VOLUME XXXII, NO.W2 INTER 2007
THE LUTIST QUARTERLY
THE OFFICIAL MAGAZINE OF THE NATIONAL FLUTE ASSOCIATION, INC
Table of CONTENTS THE FLUTIST QUARTERLY VOLUME XXXII, NO. 2 WINTER 2007 DEPARTMENTS 5 From the President 63 The Inner Flute 9 From the Editor 66 New Products 13 Letter to the Editor 69 From the 2007 Convention Program Chair 15 High Notes 70 Reviews 19 Across the Miles 78 NFA Office, Coordinators, 22 Student Spotlight Committee Chairs 27 Notes from Around the World 81 Index of Advertisers
30 FEATURES 30 André Jolivet’s Cinq Incantations and Ascèses by Sharon Winton Theatre, magic, and spiritual and religious ritual deeply influenced the writing of French composer André Jolivet; these elements are especially apparent in the works explored here. 40 Career Advice from Flute Professors in Higher Education by Christine Erlander Beard The journey from graduate school to gainful employment in academe can be long, complex, and at times disheartening. Avoid pitfalls, hone your strengths, and keep going. 46 Ecuadoran Mestizo Music for Flute and Piano by Sharon Levin The names of varying forms of Ecuadoran music, among them the alza, pasillo, and danzante, offer a glimpse into their rhythmic styles. 52 An Interview with Nestor Herszbaum by Rebecca Meador The seasoned freelance musician discusses his experiences and shares his insights 52 after auditioning for and playing his first season as principal flutist with the Kansas City Symphony. 59 Remembering Martha by Anne Welsbacher Friends and colleagues recall the multifaceted talents, passions, and affections of flutist and pianist Martha Rearick.
Cover Photo: Courtesy Archives André Jolivet
THE NATIONAL FLUTE ASSOCIATION 26951 RUETHER AVENUE,SUITE H SANTA CLARITA, CA 91351
FOUNDED NOVEMBER 18, 1972 IN ELKHART,INDIANA
This magazine is published quarterly by the National Flute Association, Inc., a nonprofit organization. The statements of writers and advertisers are not necessarily those of the National Flute Association, Inc., which reserves the right to refuse to print any advertisement.
ISSN 8756-8667 2006 National Flute Association, Inc. 46 22
nfaonline.org Winter 2007 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] President Alexa Still Sydney Conservatorium of Music Macquarie St. Sydney, NSW 2000 Australia 011 61 2 93511266 fax: 011 61 293511287 (attn: Alexa) [email protected] [email protected] Vice President Patti Adams 2840 Coliseum St. New Orleans, LA 70115 504-895-5908 [email protected] Immediate Past President Katherine Borst Jones 4635 Rutherford Rd. Powell, OH 43065 740-881-5008/614-292-4618 fax: 740-881-5252 [email protected] Secretary Carol Dale Department of Music University of Mississippi Scruggs Hall 131 Oxford, MS 38677 662-801-2978 [email protected] Treasurer Teresa Beaman Department of Music CSU, Fresno 2380 East Keats Ave. Fresno, CA 93740-8024 559-278-3975 [email protected] Assistant Secretary Lori Akins 5113 Glenaire Dr. Dublin, OH 43017-9479 614-766-1838 [email protected] BOARD OF DIRECTORS Robert Aitken (2006–2008) 14 Maxwell Ave. Toronto, ON M5P 2B5 Canada 416-481-4967 fax: 416-481-0040 Zart Dombourian-Eby (2006–2008) 2515 10th Ave. W. Seattle, WA 98119 206-285-0206 [email protected] Amy Porter (2006–2008) 1647 Broadway Ann Arbor, MI 48105 734-623-4853 [email protected] Joanna Bassett (2007–2009) 85 Maywood Ave. Rochester, NY 14618 585-383-0650 [email protected] Beth Chandler (2007–2009) 626 Sunrise Ave. Harrisonburg, VA 22801 540-574-3772 fax: 540-568-7819 [email protected] Hal Ott (2007–2009) Department of Music Central Washington University Ellensburg, WA 98926 509-963-1103 fax: 509-963-1239 [email protected] From the PRESIDENT
am writing this before I become pres- Maria Stibelman (a lot of data and ident. This letter is one cog in the customer service), our convention Imassive wheel that is turned by our manager Madeline Neumann (those of wonderful publications director, Anne us who have had the pleasure of working Welsbacher. She works on this winter with Neumann on convention planning issue many months before you receive can begin to comprehend what she it, but she is at the mercy of myself and accomplishes) and our executive director, many other of our volunteers to supply text on time; the printers; and, of Phyllis Pemberton. Pemberton has been course, the U.S. mail’s bulk delivery looking after the organization’s interests service. for a very long time now. The way we are Alexa Still Did you catch the word “volunteers”? structured, with so many volunteers, we This year at the fabulous Pittsburgh rely heavily on her continuing guidance convention (wow!), I again heard a and overview. Finally, we pay for a interest could pay for some it. Any money comment referring to artists’ fees. This hardworking Web site professional, you give to the president’s appeal will go was a complimentary, well-intended Brian Covington. directly into the endowment and bring observation, probably the result of Everything else is accomplished by us that much closer. Please help! trying to figure out where membership one of you, one of our flute-loving Second item; if you haven’t been to or convention fees go. I found myself buddies—a volunteer. New Mexico, plan on coming to explaining one more time that no This winter, dear members, you will Albuquerque! If you have already flutists get paid. No artists, no officers, have received a letter from me asking experienced the Southwest, I know not even the program chairs and their for money. In the fine, time-honored you’ll already be making plans to attend assistants receive any money. The con- ways of nonprofit organizations, this the convention. This part of the U.S. is vention budget kicks into high gear with annual “ask” has become a tradition, distinctly beautiful, and Nancy Andrew the hiring of a professional orchestra—at but we really seriously do need your is going all out to make this convention union rates, of course. This opportunity help. We want to build this organization a suitably special event. I know she will to hear a concert of flute concertos is a into one that can commission great make sure you know about all of her highlight, but you’ll understand that works for the flute regularly; we want to plans. For now, I’d like to mention that convention fees barely cover anything continue our annual convention; we 2007 Lifetime Achievement Awardees beyond the orchestra. want our impressive library to be at Peter Lloyd and John Wion will be But back to the important point of this your disposal and even bigger; we want honored at the Lifetime Achievement letter: We volunteer. The NFA covers to provide a Web site that can be the go- Award Gala Dinner. (All proceeds of some of the small, office-type expenses, to source for up-to-date, flute-related the gala dinner also wind up in the but we all devote our skills on our own events and information, and we want endowment fund.) Come and share time. We all make this effort because more. We want membership in the NFA those special moments with us, and see we can and because we value this to be meaningful, providing great service New Mexico for yourself! organization. for all members. The officers always try There are some non-flutist profes- to make progress as quickly as possible sionals working for the NFA (thank without raising fees any more than we goodness!), and this expense is covered have to, but the budget’s bottom line by your membership fees. These people keeps staring at us: The most effective include the aforementioned Welsbacher, way we can do all of these things is by handling all of our publications getting our endowment to a significant (mammoth job), membership manager enough sum that the endowment’s —Alexa Still nfaonline.org Winter 2007 The Flutist Quarterly 5
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2 Shaker Road #D107 Shirley, MA 01464 USA 978-425-4500 · www.burkart.com THE FLUTIST QUARTERLY Anne Welsbacher, Editor Christine Cleary, Tadeau Coelho, Chelsea Czuchra, Kiku Day, Mia Dreese, Amy Hamilton, Contributing Editors Tony Watson, Masterclass Reporter Victoria Stehl, Art Director Steve diLauro, Advertising Sales Representative
Editorial Advisory Board John Bailey Professor of Flute University of Nebraska–Lincoln Lincoln, Nebraska Leone Buyse Joseph and Ida Kirkland Mullen Professor of Flute Rice University Houston, Texas Zart Dombourian-Eby Principal Piccolo Seattle Symphony Seattle, Washington Susan Goodfellow Associate Professor of Flute University of Utah Salt Lake City, Utah Amy Likar Flute, Piccolo, and Alexander Technique Oakland, California Betty Bang Mather Professor of Flute Emeritus University of Iowa Iowa City, Iowa Roger Mather Adjunct Professor of Flute (retired) University of Iowa Iowa City, Iowa Jerrold Pritchard Professor of Music Emeritus California State University–San Bernardino San Bernardino, California Eldred Spell Professor of Flute Western Carolina University Cullowhee, North Carolina Michael Stoune Associate Director of Graduate Studies, School of Music Texas Tech University Lubbock, Texas Nancy Toff Music Historian New York, New York Michael Treister, M.D. Orthopaedic and Hand Surgeon Amateur Flutist Chicago, Illinois Reviews Board Robert Dick Adjunct Associate Professor of Flute New York University Composer/Performer New York, New York Penelope Fischer Principal Flutist, Ann Arbor Symphony Member, Detroit Chamber Winds Ann Arbor, Michigan Patricia George Professor, Performer, Masterclass Teacher, Author Pocatello, Idaho 5BJ )FJ 4IBLVIBDIJ Ruth Ann McClain Flutist and Studio Teacher * - "" 1/ - Memphis, Tennessee Gwen Powell >iÀÊvÊÌ i Professor of Music Emerita University of Arizona Tucson, Arizona - 1 1/ Brooks de Wetter-Smith - >Õ >V Êi>`ÌÊvÀÊÌ iÊ-ÛiÀÊÕÌi James Gordon Hanes Distinguished Professor of Flute ÊÛiÀÌV>Þ i`Ê ÞLÀ`ÊÃÌÀÕiÌ University of North Carolina–Chapel Hill VL}ÊLÜ}ÊÃÌÞiÃÊEÊÌiV µÕiÃÊ`ÃÌVÌÛiÊÌÊÌ iÊÌÀ>`Ì>Ê Chapel Hill, North Carolina >«>iÃiÊà >Õ >V ÊÜÌ ÊÌ iÊV>ÃÃV>Ê7iÃÌiÀÊ i ÊyÕÌi° John Wion Professor of Flute ÌÃÊ-Ì>`>À`Ê ÊÀÊ ÊÌ]ÊÌÊEÊ7`ÊÕÌià The Hartt School West Hartford, Connecticut ÜÜÜ°Ã >Õ >V °V National Flute Association, Inc, Staff " /9 ° 6 -" ] *°"° "8 Ó{] 7 /-] x{ä Phyllis T. Pemberton, Executive Director / \ ÇäÇ® {xÎ{äÓ U 8\ ÇäÇ®{xÎ{Î{ U ÌÞJà >Õ >V °V Anne Welsbacher, Publications Director Madeline Neumann, Convention Manager Maria Stibelman, Membership Manager Brian Covington, Web Design Consultant From the EDITOR
A World of Flutes in Kansas
ne of the pleasures of returning her performance on a modern concert to my home town in Wichita, flute). After her performance, the 7- or 8- OKansas, last summer was year-old son of the principal flutist of the renewing my acquaintanceship with Moscow Symphony approached her and Betty Hensley, a long-standing NFA tucked a small reindeer ocarina in her member and world traveler who has hand. Another addition to her collection. collected, by chance as well as design, At the other end of her serious col- approximately 450 flutes, some of which lection, which is crowned by a pair of she plays in recitals and demonstrations baroque flutes (not technically of that in venues ranging from my church in period, Hensley notes, one being dated Wichita to the Moscow Conservatory. 1770 and the other 1805), is a fat collec- She has written two books, a meticu- tion of flutes she uses in her “flute fakes Anne Welsbacher lously cross-referenced checklist of and foibles” program. There is a “genuine flutes of the world, and a descriptive fake” nay flute ostensibly from Egypt, text, with attached demo CD, of the but more likely, based on its design Hensley says a steady erosion, Thurlow Lieurance collection of Native work, colors, and crudely chopped brought about by the global reach of American Plains flutes, housed at ends, made in the Ukraine and poorly modern developments such as the Wichita State University and created in disguised to appear to be a nay. There is radio, is stripping away the supply of large part through Hensley’s efforts. I the small, unassuming flute a friend indigenous instruments in most coun- asked her to talk about a few of the traveling in Egypt brought back for her, tries worldwide. flutes in her collection. apologizing for what she imagined was “You could not build this collection Hensley commissioned Alan Hovhaness a worthless bit of work. That one is the today for love or money,” Hensley says. to write a suite especially for one of genuine thing, and, because of its small A loss for us all, but heartening to know her flutes, a jade notch flute made no size, the one Hensley carries everywhere that individuals such as Betty Hensley later than 1750. She performed the to demonstrate the Egyptian nay in her are helping to keep the history and work’s premiere in New York, and later programs. There is a flute made by a sounds of the flute alive and breathing. in Taiwan in a chamber music series Native artist from four yardsticks placed with the Taipai City Orchestra, com- together into a rectangular tube. Its plete with authentic Chinese percus- musical utterances are of questionable sion instruments. merit, but it elicits a smile and is as Hensley’s experience with Native comfortable in Hensley’s often whimsical American flutes is especially extensive. collection as are the more serious pieces. While digging through her collection Hensley didn’t set out to be a collector. looking for a flute, she handed me the Her first purchase, a soprano recorder, only extant replica (“as far as I know”) was from a music store having a huge of a Shoshone shotgun barrel flute, going-out-of-business sale. made from what once had been “People have given me things from unmistakably a gun, and put (in my the attic or the basement or chewed on humble opinion) to much better use in by the dog,” Hensley says. But once she its current incarnation. She played a realized that a collection had begun, she Wichita Kiawa style flute and a Native set out to learn as much as she could, American whistle in a delegate sometimes by seeking out experts, exchange between the U.S. and the about how the flutes were made and (then) Soviet Union sponsored by the played, and—being a teacher—how NFA, in Rachmaninoff Hall at the best to share with others what she Moscow Conservatory (finishing off learned. —Anne Welsbacher nfaonline.org Winter 2007 The Flutist Quarterly 9 Keefe Piccolos
K E E F E Introducing The C# Trill PICCOLOS Patent pending BOSTON At the NFA Convention in Pittsburgh, we unveiled our new C# trill mechanism for the conical piccolo. 54 Church Street Winchester, MA Over the years, many players have asked about the possibility of having 01890-2501 the C# trill key on the conical piccolo. After all, the C# trill is one of the most 781.369.1626 tel useful and popular additional mechanisms on the flute.
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The Wm. S. Haynes Company announces the production of a limited edition ßute: The Rampal Edition Flute. Only 50 of these very special ßutes will be made over the next two years to celebrate the 50th anniversary of Jean-Pierre RampalÕs 1958 debut concert in oaddaYek&`Yqf]k[gehYfq$af[& the United States.With his debut tour began a life-long relationship )*ha]\egflklj]]l with the Wm. S. Haynes Company.The Rampal Edition Flute is a Zgklgf$eYkkY[`mk]llk(*)). .)/,0*%/,-. replica of Mr. RampalÕs ßute using the original molds to forge the ooo&oek`Yqf]k&[ge keys. For more details, please contact the Wm. S. Haynes Company. Letter to the EDITOR “Playing with History”
am writing in response to the article titled “Playing with historical perspective of 18th-century concerto form. I am IHistory,” by Yvonne Kendall (The Flutist Quarterly, sum- finishing the proofs for a performance edition of Mozart’s mer 2006). I commend the author for providing important D Major Flute Concerto that includes information on historical classical-era performance practice researched performance-indications as it relates to Mozart’s concertos written for flute and in the score, an additional orchestra. I am writing because my doctoral dissertation, score that outlines directly devoted to this topic, was not cited in the bibliog- an analysis of the concerto, cadenzas, raphy that accompanied the article, and it might be helpful and a five-page arti- to those wishing to know more about the topic. My cle referencing the dissertation, which was published in 1992 with advisor research that supports John Hill at the University of Illinois, is titled “The the edition. Relation Between Analysis and Performance of W.A. Mozart’s D Major Flute Concerto (K314/285D) in Accordance with Contemporaneous Writings.” The work, which is available at University Microfilms International, —Tim Lane includes a plethora of detailed performance indications Flute Professor, University relating to performance practice and a contemporary of Wisconsin-Eau Claire
nfaonline.org Winter 2007 The Flutist Quarterly 13
High Notes News and activities about the accomplishments of National Flute Association members and the flute world
NFA members featured at the British Flute Society’s biennial convention in August 2006 are, left to right: Kyle Dzapo, Helen Spielman, Rhonda Larson, Lea Pearson, Alexa Still, Keith Pettway, and Nancy Andrew. Not pictured: Carla Rees Dawson. ight NFA members were featured in recitals and presen- lutist Mimi Stillman’s Dolce Etations at the British Flute Society Convention, held in FSuono Chamber Music Manchester, England, at the Royal Northern College of Concert Series at the University Music August 17–20, 2006. (For more about the convention, of Pennsylvania is expanding see Notes from Around the World in this issue.) Kyle during its second season, Dzapo presented a lecture, “The Legacy of Joachim 2006–07, which includes four Andersen,” based on 14 years of research. Helen Spielman concerts at the University of gave interactive seminars entitled Performance Anxiety Pennsylvania, two concerts at from Inside Out, in which participants gained valuable suburban Philadelphia venues, insight on how to transform their fear of being on stage. and educational outreach in Rhonda Larson’s celebrity recital was entitled Precious Philadelphia public schools. Dolce Suono presents free con- Metal, Crystal, and Wood. Lea Pearson taught bodymap- certs in intimate settings and ping classes, during which her students learned to under- features guest composers and stand and move their bodies in healthier ways. Alexa Still postconcert Meet the Artists led morning “hot-ups” and presented a celebrity recital of sessions. The Dolce Suono music from New Zealand. Keith Pettway directed sight- ensemble players include reading workshops. Nancy Andrew spoke on “Marcel Stillman on flute, with mem- Mimi Stillman Moyse: His Life and Legacy.” In addition, Dzapo, bers of the Philadelphia Spielman, and Andrew were featured in evening Meet the Orchestra and performers affiliated with the Curtis Institute Speakers receptions. Mimi Stillman was to have presented of Music, the University of Pennsylvania, and Temple a celebrity recital, but because her flight was cancelled due University. The fall 2006 concerts included “The Jet to the terrorist events of the previous days, and she was Whistle,” featuring music by Haydn, Gaubert, and unable to find another flight, she was forced to cancel. Abramovic for flute, cello, and piano, and “Toasting Gary Schocker and Robert Dick, also scheduled presen- Mozart,” showcasing the Mozart Concerto for Flute and ters, cancelled flights because of concern for their instru- Harp with Stillman and Elizabeth Hainen, principal harp of ments while flying during this precarious time. the Philadelphia Orchestra. The spring 2007 concerts
CARLA REES DAWSON The next BFS convention will be in Manchester August include “Metal and Wood” for flute, viola, guitar, and double :
TOP 21–24, 2008; visit bfs.org.uk for more information. bass in music by Schubert, Schulhoff, Handel, Piazzolla, and
nfaonline.org Winter 2007 The Flutist Quarterly 15 HIGH NOTES Dowland, and “Baroque Banquet,” highlighting Bach’s Flute Masterclass 2006 flute choir. The concert also includ- Musical Offering and a cantata. The suburban concerts are ed the world premiere of Todd Harris’ chamber flute choir a flute and piano recital with Stillman and Charles piece written specifically for this event. The piece, titled Abramovic at the Glencairn Museum and a flute and “Three Rivers, White Waters—2006” and dedicated to string trio concert at the Bala Cynwyd Library. Stillman’s Tracy Harris, was written for solo flute and flute choir. 2006–07 engagements also include guest artist recitals and Flutists from the class were awarded Yamaha Prizes for Best Over All Performance in the class. First prize was masterclasses at the International Flute Choir Festival at awarded to Katy Cooper, second prize to Charlotte Betry, Fresno Pacific University in February, the University of and third prize to Alexandra Fitzgibbon. Tracy Harris’ Arizona Flute Day in March, and the Texas Flute Three Rivers Flute Master Class 2007 will be held again at Convention in May. For more information, send an e-mail St. Anthony Retreat in July. For more information, visit to [email protected]. tracyharrisflute.com.
wenty-two flutists from across the United States he Los Angeles Flute Quartet presented a concert Tattended the second annual Tracy Harris’ Three Rivers TOctober 14, 2006, at the Zipper Concert Hall at Flute Masterclass July 20–23, directed by concert flutist Colburn School in downtown Los Angeles. “Unzipped” Tracy Harris. The featured guest artist this year was Tadeu featured the L.A. premiere of Jeffrey Miller’s “Up in the Coelho, and the class accompanist was concert pianist Air,” written for the ensemble with the help of the Svetlana Rudikova-Harris. Other guest artists included Composers Inc. Series in San Francisco, and “Laissez le flutist and conductor Janette Erickson, composer Todd voler” by UCLA’s Sheridon Stokes, which the LAFQ per- Harris, concert harpist Wendy LeBlanc, and concert flutist formed at the National Flute Convention in 2005. Miller Luisa Suorsa. The four-day event was held at the St. and Stokes were in attendance at the concert to talk about Anthony Retreat in Three Rivers, California. The event their music, along with KUSC’s Charles Andrews, who has included masterclasses, flute and harp performance classes, transcribed one of Mozart’s string quartets for the ensem- composer forums, sight-reading seminars, performance ble. Other works in the program included Eugene Bozza’s techniques classes, and flute choir classes. A finale concert “Summer Day on the Mountain” and a medley of works featured duo performances by Tracy Harris and Coelho, from Bernstein’s West Side Story, adapted by the LAFQ. accompanied by Svetlana Rudikova-Harris, as well as per- Members of the LAFQ are Lisa-Maree Amos, Kirsten Joel, formances by LeBlanc, Erickson, and the Three Rivers Eileen Holt Helwig, and Peter Sheridan.
learn. play. create. Largofor Alto Flute* and Piano by Ludwig van Beethoven
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Across by Christine Cleary the Miles News about flute club and flute choir activities throughout the United States
NFA cofounder and life member Mark Thomas was guest from the University of Tennessee. Registration begins at 8:30 conductor for the Charlotte Flute Choir’s formal spring a.m. in the atrium. The event will include masterclasses, concert. Featured works were Bizet’s Symphony in C Major, recitals, exhibitors, a college competition, and a flute choir arranged by Robert Maddox; Allegro Con Brio by Mozart; reading session directed by Gail Vehslage from Maryland. and Gary Schocker’s Duet for Two Flutes, with music direc- (The elementary, middle school, high school, and adult tors JoAnn Evans and Connie Beach. Evans has a MM from amateur competitions will be held February 5 at Old the University of Illinois and studied with Jean Pierre Dominion University from 5:00 to 9:00 p.m.). The day will Rampal and Irene Maddox. She was a member of the end with a Gala Flute Choir Recital featuring flute choirs Columbia (South Carolina) Philharmonic and the Belleville from Northern Virginia and Maryland. All competition and (Illinois) orchestras. Beach has played with the Germantown, Flute Faire information is available at flutefaire.com. For Tupelo, Memphis, and Charlotte symphonies and the further information, contact Patti Watters, Flute Faire Charlotte Philharmonic. She is cofounder and past president coordinator, at [email protected] or 757-683-5277. of the Memphis Flute Society and past president of the Germantown Collierville Area Piano Teachers Association. Under the direction of Christine Beard, the Heartland Beach received her BM and MM degrees from the University Community Flute Choir (Omaha, Nebraska) began its fall of Memphis. The CFC also performed this summer at schedule September 2, 2006, with a concert for more than Aldersgate, the residence of Charlotte Flute Association 1,000 members of the Red Hat Society in Council Bluffs, cofounder Joe Little. Little and his wife, Joyce, a pianist, Iowa. On September 7, the HCFC played the role of the chorus played “Oh Perfect Love,”which they played at their wedding in a contemporary setting of Jean-Philippe Rameau’s opera, three years ago. The CFC performed November 14 at the Les fêtes d’Hébé, in conjunction with the 2006 ARTSaha! Southern Christmas Show and in December at Plantation new music festival at the University of Nebraska at Estates. Omaha. On November 17, the HCFC was invited to perform at the North-Central Division MENC Convention in The Chicago Flute Club hosted the flute and harp duo Lincoln, Nebraska. Selected by audition, the concert, entitled Capriccio, featuring Donna Milanovich on flute and Steve “Postcards from America,” featured works by Catherine Hartman on harp, October 15, 2006. They gave a recital and McMichael, Phyllis Louke, and Harold Walters. For more masterclass in Ganz Hall of the Chicago College of information about the HCFC, visit christiebeard.home- Performing Arts at Roosevelt University in Chicago. stead.com/flutechoir.html. Hartman also accompanied all the flutists participating in the masterclass portion of the event. The Chicago Flute Club The Hot Springs (Arkansas) Flute Ensemble has generated hosted its 14th annual student competition November 12, public interest through a public service announcement 2006, also at Roosevelt University. For more information on the (PSA) initiated last summer. The video was shot live at the activities of the Chicago Flute Club, visit chicagofluteclub.org. ensemble’s spring concert, and features close-up shots of the conductor, music director, and different members of The 14th Annual Hampton Roads the flute family, illustrating the intergenerational aspects Flute Faire welcomes all flutists on of the group. Music of the ensemble plays in the back- February 17th, at Old Dominion ground, and a runner along the top advertises the next per- University Diehn Fine and Performing formance date. The PSA resulted in a crowd of approxi- Arts Building, Norfolk, Virginia. Guest mately 400 in September for an outdoor concert at Garven artist Ransom Wilson, flute professor Woodland Gardens. There also have been numerous calls at Yale University and internationally for group performances and from other flutists interested renowned flutist and conductor, will in joining the group. The local newspaper ran several fea- present a recital and the high school ture articles on the group. The ensemble paired with the and college masterclasses. Other fea- Hot Springs Brass for the November Music Club concert, tured artists include Virginia performing a Gigue & Saraband by Corelli. The Christmas Symphony flutists Debra Cross, concert series included a performance in the exclusive glass Joanne Meyer White, and Caitlin chapel at Garvan Woodland Gardens, during the Gardens’ Ransom Wilson Valovick Moore, and Shelley Binder Christmas lighting event.
nfaonline.org Winter 2007 The Flutist Quarterly 19 ACROSS THE MILES The International Flute Choir Festival at Fresno Pacific Library Hill, 6 Main St., in Nashua, and will include a wine University will hold its 10th annual event February 16–17. and chocolate reception. “Musique in May” will feature the The guest artist is Mimi Stillman. Flutists may apply as sin- world premiere of Katherine Hoover’s new piece for flute gle performer/auditors or in a group. For further informa- choir and the winners of the second youth soloist competi- tion and an application, visit flutechoirfestival.com or call tion. The concert will be held May 12 at the Unitarian- Janette Erickson, festival director, at 559-243-0303. Universalist Church, 58 Lowell St., Nashua, New Hampshire. For more information, visit nashuaflute- The Kansas City Flute Choir began its second full season with choir.com or call 603-888-1741. a concert in October and two holiday concerts in December, 2006. The choir, founded in January 2005, consists of three The first Junior Flute Day, sponsored by the Praise Pipers performing groups: General Flute Choir (junior high school Flute Choir with help from the Breckinridge County Band students and Advanced Choir members), Advanced Choir Boosters organization, will be held April 14 at Breckinridge (advanced high school students), and Adult Choir. Advanced County High School. This event is open to elementary, Choir members serve as mentors to the younger students in middle school, and ninth grade flutists and will include the General Choir. In less than two years the choir has nearly competitions, masterclasses, concerts, a flute choir, and doubled in size. In February 2006, the Kansas City Flute various clinics held throughout the day. Participants do Choir hosted a flute choir workshop with guest clinician not have to be involved in any band program. Lisa Valerie Simosko. The University of Kansas Flute Choir, McArthur of Campbellsville University will be the guest directed by David Fedele, also participated in the workshop. clinician for the day and will work with students on techniques Plans for 2007 include a series of concerts with a guest soloist. relevant to the young flutist. Also participating will be teachers and university students from various parts of Kentucky. The purpose of this event is to encourage young flutists throughout Kentucky and Indiana and give them a chance to play in an environment in which they will meet with other flutists of the same age. Official information will be released January 12–13, the weekend of the 2007 Flute Society of Kentucky Festival. Individuals interested in participating as either students or teachers are encouraged to contact contact Jacquie Miller at 270-547-8591 or [email protected].
The Raleigh Area Flute Association (North Carolina) fea- tured guest artists Göran Marcusson (flute) and Tim Carey (piano) for its Flute Fair November 11, 2006. In addition to presenting a concert and masterclass, Marcusson led a workshop titled “Get Better from Practice Better.”Other workshops offered in the daylong festival were The Kansas City Flute Choir has nearly doubled in size. led by Nathan Zalman (“Unleash Your Inner Flutist: The Way of the Improviser”) and Helen Spielman (“Performance Magic Flutes Flute Choir, based in San Mateo, California, Anxiety from Inside Out”). On April 15, Patricia George will performed a “Mostly Jazz” program at the Brentwood Art, present a recital, lead her popular “Flute Spa,”and conduct a Wine, and Jazz Festival in October in Brentwood, California. masterclass for adult amateurs. The RAFA season wraps up The choir performed holiday music at the Filoli Mansion in with a Members’ Recital in May, which will feature more Woodside, California, in November, and presented its winter than 40 flutists in performances of solo, small ensemble, and concert, “Creatures in Music,” a concert of music featuring flute choir works. For more details, visit raleighflutes.org. creatures at St. Matthew’s Catholic Church in San Mateo, in December. Magic Flutes is directed by flutist Pamela Ravenelle. In October 2006, the Texas Flute Society hosted five free clinics across the Dallas–Fort Worth metroplex to provide The Nashua (New Hampshire) Flute Choir, with Music assistance for high school students preparing for December Director Eileen Yarrison, is pleased to announce its all-state auditions. The clinics, held in north, south, east, 2006–2007 concert season. “By Special Request,” featuring west, and mid-city areas, were taught by master teachers. On trombone soloist Edward Chansky, was held November 17, November 3, flutist Don Bailey performed a premiere of 2006, at the Maple Street Congregational Church in Tom Herman’s “Sonata” with pianist Donald Sulzen in Danvers, Massachusetts. “Ring in the Holidays with The O’Donnell Recital Hall on the campus of Southern Nashua Flute Choir!” was held December 9 at the Unitarian- Methodist University. After spending a number of years in Universalist Church in Nashua. The concert featured the New York as a freelance flutist and recording artist, Bailey ringing tones of the B. Muriel Parlee Bridges Bell Choir has moved back to Texas to live. November 17–18, 2006, Ian of Central Congregational Church in Chelmsford, Clarke presented a concert and taught a masterclass in Massachusetts, and was conducted by Lois Reynolds. Dallas. Flutists from all over Texas, as well as Oklahoma and “Romantic Chamber Music for Valentine’s Day” will be held Louisiana, came to hear this world-renowned performer February 11, at 2:00 p.m., at the Hunt Memorial Building, present his distinctive style of 20th-century techniques. The
20 The Flutist Quarterly Winter 2007 nfaonline.org Texas Flute Society will announce the preliminary round of Willow’s first “Forty Flutes” concert was January 14, 2006, at the Myrna Brown Competition results soon; audition tapes First Parish Unitarian Universalist Church of Arlington, for the competition must be postmarked by February 15. Massachusetts. It featured both the nine-member flute choir Details and further information, along with more information and a large ensemble with invited guests, bringing the grand about upcoming concerts, masterclasses, and the annual total of C-flute, piccolo, alto, bass, and contrabass flutists in festival in May, can be found at texasflutesociety.org. the large ensemble to 48. The inspiration for the concert was WFE Music Director Orlando Cela’s arrangement of UpTown Flutes, a professional flute ensemble at Drew Thomas Tallis’“Spem in Alium,”a choral work calling for 40 University in Madison, New Jersey, celebrates the 2006–2007 singers with no two singing the same part. To feature the season of performances. Members of the group are large ensemble to its fullest extent, Cela also arranged for Virginia Schulze-Johnson, director, Carla Auld, Elise Carter, flutes “Sea Nymphs” by Iannis Xenakis, a choral work Patricia Davila, Karen Demsey, Jeannie Fessenden, John requiring 23 distinct parts. The large ensemble’s half of the McMurtery, and Rebecca Vega. UpTown Flutes performed program was rounded out by New England Conservatory throughout New Jersey, at William Paterson University in faculty member John Heiss’s “Mosaics: for a very large array Wayne; the First Presbyterian Church in Ridgewood; of flutists.”The composer spoke at the concert, and declared Church of the Redeemer, Lutheran Church of Dumont, this performance a record-breaker for largest number of where UpTown Flutes held a competition for flutists in performers. While many of the flutists were local profes- grades 7–12 to play with the group at the recital; and The sionals and college students, some traveled from Vermont, Fort Lee Community Center, where the ensemble was joined Connecticut, and Pennsylvania for the chance to perform by harpist Elaine Christy. UpTown Flutes presented a workshop and concert with the New Jersey Youth Symphony Flute these unusual works. Willow will soon be posting details about Choirs and Forum, Diana Charos-Reilly, conductor, and a the second annual “Forty Flutes” concert atwillowflu- performance at Caldwell College in West Caldwell. The teensemble.com/concerts.html. The Willow Flute group will finish out the season March 18 with its 13th Ensemble is a Boston-based group with a strong commit- annual New Jersey Flute Choir Day. The event will be host- ment to the conservation, development, and sharing of ed by the Music Department at Drew University. The pro- repertoire for multiple flutes, with a special focus in world gram features flutist and composer Peter Bacchus, and con- music. Recent concerts have focused on arrangements of cert performers will include all groups, from ages 10 to 80. folk tunes from Romania, Japan, Venezuela, and The program will be directed by Virginia Schulze-Johnson Scandinavia. Willow, which has been featured several ([email protected]), and program assistant Patricia times at the NFA Convention, performs frequently in settings Davila. For information, visit uptownflutes.com. as diverse as Jordan Hall at New England Conservatory, Brickbottom Artists Association (Somerville, Massachusetts), In March, the Willow Flute Ensemble will perform its sec- Payne Hall (Harvard University), and numerous library ond annual “What Can You Do With Forty Flutes?” concert, concert series throughout New England. For more infor- featuring works by Ockeghem and local composers. mation, visit willowfluteensemble.com.
nfaonline.org Winter 2007 The Flutist Quarterly 21 STUDENT SPOTLIGHT Breaking and Entering the Recording Business
by Amy O. Puderbaugh
How do you make a CD? A young flutist answers this question by making one herself. Here’s how she did it.
As an aspiring flutist, I have been considering a number of musical career paths, one of which is recording. I have always wanted to know the process behind producing a professionally cut CD. How do independent artists get out a CD with their name on it? To many in the music industry, this question might be simple. But to me, the process seemed foreign, like an exclusive club. I wondered if there Amy Puderbaugh, holding flute, with pianist Rebecca Bumgarner. were an official step-by-step process to follow. How did one take into consideration all the aspects involved—copyrights, studio time, the actual CD, where to sell it, how to sell it, unforeseen obstacles?
realized that the only way to discover all of this was to do it Finding the Idea myself. So, I jumped head first into the recording industry— As a sophomore flute performance major at the time, with Ian endeavor, I must add, that would not have been possible 11 years of intensive flute study and two years of teaching without a generous grant from my undergraduate university experience, I decided, with the help of my teacher, that I had and the exceptional help from my flute instructor/advisor the means and resources to create a professional recording. for this project. Although I might not have as many qualifications as other flutists, I did have two other necessities: ambition and a Talking it Through great idea. We considered pursuing one of two ideas for the I was fortunate enough to talk with the owner of a local CD’s focus. I could either play original flute music from recording business known for helping independent artists local composers or record an accompanying CD to a collection achieve their musical goals. She informed me that her business book. Many flutists use these accompanying CDs as an was more of a partnership with the artists, as opposed to example of how to play the music in the book, and the idea big-name labels, which tend to dictate all the terms of the came to me that we could do this at an elementary level. As musical process. Despite this difference, she was still able to help me get a better grasp on the “official” process of producing a CD. a teacher, I knew how beneficial it would be to the students The broad steps of the process, generalized here, include having in my studio to have an audio guide for the music in their the ambition and idea to produce; getting contracts with collection books. accompanying musicians, the recording engineer, the publisher, The idea of recording an elementary collection book was and others; getting the studio recording time; printing the CD; also strong because: there are many unrecorded books, they and marketing the CD. are easily marketable, and the selected book’s publisher Every situation is different. Most of those steps can be handled could be instrumental in backing the project. Ideally, all I by a producer or a record label. Having a label support you is would have to do is record the book, and they would handle very beneficial, because the process can be incredibly expensive. any licensing issues (because they would already own all the The cost of studio time alone can be a fortune not likely to be music), the manufacturing of the CD, and all marketing. made up by the sales of the CD, which is why the first step— Again, one of my main selling points was that the CD would having ambition and an idea—is so important. be extremely beneficial to teachers with studios similar to
22 The Flutist Quarterly Winter 2007 nfaonline.org Perfection is a myth. There are only levels of acceptance, and our level was one with no squeaks and plenty of heart. mine, hosting a number of elementary players. The CD would be used as a guide to help the student achieve a better sense of the music being played from the book. What I needed was a specific book to single out—one that had not been recorded. I didn’t want to create competition for myself. After taking some preliminary looks into the intricacies of this endeavor, we decided to approach a well-known music publisher about this project.
The Right Publisher After much persistence and a couple of e-mails, I was fortunate enough to get the president of that company on the phone. He was very pleasant, and was kind enough to give me a few moments of his time so that I could propose my idea of creating audio tracks for one of his elementary books. I asked him which of their publications he would like to have recorded. I knew my request was forthright, and that my contacting the president of a music publishing company with a recording Bumgarner and Puderbaugh work with engineer Lyle Waring on the CD project. proposal was out of the ordinary. Perhaps it is usually the publisher’s decision to record or put out tracks with printed All in all, after a couple hours of work, we were able to assemble music, not that of a young flute teacher out in Topeka, Kansas. a fine CD with seven recordings of three songs out of the book, But he complied. He suggested one of his company’s elementary each with flute and piano and flute alone, and one with a harp. flute book titles. I was fortunate: The suggested book was one What I learned is that no matter how simple a song can be, I already was using with students. getting through it flawlessly can take many tries—up to 23 in He asked me to put together a demonstration CD and send my case. Perfection is a myth. There are only levels of acceptance, it to him. We discussed how it would sound with accompaniment and our level was one with no squeaks, good intonation, versus flute alone. I took the ideas to my teacher and we started definitely no wrong notes, and plenty of heart. pulling it all together. I had the generous help of a local composer willing to compose The Proposal piano accompaniments to three selected pieces from the book. After our demonstration CD was ready, I assembled a written, We also composed a harp accompaniment to one of the pieces, professionally bound proposal. Inside it, I included my musical so the publisher would know that he had the option of choosing résumé and the sheet music for the accompaniment. A cover different accompanying instruments. I was privileged in that I letter outlined my proposal. This was appealing because I was had access to facilities at the university, and I was able to record willing to work for next to nothing (necessary due to my age in the concert hall with the generous help of the university’s and limited recording experience), yet had the skills and recording engineer. I also contracted the help of a fellow student resources to assemble a high-quality CD. Besides gaining who was a skilled pianist and harpist. knowledge of the recording industry, I hoped to draw more The recording took place a week later. We wanted to get this project under way quickly, while it was fresh in everyone’s mind. The Numbers
Obstacles The bottom line on the time, tunes, and tracks in the We originally scheduled one recording session, but had to making of a CD—at least, the making of one CD. do a second session the next day because of a number of problems. There was construction going on in the hall, so we Average hours of recording per day 3 relocated to the band room with all our equipment. Our piano in this new room was out of tune, and the continual banging Total days needed 10 from the surrounding workers made our task, which should Number of songs in books 47 have been easy, a hair-pulling one. There also were three hours of work wasted thanks to the unmistakable humming of one Total number of tracks needed 94 of the microphones. Total takes 505 On our second try, we encountered much more success. We had a nonhumming microphone, an in-tune piano, and high Average takes per track 5 spirits. The construction, however, remained a slight annoyance.
nfaonline.org Winter 2007 The Flutist Quarterly 23 STUDENT SPOTLIGHT
The recording artists fought an out-of-tune piano and nearby construction noise. Puderbaugh and Bumgarner (seated) laid down 44 tracks, about six per day.
from this experience such as a positive and successful working absolutely certain that I was protecting my interests. We relationship with this publisher that could benefit us both in suggested a few alterations such as the amount of re-recording the future. that could be requested, and adjusting for the copyrights Then we waited, and waited … and waited. One of my little according to the piano arrangements composed, and also lessons throughout this experience was that the recording requesting that I and the others involved in this project industry does move—just not fast. About three weeks later I receive appropriate credit. received word that the publisher was interested and willing to We contacted the publisher in May 2005, and in February give it a try. The arrangement was that I was to complete the 2006, all the contracts were signed and everything was com- songs in the book and turn over the master CD with all the pleted. In June 2006 the original elementary book and my tracks from the book in return for a stipend to cover all costs CD were published as a book/CD set. I now have a genuine involved. recording out in the marketplace, which I hope will enhance When the elation subsided, we went into high gear. We the current youth pedagogy offerings. accepted his offer and requested a written agreement. I asked the arranger to create accompaniments for the remainder of Afterglow the songs in the book (all 44 of them), and, at a rate of about The knowledge I gained from this experience could never have six per day, my pianist and I started diligently laying down the been matched by any handbook on recording, if one even tracks. She had to do twice as much work as I did because, per exists. As frustrating or scary as it might have been sometimes, the publisher’s request, we were to have the flute and piano I am positive that the best way for me to learn was simply to play once and then the piano alone so that the student could charge headfirst into this unfamiliar territory. play along as well. The best part is that I know there is more to learn in this We had to take tempo into consideration. We needed to fascinating world of music. I look forward to discovering choose tempos that were age appropriate for the students and taking advantage of all the opportunities I will have in using this book. We needed to be consistent in the chosen the future. speed, so we devised our own sort of “click track,” for which the pianist would play with a set of headphones hooked up to Amy O. Puderbaugh is currently a chemistry major at our metronome. I did my best to follow her, but we didn’t have Washburn University in Topeka, Kansas. She has performed the technology available to allow both of us to listen to the with and played principal with Washburn University same beat. This caused a few minor mistakes, but proved Orchestra, Wind Ensemble, and the Kansas All-State Band effective overall. I also tried to reinforce basic concepts in the and Orchestra, and played in masterclasses with Jonathan music, such as proper breathing, phrasing, and dynamics. Snowden, Hannah Lange, and John Bailey. She has a flute studio of 20 students and studies with Rebecca Meador. Printing and Marketing After completing all the recording, my job was done, and it Editor’s Note: Student Spotlight features insights, ideas, advice, was up to the recording engineer to adjust the recordings to and other information for and by students. The aim of this department is to provide practical, meaningful content for young flutists from give our CD a smooth, professional sound. Then it was off to their peers, ranging from middle and high school students to college- the publisher for the CD’s manufacturing and marketing. level flutists. Anyone who enjoys writing and considers the flute Shortly thereafter, I received a contract, which my teacher an important part of her or his future is welcome to contact us and I reviewed carefully, even speaking with a professor from with article ideas and submissions. We also look forward to feedback our university’s law school with experience in copyrights to be and suggestions from adult flutists.
24 The Flutist Quarterly Winter 2007 nfaonline.org LOPATIN ANNOUNCES FIRST ALTO FLUTE
Leonard Lopatin, flute maker, designer, and current Principal Flutist with the Asheville Symphony is proud to announce the successful completion of his first Alto Flute commission.
This new and innovative product from Lopatin Flutes features the unique "Square-One" design on a handmade all sterling silver Alto flute. It is another example of the detailed attention and craftsmanship available from this independent American flute maker.
"I, personally met the owner of the flute here in Los Angeles who was kind enough to let me play-test #1...The tone is even, full of color with no 'covered' or 'muffled' tone quality often experienced with many altos. The responsive headjoint performed easily and the overall experience was of playing a flute...not an alto that presented any limitations. Worth the price for a person wanting or needing a true artist quality alto. I encourage flutists looking for a handmade alto to consider this new addition to the market. The results of Lopatin's new direction are fantastic and inspiring, and impressive!" —Catherine Thompson, Editor-American Flute Guild
For more information about Lopatin Flutes please visit www.lopatinflutes.com Also available from Lopatin Flutes...a CD slide-show documenting the creation of this Alto Flute.
LOPATIN FLUTE COMPANY . 122 RIVERSIDE DR., STUDIO C, ASHEVILLE, NC, 28801 . 828-350-7762 ARTIST DIPLOMA PROGRAM Flute Performance
Featuring Artist-in-Residence Jonathan Snowden
Faculty: Offered in collaboration with Karen Johnson Rebecca Collaros
202.687.6217 • http://artistdiploma.georgetown.edu Notes from Around Conventions, festivals, competitions, and other global flute activities theWorld The fifth International Convention of the British Flute Society was held in August 2006 at the Royal Northern College of Music in Manchester. Since the BFS began its new policy of holding conventions every two years, this was the second in that series. In 2004, the convention held in York attracted only about 250 members; this year’s event doubled that turnout. Convention program director Trevor Wye, assisted by Julie Wright, presented a program of performers, pre- sentations, clinics, and exhibits. The four-day event took place in the facilities of the RNCM, with reasonably priced accommodations and meals on site. Most of the events were 50 minutes long and scheduled so that the Celebrity Concerts did not run simultaneously with other events. There were a few exceptions, but many of these were repeated later in the convention. Matthais Ziegler, Eva Kingma, and Wissam Boustany Because of the size of the gathering and the convenient reporter presented an orchestra playin and a teacher’s layout of facilities at the Royal Northern, this convention clinic. There were also repertoire reading sessions with had a friendly, extended-family feel to it. Artists, exhibitors piano accompaniment. BFS Chairman Atarah Ben-Tovim and participants mingled in almost round-the-clock festivities. enthusiastically presented many of the sessions and kept Highlights were performances by Matthias Ziegler, all participants mentally alert with her quizzes on the Rhonda Larson, Marco Granados, Wissam Boustany, orchestral repertoire and on flute trivia. Emily Beynon, Ian Clarke, Mike Mower, Alexa Still, Abbie Sunday’s Gala Concert was a tribute to William Bennett de Quant, Jamie Baum, and Sue Milan, among others. on his 70th birthday. He was joined by former students Petri There were international guest artists as well, including Alanko, Emily Beynon, Denis Bouriakov, Lorna McGhee, piccolists Nicola Mazzanti and Jean-Louis Beaumadier, and Matthias Ziegler for chamber music. The tribute ended Indian bamboo flutist Shashank, and baroque flutists with a presentation by Wye to Bennett of a flute—personally Rachel Brown and Stephen Preston. hand-sculpted from a carrot. There were also many opportunities to participate at Plans are under way for the next BFS convention, to be this convention: warm-ups (even “hot-ups”), several reading held again at the RNCM, Manchester, in August 2008. For orchestras and playing sessions, jazz workshops, body- more information, visit bfs.org.uk. mapping, Yoga, and performance-anxiety workshops. This —Sandra Howard
The flute association A Travers la Flûte (Through the Flute) performance, under the direction of Mauricio Lozano, in a spe- held its third Journées de la Flûte (Flute Days) December 2–3, cial gala concert in honor of Nicolet. The first Journées de la 2006, at the Academy of Music of Monaco. The program Flûte competition included classes in seven levels, from begin- featured masterclasses, concerts, exhibits, and a competi- ner to advanced and including adult amateur. Swiss flutist tion in all levels. Günter Rumpel gave a presentation on André Jaunet, the leg- The event also marked the 80th birthday of Swiss flutist endary French flutist who was a student of Gaubert but who Aurèle Nicolet. Guest artists included Felix Renggli, Maxence spent most of his creative life in Zurich. Jaunet left a rich lega- Larrieu, Jean-Pierre Pinet, and Jean-Louis Beaumadier. The cy of performing and teaching, having premiered many works new ensemble Orchestre des Flûtes d’Azur gave its premiere and having trained many orchestral players all over the world.
nfaonline.org Winter 2007 The Flutist Quarterly 27 NOTES FROM AROUND THE WORLD A Travers la Flûte promotes flute events in the competition is open to citizens of all countries. The jury Mediterranean coastal region in southern France. Based in includes chair Aulis Sallinen (Finland), Petri Alanko Antibes, the association groups flute teachers and students in (Finland), Paul Edmund-Davies (U.K.), Michael Martin the area around Nice. Headed by President Sibel Pensel and Kofler (Austria), Paul Meisen (Germany), and Magali Honorary President Maxence Larrieu, A Travers la Flûte Mosnier (France). Prizes are 6,000E (about $7,550), first; organizes flute workshops, concerts, and competitions. For 3,000E (about $3,780), second; and 2,000E (about $2,520), more information, visit atraverslaflute.fr.fm. third. Candidate birth years must be 1977 or later. Applicants must submit an application form and additional The Dutch Flute Society celebrates its 15th anniversary on materials, including a CV, recent photo, CD containing at Saturday March 3 in Theater Griffioen in Amstelveen near least 10 minutes of music for flute with piano, the flute Amsterdam. The celebration will feature Sharon Bezaly, played by applicant, and a receipt for paid registration fee, by Jean-Louis Beaumadier, Mike Mower, Elisabeth Weinzierl April 13. Candidates accepted for the competition will be and Edmund Wächter, Lea Pearson, Eleonore Pameijer, informed by May 11. A maximum of 40 participants will be Abbie de Quant, Aldo Baerten, and many others. For accepted, and the registration fee will be refunded to those information, visit nfg-fluit.nl. not accepted. For more information, contact Tiina Kuoppa, competition secretary, 358 40 7338521, or Rauno Melos, 358 Berlin will be the host city for the German Flute Society 2 8451 5302; send an e-mail to [email protected]; or visit Flute Festival to be held March 9–11, 2007, in the Berliner crusellweek.com or crusell.fi. Philharmonie. The festival is in cooperation with the Please send information about flute-related events and Berliner Philharmoniker, whose program for the activities in locations outside of the U.S. to one of our interna- 2006–2007 concert season emphasizes the flute. For infor- tional news reporters: Sandra Howard, [email protected] mation, visit floete.net. (France and Europe); Mia Dreese, [email protected] (The Netherlands); Mary Procopio, [email protected] (Caribbean); Chelsea Czuchra, The Crusell Society is sponsoring the first International Dörrmattweg 1, 5070 Frick, Switzerland, 41 62 871 6944, Flute Competition in Uusikaupunki, Finland, July 21–26. [email protected] (Switzerland and Europe); and Tadeu Coelho, The competition will be held during the Crusell Week wood- [email protected] (Brazil). Please copy Anne Welsbacher, wind music festival, an annual event that has been held since [email protected]. 1982 in the western coastal town of Uusikaupunki. The flute Eurhythmionics for Piccolo and Piano by Steve Kujala
What began as a modest piece entitled TAKE YOUR PICC (straight out of the famous Kujala family pun center) was premiered at the 1979 NFA Convention in Dallas, TX. Now its outgrowth, EURHYTHMIONICS, has ended XSDVDEHWWHUFUDIWHGDQGPRUHPDWXUHSLHFHRIPXVLFWKDW,IHHOLVÀQDOO\ZRUWK\RI WDNLQJLWVSODFHDORQJVLGH the growing concert repertoire for the piccolo. -Steve Kujala
EURHYTHMIONICS is a hybrid of eurhythmy*, Europe ZKHUHPDQ\RI P\PRVWLQÁXHQWLDO composers/heroes came from), rhythm, and phonics.
*Eurhythmy: rhythmical movement; a system of harmonious body movement to the rhythm of spoken words
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28 The Flutist Quarterly Winter 2007 nfaonline.org P19_P39.qxd 1/2/07 1:24 PM Page 29
No Stretch Fit
Others stretch fit headjoints by burnishing or ID expander. We don’t. Drelinger believes any kind of stretch fitting is a compromise by necessity. Often plumbers tape is used to avoid stretching, but it too is not desirable. Drawing shows result of stretch fit. Headjoint tenon bore and wall -A- stretched as compared to flute body bore and wall -B-.
Drelinger solved the problem by making the headjoint tenon fit without stretching using an exclusive metal on metal sizing process. Drawing shows headjoint tenon bore and wall -A- are stretch free. Our process is also repeatable, should you decide to change flute bodies. And we don’t need to have your instrument to fit a Drelinger to your flute. To learn more www.drelinger.com
The Headjoint Specialist © 2006 Drelinger. All rights reserved.
When it comes to flute music, there’s one source you can count on!
Southern Music Company 1248 Austin Highway, Suite 212, San Antonio, Texas 78209 P.O. Box 329 San Antonio, Texas 78292 Phone: (210) 226-8167 Fax: (210) 223-4537 Order Line: 1-800-284-5443 Email: [email protected] Website: www.southernmusic.com André Jolivet’s Cinq Incantations and Ascèses
by Sharon Winton
Theatre, magic, and spiritual and religious ritual deeply influenced the writing of French composer André Jolivet; these elements are especially apparent in the works explored here.
istory regards 20th-century French composers as a hotbed of innovation in color, timbre, and texture. But of Hthat group, André Jolivet (1905–1974) may be best remembered as a nonconformist—one who synthesized musical styles in order to communicate his deeply held spiritual beliefs.
Early Life and Influences Born to artistic parents (father a painter, mother a pianist), Jolivet was exposed to the arts at an early age. He began piano lessons with his mother at age 4, posed for artist Poulbon, and attended performances. Greatly inspired at age 13 by a performance at the Comédie-Française, he created his first work, Romance barbare, comprised of a paper theatre complete with sets, characters, original poetry, dialogue, and music. (He later became musical director for the Comédie-Française, from 1945 until 1959.) At 14, the cello replaced the piano in his studies, and he became involved in the theater directing plays. Thus Jolivet’s artistic foundation was laid; yet his family exerted equally strong influences on him artistically. The Jolivets made frequent visits to André’s maternal uncle, an administrator in the French African colonies and collector of objects from ancient cultures. Stories were invariably told of tribal rituals and legends of magic-making, which caught the interest of the young Jolivet. This experience would prove to have a lasting effect on Jolivet and his works. Jolivet’s parents were adamant that he become a teacher, a vocation they believed had more job security than music. Respecting his parents wishes, he became certified to teach and taught in the Paris primary schools—just long enough to gain financial independence to enable him to pursue his true love: music. Music lessons began in earnest in 1928 with studies in harmony and counterpoint with Paul Le Flem, director of Chanteurs de St. Gervais.
Through Le Flem, Jolivet was introduced to a number of musicians and COURTESY ARCHIVES ANDRÉ JOLIVET
30 The Flutist Quarterly Winter 2007 nfaonline.org composers who influenced his compositional style. Most 9/8 oscillates within a narrow range) employs flutter- notable of these was Edgard Varèse, who quickly became tonguing and the tritone interval, while the earthly low Jolivet’s teacher and spiritual mentor. Over the next four voice is portrayed as a simple character in triple meter 3/4. years (1929–1933), Jolivet composed no works for him; This low octave is embellished with grace notes replicating rather, he assisted on Varèse’s research of sound masses and the human voice intoning a chant and rhythmically undulating innovative instrumentation. This inspired Jolivet to formulate in attempts to “negotiate” with the spiritual voice. his own personal style/belief: to musically express the unseen forces of the psyche, whose vibrations, he believed, could be Measures 1–6: detected in all forms of life, animate or inanimate. When, in 1933, Varèse returned to the U.S., Jolivet greatly missed his mentor. He was consoled by six objects Varèse had given him before departing. Jolivet placed them on his piano, where they are said to have remained for the rest of his life. Jolivet met composer Oliver Messaien in 1935 and, together with composers Daniel Lesur and Yves Baudrier, formed the After extended interplay between the two forces, the incan- group La Jeune France, whose goal was to promote a new, more tation closes with a sense of peace for the earthly forces, human expression of music, one reflecting more spiritual and accomplished by the absence of (spiritual) high register religious values than were being heard at the time. These flutter-tonguing and the final intervallic statement of a composers enjoyed a short period of success, which ended due major third, enhanced by the absence of vibrato (sans vibrer). to mandatory military service in World War II (1936–1940). Composed during summer 1936, Cinq incantations for solo Final measures: flute was the logical result of a period of fascination with ancient magical cultures, which affirmed the primacy of monody in music and its connection to human song. The flute, one of the most ancient of instruments, is animated by breath, a force Jolivet equated in value with the soul, and thus an “instrument of music par excellence.” Jolivet conjured up spirits in several ways: short, repetitive rhythmic and melodic ideas, oscillating and improvisatory themes that started simply and developed B. Pour que l’enfant qui va naitre soit un fils into elaborate ornaments, which paralleled primordial spells “May the child to be born be a son” and singing styles and use of the tritone. Rhythmic intensity and vitality are employed for portraying Jolivet wrote of this interval: “The tritone, diabolus the strong desire, particularly in the societies reflected in Jolivet’s musica…is in fact a dionysian melisma ‘par excellence’—In works, for a son. The opening ceremonial drumbeat rhythm is melodic movement, it is impetus; in harmony, it is tension. interspersed throughout the movement and frequently followed According to the use to which it is put, it is possible for it by the laboring mother’s breath (D-flat–F-flat–D–E-flat; to dispense either white magic or black magic.” see bracket). Another vital aspect of ancient incantation is rhythm. Jolivet dealt with this in two ways: as a rhythmic accompaniment, Measures 3–4: a type of hypnotic background, and as a rhythmic theme, constant and repetitive. Incantation, as written in the Oxford English Dictionary, is “the use of formula of words, spoken or chanted, to produce a magical effect, the utterance of a spell or charm.” Jolivet gives us this through the titles of each incantation, which deal with the age-old trials of birth, sustenance, and the search for inner peace and death. The use of 20th-century technique on flute, portando (sliding gradually through all the notes to the final note) (see measures Cinc Incantations 10–13, below) and sliding notes (see measures 17–20, A. Pour accueillir les negociateurs et que l’entrevue soit following), portrays the mother’s respiration during labor. pacifique “Welcome the negotiators and may the interview be peaceful” Measures 10–13 (below, top) and 17–20 (below, bottom): The title of the first incantation is an introduction to the rest of the work, setting up an interview with the spiritual forces (negotiators) to which all the incantations are directed. Though only 17 measures, the first incantation is packed with content. The juxtaposition of range and dynamics portrays the dialogue between the spiritual and earthly voice. The high range, the spiritual voice (portrayed through complex meter
nfaonline.org Winter 2007 The Flutist Quarterly 31 ANDRÉ JOLIVET’S CINQ INCANTATIONS AND ASCÈSES Tension builds with increased flutter-tonguing and extreme Jolivet singled out the fourth incantation as an essential dynamics as the birth nears. page of his work, in step with his philosophy of music as “a path of access toward the universal and the divine.” Measures 56–58: Composed in five parts, sections one, three, and five have similar characteristics, while sections two and four act as repose. The incantation starts with the notes B–B-flat–A, a motif that undergoes numerous developments (as people The ending lets out all the stops. The mother’s breaths and adapt to their changing world), most notably as a grace the birth of a (screaming) infant are effectively portrayed note motif with tritone (B chromatic slide to E-sharp and in the final three measures by the use of flutter-tonguing, G–C-sharp). By measure seven (following measure one, portando, and sustained high B at fortissimo (fff) marked below), the rhythm has increased as prayer becomes intensive sifflant (wheezing). and insistent.
Final three measures: Measure 1 (below, top) and 7 (below, bottom):
It would appear the spirits were appeased and a son was indeed born!
C. Pour que la moisson soit riche qui naitre des sillons que le Repose is seen in section two through the use of C-sharp–C labouteur trace augmented octave, flutter-tonguing, and changing rhythm. “May the harvest from the furrows that the laborer lays out be rich” Measure 12–14: A prayer to the spirits for a bountiful harvest, the style of this movement is markedly different from the previous ones. The overall structure, ABABA form, is bound together by two factors: the grace note motif C, C-sharp to D (see measure one, below), and the “portraying of the laborer as he lays out Section three (measures 16–22) cites elements of the first his furrows” by means of the plodding melodic line, repeated and second sections retrograde and transposed. four times (see measure two, following). Measure 16: Measure 1:
Trés ample, in section four, features a change in character with wide intervallic skips, varied rhythms, and a grace-note Measure 2: run to high E. This, coupled with an increase in melodic rhythm, continues the movement’s forward momentum.
Measures 23–24:
Unlike the previous incantations, dynamics remain virtually unchanged until the end of the work. The final physical exertion of the field laborer, then rest—portrayed by flutter- tonguing, extreme dynamic changes, and the ending har- The final section recalls the first motif, enhanced by the use monic note, piano diminuendo—is a peaceful relief from of harmonics and the tritone (transposition to G-sharp–D). the arduous laboring in the field. Measure 30: Final measure:
The movement closes peacefully on a pianissimo harmonic. D. Pour une communion sereine de l’etre avec le monde The laborer has communed successfully with the earth and “For a serene communion of the being with the earth” is at peace.
32 The Flutist Quarterly Winter 2007 nfaonline.org E. Aux funerailles du chef—pour obtenir la protection de son ame “At the funeral of the chief—to obtain the protection of his soul” The final incantation portrays a strong belief that the spirit lives on after death. The five sections of this incantation are clearly marked. The fast sections relay the grief of the people after the death of their chief, effectively achieved through the relentless hammering of high G-sharps.
Measures 1–4:
Repose is granted in sections two and four with slower tempi, ascending chromatic grace notes, and tritone F–B expressing the panting breaths of exhausted grievers.
Section II, measures 30–33:
Section IV, measures 57–59:
André Jolivet, circa 1955, at his desk reviewing a manuscript. Section five, marked by the return of ideas from the first incantation, features the juxtapositioning of extreme range, Certainly the Cinq incantations express and embrace dynamics, and flutter-tonguing. Jolivet’s belief: “the canon of my aesthetic (is) … to return music to its antique original meaning, when it was the magical Measures 69–73: and incantatory expression of the religiosity of human communities.”
Incantation “Pour que l’image devienne symbole” Incantation was composed in 1937 for M. Lipnitzki, a celebrated Heralded in the fast sections with the high G-sharps and photographer and excellent violinist. According to the pleading in the slow sections with the incessant repetition of preface, the work may be played on solo violin, Ondes the “magical” tritone, the work builds to a frenzy. Virtually all Martenot, or flute in G or C. Jolivet directs the violin version of the flutist’s range and dynamics, and numerous special “to be played only on the G string,” further writing that “its (20th-century) effects, have been explored. The work ends long ascending phrase accompanies the contemplations of dramatically; the people have favorably negotiated with the the image and the meditation which progressively diffuses spirits for the protection of the chief’s soul. profound symbolic meaning.” The premier on flute in C was performed by Jean Merry for ORTF, the French broadcasting Measures 94–end: organization. The work is slow, Très soutenu (quarter=54) until two-thirds of the way through, when a fermata, followed by the climax of the piece, accelerando to Alourdir (to make heavy) and new faster tempo are maintained until the end. No meter is Premiered in on May 7, 1938, by Jean Merry at the Societé indicated, yet bar lines lend themselves to translate as Nationale, the piece was, and still is, considered to be of phrase markings. Seen throughout are Jolivet’s use of three
COURTESY ARCHIVES ANDRÉ JOLIVET extreme difficulty in technique and interpretation. chromatic notes and the tritone interval.
nfaonline.org Winter 2007 The Flutist Quarterly 33 ANDRÉ JOLIVET’S CINQ INCANTATIONS AND ASCÈSES The flute, one of the most ancient of instruments, is animated by breath—a force Jolivet equated in value with the soul. Measures 1–2: Incantation is an excellent short (three minute) representation of Jolivet’s early compositional style, featuring many key elements seen in his Cinq Incantations, but without the extreme difficulty. This gem of a piece would be a marvelous addition to the intermediate level performer’s repertoire. The first four bars begin with B or its enharmonic tone, C-flat. The tritone G–D-flat is found at the ends of bar two and bar Ascèses three. By bar four, the work has become increasingly more Ascèses comes from the Greek word askesis, translated as rhythmically complex. asceticism: the practice of self-denial of physical comforts as a path to achieving a spiritual union with the divine. Bar 4: Practiced by religious zealots for centuries, asceticism continues to be practiced to varying degrees today, though there is no indication that Jolivet practiced this himself. There is, however, much evidence from numerous writings and compositions Midway through bar four, the first change in dynamic that Jolivet was a spiritually reflective man, conscious of a occurs, forte diminuendo to pianissimo. Here Jolivet leaves higher being and striving to musically express these feelings. his rhythmic exploration of B–B-flat–A, the basis of work Composed in 1967, Ascèses musically recalls Jolivet’s earlier until now, and moves upward in range to the intervals of incanatations dominated by mysticism and incantation, yet E–F–G-flat, an important stepping stone toward the dynamic also features a more traditional style of composing. As with and high-register climax of bar five (example below). Bar four Incantation of 1937, Jolivet suggested performance of this work slowly and melodically ascends, coming to rest on the fermata on several different instruments: flute in G or C or clarinet. on G and continuing with a repeated quintuplet pattern in Guy Deplus performed the premiere on clarinet in 1969. accelerando to Alourdir. The loudest dynamic of the work, Approximately 15 minutes in length, the work is comprised fortissimo, is achieved, as well as a two-octave register span. of five movements, each having a philosophical quote from individuals or works inspiring to Jolivet: Max-Pol Fouchet (a Bars 4–5: contemporary of Jolivet noted for his poetic writings and radio and television commentaries), Pierre Teilhard de Chardin (French philosopher, 1881–1950), and Papyrus Insinger (an ancient Egyptian literary work). The overall form of the work shows the first two movements moving through progressively faster tempi to the third and fastest movement, and movements four and five of relatively the same tempo. The movements contain bar lines that serve The remainder of the work gradually slows rhythmically. to designate phrases, save for the third, which has frequent Wide intervals, portando over one- and two-octave spans, changing meters. flutter-tonguing softly (piano), and sustained high-octave Gs test the skill of the performer. I. Pour que demeure le secret nous tairons jusqu’an silence Bar 5 continued: “So that the secret remains, we will hold our tongues until silence”—Max-Pol Fouchet The first movement may be divided into five sections, each set off by a slight change in tempo except for the fifth. The first and third sections are quite similar, giving the movement stability. A 16th-note triplet figure that opens the movement The work draws to a close as the last two bars display the serves as the key unifying element, recurring again in sections control and maturity of the performer. two and five where it is treated to augmented rhythm.
Bars 5–6: Opening bar:
34 The Flutist Quarterly Winter 2007 nfaonline.org Other factors linking the first and third sections include Section IV: similar rhythms and phrases, each spanning a two-octave range. Sections two and four, faster in tempo, rhythmic speed, and complexity, also feature wide leaps and expanded range are more driven in nature. Slower rhythm prevails with minimal use of grace notes. The Section IV: dynamic climax of the movement occurs the middle of section three, made all the more effective by the following subito piano.
Section III:
Throughout the movement, aspects of a more “traditional” style are seen in the outlining of triads and obvious lack of As with the first movement, we see a rhythmic winding down “special effects.” The “secret” referred to in the quote at the to the final measure, here achieved through rests. end of the movement by Max-Pol Fouchet is portrayed through soft dynamics (piano to pianissimo) and the sub- Phrase V: dued ending, highlighted by six descending tritones (G from the preceding line to C-sharp, E-flat–A, F–B, G-flat–C, and E–B-flat), the final spanning the last section, C-sharp to end- ing note G with a restatement of the original motif in aug- mented rhythm. III. Matière, triple abîme des étoiles, des atomes at des Final bar: generations. “Matter, triple abyss of the stars, of the atoms, and of generations.”—Pierre Teilhard de Chardin Movement three is a deluge of incessant rhythm and rep- etition carried to a new horizon. There is little respite from the driven eighth-note septuplets prevalent throughout. II. Tu surges de l’absence….. “You rise up from the absence…”—Max-Pol Fouchet Measures 1–2: Featuring increasingly more use of progressive techniques, the five sections of this movement are clearly marked by tempo changes. Flutter-tonguing opens the movement and plays an important unifying role throughout sections one, A brief change in style with tremolos and 16th-notes is seen three, and five. Sections one and five continue with wide through measures 20–30, which is immediately followed by a skipping 16th-notes and rests, which are important to the return to the opening septuplet rhythm. musical phrase. Measures 22–27: Section I:
The next respite is a brief, one-measure figure.
Sections two and four are slower, Souple, and based on the Measure 37: same motif, inverted in section four.
Section II:
This is seen again in measure 45. Altered rhythmically and subjected to octave displacement, this figure closes the movement.
nfaonline.org Winter 2007 The Flutist Quarterly 35 ANDRÉ JOLIVET’S CINQ INCANTATIONS AND ASCÈSES
Bars 6–8:
These two figures alternate, followed by the only change, albeit slight, in tempo to poco più lento (quarter note=56, bar ten). Rhythmic values are longer, and Jolivet gives the inter- pretive indication of “cantabile,”the first such marking to be seen in any of his unaccompanied flute works.
Bar 10:
The opening idea returns, closing the movement by oscillating between A-flat and G-flat before coming to rest on A-flat.
Bars 11–end:
Jolivet likely is best known among 20th-century composers as a non-conformist.
Measures 52-53: V. O femme qui ne sais que tu portais en toi le monde. “O woman who knows not that you were carrying in yourself the world.”—Max-Pol Fouchet The final movement of Ascèses is slow (quarter note=63), without meter, and composed of 14 phrases, IV.Le dieu a créé les rêves pour indiquer la route au dormeur marked by bar lines. Returning phrases treated to rhythmic don’t les yeux sont dans l’obscurité. alteration serve as unifying devices. The opening phrase “The god has created dreams to indicate the way to the returns up one whole step at phrase four and again at sleeper, whose eyes are in the darkness.”—Papyrus Insinger phrase 10, where it is rhythmically altered. Embedded in Unlike the preceding movements, the fourth does not the phrase is the tritone interval (phrase one: F-sharp–C, easily break into simple sections per se. Bar lines serve to phrase 10: A–D-sharp). mark large “phrases.” The opening thematic idea (see example below) continues for four “phrases.”This theme is stated and Phrase 1: manipulated into various “meanderings” with grace notes and rhythmic alterations, and is restated at the end of the work to serve as a means of unification (see final example, bar 11).
Bar 1: Phrase 10:
The rest of the movement may best be viewed as a dream, as Jolivet intended. Flutter-tonguing heralds the beginning of a Phrase two, marked Largement chanté, moves the work new section (bar five), changing to wide leaping figures, forward in rhythm, register, and dynamic (mezzo forte) to changing rhythms, use of harmonics, and interesting phrase three (pianissimo), which provides the performer with
crescendo-diminuendo (in bars six–seven). challenging rhythm—“31/4 pour 4 temps”—and breathing. COURTESY ARCHIVES ANDRÉ JOLIVET
36 The Flutist Quarterly Winter 2007 nfaonline.org Phrase 2: Phrase 12–14:
Elements of phrase three are evident in phrase 12, treated to transposition and rhythmic alteration serving as a further unifying factor.
Phrases 11–12: Conclusion While respecting the sacredness in all religions, Jolivet searched throughout his life for his individual spirituality. When those most dear to him died, his mother in 1936 and Beginning on low C-sharp, phrase five is a glimpse at phrases mentor Edgard Varése in 1965, he turned to composing for eight and nine, to be discussed later. the flute to express himself, writing Cinq incantations (1936), Incantation (1937), and Ascèses (1967). Phrase 5: Jolivet embraced the sentiment: the flute, animated by breath, was the path par excellence for the communion of the living with the spirits, the soul.
Phrase six offers initial respite, but quickly increases in its Sharon Tilbury Winton is a founding member of the Lark activity, leading to phrase seven. From here the work continues Chamber Players, performing with them in recitals at the with complex rhythms and grace notes typical of Jolivet’s Phillips Collection, the Panamanian and Costa Rican earlier unaccompanied works. embassies, and throughout the Washington, D.C., area. Until recently she was a master sergeant with the U.S. Marine Band Phrases 6–7: after two decades as soloist, chamber artist, and orchestral and wind ensemble musician, performing for four U.S. presi- dents, numerous heads of state, and foreign dignitaries. Her BM and MM degrees are from Indiana University, and her doctorate in musical arts is from the Catholic University of America. She has won the National Flute Association Convention Performer’s Competition and presented a lec- Material reminiscent of phrase five quickly follows. This, ture/recital at the National Conference of the College Music phrases eight and nine, with increased use of 32nd notes, Society in Quebec City, Quebec, Canada. She is on the faculty propels the work to a surprise halt on low C, the ending of of the Maryland Conservatory of Music. which is restated as an echo, hollow and white (blanc) in nature.
Phrases 8–10: Save the Date: Upcoming NFA Conventions
August 9–12, 2007, Albuquerque, New Mexico
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Rests provide the music a reflective moment before resuming August 13–16, 2009, with phrase 10 and a recall of the opening of the movement. New York City, New York Rhythmically slowing through the following two phrases (11 and 12), Jolivet comes to rest on phrase 13, where for the August 12–15, 2010, first time in his unaccompanied flute works, pitch bending is Anaheim, California clearly indicated (see example below). The work closes with an unexpected bang. Dramatic August 8–11, 2011, increase in rhythm and dynamics is accompanied by fast Charlotte, North Carolina register changes and increased use of accents to marcato on the final note.
nfaonline.org Winter 2007 The Flutist Quarterly 37
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$SSOLFDWLRQVWR :LOOLDP%HQQHWW,QWHUQDWLRQDO)OXWH6XPPHU6FKRRO /DQVGRZQH*DUGHQV/RQGRQ6:()8. 7HOHSKRQH (PDLO 0PLFKLH#PVQFRP 3KRWRJUDSK &DUOD5HHV'DZVRQ Career Advice from Flute Professors in Higher Education By Christine Erlander Beard
The journey from graduate school to gainful employment in academe can be long, complex, and at times disheartening. Avoid pitfalls, hone your strengths, and keep going.
I am one of the lucky ones. While still in graduate school performing in every ensemble and practicing five hours a day, my eyes were opened by a percussionist friend who was already employed at a small community college in south Texas. He was only a few years older than me, but taking one look at his very impressive resume made me realize that as much as I would have liked to think of myself as “queen of the flute” in my own little world at UT-Austin, in reality, I was a nobody in the grand scheme of things and, unless I did something to change that, I was not going to get a job.
hat was in 1999. I spent the next two years working one area. I decided to take a chance; it was almost June and my on activities to help pump up my résumé, such as hopes of getting a job this time around seemed to be very slim. Tparticipating in international music festivals, giving What I learned after the fact was that the position was a new clinics and lecture-recitals at state music educators confer- tenure-track line, and according to the department policies in ences, and taking courses to make music theory my secondary place at the time, tenure-track positions had to be filled by a area of teaching. candidate who was at the very least ABD. None of the wood- In fall 2000, I started applying for jobs, and after stacks of wind faculty on staff at that time met the criteria, so all of their applications were sent out during that unusually busy year for positions were consequently up for grabs. It just so happened flute openings, I was fortunate enough to be invited for one that out of the nearly 100 applicants, all of the finalists were interview at a small, private institution. I made many mistakes flutists, and fortunately for me, I was the one who was hired during that initial opportunity, and upon returning home, for the job. asked everyone and anyone willing to give me advice to share I admit that my story is a bit unusual, because in this day their collective wisdom. and age it is unlikely (although not unheard of) for a student In fall 2001, as I was approaching ABD (all-but-dissertation) straight out of graduate school—especially one who is only status, I again began the tedious process of mailing out ABD—to get a job. For most, it’s a much longer process. applications. The phone didn’t ring for months. Then finally, early in summer 2002, I was invited to interview for two The Numbers Game positions at institutions that were late in the hiring process. According to the survey of earned doctorates conducted by the The position at the University of Nebraska at Omaha was National Organization on Research at the University of one for which I only mailed in my application materials Chicago (NORC), the total number of earned doctorates in because I had completed packets ready to send. The reason for the field of music in 1998 was 505.1 Only six years later, in my hesitation in applying for the job was the way it had been 2004, that figure had nearly doubled—850 doctorates were advertised: awarded in music, with an additional 93 awarded in music education, for a total of 943.2 Assistant Professor/Woodwind Although there are no concrete statistics indicating how Responsibilities: Teach applied clarinet, flute, bas- many of these graduates were flutists, if we assume that a soon, oboe or saxophone at the undergraduate and modest two percent of those who graduated with doctorates graduate levels. in 2004 were flutists (17) and of those, only half of them were seeking jobs in higher education (8.5), the job market would From this, it was unclear to me if the institution was looking look promising. for a woodwind specialist who could teach multiple instruments, However, one must also consider the following: in a typical or if they were indeed looking for a candidate to teach in only year, the number of flute positions advertised for full-time or
40 The Flutist Quarterly Winter 2007 nfaonline.org tenure-track jobs holding a primary responsibility of teaching applied flute usually ranges between three and 12. This scenario does not account for the professional flutists also applying for these vacancies who do not have earned doctorates but who may have equivalent profes- sional experience, nor does it consider those flutists who already hold teaching positions who are applying for flute positions at other institutions. Typically, a full-time posi- tion in flute can generate 100 or more applications. Nor does it include two trends happening more fre- quently in recent years: Americans who have performed in Europe wishing to return to the U.S. and flutists who have held orchestral positions seeking work in academia. While the supply of qualified candidates is increasing, the number of full-time faculty positions is diminishing. In Author Christine E. Beard, right, works with flute major Anna Hall, one of her stu- 1975, 70 percent of faculty members in general across the dents at the University of Nebraska at Omaha. U.S. were full time, 30 percent part time; in 1995, only 59 per- cent were full time, with 41 percent part time. In 2001, the The Long and Winding Road full-time figure had dropped to 55.6 percent, the part-time figure increased to 44.4 percent.3 The outgoing president of the NFA recalls how she Sometimes applicants compete for vacancies in which a arrived in her current career as a flute professor. well-qualified flutist already has served in a one-year “For me, it all started with one student in an adjunct capacity. While it is true that the person in the temporary position,” says Katherine Borst Jones, professor of flute position may have the advantage if he or she has proved to at Ohio State University, of the road she traveled to be a viable candidate and a good colleague, this is not becoming a college flute professor. always the case. In any event, this scenario is difficult to “My first job was at Capital University, where I was hired confirm or verify without inside information. (The university’s to teach one student. That was the place where I developed Web site might provide the name, appointment date, and my ideas of how to recruit. I experimented with ideas to bio of the flute faculty member with, perhaps, a specific bring students to campus. Over time I was able to build a title such as “visiting professor of flute” or “instructor of class of 12. In the meantime I worked at Stanton’s Sheet flute.) Even so, you should apply for every job vacancy, and music selling choral music. I also taught privately, audi- approach each opportunity as a learning experience that tioned for sub lists, joined the Columbus Symphony, and will take you one step closer to finding the position for became a founding member of ProMusica.” which you are a perfect fit. If you are fortunate enough to be Other positions developed. At one point, in addi- invited for an interview, at least you had the experience and can tion to holding down other jobs, Borst Jones was use those points learned to help you be more successful at the adjunct teaching at three separate colleges—including, next interview. eventually, Oberlin. “Then the Ohio State job opened up. By that time I had Words of Advice experience, and had the proof that I could recruit. My Julia Mattern, professor of flute at Ball State University, advises playing had improved as well. It took nine years from the that committees are most interested in applicants “who have time I started at Capital until I started at Ohio State.” ambition and initiative, and who are motivated self-starters During that period, Borst Jones also became involved who understand the multiple functions of today’s professors. in the NFA, attended masterclasses, and helped organize You need to establish a record of teaching, performing, and the Central Ohio Flute Association. “I must admit I service within the profession as early as possible if you want to almost gave up along the way,”she says,“but the thrill of be competitive.” teaching students and my love of music won out.” Ask mentors, colleagues, or other professionals in the During her early teaching years at Capital, when she field to examine your materials before you submit them. was paid to teach only one student, Borst Jones gained Try to solicit opinions from music professors in various kudos—and experience—by experimenting with different stages of their careers—including newly appointed teach- student programs, “to see what would work.” ers. Professors who have been in their positions for 20 years “I gained important experience doing all of the things will certainly have experience from which to learn, but that one does in a full-time job—without the worry of might be completely unaware of other aspects of the cur- failing,” she says. “I used the time to build a network of rent job market. It is also wise to have nonflutists critique friends, band directors, etc. In those years I always invited your materials, since in most cases there will not be a flutist a guest artist for the flute workshop. I met many won- on the search committee. derful flutists who also met me. Invaluable.” Many sessions involved in the process of a search, such as —CEB masterclasses and recitals, are open to observers, so while you
nfaonline.org Winter 2007 The Flutist Quarterly 41 CAREER ADVICE FROM FLUTE PROFESSORS IN HIGHER EDUCATION “Find those things that you truly care about and learn everything you can about those things. Then write articles, start a Web site, and apply to present about those things at appropriate venues.” are still in graduate school, take advantage of the opportunity the top of the stack, as search committee members will believe to watch them. Take notes during the process, such as what you to be a tenurable candidate. types of points the candidate made to the masterclass per- Katherine Borst Jones, professor of flute at Ohio State formers, what types of questions were asked of the candidate, University, suggests that you “continue to find out what what pieces they chose to perform for their recital—and you do best and develop those skills as completely as possible. even more trivial things, such as what the person chose Find those things that you truly care about and learn to wear and what your reaction was to certain things you everything you can about those things. Then write articles, observed. start a Web site, and apply to present about The art of interviewing, just like performing, those things at appropriate venues. Enter NFA requires practice. Ask mentors to coach you competitions such as the convention performers through mock interview sessions, and sub- and professional flute choir competitions as a scribe to participate in mock interviews at way to gain experience, exposure, and another conferences that offer such opportunities. Of résumé item.” course your answers should be honest and Finally, don’t be discouraged! If teaching sincere, but “rehearsing” what you wish to say flute is your life’s passion, stick with it and is one way to ensure you will not misspeak keep trying. Apply for everything that seems due to nerves. like it may be a fit, and don’t be picky about Everyone who makes the first cut for a college geographical location. Many fabulous flutists teaching position is extremely qualified. You Katherine Borst Jones and flute teachers have spent years in part-time, must have something that makes your applica- adjunct positions, or even made their marks tion stand out. Sometimes, this is a secondary in the field through their private studios and teaching area. But it’s not enough to simply state performing careers before they were eventually that you can teach theory or history. You need to hired for a full-time position. document that you are qualified to do so, either As Mattern points out, “It is certainly possible through coursework you have taken or through to be an excellent teacher with the reputation courses you have taught. universities seek without teaching in the college On the other hand, be careful not to ranks, but it obviously takes time and effort to overemphasize a specialty area. “If you do a build a reputation.” lot of extended technique work or baroque flute work, for example, the prospective Julia Mattern The Application Materials school may see this and think you may not be Of all the application materials, the cover letter happy in their position because they simply is one of the most important documents in the want you to teach mostly music education entire portfolio. A committee will immediately majors,” cautions Keith Pettway, professor dismiss an entire application without even emeritus at Delta State University. “A specialty looking at the rest of the materials if the cover area should be presented as an additional letter is vague or poorly written. The cover letter strength, not appear as the main strength. This should address each point articulated in the job can be handled in the cover letter.” vacancy announcement. For example, if the You also should provide proof that you are advertisement asks for an artist-teacher of flute capable of being tenured. If you already have who is able to recruit and maintain students and college teaching experience—even as an Keith Pettway teach music theory, the cover letter must address adjunct instructor or as a graduate teaching the recruiting issue as well as highlight any assistant—you have a great advantage over many applicants. experience teaching music theory. Documented creative activity and research is critical. Cover letters should be kept to one page in length. While still in graduate school, submit articles for publication Pettway emphasizes that the cover letter should be tailored in flute journals; apply to conduct lecture-recitals, per- to each job and should be correct with the details of the formances, or educational clinics to regional and national name of the school and addressed to the proper person conferences; and work to make yourself marketable in a and the correct institution. This is not as uncommon a geographical region larger than your state of residence. mistake as it may seem, especially if an individual is applying Juried activities are considered more valuable than non- for numerous positions. juried activities. If you can show that you are already successful Make certain that people you ask to write letters on your at these types of activities, it will help to bring your résumé to behalf will write supportive, positive letters of reference.
42 The Flutist Quarterly Winter 2007 nfaonline.org very best performance,”Borst Jones notes, “And include both Write it Right standard and unusual pieces on the recording.” Get the CV right, and increase your chances of getting in the door for an interview. Additional Resources The Chronicle of Higher Education Web site offers free online Julia Mattern, professor of flute at Ball State University, access to many insightful articles under its “Career Talk” notes common mistakes applicants often make in forum, on such topics as résumé writing, how to improve preparing their curriculum vitae. your CV, and how to write appealing cover letters. Although * Providing too much information. Listing every small most examples are for disciplines outside of music or even performance given is not necessary or desirable. the humanities, the ideas presented still provide a good foundation on which to start. * Submitting materials that are sloppy and not pro- The College Music Society annually sets up mock interviews fessionally presented. at its national conference for potential job candidates to * Having an arrogant approach to the cover letter and gain invaluable experience and feedback from music professors materials. If you tell people how great you are or how in all stages of their careers. important your accomplishments are, you risk Internet resources that connect you to other professionals offending committee members. Let your accomplish- in the field such as the FLUTE List hosted by Larry Krantz ments speak for themselves. Be concise. (larrykrantz.com) provide opportunities to express your thoughts, pose questions, and seek advice from flute professors * Having a positive attitude. Lack of experience is not not only in the U.S. but across the globe. necessarily a problem in itself, but lack of confidence State and regional music education conferences might and naiveté will not earn you the respect of the also offer training in areas that may be helpful to those persons committee. Be honest, and resist the temptation to seeking jobs in higher education. Check conference Web embellish. Leave out all the student ensembles and awards; highlight professional experiences. sites for program details to determine if any such clinics are being offered. —CEB A local university might offer courses to help students acquire the necessary skills for being successful in the job market. Seek out those courses tailored specifically to careers in Ask people who have worked with you in different capacities in the humanities or to music. addition to more obvious choices such as former flute teachers. Many institutions offer career placement services that Mentor Your Students allow generic materials to be “dumped” into a portfolio that Once you land the job, pass on what you have learned to can then be sent out to various job vacancies. This is a ques- your students. tionable practice. Whenever possible, all of your materials— “In years of speaking to graduates of major music schools including your letters of reference—should be tailored to the across the U.S., I continue to be amazed at how few have been specific job for which you are applying. taught how to market themselves, write résumés, and apply Once a letter has been written, your mentor can save it for jobs,” says Mattern. electronically and easily revise it for any future applications. Along with other flute professors interviewed, Mattern Give a copy of the job vacancy announcement to the people writing your reference letters, and ask them to focus on makes it a point to work with her students on real-world aspects of your background and training relevant to the issues: résumé writing, building a résumé, and marketing position for which you are applying. Give them plenty of and interviewing skills to help flutists prepare for the job notice when asking them to write letters for you. market—and how to succeed. Most job vacancy announcements ask for candidates to submit a curriculum vitae in lieu of a résumé. (For hints on Christine Erlander Beard is in her fifth year as assistant how to transform a résumé into a CV, read one of the many professor of flute and coordinator of woodwind studies at the articles published on the Chronicle of Higher Education Web University of Nebraska at Omaha. In an effort to pay tribute site at chronicle.com.) to those persons who gave their time and advice when she As with all of your application materials, follow to the letter was in the job market, she has organized and chaired panel the instructions outlined in the vacancy announcement. Do not discussions focusing on the topic of jobs in higher education send recordings unless they are requested in the first round. to help other student-musicians. She welcomes requests “Be sure to clearly label CD contents by track, and indicate from graduate students and/or university professors for the dates of each performance. Unless otherwise requested, copies of her materials. include only recent live performances. Twenty-five to 30 min- Endnotes utes of music is plenty,” Mattern suggests. “If the job includes chamber music, try to present a chamber piece, too. Entire 1. Survey of Earned Doctorates. NORC, the University of Chicago, 1998: 40. works are not necessary; selected movements are just fine.” 2. Survey of Earned Doctorates. NORC, the University of Chicago, 2004: 80. 3. The College Music Society, “Facts and Figures Concerning Music and Higher “Make sure the first piece on the recording is riveting, the Education in the United States,” 2004. http://www.music.org.
nfaonline.org Winter 2007 The Flutist Quarterly 43
P40_P57.qxd 1/2/07 1:52 PM Page 45
he ABELL FLUTE company O Specializing in oehm system wooden flutes, headjoints and whiles, handmad in grenadill and erling silve. O 111 Grovewood Road Asheville, nc 28804 usa 828 254-1004 voice, fax www.abellflute.com Ecuadoran Mestizo Music for Flute and Piano
by Sharon Levin
The names of varying forms of Ecuadoran music, among them the alza, pasillo, and danzante, offer a glimpse into their Allison Brewster Franzetti, above; rhythmic styles. Sharon Levin, left
t a past National Flute Association convention, I Alza had the privilege of presenting a recently created The alza style of Alza Que Te Han Visto (Lift Up, They Acollection of Ecuadoran mestizo music for flute and Have Seen You) originated in the 18th century and became piano with pianist Allison Brewster Franzetti in a lecture popular in the 19th century. It was a very popular mestizo recital. For the past few years I wanted to make this music selection for the dance halls, and was traditionally danced accessible to a wider, international audience, but there were apart. It is primarily in a major key, with a section in no legible publications, at least not for flute. The pieces minor, and then ending in a major key. The alza, the pre- available in publication were in Ecuador and were written ferred dance in higher social circles, was either instrumen- for piano, guitar, or elementary recorder. I asked Franzetti tal or vocal, and was known in all regions of Ecuador. Alza to help me put some of this wonderful repertoire in a legi- Que Te Han Visto is probably the most famous alza in ble, easy-to-read format, for flute and piano, ready to be Ecuador. played by any interested flutist. After I selected the 11 Ecuadoran pieces, Franzetti transcribed the piano parts Pasillo and put both the flute and piano parts into Finale. I spent The pasillo grew from Austrian roots in the 19th century; the next year slowly and carefully editing the collection in it then traveled to Spain, Venezuela, Columbia, and collaboration with her. The creation of this sheet music Ecuador along with the waltz. Gradually it acquired the and the presentation at the convention were meaningful qualities it has now. Pasillo means “small step,” and was to milestones in bringing this beautiful treasure of expressive be danced with short-small fast steps. Unlike the alza, the music further into the world. pasillo was danced in pairs. It was a dance meant for the I performed several of the works from this collection, gave wealthy hybrids, the Spanish with the Indians (mestizo). background information, and discussed the rhythmic styles Most pasillos traditionally were learned by ear, although that were used. This information can be both interesting and there were manuscripts that existed starting at the end of useful to the listener and potential performer. For example, just the 19th century. Later, the pasillo evolved to be performed as baroque suites contain dances such as the saraband, bourée, as band music. The pasillo is in 3/4 time, in a minor key, and gavotte, mestizo music has its own nomenclature for spe- and usually in ABACABACA form. Although the pasillo is cific rhythms and performance styles, originating from dances in a particular key, one can hear the Andean influence of as well. The specific rhythmic styles in this collection are: alza, the pentatonic scale. It is also adaptable to be either an pasillo, San Juanito, habanera, albazo-samba, danzante,and instrumental piece or a vocal piece. The instrumental form tonada. The collection of pieces addressed here, which I have is the older form, but the vocal form is the more popular. been performing along with others for more than 10 years, con- Although the pasillo exists in many different South tains five pasillos and one of each other rhythm. American countries, it seems to be most associated with The most wonderful aspect of these pieces cannot be put to Ecuador. The pasillo is considered by many to be the musi- words, but when performed, the beautiful expressive nature cal emblem that identifies and represents the Ecuadoran inherent in each piece comes out. people.
46 The Flutist Quarterly Winter 2007 nfaonline.org Just as baroque suites contain dances such as the saraband, bourée, and gavotte, mestizo music has its own nomenclature for specific rhythms and performance styles, originating from dances as well.
The pasillos in this collection are Lagrimas (Tears), Odio E minor, but since not all flutes have a B foot, I provided a y Amor (Hate and Love), Sombras (Shadows), El Aguacate second version of it in A minor as well. E minor and A (The Avocado), and Guayaquil de Mis Amores (Guayaquil minor are very popular keys for this genre of Ecuadoran of My Loves). music.
San Juanito Tonada The San Juanito form, represented in this collection by The tonada is derived from the danzante, but it is faster. Penas Mias (My Pains), is usually a dance with text, in 2/4 The themes are happy or sad and can cover a wide range of rhythm, and in a minor key. It is predominantly from the stories. Like the danzante, it is in a minor key, in 6/8 time, Andean region and was originally an indigenous ceremoni- and the accents are on the strong beats. The Chimborazo al dance. It also was used during the days preceding the area is where the tonada is most widely played and known. feast of San Juan (June 24). The indigenous San Juanito The tonada in this collection is Casamiento de Indios used either a pentatonic or diatonic scale. Also, in different (Marriage of Indians). This piece is also known as La Vaca regions, different meters were used. Later the mestizo San Lechera (The Milk Cow). Juanito was influenced by European chromatic elements. Paradoxically, it is a happy dance, but the theme of the A Repertoire of Ecuadoran Music music is sad. Works discussed in this article, listed here with their Habanera composers, offer a representation of Ecuadoran music. The habanera piece, Van Cantando Por La Sierra (They Go Singing in the Mountain Range), is very much like the style Alza with which we are familiar, such as the habanera from Alza Que Te Han Visto (Traditional) Bizet’s opera Carmen and La Paloma by Yradier. What sets Pasillo this habanera apart from its European counterparts is that Lagrimas, by Homero Iturralde (unknown–1937) it is performed at a much slower tempo. Odio y Amor, by Victor Aurelio Paredes (1896–1963) Albazo-Samba or Tipico Sombras, by Carlos Enrique Brito Benavides El Maicito (The Little Corn) seems to have differing rhyth- (1891–1943) mic titles. Some texts refer to it as an aire tipico and some El Aguacate, by Cesar Guerrero Tamayo (1893–1975) refer to it as an albazo-samba. Both the albazo and aire tipi- Guayaquil de Mis Amores, by Nicasio Safadi co rhythms are common styles. One of the interesting (1897–1968) aspects of these styles is the change back and forth in the Danzante rhythmic feeling from 6/8 to 3/4. We chose to transcribe Vasija de Barro (E minor), by Luis Alberto Valencia the entire piece in 6/8, but there are certain measures that (1918–1970) and Gonzalo Benitez (1915–2005), for seem as though they should be in 3/4 (ie, hemiola). That is flute with B foot done intentionally, to let the performer see as well as hear Vasija de Barro (A minor), by Luis Alberto Valencia the difference. This style has the same paradox as that of and Gonzalo Benitez, for flute with C foot the San Juanito: It is a happy dance, but the music is based on sad themes. The albazo is generally instrumental and Tonada often performed preceding religious festivals. Early albazos Casamiento de Indios, by Gonzalo Vera Santos were written in either 3/4 or 3/8 time. (1917–1989) Danzante Habanera The danzante is a popular classification for a dance with Van Cantando Por La Sierra (traditional) text. It is in a minor key, in 6/8 time, with accents on the strong beats (the first and fourth). It expresses sad roman- San Juanito ticism. The dancers often wore flamboyant costumes, elab- Penas Mias, by Cristobal Ojeda Davila (1910–1932) orate masks, gloves, and very colorful shirts and belts. One Albazo-Samba or Aire Tipico of the most famous danzantes is the one in this collection, El Maicito, by Ruben Uquillas Fernandez (1904–1976) Vasija de Barro (Clay Pot). The original key for this piece is
nfaonline.org Winter 2007 The Flutist Quarterly 47 ECUADORAN MESTIZO MUSIC FOR FLUTE AND PIANO The creation of this sheet music and the presentation at the convention were meaningful milestones in bringing this beautiful treasure of expressive music further into the world. Conclusion Pianist and music transcription creator Allison Brewster After the NFA lecture recital was over, my husband, Aaron Franzetti was a 2003 Grammy nominee for Best Classical Pisacane, went downstairs to the exhibits area to sell the Crossover Album and a 2002 Latin Grammy nominee for Best copies I had prepared for the convention. When I got there Tango Album. She was a featured pianist in the 2003 film to help him, all the copies had already sold out. I could not Dans le rouge du couchant, the 2005 film Ronda Nocturna, have hoped for a better outcome. and the 2006 film Tango Fatal. She is concert artist in piano I think it is safe to say that there is something very spe- and chamber music at Kean University. cial about this music, and I was glad to see that others were able to appreciate it as well. Editor’s Note: Sharon Levin and Allison Brewster Franzetti presented a version of this information in a lecture recital Author, flutist, and editor Sharon Levin has performed in France, Switzerland, Germany, Israel, Brazil, Ecuador, and held August 13, 2005, at the 33rd National Flute Association Costa Rica. She performed several times at Weill Recital Hall Convention in San Diego, California. at Carnegie Hall and was the principal flutist of the New Jersey Pops Orchestra for 14 years. She is an active performer Bibliography and teacher in the metropolitan tri-state area. Levin discov- ered the mestizo music of Ecuador while performing with the Mario Godoy Aguirre, Breve Historia de la Musica del Ecuador (Quito: National Symphony of Ecuador, and has continued her explo- Corporacion Editora Nacional, 2005).
ration of Ecuadoran music with Ecuadoran musicians. More Francisco Jose Correa Bustamante, Cantares Inolvidables del Ecuador, 10th ed. information is available at sharonlevinflutist.com. (Guayaquil, Ecuador: Justicia y Paz, 1997). le at Availab music.com newton Can’t Find it? www.james Gotta Have it? The complete index of articles in The Flutist Quarterly, volumes 26 through 30, is now online!
Visit nfaonline.org and look under the Flutist Quarterly section Daily Focus for the Flute of the site to find the index. James Newton (A printed index to issues prior to volume 26 is available from the NFA office on request.)
48 The Flutist Quarterly Winter 2007 nfaonline.org
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by Rebecca Meador
The seasoned freelance musician discusses his experiences and shares his insights after auditioning for and playing his first season as principal flutist with the Kansas City Symphony.
n May 10, 2005, Nestor Herszbaum accepted the Preparation principal flute position with the Kansas City OSymphony. Although an accomplished freelance When did you start auditioning for orchestral positions? musician—he has performed with the Omaha, Lincoln, I started auditioning while I was still in Cincinnati. At first, I and Charleston symphonies—this is Herszbaum’s first full- wanted to take auditions as a learning experience. I quickly time, principal flute position. He offers reflections and realized how different the preparation process was from advice in this interview. everything else. The first audition that I took was for the Cincinnati Chamber Orchestra, and it was awful. I really didn’t Beginnings know the excerpts, and the screen freaked me out. I didn’t Originally from Buenos Aires, Argentina, Nestor know what I was doing there. The second audition was for Herszbaum received most of his early musical training the same ensemble a year later. I did much better. Those audi- from his flute teacher Jorge de La Vega. With de La Vega’s tions made me realize how much I had to concentrate on the encouragement, Herszbaum traveled to Europe for a series orchestral repertoire and the individual excerpts to be suc- of masterclasses and performances. Following the advice of cessful, because it was a completely different way of thinking. a close friend, Herszbaum applied for and was accepted I had to concentrate as much on the orchestral repertoire as into the artist diploma program at the Cincinnati College- I had before on the solo repertoire and concerti. Also, I felt Conservatory of Music at the end of 1992. At CCM he pretty thrown off by the fact that I had to play just the studied with Brad Garner and Jack Wellbaum. He later excerpts, because I felt that they were taken out of context. I pursued additional studies with the Cincinnati started to listen to a lot of recordings, and study excerpts and Symphony’s principal flutist, Randy Bowman. orchestral scores. I made a tape of excerpts the second year I Herszbaum finished his artist diploma in 1995, and was at CCM, just to help me understand how they sounded began work on a doctor of musical arts. He married fellow with the entire orchestra. I also started to make copies of all CCM flutist Maria Harding in 1996, and one year later the of the scores. I think listening to and studying the entire couple moved to Omaha, Nebraska, when Harding was orchestral score makes a huge difference in the way you play offered the principal flute position with the Omaha an audition, because you get a better sense of the whole piece, Symphony. While in Omaha, Herszbaum taught at the the character of the solo, and the context of the excerpt. University of Nebraska at Omaha and was an active free- lance musician, playing with the symphony, presenting How many auditions have you taken? solo recitals, and performing in chamber groups. In 2003, The Kansas City Symphony was my 11th. The first six were VICTORIA STEHL
he self-published a book on alternative fingerings. the ones that I used to learn about the auditioning process : (Editor’s note: see also “Practical Alternative Fingerings,” while I still was in school. On the other half, I started getting by Nestor Herszbaum, in the Spring 2005 issue of The more serious. I had a better understanding of what to do. Flutist Quarterly.) Nestor and Maria have two children: Those 11 auditions spanned 13 years. I took a whole bunch
Uri and Mila. of auditions all together at first, and then I started taking BACKGROUND IMAGE
52 The Flutist Quarterly Winter 2007 nfaonline.org auditions every two or three years. In retrospect, this might have been a mistake, but I was involved in teaching and rais- ing a family, so getting an orchestral job wasn’t my priority. A friend once told me that she took 50 auditions to get the job that she really wanted in a major orchestra.
You have two young children. How did you keep focused on your performance goals while raising a family? I was playing as a freelancer and performing often with the Omaha Symphony. I was performing all the time, so I didn’t feel the need to have a job of my own because I didn’t miss playing in an orchestra. That changed a few years ago, when I felt I had to move on and really wanted a settled job playing principal flute in a symphony. I took two auditions, and one of those was for the Kansas City Symphony. Herszbaum with daughter, Mila, 2004. Opposing page: view of a canal from downtown Kansas City. Inset: Herszbaum. What was your regular practice regimen while you were freelancing in Omaha? round with four people. As far as I know, no one was invited When I was freelancing and teaching, the teaching took most to the audition, everyone had to do the preliminary round, of my time—and, of course, my family life took the rest of and no one was advanced automatically. The whole audition my time and focus. My practice regimen changed a lot, and it process, even the final round, was blind. Sometimes you get depended on what I had going on. I practiced on a “need-to” to play with a group of strings or woodwinds in the final basis. If I had to play I would practice. If I had solo recitals, I round, but the committee wanted to keep the audition would start practicing a month before those recitals, but if anonymous. Many orchestras opt to have the whole audition not, I would not practice, or I would practice very little to process behind a screen to avoid accusations of discrimina- keep in shape. I was lucky that I had advanced students, tion or favoritism. because I had to teach really challenging repertoire and excerpts, which also helped me keep in shape. Did you feel confident throughout the audition process? Did you ever think about changing the focus of Yes, I was very comfortable playing. I think the main key to your career? success for me was that I wasn’t trying to please anyone; I just I have always done many things besides music. I enjoy work- did what I believed I had to do. I played the way I wanted to ing with computers and I have other interests besides music, play. That was a change for me, because in some previous so it was not an issue. auditions when I was less experienced, I thought, “How can I please the committee?” In this case, I just thought about play- Did you always feel that you could win an orchestral ing my best. I just played the way I believe the music had to position? be played, and that made the audition more enjoyable for me. I always thought that it was obtainable. But when you have to audition against 100 other players—not only do you have to Describe what happened when they announced that play well, you have to match what the committee is looking you had won the job? Did the committee meet you for in terms of sound, style, and personality. backstage? The personnel manager announced that I was the winner, The Audition and I went backstage and met the committee, including the music director. Afterwards, I drove back to Omaha and got Describe the audition process for the Kansas City home around 2:00 a.m. I was falling asleep while I was driv- Symphony. ing, but I had enough adrenaline to get home. I called Maria The auditions for principal flute were among the best-run from the road because she was in rehearsal earlier. I kept her auditions I have ever taken. The personnel managers and posted on what was going on. We both were happy, but there everyone else made us feel at home. They had a pretty exten- were so many decisions we needed to make about moving the sive list of required excerpts—all of the good ones. We also whole family. It was quite an ordeal. played the Mozart Concerto in G Major. It was very well organized because they sent a booklet containing copies of The Job the excerpts. That way everyone played from the same edi- tions that the Kansas City Symphony had, which is very Now that you are the principal flutist of a major important. symphony orchestra, how has your practice and Approximately 120 people were accepted into the audition, preparation routine changed? 86 of whom attended. There was a preliminary round, and I have to practice all the time, and I am always looking ahead then there was a semi-final round with 13 people, and a final to upcoming music. When I have time, I try to practice my
nfaonline.org Winter 2007 The Flutist Quarterly 53 AN INTERVIEW WITH NESTOR HERSZBAUM
ance, though, the solo is very different, since the tempo is flexible and you have to project on top of the orchestra, which requires a fuller sound and a better management of the air.
Did the job differ from your expectations? The actual job is not different from what I expected. The amount of work surprised me. It is very intense work involv- ing a lot of rehearsals and concerts. The first week we rehearsed four different programs and performed two of them. At first it was a shock, because I had to learn tons of music quickly, but I feel comfortable with the workload now.
Advice
What advice can you give to students currently Left to right: Jack Wellbaum, Bradley Garner, Rebecca Meador, Nestor seeking a performance degree who hope to play in Herszbaum, Randy Bowman; Julius Baker (center) an orchestra? normal routine, which is basically scales and arpeggios. First of all, before delving into the orchestral repertoire, When I don’t have time, I just learn the repertoire that I have study solo sonatas and concerti, and establish a really good to play. I use the music that I am learning as a tone exercise, technical foundation. By this I mean scales, arpeggios, tech- a scale exercise, etc. I recommend that students learn scales nical, and tone exercises. That’s the basic foundation that any and arpeggios now, because later when they have to learn a flute player should have. Then, for students who have decid- lot of repertoire it will be a nice tool. ed that they want to play in an orchestra, study the orches- tral repertoire—not only the flute part, but also the whole How many services does the Kansas City Symphony score. Spend time listening to a lot of recordings, then prac- have? tice the orchestral repertoire the same way you would prac- We usually have eight services per week. Typically, we have tice a solo concerto or sonata—memorize it, and learn the two full days with double rehearsals (morning and after- accompaniment. Try to figure out what you want to do with noon), and then we have a dress rehearsal and three con- those solos in terms of character and style while observing certs. We also play opera, ballet, pops, educational, and the intentions of the composer. young people’s concerts. So many students do not give dynamics enough How quickly did you fit into the flute section? attention. How do you approach and adjust the The flute section and the whole woodwind section are great. dynamic levels from an audition to performing with It is a pleasure to be playing with such good musicians. From an orchestra? the very beginning, Shannon Finney (associate principal) Dynamics are fundamental to music making and expression. and Diane Schick (piccolo) blended with me and matched For an audition, you have to exaggerate everything, especial- the way I play in terms of sound and color. ly the dynamics. In a performance situation, those dynamics are helped or hindered by the rest of the instruments that are What was the most difficult program for you this playing, so you may have to change the dynamics from those season? indicated in the score. You have to know whether you are the The first was one of the most difficult. It was Symphonic primary voice or the accompaniment within the orchestra to Metamorphosis, Till Eulenspiegel, the Emperor piano con- know when you have to project or when you have to blend. certo, and a newly commissioned piece by Zhou Long. It was difficult not only because of the caliber of the pieces, but also What was one of the most important lessons that you because it was the first chance that I had to work on a con- learned from your earlier studies? cert for the classical series with the whole orchestra. Also, it I learned that I am not only a flutist, but a musician. I think was the first concert that I played in the Lyric Theatre, an when I was younger I was too flute-centered; as I matured, I acoustically challenging place in which to perform. learned that I was first and foremost a musician. Also, I learned that I need to study the whole score for any piece of Did you use any special techniques to prepare the music. To present an engaging performance, one has to be solo for the first piece you cited, Hindemith’s aware of the whole piece, not only the flute line. I am some- Symphonic Metamorphosis on Themes of Carl Maria times astonished by how many people don’t even know the Von Weber? accompaniment to the Mozart concerti. They don’t know what I practiced the solo with the metronome and with a MIDI is going on beyond the flute part. If you don’t know the score,
file that I wrote with the piano accompaniment. In perform- you are just playing half of the music—you are shortchanging LINDA GARNER
54 The Flutist Quarterly Winter 2007 nfaonline.org the audience. You do not have to know what the other players Do you have any advice for flutists auditioning for are doing note for note, but you do need to have a general idea. orchestral positions? Listening to music has helped me with this. Students, for the Work hard, and don’t get discouraged. It can be a matter of most part, don’t listen to music as much as they should. being in the right place at the right time. You might think that you played the best audition of your life, and then noth- What was the biggest mistake you made while you ing happens. Other times you say,“I wish I had played better,” were studying? and you get the job. If I had to do it all over again, I think I would practice more. When you are in school, you have the most time to practice, and the environment allows you to learn a lot. For example, Do you have any final thoughts for aspiring flutists? you can use school libraries to listen to recordings and con- To be successful in your career, you have to put something of sult scores. I would also focus on orchestral repertoire earlier yourself into what you do. You have to commit yourself, so in my studies. what you do fulfills you and makes you happy. It is not only a matter of dedication, which is 99 percent of it, but it is also What advice have you received that has been helpful putting your personality into it. That’s what you have to offer to you through the years? that no one has, because no one else is exactly like you. I I have gotten so much advice that it is difficult for me to think that makes the difference between a good student and remember everything. I feel that Jorge de la Vega was very a good performer. If you don’t have anything to say through the important in my development as a flutist and as a musician. music, I don’t think you can be successful, and even if you are He enabled me to improve and to get to the next stage. He successful, I am not sure that it would be meaningful to you. encouraged me to study in Europe, which opened my eyes and broadened my horizons. Brad Garner, Jack Wellbaum, and Randy Bowman, through their advice and teachings, Rebecca Meador is associate professor of flute at Washburn helped me get to a point where I was ultimately able to get a University. She performed at the 2005 International job in the United States. Not only did they prepare me to take Double Reed Society and National Flute Association con- auditions, but they also enabled me to grow to a certain point ventions. Her set of study arrangements, Orchestral Excerpts where I was successful in my teaching, writing my book, and for Flute Ensemble, coauthored by Jean Marshall, was pub- everything else. lished in fall 2005. ! Invites you to the 35th Annual Convention VIVA LA FLAUTA! August 9-12, 2007, in Albuquerque, New Mexico Celebrating the cultural contexts of the flute, investigating traditions, and exploring new horizons. • Flutists from around the world • Workshops and flute choirs • Concerts by renowned artists • Historical presentations • Masterclasses, competitions, exhibits • New music and fresh perspectives
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nfaonline.org Winter 2007 The Flutist Quarterly 55
NFA CONTRIBUTORS General Endowment Fund (April 1–October 31, 2006) Lydia Ayers Teresa Beaman Carol Brecker Claudia H. Brill Carol Dale Jennifer A. Elliott Rev. William Morris Evans Patricia George Dennis Gudde Edgar Iwamoto Sue Ann Kahn Laura Sanborn Kuhlman Sherry Kujala Larea Lewis Roger B. Martin Christine Michelle Smith Leslie Timmons Myrna Brown Memorial Fund (April 1–October 31, 2006) Lynne L. (Hadley) Fowlkes Hollie Grosklos Trudy Kane Leslie Maaser David Hart Memorial Fund (April 1–October 31, 2006) Laurie Benson Grady E. Coyle
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Contact Steve DiLauro at 440-238-5577 or [email protected] to discuss how you can Advertise in The Flutist Quarterly! Remembering by Anne Welsbacher Martha Friends and colleagues recall the multifaceted talents, pas- sions, and affections of flutist and pianist Martha Rearick.
“When you called her home,” says flutist Michael Stoune, remembering Martha Rearick, “the answering machine responded with a seven chord harmonic progression, which was her phone number played on piano.”
he playful humor that could turn a phone message Coast Symphony, “there was a look on her face, like she was into, all at once, a pedagogy lesson, a game, and enter- breathing the music. When she played piano with you, you Ttainment for a captive audience mirrors qualities that were spoiled from the beginning; she was a partner. When crop up when friends and colleagues recall Martha Rearick, teaching, she was an inspiration. She could do it all.” who died May 29, 2006, after battling ovarian cancer. Many Carl D. Hall, another former student who later joined of Rearick’s characteristics contrasted in striking colors: A Rearick in the FGC Symphony, says, “The experience of musician with two degrees, each in both piano and flute, and playing in such an excellent orchestra sitting next to Martha a gifted performer of both. A pit-bull determination in her proved to be invaluable. We had so much fun playing together.” work on complex publishing projects, but an unerringly Martha Rearick was born into a musical family in gentle treatment of the coworkers she was driving on those Danville, Illinois, but grew up primarily in Miami. She studied projects. An adventurous spirit who swam through (possibly) both flute and piano through elementary and high school and alligator-infested lakes but who was equally at home sitting for attended the University of Michigan on a music scholarship, hours in a library unearthing unpublished manuscripts. earning a master’s degree in the early 1960s. She joined the Especially, a generous spirit who put her life into music but faculty of the University of South Florida in 1966 and taught sought nothing in return but the gratification of having flute and piano there until her retirement in 2000. Early in shared the experiences she made possible. her career, she studied with Jean-Pierre Rampal, and later “Everyone knew Martha in a different way,” notes Linda she accompanied him on piano in concert. True, who worked with Rearick on publishing projects with Rearick was a frequent performer at NFA conventions and Falls House Press. “A piano teacher, a flute teacher, a friend, active with the Florida Flute Association, which she a colleague, an accompanist, a musicologist, a researcher. She cofounded. She performed flute with numerous orchestras did a great job wearing so many hats, touched so many and toured internationally with the Ars Nova Wind Quintet. hearts in so many ways. She was important to many people Among her seven recordings were three popular Music for many different reasons. I knew her as a publisher—she Minus One practice aid sets with Julius Baker, with whom she approached me with her music and she found happiness in also studied and played. She was the masterclass accompanist knowing people would love to play it. Instead of payment, she and teacher for many years with summer classes held by only wanted to give some of her music to her friends.” Baker, Geoffrey Gilbert, and Peter Lloyd. She published “When she played the piano,” says Elizabeth (Sam) numerous works with Theodore Presser, among them a Singleton, a former student of Rearick’s who later played series of orchestral excerpts publications and arrangements second chair to Rearick’s principal seat in the Florida Gulf for flute choir.
nfaonline.org Winter 2007 The Flutist Quarterly 59 PASSING TONES: REMEBERING MARTHA REARICK Parting Words Jeanne Baxtresser recalls inspiration, as her encouragement brought out the best her friend and colleague, in my own creative process. and the 2006 tribute to Probably the most touching thing for me was to Martha Rearick at the be able to talk to Martha in the last months of her 34th NFA Convention. life. I felt her tremendous inspiration and aspirations still alive and bringing her pleasure. She was so t the moving memorial thrilled about her new publication of Flute Solos Atribute to Martha from the Paris Conservatory. Her excitement came Rearick this past summer, I was struck by the similari- from the idea that students would be able to explore ties in all of our collective memories of Martha. a new area of repertoire, teachers would have fresh Martha’s grace, elegance, and generosity were part of material with which to work, and heretofore everyone’s experience with her. unknown pieces by fine composers would be given In my own relationship with Martha, I always sensed a new life. a great motivating force in her life was to impart knowl- If the definition of generosity is to give without edge and information to all of us who played the flute. expecting anything in return, Martha’s life and spirit Her greatest goal was to simply enhance our experience encapsulated that word. Her greatest joy seemed to and progress as musicians. This brought her true joy, come from simply enhancing the musical experience excitement, and inspiration. When we were collaborat- of as many people as she could. I know Martha’s life ing on the orchestral book together, each new idea we and work will continue to enrich all of our musical shared to make this publication more effective and endeavors for many years to come. novel delighted Martha. This was a constant source of —Jeanne Baxtresser
Rearick traveled and adventured vigorously, from world- wide trips to solo nature hikes closer to home in Florida. “I distinctly remember Miss Martha as a very adventurous and athletic person,” notes Jill Weakland, 13, Rearick’s final student.“Sometimes we cancelled a lesson because she was hiking or backpacking. She told me about her adventures hiking, canoeing, and traveling across the world. She even brought me back gifts like a Chinese flute from China and a shoulder purse from Thailand.” “Her Tampa apartment was on a lake,” recalls Singleton. “She swam across that lake almost every evening for a while. There was talk of an alligator.” But she also holed up in libraries as a serious scholar. True recalls the impeccable work Rearick put into her Flute Solos from the Paris Conservancy. “Martha went to the Paris Martha, left, with sister Dorothy and brother David, circa. 1950. Conservatory library archives and found pieces by French composers that had never been published anywhere, carefully selected the best, compiled them, and wrote a one-page description for each composer,” she says. “It is a textbook of information.” “She was very sincere,” says flutist Jack Wellbaum, another publishing collaborator. “An excellent musician, meticulous and so good at piano accompaniment. She worked steadily until she got it done, a lot of it by long distance, my sending her scores, she sending them back.” “She was a very giving person in a very quiet way,” notes flutist Nancy Clew, a friend, colleague, and traveling partner. “Even through the last few years and all the chemo and surgeries, I never heard her complain. Martha was never one to push herself into the front but always worked quietly Rearick performed widely, including frequently for NFA conventions. and competently.”
60 The Flutist Quarterly Winter 2007 nfaonline.org Diagnosed three years before her death, Rearick was active until the final days of her life. One of her last publications, the Avant Garde Sampler, was released in summer 2006, two weeks before her death. “These last few weeks I had the privilege of talking to her,”said Jeanne Baxtresser at the summer 2006 NFA Convention in Pittsburgh, where a memorial program was put together to honor the woman who had planned as recently as spring to be a convention participant. “The fire hadn’t gone out at all. When she knew we were going to play her new sonata, she was flying with joy. Not a molecule of her dignity and passion had left her.” Her illness and impending death were unknown to many who worked with her right into the summer. Theodore Presser’s Daniel Dorff, who thanked her for being “the smooth gear in five of the most complicated publications I’ve ever worked on,” notes that “even by last year, Martha never men- tioned to me that her health was an issue. She had a special grace that always put people at ease, and it seemed like there was no reason for that topic to get in the way of her profes- sional work. We had plans [for a new project], but we didn’t get that far.” Hall remembers many visits to his friend and former teacher whenever he traveled to Tampa.“She was always proudly keep- ing me abreast of her sister’s son, Mike Malinin, drummer for the rock band the Goo Goo Dolls,” Hall recalls. “She said that In 2002, Rearick performed in Thailand, both on piano and with the American when Mike was growing up learning the drums, he referred to Flute Quartet. The American ambassador hosted a dinner for 100 leading her as ‘famous Aunt Martha,’ so she was glad for him that he cultural figures in honor of her and the other performers. hit it big and she could say, ‘my famous nephew, Mike!’ ” Hall says, “Martha was not only my greatest teacher, she after Martha’s death, saying, ‘She taught me many things was a treasured colleague and a dear friend. At the end she not related to the flute, but to life.’ kept a positive attitude and was so bravely stoic about the “I could not have said it better.” disease that was taking her life. Another one of Martha’s students, Carmen Bannon, wrote an e-mail to me just Anne Welsbacher is editor of The Flutist Quarterly.
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48$57(5/<<ಪ)/8,7ಫಫ :RUOGZLGHVKLSSLQJ CLASSICS, TRANSCRIPTIONS, AND NEWER-WRITTEN WORKS FOR FLUTE AND PIANO March 3, 2007 J ACOB ROSEMAN FLUTE Netherlands Flute Festival MOLLY ROSEMAN PIANO TAKTAKSIHVILI: Sonata RACHMANINOV: Vocalise, Op. 34, No. 14 email: [email protected] REINECKE: Sonata in E Minor “Undine,” Op. 167 www.nfg-fluit.nl DOHNÁNYI: Aria, Op. 48, No. 1 J.S. BACH: Adagio from Tocatta and Fugue in C Minor, BWV 564 MOWER: Sonata Latino Available at: fluteworld.com, flute4u.com, cdbaby.com, amazon.com, and itunes.com www.rosemanduo.com
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by Robert Dick The Zone Awaits A successful practice session can bring about an inner meditative state. One early step on the path to that transcendent “Zone”? Singing.
long with the well-known benefits of practice, such that are better than anything we can do at home alone. It’s as developing our musical ideas, deepening the also in this state that one is wide open to inspiration and Aemotional connection to our art, and, of course, creativity. playing the flute better, I find that practice has an inner How do we get there? dimension that isn’t as immediately obvious. It’s this inner It starts with understanding and practicing concentration, dimension that has kept me going, and keeps me going, on just as we practice every other aspect of technique. a lifetime exploration—an exploration of music, sound, and spirit. Technique is Potential Freedom Practice is an active form of meditation. Meditation Before going further to discuss the primary technique of doesn’t have to mean sitting in lotus position chanting om. concentration I use, a word on the meaning of technique. (Although doing so can be marvelous!) Meditation is that Its vital to keep in mind that in and of itself, technique is which clears the mind and spirit through focus. When totally, absolutely meaningless. Technique represents practicing, I often get into the place that athletes call The potential freedom; nothing more, nothing less. Zone. There, concerns of daily life recede and eventually Music is the direct communication, through sound, of become unnoticed. It is there that I connect with that emotions and thought. Technique is a conduit through which is larger than myself and feel not as a separate enti- which music passes on its way from performer to listener. ty, alone, but as a part of something much greater. Energy If our technique is inadequate, we won’t be able to clearly flows from me to it, and from it to me. When this happens, communicate, either with ourselves or others. And that’s I feel revitalized, centered, and energized. why we spend so much time working on technique. But This state in practice is the precursor to the totally con- even as I introduce the technique of musical concentration, we centrated state of performance. One does not “conquer” must remember that if we fixate on technique as the goal, we nerves, but rather transcends them. When true focus is block ourselves from achieving anything larger. achieved, all of the energy present—from the performer(s) Singing within is the primary way to focus. Most of the and from the audience—is available, and things can happen time, when we are nervous in performance or not really
Winter 2007 The Flutist Quarterly 63 THE ZONE AWAITS If you are inhibited about singing, please remember that bathrooms were created for many reasons. “there” when practicing, our heads are filled with words. are actively moving our vocal chords so that we are “silently We’re wondering what our teacher thinks as we play, or what singing” the music we’re playing, the flute tone will have the audience is thinking, or—heaven help us—what some greater depth and resonance; it will feel to the player and to juror is thinking as we play at an audition or competition. the listener as if it is coming from the flutist and simply Whatever it is we’re talking to ourselves about in our heads, passing through the flute on its way into the world. And energy and focus are drained from the music. that’s because it is! While I was the person who connected the science and the Do Not Look at the Zebra art, and created the name “throat tuning” to describe the Realizing this, we may struggle to stop the words in our effect of actively using the throat, not just keeping it open, heads. Have you ever tried to tell yourself to stop thinking the concept and technique have been around for a long time. about something? Tell yourself not to think about some- Julius Baker described it in an article this way: “When you thing—and you’re thinking about it! For decades, I’ve asked play the flute, vocalize on every note just as a singer would.” students at masterclasses to gather their mental forces and to To make the vocalization of the flute tone, hear yourself help each other to make sure that nobody visualizes a zebra singing as you play, and feel yourself forming the sound in or giraffe. Don’t see any stripes! And of course a lovely your throat. For too many flutists, the concept of “singing” group of zebras appears before us. And their friends the or “vocalizing” is taken as an abstraction. Make it physical. giraffes do, too. Zebras have been coming to my classes for Make it real. “Silent singing” is learned through actual so long that generations have passed, and babies from the singing, as is the sound and feel of our voices. It is natural, 1980s are grandparents now. then, to develop the sensation that the flute tone emerges This makes clear that to maintain mental focus, to stay in from the same place as the voice does. the music, any strategy based on the negative will fail. There isn’t any place for “don’t,” “no,” “stop that,” or “why am I Starting Simply thinking about this?” We can start with simple melodies and scales, sounds we all What to do? Have your inner voice sing the music as you know so well that they are in our bones. A wonderful exer- play it, and sing loudly! Fill yourself with the music, become cise in both concentration and resonance is to take a small it—words will fall away and distractions will disappear. section of a scale, something along the lines of Taffanel and To master this technique, it must be practiced every day. Gaubert’s daily exercise #1. Going slowly, repeat each group Actual singing is the key to learning the sound of your voice. of notes four times. Play the first repetition normally, sing The inner voice must be singing in your voice—no other the second repetition without playing, and then sing and voice will do. It’s just the way we are made. If you hear some- play the flute together on the third repetition. Please one else’s voice in your mind, you are in the audience; a pas- remember to sing softly and gently when singing and play- sive state of being. When you hear your voice, your entire ing together. On the fourth repetition, play with your best being actively responds. The mind focuses and the body flute tone and, in your “mind’s ear,” vividly hear yourself changes. That’s why contemplating singing without actually singing (with your voice!) and feel yourself vocalizing. The doing it won’t do the job. To truly experience the sound and difference in tone will be astonishing. nature of our own voices, we all have to sing. The physical For those who love singing, its easy. But if you are inhib- use of the vocal chords while playing is the “big secret,” not ited about singing, please remember that bathrooms were only for developing concentration, but to having a beauti- created for many reasons. Lock yourself in, barricade the ful tone—and not losing it when nervous. door—and sing! You’ll get better at it really fast if you just do it every day. The Inner Voice Don’t be discouraged if you don’t sing in tune—at first. The sound of the flute begins when the airstream oscillates Many people with excellent musical hearing, but who don’t over the blowing edge of the embouchure hole, going in and sing, cannot sing in tune when they begin to use their voic- out of the flute many times every second. The sound, how- es. Out-of-tune singing does not mean you can’t hear—it ever, does not only go forward through the flute and then means that the connection between ear and voice has not out to the listener; it simultaneously radiates back through been worked on. Work on it! Joyously. the flutist. This isn’t my opinion, it is scientifically proven A simple maxim: no matter what happens pitch-wise at fact, reality that we can use to beautiful musical ends. If we the beginning of a note, correct the pitch of the voice before
64 The Flutist Quarterly Winter 2007 moving to the next note. At first the corrections may be and attention given to the feel of the sound inside of you massive; they will soon become increasingly subtle. will start to take you to a new and deeper musical place. As you continue practicing your daily studies, etudes, and A Path to The Zone repertoire, keep the inner voice active. Really hear yourself Here is one possible pathway to the Inner Flute: Begin your singing, and feel your vocal chords actively shaping the practice by improvising for a few minutes, or longer. Right pitch by silently singing as you play, all the time. when you’re fresh, open the inner ear and listen. Then play Integrating active use of the mental voice and silent singing what you hear. This is the time to express feelings without are the keys to concentration, musicality, and beautiful tone. judging them and without judging your playing. There will With these keys, you can achieve concentration and free your- be plenty of time to work on tone and technique later in self to be open to inspiration. The Zone awaits! your practice session. After improvising, do a short vocal warm up. Without the Robert Dick is a flutist, composer, teacher, author, and flute. Everything about tone production on the flute is a inventor. His lifelong commitment is to the creative growth variation on the truth of singing, so let’s get centered and of the flute’s music and the evolution of the flute itself. Dick sing. Traditional vocalizes are fine—they’ve been around for centuries because they work. No need to reinvent the is on the faculties of New York University and the City of wheel here. There are quite a few good sources for vocalizes. New York Graduate Center. His books include Tone The best source, of course, is a voice teacher. A good vocal Development through Extended Techniques; Circular coach will not only help you sing correctly, but will guide Breathing for the Flutist; and The Other Flute: A you toward an acute inner hearing. Performance Manual of Contemporary Techniques.Dick’s After your vocal warm up, move to the flute, and begin most recent CD release is Photosphere, original flute and with a throat tuning study. This combines singing and play- piano duos created with composer/pianist Ursel Schlicht. ing, and connects the voice and flute. The intense listening Dick’s Web site is robertdick.net.
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Winter 2007 The Flutist Quarterly 65 NEW PRODUCTS Recordings, music, and other products by and for NFA members Stephanie Rea’s debut CD Flutist Jan Vinci has commissioned was recently released on a duo for flute and alto saxophone. Centaur Records. For work When I See You, a two-movement, on this project, Rea received nine-minute piece, was composed a Presidential Research by Mark Vinci for Vinci’s upcom- Fellowship from Murray ing Albany Records release. Her State University where she is project, generously funded by an associate professor. Solo Skidmore College, also includes French and American Flute works by Shen, Benker, Higdon, Works includes pieces by Rieti, Rhenè-Baton, Thibodeau, Ibert, Folio, Muczynski, Vaughn-Williams, and Fukushima. Hoover, Bozza, Poulenc, Debussy, DeLaney (with whom Rea Assisting artists on the CD include studied during her master and doctoral degrees), and Rea. The pianist Hugh Sung, Jennifer CD is available at centaurrecords.com or by contacting Rea at [email protected]. Higdon, Mark Vinci, and engineer Adam Abeshouse. The music for A new CD, Measure for When I See You is available from the Measure: The Music of composer at [email protected] or Shakespeare’s Plays, features by calling 718-651-4179. flutist Peter H. Bloom and his period-instrument Ensemble Chaconne with Karen Suzanne Smithson announces the availability of the five Pamela Dellal, mezzo-sopra- remaining unpublished works for flute and piano by her late no. Measure for Measure pres- father, Elliot Weisgarber. Aki-no-Hinode (Autumn Sunrise), ents music exclusively from Sonata for Flute and Piano, and Three Pieces for Flute and Shakespeare’s time, tied Piano are original works written between 1954 and 1968. directly to the plays. There are also two arrangements, Kojo-no-Tsuki (Moon Over Ensemble Chaconne (Carol Lewis, viols; Olav Chris the Ruined Castle) and Tsugaru Yama Uta (Tsugaru Mountain Henriksen, lutes; Peter H. Bloom, renaissance transverse Song), both from 1972. The works—along with information flutes) is celebrating its 21st concert season. For more infor- regarding length and difficulty, sound bites, and visual exam- mation, call 888-887-7169, send an e-mail to Bloom at ples of score pages—are available from the Canadian Music [email protected], or visit americasmusicworks.com. Centre at musiccentre.ca.
Flutist Cheryl Gobbetti Centaur Records has Hoffman and organist Bruce released four new Neswick perform on Miracles, CDs featuring the a CD released nationally in Israel Flute Ensemble. October on the Raven label. Birds contains music Works recorded are by 20th- arranged by Yoav century composers Daniel Talmi for flute Pinkham, Gerald Near, Jehan ensemble and piano. Alain, Henk Badings, Frank Impressions Françaises Martin, and Jacques Berthier. includes original Hoffman is a member of the music faculty at the University at Buffalo (SUNY) and a former French music for member of the Buffalo Philharmonic Orchestra. Neswick is the four flutes. From Canon for Music at the Episcopal Cathedral of St. Philip, Bach to Piazzolla Atlanta. Miracles takes its name from Pinkham’s five-move- features arrangements ment composition, in which each movement describes a and original music for flute ensemble. Talmi’s Play Talmi Biblical miracle. The CD was recorded in the chapel of St. Albans features flute music, plus piano, string trio, orchestral, and School for Boys on the grounds of the National Cathedral, vocal works. The Israeli Music Institute has released a fifth Washington, D.C., using the pipe organ built there in 1988 by CD by the Israel Flute Ensemble. Ruhot features original Karl Wilhelm of Mount-saint-Hilaire, Quebec. For more Israeli music for flute. For more information, visit imi.org.il information, visit ravencd.com or ohscatalog.org. or centaurrecords.com.
66 The Flutist Quarterly Winter 2007 nfaonline.org Visit the NFA Store right from the comfort of your desktop. Books The NFA 20th Anniverary Anthology of American Flute Music Selected Flute Repertoire: A Graded Guide for Teachers and Students Kincaidiana: A Flute Player’s Notebook The Flutist’s Handbook: A Pedagogy Anthology Compact Disks Historical Recordings Series Vol. II: Joseph Mariano Historical Recordings Series Vol. III: Robert Willoughby Much more! Visit nfaonline.org and select NFA Store from the bar on the left side of the screen.
From the PROGRAM CHAIR
or the past year, I have spoken with Memorial programs for Charles many people in this country and Delaney and Felix Skowronek. Fabroad, soliciting proposals and Events commemorating the centennial gathering information. The program of the birth of flutemaker Louis Lot. committee has reviewed hundreds of Workshops and concerts featuring submissions, and I am pleased to report the wooden Böhm system flute. that the 35th NFA convention in A baroque flute “Symposium” of Albuquerque will be a true “¡Viva la events, including the Baroque Artist Flauta!” fiesta. Competition. In coordinating the events, I have kept Piccolo performances, panel discus- four clear goals in mind. First, that we sions, and workshops with Mary Kay Nancy Andrew hear fine music of all styles performed at Fink of the Cleveland Orchestra and a high artistic level. Second, that the others. adjacent to the Convention Center. The schedule be simplified as much as pos- Keith Underwood sharing his latest Doubletree is also accessible, via a short sible. Third, that we feature several pedagogical insights. underground concourse. Both offer events reflecting Southwestern cultures. The Professional Flute Choir, directed affordable convention rates. And last, that we offer something for by Angeleita Floyd, and the Fiesta As we work toward this convention, I everyone. Artists and groups are still Flute Choir, conducted by Gwen am increasingly aware of the great com- being confirmed, but let me share a few Powell. munity we flutists share. The local team of the emerging highlights. Young Artist and High School Soloist is enthusiastic, along with the flutists competitions. from around the region who will join us For the evening concerts: as hosts. Do consider coming early or Thursday—to include Native American I am delighted to announce that the staying late. Albuquerque offers flutists, Latin jazz, and a flamenco NFA Lifetime Achievement Awards will delights, and Santa Fe and Taos await demonstration be presented to John Wion, New York nearby. Friday night recital—featuring both City Opera and the Hartt School of Check the NFA Web site often for new and standard repertoire Music, and Peter Lloyd, London more information and links to New Saturday night concerto concert— Symphony, Indiana School of Music, Mexico area activities and intriguing sites. with the New Mexico Symphony and the Royal Northern College of Come celebrate the flute in one of the Orchestra and conductor Guillermo Music in Manchester, England. Both of most scenic, culturally and historically Figueroa these distinguished gentlemen will give rich areas of the country. ¡VIVA LA Saturday night cabaret—the first ever masterclasses. FLAUTA! NFA “Big Band” jazz flute orchestra The Albuquerque Convention with Ali Ryerson Center is cozy, congenial, and convenient. The exhibit hall is just off the main The daytime schedule will include: entrance and registration area, and the A “Collage Concert” series twice daily Kiva Auditorium, our evening concert with a variety of styles and performers. space, is a true theater, with all the Warm-up and reading sessions, advantages of a theater setting. Food workshops, and presentations with kiosks will be set up inside, and many opportunities to participate, including restaurants are nearby. body-work topics such as Alexander The NFA has secured two hotels. Technique, Feldenkreis, Yoga, and The Hyatt Regency is the only four- Dalcroze Eurythmics. diamond hotel in Albuquerque and is —Nancy Andrew nfaonline.org Winter 2007 The Flutist Quarterly 69 REVIEWSREVIEWS Reviews of flute-related recordings, books, and other items of interest CDs Paco Paco made him “resident jazz flute specialist” at the Galway The Bill McBirnie Network Web site. “I have to take my hat off to you,” Galway Duo/Quartet writes. “This is great playing by any standard.” (Editor’s note: See also a feature article on McBirnie in the winter 2006 issue © 2006, Bill McBirnie of The Flutist Quarterly.) For this recording, McBirnie teams up with another top- anada has produced a flight Canadian jazz artist, pianist Bernie Senensky, in both number of fine jazz C quartet and duo settings. With Senensky’s unfailing support, musicians, including some excellent flutists. Moe McBirnie demonstrates his technical prowess on several jazz Koffman (1928–2001) was standards and one Senensky original. The secret to successful one of the pioneers of the genre, helping to put jazz flute on jazz performance on flute is selecting appropriate material. the map with his 1958 hit recording Swinging Shepherd Blues, McBirnie makes interesting choices, including two composi- while Jane Bunnett is among Down Beat magazine’s rising tions by legendary pianist Thelonius Monk, a composer most stars on both flute and soprano saxophone. Perhaps less well jazz flutists tend to avoid, as his quirky tunes lead to rhythmic known, Bill McBirnie is emerging as another strong voice on uncertainties. McBirnie negotiates these pitfalls with aplomb, the instrument, as evidenced by this, his fourth, recording. A but, to me, sounds better on John Coltrane’s “Like Sonny,” mainstay of the Toronto jazz scene, McBirnie, who has studied Sonny Rollins’“Doxy,”Keith Jarrett’s lovely “My Song,”and the with fellow Canadian Robert Aitken, as well as Cuban cha- crackling “Paco Paco.” He saves the best until last with a rav- ranga legend Richard Eques, was a winner in the National ishing treatment of “O Grande Amor” by the father of bossa Flute Association’s triennial jazz flute masterclass competi- nova, Antonio Carlos Jobim. tion. He numbers among his admirers James Galway, who has —Peter Westbrook (fluteinjazz.com)
Within in San Diego. Clarke divides his work into four categories. One Ian Clarke covers what he calls “nonstandard” solo pieces based largely © 2005, Ian Clarke on extended techniques, such as “Zoom Tube” and “The Great Train Race.” (That Clarke’s work is rapidly entering the canon he first thing musicolo- was born out by hearing the latter at the young artist compe- Tgists do when they hear tition finals at the NFA convention in Pittsburgh, along with any performance is to deter- Syrinx and the Bach E Minor Sonata.) A second category mine to what genre it might includes “Orange Dawn” and “Spiral Lament,” which also use belong. British flutist Ian non-standard fingerings such as quarter-tone grace notes in Clarke’s recording Within has an attempt to summon “ancient colors of the flute” to evoke presented a problem in this regard since I first heard it. More “ideas and feelings connected with our place in the natural recently, however, I was able to meet Clarke and hear him per- world.” The other two categories comprise Clarke’s studio form live at the recent British Flute Society convention in work with collaborators Painter and David Hicks, the first Manchester. I also met his publisher, who summed up his more rock oriented, the others for movie and TV. genre right away. “Oh, it’s just Ian!” she told me. The common denominator in all of these is Clarke’s flute; all What “just Ian” consists of is a fine flutist who places his of his compositions are decidedly flute-centric. Judging by the exceptional technique at the service of his own music—which response to his performance in Manchester, his command of hovers between contemporary composition and New Age, the instrument with all its advanced techniques, plus Clarke’s with a touch of rock. A good part of his writing is for movie ebullient personality, will make this a recording that listeners and TV scores and therefore quite programmatic, as with this will greatly enjoy. collection, much of which was heard at the 2005 NFA convention —PW
70 The Flutist Quarterly Winter 2007 nfaonline.org Books Readings in the History their arranging a duel. Whether a duel or another hostile of the Flute encounter was envisioned, both were arrested and bound to peaceful coexistence. selected and edited with A widespread and bitter issue described arose over who was an introduction by responsible for Böhm’s redesign of the flute. Elsewhere, one Robert Bigio reads of the Dutch flutist who, during a rehearsal with the Tony Bingham, London, 2006 Philharmonic in London in the mid-19th century, demon- strated his infamous ability to sustain chords on the “old obert Bigio’s Readings is per- flute”—clearly an early reference to multiphonics production Rhaps the most recent book on a pre-Böhm system flute. exploring the history of the In one of his letters to piano maker and flute amateur flute; but it is strikingly different Broadwood, Böhm admits that an important impetus for from the accounts often offered redesigning the flute came from his inability to match by its companions in the field. Nicholson’s power of tone.“Had I not heard him, probably the Bigio focuses on original sources Böhm flute would never have been made.” of the 19th century, including Too often flutists (or flautists) are queried about the use of essays, articles, reviews, letters, and editorials, all of which pro- these two terms. Which is correct? Which came first? The vide a more personal glimpse of the rapid changes to flute design, answers are a surprise to most readers. culminating with Böhm. If there is anything that would have enhanced the accessi- Readings include the writings of Nicholson, Clinton, Carte, bility of this collection, it would be the inclusion of an index. Böhm, James, Broadwood, and others. They include nine For all interested in the flute’s history, particularly in the extensive essays, supplemented by shorter reviews and letters. 19th century, this book is nearly impossible to put aside. At the Bigio provides insightful commentary on these writers, allowing risk of beating a shopworn comment into oblivion, it is a the reader to fully appreciate what these essays were implying, “must read” for everyone interested in transforming a some- their biases, and their significance. what vague perspective of the instrument’s evolution into a There is the incendiary public feud between Nicholson more personal understanding. and W.N. James that, according to some accounts, led to —Brooks de Wetter-Smith
The Flute on Record: obligatos, and prominent orchestral solos. There are many The 78 RPM Era, additional features such as who might have been the uncredited a Discography flutist on a recording, and references to broadcasts, films, and live performances. by Susan Nelson As indications of the depth of research I offer the following: The Scarecrow Press, Inc., In a note on a recorded performance of the Griffes Poem Lanham, Maryland, 2006 with the Philadelphia Orchestra conducted by Eugene Ormandy (and presumably an uncredited William Kincaid) his meticulously detailed the date of “early July 1944” is gleaned from the proximity of Tguide to recordings made its matrix number to a known Benny Goodman perform- between 1889 and 1954 is an ance and the fact that “by July 23, 1944, Ormandy was con- incredible resource for the ducting in Australia.” flute world for which we owe Further, in a note on a recording of a Scherzo by Frederick Susan Nelson a huge debt. Jacobi by a Juilliard wind ensemble: “While the performers More than 200 flutists are cataloged with details not only of for the Jacobi work have not been identified, flutists who the material recorded but when and where the sessions took held these scholarships at Juilliard during 1939–1941 place. (Marcel Moyse recorded “Comin’ Thro’ the Rye” in Paris included David DeVol, Mary Miles, Carolyn Grant, and on January 22, 1937, the day I was born.) The important flutists Patricia Powell.” get their due, and of course here lies the real value of the book— Quite beyond all of this, Nelson gives us data on the lives of but it is perhaps even more interesting to learn about the record- the performers. In a few cases, this has been recorded extensive- ings of the less known and the unknown. Marshall Lufsky from ly elsewhere. Now we have a reference to turn to for the rest— Milwaukee, for example, has 71 entries, and Léon Fontbonne, dates, places, teachers, students, and career details, including soloist with the Garde Républicaine, has 45. positions held. Biographical material has been gathered from This was an important era for flute soloists, and not all of its a wide variety of sources including flute publications, obscure output consisted of single-sided selections of a few minutes of references, and obituaries. This widely broadens the value of bravura fluff like that of M. Fontbonne. Not only solo this volume to the researcher and historian. recordings are noted; there are references to chamber music, —John Wion
nfaonline.org Winter 2007 The Flutist Quarterly 71 Books Mastering the Art of security achieved. And there are valuable insights outside of Performance: A Primer the performance (“Learning to fight to do the best you can in for Musicians the face of insecurity is part of the training itself”). Because the book addresses the definition of performance by Stewart Gordon as a part of many varied activities in our lives, and begins with Oxford University Press, 2006 an assessment of the performer so that individual readers have a sense of their own motives, fears, and aspirations, many of his is a comprehensive look at the exercises can be used in nonmusical contexts. There are Tperformance strategies and detailed discussions of good physical, mental, and emotional maximization. The author, a health in general. (Some go a bit far: e.g., as a physical activity, noted pianist, teacher, and scholar, “When you greet people, wave by bringing your elbow as high has isolated every aspect of as your ear lobe”.) performance, with guided The first half of the book is specific to performance prepa- analyses and exercises for ration. The third quarter treats “Self-Regard at the Time of improving each aspect. He Performance” through the dynamics of being under pressure, points out the disadvantages of trendy motivational materials and dealing with your own, and others’, evaluation of your and replaces them with techniques that can be visualized, performance. The final quarter deals with finding balance in internalized, and practiced on one’s own. He is especially to be life, a discussion of career options in music outside of the commended for ignoring the question of mind-enhancing drugs, beta-blockers, and the like, and for expecting that the concert hall, the place of technology (pro and con) in a classical performer will handle his/her own issues. There are specific career, and finding perspective between work and life. exercises (printed in a different font, so they can be easily spotted Running through the chapters is the philosophy expressed when leafing through the book) and basic philosophical and that “Fullness in living, for most human beings, consists of psychological guidelines. being fulfilled in more than one area of life. You will have to Predictably, specific examples relate mostly to piano playing nurture those areas. Doing so will, in turn, feed the quality and (with a few pertaining to voice), and some of the best are drawn veracity of your performance.” from the author’s own career (such as a delightful discussion of For me, the complexity of this book can be as daunting as how not to give in to withdrawal, or “flight,”impulses.) However, the performance; in the time it would take to really internalize the book is rich in wisdom for any musician (especially beneficial the suggestions and concepts, one could memorize several are the chapters on secure memorization and managing stage concertos. It is, however, an excellent read, and finds a good fright) and for other life skills as well (such as the chapter on balance between encouragement and realism. It will probably “Performance and Your Spiritual Life”). There is the distinction be best enjoyed by those, musicians and otherwise, who are by between the quality and quantity of the work, how to adopt a nature introspective. quality guideline, and assessing quality by the measure of —Susan Goodfellow DVD
Karg-Elert 30 Caprices Porter is very clear and organized in her explanations, about for Flute: A Study Guide both the technical and musical aspects of each caprice. The with Amy Porter music appears on the screen and the section under discussion is highlighted. Details within the highlighted area are further Media Farrago Studios, 2005 marked to make it very easy to follow. Suggestions are made for breathing, and any terms that might cause confusion are he 30 Caprices came to my Tattention back in the late explained. 1960s, published as a part of The performances of the caprices are beautiful; the technique The Modern Flutist. As a young is fluid and the tone smooth throughout the entire range of musician, these studies were a the flute. This is especially evident in the many compound bit of a mystery to me. Had I intervals prevalent in these studies. An added bonus is being had access to this wonderful able to see Porter’s beautiful hand and finger position, which study guide at that time, I many players would do well to emulate. would have gotten a lot more out of them. Amy Porter does an This DVD is a wonderful tool for anyone who studies or excellent job of explaining and performing these caprices. teaches these caprices, and a great addition to any serious Each caprice is presented in two parts. The first section is a flutist’s library. discussion of the music and the second is a performance of it. — Keith Pettway
72 The Flutist Quarterly Winter 2007 nfaonline.org Music Six Songs for Flute and Piano melodies of the flute. Although this piece is not technically by Benjamin Godard, arranged by Amy Porter difficult, the beautiful melodies in the flute serve as an excellent © 2006, Little Piper, Bloomfield Hills, Michigan source for students learning the arts of phrasing, tone and dynamic control. Amy Porter has arranged the art songs in Six Songs for Flute —Jennifer Kuk and Piano in their original keys, and has also added variations to some of these melodies, “in keeping with the tradition of F. Flute FUNdamentals Borne and T. Boehm.”The arrangements are a welcome addition by Marlee Lindon to the lyrical, program music for flute and piano, and of © 2002, Fluteplace Music, Las Vegas, Nevada medium difficulty, technically. Musically, they require a This is an excellent supplemental method book for most mature musician. Porter has done an excellent job with this students, from beginners of a late elementary age through college new edition published by Little Piper. students and adult amateurs. The language and concepts —Ruth Ann McClain might be somewhat advanced for younger students, but can be Autumn Song easily explained and/or demonstrated by a teacher. The book is by Paul Moravec very well written and thought out, and is attractively presented. It includes sections on scales and technique; tone, © 2004, Subito Music Publishing, Verona, New Jersey embouchure, and intonation; rhythm; and inspiration, “Autumn Song,”by Paul Moravec, is a short, single-movement including practicing, almost-famous sayings, and Zen flute. piece composed for flute and piano. The piece opens with a All resources are properly documented. While Lindon presents long, lyrical solo presented by the flute. The dynamic range in “old” information, it is done in a very clever, attractive way. I both parts rarely goes beyond piano, with slight swells never look forward to using this excellent book in my own studio, surpassing a mezzo-forte. The piano part is simple and set in and highly recommend it. a traditional chord style, which accompanies the long, lyrical —RAM Perfomance James Galway with somewhere between that of a soloist and an integral part of The National Symphony the ensemble. Berg notes that he has rewritten the piece for C flute if that is preferred, and it is clear that the alto does Orchestra, conducted not easily cut through even a strings-only ensemble. But, for by Leonard Slatkin this piece, that shortcoming actually seems to work. Galway, Kennedy Center for the “the man with the golden alto flute” for this occasion, gave a Performing Arts, Washington sensitive reading to a piece that calls for understatement rather DC, October 5, 6, 7, 2006 than flourish. Galway has been highly selective in his choice of new mong his many contri- material. “When I say new pieces,” he states, “these weren’t Abutions to flute perform- pieces that were going to scare the audience to death; ance, James Galway has always included the introduction of because I’m not that sort of musician. I like music that is new music. This has been especially true of his partnership written from the heart, because it usually touches the heart with conductor Leonard Slatkin, from Slatkin’s years in St. and appeals to people. Whereas some of this music written Louis until the present.“Playing with Leonard was always very by the head is not touching the people, because they don’t interesting,” Galway recalls, “because we very rarely did bring their heads to the concert, they bring their hearts, and repertoire pieces—we nearly always did new pieces.” they want to be touched.” True to form, for their most recent collaboration, Galway and This piece is a little dark, but certainly not harsh. And it was Slatkin premiered a new composition, for alto flute, harp, and well received by the Kennedy Center audience; they had a strings, by Norwegian composer Fred Jonny Berg, over three warm ovation for the composer, who was in attendance. performances with the National Symphony Orchestra at Heaven knows there is little enough repertoire for the alto Washington’s Kennedy Center. flute. Only time will tell if this piece will become a new staple, Berg, who was born in 1973, lives in Saltdal, a valley north of or if we will be seeing much of the alto in flute recitals any the Arctic Circle. His music reflects this landscape. This piece, time soon. “Flute Mystery,” which was composed in spring 2005, is a one- With a distinct change of mood, Galway returned to the movement fantasy, or, as the composer prefers, a symphonic stage, C flute in hand, for a crisp and polished reading of the poem. Approximately 15 minutes in length, the piece consists Mozart D major concerto. For an encore, he returned to give of a series of loosely linked episodes, essentially tonal but us “Danny Boy,” and a clear reminder of the power of simple abstract, with a mood of quietly enigmatic, perhaps brooding, melody. There were tears in my eyes and I’m not even Irish! resignation to the world of nature. The alto flute plays a role —PW (fluteinjazz.com)
nfaonline.org Winter 2007 The Flutist Quarterly 73
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5IF$PNQMFUF8'#BDI'MVUF%VPT -BVSFM;VDLFS4BSB"OEPO 5IF+4#BDI5SJP4POBUBT -BVSFM;VDLFS4BSB"OEPO (FSBME3BODL IBSQJDIPSEJTU 3JDIBSE-PDLFS DFMMJTU 'SBODL4POBUB 4DIVCFSU7BSJBUJPOT .JMIBVE4POBUJOF %FCVTTZ-JUUMF4IFQIFSE -BVSFM;VDLFS.BSD4IBQJSP 5IF%BSL4JEFPGUIF'MVUF -BVSFM;VDLFS.BSD4IBQJSP )BSCJTPO%VP )FO[F4POBUJOF (SJõFT1PFN (MVDL4DFOFGSPN 0SQIFVT ,FOOBO/JHIU4PMJMPRVZ 3PVTTFM+PVFVSTEF'MVUF ;VDLFS1BOEPSB .BESJHBM -BVSFM;VDLFS.BSD4IBQJSP 3FJOFLF4POBUB )VF'BOUBTJF #PFIN/FM$PS1JV (BVCFSU%JWFSUJTTFNFOU.BESJHBM %PQQMFS'BOUBTJF1BTUPSBMF)POHSPJTF
"MM$BOUJMFOB3FDPSET$ET"SF"WBJMBCMF/PX '-65&803-%XXXnVUFXPSMEDPN $BSPMZO/VTTCBVN$PDBMM GPSNPSFJOGPXXXDBOUJMFOBSFDPSETDPN INDEX OF ADVERTISERS Abell Flute Co. 45 *¸¨^®®¥I¥ Altus Flutes America, Inc. 77 for high school students Antara 39 Artisian Fine Jewelry 21 Summer 2007 Azumi Flutes 4 Brannen Bros. Flutemakers, Inc. 2 Burkart Flutes and Piccolos (2) 7, 82 Cantilena Records 80 Carlini, Louis A. 51 Clarion Insurance 49 Diller-Quaille 8 Drelinger Headjoint Co. (2) 29, 50 Emerson, division of Conn-Selmer 11 Flute Exchange, The 45 Flute Specialists, Inc. 25 Flute World 44 Georgetown University 26 Erich Graf 62 Green (Tom) Flutes, Inc. 45 Hammig Piccolos (see also Miyazawa) 75 Hanoveria 79 Harper, Patricia (Masterclass) 50 Janew Publishing 48 FLUTE INSTITUTE July 1-7 Jupiter Band Instruments, Inc. 16–17 Amy Porter, Master Teacher Keefe Piccolos 10 Kemler, Katherine 56 Kingma, Eva 58 DOUBLE REED INSTITUTE July 1-14 Landell Flutes 62 Nancy Ambrose King & Jeffrey Lyman, Master Teachers Little Piper/Dean Yang Flutes 58 Lopatin 25 Lyric Flutes (see also Miyazawa) 10 SAXOPHONE INSTITUTE July 8-14 Magnolia Music Press 45 Master Teacher Mancke-Flutes 4 Donald Sinta, Miyazawa Flutes, Ltd (3) 6, 10, 75 Moest, Elisabeth 29 Muramatsu America 84 Music at Stone Harbor 57 toll free 866.936.2660 Music for Healing & Transition Program 51 National Flute Association (2) 55, 67 [email protected] Northwind Cases 57 www.music.umich.edu/special_programs/youth/mpulse Oberlin 50 Paul Fried 18 Pearl Flutes 14 Polak, Simon 51 Potter, Christine 21 Theodore Presser 68 Skidmore College Progress Press (3) 17, 28, 65 Roseman 61 Summer Flute Institute Sagerman Flutes 45 Saratoga Springs, New York Sheridan Flute Co. 56 Skidmore 81 Our 14th Season Sonaré Winds, a division of Powell Flutes 67 July 29 - August 4, 2007 Southern Music Company 29 Suzuki 51 FACULTY Syrinx Flute Repair 45 JAN VINCI Tai Hei Shakuhachi Flutes 8 MARK VINCI Tap Music Sales 62 Jan Vinci Tutti Flutti Productions 74 Director, Skidmore Flute Institute Open to Flutists at High School University of Michigan–MPulse Ann Arbor 81 Senior Artist-in-Residence, Wildacres 13 Skidmore College through Professional Level William Bennett 39 D.M.A., The Julliard School of Music This program is sponsored in part by William S. Haynes 12 Yamaha Corporation and by John Keal Music. Williams Flutes 76 Windplayer Publications 39 For information and application contact: Office of the Dean of Special Programs Winzer Press 38 Skidmore College • 815 N. Broadway • Saratoga Springs, NY 12866-1632 Yamaha Corporation of America 83 (518) 580-5590 www.skidmore.edu/summer “Now everyone can afford to play an excellent piccolo.”
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