler of Fortune” is dedicated to Big Band and performed another fine and perhaps underrated musician, London-based with her ensemble at the 2009 New York convention. Yet, as is trumpeter/composer Kenny Wheeler. Baum’s tribute attempts not uncommon in the world of jazz, Baum is as well known to capture “the warmth, beauty, and energy characteristic of for her composing as for her instrumental performance, his music.”Around these twin poles of influence, Solace repre- simultaneously receiving awards such as the Jazz Journalists sents what could be a 10-part suite, presenting music whose Association’s Jazz Flutist of the Year and commissions from harmonic and rhythmic richness demonstrates exactly how such groups as Chamber Music America. Her most recent jazz has breathed life into contemporary music through the recording—the fourth under her own name—demonstrates revitalization of tonality. both facets of her talent, while presenting the results of one Baum’s genre may represent a departure from other exam- such commission. ples of jazz flute. For one thing, although she has her own Solace features one of Baum’s working groups, a septet approach to the flute, she is one soloist among four or five, including Baum on flute and alto flute; Ralph Alessi or Shane including trumpet, saxophone, piano, and percussion, as all Endsley on trumpet and flugelhorn; Doug Yates on alto saxo- the artists add equally to the overall tapestry of sound. Yet this phone and bass clarinet; Vincent Chancey on french horn; compelling music will reward repeated listening while intro- George Colligan on piano; Johannes Weidenmeuller on bass; ducing flutists to a distinctive talent within their midst. Jeff Hirshfield on drums; and vocalist Kyoko Kitamura. Of the —Peter Westbrook

Mia Cara formances shows the true talent of the group. Other highlights Pamina Flute are the Venezia and Firenze movements from Yvonne Quartet Desportes’ Suite Italienne. This work is a hidden gem of the repertoire and a fantastic piece originally written for flute No Date Listed, Galaxy quartet. “The Flight of the Bumblebee” by Rimsky-Korsakov, Records arranged by Faustin Jeanjean, adds a touch of virtuosity to the collection of works. Flutist Frank Hendricks joins the quar- amina Flute Quartet tet for the final piece on the album.“Rikudium” by Jan Van members—Jo Jodts, P der Roost includes four movements featuring Jewish dance Leen Indigne, Christine Achten, and Daniëlla music. This work was originally written for concert band Leleu—met as colleagues at the Royal Conservatory of but was artfully arranged for the flute ensemble by Ghislain Brussels and have performed as an ensemble throughout Regard-Jacobez. Europe since 1999. The group plays on piccolos, C flutes, alto One criticism of this album regards the endings of some of flutes, and bass flutes, and looks for repertoire that exploits the the phrases; they could have used more unity. Due to the high wide range of colors available from these instruments. They level of performance, this one flaw stands out. Overall, this CD seek out outstanding repertoire and even create their own is a great representation of the many moods and colors avail- arrangements to fit their ensemble. Pamina also collaborates able to the genre of the flute quartet. The performances are real- on a yearly basis with a new composer to help increase the ly outstanding; the range of emotion and dynamics is fantastic, repertoire for flute quartet. and this is a great addition to any CD collection—as well as an The Andante and Allegro movements from the Reicha inspiration for student flute quartets around the world. Sinfonico, Op. 12, are really excellent; the accuracy in the per- —Kimberlee Goodman SAVE THE DATE: UPCOMING NFA CONVENTIONS Anaheim, California Las Vegas, Nevada August 12-15, 2010 August 9-12, 2012 (Anaheim Marriott Hotel) (Caesar’s Palace) Charlotte, North Carolina New Orleans, Louisiana August 11-14, 2011 August 8-11, 2013 (Charlotte Convention Center) (Marriott Hotel at French Quarter)

nfaonline.org Summer 2010 The Flutist Quarterly 81 CDs Pleasure is the Law These outstanding musicians perform wonderful cham- Nadine Asin ber works by Elliott Carter, Ilja Hurnik, Hector Berlioz, ©2009 Boston Records Kelsey Jones, Frank Martin, and Peter Lieberson. The CD offers up challenging repertoire incredibly well played with leasure is the Law is a large array of colors, style, outstanding ensemble playing, Pboth the aptly titled and stellar musicianship all around. CD and the name of a Highlights for me include the Sonata for Flute, Oboe, Cello mixed chamber ensem- and Harpsichord by Elliot Carter, with outstanding playing on a ble comprised of flute, challenging piece of music, and the Sonata Da Camera for Flute, oboe, cello, and key- Oboe, and Harpsichord by Kelsey Jones, an exciting work per- board formed in 2002 formed with an amazing sense of ensemble and blend. Included by Nadine Asin, flute; is the world premiere recording of “Feast Day” by Peter Elaine Douvas, oboe; Darrett Adkins, cello; and Steven Beck, Lieberson. Asin excels on this work playing piccolo, flute, and keyboard, with Erik Nielsen, harp. They take their name from alto flute. I found this work to be very rewarding to listen to, and the Claude Debussy quote “Some people wish above all to the sense of ensemble from the group is outstanding. Highly rec- conform to the rules. I wish only to render what I can hear. ommended addition to your chamber music collection. There is no theory. You have only to listen. Pleasure is the law.” —Amy Likar

I Remember: used as text and muse by composers André Previn, Michael Songs for Mezzo- Cohen, Jake Heggie, and Owen Underhill on this spell-binding Soprano, Flute, CD. Although each poet expresses some kind of life struggle, there is always a sense of hope and goodness in the world. Piano, Cello, Each composer crafted music that supports the literary style and Harp of each poet by using the instruments as an emotional illus- Brenda Fedoruk, tration. For instance, during Michael Cohen’s “I Remember,” flute and piccolo the writings of Anne Frank are accompanied buoyantly during © 2009 Frank’s more cheerful musings and mournfully through the young girl’s despair. The music and words combine to form he art of sorrow meditations on struggles of humanity. “Tcan inspire great Life struggles depicted in these works include love, going hope and profound beauty.” This is the opening sentiment in through spiritual awakening, believing in the goodness of man the liner notes of I Remember, with Sarah Fryer, mezzo-sopra- when it seems there is none, remembering loved ones and being no; Brenda Fedoruk, C flute, piccolo, and alto flute; Jane remembered. This CD is heartbreaking, uplifting, and life-affirm- Hayes, piano; Rita Costanzi, harp; and Zoltan Rozsnyai, cello. ing. Through sound and words it will make you think and feel. The poems of four women and one unknown prisoner are —Tess A. Miller

Fireflies: Chamber for a trio of flute, viola, and guitar, commissioned by the Cedar Music by Andrew Rapids Museum of Art as a musical response to an exhibit about Earle Simpson Rome. Each movement has a distinct character, representing one Red Cedar Trio of the art works in the exhibition. Simpson demonstrates a real understanding of the instruments he is writing for, and the har- ©2009 Flute de Son monic language is tonal with a contemporary bite (reminding Classic, Ltd. me of Roberto Sierra or Stephen Goss). The final work is the American Gothic Suite, which takes its inspiration from Grant his CD, featuring Wood’s painting. In the form of a theme and variations, each Jan Boland, flute; T variation is intended to show a new way of looking at the paint- David Miller, viola; and John Dowdall, guitar, ing. This is another successful work, well composed and engag- contains three evocative works, composed since 2003, by ing to listen to. Red Cedar Chamber Music has a reputation for Andrew Earle Simpson, Red Cedar Chamber Music’s Composer creating and promoting quality new works, and the music on in Residence. The title track,“Fireflies,”is described as a “folk set this CD is no exception. All three of these works could easily for flute and guitar” and contains many non-traditional, highly become standard repertoire pieces, and they are presented in the effective tone colors in the flute writing. Each piece in the set rep- best possible way through the very high standards of perform- resents a different style of American folk music, with six in all. ance and production of this CD. “Tesserae: Six Mosaics of Ancient Rome”is the first of two pieces —Carla Rees

82 The Flutist Quarterly Summer 2010 nfaonline.org Culture Samples: stated influences on this work are Santana’s “Jingo,” a popular Concerti for Flute song that was inspired by the rhythms of a Nigerian artist, and the application of “magic squares” to the formal structure. (It with Percussion is worth looking up more information on “magic squares,” Orchestra although it is not required for the enjoyment of this piece.) Kim McCormick, David Rogers’“Berceuse” (2005) truly sounds nothing like a flute, and traditional “calming lullaby,” but with a little imagination on McCormick the part of the listener, the title is made clear. Margaret Lancaster joins McCormick in this evocative piece. The flutes Percussion Group begin with key clicks and gentle breath across headjoints. But © 2009 Capstone the mood quickly changes, as if a thunderstorm suddenly Records arrives to break the calm night. Throughout the work, flutes and percussionists make sounds that to my ears represent the lutist Kim McCormick and the McCormick Percussion coming and going of a loud rainstorm. For anyone who likes FGroup present many new works that can easily inspire the to fall asleep to the sounds of an impending storm, this ener- imagination through varied sounds and moods. Listeners will getic lullaby should do the trick! hear cultural influences and elements from the popular realm. One of my favorite aspects of new music is the way that com- Chihchun Chi-sun Lee’s Concerto for Flute with Four posers of our time are continually finding new ways to represent Percussionists introduces the idea that a percussion group can the human experience. In “Demons Before Dawn,” Daniel serve as an alternative to the orchestra as an accompanying Adams tackles the experience of getting caught in an anxiety-rid- ensemble. Definite and indefinite pitched instruments accom- den overlap of sleep and consciousness just prior to the sunrise. pany Kim McCormick’s flexible flute playing. Each of the three movements uses a different flute (C flute, alto flute, piccolo). In As Jolivet uses melodic or rhythmic fragments on which to addition to each instrument’s inherent register changes, base his compositions, so too does Michael Timpson in “cul- McCormick explores many colors through pitch bends, flutter ture samples” (2006), as he uses one melodic “riff” to generate tonguing, dynamic range, and the like. In keeping with the title a majority of the musical ideas in this piece. Another influence of this disc, I heard elements of jazz, gamelan, and a variety of was the composer’s fascination with the natural “disintona- ethnic melodic and rhythmic styles in this composition. tion” that occurs between pitched percussion instruments. It Liner notes mention that the entire theme of this CD is is a very exciting piece, especially as the percussionists get to based on André Jolivet’s Suite En Concert Pour Flûte and chant, yell, and sing toward the end. Percussion, written in 1965. Jolivet decided that the percus- Several times while listening, I could imagine that it would sion ensemble could easily replace the textures normally cre- be fun to watch the interaction between percussionists and ated by a traditional orchestral accompaniment of a concerto. flutist(s) during the performance of these pieces. Sadly there This four-movement work exemplifies Jolivet’s ability to son- is no listing of what percussion instruments were used in each ically personify what we consider the “primitive” spirit. He does piece. Some instruments sounded electronic, and I was curi- so by writing in a way that sounds improvisatory at times, other ous to know what the performers were using. Even so, this is times conversational, and always somewhat foreboding. an exciting CD for listeners and flutists looking for new Zack Browning’s exciting “Profit Beater” (2007) blends sounds and musical ideas. popular aesthetics with modern concert art music. The two —Tess A. Miller

21st Century Gems movements, of which my favorite is the second, Moto Perpetuo, UpTown Flutes with its lines chasing one another merrily throughout. The most ©2009 UpTown Flutes melodic inclusions, “Legends of the Greenwood” and “Children of the Wind,” are both by Catherine McMichael and both emi- or those who love nently listenable. Ian Clarke’s contribution,“Within,”glisses and Flistening to flute en- pitch-bends tickle our ears as well as our imaginary lips as we semble music with admire the musical acrobatics! Sonata for Eight Flutes, by blends of deep, sonorous Andrew Downes, features five nicely contrasting movements tones of alto, bass, and performed with lovely rhythmic synchronicity. And speaking as contrabass flutes, this CD one who can barely toot the contrabass flute, I am awestruck by is for you. It is especially the clarity of Mary Berk’s work on this CD. Bravo to guest soloist interesting to hear what contemporary composers like Ian Clarke, Catherine McMichael, and Andrew Downes are produc- and conductor Peter John Bacchus and to the many worthy proj- ing these days for these combinations. Also here are two recent ects in which the UpTown Flutes and director Virginia Schulze- pieces by Peter John Bacchus: “Serenade” (2007), featuring the Johnson regularly participate—community education, coach- composer playing a melancholic flute line above the alto/bass ing, and residency programs. flute richness; and “Nonet” (2006), with four contrasting —Cynthia Stevens

nfaonline.org Summer 2010 The Flutist Quarterly 83 CDs Wind Effusions No. Six by Villa-Lobos, a work of remarkable scope consider- Danilo Lozano ing the limited forces. The first section evokes the choro, a ©2009 Crystal Brazilian folk genre, and the second is said to be the compos- er’s nod to J.S. Bach, though it is more Fantasia—as the piece reating the pro- is titled—than fugue. Virtuoso solo sections alternate with Cgram for a benefit remarkably free-sounding ensemble passages. Preceding the concert to raise schol- Villa-Lobos, Music for Flute and Bassoon by Hanning arship funds at Whittier Schröder consists of a series of short sketches, the writing bal- College in L.A., flutist anced between unison and contrapuntal, even fugal, the whole Danilo Lozano put at times exhibiting a stark simplicity reminiscent of Alan together a trio with a Hovhaness—surprising perhaps from a composer best known bassoonist who was a for more dissonant work. faculty colleague and a visiting pianist and went looking for Little is known about 20th-century French composer Pierre repertoire. When economic realities suggested a duo might Gabaye, and he left very few works. But he was evidently a be more practical, the search for material narrowed, but the more than competent composer; the Sonatine for Flute and effort has been rewarded with a recording by Lozano and Bassoon is excellently crafted and very French, with a particu- bassoonist David Muller that sparkles with variety, color, larly playful final movement. Leavening the program with solo and playful virtuosity. features for each artist works well. Muller’s reading of Willson Lozano is an artist with diverse interests, but with the tech- Osborne’s Rhapsody for Bassoon is exemplary. The work, one nique and artistry to pursue them at the highest level. The son of the best known for solo bassoon, exploits the contemplative of Cuban flute maestro Rolando Lozano, Danilo has energeti- qualities of the instrument. Lozano, by contrast, turns to his cally pursued that heritage as featured soloist in many award- South American repertoire for the Argentinian Astor winning Latin Jazz and Cuban charanga recordings. But the Piazzola’s Etudes Tanguistiques in two movements, the first elder Lozano wisely insisted on a thorough classical training meditative, the second exactly as marked: molto marcato e for his son, which, along with academic work in ethnomusi- energetico. Danilo demonstrates his lovely tone and perfect cology, has added dimensions to his artistic vision. A founding control. Jan Bach’s Music For a Low Budget Epic, which finds member of the Hollywood Bowl Orchestra, Danilo has emerged Lozano on piccolo, is an unusual combination—modern and as a major interpreter of Latin American,African-American, and fun! The final piece is Eugene Bozza’s Sonatine, and it does his Cuban composers as well as rarely heard classical and contem- reputation no harm whatsoever. It is a fine example of how to porary repertoire. Muller is an equally distinguished partner in create a substantial work out of limited resources. this enterprise. After a five-year stint as principal bassoonist of It is a consistently engaging program. Either by accident or the Mexico City Philharmonic, he came into great demand as a design it eschews the more extreme aspects of contemporary freelance soloist with orchestras on three continents, focusing on writing, while retaining just enough abstraction to add ensembles in Southern California—including the Hollywood piquancy to a remarkably accessible set of pieces. All the pro- Bowl Orchestra and the Westwood Wind Quintet—after taking ceeds from this recording will support the cost of private up his duties in Whittier in 1983. music instruction at Whittier College. Readers may feel moved A thin repertoire could easily have have led to an unbal- to contribute to this cause but, as an added bonus, they will be anced program. Happily that does not apply here. The central delighted with their purchase. and best-known selection consists of the Bachianas Brasileiras —Peter Westbrook (fluteinjazz.com) Music Sonata Six “La Salmonella” again. This three-movement sonata lasts around nine-and-a- Gary Schocker half minutes, with rapid outer movements and a more reflec- tive central movement. The first movement is full of nifty pas- © 2009 Falls House Press sagework that falls under the fingers well, while the third movement is a dance-style rondo, with a catchy opening he title of this work hearkens melody and more technical challenges. Despite the fast, furi- Tback to Schocker getting food ous pace of these movements, they are not impossibly diffi- poisoning in Edinburgh, imme- cult, and this piece would be ideal for advanced students as a diately before composing the way of developing a fluid technique and confidence in the piece in August 2005. This pun high register (there is a scattering of top Ds). The piece is on Italian and French dance titles enjoyable to play and maintains interest throughout. This is an reveals Schocker’s sense of ideal recital finale piece, worth exploring. humor, coming to the fore yet —Carla Rees

84 The Flutist Quarterly Summer 2010 nfaonline.org Mountain and Mesa music of the gypsies of Eastern Europe is harmonically sophis- Katherine Hoover ticated and melodically adventurous.”This first movement lies © 2008 Papagena Press nicely under the fingers, plays sympathetically between flute and piano, and is easily comprehended. The “Hopi Lullaby,” ith three different cultural with its bird-like calls, is perhaps a bit more rhythmically chal- Wcontexts, Mountain and lenging with several tempo changes and mixed meter passages, Mesa takes us through the music but quite lovely and totally evocative of the hauntingly gentle of the gypsies of Eastern Europe Native American melody. My personal favorite, however, is the (“Hungarian Lassu”), the inspi- “Dizi Dance,” which tumbles gleefully forward despite the rational sounds of nature meter changes and pulses peripatetically toward its exciting (“Hopi Lullaby”), and the syncopated conclusion. Bravo! I am only sorry that I did not plucky syncopations of the have the chance to hear Mimi Stillman and Jeremy Denk pre- Chinese dizi flute (“Dizi miere this work at the 2009 convention in New York. Dance”). Katherine Hoover herself succinctly notes that “the —Cynthia Stevens

Sonata No. 1 Carnival’s darker side. The second movement, Maidens Fair, Russ Newbury contains beautifully dissonant harmonies and unresolved © 2009 Alry Publications, phrases. The repetitious nature of this movement creates an Etc., Inc. atmosphere of minimalism and sometimes hints at sound- ing like a movie soundtrack. Hide and Seek, the final move- uss Newbury’s Sonata No. ment, begins with a heavy dose of atonality. The piano and R1 for flute and piano is a flute parts seem to be playing a literal game of “hide and three-movement work of seek”as they run a patchwork of notes that are almost hock- about 12 minutes duration. et-like. Toward the end, the game winds down and a beau- Each movement has a pro- tiful moment arises with harmonies that are once again grammatic title, giving per- crunchily dissonant and leave listeners feeling as though former and listener something whatever they had been “seeking” has now been found and to think about as the music perhaps has been there all along. While non-academic audi- unfolds. The first movement, Carnival, has a modal, Roma- ences may have trouble grappling with the serialist opening like melody with fast triplets and winding runs. This is a of this movement, the end is worth the struggle. flashy piece with melodies and harmonies that allude to a —Tess A. Miller

Classical Play-Along an intermediate student’s library. The pieces are just right for Schott Master students at this level since the difficulty ranges from about Play-Along Series Level D to Level G based on the guidelines found in the NFA Arr. Artem Vassiliev Pedagogy Committee’s Selected Flute Repertoire and Studies. The print quality is clean, crisp, and well-spaced for ease of ©2008 Schott Music Ltd, reading. The publication includes a CD with fully orchestrat- London ed accompaniments and PDF files of the piano accompani- ments for each of the pieces. Each selection is included on the his collection of solos CD twice, once as a demonstration version with the flute part Tincludes 12 well-known works from the Classical era (played by Pavel Mansurov) and then as a backing track for including transcriptions of the student to play along. As a teacher, I am excited about this favorites from orchestral liter- aspect since it would allow students to get the “orchestral ature, opera, and instrumental experience” at a much younger age than usual. In addition, repertoire. Selections such as “Queen of the Night” from students at this level really enjoy playing pieces they are famil- The Magic Flute, “Eine Kleine Nachtmusik,” Haydn’s Surprise iar with, and they flock to collections of movie themes, etc. Symphony, “Ode to Joy,” and “Für Elise” may be familiar to What a great way to get them excited about Classical music! students and would likely make this an appealing addition to —Rebecca Hovan

nfaonline.org Summer 2010 The Flutist Quarterly 85 Book The Jazz Flute Ryerson’s progressive approach targets specific categories of Practice Method study such as intervallic drills, chromatic exercises, various chord and arpeggio studies, blues and pentatonic scales, whole Ali Ryerson tone patterns, major scale modes, major and minor turn- © 2009 Thistle Cottage Music around or turnback formulae, diminished exercises, melodic minor and minor/major workouts, lydian augmented, lydian There are many flute method dominant, altered dominant scale studies, rhythm changes, books devoted to the develop- tritone substitutions and pairs, suspensions, and more. Of ment of tone and technique. particular interest is her B-flat blues original and a concluding There are very few aimed at study on performing Tadd Dameron’s “Lady Bird.” developing skill in improvisa- Ryerson includes many helpful suggestions and explana- tion, however, or at understand- tions as to how to practice these exercises, how to play inside ing the jazz genre. Now, flutist, and outside of key centers, and how to play time. In short, the recording artist, and pedagogue Ali Ryerson, chair of the NFA overall intention of this method is to illustrate and offer mate- Jazz Committee, has contributed an exciting new method rial in a very organized way, so that the practitioner will book designed primarily for jazz flute enthusiasts, based on acquire the necessary tools to understand and expand improv- numerous practice routines she has developed over the years. isation knowledge. As an added bonus, for those interested in The Jazz Flute Practice Method is a well-organized, system- further instruction, Ryerson offers online video lessons. atic approach, focusing on key areas such as jazz scales, The Jazz Flute Practice Method is endorsed by noted jazz chordal studies, and patterns useful in developing technical educator and author Mark Levine, as well as by several dis- skills, and providing theoretical information and vocabulary tinguished flutists, including NEA Jazz Master James for improvisational ideas. These exercises are presented in an Moody, Holly Hofmann, John Barcellona, and noted educa- easy-to-read, 12-key format, although the author ultimately tor Keith Underwood; the latter describes it as the jazz encourages the student to understand and internalize each equivalent of the Taffanel/Gaubert Daily Exercises. As for musical offering and transpose it into the various key centers me, I find this to be a terrific alternative to traditional flute without relying on the notation. This process aids and materials, with much to offer to non-jazz players as well as strengthens ear training, which is so vital to this form of cre- other treble-clef instrumentalists. ativity. As jazz guitarist Barry Galbraith said of such an —Chris Vadala, director of jazz studies, University of Maryland, approach: “I study all this so I can play by ear!” College Park, School of Music

New Pedagogy Publication! Call for Notes

The Pedagogy Committee announces an open call for Notes for possible inclusion in The Flutist’s Handbook: A Pedagogy Anthology, vol. 2, to be released at the 2012 convention. Submissions should be on pedagogical topics that focus on the teaching and playing of the flute, and must be received by November 1, 2010. For information, contact Holly Clemans, NFA Pedagogy Committee, [email protected].

86 The Flutist Quarterly Summer 2010 nfaonline.org

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

NFA OFFICE Program Book Editor Historical Flutes DMA/PhD Dissertation OTHER APPOINTMENTS Chief Executive Officer Anne Welsbacher Linda Pereksta (2007) Michelle Cheramy (2007) Development Consultant School of Music Phyllis T. Pemberton 7213 E. Chelsea St. University of Wisconsin–Oshkosh Christa Flueck Wichita, KS 67206 Department of Music Memorial University 26951 Ruether Ave., Ste. H [email protected] Santa Clarita, CA 91351 316-440-2800 800 Algoma Blvd. of Newfoundland fax: 316-440-2801 Oshkosh, WI 54901 St. John’s, Newfoundland 661-713-6013 Director of Public Relations fax: 661-299-6681 [email protected] 920-424-4226 Canada A1C 5S7 Ann Rosenblum (2008) [email protected] [email protected] [email protected] Program Book Advertising 12 Princeton St. Convention Director Sales Representative Jazz High School Soloist Summit, NJ 07901 Madeline Neumann Steve DiLauro Ali Ryerson (2004) Cristina Ballatori (2009) 908-608-1325 26951 Ruether Ave., Ste. H LaRich & Associates, Inc. 12 Longview Dr. University of Texas at Brownsville fax: 908-608-1326 Santa Clarita, CA 91351 15300 Pearl Road, Suite 112 Brookfield, CT 06804 Fine Arts Dept./Music [email protected] 661-299-6680 Strongsville, OH 44136-5036 203-740-2044 80 Fort Brown fax: 661-299-6681 440-238-5577 [email protected] Brownsville, TX 78520 Flute Choirs Coordinator 585-880-4381 [email protected] fax: 440-572-2976 aliryerson.com Kelly Via (2007) [email protected] [email protected] 965 Daisy Ct. Membership Director Low Flutes Lawrenceville, GA 30044 Maria Stibelman Program Book Bio Editor Christine Potter (2009) Jazz Flute Masterclass 770-935-1379 26951 Ruether Ave., Ste. H Lisa Van Dusen (2007) 2985 18th Street Holly Hofmann (2005) Santa Clarita, CA 91351 26629 N. 45th Pl. Boulder, CO 80304 1125 Via Las Cumbres [email protected] 661-713-2072 Cave Creek, AZ 85331 303-443-3330 San Diego, CA 92111 fax: 661-299-6681 480-473-4877 [email protected] 858-292-1814 Flute Clubs Coordinator [email protected] [email protected] [email protected] Dolores August (2009) New Music Advisory 1809 Sevilla Road Publications Director Gala Fundraising Dinner Chair Molly Alicia Barth (2007) Jazz Flute Big Band Fort Worth, TX 76116 Anne Welsbacher Angeleita Floyd (2008) University of Oregon Ali Ryerson (2009) 682-553-0979 3743 Beaver Ridge Cir. 7213 E. Chelsea St. New Music: Beta Collide 12 Longview Dr. [email protected] Wichita, KS 67206 Cedar Falls, IA 50613 1225 University of Oregon Brookfield, CT 06804 ph/fax: 319-268-1001 Eugene, OR 97403-1225 203-740-2044 316-440-2800 Flute Research fax: 316-440-2801 cell: 319-290-2852 w: 541-346-3790 [email protected] Committee Chair [email protected] [email protected] [email protected] aliryerson.com Michelle Cheramy (2007) NFA Online Administrator COMMITTEE CHAIRS Nominating Masterclass Performers School of Music Brian Covington Advisory Committee Jonathan Keeble (2009) Jill Heyboer (2007) Memorial University [email protected] Patti Adams (2008) University of Ilinois Music Department of Newfoundland 2840 Coliseum St. 1114 W. Nevada St. Missouri State University St. John’s, Newfoundland CONVENTION New Orleans, LA 70115 Urbana, IL 61801 901 S. National Ave. Canada A1C 5S7 217-333-8142 Springfield, MO 65897 Program Chair 504-895-5908 709-737-7477 [email protected] 417-836-4875 Cynthia Ellis [email protected] [email protected] [email protected] California State University Fullerton Amateur Resources Pedagogy Department of Music, PO Box 6850 Grants Committee Lisa Fahlstrom (2007) Stacey Graham Steele (2009) National High School Flute Choir Fullerton, CA 92834-6850 Danielle Hundley (2008) 1216 Travis View Ct. 110 Poplar Forest Dr. Ronda Ford (2009) 661-313-8274 1124 Collier Rd. Gaithersburg, MD 20879 Slippery Rock, PA 16057 9226 Constance [email protected] 301-948-5333 724-794-2127 Lenexa, KS 66215 Moscow, OH 45153 fax: 301-279-1323 [email protected] 913-888-9546 513-876-0885 Assistant Program Chair [email protected] [email protected] fax: 513-362-6709 Christina Cobas Performance Health Care [email protected] California State University, Fullerton Archives and Oral History Stephen A. Mitchell (2008) Newly Published Music Department of Music, PO Box 6850 Nancy Toff (2007) 4820 Redcastle Ridge Jennifer Robin Lau (2007) International Liaison Fullerton, CA 92834-6850 425 East 79th St., #6F Nashville, TN 37211 Center of the Arts Aldo Baerten (2009) [email protected] New York, NY 10075 615-386-9089 MSC04 2570 Mezenlaan, 11 212-772-1343 fax: 615-832-7888 1 University of New Mexico Sint Genesius Rode Convention Director [email protected] [email protected] Albuquerque, NM 87131 Belgium B-1640 Madeline Neumann 505-401-2398 Ph/fax: 003223811575 26951 Ruether Ave., Suite H Career Development and Piccolo [email protected] [email protected] Santa Clarita, CA 91351 Business of Music Carl Hall (2009) 661-299-6680 Laura Barron (2009) 1352 Metropolitan Ave SE Orchestral Audition and Masterclass fax: 661-299-6681 196 W. 18th Ave. Atlanta, GA 30316-1670 Jennifer Parker-Harley (2008) Legal Advisor [email protected] Vancouver, BC 404-377-6112 University of South Carolina to the Board Canada V5Y 2A5 [email protected] School of Music Linda Mintener Local Arrangements Chair 604-875-8865 813 Assembly St. 3976 Plymouth Cir. Julie Long [email protected] Special Publications Columbia, SC 29208 Madison, WI 53705 4743 Pimenta Ave. Patricia Harper (2008) 803-777-4853 608-231-1680 Lakewood, CA 90712 Commercial Members 38 Oak Dr. [email protected] fax: 608-266-3049 310-945-6712 Jonathan Keeble Centerbrook, CT 06409 [email protected] [email protected] University of Illinois 860-767-0629 Piccolo Artist 1114 West Nevada St. [email protected] Hillary Feibel (2009) Masterclass Reporter, Convention Equipment Chair Urbana, IL 61801 6435 West Jefferson Blvd. #138 Kimberlee Goodman 217-333-8142 Fort Wayne, IN 46804 Flutist Quarterly 4783 Cherry Park Dr. [email protected] COMPETITION COORDINATORS 260-450-6674 Lee Chivers (2008) Columbus, OH 43230 [email protected] 1933 E. Renee Dr. 614-805-5261 Cultural Outreach General Coordinator Phoenix, AZ 85024 [email protected] Horace Alexander Young (2007) Diane Boyd Schultz (2009) Professional Flute Choir 623-580-5244 5615 Morningside, Suite #309 University of Alabama Pamela Youngblood (2009) [email protected] Exhibits Management Houston, TX 77005 School of Music, Box 870366 Texas Woman’s University 281-660-0025 Jim Magee Tuscaloosa, AL 35487-0366 PO Box 425768 NFA Library Liaison [email protected] N’Awlins Trade Show and 205–348–4532 Denton, TX 76204 Sandy Schwoebel (2008) Convention Services, Inc. 940-898-2495 Development [email protected] 2102 E. Florence Dr. 612 Highland Ct. [email protected] Katherine Borst Jones (2007) Tucson, AZ 85719 Mandeville, LA 70448 Baroque Flute Artist 4635 Rutherford Rd. 520-321-4821 985-626-3046 Nancy Schneeloch-Bingham (2007) Young Artist Powell, OH 43065 [email protected] fax: 985-727-3940 Hayes School of Music Donna Shin (2008) 740-881-5008 [email protected] Appalachian State University University of Washington fax: 740-881-5252 Boone, NC 28608 School of Music Myrna Brown [email protected] Exhibits Assistant 828-262-6447 Box 353450 International Liaison and Patti McCleney Endowment [email protected] Seattle, WA 98195-3450 Scholarship Coordinator N’Awlins Trade Show Zart Dombourian-Eby (2007) 206-543-9877 Angeleita Floyd (2007) and Convention Services, Inc. 2515 10th Ave. W. Collegiate Flute Choir [email protected] 3743 Beaver Ridge Cir. P.O. Box 8538 Seattle, WA 98119 Dorli McWayne (2008) Cedar Falls, IA 50613 Mandeville, LA 70470-8538 206-285-0206 780 Merlin Ln. ph/fax: 319-268-1001 ph/fax: 985-893-9521 [email protected] Fairbanks, AK 99709 ARCHIVES AND LIBRARIES cell: 319-290-2852 [email protected] 907-479-6701 [email protected] Forum/Web Site [email protected] NFA Librarian Showcase and Exhibitors’ Brian Luce (2008) Bob Diaz Myrna Brown Society Concert Coordinator P.O. Box 210004 Convention Performers NFA Music Library Rebecca Johnson (2008) University of Arizona Sally Humphreys (2008) c/o University of Arizona Libraries Eva Amsler (2007) 1010 North Busey Ave. Tucson, AZ 85721-0004 380 E St. 1510 E. University 1650 Snowball Wy. Urbana, IL 61801 520-621-7015 Salt Lake City, UT 84103 Tucson, AZ 85721-0055 Tallahassee, FL 32301 812-786-4526 fax: 520-621-8118 801-355-8859 520-621-7010 850-877-2096 [email protected] [email protected] [email protected] [email protected] [email protected] © 2010 Drelinger - All Rights Reserved. Visit our booths and hear our talk at NFA Convention. Website www.drelinger.com

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EZVga 8dgedgVi^dc ™ *). BZigdeaZm 9g^kZ ™ CVh]k^aaZ! IC (,'&& ™ -%%".),"(',* lll#eZVga[ajiZh#Xdb SUBSCRIPTIONS articles for style, content, or space requirements. The Flutist Quarterly budget does Receipt of The Flutist Quarterly is a benefit of membership in the National Flute not include honorariums for authors. Association, Inc. Subscriptions are available to libraries and institutions at a charge Editorial deadlines for The Flutist Quarterly apply to time-sensitive depart- of $35 per year. Personal subscriptions are not available. The Music Library Catalog ments providing news of interest about flutist activities and products. Unsolicited (6th ed.) is also available to libraries and institutions at $15 per copy. feature articles (see above), items for review, and news about member achieve- ments may be sent at any time for consideration. Submissions to Across the Miles ADDRESS CORRECTIONS should be sent to its editor at least one week prior to deadline dates to be consid- Bulk-rate mail is not forwarded. Send address corrections to: Maria Stibelman, ered for inclusion. Send materials to time-sensitive departments for the fall issue Membership Services, 26951 Ruether Ave., Ste. H, Santa Clarita, CA 91351; by June 1; the winter issue by September 1; the spring issue by December 1; and 661-250-8920; 661-299-6681 (fax); [email protected]. The NFA will be the summer issue by March 1. responsible for one missed magazine in the event an address change crosses in the mail. Missed issues due to bad addresses are available at the rate of $10 per copy Please send all submissions except Across the Miles (see department for contact through the membership services manager. information) to: Anne Welsbacher BACK ISSUES 7213 E. Chelsea St. Members and nonmembers may purchase back issues of The Flutist Quarterly Wichita, KS 67206 at the rate of $10 each through the membership services manager at the 316-440-2800 address listed above. fax: 316-440-2801 [email protected] EDITORIAL GUIDELINES Please submit manuscripts electronically as Word files attached to an e-mail No submissions will be returned. message that clearly states what you are submitting. (Unidentified attachments might be deleted as a virus security precaution.) If you are unable to submit via ADVERTISING GUIDELINES e-mail, please send submissions as Word files on a CD. Please include a single- Guidelines, deadlines, and fees are available at nfaonline.org/fqadvertising.asp, spaced, printed copy of your submission. Queries via e-mail or phone prior to or contact Steve DiLauro. The following dates are deadlines for The Flutist submission are encouraged, and welcome at any time. Quarterly: fall issue, August 1; winter issue, November 1; spring issue, February Submissions should also be accompanied by a cover letter stating that the mate- 1; summer issue, May 1. rial contained in your submission (1) is entirely original; (2) has not been previ- ously published; and (3) is not currently under consideration for publication else- Please send advertising submissions and queries to: where. Manuscripts under copyright need to include permission to duplicate 10 Steve DiLauro, NFA Advertising Sales Representative copies for review purposes only. LaRich & Associates, Inc. You will be notified that your manuscript has been received. Posted quarterly 153000 Pearl Rd., Ste. 112 deadlines (see below) pertain only to time-sensitive department submissions, not Strongsville, OH 44136-5036 feature articles, which are reviewed throughout the year. Accepted manuscripts 440-238-5577 will, when appropriate, go through a review process. Authors might be asked to fax: 440-572-2976 revise manuscripts during this procedure. The editor reserves the right to edit all [email protected]

Index of ADVERTISERS Abell Flutes ...... 33 Frederick Harris Music Co...... 12–13 National Flute Association (4)...... 6, 61, 86, 93 Altus ...... 94 Graf, Erich ...... 25 Ogura Flute Works ...... 61 BG Franck Bichon ...... 87 Guo Musical Instruments ...... 9 Packard Humanities Institute, The...... 70 Bradley Leighton ...... 38 Italian Flute Society ...... 70 Pearl Corporation ...... 90 Brannen Brothers Flutemakers, Inc...... 92 J.S. Engineering ...... 37 Polak, Simon ...... 38 Burkart Flutes and Piccolos (2) ...... 8, 95 Keefe Piccolos ...... 63 Potter, Christine ...... 11 Cardinal Classics ...... 25 Kemler, Katherine (2) ...... 25, 72 Progress Press (3) ...... 23, 32, 57 Chopsaver ...... 4 Kingma Flutes ...... 25 Sheridan Flute Company ...... 66 Clarion Insurance ...... 73 Landell Flutes ...... 11 Syrinx Flute Repair ...... 67 Tai Hei Shakuhachi Flutes ...... 33 Classical Collection, Inc ...... 41 Larson, Rhonda ...... 14 Tempo Flute (Association of French Flute Conn-Selmer/Avanti ...... 77 Little Piper/Dean Yang Flutes ...... 91 History) ...... 64 Crystal Records ...... 32 Lopatin Flute Company ...... 41 University of Texas at Austin/Butler School of Di Zhao Flutes/New England Flute...... 23 Lyric Flutes/Hammig Piccolos Music...... 33 Drelinger Headjoint Co...... 89 (see also Miyazawa) ...... 17 Wacha, Sandy Moore ...... 63 Fluit ...... 57 Mancke-Flutes ...... 37 William S. Haynes ...... 79 Flute (British Flute Society)...... 61 Marcel Moyse Society ...... 41 Williams Flutes ...... 96 Flute Specialists, Inc...... 38 Miles Zentner ...... 25 Winzer Press ...... 24 Flute World ...... 64 Miyazawa Flutes, Ltd (2) ...... 2, 17 Yamaha Corporation of America ...... 15 Ford, Ronda Benson...... 37 Muramatsu America ...... 16 Your Flute Works ...... 57

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