Gareth Morris & Richard Adeney

Home , Cecil James, Gareth Morris, Guilhermina Suggia, Gustav Leonhardt, Jambalaya (On the Bayou), Jazz flute

VOLUMEXXXVIII , NO . 4 S UMMER 2 0 1 3

THE lut i st QUARTERLY Parallel Lives: Gareth Morris & Richard Adeney

Milhaud’s Sonatine for Flute and Piano Decoding Barthold Kuijken Aurèle Nicolet: Master in Our Midst

THEOFFICIALMAGAZINEOFTHENATIONALFLUTEASSOCIATION, INC

Table of

CONTENTSTHE FLUTIST QUARTERLY VOLUME XXXVIII, NO. 4 SUMMER 2013 DEPARTMENTS 11 From the President 74 Passing Tones 13 From the Editor 76 Honor Roll of Donors to the NFA 16 High Notes 78 New Products 61 From the 2014 Program Chair 80 Reviews 63 Across the Miles 88 NFA Office, Coordinators, 66 The Inner Flute: A Phoenix for Carla Committee Chairs 69 Notes from Around the World 93 Index of Advertisers

EATURES 20 F 20 Parallel Lives: Gareth Morris & Richard Adeney by Robert Bigio British flute historian Robert Bigio, author of books exploring 19th-century flutists and the worlds they inhabited, now turns his spotlight on two men he knew personally, similar yet very different flutists of the century just passed. 26 Milhaud’s Sonatine for Flute and Piano: A Masterwork from the Jazz Age by John Solum The 90-year-old masterpiece grew from the rich garden of a young French composer already drenched in the impressionism of the early 20th century and freshly besotted with the Jazz Age sounds of Harlem. 30 Aurèle Nicolet: A Master in Our Midst by Eva Amsler A seminal figure in modern flute playing and its pedagogy and one of the most influential flutists of our time, 2013 NFA Lifetime Achievement Award recipient Aurèle Nicolet is also a philosopher and consummate musician. One of his former students interviews him. 34 Decoding Barthold Kuijken by Zart Dombourian-Eby 26 Self-taught Baroque master and 2013 NFA Lifetime Achievement Award recipient Barthold Kuijken discusses his experiences learning to unlock the coded language of early music and the relationship of a piece of music to its time and to the instrument on which it is played. 38 Confluence of Cultures and Perseverance of Spirit The 2013 NFA Convention celebrates the coalescence of cultures and the freedom of renewed spirit in the Crescent City. Concerts, flute ensemble performances, masterclasses, and wellness and pedagogy events abound. Extra this year: the Swamp Jazz and Gumbo Flute Orchestras.

Cover courtesy Robert Bigio

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Terri Sundberg (2011–2014) UNT College of Music www.little-piper.com 1155 Union Circle #311367 Denton, TX 76203-5017 940-565-3756 [email protected] THE FLUTIST QUARTERLY Anne Welsbacher, Editor Erica Whitcombe, Copy Editor Dolores August, Christine Beard, Lee Chivers, Amy Hamilton, Contributing Editors Victoria Stehl, Art Director Steve Wafalosky, Advertising Sales Representative Editorial Advisory Board John Bailey Professor of Flute, University of Nebraska–Lincoln Lincoln, Nebraska Leone Buyse Joseph and Ida Kirkland Mullen Professor of Flute Rice University, Houston, Texas Michelle Cheramy Associate Professor of Music Memorial University of Newfoundland St. John’s, Newfoundland Zart Dombourian-Eby Principal Piccolo, Seattle Symphony Seattle, Washington Susan Goodfellow Associate Professor of Flute, University of Utah Salt Lake City, Utah Ellen Huntington Flutist, Lyrebird Ensemble Flute Instructor, Loyola University, Chicago Mount Prospect, Illinois Amy Likar Flute, Piccolo, and Alexander Technique Oakland, California Betty Bang Mather Professor of Flute Emeritus, University of Iowa Iowa City, Iowa Nina Perlove Executive Director, American Classical Music Hall of Fame “Internet Flutist,” realfluteproject.com Adjunct Instructor of Flute, Northern Kentucky University Cincinnati, Ohio Jerrold Pritchard Professor of Music Emeritus California State University–San Bernardino, California Rebecca Quigley Flutist and Studio Teacher, Westchester, New York Eldred Spell Professor of Flute, Western Carolina University Cullowhee, North Carolina Michael Stoune Associate Director of Graduate Studies, School of Music Texas Tech University, Lubbock, Texas Paul Taub Professor of Music, Cornish College of the Arts Flutist, Executive Director, Seattle Chamber Players Seattle, Washington Nancy Toff Music Historian New York, New York Michael Treister, MD Orthopaedic and Hand Surgeon and Amateur Flutist Chicago, Illinois Brooks de Wetter-Smith James Gordon Hanes Distinguished Professor of Flute University of North Carolina–Chapel Hill Chapel Hill, North Carolina Reviews Board Penelope Fischer Principal Flutist, Ann Arbor Symphony Member, Detroit Chamber Winds Ann Arbor, Michigan Ruth Ann McClain Flutist and Studio Teacher, Memphis, Tennessee John Wion Professor of Flute, The Hartt School West Hartford, Connecticut National Flute Association, Inc., Staff Katha Kissman, Interim Executive Director Anne Welsbacher, Publications Director Madeline Neumann, Convention Director TBD, Membership Director Brian Covington, IT Consultant The National Flute Association does not promote or endorse any products, companies, or artists referenced in the editorial content of The Flutist Quarterly or other NFA publications.

From the PRESIDENT

More to Enjoy from the NFA Beth Chandler

t’s party time! Join us this August recipient Angeleita Floyd as conductor •Beignet Time! Who doesn’t love a great 8–11 for the 41st annual NFA con- and honoree beignet and coffee—the perfect way to Ivention in New Orleans, a city •An array of orchestral excerpts perfor- spend some down time renowned for its parties! This convention, med as solos, live with orchestra “Confluence of Cultures & Perseverance And as always, our stellar exhibit hall is of Spirit,” will certainly be a flute celebra- •The Maestro Series, featuring the the perfect place to find just the right tion. Program Chair Tadeu Coelho and teachings of renowned international new instrument, additions to your sheet his invaluable assistant Krisztina Dér artists Nicolet, Julius Baker, Keith music collection, that ideal accessory, have planned a convention to remember. Underwood, João Dias Carrasqueira, and much more! A terrific line-up of events awaits us and Lars Nilsson It takes more than a village to run in New Orleans. You can see the com- •Confluence of Cultures: Orquesta de each convention, and we have numer- plete schedule at nfaonline.org—be Flautas de Las Americas; music from ous staff and volunteers to thank for sure to check back routinely for sched- around the world; flute orchestras the success of our multiday fête. Our ule updates. With so many tremen- from China, Japan, France, Mexico, program book will detail everyone’s dous events slated, it’s hard to decide Brazil, Ireland, and Argentina contribution, so please be sure to where to spend your time. The good •Perhaps the largest French contingent thank them when you see them, or news is that you really can’t go wrong! ever at an NFA convention, featuring don’t hesitate to send them a note after Here are a few happenings unique to Orchestre de Flûtes Français, Pierre- the festivities are over. And consider this convention, which you’ll want to Yves Artaud, Sophie Cherrier, and Sibel participating yourself by volunteering be sure to catch: Kumru-Pensel behind the scenes. Click on the •Cuban jazz flutist Orlando “Maraca” •Amateur prominence through open “Volunteer” button on the Convention Valle masterclass “lagniappes” and three Registration Form. It’s a great way to •Performances and masterclasses of special New Orleans convention flute experience the convention “from the Lifetime Achievement Award recipient orchestras: Swamp Jazz Flute Orchestra, inside,” and you’ll get a little cash to Barthold Kuijken Gumbo Flute Orchestra, and Saints help defray your expenses. BeLow Flute Ensemble So looking forward to seeing so many •Events honoring Lifetime Achievement •Health and wellness events, for perse- of you in the Crescent City soon! Laissez Award recipient Aurèle Nicolet verance of spirit, convention time and les bon temps rouler!

KATE L PHOTOGRAPHY •NFA Distinguished Service Award all the time —Beth Chandler

nfaonline.org Summer 2013 The Flutist Quarterly 11

From the EDITOR

Anne Welsbacher

Family Connections

hose of us of a certain age might ed; the other frequented pubs and was a Coelho has cooked up for you this sum- remember Patty Duke’s old tele- great storyteller. One liked to perform mer, you can travel vicariously to Costa Tvision program featuring identi- solo; the other preferred orchestral Rica, Germany, the Netherlands, and cal cousins Cathy and Patty. Cathy playing. Both merited a revisit; we hope points beyond with this issue’s “Notes adored the minuet, the Ballet Russes you enjoy reading about their musical from Around the World” department. (and crepes suzette); Patty loved to rock lives as much as we did. Also in this issue is a look back at the and roll, the music made her lose con- This issue also includes a fascinating life of flutist and conductor Claude trol. (What a wild duet!) Patty and discussion by John Solum of Darius Monteaux, who died February 22. Cathy came to mind while preparing Milhaud’s Sonatine, produced during Monteaux’s family connections are both this issue’s cover article about two very the Jazz Age nearly a century ago. Its literal (he was the son of celebrated con- different flutists who, like Patty and publication coincidentally falls just as ductor Pierre Monteaux, in turn the Cathy, shared only the thinnest—if we head into our 2013 convention in friend of flutist and pedagogue Georges sturdiest—of threads, a “family” con- New Orleans, where we’ll be hearing Barrère) and artistic: he is remembered nection. In the case of the flutists, the lots of fine jazz from both solo masters by many NFA stalwarts, among them shared “family” was their teacher, and ginormous collections of flutes in NFA Lifetime Achievement Award renowned Scottish flutist Robert various iterations of this year’s Jazz recipient and former president John Murchie, considered (at least according Flute Big Band. Wion, who studied with him. Among to the Glasgow Herald) one of the finest The convention also lives in this Monteaux’s achievements was the pre- flutists in Britain at the time of his issue’s profiles of the 2013 Lifetime miere performance of the Sonata for death in 1949. Achievement Award recipients: Aurèle flute, oboe, cello, and harpsichord by Beyond that connection, though, the Nicolet and Barthold Kuijken, written Elliott Carter, whose appearances in past two flutists—Richard Adeney and by Eva Amsler (who was a student of issues of this magazine included a feature Gareth Morris—had virtually nothing Nicolet’s) and Zart Dombourian-Eby, on the occasion of his 100th birthday and in common beyond their acquaintance- respectively. And if you can’t wait for a subsequent obituary. And so the flute ship with flute historian Robert Bigio, the buffet of international treats that family line spins on. this article’s author. One was introvert- convention program chair Tadeu —Anne Welsbacher

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

uthor and flute historian ARobert Bigio has won the American Musical Instrument Society’s Bessaraboff Award for the year’s most distinguished book-length publication in English for his book, Rudall, Rose & Carte: The Art of the Flute in Britain. (See the Fall 2011 issue of The Flutist Quarterly for a review of the book, and the Summer 2010 issue for Bigio’s feature article about the flutemakers featured Dolce Suono Ensemble in his book.) The members of the Bessaraboff Award Committee described as the book as outstanding and noted Bigio’s com- (See related item on next page for more about this event.) This mand of documents relating to the firm’s history, his treatment summer she will teach and direct programs at Curtis Institute of the cultural context, the many beautiful photographs of of Music Summerfest and be a resident artist at the Lake instruments, and the high production values of the book. The George Music Festival. Bessaraboff Award was presented to Bigio at the AMIS confer- For its new season, Dolce Suono Ensemble, which Stillman ence in Colonial Williamsburg, Virginia, May 30–June 1. founded and for which she serves as artistic director, brings AMIS is an international organization founded in 1971 to together guests and core artists in repertoire from myriad promote better understanding of all aspects of the history, styles, periods, and cultures. The Society Hill neighborhood design, construction, restoration, and usage of musical instru- joins the ensemble’s concert venues of Trinity Center for Urban ments in all cultures and from all periods. Nicholas Life and the Curtis Institute of Music. The repertoire will Bessaraboff was a Russian-born American writer on musical include world premieres of works by David Finko, Katerina instruments and the author of the classic Ancient European Kramarchuk, and Zhou Tian with guest composer Tania León. Musical Instruments, published in 1941. Also slated is the U.S. premiere of a work by Mieczyslaw Robert Bigio studied music at the University of British Weinberg that was recently discovered in a Moscow archive. Columbia before moving to Britain, where he obtained his Dolce Suono Ensemble will expand its Música en tus Manos PhD at the University of London. In addition to Rudall, Rose (Music in Your Hands) outreach initiative with the Latino com- & Carte: The Art of the Flute in Britain, Bigio has written munity of Philadelphia. It was awarded a Knight Arts Challenge Readings in the History of the Flute and is widely published in grant for this project. It will once again collaborate with the scholarly and other journals. He was for five years the editor of Washington National Opera’s Domingo-Cafritz Young Artist the journal of the British Flute Society. Rudall, Rose & Carte: Program, with performances in Philadelphia and Washington, The Art of the Flute in Britain by Robert Bigio is published by D.C., and has forged a new partnership with the Arthur Ross Tony Bingham; visit oldmusicalinstruments.co.uk. Gallery at the University of Pennsylvania, co-presenting two . concerts in conjunction with the gallery’s exhibitions. imi Stillman has performed as soloist with the Chamber Concerts are in Philadelphia on Sundays at 3 p.m. unless MOrchestra of the Triangle, Delaware County Symphony, otherwise noted. The October 27 “Windscape” concert at and the Hoff-Barthelson Festival Orchestra. She has been in Trinity Center for Urban Life features Dolce Suono Ensemble residency with her duo pianist Charles Abramovic at Cornell artists Harrison Hollingsworth (bassoon and guest artist), University, participating in a recital, masterclass, and com- Stillman, Geoffrey Deemer (oboe), and Abramovic (piano) posers forum. She performed the world premiere of her own performing works by Mozart, Beethoven, Poulenc, and piece, Huldah for Solo Flute, at the Composers Now Festival at Hindemith. The December 15 “Music Under the Soviets” con- Symphony Space, New York and taught and gave guest artist cert at Curtis Institute of Music features works by Prokofiev, performances at the Music for All Festival for Yamaha in Shostakovich, Weinberg (a U.S. premiere), Finko (a world pre- Indianapolis, for the New Jersey Flute Society, and for the New miere), and Sharlat. Stillman and Abramovic are joined by York Flute Club at Katherine Hoover’s 75th Birthday Tribute. Burchard Tang (viola) and guest artist Tatiana Abramova DOCE SUONO ENSEMBLE PHOTO COURTESY OF VANESSA BRICEÑO

16 The Flutist Quarterly Summer 2013 nfaonline.org (piano). The event also includes a conversation with guest composers and Bret Werb, a musicologist at U.S. National Holocaust Memorial Museum. In 2014, the February 23 concert at Trinity Center for Urban Life features a collaboration with Washington National Opera Domingo-Cafritz Young Artists performing works by Bach, Schubert, Donizetti, and Gill. On April 27, the ensemble’s “DSE Goes to Society Hill!” concert at Old Pine Street Presbyterian Church features Stillman with guest artists Amy Oshiro (violin), Priscilla Lee (cello), Jeremy Gill (piano), and Jan Vinci Zara Lawler Mmi Stillman Allen Krantz (guitar) performing works by Dowland, C.P.E. Bach, Debussy, Rota, and Piazzolla. Música en tus Manos will be held Saturday, May 31, 2014, at 8 p.m. at the Curtis Institute of Music and Sunday, June 1, at 2 p.m. at Iglesia Evangélica Bautista (the latter is free). This outreach initiative with the Latino community of Philadelphia explores music by Spanish and Latin American composers and themes from these cultures. Featured will be Stillman, Gabriel Cabezas (cello), Abramovic (piano), and Gabriel Globus-

Hoenich (percussion). Judith Mendenhall Katherine Hoover Valerie Coleman The Dolce Suono Ensemble also will perform in two free, one-hour concerts at Arthur Ross Gallery at the University of FA members Mimi Stillman, Zara Lawler, Jan Vinci, and Pennsylvania October 2 and March 5, 2014. The concerts will NJudith Mendenhall performed along with flutist Sato explore musical connections with the gallery’s exhibitions. Moughalian in a 75th-birthday celebration tribute to compos- Dolce Suono Ensemble will record the six commissioned er (and NFA member) Katherine Hoover as a part of the New works from its “Mahler 100 / Schoenberg 60” project, made York Flute Club’s annual flute fair March 17. The all-Hoover possible by grants from the National Endowment for the concert included two world premieres: Two Preludes for flute Arts and the Musical Fund Society of Philadelphia. Lucy and marimba/vibraphone, performed by Lawler and Paul Shelton, soprano, and Eric Owens, bass-baritone, will join Fadoul; and a movement from a planned new concerto for the ensemble in works by Fang Man, David Ludwig, Steven flute and piano performed by the composer and Suk Hee Mackey, Stratis Minakakis, Shulamit Ran, and Steven Hong, piano. Other works in the program were Selections from Stucky. Visit dolcesuono.com. Suite for Two Flutes, Op. 17; and Sound Bytes, performed by Vinci and Mendenhall; Winter Spirits, Op. 51, performed by FA member Linda Mintener performed April 21 in the Moughalian; Mountain and Mesa (which received its world Nseventh annual Chinese Orphan Benefit Concert in premiere at the 2009 NFA convention in New York), per- Madison, Wisconsin. Mintener is also the project’s coordina- formed by Stillman and Jeremy Gill; and Peace is the Way for tor. The event supports more than 90 Chinese orphan chil- flute ensemble. The fair also offered a recital featuring NFA dren. Guest musicians this year included the Aletheia Duo of members Sandra Miller, baroque flutist and faculty member of Jonathan Keeble, former NFA president, and harpist Ann the Juilliard Historical Performance program, and Valerie Yeung (both professors at University of Illinois); and Roberta Coleman, composer and flutist of Imani Winds, along with Brokaw, retired flute professor at the University of California- flutist Yoobin Son, newly appointed flutist with the New York Hayward. Other performers included Liz Marshall (Madison Philharmonic. Also on the program was a new music recital Symphony); the Madison Flute Choir with its full array of featuring Katherine Borst Jones, former NFA president and piccolos, C-flutes, alto flutes, and bass flutes; and the NFA 2011 National Service Award recipient from Ohio State club’s elite Flute Chamber Choir. Debussy, Tchaikovsky, and University; NFA member Elizabeth Brown, flutist and compo- Boismortier were among the composers whose works were sition faculty at the Hartt School; and NFA member Margaret performed. The funds raised at the concert will help provide Lancaster, who has had more than a hundred works written . an education for more than 90 Chinese orphans, paying for for her. Visit nyfluteclub.org.

GORDON school fees, books, supplies, and clothing. The funds also . allow the orphans to remain in relatives’ homes. Along with FA member Linda Chatterton performed at St. Martin-in- donations, the fundraiser included individual sponsorships Nthe-Fields in London, presenting the world premiere of and the sale of the two donated flutes, a student model Brian Ciach’s Kentucky Folk Pieces. She also presented a concert Green Golly flute with both a curved and straight headjoint at the National Concert Hall in Dublin and masterclasses at the and a Wm. S. Haynes Amadeus flute. CDs of the annual con- Dublin and Cork Schools of Music. Other international concerts certs are also available for $15 or $20, with all the sales and masterclasses in the 2012–13 season included events in receipts going to the Orphans Project. For more information Iceland and Thailand. In the U.S., Chatterton performed the pre- or to contribute, contact Linda Mintener at [email protected] miere of Takuma Itoh’’s “Trade Winds” for flute and piano in

MIMI STILLMAN PHOTO COURTESY OF RONNI L or 608-231-1680 or visit firstbaptistmadison.org. Honolulu and a concert at the Chicago Cultural Center.

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MURAMATSU AMERICA tel: (248) 336-2323 fax: (248) 336-2320 ﬂ[email protected] www.muramatsu-america.com Parallel Lives: Gareth Morris & Richard Adeney

Gareth Morris in 2005, photo by Robert Bigio (left); Richard Adeney, photo by Robert Taylor.

British flute historian Robert Bigio, author of books exploring 19th-century flutists and the worlds they inhabited, now turns his spotlight on two men he knew personally, similar yet very different flutists of the century just passed. by Robert Bigio

20 The Flutist Quarterly Summer 2013 nfaonline.org f the many flute players in London in the 20th century’s post-war years, two individuals stand out: OGareth Morris and Richard Adeney. Both were born in 1920, both studied with the same teacher, Robert Murchie, and both enjoyed great success while still very young men. But two more different characters would be hard to imagine. Morris was clubbable and ever ready with an anecdote; Adeney was quiet and rather introverted. Morris had a long list of successful students in 40 years as a professor at the Royal Academy of Music; Adeney quit his teaching job at the Royal College of Music after just one afternoon. Morris preferred to play in an orchestra; Adeney relished the attraction of being a soloist. Morris was rather Richard Adeney as a teenager in 1937 with, from left, his parents, Bernard Adeney and Noël Adeney, his sister Charlotte Adeney, and a friend, Polly Church. conservative; Adeney was a pacifist and conscientious objector. Morris was very much a family man; Adeney most certainly was not.

Different Beginnings Gareth Morris was born in the west of England May 13, 1920. His father, Walter Morris, much weakened by a poison gas attack during the First World War, died when Morris was a teenager. His mother, Enid, a pianist, organist, and some- time composer who had studied in Leipzig, was a rather free spirit who is said to have slipped from a bedroom window to attend an early performance of Richard Strauss’s Salome, a work then deemed quite unsuitable for a young lady. Enid was organist at a church in Monmouth, where she met her future husband, a member of the choir 10 years her junior. Their son Gareth had two siblings: Christopher . Morris, who became music editor at Oxford University Press, and Jan Morris, the travel writer. Noël Adeney at the wheel of the family’s car, a 1925 Morris. Richard Adeney is Richard Adeney was born in London January 25, 1920, to sitting at the back, with his arm on the ledge. well-to-do, artistic parents. His father, the artist Bernard Adeney, named his son after his close friend, painter Walter Meanwhile, Back West… Sickert, known to his friends as Richard. Bernard Adeney Gareth Morris attended Bristol Cathedral Choir School; he left his first wife, Thérèse, after a brief marriage and after claimed it did little for his education and admitted he did lit-

COURTESY THE RICHARD ADENEY ESTATE having begun a relationship with Richard’s mother, Noel ) ) tle to endear himself to his teachers. He took up the flute at the Gilford, also an artist. age of 12, at first playing with members of a brass band, where Presumably there were few hard feelings all around, as he had to learn to play very loudly to make himself heard. At a Bernard soon introduced his former wife to his son’s name- young age he was sent to have lessons in London with Robert sake Sickert, who married her and apparently lived happily Murchie, the professor at the Royal College of Music, where he FACING PAGE AND RIGHT ( ever after. (Richard Adeney, it must be said, was scornful of hoped to study. He held Murchie in the highest regard. At the the writer Patricia Cornwell’s theory that Sickert was Jack age of 18 he applied for a place at the College, but a confusion the Ripper. Adeney said he was named after Sickert, but he over deadlines led to his application being rejected. Instead, he

ADENEY IMAGES was probably not named after the Ripper.) Although accepted a scholarship to the Royal Academy of Music where ; Richard’s parents married soon after he was born, Richard his professor, though an agreeable soul, taught him little. was considered illegitimate until the law was changed in However, the confusion that led him to the Academy rather 1947. “I can truthfully say I was born a bastard and stopped than the College, he said, was the best thing that could have being a bastard when I was 27,” he once told me. happened: the Academy orchestra was conducted by Sir Henry Adeney’s mother was a successful artist and designer for Wood, in his view an unsurpassed trainer of orchestral musi- Rodier; she produced the dress worn by the cellist cians. Sir Henry Wood founded the annual Promenade COURTESY THE MORRIS FAMILY ) ) Guilhermina Suggia in the stunning portrait by Augustus Concerts, better known as the Proms, the biggest music festival John that now hangs in the Tate Gallery. Noel Adeney later in the world, now in its 119th season. Many of Morris’s fellow

FACING PAGE Academy students would become the leading players in Britain, ( wrote a novel, No Coward Soul, about her friend the writer Denton Welch. Bernard and Noel Adeney numbered among including his great friend, the horn virtuoso Dennis Brain. While their friends many members of what is now called the still a student Morris was offered important professional

MORRIS IMAGE Bloomsbury Set. engagements. When the Academy refused to release him from

nfaonline.org Summer 2013 The Flutist Quarterly 21 “Morris was rather conservative; Adeney was a pacifist and conscientious objector”

A painting of Gareth Morris by John Bratby, RA (Royal Academician), 1980. Watercolor of Richard Adeney as a teenager by Noël Adeney. . a rehearsal to accept one such engagement, he resigned his The Murchie Convergence scholarship and left. He returned to the Academy as professor At the age of 17, Adeney went to the Royal College of Music, a few years later, at the age of 24. where he was taught by Robert Murchie, the same teacher who had earlier entranced the young Gareth Morris. Adeney remem- Goodbye British; Hello French bered Murchie as an amiable man (more so in the afternoon COURTESY THE ADENEY ESTATE Richard Adeney grew up in Hampstead, London. He was sent when he was drunk than in the morning when he was still , first to a prep school in St. John’s Wood, which he hated, and then sober), but, unlike Morris, Adeney hated the sound he made and BOTTOM to The King Alfred School in Hampstead. At King Alfred’s he was rejected most of what Murchie taught him. , encouraged to make recorder-like instruments from bamboo, an He was later embarrassed about this, as Murchie had in

activity that became an obsession for him. “I spent hours each day fact been kind to him. Murchie’s playing career had gone FACING PAGE , cutting their fingerholes to tune them and changing the shape of into decline after he been unforgivably rude to the conduc- their embouchures to make them sound sweet,” he said. tor Arturo Toscanini during a rehearsal. Adeney’s embar- After King Alfred’s, Adeney was sent to Bryanston School in rassment about his attitude to Murchie descended to guilt as Dorset, a progressive and liberal (if rather expensive) estab- he remembered an incident some years later when Murchie lishment where he acquired a battered old flute and was given was booked to play second flute to him in a performance of lessons by a local bandmaster. He was unhappy at Verdi’s Requiem. “I was embarrassed at his being there, my ADENEY WATERCOLOR AND IMAGE

Bryanston—he hated all the physical exercise, disliked the all- recent teacher,” Adeney said, “and annoyed that he played ; male atmosphere, and was too private a person to enjoy living too loudly, and told him so, being totally insensitive to his in a large dormitory—so he was moved to Dartington Hall, humiliation at our reversal of roles.” another progressive establishment, but a co-educational one During his time at the College, Murchie had told the princi- where he had a room to himself. pal that Adeney would never get on as a flute player and that During his time at Dartington, Adeney had a few flute les- he should try another profession. It was true, Adeney later COURTESY THE MORRIS FAMILY

sons from John Francis, later a professor at the Royal College admitted, that he was far from being the most talented player , TOP

of Music, and was taught by other players, including Frank in the College. On the other hand, Adeney knew of many ter- , Butterworth. Butterworth had studied in Paris and—unlike rible players in the profession, and if they could make a living most British players in the 1930s, who tried to make as loud a at it, he could see no reason why he shouldn’t as well. FACING PAGE sound as possible—played in the French style, on a metal flute For a second opinion he was sent to Gordon Walker, prin- , and with vibrato. Butterworth, Richard says, got him practic- cipal flute in the London Symphony Orchestra. In a few ing. Richard wanted the flute to sound sweet and gentle like hours, Walker transformed his playing and, most impor- the recordings of Marcel Moyse that so impressed him. This, tantly, showed him how to practice. Walker recommended he thought, was the sound he wanted to make, not the trum- to the principal of the RCM that Richard should be allowed pet-like noise produced by many British players. to stay on. MORRIS PAINTING AND IMAGE

22 The Flutist Quarterly Summer 2013 nfaonline.org PARALLEL LIVES: GARETH MORRIS AND RICHARD ADENEY

The War, and After During the Second World War, Morris served in the RAF Symphony Orchestra, an ensemble that included some of the finest young musicians in Britain, among them Dennis Brain, the bassoonist Cecil James, the violinist Harry Blech, and the members of the Griller Quartet. Adeney had a rather different war. His parents were pacifists and he had similar views, so he applied for conscientious objector status to avoid war service. He expected to be put into a non-combat position, possibly in the ambulance service, but although he was not a member of any known pacifist group such as the Quakers, he was given an unconditional exemption Philharmonia Orchestra wind players in the early 1950s, from left: Sidney Sutcliffe, from military service. He was never able to explain why this Gareth Morris, Dennis Brain, Cecil James, Harold Jackson, and Frederick Thurston. happened, but the decision left him free to pursue his musical career at a time when there was less competition than usual. At the beginning of the war, Adeney’s family moved to Northampton, where his father’s art college, the Central School of Art, was evacuated. Northampton was the home town of Adeney’s great college friend Malcolm Arnold. The two of them put on a concert at which they performed a sonata for flute written by Arnold, the first of many works he wrote for Adeney. It was rather good, Adeney remembered, and is probably now col- lecting dust in an attic in Northampton. In 1941, Adeney joined a short-lived orchestra in Bournemouth, grandly called the Wessex Philharmonic, conducted by Reginald Goodall. The same year, Malcolm Arnold joined the London Philharmonic Orchestra as second trumpet, and when the first flute player, Geoffrey Gilbert, was called up for military service, Arnold persuaded the management to give Adeney a fortnight’s trial. The second flute player, Arthur Ackroyd, moved up to first, and Adeney, at age 21, joined the The Melos Ensemble, with Richard Adeney, in a performance of Ravel’s Introduction LPO as second flute. A year later Ackroyd moved to the and Allegro. Liverpool Philharmonic Orchestra and Richard moved to the first flute position, which he would hold for 18 years in all, Philharmonia became the best orchestra in the world, play- with a break throughout the 1950s. ing under such conductors as Karajan, Klemperer (with After the war, and on his release from the RAF, Morris whom Morris was very friendly), Furtwängler, Toscanini, enjoyed success as a freelance orchestral musician and soloist. Giulini, and Cantelli. Morris remained as principal flute Walter Legge, the record producer who founded the player for the Philharmonia until 1972; his performing Philharmonia Orchestra, invited him on a number of occasions career ended abruptly on tour in New York when a mugger to join the orchestra. (Morris liked and admired Legge and con- punched him in the mouth. sidered him a genius, but he acknowledged that Legge was not universally loved.) Legge succeeded in hiring him only after The Other Orchestra promising that there would be no bad conductors. Politeness Adeney must have been an odd character in the wind section always prevented Morris from saying which conductors he of the LPO. He was definitely “officer class,” from a well-to-do meant, but he did acknowledge that he manipulated the situa- family that had sent him to expensive private schools, whereas tion to remove the incompetent ones. Legge was true to his most of his colleagues were working-class, ex-army bandsmen. It word, and curious parties will search Phiharmonia programs in was a shock at first, he remembered, a bit like going to live in an vain for the appearance of any conductor below the first rank. alien culture or with a foreign tribe. He got on well with them There were other reasons for Morris’s reluctance to join the soon enough, as he was always trying to break down class barri- Philharmonia, or, indeed, any symphony orchestra. The big ers, but in the days when working-class people of his own age orchestras (there are five full-time professional symphony were still likely to refer to him as “sir,” this was not easy. orchestras in London) could rarely afford the best conductors, A greater problem in the LPO was the cynicism of the play- and, further, he—along with many of the other leading players. Adeney genuinely loved playing, but he would never have ers in London—was quite happy playing in the chamber admitted it to his colleagues, who pretended it was just a job orchestras that proliferated after the war. Legge finally per- that they hated as much as they might have hated working in suaded Morris to join the Philharmonia with the promise of a factory. One of his colleagues insisted in telling him, “The excellent music-making. Again, he was true to his word: the conductor is your natural enemy.” Playing in an orchestra,

nfaonline.org Summer 2013 The Flutist Quarterly 23 Bohuslav Martinů, Walter Piston, Sergei Prokofiev, Alan Rawsthorne, Franz Reizenstein, Albert Roussel, Matyas Seiber, Egon Wellesz, and, most famously, Francis Poulenc, whose Sonate he performed with the composer at the piano. Poulenc, accustomed to French players’ metal flutes and unfamiliar with Morris’s favored wooden one, nudged him after the performance and announced, “I sink ze wood flute ees bettair!” Richard Adeney was the dedicatee of many of Malcolm Arnold’s works for flute, including his two flute concertos, and he was closely associated with Benjamin Britten, performing frequently at the Aldeburgh Festival and with Britten as conductor in the English Chamber Orchestra.

Memoirs and Missed Moments Adeney was never totally committed to his career as a musician and had other interests. At the age of 70, not wishing to become a declining former professional playing in scratch orchestras as did some of his colleagues, he sold his flutes and gave up playing altogether. He became a photographer, Gareth Morris being presented to Queen Elizabeth the Queen Mother. Morris was particularly proud to have performed at the coronation of Queen Elizabeth II. exhibiting and publishing his work, notably in André Previn’s book Orchestra. He eventually got fed up with that as well, according to this colleague, left you either scared to death or gave away his equipment, and spent the final years of his very bored to death. Adeney had almost no orchestral experience long life studying philosophy and other subjects, writing his before joining the LPO and was really learning his craft on the deliciously scandalous memoirs, Flute, and working as a vol- job, in the first flute position while still in his early 20s. unteer for the emotional support charity, Samaritans. Gareth Morris, sadly, was never persuaded to write his Other Voices, Other Rooms memoirs on the grounds, he said, that musicians’ memoirs are Adeney temporarily abandoned his orchestral career in so often boring. His could never have been: he was the best 1949. Bored with playing in the orchestra—and indeed with raconteur I have ever met. He was perfectly happy playing in being a musician—he quit the LPO, got on a motorcycle, the Philharmonia and teaching—his students included many and drove to France with a vague idea of writing a novel. For of the finest players in Britain—although he was never partic- five months he travelled, enjoyed life, and basked in the ularly keen on much of the flute repertoire. Andersen and Mediterranean sunshine. Böhm, he insisted, are not only boring but are actually harm- The novel was never written and Adeney returned to ful to students. Soussmann, he said, is just as bad. Even London, as he said, “Hair bleached blond, face handsomely Drouet, he said, is better; at least he wrote music, rather than sunburnt, and so vain when playing concerts again that I just scales and arpeggios. He was scathing about Marcel . thought audiences were admiring me.” The LPO had not yet Moyse’s exercises (and, incidentally, remembered being unim- replaced him, so he went straight back into his old job. He was pressed when he heard him play in London in the 1930s). He also appointed professor at the Royal College of Music but preferred studies by Hermann Zanke, now out of print and thought his students were so second-rate that he quit after one long forgotten, and by Jacques Casterède. But mostly he loved single afternoon of teaching. “That was my complete academ- playing the big symphonic repertoire. COURTESY THE ADENEY ESTATE ic career begun and ended.” Morris and Adeney’s paths rarely crossed, although a , Adeney found orchestral life tedious and, encouraged by his recording survives of the two of them playing together in Karl friend the oboist Peter Graeme, left the LPO and became a Haas’s London Baroque Ensemble. Later in their lives, Morris, FACING PAGE freelance player. Throughout the 1950s, he was the leading whose first marriage had ended badly but who had remarried, , solo and chamber music player in London while his principal invited Adeney to take some photographs of his new young rivals, including Gareth Morris, were all busy playing in family. Some charming pictures resulted. Sadly, as Adeney was ADENEY IMAGE orchestras. Adeney played in the London Mozart Players, the on the other side of the lens, there are no photographs of these ; Boyd Neel Orchestra, Karl Haas’s London Baroque Ensemble, two great musicians together. Morris died February 14, 2007, and, later, the English Chamber Orchestra. In the same period, and Adeney died December 15, 2010. > he joined some of London’s leading players to form the Melos Ensemble, with whom he made many excellent recordings, Robert Bigio writes frequently for this magazine and has some of which are still available. authored two books on the flute. In March, the American Musical Gareth Morris was happiest playing in an orchestra, but he Instrument Society awarded the Nicholas Bessaraboff Prize for did give the first British performances of many solo works by 2013 for the most distinguished book-length work in English to such composers as William Alwyn, York Bowen, Roberto his most recent book, Rudall, Rose & Carte: The Art of the Flute Gerhard, Giorgio Federico Ghedini, Arthur Honegger, Jacques in Britain. Bigio’s cover article on the same topic appeared in the

Ibert, Gordon Jacob, Charles Koechlin, Frank Martin, summer 2010 issue of this magazine. See robertbigio.com. QUEEN MOTHER PHOTO COURTESY THE MORRIS FAMILY

24 The Flutist Quarterly Summer 2013 nfaonline.org

26 the Jazz Age Jazz the and Piano: Piano: and Flute for Sonatine Milhaud’s sounds of Harlem. of sounds Age Jazz the with besotted freshly and century 20th early the the of impressionism in drenched already of a young French composer garden rich the from grew The 90-year-old masterpiece by John Solum John by his eight-minutehis pieceparticularlywas notable and foritsinnovativeavant-garde, the of forefront the Jean at was Milhaud the written, at Wiéner Jean was pianist Sonatine the 1923. Paristime in Wiéner Atin the Concerts with debut its performed In the years preceding his work composing the Sonatine,manythe composing work his precedingyears the In Schönberg and Stravinsky in Steeped inclusion of jazz elements into a classical format.classical a into elements jazz of inclusion hs ic. e a itmtl fmla wt Cad Debussy’s Claude with familiar intimately was He piece. this of writing his for Milhaud prepared had experiences musical opera opera Stravinsky’s JohnSolum The Flutist Quarterly Quarterly Flutist The ela e Mélisande et Pelléas Petroushka Summer 2013 Summer 11–1 and (1910–11) frt efrac, 92 ad Igor and 1902) performance, (first nfaonline.org ok o oi Fer, who Fleury, Louis to work thepiece in 1922. composedhe when oldyears compositionteacher—was 30 later, and, conductor, linist, vio- pianist, accomplished composer—and French lific (1892Milhaud pro- –1974), a 1920s.the decadeJazzof Age the composedin be to piano and flute for work finest the possibly piano, and flute for Sonatine Milhaud’s Darius T ihu ddctd the dedicated Milhaud is promne of performance first the of anniversary 90th he year 2013 marks the marks 2013 year he h Rts f Spring of Rites The A Masterwork from Masterwork A ht cud o ta msl aa…oe hn vr was I ever than away…More myself work.”chamber a for jazz resolveduse to tear not could I that overwhelming so was me on effect me…Its to revelation a was was and before heard ever heard had I anything from different absolutely I music Harlem…The visiting of opportunity est him. thrilled which es, performanc- jazz hear to Harlem to visits numerous made he York, New in While gave Harvard. and also Vassar, Princeton, He at Symphony. talks Boston the from players of a group and Laurent Georges Symphony flutist City with Boston York in New and Orchestra, the with conductor and pianist as Orchestra, engage- Philadelphia the fulfill with to conductor guest as States ments United the to invited was he that ly Schönberg,Webern, with ideas Berg. and exchange to Poulenc, Francis friend, close his with Vienna to the Billy Arnold Jazz Band from visited New York, and in 1921 he went he by played jazz 1920, live heard he time, In first the rhythms.for where, London, the especially there, heard he While in Brazil, he became fascinated by the popular music that service for nearly two years during the latter part of World War I. 1918.) in died (Debussy time. that at Debussy with meeting only and first his had and 1916 in harp and viola, flute, for Sonate Debussy’s of work1912. of He played in viola the first (private) performance Schönberg’s Arnold of conductor,French(1911–13).performance a first As the led he As he states in his autobiography, “I never missed the slight- autobiography,the his missed neverin states“I he As international- known well so become had Milhaud 1922 By foreign French the in Brazil in attaché an as served Milhaud a adak chamber landmark a lunaire , Pierrot 1

PHOTO (ABOVE) COURTESY DANIEL MILHAUD Behind the Sonatine With the upbeat to bar 12, the music has modulated to F- Milhaud easily absorbed new musical ideas and incorporated sharp major and continues to the end of bar 17, during which the spirit of these ideas into his Sonatine. Milhaud did not time Milhaud simulates the blue note with the piano playing A write jazz, and this is not a jazz piece. It is his own formal and A-sharp at the same time. music, ingeniously crafted, blending many different musical Near the end of the movement, in bar 82, the piano brings back elements. It may be analyzed much as one would study a the blue note feeling by sounding the B and B-sharp simultane- Haydn string quartet, for example. ously. In bar 83, the flute plays the theme starting with B-sharp, An important feature of the Sonatine is the inventiveness of and in bar 84, the piano plays the theme with a B-natural, which its harmonic language. Throughout his lifetime, Milhaud ven- is a reference to the blues. These phrases are overlapped so that erated Debussy and admired his music but consciously tried to the second statement is begun before the first one is completed. avoid using Debussy’s distinctive harmonies. He left that to the This is called stretto and is an example of Milhaud’s masterful use many composers of the 20th century who hopped on the post- of counterpoint throughout this composition. Debussy bandwagon. In African music, which historically forms an important part of the basis of jazz, there were no key signatures.2 Milhaud took this approach in writing the Sonatine, in which there are no key signatures for any of the three movements. The first movement, Tendre, is actually in A-flat major although it is largely notated in individual accidental sharps. The third movement, Clair, is also in A-flat major and is notated mostly in flats. One of the jazz-like features of the Sonatine is the use of Polyrhythms accents on weak beats or upbeats. Notice the accents in the The second movement, Souple, begins in the style of a bar- flute in the first movement, bar 54, for example. The other two carolle, a 6/8 theme with a clear rhythm of two beats per bar. movements are filled with similar off-beat accents.

Blue Notes The piano begins the first movement of the Sonatine with a “blue note.” This term, which had not yet been coined by music historians at the time Milhaud wrote this piece, is a concept in African-derived blues of lowering the pitch of certain notes relative to the pitches of the western diatonic triad. A blue note is a triad’s third or seventh lowered by about a half step. In the blues, this is played or sung microtonally rather than as an In bar 19, the flute begins a repeated note theme in 6/8 while exact half step of the tempered scale. the piano plays a markedly different rhythm that actually is in To simulate a blues note in this piece, Milhaud scores the 5/8 time. (Notice the piano accents on the second and fifth piano to play the sustained opening upbeat by simultaneously eighth notes.) sounding B-natural and B-sharp. This continues through bar seven. The first note played by the flute—B-natural in bar two—would be a blue note if this were the blues. However, the Sonatine is a formal classical piece, and the flutist is not instructed to bend the pitch.

When two different rhythms are played simultaneously, it is called polyrhythm. African music abounds with polyrhythms, and Milhaud may have heard something similar in Brazilian

nfaonline.org Summer 2013 The Flutist Quarterly 27 movement. This riff appears 14 times throughout the movement, four of them played by the flute and 10 by the piano. Performers should be attentive to each appearance of the riff. In bar 55, the flute introduces a ragtime theme, which reap- pears in the piano in bars 61–62, 67–68, and 71–72, each time stated more emphatically. The effect is startling and exhilarat- Milhaud (right) with Dimitri Shostakovich (left) and Jean Wiéner at the Milhaud home. ing. Notice the off-beat placement of the accents.

folk music during his tour of duty in Brazil or possibly in Harlem. The repeated-note flute melody may have been freely borrowed from plainchant, the unison singing of the ancient Christian liturgy, which would have made its way to Brazil by way of Portugal. We don’t know if Milhaud made intentional use of these musical ideas or if they are coincidental. It is suffi- Beginning in bar 61, the piano suggests the blues with the cient to acknowledge the fact of their being incorporated with simultaneous sounding of A and B-flat and then from bar 63 consummate skill into the fabric of the work. to 74 with the B and C being sounded repeatedly at the same The second movement ends with a jazz-inspired B-flat time. At bar 65, the flute reintroduces the theme from the minor ninth chord. The flute plays a low C, which is the ninth first movement. In bar 76, Milhaud seamlessly leads into the of the chord and the highest-sounding note of the chord. This theme of the third movement (as of the fourth beat of bar is important for a flutist to know, as it helps determine the tone three), treating this theme as a somewhat wistful refrain. By quality that the flutist chooses for the low C. If the C were the sequentially combining the two themes, Milhaud creates a root of the chord, for example, it would probably be played subtle unity to the work. with a somewhat more focused tone.

Adding Ragtime The third movement, Clair, is a tour-de-force of musical composition, dazzlingly combining aspects of jazz, blues, and ragtime as well as a theme featured in the first movement. Clair begins with a simple theme in the flute starting on a downbeat eighth-and-two-16ths in bar 2, which becomes an upbeat figure at the last quarter of bar 3. Throughout the movement, ARTS Milhaud teases the listener by contrasting the downbeat and & upbeat status of this three-note motif. In bar 2, next column, top, the piano introduces a lively

descending jazz theme called a riff. This is a short phrase of LEBRECHT MUSIC which the repetitions are always exactly the same, irrespective ©

of the changes in tonality that might take place throughout the PHOTO

28 The Flutist Quarterly Summer 2013 nfaonline.org The theme thus presented from bar 63 to the very end of the movement in the flute is in “half time” with the feeling of two beats to the bar, while at the same time the piano is playing as if “hurrying the beat,” four beats to the bar. The flute and the piano seem to be in two different worlds. We thus have two rhythmic feelings being expressed simultaneously—another example of polyrhythm. The final statement, bars 82–83, Sans ralentir (“without slowing down”), brings the movement to a triple-pianissimo conclusion with an A-flat major triad. Look carefully at this final chord (above). The flute plays an E-flat, which is the fifth of the A-flat major triad, and it is in its second inversion. In academic musical composition, when one doubles a note in a chord, the root note of a chord is the preference for doubling. The second choice is doubling the third, but certainly one avoids doubling the fifth.

Applause Here Milhaud must have intentionally scored the flute to double the fifth, creating a surprising throw-away ending with a jazzy twist. It seems to say, “That’s all, folks; c’est fini.” >

The author thanks the distinguished composer, John C. Eaton, for reading this essay and sharing many useful insights.

John Solum made his debut as soloist with the Philadelphia Orchestra and has since appeared as soloist or chamber music player in 37 countries. His discography includes more than 100 works for flute and reflects his interest in both modern and historical flutes. More than 20 works have been written for him by distinguished composers. Aaron Copland composed his Duo for Flute and Piano in response to Solum’s invitation to write a piece in memory of the late William Kincaid, Solum’s flute teacher.

Endnotes 1. Notes Without Music by Darius Milhaud (New York: Alfred A. Knopf, 1953), pp. 136–37.

2. At around the same time, and earlier, African art was influencing visual artists such as Picasso and Braque in their creation of Cubism.

nfaonline.org Summer 2013 The Flutist Quarterly 29 Lifetime Achievement Award2013 Aurèle Nicolet: A Master in Our Midst

“Er ist ein STAR, er weiss es nur noch nicht!” (He is a STAR, but does not know it quite yet!) —Gerhart von Westerman, former manager of the Berlin Philharmonic Orchestra

“Il est poète et paysan, esthète et prolétaire” (He is “Poet and Peasant”—a deliberate proletarian, but a lover of art and ideas.) —Michel Debost, flutist by Eva Amsler

“Aurèle Nicolet is a seminal figure in modern flute playing and its pedagogy,” were the words of former NFA president Jonathan Keeble when he called to ask me to contact and write about Aurèle Nicolet, who had just been bestowed with the NFA Lifetime Achievement Award. I was—and I am—very excited to contribute to the preparations for this important event, and I feel very honored to know Aurèle Nicolet as a musician and as a teacher, as mentor and as a friend.

There is no doubt he is one of the most influential flutists of Aurèle Nicolet our time; he is a flutist, philosopher, and consummate musician. Furthermore, he has taught and inspired generations of under Swiss composer Willy Burckhard in Zürich, then to Paris flutists throughout the world, not only with his artistry but also to finish his studies under Marcel Moyse (flute) and Yvonne with his humanity. As I now sit down to write about my teacher, Drappier (theory) I am listening to him perform J.S. Bach’s cello suites and, to my surprise, I cannot stop smiling. His playing is as much of an •1947: Graduation from the Conservatoire National de Paris inspiration to me today as it was when I first heard him per- with a Premier Prix du Conservatoire form. Nicolet’s sound and tone colors are magical, his imagina-

tion and musicianship beyond words. I invite you to take this •1947–1948: Principal flutist of the Tonhalle Orchestra in Zürich CHRISTINE LANGENSIEPEN moment to hear about his life © journey and musical inspira- •1948: First prize at the Geneva International Competition tions, offered here with my thoughts and with his own •1948–1950: Principal flutist in the Winterthurer Stadtorchester comments from various articles (Switzerland)

and from former lessons, visits, IMAGE OF AURELE NICOLET ; and an interview I had with •1950–1959: Principal flutist in the Berlin Philharmonic Orchestra AUSTRIA

him. I think you, too, will smile. , The following brief biograph- •1952–1965: Professor of flute at Hochschule für Musik Berlin

ical timeline offers you only a FELDKIRCH glimpse of the man himself: •1965–1981: Professor of flute at the Hochschule für Musik , Freiburg im Breisgau (Germany) •1926: Born in Neuchâtel (French- speaking part of Switzerland) Nicolet’s musical life also included an active chamber and solo career. He loved collaborating and exchanging ideas with •1944: High school graduation other musicians, including oboist Heinz Holliger, pianist Bruno in Neuchâtel, studied flute Canino, and harpsichordist Karl Richter. He commissioned Eva Amsler

under André Jaunet and theory composers and premiered pieces throughout his entire career. IMAGE OF AMSLER BY NIKOLAUS WALTER

30 The Flutist Quarterly Summer 2013 nfaonline.org In addition, Nicolet was an international flute soloist with the best orchestras across the globe, and his performances have been featured on numerous albums and broadcasts wherever he goes.

“The flute is one of the easiest instruments to start with. A good instrument for amateurs. It was the same in the 18th century—even kings played the flute! But then when you want to be really good and be completely professional with the instrument, it becomes as hard as all the others are.” —Aurèle Nicolet

Aurèle Nicolet chose the flute as his instrument because he loves the sound. He considers the flute to be an experimental “sound tool” regardless of what style you play in. He is more than a flute player and more than a musician. He is constantly striving to be an artist with his eyes always focused on the hori- zon and always curious about what’s to come. His teaching style Aurèle Nicolet and his daughter, Yaël, a viola player. encourages experimentation, spontaneity, and risk-taking. Living life on the edge, embracing doubts, and always searching Baroque music more closely, and to this day Nicolet treasures the for answers have remained essential to the core of his musi- time with this legendary teacher, mentioning him recently with cianship and artistry. deep respect and gratitude: “My teacher was André Jaunet!“ During an interview at his 80th birthday, Nicolet was asked Next for the young flutist was to pursue training with Marcel what music has meant to his life, and he was surprised by the Moyse (flute) and Yvonne Drappier (theory) in Paris. “Here I question. “I never reflected about this. Music is my life!” had to learn solfège and lots of fundamentals. We all had to play with clarity in tone and in performance.” A Musical Life But, says Nicolet, he did not learn the true meaning of music This response made me interested in examining the earlier part in Paris. He is sure that that process of discovery began during of Nicolet’s life, and in so doing I discovered that music has his time with André Jaunet in Zürich—and later in playing and been woven into nearly every aspect of his journey. One of his discussing music with his friend Pierre Boulez and during his earliest childhood memories is his father’s piano playing. Many time in Berlin with German musicians. The first one he met evenings he heard Debussy’s Préludes before he slept. At the there was Wilhelm Furtwängler, conductor of the Berlin time, around 1930, this was completely new music. Nicolet says Philharmonic Orchestra, who fascinated him and was in fact that he still today gets a sensation of joy that is almost tactile the reason Nicolet went to Berlin. when he hears and performs Debussy, and he is inspired by “He did nothing,” Nicolet exclaims, “but you cannot imagine Debussy’s feeling for form and his inventive pioneering spirit. what an incredibly unbelievable sound he got from the orches- He also remembers a musical impression from around age tra!” It was as if Nicolet believed that Furtwängler had the abil- 12. The famous conductor Hermann Scherchen (later an ity to transmit his intuition across to the orchestra without any important avant garde pioneer) was stopping for a concert in obvious effort. For nine years Nicolet played under Nicolet’s hometown of Neuchâtel, Switzerland. The program Furtwängler and then for five years under Herbert von included Bach’s Brandenburg Concerto No. 3. Karajan. After the first concert with Karajan, he knew he “To hear this wonderful composition for the first time was would not stay much longer as a flutist in that orchestra, such a strong experience,” says Nicolet. “I was standing at the given the conductor’s proclivity, in Nicolet’s opinion, for self- time, but I had to sit down on the floor during the perform- absorption.“In his own way, he was a wonderful conductor, ance. It was too much. I was completely overwhelmed. What a but I did not appreciate his taste. His best piece was Strauss’s revolutionary discovery. What a fantastic piece of music! It Ein Heldenleben,” Nicolet notes, referring to the work’s self- struck me like a coup de foudre—lightning!” appointed hero. “It was an image for his own life!” Nicolet notes that today it is impossible to imagine such an experience. Back then, there were no CDs or records—in his Interpretations and Ideas house there was not even a radio! At the same time, Nicolet’s solo career started to take off and he For his musical education Nicolet first went to college in began teaching as a professor of flute at the Hochschule für Zürich, where he studied flute with André Jaunet and music Musik Berlin. He also met another important German musi- theory with Swiss composer Willy Burkhard. Jaunet was a cian: harpsichordist and conductor Karl Richter. Nicolet appre- charismatic French flutist (principal flute in the Tonhalle ciated getting a chance to learn and discuss with his new friend Orchestra) and gifted pedagogue (professor at the interpretations of Bach’s music. Ideas, for example, such as the Conservatory) in Zürich. He was one of the first to research crucial need to study the text of an aria first before making

nfaonline.org Summer 2013 The Flutist Quarterly 31 musical decisions about phrasing, dynamics, articulation, etc., his wisdom and knowledge with his students and to bring or using rehearsals as a time to experiment with tempi and ges- back from his trips fresh approaches to the study of music. He tures, make decisions, doubt them, and then start over again the never stops being there for us with advice, long after we’ve left next day, so that by performance time, you are able to just play his studio. and let the music flow. But he also knows when to get his students to go out in the Nicolet regrets that this kind of deep work is disappearing in world to find their own way. His goal is to make his students their our fast and busy world today. After his retirement, he started own teachers, so that they understand how to learn from other researching and reading even more than before, and he espe- musicians and colleagues—and from other arts and cultures. cially loves to read and discuss philosophers like Descartes, Plato, Nietzsche, Heidegger, and Karl Barth. “You seek knowledge,” he notes, “but you already possess intuition!” He says he …And Performer would love for all students today to understand that being a Aurèle Nicolet’s concerts were each absolutely distinct experi- musician means taking time to study one piece of music really ences. He was very energetic. The first time I ever heard him deeply. Today’s musicians, he observes, play technically much live, he played C.P.E. Bach’s concerti. What sound, brilliance, better than they did 50 years ago, but they seem to lack the and passion he brought to the stage! In his performance of patience to dig deeper and deeper, letting themselves grow dur- Debussy’s Sonata for flute, viola, and harp, the range of colors, ing study of one of the masterworks. paired with his charm and excellent musicianship, took me to Among his friends in Berlin are poet/writer Günter Grass and another world. His interpretation of Mozart’s Concerto was composers Pierre Boulez, Karl-Heinz Stockhausen, and Bruno most elegant and light, with wonderful, transcendent phrasing. Maderna. During his travels around the world, Nicolet made One of his very last performances, Bach’s B-minor Sonata, many more, including composer friends Toru Takemitsu in touched and moved me deeply: Every single note was music, was Japan, Isang Yun in Korea, Edison Denisov in Russia, Cristobald expression! The performance embodied what Nicolet expressed Halffter in Spain, György Ligeti in Romania, Krzysztof Meyer in when I asked him what a fulfilling performance meant to him. Poland, and Swiss composers Klaus Huber and Heinz Holliger. “When I play, my body is very much involved,” he said, “but also Nicolet commissioned and premiered many of their pieces and still is an advocate for avant garde music. Working closely with my soul, spirit, and mind are in action and included.” composers has been an inspiring process and exchange to him. True artistry paired with knowledge, excellent instrumental ability combined with musicality: Nicolet is truly able to Master Pedagogue… express his immense intelligence, knowledge, and warm per- In 1981, Nicolet retired from his last teaching position, which he sonality through music, to teach without words, to always serve had accepted in 1965, as professor of flute at the Musikhochschule the music first. And regardless of how famous he is, he remains Freiburg im Breisgau (Germany). He says he modeled his teach- the same charming and humble human. ing style after his two teachers, Jaunet and Moyse. As a former student, I can attest that these are among “Dass ich lebe ist nicht nothwendig, wohl aber dass ich Nicolet’s outstanding qualities: He is able to recognize talent thätig bin—dabei habe ich mich immer wohl befunden” easily. With his wonderful, warm personality, he can calm and (It is not of importance that I am alive, but that I am encourage a nervous student. He has a wonderful sense of humor. He always is honest in his feedback and seldom praised actively working—this has always given me pleasure.) his students when teaching. He was demanding—always the —Frederick the Great in a letter to Voltaire best proof that he believed in the student’s flutistic and musical talent! He also brought his passion for contemporary music and his sense for supporting composers to his students, always mak- Editor’s note: The words quoted in this article by Westerman, ing them learn the music of our time and connect through Debost, and Frederick the Great are excerpted from Aurèle for music to the present. January 22, 2006: A Bouquet of Prose, edited by Andràs Adorjan And he is a great storyteller, regaling the listener with his and Marco Lehmann-Waffenschmidt, a publication produced for experiences in Eastern Europe and Asia. He was the first flutist the occasion of Nicolet’s 80th birthday. to go to Russia after the Iron Curtain’s fall. He went to Japan and South America. And toward the end of his career, he gave Following 20 years as an orchestral flutist in Switzerland and 20 his library of music to China. years as professor of flute at the Conservatory in Feldkirch, Nicolet has helped us to see beyond the obvious by talking to us about his travels and the books he read and by always includ- Austria, Eva Amsler is now professor of flute at Florida State ing extended techniques and contemporary pieces in his teach- University. A pioneer on authentic interpretation of Baroque ing. “After playing the Berio Sequenza, your Bach and Mozart music on modern flute and an advocate of new music, Amsler will be better,” he asserts. Another piece of his advice: “Read enjoys a worldwide career as a performer and teacher. Her accurately and be rhythmic!” teachers include Günter Rumpel, Aurèle Nicolet, and André To study with the master pedagogue was a privilege—and Jaunet. Among her former students is Karl-Heinz Schütz, prin- continues to be so. He is an excellent role model, an authori- cipal flutist at the Vienna Philharmonic Orchestra (who will ty, a delightful human being, Nicolet is always ready to share appear at the 2013 NFA convention in New Orleans).

32 The Flutist Quarterly Summer 2013 nfaonline.org

Lifetime Achievement Award2013 Decoding Barthold Kuijken

Self-taught Baroque master Kuijken discusses his experiences learning to unlock the coded language of early music and the relationship of a piece of music to its time and to the instrument on which it is played.

by Zart Dombourian-Eby

he NFA Lifetime Achievement Award has been presented only rarely to anyone other than a classical Tflute player of the modern Böhm flute, but no one deserves this award more than Barthold Kuijken, one of the two 2013 recipients. Kuijken (pronounced, roughly, as COW-ken) is one of the most prominent Baroque flutists and pedagogues in the world today. Born in Belgium, he was Barthold Kuijken an early pioneer and proponent of “authentic instruments” liked music, and though our parents were not especially musi- but also propelled performance standards on those instru- cal, there were quite a few amateurs in the family, so I guess it ments to new artistic heights. was in the genes. Being the youngest, I always heard music at Kuijken’s older brothers, Wieland and Sigiswald, are also home, and so it felt totally normal to pick up an instru- renowned early music virtuosos on the viola da gamba and the ment—first, the recorder, when I was 6 years old. But once I violin, yet Barthold’s path to the Baroque flute was fairly inde- went to school, they thought that the recorder was a toy, so I pendent of their influence. He studied the modern flute at the started the Böhm flute, at 8 years old. Unlike my brothers, I was Bruges Conservatory as well as the Royal Conservatories in a wind player, so I was on my own; my development was quite Brussels and the Hague, where independent from them. It was good that each of us had a he has taught for many years. different instrument! On this side of the Atlantic, he As far as the interest in early music, that was pretty much a has recently been pivotal in the coincidence. The only early music I had been exposed to was burgeoning Baroque music through an acquaintance who had a poorly constructed scene in Indianapolis. Medieval fiddle. In the 1960s, early music was not taught at conservatories. And for me, it felt really nice to go out of You have quite the family! mainstream. (For the same reason, I also played a lot of mod- . Please tell me about your early ern music for a long time. Many people seemed to have inter- upbringing and education, and ests in both early music and modern music, two extremes, how all three Kuijken brothers probably growing out of a dissatisfaction with the ultra-con- became interested in music, servative conservatories, which thought that there was no particularly early music on “real” music written before Bach nor after Prokofiev. Another authentic instruments. attraction was that in both, you were somewhat on your own, We were six brothers—I am the without a teacher telling you what to do.) youngest; half are musicians, By luck, at 17, I happened into a Baroque flute, and then at and half are normal! We all Zart Dombourian-Eby 18, into a beautiful 18th-century flute. It was bought by a IMAGE OF BARTHOLD KUIJKEN BY DANY NEIRYNCK

34 The Flutist Quarterly Summer 2013 nfaonline.org friend of a friend for next to nothing at a flea market. I had Remember that Bach wouldn’t have played a piece in the to teach myself, but the flute was so amazing, it really taught same way on two consecutive nights. It would always be dif- me as well! Being in Brussels at the time was a tremendous ferent but within the performance traditions of the time. Try help, as there is a great library that is full of early manuscripts to go a long way in applying these performance traditions in and treatises—I went there every week and dug through all of Baroque music when performing on modern flute. You would- those valuable sources. n’t ever use “Bach language” to play Copland—that would be a faulty translation (although it may be beautiful…). You studied with the two most famous “Frans” in the flute world. Please tell us about these two amazing flutist/teachers Do you have any advice for flutists who are interested in and their influence on you. learning to play the Baroque flute? Does it help to play the I attended the Hague Conservatory, where I studied with modern flute first? Frans Vester—but we had an agreement that I would only Frederick the Great and Quantz didn’t play Böhm flutes first! study modern flute with him. Also at the Hague, I had a few recorder lessons with Frans Brueggen, but I am mostly self- In 2007, you received the first doctorate in music in taught on the Baroque flute, and I think that this is a great Belgium at the VUB (Free University of Brussels). Tell us method. It takes you much longer, but you make mistakes on more about this. your own, you discover your own mistakes, and really learn The Brussels Conservatory wanted to award me a PhD in how to solve problems and evolve as a musician. flute performance—and specifically not in musicology! The Since the time you began playing the Baroque flute, the main thing was my playing, but I also produced a thesis that period instrument movement has mushroomed! How did will be published later this summer by the Indiana University that happen? Press: The Notation is Not the Music. As you might imagine, it In the middle of the last century, there were a few musicians, discusses the “decoding” of musical notation. such as Arnold Dolmetsch and Robert Donington, who became interested in the sounds of these early instruments. What’s on your iPod? Specifically, they were fascinated with the link between the I have no iPod, no TV. Enough said! sound of an instrument and the actual music, recognizing that the music was written in a certain time and place and You have recently been active in Indianapolis. Could you that the performance of such music should take its origins please talk about how this came about and what you do into account. These few isolated people began to make there? ensembles, then orchestras, and then started teaching as well, My former student, Barbara Kallauer, is living there, and and the movement grew and grew. It accelerated even more teaches Baroque flute at Indiana University. A few years ago, after World War II, with musicians such as Brueggen and she asked me if I would conduct a production of early instru- Gustav Leonhardt leading the way. ments at the school; I did it, and it was a great experience, which I really enjoyed. So now I go back there several times a What are your views and advice on playing Bach, for example, year, as I have been appointed artistic director of the on the modern Böhm flute? Indianapolis Baroque Orchestra. I perform three or four con- To me, playing Baroque music on modern instruments is like certs and give masterclasses each visit, both in Bloomington reading a book in translation, rather than in the original lan- at IU and in Indianapolis. guage. You can certainly enjoy it and can understand the plot, the characters, the message, and so on, but you will miss out Is there anything I’ve forgotten to ask you about? on hearing the beauty of the language and of certain nuances I just want to say that I believe that I have been incredibly that just can’t be translated. fortunate throughout my career. I was there just at “the right To play Bach, you have to become familiar with his com- time,” when this movement was getting air under its wings, positional language—instrumentation, dynamics, tempo, etc. so to speak. I have been amazingly lucky to have gotten to As far as slurs and articulations, those are outside phenome- non and very open to personal interpretation. Bach would be play with many great musicians over the years, and I am so one of the first to tell you to get away from the idea that thankful that they’ve been there! music was accurately written down. Any notation is just an Also, I have taught many, many students, going back to approximation—a coded message which you need to about 1975; it is so very pleasant to travel and reconnect with decode. However, the method of decoding has changed since my former students and see how they’ve made their place in Bach’s time, and you need to re-discover the “original keys” the musical world. to decoding his music. The “tradition” of composers expect- ing performers to follow their notation is strictly a 20th-cen- Zart Dombourian-Eby is principal piccolo of the Seattle tury convention! Symphony and studied with Albert Tipton, Walfrid Kujala, You have to try not to do something “new” just for the sake and Donald Peck. Her solo CD, In Shadow, Light, is on of being new; instead, you must be logical on your path. You Crystal Records, and her edition of the Vivaldi piccolo concertos have to have a field of possibilities in which to move around. is published by Presser. She is vice president of the NFA.

nfaonline.org Summer 2013 The Flutist Quarterly 35 -IYAZAWAs(AYNES -URAMATSUs!LTUS (AMMIGs!RISTA 'RENADITTE.EW6OICE +OTATOs4OM'REEN 6ERTICAL3WAN(EADJOINTS !ZUMIs!VANTIs,YRIC *UPITERsDI-EDICI 29 !MADEUSs%MERSON $EAN9ANGs$E&ORD *AMES'ALWAY3PIRIT 4REVOR*AMESs$I:HAO Compact Discs from Crystal Records Leone Buyse was principal flute of Bos- ton Symphony, now on faculty of Rice University. She has six CDs on Crystal: CD317: The Sky’s the Limit. Music by Barber, Cage, Dahl, Amlin, Antoniou, Fine, Nunlist, Tucker. “Solid playing and a glis- tening recording” Fanfare. CD319: Rivier Revisited. Chamber Mu- CD314: Love Letters. David Shostac, flute. Borne, Carmen Fantaisie; Kosins, Love sic for Flute by Jean Rivier. “loaded with charm” Fanfare. Letters & Winter Moods; plus Boehm, Dinicu, & Debussy. Shostac is principal Los CD356: Tour de France. Music by Fauré, Saint-Saëns, Bizet, & Angeles Chamber Orch. “outstanding fluent technique” BBC Music Mag. Debussy, “A charming entertainment.” Fanfare. CD711: In Shadow, Light. Zart Dombourian-Eby, piccolo. Amlin, Sonatina Pic- CD357: World Wide Webster. Dvorak, Debussy, Brahms, & cola; Benshoof, Spindrift, & In Shadow, Light. Dombourian-Eby is piccolo w/Seattle Gottschalk. W/Michael Webster, clarinet; & Robert Moeling, piano. Symphony. “nothing short of amazing.” American Rcd. Guide. CD715: Dedicated to Barrère. Music composed for celebrat- CD318: 20th Century Romantic Spirit. Brooks de Wetter-Smith, flute. Sonatas ed flutist Georges Barrère, by Caplet, Woollett, Gaubert, Seitz, by Gaubert, Pierné, Reynolds; & Foss, 3 American Pieces. “significant repertoire per- Lacroix, Lefort, and Damaré. “marvelous recording” Flute Talk. formed with rare sympathy and expertise.” Fanfare. CD716: Dedicated to Barrère, Vol. 2. Leone Buyse w/Martin CD712: Gypsy Wheel. Thomas Robertello, flute. Borne, Carmen Fantaisie; Amlin, piano; & Paula Page, harp. Griffes, Poem; Varèse, Densi- Taffanel, Fantaisie; Griffes, Poem; plus Dzubay, Van Brink, & Zupko. Robertello: faculty 21.5; Riegger, Suite; Roussel, Andante and Scherzo; Gaubert, ty of Indiana University; previously: Pittsburgh & National Sym., Cleveland Orchestra. Sonatine and Invocation. Also De Lorenzo, Kriens, & Jacquet. CD714: Flute Agréable. April Clayton, flute. Sonatines by Dutilleux, Francaix, CD710: Wind Effusions. Danilo Lozano, Sancan; Bozza, Agrestide; Lasser, Sonata. “thoroughly ‘agréable’ ” Musicweb. Flute; David Muller, Bassoon. Duos by CD713: Take Wing. Lois Bliss Herbine, piccolo. Persichetti, Parable; Daugherty, Villa-Lobos, Schröder, Gabaye, Jan Bach, & High and Mighty; Dorff, Sonatine; Krantz, Song of Spring; Elliot, Fantasy; Loeb, Pre- Bozza; solos by Piazzolla & Osborne. Lozano: ludes; Mager, & Buss. “[You] will not want to miss this recording.” Flute Talk. founding member of Hollywood Bowl Orch. CD316: Music for Koto and Flute. Kazue Frances Asawa, flute; Kazue Kudo, koto. Muller is former princ. Mexico City Phil. Music by Sawai, Yamamoto, Hirai, Miyagi. “quite beautiful” Amer. Record Guide. CD354: Weiss Family Woodwinds. CD757: Theodor Blumer, Woodwind Music, Vol. 3. John Bailey, flute; Moran Wood- Dawn Weiss, flute; David, oboe; Abraham, wind Quintet. Ten Waltzes; From the Animal Kingdom; From the Plant World (all for bassoon. Trios by Svoboda, Worthey, and flute and piano); Serenade and Th. & Variations (for woodwind quintet). “Blumer’s lush style reminds me Vivaldi, plus Messiaen, Le Merle Noir (flute of Richard Strauss. Fine flute playing; [Bailey’s] sound is robust. technique second to none.” Amer. Rcd Guide. & pa.), Hindemith, & Bourdeau. Dawn was CDs $16.95 each. FREE CD w/purchase of 3. U.S. Shipping: $2./order; foreign: $10. solo flute Oregon Symphony for 25 years. ® Visit www.crystalrecords.com to see all CRYSTAL RECORDS [email protected] listings, hear sound samples, & order. .%(ANCOCK2OAD #AMAS 7!53!sPHONE

´VRPHRIWKHÀQHVWPXVLFHYHUSHQQHGµ “top-notch playing that can only be envied by 24 Reicha Quintets on 12 CDs lesser ensembles. Exceptional Reicha project, splendidly played. These [Reicha] quintets are “The Reicha Quintets are symphonies in miniature...each one absolute masterpieces.” Fanfare a masterpiece. Those who ignore this legacy are missing out on ...some of the finest music ever penned.” Audiophile Audition Pictured below and QUINTET ´GHÀQLWLYHUHFRUGLQJRIWKHVHZRQGHUIXOSLHFHVDEVROXWHO\QRPDMRU to the right are sev- ÁDZVVLPSO\EHDXWLIXOHQVHPEOHSOD\LQJµFlutist Quarterly, Pettway en other ne West- wood Wind Quintet ´H[TXLVLWHUHFRUGLQJVPDJQLÀFHQWSHUIRUPHUVµHorn Call, Matlock compact discs. WESTWOOD WIND ´7KLVGLVSOD\VRQFHDJDLQWKDWWKH:HVWZRRG:LQGTXLQWHWLVRQH Bergsma, Concerto; Rochberg, To the Dark Woodwind Treasures Wood; Carter, Quintet; Biggs, Scherzo; RIWKHÀQHVWZLQGTXLQWHWVLQWKHZRUOGµIDRS Journal, Klimko Plog, Animal Ditties; Schuller, Suite; & WESTWOOD WIND William Schuman, Dances Other acclaimed CDs by the Westwood Wind Quintet include: Klughardt, QUINTET Berio, Linn, Westwood Wind Quintet CD601: Nielsen & Hindemith Woodwind Quintets plus Schulhoff, Divertissement; Pillin, Stein, Heussenstamm Complete 24 Reicha WW Quintets CD353: Sextuor à Vent, by Milhaud, Heiden, Dubois, w/Harvey Pittel saxophone; plus Ibert, Rossini, DeWailly, Barthe, Arnold, etc. Klughardt, Quintet; on 12 CDs, more than 13 hours of CD250: Berio, Opus No. Zoo; plus Linn, Pillin, etc.; CD750: Barber, Summer Music; glorious music: Westwood Wind Ligeti, Six Bagatelles; Mathias, Quintet; & Carlson, Nightwings; CD751: Dahl, Barber, Ligeti, Carlson Quintet (John Barcellona, Flute) Allegro & Arioso; Husa, Serenade; Moyse, Quintet; & Sapieyevski, Arioso; CD752: Mathias Music by DAHL, HUSA, SAPIEYEVSKI, & MOYSE $%PQ r$%PQ r$%PQ Bergsma, Concerto; Rochberg, To the Dark Wood; Carter, Quintet; Schuller, Suite; r$%PQ r$%PQ r Schuman, Dances; Plog, Animal Ditties; CD647: Holst, Terzetto; Plog, Four $%PQ r$%PQ r$%PQ Miniatures; Sapieyevski, Concerto for Viola & Winds, with James Dunham, viola. r$%PQ r$%PQ r CD759: Tschemberdschi, Concertino; plus Ripper, Piston, Berger, Hartley, Kosins. $%PQ r$%PQ $%TFBDIt#PY4FU4QFDJBM “An accumulation of instrumental polish and important repertory over a “The Westwood Wind Quintet has a standard of ensemble long period has resulted in a treasurable sense of ensemble and musical playing that is nothing short of breathtaking.” International solidity.” Los Angeles Times “Extraordinary tone quality. The Westwood 3FDPSE3FWJFXtiFirst rate in every way” Washington DC Star performers manifest a technical nesse and a richness of tone one would “performances are consistently skilled and expert, normally expect only from a solo concert artist [CD601].” High Fidelity “Magni cent American group. Superlative playing [CD750]” Gramophone Music by DAHL, HUSA, well-balanced and expressive” The Clarinet, Bruce Creditor SAPIEYEVSKI, & MOYSE CDs US$16.95, One FREE w/purchase of 3 * Add $2/order for U.S. shipping, or US$10/order for foreign airmail. Crystal Records, 28818 NE Hancock, Camas, WA 98607 USAsPHONE sFAX At select dealers, or order (check, Visa, MC, Discover) by phone, fax, email, mail, or at www.crystalrecords.com www.crystalrecords.com; email: [email protected] Hear sound samples and see new releases at www.crystalrecords.com The 2013 NFA Convention celebrates the coalescence of cultures and the freedom of renewed spirit in the Crescent City. Solo and chamber concerts, flute ensemble performances, masterclasses, and wellness and pedagogy events—including the introduction of the Swamp Jazz and Gumbo Flute Orchestras—will abound. All these are in addition to your relaxing Beignet Time.*

*Beignet Time is down time—when you can rest, grab some beignets and coffee, and enjoy friends. The Recover Your Rhythm Room will be available for meditation or massage.

We are excited about every aspect of this convention, both the instruction from an array of masters and clinicians; the events you are accustomed to and expect from a great con- Maestro series, where the teaching of internationally recog- vention—including the Gala concerts, a great exhibition hall, nized pedagogues will be discussed and shared; and a pletho- presentations throughout the days on everything from jazz to ra of Flute Ensembles from all over the world! wellness to baroque to pedagogy, and so much more—and Be sure to keep up-to-date with the latest info at many new creations. nfaonline.org/Annual-Convention/ and on our Facebook page. These new offerings include your Beignet Times; new flute You will want to be in that number when the flutes come orchestras (the Gumbo and the Swamp); “Masterclass Lagniappe,” an extra masterclass designed for amateurs, col- marching in! lege and high school students, flute aficionados, and others that will allow attendees to drop in for individual advice and —Tadeu Coelho and Krisztina Dér

Schedule of Events ALL EVENTS IN THE MARIOTT NEW ORLEANS

Wednesday, August 7 (pre-convention activities)

La Galleries Instrument Security Room Distinguished Service Award Recipient, Foyer Available from Wednesday 12 pm to and coordinated by Kathy Farmer. (2nd Floor) Sunday 11 pm Participation is open to all NFA members as long as there is space available. Pre- registration for the entire convention 3–6 pm Registration for Pre-Registered is required of all participants. To play, Registration Attendees please sign up in advance; visit the Desk (2nd Floor) convention section at nfaonline.org.

4–5:30 pm Jambalaya Flute Orchestra Rehearsal 5–10 pm Young Artist Competition: Carondelet Kick off this year’s festivities by performing Balcony L Preliminary Round (3rd Floor) in this annual flute orchestra event, this (4th Floor) Preliminary Round participants are year directed by Angeleita Floyd, our Jessica Anastasio, Jesus Castro, Amanda

38 The Flutist Quarterly Summer 2013 nfaonline.org PROGRAM AND SCHEDULE SUBJECT TO CHANGE Hubert Laws Leone Buyse Barthold Kuijken

Chavis, Yerim Choi, Rianna Cohen, Thursday, August 8 Lyndsay Eiben, Emi Ferguson, Jessica Gist, Lauren Harris, Hea Ri Kim, Min 8 am–5 pm Registration Hee Kim, Bal Eum Lee, Natasha Loomis, Registration Joanna Martin, Kristen McGuire, Desk (2nd Floor) Bethany Padgett, Jennifer Piper, Matthew Ross, Brendan V. Ryan, Enrico La Galleries Instrument Security Room Sartori, Xue Su, Cobus du Toit, Patrick Foyer Available from Wednesday 12 pm to Tsuji, Chao Wang, and Kathleen (2nd Floor) Sunday 11 pm Winters, with alternates (in order) Kate Lemmon, Luke Sattler, Aaron Perdue, Rhythm Room Recover Your Rhythm Hyeryung Lim, Sarah Carrier, and Felix (2nd Floor) Massages and meditation offered by the Niël. Virginia Broffitt, coordinator. Performance Health Care Committee. Hotel Lobby Free Wireless Internet! 6–7 pm Volunteer Welcome and Orientation (1st Floor) Riverview Hosted by Program Chair Tadeu Coelho (41st Floor) and Local Volunteer Chair Sarah M. 8–8:45 am Jambalaya Flute Orchestra Warm-up Gill Schettler. All are welcome to join Carondelet the convention’s volunteer team. We (3rd Floor) need you! Assignments and important information for all volunteers will 8:45–10 am Confluence of Cultures & Perseverance Carondelet of Spirit Opening Festivities: NFA 2013 be discussed. (3rd Floor) Annual Meeting and Jambalaya Flute Orchestra Concert 7–8 pm First-Time Attendees Orientation Meet NFA officers, board members, and Napoleon Suite Receive tips for making the most out of candidates for office, with President Beth (41st Floor) your first convention! Hosted by Krisztina Chandler presiding. A concert featuring Dér, 2013 assistant program chair, and the Jambalaya Flute Orchestra immediate- Philip Dikeman, 2014 program chair for ly follows, with Angeleita Floyd, conduc- the Chicago convention. tor, and soloists Jim Walker. Antonio Carrasqueira (Brazil), and piccoloists 7–9 pm Registration for All Attendees Sarah Jackson and Christine Erlander Registration Welcome! Beard. Kathy Farmer, coordinator. Desk (2nd Floor) 9 am–12 pm High School Soloist Competition: 8–10 pm Jambalaya Flute Orchestra Rehearsal Salon F Final Round Carondelet See 4 pm listing for details. (3rd Floor) Finalists are Michael Alampi, Chung Eun (3rd Floor) Chae, Ashley Cho, You Hyun Cho, Kristen

THURSDAY, AUGUST 8 nfaonline.org Summer 2013 The Flutist Quarterly 39 National Flute Association 41st Annual Convention New Orleans, Louisiana, August 8–11, 2013

Celtic Krewe Marianne Gedigian

Fang, JiHyuk Park, Yibiao Wang, and 10:30-11:45 am Flute Ensemble Concert Catherine Winters; alternates are Melissa Salon D Featuring the University of Wisconsin- Cheng and Juree Kim. Cristina Ballatori, (3rd Floor) Madison Flute Choir performing a world coordinator. premiere by Jonathan Cohen and other mostly recent works by Schickele, Lauf, 9:15–9:40 am Exhibitor Showcase: Important Features Jr., and Doran, and the Frost Flute St. Charles and Services to Consider Before Buying Ensemble performing a world premiere (41st Floor) a Headjoint by Sam Pilafian, a work by Dennis Kam, Sanford Drelinger, presenter. Drelinger and recent works written for the ensem- Headjoint Company. ble by Hindman, Monroe, and Sleeper.

10 am–5:30 pm Visit the Exhibits 10:30–11:45 am Masterclass (Open): Wil Offermans Preservation Hall Be sure to take advantage of this free hour Balcony L This masterclass, open to all NFA post- & La Galleries to visit the Exhibit Hall. Stop by the NFA (4th Floor) graduate amateur flute enthusiasts Exhibit Hall Booth, say hello, and let us know how attending the 2013 New Orleans conven- (2nd Floor) much you are enjoying the convention. tion, will feature flutist/composer Wil Offermans teaching students his compo- 10–10:25 am Exhibitor Showcase: Yamaha sitions, in particular “Honami,” which St. Charles Corporation of America includes extended techniques like har- (41st Floor) Keisuke Tanaka, presenter. Yamaha monics, bamboo tones, and wind tones. Corporation of America.

10–10:30 am Beignet Time! 10:30–11:45 am Swamp Jazz Flute Orchestra Rehearsal Down time, when you can rest, grab some Regent The Swamp Jazz Flute Orchestra in beignets and coffee, and enjoy friends. (4th Floor) rehearsal with Ali Ryerson, director. The Recover Your Rhythm Room will be available for meditation or massage. 10:30–11:30 am Graduate Research Competition Napoleon Suite Presentation 10:30–11:45 am Solo Concert: Music from Around (41st Floor) The winner will present a summary of Carondelet the World her dissertation: Producing Incantations: A (3rd Floor) Works from Argentina, Brazil, U.S., Spain, Practical Guide to Performing Salvatore and Finland performed by Mariana Sciarrino’s Solo Flute Music by Roberta Stratta Gariazzo, Cecilia Piehl Price, Qiao Michel (DMA, City University of New Zhang, Su Lian Tan, Jennifer Grim, and York, 2012). Jessica Raposo, coordinator. Shelley Binder. 10:30–11:45 am Restore, Relax, Preserve: Massage 10:30–11:45 am Chamber Concert Lafayette Suite Therapy as part of the Musical Athlete’s Acadia Works by Daniel Adams, John C. Griffin, (41st Floor) Repertoire (3rd Floor) Bill Douglas, Thea Musgrave, Alexandre Restore your body, mind, and spirit. Eisenberg, and William Grant Still per- Come discover how the different modali- formed by The Extreme Duo, Alison ties employed by massage therapists can Brown Sincoff, Qiao Zhang, Alexandre be a wonderful addition to your regular Eisenberg, and Jill Heyboer. practice routine.

40 The Flutist Quarterly Summer 2013 nfaonline.org PROGRAM AND SCHEDULE SUBJECT TO CHANGE Program and schedule subject to change THURSDAY

John Barcellona Woodbridge Flute Choir

10:30–11:30 am Flute Orchestra Reading Session: 12:30–1:45 pm Workshop: Special Fingerings Riverview Kathy Farmer Acadia Christine Potter, Jan Gippo, and Robert (41st Floor) This reading session will cover a wonder- (3rd Floor) Dick share their practical insights in the ful array of exciting and new composi- realm of special fingerings for all mem- tions specially selected for this NOLA bers of the flute family. convention. Bring your music stand, your petite flute, and your bass and alto flûtes! 12:30–1:45 pm Flute Ensemble Concert Salon D Featuring Pipe Dream Flutes & Friends, 11:30–11:55 am Exhibitor Showcase: Miyazawa Flutes (3rd Floor) Baylor Chamber Flutes, and the Calliope St. Charles Michel Bellavance, presenter. Miyazawa Flutes. World premieres of works by Scott (41st Floor) Flutes. McAllister and Danny Ursetti. 11:45 am–12:30 pm Baião on the Bayou: Choro in New Orleans Hotel Lobby Featuring the exciting and beautiful 12:30–1:45 pm The Brazilian Choro and Altamiro (1st Floor) Brazilian style of choro compositions by Salon F Carrilho Pixinguinha, Altamiro Carrilho, Jacob (3rd Floor) The history of choro and a special feature do Bandolim, Hermeto Pascoal, and on the great Brazilian choro player other great choro composers, as well as Altamiro Carrilho presented by Julie a premiere of the original composition Koidin, Fernando Brandão, and ensemble “Baião on the Bayou” by ensemble Choro de Ouro. Choro de Ouro. 12:30–1:45 pm Chamber Concert 11:45 am–12:30 pm Flute Ensemble Concert Balcony L Featuring music by Mower, Felsenfeld, La Galleries Foyer Featuring the Brazos Breeze and the (4th Floor) Batznerand, and Amsel. Perfomers (2nd Floor) Greater Dallas Youth Orchestra Flute include Ciraldo Duo, PanTones Flutes, Choirs. World premieres of works by Meerenai Shim, Tammy Evans Yonce, Peter Lieuwen, David Wilborn, Christine and Alexis Del Palazzo. Potter, Deborah Anderson, Ermanno Wolf-Ferrari, and Mary Alice Rich. 12:30–1:45 pm Lecture/Panel: Training Yourself to Napoleon Suite Become a Better Musician 12:15–12:40 am Exhibitor Showcase: Something Classic, (41st Floor) Become Your Own Best Teacher & Tools St. Charles Something Cool; Perlove and Ryerson for Self-Motivation and Self-Evaluation. (41st Floor) Chance to win the new “Stinger” piccolo! Nicole Esposito and Naomi Seidman Nina Perlove and Ali Ryerson, presenters. Gemeinhardt Musical Instruments, LLC will lead this event exploring how to practice, evaluate, and motivate yourself 12:30–1:45 pm Solo Concert and your students. Carondelet Zart Dombourian-Eby, Marianne (3rd Floor) Gedigian, Marco Granados, and Carol 12:30–1:45 pm How to Get Your Hearing Screened Wincenc perform an array of exquisite Lafayette Suite If you haven’t yet obtained a baseline flute repertoire, including the premiere (41st Floor) hearing test, come and learn about this of Gary Schocker’s Piccolo Sonata No. 2, essential procedure that will help you with Schocker himself at the piano. protect your hearing during your lifetime.

THURSDAY, AUGUST 8 nfaonline.org Summer 2013 The Flutist Quarterly 41 National Flute Association 41st Annual Convention New Orleans, Louisiana, August 8–11, 2013

Keith Underwood University of Nebraska at Kearney Flute Choir

1–1:25 pm Exhibitor Showcase: Our Flutemakers teaching and performing during a St. Charles Are Flute Players challenging time in Argentina. This (41st Floor) Burkart Artist Jim Walker challenges event will present his distinct teaching Burkart flutemakers Ethan Lin and Laura style along with performancing and Feltus in a friendly improvisational exhi- recordings throughout South America, bition. Ethan Lin, Jim Walker, and Laura Scandinavia, and the United States. Feltus, presenters. Burkart Flutes & Presented by Cecília Price and Lars Piccolos Nilsson himself.

1:45–2:10 pm Exhibitor Showcase: Nagahara Flutes 2:30–4 pm Masterclass: Barthold Kuijken— St. Charles Geraldine Morilla Barazarte, presenter. Balcony L Modern Flute (41st Floor) Nagahara Flutes NNI, Inc. (4th Floor) Lifetime Achievement Award recipient Barthold Kuijken shares his insights on 1:45–2:30 pm Beignet Time! how to perform Baroque music on the modern instrument while maintaining an 2:30–4 pm Solo Concert: Italian Influences and informed approach to the style. Featuring Carondelet Beyond Roya Farzaneh, Margaret Gregory, and (3rd Floor) Raffaele Trevisani, Angela Jones-Reus, Hannah Hammel, winners of the 2013 and Nicola Mazzanti explore Italian and Masterclass Performers Competition. Italian-influenced repertoire for flute Rebecca Hovan, coordinator. and piccolo. 2:30–4 pm Lecture: Wellness 2:30–4 pm Chamber Concert: Music for Flute Napoleon Suite Sandra Cox presents The Healthy Flute: Acadia & Strings (41st Floor) how injuries occur and how to prevent (3rd Floor) Patti Adams, Patricia Spencer, Virginia them. Learn about the most commonly Broffitt, Christina Guenther, and seen injuries in flutists and how to detect, Matt Johnston present a varied concert treat, and prevent them. This will be fol- for flute and strings. Works by Musgrave, lowed by Karen Lonsdale’s lecture on Peak Tower, Villa-Lobos, Mozart, Pucihar, Performance: Understanding and Bolling, and Graupner. Managing the Physical Challenges of Flute Playing. This lecture also explores the 2:30–4 pm Flute Ensemble Concert implications for teachers and performers. Salon D Featuring the Texas Woman’s University/ (3rd Floor) Brookhaven Flute Choir, the Raines 2:30–4 pm Workshop: Brazilian Choro Ensemble, and the Flute Choir of Atlanta. St. Charles Suite An introduction to the basics of choro World premieres of works by Kathy (41st Floor) style and understanding different grooves, Farmer, Jonathan Cohen, Peter Senchuk, including Baião and Maxixe and their use and Robert Raines. in Choro. This will be a discussion on historical importance, classical and 2:30–4 pm Maestro Series: Lars Nilsson Afro-Brazilian influences, and stylistic Salon F A Swedish Light in Argentina: A presentation issues such as ornamentation and (3rd Floor) of Swedish-born Lars Nilsson’s 47 years of improvisation. Presented by Jane Lenoir.

42 The Flutist Quarterly Summer 2013 nfaonline.org PROGRAM AND SCHEDULE SUBJECT TO CHANGE Program and schedule subject to change THURSDAY

Southern Miss Flute Choir Aaron Goldman

2:30–4 pm Lecture: Audition Preparation sheet music: computers, content, contain- Lafayette Suite Got a month before the Big Event? Linda ers, and controllers. An emphasis will be (41st Floor) Chatterton guides you through the five placed on digital solutions for low-vision crucial elements of preparedness. Learn musicians. Next, Shelley Binder lectures how to create pre-performance routines on the 21st-Century Digital Flute Studio: and use specific techniques before, dur- Learning how to integrate new technolo- ing, and after your event to create a beau- gies into your teaching, performing, and tiful artistic performance. studio record keeping.

4–5 pm Visit the Exhibits 5–6 pm Lecture: Choro & Benedicto Lacerda Preservation Hall & St. Charles Suite Julie Koidin presents material from her La Galleries Exhibit (41st Floor) doctoral dissertation on Brazilian flutist Hall (2nd Floor) Benedicto Lacerda, Altamiro Carrilho’s predecessor and a trend setter in the 5–6 pm Solo & Chamber Concert choro genre during its “Golden Age” in Acadia Music by Dohnanyi, Denisov, DuFord, the 1920s–50s. (3rd Floor) Scott, and Rocherolle performed by Nicole Esposito, Diane Boyd Schultz, and 5–6 pm Workshop: Dalcroze the Monmouth Winds. Lafayette Suite In this movement-based workshop, basic (41st Floor) Dalcroze concepts will be explored, 5–6 pm Flute Ensemble Concert including practical applications for incor- Salon D Featuring the Beijing Flute Choir, porating Dalcroze principles in both the (3rd Floor) GuoLiang Han director, performing classroom and private lesson settings and Chinese and Western music. in your practice routine. Feel free to come barefoot or wear dance shoes. 5–6 pm Maestro Series: Keith Underwood Salon F Underwood will discuss breathing, 5:15–6 pm 2012 Young Artist Winner Recital: (3rd Floor) embouchure, vibrato, articulation, and Balcony K Laura Kaufman relaxed use of hands with playing and use (4th Floor) Hear 2012 YAC winner Laura Kaufman of breath builders to address technical perform works by Telemann, Françaix, issues “away from the flute.” Bring instru- Gaubert, Beethoven, and Jolivet. ments and breathing devices. Assistance and tech support by Mary-Ann Tu. 5:45 pm NFA Dine-Around for New Convention Hotel Lobby Attendees 5–6 pm Flute & Guitar Concert (1st Floor) In memory of Myrna Brown. Balcony L Music by Piazzola, Porto Alegre, Peixoto, (Meet in lobby.) (4th Floor) and Pascoal performed by Viviana Guzman, Rogério Wolf, and Jane Lenoir. 6–6:45 pm Beignet Time!

5–6 pm Lecture: Technology 6:15–7 pm Gumbo Flute Orchestra Rehearsal Napoleon Suite Hugh Sung will explore the “4 Cs” of Riverview The Gumbo Flute Orchestra in rehearsal (41st Floor) everything you need to know about digital (41st Floor) with Aaron Goldman, conductor.

THURSDAY, AUGUST 8 nfaonline.org Summer 2013 The Flutist Quarterly 43 National Flute Association 41st Annual Convention New Orleans, Louisiana, August 8–11, 2013

Ransom Wilson Penn State University Flute Choir

6:45–7:30 pm Pre-Gala Concert La Galleries Instrument Security Room Salon D Barthold Kuijken, Wil Offermans, Robert Foyer Available from Wednesday 12 pm to (3rd Floor) Dick, and Greg Pattillo mesmerize with (2nd Floor) Sunday 11 pm their instrumental ornamentation and improvisation prior to the Gala concert. Rhythm Room Recover Your Rhythm (2nd Floor) Massages and meditation offered by the 8–10 pm Opening Night Gala Concert: Performance Health Care Committee. Carondelet Jazzing up NOLA! (3rd Floor) This concert will feature Orlando “Maraca” Valle, Hubert Laws, Jim Walker, Hotel Lobby Free Internet Available Ali Ryerson, and the Jazz Flute Big Band! (1st Floor) Whether you are a jazz aficionados or not, this unforgettable night will excite 7:30–9:30 am Workshop: Career you. Also featuring the JFBB Competition Napoleon Suite The Career and Artistic Development winners. Ali Ryerson, coordinator. (41st Floor) Committee will present interactive workshops on how to build your artistic 10:30 pm–12 am Jazz Cabaret online profile (7:30 –8:30) and how to Carondelet Join the Billy Kerr Quartet for an exciting make the most of your international (3rd Floor) evening of jazz! opportunities (8:30–9:30) with featured 10:30 pm–12 am Workshop: Irish guest Alice K. Dade. Ellen Johnson Salon F Bring your instruments (flutes, whistles, Mosley, chair. (3rd Floor) or anything else appropriate) and share some tunes! Andra Bohnet will lead a tra- 8–9:30 am Masterclass: Sophie Cherrier ditional Irish session and get everybody Carondelet Professor at the Paris Conservatoire and playing jigs and reels together. Players of (3rd Floor) soloist with the Ensemble Intercomtem- any ability and experience level can par- porain de Pierre Boulez, Sophie Cherrier ticipate. Sláinte! will share her expertise with us. Featuring Lauren Asimakoupoulos, Charlotte Baik, 10:30 pm–12 am The Flute in Jazz: Window on World Gabriella Roderer, and Leo Sussman, win- Balcony L Music, A Film by Peter Westbrook ners of the 2013 Masterclass Performers (4th Floor) Join us for a screening of this documen- Competition. Rebecca Hovan, coordinator. tary movie. Seven years in the making, The Flute in Jazz: Window on World Music 8–9:30 am Sunrise Concert is an overview on film of an entire genre Acadia Start your morning with an assortment of of flute performance. (3rd Floor) solo, chamber, premiere, and performance art works featuring the flute. Friday, August 9 Performers include Melissa Colgin- Abeln, the Ambrosia Trio, the 8 am–5 pm Registration AronBerkner Duo, Wayla J. Chambo, the Registration Gemini Flute Duo, Alicia Kosack, Zara Desk (2nd Floor) Lawler, and Verbal Transcription.

44 The Flutist Quarterly Summer 2013 nfaonline.org PROGRAM AND SCHEDULE SUBJECT TO CHANGE Program and schedule subject to change FRIDAY

Fernando Brandão Sophie Cherrier Marco Grenados

8–9:30 am Flute Orchestra Reading Session: 9:30–10:45 am Swamp Jazz Flute Orchestra Rehearsal Salon D Danilo Mezzadri Riverview The Swamp Jazz Flute Orchestra in (3rd Floor) Please bring your flutes and music stand (41st Floor) rehearsal with Ali Ryerson, conductor. and join us! 9:30–10:15 am Beignet Time! 8–9:30 am Morning Warm-up: Beauty of Tone, Salon F Beauty of Technique 10 am–5:30 pm Visit the Exhibits (3rd Floor) Join Lorna McGhee of the Pittsburgh Preservation Hall Symphony for an hour and a half of & La Galleries morning warm-ups, the first half focused Exhibit Hall on tone production, the second on tech- (2nd Floor) nical exercises. 10–10:25 am Exhibitor Showcase: Gary Schocker 8–9:30 am Lecture: Passion and Practice St. Charles In Concert Balcony L Join us for two 40-minute lectures. Julie (41st Floor) The William S. Haynes Company (4th Floor) Troum will present on training the pas- (1888–2013), now in its 125 Anniversary sionate flutist, followed by Katherine Year, is pleased to present Haynes Artist Isbill presenting on the root of the Gary Schocker performing his own “Practicing Predicament”; uncover how compositions, accompanied by Fumi to solve excuses from your students in Kuwajima, pianist. Gary Schocker, your teaching studio. presenter. Haynes Flute Co. 10:15–11:30 am Solo Concert: La flûte française 8–9:30 am Workshop: Expanding Spirit via Carondelet Join Cristina Ballatori, Sophie Cherrier, Lafayette Suite Breath—Pranayama Practices for (3rd Floor) Trudy Kane, Sibel Pensel, and Ransom (41st Floor) Wind Players Wilson in a program made up entirely of This workshop, presented by Susan French flute repertoire. Works by Fauré, Mayer, will provide different ways to alter Gaubert, Debussy, Chaminade, and control your mind, body, and spirit. Boulanger, and Jolivet. Dress comfortably to experience a yoga practice that will expand your spirit. 10:15–11:30 am Chamber Concert: Flute and Harp Acadia Featuring the Brazos Ensemble, the 9 am–12:30 pm Young Artist Competition: (3rd Floor) Lyrebird Ensemble, Sarah Schettler Balcony K Semi-Final Round and Catherine Anderson, and the (4th Floor) Virginia Broffitt, coordinator. Triskilion Trio.

9:15–9:40 am Exhibitor Showcase: Woodwinds: 10:15–11:30 am Flute Ensemble Concert St. Charles Protecting your Passion Salon D Featuring the Penn State University (41st Floor) Learn more about protecting your instru- (3rd Floor) Flute Choir, the Pittsburgh Professional ment with specialized insurance coverage, Flute Choir, and the Florida Flute designed specifically for the musician. Orchestra. World premieres of works by Heather Wahl, presenter. Clarion Mark Ballora, Gay Kahkonen, and Associates, Inc. Laurence Dresner.

FRIDAY, AUGUST 9 nfaonline.org Summer 2013 The Flutist Quarterly 45 National Flute Association 41st Annual Convention New Orleans, Louisiana, August 8–11, 2013

Billy Kerr Ceci Price Gary Schocker

10:15–11:30 am Floyd’s Flutastic Flutes research into the efficacy of these Salon F Join us for a celebration of the teaching approaches. Patricia Lee, J.D., and (3rd Floor) career of Distinguished Service Award Alexander Gimon, PhD. recipient Angeleita Floyd through performances by her prize-winning and suc- 10:45–11:10 am Exhibitor Showcase: Children, Games, cessful students and tributes by close St. Charles Movement, & FUN with KinderFluteTM friends and colleagues. (41st Floor) In Concert Discover how quickly children progress 10:15–11:30 am Lecture: Acoustics & Schulhoff’s when taught in an engaging and loving Balcony L Concertino environment. Learn how to energize your (4th Floor) Join Marco Granados for a lecture on teaching through pursuing a career as a acoustics followed by a lecture recital by KinderFlute teacher. Kathy Blocki, presen- Carmen Lemoine exploring how the ter. Blocki Flute Method LLC. seemingly opposing styles of Dada, Expressionism, and folksong intersect in 11:30–11:55 am Exhibitor Showcase: Celebrating the post-WWI Czech composer Erwin St. Charles 90th Anniversary of Muramatsu Flutes Schulhoff’s Concertino for flute, viola, (41st Floor) A history of the world’s largest profes- and double bass. sional flutemaker and its American dis- tributor. Gifts for all attendees! Ervin 10:15–11:30 am Lecture: A Gem of a Sound & Monroe, presenter. Muramatsu America. Napoleon Suite Sound Sheets (41st Floor) Patricia George lectures on how you can find and keep your singing, ringing sound 11:30 am–12:15 pm Flute Ensemble Concert and how to make the best choice of what Hotel Lobby Featuring the John Marshall Fife and sound to use for each style period. (1st Floor) Drum Corps performing music from the Followed by Terri Sanchez lecturing on a era of the War of 1812, including tradition- creative tool that makes abstract concepts al tunes from the Creole, French, and fron- surrounding flute tone more tangible and tier traditions, followed by the Deja Flute accessible, which she calls “sound sheet.” Ensemble performing five world premieres Having a personalized sound sheet can of works by composers Lauryn Gould, inspire you every time you practice. After Gordon Jones, Jen McLachlen, Matthew the presentation, enjoy creating your O’Neill, and P. Kellach Waddle. beautiful new sound sheet! 11:30 am–12:15 pm Flute Ensemble Concert 10:15–11:30 am Workshop: Your Brain and La Galleries Foyer Featuring the Atlanta Metro Youth Flute Lafayette Suite Music—The Neurology of Music (2nd Floor) Choir and the University of Texas- (41st Floor) Acquisition/Performance Brownsville Flute Choir. World Premiere Experts in neurology and neuropsychology by composer Mathew Campbell. will explain neurological functions during musical acquisition and performance and 11:30 am–1 pm Flute Lover’s Luncheon: Ali Ryerson provide an outline of the common treat- Riverview Enjoy lunch and conversation with fellow ment modalities for such injuries and (41st Floor) flute enthusiasts. Ali Ryerson, guest speaker.

46 The Flutist Quarterly Summer 2013 nfaonline.org PROGRAM AND SCHEDULE SUBJECT TO CHANGE Program and schedule subject to change FRIDAY

Pierre-Yves Artaud Pipe Dreams Flutes

12:15–1:45 pm Solo Concert: Music from Overseas Sarah Frisof, John Bailey, Timothy Carondelet Featuring János Bálint, Michel Bellavance, Hagen, Ann Fairbanks, Mary Matthews, (3rd Floor) Sophie Cherrier, and Nobutaka Shimizu and Lynne Stukart. George Pope, performing works by Liszt, Taktakishvili, coordinator. Taffanel, Szervansky, Berio, Mantovani, Schubert, and Fruhling. 12:15–1:45 pm Lecture: The Pedagogy of Aitken Napoleon Suite and Cavally 12:15–1:45 pm Chamber Concert (41st Floor) William Egnatoff discusses the pedagogy Acadia Featuring the Brazos Ensemble, Jan of Robert Aitken, followed by a presen- (3rd Floor) Gippo, Sandra K. Lunte, the Miami tation by Bootsie K. Mayfield on the life, Chamber Orchestra, Quinteto Brasilis, teaching, and works of master teacher and Terra Voce. World premieres of and pedagogue Robert Cavally. works by Liduino Pitombeira and Jose Participants included: Mark Thomas, Agustin Sanchez; NFA premiere of work Leonard Garrison, Joan Cavally, and by Asha Srinivasan. Ronda Ford.

12:15–1:45 pm Flute Ensemble Concert 12:15–1:45 pm Panel Discussion: New Music for Flute Salon D Featuring Flute Eire (Ireland) and the Lafayette Suite Ensemble (3rd Floor) Woodbridge Flute Choir. World pre- (41st Floor) Trudy Kane will discuss with composers mieres of works by Glen Austin, John Thomas Sleeper, Dorothy Hindman, Buckley, and Greg Lutz. Ervin Monroe, Dennis Kam, and Sam Pilafian the very different avenues each 12:15–1:45 pm Masterclass: Pierre-Yves Artaud & took to writing for flute ensemble. Salon F Greg Pattillo (3rd Floor) The first half of this masterclass is 1–1:25 pm Exhibitor Showcase taught by Paris Conservatory professor St. Charles Jose Valentino, presenter. Trevor James of flute Pierre-Yves Artaud, featuring (41st Floor) Flutes. Bridget Bertoldi and Terence Teow, winners of the 2013 Masterclass 1:45–2:10 pm Exhibitor Showcase: Flute 103: Performers Competition; Rebecca St. Charles Mastering the Basics with Patricia Hovan, coordinator. This event is (41st Floor) George & Phyllis Avidan Louke followed by an open masterclass on Bring your flute and discover how to use flute beatboxing with Greg Pattillo. this method in teaching and practice. Flute 103 integrates etudes, solo reper- 12:15–1:45 pm Remembrance and Healing Concert toire, excerpts, duets, preluding, and Balcony L A concert of music performed in memory contemporary techniques with activities (4th Floor) of loved ones lost and cherished, and to develop tone, vibrato, technique, and dedicated to their families, friends, and musicianship in this innovative interme- mentors who have inspired us. diate flute method. Patricia George and Performers include Paige Dashner Long, Phyllis Avidan Louke, presenters. Jane Berkner, Judy Moore, George Pope, Theodore Presser Company

FRIDAY, AUGUST 9 nfaonline.org Summer 2013 The Flutist Quarterly 47 National Flute Association 41st Annual Convention New Orleans, Louisiana, August 8–11, 2013

Antonio Carresquiera Sarah Jackson Orlando “Maraca” Valle

1:45–2:30 pm Beignet Time! Performers Competition Allison Jayroe, Samantha Marshall, Seung Jae Yoo, and 2:30–4 pm New and Newly Concert: Just Published Ryan Zerna play for Raffaele Trevisani. Carondelet & NFA Novelties Rebecca Hovan, coordinator. (3rd Floor) Leone Buyse and Gary Schocker perform new NFA premieres, and flutists chosen 2:30–4 pm Solo Concert from the Convention Performers Balcony L Featuring performers Jasmine Choi, Competition perform winning works from (4th Floor) Aaron Goldman, Christina Jennings, and the Newly Published Music Competition. Sibel Pensel. Sally Humphreys, Convention Performers 2:30–4 pm Workshop: Low Flute Health Competition coordinator, and Danilo Napoleon Suite Bring your low flutes and invest in your Mezzadri, Newly Published Music (41st Floor) BIG flute performance health! Try alto Competition coordinator. and bass flute supports, which might help you play with more ease and comfort, in 2:30–4 pm Flute Ensemble Concert the opener sponsored by the Health Care Acadia Featuring the University of Veracruz Flute Committee. Then join a panel organized (3rd Floor) Ensemble, the University of South by Marilyn First with Ann Lindquest, Alabama Celtic Krewe, and the Mercer Pam Nelson, and doctors Michael S. University Flute Choir. World premieres Weinstein, Chip Shelton, and Michael of works by composers Ruben Flores and Treister on posture and holding the flute. David Harned Johnson. 2:30–4 pm Workshop: Self-Compassion and High 2:30–4 pm Jazz Masterclass: Orlando “Maraca” Valle St. Charles Suite Performance Standards—Are They Salon D Cuban jazz flutist and Downbeat award- (41st Floor) Compatible? (3rd Floor) winner Orlando “Maraca” Valle will instruct Do you self-criticize and expect unrealis- winners of the Jazz Masterclass Performers tic results, causing an inability to perform Competition Dominique Gagné, Remigijus to your potential? This workshop by per- Kazukauskas, and Richard Warner. Bryan formance anxiety coach Helen Spielman Kennard, coordinator. helps ameliorate discouragement and reconnect you to your innate humanity 2:30–4 pm Maestro Series: Aurèle Nicolet—2013 while still seeking excellence. Salon F Lifetime Achievement Award Recipient (3rd Floor) The pedagogy of Aurèle Nicolet is cele- 3–4 pm Committee Chairs Meeting brated in this presentation that includes Layfayette performances and tributes by his former students. Featuring Eva Amsler, Mikael 4–5 pm Visit the Exhibits Helasvuo, Karl-Heinz Schütz, and Preservation & Jean-Michel Tanguy. La Galleries

2:30–4 pm Masterclass Performers: 4–4:45 pm Gumbo Flute Orchestra Rehearsal Balcony K Raffaele Trevisani Regent The Gumbo Flute Orchestra in rehearsal (4th Floor) Winners of the 2013 Masterclass (4th Floor) with Aaron Goldman, conductor.

48 The Flutist Quarterly Summer 2013 nfaonline.org PROGRAM AND SCHEDULE SUBJECT TO CHANGE Program and schedule subject to change FRIDAY

GuoLiang Han Davis Youth Flute Choir

5–6 pm World Premieres Concert ance. Marianne Gedigian will open with a Acadia Join performers Christine Beard, Lisa warm-up for all attendees followed by the (3rd Floor) Bost-Sandberg, Linda Chatterton, Wayla masterclass. Jedel Butoy, Melissa Cheng, Chambo, Derek Charke, Immanuel Davis, and Zachary Osinski will perform works Shivhan Dohse, Mina Ghobrial, Sonja by Faure, Dutilleux, and Nielsen. Giles, Erica Peel, Kate Prestia-Schaub, and Verbal Transcription for a program made 5–6 pm Wellness Lecture: Flutist Throatscope— Napoleon Suite Observations from the Inside up entirely of world premieres! Be the (41st Floor) The flutist’s throat—from the inside! See first to hear new compositions by Charke, and hear the inner laryngeal workings of Gerraughty, Halaka, Itoh, Kennedy, Bost- 15 performing flutists playing their Sandberg, Scharf, and Zaretsky. instruments through this wellness lec- 5–6 pm Umibue-no-kai Flute Orchestra Concert ture/question presentation of the MM Salon D Come and listen to this Japanese female project of Bethany Davis. (3rd Floor) flute orchestra in a program featuring all- 5–6 pm Workshop: Play Jazz in One Hour! From U.S. premieres. Katsuko Matsuyama, St. Charles Suite Basics to Blues and Technology Tools director, Nobutaka Shimizu, conductor. (41st Floor) In this fun and quick-paced session, you 5–6 pm Maestro Series: João Dias Carrasqueira will learn the basics of playing jazz and Salon F Flautosofi (“flautosophy”) is a word created what tools you can use to continue the (3rd Floor) by Brazilian professor João Dias process if you want to keep learning. Carrasqueira (1908–2000) to describe his Amazing tools are available that make own philosophy and methodology of this whole process convenient and fun, teaching the flute as a tool for achieving a and even more importantly, there are powerful ideas that are essential for suc- better quality of life through excellence in cess when learning jazz as an adult. Bring musical performance, contributing to your flutes! What better place than New construction of a better world. Sharing Orleans to learn to start playing jazz! music with happiness, joy of life, and With Ron McCarley. belief that music is a precious form of art in a society where humans need to be in 5–6 pm Lecture on Pedagogy: Teaching Flute contact with their true emotions will, he Lafayette Suite Sectionals—Ten Activities for Success believed, lead to a better understanding of (41st Floor) Flutists are often asked to teach flute sec- the cultural pluralism of our times and in tionals or clinics in local schools. this way work for a more peaceful Whether working with a group weekly, world. Antonio Carlos and Maria José monthly, or just once a year, learn at least Dias Carrasqueira, presenters. ten activities that will improve the students’ intonation, tone, tonguing, and 5–6 pm Masterclass for High School Students: technique. With Phyllis Louke. Balcony L Marianne Gedigian (4th Floor) This masterclass will provide individual 6–7 pm Exhibitors’ Concert high school students with suggestions for Balcony K Come hear members of the flute industry improving all aspects of their perform- (4th Floor) in recital. Performers include Joan Sparks,

FRIDAY, AUGUST 9 nfaonline.org Summer 2013 The Flutist Quarterly 49 National Flute Association 41st Annual Convention New Orleans, Louisiana, August 8–11, 2013

Lars Nillson Sibel Pensel Robert Dick

Ellen Burr, Cathy Larson, Laura Osborn, La Galleries Instrument Security Room Emily Senchuk, Ervin Monroe, Nora Foyer Available from Wednesday 12 pm to Epping, Cindy Anne Broz, Rose Johnson, (2nd Floor) Sunday 11 pm Nicole Molumby, Shelley Collins, and Matt Johnston. Organized by Rebecca Johnson. Rhythm Room Recover Your Rhythm (2nd Floor) Massages and meditation offered by the 6:45–7:30 pm Pre-Gala Concert: OFF! Performance Health Care Committee. Arcadia Featuring L’Orchestre de Flûtes Français, (3rd Floor) conducted by Marc Haijar and Alain Hotel Lobby Free Internet Available Bancquart. World premieres of works by (1st Floor) Bancquart, Ida Heidel, Paul Méfano, and Alaine Moene. 8–9:45 am Workshop: Learning to Improvise Balcony L Bill McBirnie’s clinic will be of interest to 8–9:30 pm Gala Concert: 2013 Lifetime Achievement (4th Floor) beginning as well as advanced flutists who Carondelet Award Winner Barthold Kuijken wish to cultivate a plain and simple—but (3rd Floor) The Friday night gala concert features the relevant—means of coming to terms with master of the baroque flute—Barthold the entire process of improvising. Kuijken. Join Kuijken and harpsichordist Following, Jamie Baum’s workshop, “A Thomas Gerber for an exquisite evening Fear-Free Approach to Improvisation for of works for the flute from 18th-century the Classically Trained Flutist,” taught in England, Germany, and France. more than 25 countries since 1993, is designed to demystify the notion that one 10:30 pm–12 am Jazz Cabaret must be born with the talent to improvise Salon D Join Fernando Brandão for an evening of and “play by ear,” offering accessible tech- (3rd Floor) fabulous world jazz! niques and concepts that can be applied to any style of music, specifically for the 10:30 pm–12 am The Flute in Jazz: Window on World classically-trained flutist. Balcony L Music, A Film by Peter Westbrook (4th Floor) Join us for a screening of this documen- 8–9 am Teachers’ Breakfast: Jim Walker, tary movie. Seven years in the making, Riverview Guest Speaker The Flute in Jazz: Window on World Music (41st Floor) The Teachers’ Breakfast, in its fourth is an overview on film of an entire genre year, will continue the tradition of offer- of flute performance. ing a hearty breakfast and the opportunity to hear words of wisdom from a well-known flutist and pedagogue. This year’s speaker will be Jim Walker. Saturday, August 10 Sponsored by the Pedagogy Committee, Stacey Steele, chair. 8 am–5 pm Registration Registration 8:30–9:30 am Commercial Members Meeting Desk (2nd Floor) Layfayette

50 The Flutist Quarterly Summer 2013 nfaonline.org PROGRAM AND SCHEDULE SUBJECT TO CHANGE Program and schedule subject to change SATURDAY

Patricia Spencer Manuel Ruiz Ali Ryerson

8:30–9:45 am Concert: Flutes and Mutants Flutes Committee will provide the flutes Carondelet A concert made up of solo and chamber as well as the instruction. (3rd Floor) repertoire for all of the flute family—piccolo and low flutes included! Featuring 8:30–9:45 am Lecture: Memorization—Theory, Nina Assimakopoulos, Elizabeth Buck, St. Charles Suite Practice, and Performance Marcela DeFaria Casaubon, Carlos Feller, (41st Floor) Performing music without the concrete Jan Gippo, Billy Kerr, Margaret Cornils visual support of the written score can Luke, Magda Schwerzmann, Kristen be both an empowering and a frighten- Smith Stoner, and Szabolcs Szilágyi. ing experience. Learn Zara Lawler’s methodical and effective technique for 8:30–9:45 am Masterclass (Open): Lagniappe memorization, which can help take fear Acadia A little something extra—that’s what a out of the equation. (3rd Floor) lagniappe is. The “Masterclass Lagniappes” are open to all NFA post- 8:30–9:30 am Commercial Members Meeting graduate amateur flute enthusiasts attend- Layfayette ing the 2013 New Orleans convention. This class allows attendees to drop in for indi- 9:30–10:30 am Orchestral Audition Competition vidual advice and coaching. Everyone is Salon F Orchestra Audition Competition winners encouraged to bring flutes and questions, (3rd Floor) in masterclass with Leone Buyse. Finalists visit multiple stations, and receive instruc- are James Brinkmann, Meera Gudipati, tion from experts in a casual environment. and Erin Torres. Jennifer Parker-Harley, Featuring Katherine Kemler, Nancy coordinator. Stagnitta on “The Mind/Body/Flute Connection,” and Patricia George on “The 9:30–10:15 am Gumbo Flute Orchestra Rehearsal Art of the Prelude.” Riverview The Gumbo Flute Orchestra in rehearsal (41st Floor) with Aaron Goldman, conductor. Bring 8:30–9:45 am Flute Orchestra Reading Session: your music stands. Salon D Wendy Webb Kumer (3rd Floor) Wake yourself up with an energetic romp 9:45–10:30 am Beignet Time! through a wide range of old, new, and borrowed short flute choir pieces. This 10–10:25 am Exhibitor Showcase: Is it Really varied, exciting session promises to deliv- St. Charles Cheating, or Good Technique? er splendor and satisfaction with reper- (41st Floor) How to improve your technique and toire designed for instant gratification. performances with alternate fingerings. Bring your stands, your flutes, and your Bring your flute! Ervin Monroe, presen- enthusiasm. ter. Little Piper.

8:30–9:45 am Workshop: Getting Started on 10 am–5:30 pm Visit the Exhibits Napoleon Suite Baroque Flute Preservation Hall (41st Floor) Enjoy your very first Baroque flute lesson & La Galleries in the company of your colleagues. Linda Exhibit Hall Pereksta and members of the Historical (2nd Floor)

SATURDAY, AUGUST 10 nfaonline.org Summer 2013 The Flutist Quarterly 51 National Flute Association 41st Annual Convention New Orleans, Louisiana, August 8–11, 2013

10:30 am–12 pm Solo Concert that are interfering with your playing. In Carondelet Featuring Eva Amsler, John Barcellona, round-robin format, you will get a chance (3rd Floor) Mikael Helasvuo, Lorna McGhee, Karl- to ask individual questions and receive Heinz Schütz, Jean-Michel Tanguy, and feedback on possible treatment options. Carol Wincenc. Lea Pearson, Performance Health Care Committee chair. 10:30 am–12 pm Chamber Concert: World & NFA Acadia Premieres 10:30 am–12 pm Lecture: How to Practice and Making (3rd Floor) A concert composed of chamber reper- Lafayette Dreams Reality toire hot off the press! Featuring Areon (41st Floor) Join Christine Gustafson for a lecture on Flutes, the Blue Mountain Ensemble, Jan playing principles that really work all Gippo, In Sterio, and the Lyrebird the time for everyone, based on three Ensemble. World premieres of works by years of work with Daniel Coyle’s “The Lillios, Peel, Satterwhite, and Wilson. Talent Code.” Followed by a lecture by Debra Youngblood, “Transforming 10:30 am–12 pm Flute Ensemble Concert Dreams into Reality,” which presents a Salon D Featuring the Southern Miss Flute Choir, step-by-step process on how to explore, (3rd Floor) Slippery Rock University Flute Choir, and determine, personalize, and then trans- Low Flutes All-Stars. The Low Flutes fer your own musical dream into a real- Committee presents Ali Ryerson, Robert istic, actionable plan through imple- Dick, Leonard Garrison, and Chris Potter mentation and integration of multiple performing outstanding repertoire for dimensions of music practice. alto and bass flute. A Dixieland group made up of all low flutes playing arrange- 10:45–11:11 am Exhibitor Showcase: Flutes for Early ments by Ali Ryerson will be a convention St. Charles Music, Irish Music, and Boehm first. World premieres of works by (41st Floor) Headjoints Stephen Barr, Benjamin Boone, Liduino Hear flutes made by Peter Noy for early Pitombeira, and Matthias Ziegler. music and Irish music. Courtney Westcott, baroque flute; Leo Mac Namara, Irish flute. 10:30 am–12 pm Panel: Flute Ensemble Programming — Courtney Westcott and Leo Mac Namara, Salon E Spice It Up In New Orleans! presenters. Peter Noy Flutes. (3rd Floor) Flute choir directors from across the world share their secrets on how they “spice up” 11:30–11:45 am Exhibitor Showcase: Exploring Music their programs to gain an audience and St. Charles For Flute, Strings, and Harp keep them coming. Panelists include Kathy (41st Floor) Join us for a program of music scored for Farmer, Trudy Kane, Julie Maisel, and Kelly harp quintet (flute, violin, viola, cello, Via. Dolores August, moderator. harp), dedicated to the memory of longtime ALRY Publications arranger Bob 10:30 am–12 pm Orchestral Audition Masterclass: Litterell. Matt Johnston, presenter. ALRY Salon F Leone Buyse Publications. (3rd Floor) Leone Buyse leads winners of the Orchestral Audition Masterclass compe- 12–12:45 pm Orquesta de Flautas de Las Américas tition, James Brinkmann, Meera Hotel Lobby Concert Gudipati, and Erin Torres. (1st Floor) The Flute Orchestra of the Americas, featuring flutists from Ecuador, Peru, Brazil, 10:30 am–12 pm Solo Concert: Jazz & World Music Argentina, Colombia, Costa Rica, Europe, Balcony L The good times will roll in this concert of and the U.S. brought together by (4th Floor) jazz and Klezmer works! Featuring Angeleita Floyd, will perform popular Adrienne Greenbaum, Ali Ryerson, Keith dance music representing their countries. Underwood, and Jim Walker. NFA premieres feature Manabi, Cuatro Piezas Nacionales, and Leyenda Incásica 10:30 am–12 pm Wellness Workshop: Ask the Experts— (Ecuador), Contigo hasta el amanecer Napoleon Suite Performer Health Care (Peru), La Muerte del ángel (Argentina), (41st Floor) Ask the health care experts your questions El Torito (Costa Rica), Apanhei-te about nerve, muscle, and skeletal issues Cavaquinho (Brazil), and others.

52 The Flutist Quarterly Summer 2013 nfaonline.org PROGRAM AND SCHEDULE SUBJECT TO CHANGE Program and schedule subject to change SATURDAY

12–12:45 pm Flute Ensemble Concert Achievement Award recipient Barthold La Galleries Foyer Featuring the Davis Youth Flute Choir, Kuijken discusses the Baroque flute. (2nd Floor) the Southern Illinois University- Come with your questions; you don’t Edwardsville Community Flute Choir, want to miss this rare opportunity! and the University of Nebraska at Kearney Flute Choir. World premieres by 12:45–2 pm Panel: Jazz Flute Tone—Hubert Laws Kimberly Archer and others. Balcony L A distinguished panel of jazz flutists will (4th Floor) discuss the jazz flute tradition of tone 12:15–12:40 pm Exhibitor Showcase: Connecting production past and present and St. Charles Composers and Performers approaches in jazz articulation, rhythmic (41st Floor) Enjoy this new-music concert and meet- development, intonation, and jazz phras- and-greet featuring our member coming. Hubert Laws, Ali Ryerson, and Kris posers, with a sneak preview of our new Keith, presenters. sheet music reader app on Android, iPads, and Windows8 tablets. Linda 12:45–2 pm Panel: Topics for the Amateur on How to Howard, presenter. SheetMusica. Napoleon Suite Practice and Beyond 12:45–2 pm Solo Concert: World & NFA Premieres (41st Floor) A panel for adults who took a break from Carondelet A concert composed of solo repertoire playing due to life circumstances (school, (3rd Floor) hot off the press! Featuring Christine family, job, etc.). Now that you’ve decided Erlander Beard, Mina Ghobrial, to start playing again, do you need ideas Manuel Guerrero, Melissa Keeling, Sandra on what to do, how to find groups to join, K. Lunte. World premieres of works by how to find a teacher or buy a new flute? Eric Ewazen, Melissa Keeling, Ramz Sabry Christine Gustafson, Katherine Kemler, Samy, Matt Smith, and José Susi. and Sandra Saathoff address your questions. Moderated by Ann Konopinski, 12:45–2 pm Chamber Concert Amateur Resources chair. Acadia Featuring Jeremy Benson, Judy Hand, (3rd Floor) Katherine Borst Jones, Karl Kraber, Diane 12:45–2 pm Panel: NFA Guide for Flute Clubs Boyd Schultz, and Terra Voce. Lafayette Suite The newly released edition of NFA Guide (41st Floor) for Flute Clubs is intended as a source to 12:45–2 pm Flute Ensemble Concert: Latin Flutes help answer questions and strengthen Salon D Featuring the Orquesta Nacional de new and existing flute societies. Join the (3rd Floor) Flautas de Mexico, Orquestra Brasileira de contributors to this new edition of the Flautas, and Flautas Argentinas. World guide in a panel discussion. Presenters premieres of works by Óscar Cárdenas Dolores August, Rebecca Dunnell, Lisa and Leopoldo Marti as part of an incredi- McArthur, Ellen Johnson Mosley, and ble, diverse Latin-American repertoire. Ellen Kaner. 12:45–2 pm Maestro Series: The Magic of Julius Salon F Baker, Master Flutist and Legacy Teacher 1–1:25 pm Exhibitor Showcase: The Capstone of (3rd Floor) Opening remarks will focus on the over- St. Charles Robert Cavally’s Works for Flute arching principles of Julius Baker's teach- (41st Floor) Hal Leonard unveils the new series, ing, including his approach to flute fun- “Robert Cavally’s Developmental and damentals and his personal style of men- Progressive Tone, Velocity, and Scale toring his many students. Following will Studies,” presented by author Bootsie K. be a demonstration of Baker’s favorite Mayfield. Bootsie K. Mayfield, presenter. exercises for tone and technique and his Hal Leonard Corporation. philosophy of life as a dedicated musician. The conclusion will feature per- 1:45–2:10 pm Exhibitor Showcase: The Robert Dick formances of his favorite encores. Jeanne St. Charles Glissando Headjoint Baxtresser, moderator, with Jasmine Choi (41st Floor) Robert Dick demonstrates and discusses and Nobutaka Shimizu. his unique Glissando Headjoint®. This telescoping, sliding headjoint creates infi- 12:45–2 pm Lecture: The Baroque Flute—Barthold nite new sound opportunities for flutists Balcony K Kuijken and composers. Robert Dick and Robert (4th Floor) Learn from the master! 2013 Lifetime Johnson, presenters. Flute Specialists, Inc.

SATURDAY, AUGUST 10 nfaonline.org Summer 2013 The Flutist Quarterly 53 National Flute Association 41st Annual Convention New Orleans, Louisiana, August 8–11, 2013

2–2:45 pm Beignet Time! care; and seeking medical attention. Panel discussion, Q&A, and small group break- 2:45–4 pm Masterclass: Barthold Kuijken— outs for direct dialogues with doctors. Acadia Baroque Flute (3rd Floor) 2013 Lifetime Achievement Award 2:45–4 pm Workshop: The Piano and Teamwork recipient Barthold Kuijken will coach St. Charles Suite First, discover how the piano—without a performers in playing Baroque music (41st Floor) pianist—can help the flutist become a on Baroque instruments. better performer and teacher. Bring your flutes and play along with the piano— with no accompanist present! Amanda 2:45–4 pm Jazz Flute Big Band Reading Session: Barrett, presenter. Next, Diane Boyd Salon D Ali Ryerson Schultz leads an interactive workshop (3rd Floor) Open to all flutists (piccolo, C, alto, discussing and demonstrating appropri- bass, contrabass). Play jazz arrange- ate rehearsal and performance tech- ments with the Jazz Flute Big Band niques between flutist and pianist. rhythm section (piano, bass, drums). All arrangements open up for improvi- 4–5 pm Visit the Exhibits sation. Both experienced and novice Preservation Hall & jazz enthusiasts are welcome! La Galleries Exhibit Hall (2nd Floor) 2:45–4 pm Chamber Concert: Flute & Friends Salon F Featuring the Delta Chamber Players, 4–5 pm Swamp Jazz Flute Orchestra Rehearsal (3rd Floor) Christina Guenther, Perimeter Flutes, Salon D The Swamp Jazz Flute Orchestra in Kelly Sulick, Jim Walker, the Jambalaya (3rd Floor) rehearsal with Ali Ryerson, director. Quintet, and the Western Kentucky University Faculty Duo. World premieres 4–5 pm Saints BeLow Low Flute Ensemble of works by Nicole Chamberlain, Kathy Riverview Rehearsal Farmer, and Charles Knox. (41st Floor) The Saints BeLow Low Flute Ensemble in rehearsal with Christine Potter, director. 2:45–4 pm Solo Concert Bring your music stands. Balcony K Featuring Pierre-Yves Artaud, Christopher (4th Floor) Chaffee, Judy Dines, Karla Ordonez, 5–6 pm Chamber Concert: The Baroque Flute Catherine Ramirez, and John Thorne. Acadia Featuring Alaina Diehl and Carol (3rd Floor) Redman, the Grand Cru Baroque, and Traverso Colore performing baroque 2:45–4 pm Lecture: Technique as an Expressive Tool works on period instruments. Balcony L and “Voice” by Takemitsu (4th Floor) In the first half of this lecture/demonstra- 5–5:45 pm Lifetime Achievement Award/ tion, Nina Perlove will discuss how the Salon E Foyer Distinguished Service Award Reception technical elements of tempo, articulation, (3rd Floor) All members are welcome to meet and breathing, and alternate fingerings can greet; a cash bar will be available. add to the expressive interpretation of a piece. Following, Elizabeth Robinson will 5–6 pm Mixer—An Audience Interactive Project introduce the elements necessary to Balcony K “Mixer” is an immersive performance appreciate—or perform—Toru (4th Floor) experience that progresses seamlessly Takemitsu’s “Voice” in a lecture/perfor- from event to event with the ebb and flow mance. Poetry, theater, and extended of a good party. Every performance is as techniques come together to create this different as our audience, so come pre- exciting piece for solo flute. pared to share, laugh, listen, watch, play, and move! Featuring the Fourth Wall. 2:45–4 pm Panel: Performance Health Circles— Napoleon Suite Doctors’ Diagnostic Dialogues 5–6 pm Solo Concert (41st Floor) Join the dialogues and get free facts and Balcony L Featuring flutists Claudio Barile, Sarah resources: building better biomechanics (4th Floor) Frisof, and Terri Sanchez in concert. and healthy habits; warming up/cooling Works by Piazzola, Carl Vine, Zachary down; preventing injury; applying self- Wadsworth, and Daniel Pesca.

54 The Flutist Quarterly Summer 2013 nfaonline.org PROGRAM AND SCHEDULE SUBJECT TO CHANGE Program and schedule subject to change SUNDAY

5–6 pm Lecture: Perfecting Flute Intonation & Laws, Orlando “Maraca” Valle, Ali Napoleon Suite Want to Play Multiphonics? Here’s How! Ryerson, and Jim Walker. Also featuring (41st Floor) Robert Dick will explain how multiphonics the winners of the Jazz Flute Big Band actually work—it’s different from what Competition. Ali Ryerson, coordinator. most flutists think and try to do! He’ll introduce the sonic garden that is multi- phonic playing and will teach successful 10:30 pm–12 am The Flute in Jazz: Window on World practice methods. Balcony L Music, A Film by Peter Westbrook (4th Floor) Screening of a documentary movie. Seven years in the making, The Flute 5–6 pm Workshop: The Music of Marcel Moyse in Jazz: Window on World Music is an St. Charles Suite “On Sonority: Art and Technique”: The overview on film of an entire genre of (41st Floor) Marcel Moyse Society presents flutists flute performance. Karl Kraber with Carol Wincenc, Katherine Borst Jones, and Jacqueline Hofto performing the Adagio from Kuhlau’s “Grand” Quartet in E minor, and Sunday, August 11 demonstrating how Moyse’s book, De la sonorité, helps develop each flutist’s tone 8 am–4 pm Registration and musicality. Registration Desk (2nd Floor)

5:45–7:45 pm Lifetime Achievement and Distinguished La Galleries Instrument Security Room Salon E Service Awards Gala Dinner Foyer Available from Wednesday 12 pm to (3rd Floor) Angeleita Floyd, Barthold Kuijken, and (2nd Floor) Sunday 11 pm Aurèle Nicolet are honored. Rhythm Room Recover Your Rhythm 6:45–7:30 pm Pre-Gala Concert: OFF! (2nd Floor) Massages and meditation offered by the Acadia Featuring L’Orchestre de Flûtes Français, Performance Health Care Committee. (3rd Floor) conducted by Alain Bancquart. World premieres of works by by Alain Hotel Lobby Free Internet Available Bancquart, Ida Heidel, Paul Méfano, and (1st Floor) Alain Moene. 8:15–9:15 am Masterclass (Open): Lagniappe 8–10 pm Gala Concert: Orchestra Night Carondelet– Be in that number! You can receive advice Carondelet Are you ready for spectacular? Hear Bissonet– and counsel from an array of world (3rd Floor) orchestral excerpts—live!—performed by Acadia teachers sharing their experience through flutists Nobutaka Shimizu of the Kyoto (3rd Floor, this open masterclass for all post-graduate Symphony Orchestra, Karl-Heinz Schütz Grand Ballroom) amateur flute enthusiasts attending the of the Wiener Philharmoniker, and picco- 2013 NFA Convention. This “something lo player Sarah Jackson of the LA extra,” or lagniappe, as they say in the Philharmonic! Also on the program are Crescent City, will allow attendees to drop solo works by Lawrence Dillon, André in for individual advice and a mini- Jolivet, Felix Mendelssohn, Krzystof coaching. Everyone is encouraged to Penderecki, and Gary Schocker. Featuring bring flutes and questions, visit with these soloists János Bálint, Sophie Cherrier, master clinicians from around the world, Marianne Gedigian, Marco Granados, and partake of their experience and per- Gary Schocker, and Carol Wincenc, sonalities in a relaxed environment. conducted by Ransom Wilson. Teachers include Nobutaka Shimizu, Carol Wincenc, Sibel Pensel, Marco 10:30 pm–12 am Cabaret: Jazz Flute Big Band Granados, Nina Perlove, Gary Schocker, Salon D The cats of the Jazz Flute Big Band will Immanuel Davis, Keith Underwood, Jean- (3rd Floor) swing your socks off! Come for a late- Michel Tanguy, Mikael Helasvuo, and night concert of fun, featuring Hubert Karl-Heinz Schütz.

SUNDAY, AUGUST 11 nfaonline.org Summer 2013 The Flutist Quarterly 55 National Flute Association 41st Annual Convention New Orleans, Louisiana, August 8–11, 2013

8:15–9:15 am Concert: Myrna Brown International 10–11 am Flute Ensemble Concert Salon F Scholarship—MEI Duo (Argentina) Salon D The NFA Professional Flute Choir, (3rd Floor) MEI Duo (Patricia García & Juliana (3rd Floor) conducted by Sandra Ragusa, Pamela Moreno), winners of the Myrna Brown Youngblood, coordinator, performs an International Scholarship Competition, exciting program that includes world pre- will perform an exciting program for two mieres of works by Hans Magne flutes of living Argentinian composers. Graesvold (Norway), Amit Poznansky Works by Gerardo Gandini, Eduardo (Israel), and L.C. Harnsberger (United Bértola, Juan Tolosa, Marcos Franciosi, States). Also in the program is a world Valentín Pelisch, and Augustina Crespo. premiere of a work by Peter Senchuk featuring soloists Patti Adams and Keith 8:15–9:15 am Workshop: A Spiritual Approach to Underwood. Balcony K Performance Anxiety (4th Floor) Use your personal spiritual beliefs deeply 10–11:15 am Solo Concert: Beatboxing, Extended and creatively, with research-based per- Carondelet Techniques, and More formance enhancing techniques. Embrace (3rd Floor) This concert will present Brandy spirit and music as a unified whole along Hudelson, Lisa Bost-Sandberg, Mina with Helen Spielman, performance anxi- Ghobrial, Sergio Pallottelli, and Jill ety coach. All religions and non-religious Heyboer performing works by Amram, forms of spirituality welcome! Ofermans, Harrington, Bost-Sandberg, Ghobrial, and Hudelson. 8:15–9:15 am Low Flutes Reading Session—Get ‘Em Balcony L While They’re Hot! Christine Potter 10–11:15 am Solo & Chamber Concert: NOLA (4th Floor) Bring altos, basses, contrabasses, and your Acadia Influences music stand to this reading session featur- (3rd Floor) Louisiana Philharmonic flute section ing duets, trios, and quartets that range (Patti Adams, Sarah Schettler, Heather from the Renaissance through music “hot Zinninger), Katherine Kemler, and off the presses.” Franziska Brech perform world premieres of works by Louisiana composers or 8:15–9:15 am Lecture: Career in Music and inspired by New Orleans. Works by Napoleon Suite Development Hayden, Horne, Newman, and Bachicha. (41st Floor) Molly Barth will address issues that relate major life decisions to career develop- 10–11:15 am Wellness: Enhanced Performance with ment choices. Following, the Awea Duo Salon E Dynamic Balance will present a seminar exploring the (3rd Floor) Dynamic balance is a fluid state in which chamber ensemble as a means for artistic your body does its work most efficiently development, recruitment, and educa- and effectively. Learn how to sit, stand, tional outreach. A performance of works and move in balance to release unneces- played by the Awea Flute and Saxophone sary tension, and enjoy ease and freedom Duo will follow the presentation. in your flute playing.

8:15–9:15 am Lecture Recital: Teaching and 10–11:15 am Masterclass: Jazz Lagniappe—Orlando St. Charles Suite Performing the Widor Suite, Op. 34 Salon F “Maraca” Valle (41st Floor) John Bailey discusses issues of structure, (3rd Floor) Come and be treated to an inspiring and phrasing, cadenzas, and pacing in the informative class for jazz flutists. Widor Suite, with particular attention to the flutist’s knowledge of the piano part. 10–11:15 am Masterclass: János Bálint Balcony K Hungarian virtuso flutist and master 9:15–10 am Beignet Time! (4th Floor) clinician János Bálint, professor at the Hochshule fuer Musik (Detmold, 10 am–4 pm Visit the Exhibits Germany) and the Franz Liszt Adademy Preservation Hall of Music (Budapest, Hungary), shares his & La Galleries knowledge in this masterclass. Featuring Exhibit Hall Danielle Breisach, Carmella Cao, and (2nd Floor) Samuel Williams.

56 The Flutist Quarterly Summer 2013 nfaonline.org PROGRAM AND SCHEDULE SUBJECT TO CHANGE Program and schedule subject to change SUNDAY

10–11:15 am Panel: Meeting the Needs of the ADHD Unlimited of the Dallas/Fort Worth area. Balcony L Student Works include Gary Schocker’s “Flutum (4th Floor) Attention deficit and attention deficit Mysterium.” hyperactivity disorders are the most commonly seen disorders in schools today. 11:15 am–12 pm Flute Ensemble Concert Understanding the usefulness of applying La Galleries Foyer Featuring the Gumbo Flute Orchestra, Differentiated Teaching strategies and (2nd Floor) conducted by Aaron Goldman, and knowing the learning issues of the child the Southern Harmony Flute Choir with ADD or ADHD will enable teachers performing “Music for a Summer Day,” to more effectively meet their needs. featuring Seth Custer’s “Gumbo Presented by the Pedagogy Committee, Gambol,” written especially for the Stacey Steele, chair. group and for this convention.

10–11:15 am Lecture: Technology Ideas for the Studio 12–1 pm Flute Ensemble Concert Napoleon Suite and Fundraising Salon D The NFA Collegiate Flute Choir, conducted (41st Floor) Coaches Eye in the Flute Studio, present- (3rd Floor) by Clyde Mitchell, Tabatha Easley, coordi- ed by Nicole Molumby, explores how nator, performs works by Foster, Joras, mobile devices allowed students at Boise Joplin, Borwick, and others. Sarah State University to develop their own Jackson, piccolo, will premiere a work by “inner instructor” and to regularly evalu- D.J. Sparr especially commissioned for ate their own playing using Coaches Eye. this convention. This lecture is followed by Danielle Hundley sharing her experience with the 12–1:30 pm Multimedia Concert platform, tips and tricks, and sample Carondelet Patricia Spencer, Myrto Korkokiou, Kim project plans and budgets that can help (3rd Floor) Goodman, April Clayton, Melissa you create a successful kickstarter cam- Keeling and Maria Harman performing paign for your project. multimedia works by Johnson, Keeling, Bimstein, Merkowitz, Korkokiou- 10–11:15 am Lecture: Style and Performance Loufopoulos, and Musgrave. St. Charles Suite Considerations in Three Works (41st Floor) Involving Flute by Joan Tower 12–1:30 pm Flauta Latino Concert Tammy Evans Yonce examines three less- Acadia Christine Gustafson, Tota Portela, Ysmael er-known compositions by the Grammy- (3rd Floor) Reyes, and Carlos Feller perform Latin- award winning American composer Joan American works that will enrich our Tower that involve flute: “Snow Dreams,” musical palette. Music by Callado, “Valentine Trills,” and “A Little Gift.” Lacerda, Azevedo, Gondim, Silva, Reichert, Sans, Pineda, Desenne, Nobre, 10–11:15 am Lecture: University Flute Positions Villa-Lobos, Tejera, and Blauth. Lafayette Suite Learn how to land and keep a university (41st Floor) flute position, including application 12–1:30 pm Workshop: Wellness–Posture Feedback material preparation and successful inter- Salon E Come and get feedback on the way you view technique strategies. Presented by (3rd Floor) stand and sit while playing. Experts from Tracey Schmidt-Jaynes. the Health Care Committee will offer suggestions on how to improve posture so 10–11:15 am Low Flutes Party: Lollapalooza you can play more efficiently and freely. Riverview The Low Flutes Committee invites flutists (41st Floor) with flutes of all sizes to a party! There 12–1:30 pm Masterclass (Open): Robert Dick will be door prizes, flute crossword puz- Salon F Robert Dick will teach an open masterclass zles, music Mad Libs stories, Human (3rd Floor) to all NFA post-graduate amateur flute Bingo, and balloons. Sing and play enthusiasts attending the 2013 New rounds! Twirl Mardi Gras beads! Be wild! Orleans convention.

11:15 am–12 pm Flute Ensemble Concert 12–1:30 pm Young Artist Competition Final Round Hotel Lobby Featuring the Swamp Flute Orchestra, Balcony K Virginia Broffitt, Young Artist (1st Floor) conducted by Ali Ryerson, and Flutes (4th Floor) Competition coordinator.

SUNDAY, AUGUST 11 nfaonline.org Summer 2013 The Flutist Quarterly 57 National Flute Association 41st Annual Convention Program and schedule subject to change New Orleans, Louisiana, August 8–11, 2013 SUNDAY

12–1:30 pm Piccolo Masterclass Performers: present a chamber concert with works Balcony L Nicola Mazzanti by Geiss, Sparr, Bishop, Snowden, Sung, (4th Floor) Nicola Mazzanti will work with the win- and Bozza. ners of the Piccolo Masterclass Competition, Hea Ri Kim, Christian 2:15–3:15 pm Workshop: The Etude in the Concert Gonzalez, and Bethany Padgett. Hillary Napoleon Suite Hall Feibel, coordinator. (41st Floor) Composer Katherine Hoover and pedagogue Patricia George will analyze the 12–1:30 pm Lecture: Perfecting Flute Intonation contemporary writing techniques and Napoleon Suite John Barcellona will discuss the detailed performance practices of Hoover’s (41st Floor) information necessary to perfect flute Etudes. Exploring these concepts will help intonation. This will include how to tune you learn and perform contemporary individual tones, tuning at different music with confidence and understand- dynamic levels, just intonation, equal ing. Bring your flute. temperament, Pythagorean intonation, using a tuner, and producing and tuning 2:15–3:15 pm Lecture: NARCISSUS and ORFEO— resultant tones. Lafayette Suite Thea Musgrave 12–1:30 pm Lecture: Improvisation in World Flute (41st Floor) A lecture with Thea Musgrave on her now- St. Charles Suite Traditions classic NARCISSUS, for flute and digital (41st Floor) The presentation, led by Danilo Lozano delay, and her ORFEO, for solo flute and and Peter Westbrook, explores perform- strings or flute and pre-recorded tape. ance techniques from Cuba, Brazil, India, and South East Asia, among others, while 3:15–4 pm Visit the Exhibits comparing them with jazz and Baroque Preservation Hall Be sure to take advantage of this last traditions more familiar in the West. & La Galleries chance to visit the Preservation Hall & La Exhibit Hall Galleries Exhibit Hall. 2–2:45 pm Beignet Time! (2nd Floor)

2–3:15 pm Flute Ensemble Concert 4–6 pm “Confluence of Cultures & Perseverance Salon D The National High School Flute Choir, Carondelet of Spirit”: Carnaval Final Gala and (3rd Floor) conducted by Leonard Garrison, Kelly (3rd Floor) Closing Ceremonies Via, coordinator, presents a concert with The 41st convention concludes with a cel- music by Rossini, Adams, Cooke, Sellers, ebration of flute ensembles. You don’t Hefti, Sorrentino, and Offermans. Soloists want to miss this Carnaval while in New will include Kris Keith and Wil Offermans. Orleans. Be in that number! Let’s cele- brate together. Ensembles performing 2:15–3:15 pm Solo Concert include the Gumbo Flute Orchestra; the Acadia This concert will feature music by Busser, NFA Professional Flute Choir; the (3rd Floor) Perilhou, Pucihar, Gottschalk, and Orchestre de Flûte Français; and the Colman performed by Nicole Esposito, Saints BeLow & Robert Dick premiering John Bailey, Pam Youngblood, Jessica the new work “Rolled in Air (Deeply),” Raposo, and Sarah Miles. scored for Low Flutes Ensemble with 2:15–3:15 pm Masterclass: Ransom Wilson soloist playing flute with Glisando Balcony K Come and learn with master clinician Headjoint. The work’s musical style? (4th Floor) Ransom Wilson in this class on French Psychedelic blues! Also featured will be repertoire. Featuring Sarah Benton, Laura the Flute Orchestra of the Americas, cre- Clapper, and Emily Duncan, winners ated especially for this convention, of the 2013 Masterclass Performers Angeleita Floyd, conductor, and the Jazz Competition. Rebecca Hovan, coordinator. Flute Big Band, Ali Ryerson, conductor. The convention closes with the NFA’s tra- 2:15–3:15 pm Chamber Concert ditional performance by all convention Balcony L Alicia Kosack, Kristin Hayes, Brandy attendees of Bach’s Air. The good times (4th Floor) Hudelson, and Jessica Dunnavant roll to a close—Au revoir et bonne santé!

58 The Flutist Quarterly Summer 2013 nfaonline.org PROGRAM AND SCHEDULE SUBJECT TO CHANGE

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4 2 NDANNUALNATIONALFLUTEASSOCIATIONCONVENTION Perform, Inspire, and Educate August 7–10, 2014 . Chicago, Illinois

Chi-ca-go! Philip Dikeman

hat sights and sounds come The theme of the 2014 Chicago and submit it electronically; in addition, to mind when thinking of Convention is “Perform, Inspire, and print a hard copy and send it to: WChicago? The Miracle Mile Educate.” We have all had the experience for shopping? Great restaurants? of playing a piece of music that was intro- Philip Dikeman (mmm… deep dish pizza!) The Science duced to us by a wonderful teacher, col- NFA Program Chair 2014 1801 Fatherland Museum? The Shedd Aquarium? The league, or friend that inspired us in very Nashville, TN 37206 Art Institute of Chicago? The Chicago personal ways. In addition, the idea of [email protected] Symphony? And more than likely for passing on the traditions of our many many… “The Oprah Winfrey Show”! teachers is something we all feel is Along with your printed proposal, (Yes, I must admit I was somewhat extremely important. The call for pro- include any materials such as recordings addicted to watching Oprah, but I digress.) posals will include solo, chamber music, and audio/visual needs. Important: For the 2014 Chicago Convention, and flute choir compositions that fall Audio/visual needs must be included with the word on everyone’s lips from within this very wide, yet personal, range. your initial proposal to have it considered. August 7 to August 11 will be FLUTES! Also, for panel discussions, masterclass All proposals (excluding flute choir) Make plans early to attend this won- themes, and presentations, topics are wel- must be postmarked by October 1, 2013. derful convention; it will prove to be a come that include (but are not limited to) Flute choir proposals must be post- once-in-a-lifetime experience. Not various teachers who have had a huge marked by November 15, 2013. For flute only will talented flutists of all ages be impact on our flute community. choir proposals, include an audio record- in attendance, but the convention site I, along with Assistant Program Chair ing made no later than 15 months prior will be in one of the most exciting Alice Dade, welcome your proposals to your submission (no DVDs please) cities in America. Plan to come early and encourage your boundless creativi- and include exact timings. and stay late to take advantage of ty to make this convention as personal Thank you so much. See you in The everything the NFA Convention—and and enjoyable as possible for all those Windy City! Chicago—have to offer. The conven- attending. Online proposal submission tion will be held at the historic forms will be available in early August at —Philip Dikeman Chicago Hilton on Michigan Avenue. nfaonline.org. Please fill out the form Program Chair, 2014 Convention

nfaonline.org Summer 2013 The Flutist Quarterly 61 New Sights and Sounds at the NFA Store A new historic recordings CD and pedagogy anthology.

Frances Blaisdell, the fifth in the historic recordings series of CDs.

The Flutist’s Handbook: A Pedagogy Anthology, Volume 2, with works by 40 pedagogues and flutists. Pick up more publications, plus CDs, T-shirts, caps, pens, mugs, and more at the NFA Store at nfaonline.org—or call 661-713-2072. Across by Dolores August the Miles News about flute club and flute choir activities throughout the United States

chamber group and more than 30 members active in the Madison Flute Choir. The Madison Flute Club is currently under the direction of Danielle Breisach, DMA candidate at the University of Wisconsin-Madison.

Magic Flutes Flute Orchestra had its spring concert May 3 at St. Matthew’s Catholic Church in San Mateo, California. The selections included the overture to The Magic Flute, three famous arias from The Magic Flute, “Shenandoah,” “Claire de Lune,” and others. The ensemble will also perform the opening-night concert at the Flutes by the Sea masterclass in Half Moon Bay, California, in July. Magic Flutes is directed by Pamela Ravenelle. Barthold Kuijken The flute ensemble Traverso Colore Baroque will host two masterclasses featuring NFA 2013 Lifetime Achievement Award recipient Barthold Kuijken prior to the NFA 2013 convention on Wednesday, August 7. The classes will be held at Loyola University in New Orleans. Masterclass performers may play either Baroque or modern flute. Private lessons are also available (for both Baroque and modern flutists), and auditors to the classes are welcome. Traverso Colore Baroque members are Eva Amsler, Jessica Dunnavant, Carlos Feller, Ellen Johnson Mosley, Karen McLaughlin Large, Tammara K. Phillips, and Sarah Jane Young. For more information about the Kuijken masterclasses, including fee structure, and to reserve your place, visit traversocolore.com. Raleigh Area Flute Association hosts In Sterio for September 22. The International Flute Orchestra toured the Castilian, Basque, and Catalonian areas of Spain in late May with con- The Raleigh Area Flute Association will open its 2013–2014 certs in Segovia, San Sebastian, Zaragoza, and Barcelona. A season on September 22 with a concert and class by the number of the travelers spent extra days in Madrid and others flute duo In Sterio (Erica Peel and Shivhan Dohse). in Majorca. This was the 15th international tour of this flute Additional fall events include a RAFA YouTube Flute Choir orchestra, which has touched three different continents in the recording session on November 3, the 29th annual Review past. May 2012 found the IFO performing at the Slovenian & Contest on November 10, and an all-day flute fair fea- Flute Convention. The ensemble then continued to Croatia for turing guest artist Christina Jennings on November 16. concerts in Opatija, Zadar, and Dubrovnik. IFO members are Visit RaleighFlute.org. usually orchestral musicians or college teachers. For information, contact Nancy Clew at [email protected]. Flutissimo! Flute Choir finished its 2012–2013 season with

. its spring series titled Gimme Dat Old Time Religion, which Celebration of the Madison Flute Club’s 10th anniversary featured sacred and not-so-sacred music. Included was the culminated with the 10th Annual Wisconsin Flute Festival, title piece by David Uber and “Wicked Vicar” by Jonathan Flutes in Dairyland. The day included workshops, perform- Cohen. The program began with a quiet, meditative piece ances, young artist and collegiate competitions, and a master- called “Old Stone Church,” which has an almost organ-like class and concert by John Thorne, professor of flute at feel with bells pealing periodically. The program ended with Northwestern University. The Madison Flute Club has steadily “Benediction” by Hal Ott, a rendering of “The Lord Bless You

BARTHOLD KUIJKEN BY DANY NEIRYNCK grown since it was founded in 2002. It has a newly formed and Keep You.” The fall series will open a continuing series

nfaonline.org Summer 2013 The Flutist Quarterly 63 ACROSSTHE MILES

on American history beginning with the earliest inhabitants First Presbyterian Church as part of the Hudson Winter of the U.S.—the Native Americans—and featuring the Walk event. This was the club’s sixth year participating in Mayflower and Jamestown Suites and different pieces depict- this event and second year in this historic venue. In March, ing events that occurred in our history. The multi-concert CAFC members performed at the Delmar Place Senior series will be broken up into two to three concerts, one per Center and in April at Hawthorne Ridge Senior Living and year, to continue through history to recent events. Hoosick Falls Senior Center. Also in April, members joined in the College of St. Rose Flute Day flute ensemble concert, organized by Yvonne Chavez Hansbrough. The CAFC performing season continued with the club’s ninth May concert at First Presbyterian Church in Rensselaer, New York. This concert included flute choir and small ensemble performances. A food donation for the Concerns-U food bank and a monetary donation for the American Cancer Society were collected. In June, the concluding performance will be held at the Grafton Senior Center. At the last meeting of the season, guest flutist and physical therapist Ellen Shapiro provided information. Visit Capital Area Flute Club on Facebook. Jessica Sindell Alicia DiDonato Paulsen The 2013 Kentucky Flute Festival, the fifth to be held in Campbellsville, Kentucky, was the most attended in the festival’s history. The guest artist this year was performer and teacher Molly Barth. Jacquie Miller, a current board member, was responsible for festival planning and scheduling of many clinics. Heidi Alvarez, Zachariah Galatis Jim Walker Molly Barth Jessica Dunnavant, Rebecca The Greater Portland Flute Society presented Oregon Dunnell, and Julie Hobbs traveled to Campbellsville to Symphony flutists Jessica Sindell, Alicia DiDonato Paulsen, share materials and the festival displayed an array of concerts and Zachariah Galatis in recital February 22 at the Cedar with a variety of chamber and solo performances. Miller also

Hills United Church of Christ in Beaverton. The flutists were planned a “first” for Kentucky, the Flute Olympics, in which . joined by pianist Cary Lewis in a program of music by teams were awarded medals for their exemplary performance Telemann, Griffes, Chaminade, Karg-Elert, Poulenc, Rossini, in a variety of events, including a “Scale Challenge,” “Name and Kuhlau. On April 6, the Greater Portland Flute Society That Tune,” and “Are You Smarter than a Band Director?!” held its annual Flute Fair at Aloha High School with guest Competition finalists included Sarah Tan (junior soloist); artist Jim Walker, who taught workshops and a masterclass. Chloe McIntosh (high school soloist); Sam Golter (collegiate Walker performed in recital with pianist Cary Lewis April 5 artist); Nave Graham and Kristyn Son (two first place win- in downtown Portland. ners, young artist); and, in this year’s “special competition,” the Chamber Music Competition, Trio Louisville: Samuel Williams and Kaila Washington, flute, and John Combs, piano. The 2014 Kentucky Flute Festival will be chaired by Heidi Alvarez at Western Kentucky University in Bowling CAPITAL AREA FLUTE CLUB PHOTO COURTESY OF JAY DEVLIN Green, Kentucky, and will be held January 17–18, 2014. ; Announcements of the guest artist will be made via e-mail. Visit FSKentucky.org.

Quad City Flutes Unlimited presented its 30th Anniversary Concert April 19 in the Rogalski Ballroom at St. Ambrose University in Davenport, Iowa. The 24-member flute choir, founded and directed by Janet Stodd, commissioned a piece The Capital Area Flute Club from Phyllis Avidan Louke and invited her to be its featured The Capital Area Flute Club (Albany, New York, area) offered guest, conducting several of her pieces and playing her con- seven different performances in its 2012–2013 season. In trabass flute on others. Louke conducted “Canyon Dreams,”

December 2012, the flute club performed holiday music at “Flute Fiesta,” “Une Chanson du Printemps,” and “I’ll Love PORTLAND PHOTOS COURTESY OF ALICE DIDONATO PAULSEN

64 The Flutist Quarterly Summer 2013 nfaonline.org My Love.” Other pieces performed included “Light Sings” by place, Harold Bennett Memorial Award); Julie Lindell (sec- Friedman and the J.S. Bach Aria from Cantata BWV 25. Erika ond place, Irma V. Miller Award); Brianna Munch (third Brown Thomas and Aimee Prenevost were vocal soloists and place, Jan Benson Memorial Award); and Rebecca Schifilliti Mary Kae Waytenick directed. Louke also presented work- (fourth place, Ivy Jacobsen Award). Winners of the College shops at St. Ambrose University and Augustana College. division were Christine Saraceno (first place, Samuel Baron Memorial Award) and Michael Roberts (second place, high school competition); finalists were Caitlin Caulfield, Rebecca Farrell, and Ariana Forohar. All of the finalists and winners were presented in concert March 10 at the Half Hollow Hills Community Library. Jennifer Travlos was competition chair- . person for this successful event. On April 21, the LIFC hosted its third Flute Social, featuring an ensemble reading, a session entitled Preventing Repetitive Stress Injuries presented by nationally certified reflexologist Kathryn A. Prinz, LMT, door USED WITH PERMISSION

, prizes, a jewelry boutique, chair massages, a music swap, and dinner. On May 5, in the Red Ballroom at Old Westbury Gardens, the club closed out its 29th season with a concert by Mike Mower taught and performed for Texas Flute Society and University of the Femmes Four Flute Quartet, featuring Lauren Ausubel, North Texas flutists. Karen Bogardus, Julietta Currenton, and Anna Povich de ALL RIGHTS RESERVED , The Texas Flute Society and the University of North Texas Mayor. The quartet presented a varied program featuring pre- welcomed Mike Mower for classes and performances involv- mieres by Gene Pritsker and Silvio Scamboni and works by ing his music March 29–30. The Society also sponsored its Damase, Telemann, and Jongen. The 2013–14 calendar is first ever Member’s Recital, providing a performance oppor- being finalized, and plans are underway for the club’s fifth tunity for local teachers who give a lot for their students, commission for flute choir in preparation of its 30th anniver-

CRYSTAL PHOTO MEMORIES leaving them little time and resources for sharing their own sary celebration concert, scheduled for fall 2014.

©2012 music on stage. With Gabriel Sanchez at the piano, , Dallas/Fort Worth pedagogues lined up for an afternoon of performances. At this year’s TFS festival at the University of North Texas, Thomas Robertello, associate professor of flute at Indiana University; Holly Hofmann, jazz performer and recording artist; Conor Nelson, assistant professor of flute at COURTESY ROBERT KEISER

) ) Bowling Green State University; and Valerie Estes, winner of the 2012 Myrna Brown Competition, led a varied festival. FAR RIGHT ( Flute choirs, masterclasses, competitions, two full exhibit halls, and visitors traveling from all over Texas and beyond joined in for the weekend. Visit texasflutesociety.org.

The Chesapeake Flute Consort

The Chesapeake Flute Consort, comprised of flutists from the Annapolis, Maryland, area, held two concerts during the

PHOTO OF CHESAPEAKE FLUTE CONSORT spring. On May 5, the consort performed for the Our Lady of . Mercy Concert Series in Potomac, Maryland. On June 7, it travelled to Ocean Grove, New Jersey, for the Third Annual ANDERSON . C . Memorial Concert in honor of Helen Callimahos Hurry, beloved mother of consort member Andrew D. Callimahos. The consort has performed at numerous events, including COURTESY D ) ) the 2012 White House Holiday Tour. Chesapeake Flute Consort members include Director Gail Vehslage, Assistant NEAR RIGHT

( Director Jayne Traynor Rose, Mary Beaudoin, Andrew Callimahos, Richard Dalton, Jenice DeVoe, Izabella Downs, Shadá Dunn, Carlos Fitzpatrick, Doris Hall, Claudia C. Hays, Femme Four Flute Quartet, clockwise from bottom: Lauren Ausubel, Karen Bogardus, Julietta Currenton, and Anna Povich de Mayor. Crys Keiser, Patricia Lafferty, Jerome LaRoche, Nicole Mouzon, Bill Ormond, Colleen Riley, and Theresa Rose. The Long Island Flute Club held its 24th Annual LIFC High School Flute Competition and Fourth Annual College Send information about flute club activities, and high-resolu- Competition on February 2–3 at Nassau Community tion images if available, to Dolores August, Flute Clubs

PHOTO OF FEMME FOUR FLUTE QUARTET College. The winners were Rebecca Schaarschmidt (first Coordinator, [email protected].

nfaonline.org Summer 2013 The Flutist Quarterly 65 THE INNER FLUTE A Phoenix for Carla

British flutist and photographer Carla Rees describes her devastating losses in the August 2011 riots that plagued London—and her inspiring recovery in the months and years since, with the help of her friends in the international flute community. Among the riches of gifts is the composition of a new solo piece commissioned and named for her. by Carla Rees

n August 8, 2011, the day before I was due to travel to Going Home Charlotte for the NFA convention, my flat in London I was effectively homeless for six weeks, relying on the gener- Owas destroyed in an arson attack in the riots that con- ous offers of friends and family for places to stay. Finally the sumed our city that week. The fire was so severe that nothing insurance company helped me find a rental house, where I’ve could be salvaged, and only one wall of the building was still been living ever since, paying the rent as well as the mortgage standing the next morning. Among other things, I lost my two on the destroyed flat. Rent prices are high, so I’ve had to work beloved cats, Pierre and Dmitri, 11 flutes—including the first as much as possible, but I’ve been grateful to have opportuni- full Kingma System alto flute and the first upright Kingma ties to work and explore new avenues. System bass flute—a baby grand piano, more than 650 scores Nearly two years later, there are still a lot of things to sort of works that had been written for me, a vast music library, my out. My flat will be rebuilt eventually, although it could be photographic library, and a large amount of my PhD work. another couple of years before the building work starts. It took I was left with the clothes I was wearing and the contents of more than a year and a half for my claim with the an overnight bag. Metropolitan Police to be settled—for less than half the In the weeks that followed, one thing became an important amount of the loss. (There’s a law in the U.K. that says if the factor in being able to carry on, and that was the huge amount of police lose control in a riot, they are liable to cover the losses, help and support from the international flute-playing commu- and the Prime Minster promised in Parliament on the day nity. One of the first people I contacted was flute designer Eva after the riots that all the losses would be covered.) Kingma, whose flutes have formed an important part of my playing life for several years. I remember speaking to her from outside the fire site and several more times in the following days. Gifts From the Ashes In those first few days, the messages of support that Eva and The effects these events have had on my life have been signifi- others conveyed from the NFA convention made a big differ- cant but not always in bad ways. I’ve learned to be resilient and ence. Jonathan Myall, who owns the specialist flute shop Just to try to see the positive side of everything as much as possi- Flutes, set up a fund to help me, and the donations that came in ble, largely through the help I received, which went a huge way from literally all over the world were overwhelmingly touching. toward restoring my faith in human nature. The most signifi- All were hugely important, from the smallest donations to the cant gifts I’ve received, in terms of rebuilding my professional biggest. The fund raised enough money for me to be able to get life, have been from inspirational people who have helped me . back to work—there was enough to buy a flute, some cameras, to look toward the future. and a few clothes. Every time I play that flute, I think of all of the Losing my flutes was extremely painful. Suddenly, overnight, people who made it possible. Being able to get back to work was for the first time in nearly 30 years, I no longer had a flute. Eva essential, and I honestly don’t know how I would have been able Kingma has worked tirelessly to replace my alto and bass flutes,

to get back on my feet without that help. and the bass was finished in October 2012. The alto, which was ALL PHOTOS BY CARLA REES

66 The Flutist Quarterly Summer 2013 nfaonline.org given to me by Eva and Bickford Brannen, is the first of the new Kingma & Brannen Kingma System alto flutes. They began work on this sooner than planned so they could give me the first one. My whole life before the fire revolved around playing the Kingma System alto flute; having this one feels like a dream come true. Another incredible gift came from British philanthropist Stephen Massil. He heard about what happened and offered to commission a flute for me. The instrument had to be made of wood, in reflection of his family’s link with the furniture industry, and I spent quite a lot of time considering what the best option would be. Given my interest in low flutes, I finally decided on a Baroque flute d’amour. It was made by Boaz Berney. I The first of the new line of Kingma-Brannen System Flutes was a post-fire gift. have had no prior experience playing the Baroque flute, so this in itself gave me an opportunity to try a new avenue of flute playing, but I was particularly interested in the idea of what new sounds could be created from an “old” instrument. The second part of Stephen’s gift, which came as a complete surprise, was that he had commissioned Nicola LeFanu, a highly regarded British composer, to write a new work for the instrument. The piece, a 10-minute solo work, is called A Phoenix for A generous philanthropist commissioned this Baroque flute d’amour for Rees. Carla. The movements alternate between the new flute d’amour and the Kingma System alto flute, to create a contrast between I have been trying since then, with help from my parents, to the old and the new, and uses microtones, multiphonics, and a recreate the collection. It has been difficult to track them all range of other extended techniques for both instruments. I per- down, but I’ve made a good start and I hope to be able to formed the premiere June 10 at Spitalfields Festival in London. recover as much of the collection as possible in time. Stephen’s generosity has had a big impact on my life; having a To make sure the music doesn’t get lost again, however, I’ve project such as this to work on through all of the other struggles set up a publishing company, Tetractys, to specialize in reper- helped me look to the future and focus on positive things and toire for low flutes. Much of this repertoire falls outside of the also inspired me musically to try new possibilities that I had interest of mainstream publishers because they see the market never previously considered. Since he first got in touch with me, as being too small or the composers as not well-known this project has felt a bit like the light at the end of the tunnel, enough. This is my way of giving something back to the flute giving me something to aim toward and helping me not to dwell community and to the composers who have been so support- too much on past events. ive. The company donates 10 percent of its income to rarescale, which is a registered charity, toward the promotion Additional Projects of music for low flutes. The composers retain copyright of their works and are given a much higher proportion of the sale Three other major projects have dominated my work since the price than with conventional publishers. This is essentially if fire. My ensemble, rarescale, celebrates its 10th anniversary not formally a “nonprofit” undertaking that aims to make new this year, and we are holding a competition for composers host- repertoire and transcriptions for low flutes available to as wide ed by the Royal College of Music in London and a gala concert an audience of flute players as possible. It’s an exciting project, with two new concertos for alto flute and chamber ensemble. because many of these works are available for the first time, Since the fire, we’ve also released two new CDs, which I’m really and the catalogue is growing all the time. proud of, especially in light of everything that happened. My PhD is almost ready for submission. The project’s work- A Happier Anniversary ing title is The Kingma System Alto and Bass Flute: A Practical Guide for Composers and Performers. I’ve documented extend- I launched the company on the anniversary of the fire, and the ed techniques for Kingma System flutes (although much of the response has been enormously positive. It has given me anoth- material is also relevant for standard alto and bass flutes) on a er reason to keep going, and there’s a sense of confidence in website that I launched this April. The material has been col- knowing that these works will never be lost again. lected through collaborating with composers, and my thesis None of this would have been possible without the generos- outlines some of these pieces as case studies. The website con- ity of the flute community, so it means a lot to me to have this tains practical fingerings and information to help composers opportunity to send a huge, heartfelt thank-you to each and > write for the instruments. (Visit bassflute.co.uk.) every one of you. Last but not least is what several people have called my “Phoenix project.” For many years, I have been working with Carla Rees is a specialist alto flute player and program direc- composers on new repertoire and have had more than 650 tor of the British Flute Society’s convention. She is artistic pieces written for me. The scores of these, along with notes director of rarescale and professor of flute at Royal Holloway made during rehearsals with composers and all other docu- University of London and London College of Music. Visit mentation relating to the pieces, were destroyed in the fire, and tetractys.co.uk, carlarees.co.uk, and rarescale.org.uk.

nfaonline.org Summer 2013 The Flutist Quarterly 67 HarborWOODWIND Winds REPAIR Huntington, Long Island NY 631-258-8658 By appointment only www.harborwinds.net

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www.earlyflute.com [email protected] Notes from Around Conventions, festivals, competitions, and other global flute activities the by Christine Erlander Beard World Festival Internacional de Flauta de Costa Rica A new piccolo symposium premiered at the eighth International Flute Festival in Costa Rica, adding piccolo specialists to a roster of 20 guest artists and nearly 200 students. by Christine Erlander Beard he eighth Festival Internacional de Flauta de Costa Rica Twas held April 1–6 in San José, Costa Rica. Established in 2005, the festival is sponsored by the Asociación Costarricense de Flautistas under the indefatigable leadership of its current president, Gabriel Goñi, principal flute of the National Symphony Orchestra of Costa Rica. The festival attracts From left: Carla Rees, Jean-Louis Beaumadier, Christine Erlander Beard, Matjaž Debeljak, Milicia Milojevic-Bogdanovic, Eldred Spell, and Horacio Massone. nearly 200 students from across South and Central America and features six days of classes and concerts presented by mas- English composers, including “Flowers from Frösö, Op. 16” ter performer-teachers representing symphonies, universities, by Wilhelm Peterson-Berger, “Spring Tunes, Op. 44” by and conservatories from around the world. Typically the Costa Øistein Sommerfeldt, “Four Miniature Seasons” by Oster Rica Flute Festival invites 16 guest artist-teachers to participate, (first name unknown), and the Flute Sonata by Cyril M. but the 2013 festival integrated for the first time the “Central Scott. Bertet’s program provided balance to Titt’s mostly American Piccolo Symposium,” bringing the total number of unknown selections with exhilarating performances of two guest artists to 20; I was honored to be among them. French standards: “Hungarian Pastorale Fantasy” by Doppler Complemented by pianists Lillian Buss Pearson (U.S.) and Tim and Fantasy on Carmen by Borne. Carey (U.K.), each of us taught a masterclass and performed a Due to a last-minute cancellation of a Brazilian choro group, solo recital during the week’s events, and many also rehearsed the second day featured an impromptu noon-hour concert and performed in the Coro de Flautas (flute choir) under the performed by the festival’s piccolo delegation to a sold-out direction of the spirited yet elegant Angeleita Floyd (U.S., and crowd at the city center’s beautiful National Theater. Jean-Louis 2013 recipient of the NFA’s Distinguished Service Award). Beaumadier (France), Horacio Massone (Argentina), myself, For two hours each morning, the flute choirs rehearsed at Christine Beard (U.S.), Milica Milsovjević (Serbia), and Matjaž the music school, the advanced ensemble conducted by Floyd Debeljak (Slovenia) quickly mobilized and prepared chamber and the intermediate group coached by Yvan Bertet (France). music selections that included the Concerto IV in B Minor for Afternoons offered guest artist masterclasses and/or presen- Five Flutes, Op. 15, by J.B. Boismortier; G.P. Telemann’s Sonata tations, some conducted simultaneously. This overlapping of in D Major, Op. 2, No. 1 (performed by Massone and Beard); events plus rehearsals with pianists for upcoming recitals “Deux Papillons, Op. 165” by Emil Kronke (performed by made it difficult for artists to attend each other’s classes, but Beaumadier and Debeljak); and Roz Trübger’s arrangement of it also allowed for diversity in the festival’s offerings and kept Charles Widor’s “Tocatta” from Organ Symphony No. 5 for the student-to-teacher ratio low. four piccolos and alto flute, for which we recruited U.K. flutist Evenings were reserved for concerts, and each guest artist Carla Rees. Despite its expectations of a Brazilian choro con- brought a distinctive touch and diverse musical offerings cert, the audience enthusiastically responded to the piccolo over the six evenings. The first night featured performances recital, applauding after every movement of each piece. at the Institute by Michael Titt (U.K./Norway) and Bertet, The same evening, the second set of solo recitals took who played to a standing-room-only crowd. Titt performed place at the Institute, again to an overflowing crowd. Sergio an interesting, eclectic program of music by Norwegian and Pallottelli (Italy/U.S.) presented a charismatic, elegantly

nfaonline.org Summer 2013 The Flutist Quarterly 69 NOTES FROM AROUNDTHE WORLD

On the fifth night, the first evening concert returned to the Institute. Jean Michel Tanguy (France) masterfully performed the Sonata, Op. 94, by Sergei Prokofiev, which he followed with the Trio Sonata in E Minor, BWV 528, by J.S. Bach. Piccoloist Matjaž Debeljak’s commanding performance of music by Slovenian composers included “Grafitti” by Aldo Kumar, “Ideas” by Igor Krivokapic, and the Sonatina for piccolo and piano by Peter Kopac. To end the evening, Michel Bellavance (Switzerland/Canada) offered powerful performances of Paul Taffanel’s Fantasy on “Mignon” and the Sonata by Cesar Frank. Back at the National Theater later that night, Beaumadier was Joel Tse Sergio Pallottelli the featured soloist with the National Symphony Orchestra of Costa Rica in a riveting performance of the Concerto for styled recital that included G.P. Telemann’s Fantasia No. 6 in Piccolo and Orchestra, Op. 50, by Lowell Liebermann. For an D Minor; the Sonata No. 1, Op. 168 by Adolf Terschak; and encore, he kicked off the third movement for a second time, at Willhelm Popp’s “Fantasia on Rigoletto, Op. 335.” Eduardo an incredibly fast tempo. Gomez (Venezuela) offered a varied program that featured On the final night of the festival, I opened the first of two his own arrangement of the Andante maestoso (Chaconne) concerts at the National Theater with a performance of mul- from the Violin Partita No. 2 in D Minor, BWV 1004, by J.S. tiple works for piccolo by North American and European Bach; the Sonata, Op. 23, for flute and piano by Lowell composers that included the whimsical “Wake Up!” for pic- Liebermann; and a charming Venezulean selection entitled colo and alarm clock by Tilmann Dehnhard, Derek Charke’s “El Bachiano” by Pineda. The concert concluded with a com- haunting “Lachrymose” for solo piccolo, “Lamento” for pic- pelling performance by Rogerio Wolf (Brazil), which includ- colo and piano by Christopher Caliendo, and the Latin- ed two often-neglected works: Clara Schuman’s “Three American premiere of “To the Nth Degree” (Sonata No. 3) Romances” and the Suite by Philippe Gaubert. Eldred Spell (U.S.) launched the third day’s events with a for piccolo and piano by Matt Smith. Flutist Elena Cecconi performance of the delightful Sonate en concert, Op. 17 by (Italy) delivered dramatic, animated performances of three Jean-Michel Damase and the Rondo by W.A. Mozart. Alto Italian showpieces for flute and piano, including the Fantasy flute specialist Carla Rees performed her beautifully crafted on Rigoletto by Briccialdi; the Fantasy on Un Ballo in arrangement of J.S. Bach’s Suite No. 2 for cello, which she fol- Maschera by P.A. Genin; and Emanuele Krakamp’s Fantasy lowed with more contemporary selections: “The Moon by on La Traviata. The final performance on the early evening Night” by Andrew McBirnie and Daniel Kessner’s “Simple recital was given by piccoloist Milicia Milsovjević (Serbia), Motion.” Joel Tse (U.S.) performed expressive and engaging who gave an imposing yet expressive performance of well- interpretations of the Sonata in E Minor by Handel, Philippe known American and British works for piccolo, including Gaubert’s “Madrigal,” and an unknown Chinese piece (intro- Gary Shocker’s light-hearted “Piccolo Italiano,” the jazz- duced to him by one of his students). The evening’s final per- infused Sonata by Mike Mower, and the rousing “The High formance featured piccoloist Horacio Massone, whose lavish and the Mighty” by Michael Daugherty. The festival conclud- tone and magnetic musicianship were showcased in the ed with a finale concert featuring performances by the two Concertino for Piccolo by the Brazilian composer Ernani flute choirs, conducted by Bertet and Floyd, comprised of the Aguiar; the Largo from the Concerto in C Major, F. VI No. 4, by student participants and artist-teachers. Antonio Vivaldi; and the Fantasy on La Traviata by P.A. Genin. This was my first year participating in the Costa Rica Flute The fourth evening included two concerts at the National Festival, and I hope it will not be my last. While the students’ Theater, the first of which began with the legendary Susan ability levels varied greatly, every participant was eager to learn Milan (U.K.), whose program consisted of G.P. Telemann’s and took full advantage of the festival’s wealth of opportunities. “Methodical Sonata in B Minor”; the Concertino, Op. 107, by One of the event’s most memorable aspects personally was the Cecile Chaminade; and Doppler’s “Valse Bravura,” for which fact that the guest artists stayed in close living quarters for the host-flutist Gabriel Goñi joined Milan. Sheryl Cohen (U.S.) entire week, sharing a kitchen and common area with other gave an elegant recital, performing Michel Blavet’s Sonata teachers. In the evenings, we gathered to eat, socialize, and

No. 4; “La Lumague” Aria Op. 48, No. 1 by Ernö Dohnányi; unwind. The guest artists were supportive of one another, and . and “Joueurs de Flute” by Albert Roussel. Ending the first it was inspiring to hear so many performances by gifted flutists. evening recital was charismatic piccolo virtuoso Jean-Louis I departed from Costa Rica having strengthened existing Beaumadier performing “Variations Drolatiques, Op. 26” by J. friendships but also having established many new ones, and I Andersen; Reichert’s “Souvenir du Para”; Jean-Michel Damase’s believe we all left an impression on one another that will not “For Piccolo”; and “Marysas” by Jan Novàk. The second concert soon be forgotten. I commend Gabriel Goñi and his entire of the night featured Néstor Torres (Puerto Rico) accompa- staff for their tireless work in putting together such a suc- nied by the Youth Symphony Orchestra under the direction cessful and diverse festival. of Marvin Araya. His energized concert featured an assort- For information about the 2015 Festival Internacional ment of Latin jazz music of various regions throughout de Flauta de Costa Rica, contact Gabriel Goñi at

Central and South America. [email protected] or visit acofla.org. TSE AND PALLOTTELLI PHOTOS BY EDUARDO GOMEZ

70 The Flutist Quarterly Summer 2013 nfaonline.org Flöten Festival Freiburg 2013: Deutsche Gesellschaft für Flöte e.V. he German Flute Association’s TInternational Flute Festival was held at one of the most presti- gious music schools in the flute world, the Hochschule für Musik Freiburg (Freiburg Conservatory of Music), Germany, March 22–24. This triennial event was organized by Ruth Wentorf, flute professor at the Hochschule für Musik Freiburg and president of the German Flute Association, Mihoko Watanabe The festival included masterclass- Hochschule fur Musik in Freiburg, Germany. es, workshops, competitions, exhibitors, and concerts featuring András Adorján (Budapest/Denmark), Robert Aitken and Felix Mendelssohn’s Trio in D Minor (originally for vio- (Canada), Eva Amsler (Switzerland/U.S.), Yossi Arnheim lin, cello, and piano but rearranged by Mendelssohn him- (Israel), Evcil Bulent (Turkey), Denis Bouriakov (Russia/U.S.), self). It was beautiful music-making among three perform- Elizabeth Buck (U.S.), Sanqing Chen (China), Jürgen Franz ers. Adrján’s sound projection and orchestration within the (Germany), Davide Formisano (Italy/Germany), Peter-Lukas trio were very natural with impeccable technique. The level Graf (Switzerland), Maxence Larrieu (France), Andrea of collaboration was admirable. Lieberknecht (Germany), Camilla Hoitenga (U.S./Germany), The conclusion of the whole event was a concert by the Gergely Ittzés (Hungary), Wil Offermans (Holland), Felix 84-year-old Graf. He performed with his daughter, Aglaia Renggli (Switzerland/Germany), Karl-Heinz Schütz (Austria), Graf, a beautiful and talented pianist. The program includ- Matthias Ziegler (Switzerland), myself, Mihoko Watanabe ed Mozart’s Sonata in F Major, Schumann’s Three Romances, (Japan/U.S.), and others. and Martin’s Ballade. Graf’s tone has remained unchanged All of the concert performances displayed an incredibly and was exactly the way I remember from a CD I bought high level of artistry. Saturday’s exceptional Gala Concert in many years ago in Japan. It is clear, with lots of colors, flow- honor of Auréle Nicolet featured a lavish lineup of per- ing, warm, and focused. formers, with the 87-year-old Nicolet present in the concert From the U.S., there were concerts by Amsler, Buck, and hall. The concert opened with a welcome by Felix Renggli, a Hoitenga. Amsler performed and introduced a beautiful pro- former student of Nicolet’s, who followed his remarks with gram including Charles DeLaney’s “Hymn of Pan,” Ernest von a wonderful performance of J.S. Bach’s Trio Sonata in C Dohnányi’s “Aria,” Elizabeth Brown’s “Antarctica,” Arthur Minor on his wooden flute. Karl-Heinz Schütz and his Footes’ “A Night Piece,” and Katherine Hoover’s “Kokopelli.” teacher, Eva Amsler, both Nicolet’s students, performed one Buck performed a fascinating duo program with Magda of Wilhelm Friedemann Bach’s beautiful duets. Davide Schwerzmann that consisted of Damiel Schnyder’s Suite and Formisano played the Jolivet Sonata with a round and crys- Yuko Uebayashi’s Au-delá du temps. Hoitenga performed a tal-clear sound while demonstrating brilliant, sparkling very strong American program including Copland’s Duo for technique and an astonishing interpretation of the piece. flute and piano,, Roy Harris’s “Lyric Studies,” Charles Karl-Heinz Schütz and Laetitia Bounol (piano) closed the Wuorinen’s Flute Variation II and Sonata (third movement), concert with Boulez’s Sonatine. They played with convic- and Burton’s Sonatina (third movement). tion and impeccable tonal and technical control; it was Amid the wonderful concerts I was very pleased and hon- wonderful music-making. Throughout the concert, one ored to present my lecture recital on “Essence of Mei.” This could feel the tension in the whole concert hall as everyone presentation was based on my article, first published in 2008 was absolutely silent, something I have rarely experienced. in The Flutist Quarterly, which has been translated into The other highlight concerts for me were performed by German for the German Flute Association’s official magazine, Robert Aitken; András Adrján; and Peter-Lukas Graf. Flute Aktuell. . Aitken’s concert featured “An Idyll for the Misbegotten” for —Mihoko Watanabe amplified flute and three percussionists by George Crumb and “Ghosts and Gargoyles” by Henry Brant. For the latter, The 18th Biwako International Flute Competition was held for solo flute, conductor, percussion, and eight other flutes, March 5 (preliminary round) and May 2–6 (semifinal and various flute duets were distributed spatially throughout the final rounds) in Takashima City, Japan. The competition concert hall. Both pieces were performed impressively and is in two categories: soloist and junior. For more informa- masterfully. Adrján’s concert consisted of two flute trios tion, visit www.city.takashima.shiga.jp/ or send an e-mail to

PHOTO COURTESY OF MIHOKO WATANABE (flute, cello, and piano), Joseph Haydn’s Trio in G Major, [email protected].

nfaonline.org Summer 2013 The Flutist Quarterly 71 NOTES FROM AROUNDTHE WORLD Unprecedented perfect marks were given during the final of the Stichting Naational Fluitconcours held in The Netherlands on April 7. The international flute competition hosted participants representing 27 countries, including Austria‚ Belgium‚ Bulgaria‚ China‚ Colombia‚ Croatia‚ Czech Republic‚ Estonia‚ France‚ Germany‚ Greece‚ Hungary‚ Japan‚ Latvia‚ Lithuania‚ Mexico‚ Poland‚ Portugal‚ Russia‚ Serbia‚ Slovakia‚ Slovenia‚ Spain‚ South Korea‚ The Netherlands‚ Turkey‚ and Ukraine. The 2013 “Masterstudent” winners were Asya Safikhanova (Russia)‚ student of Olga Ivusheikova at the Moscow Conservatory, first place; Mayuko Sujaku (Japan)‚ Peter Sheridan William Bennett student of Stephane Rety at the Hochschule in Dresden, second place; and Eliska Horehledova (Czech Republic)‚ student Christine Erlander Beard, Christopher Lee, Kelly Via, Laurel of Kersten McCall at the Amsterdam Conservatory, third Swinden, Margot Rydall, Mark Dannenbring, Meg Griffith, place. Additional prizes went to Blaz Snoj (Slovenia), student Megan Lanz, Nancy Nourse, Patricia Creighton, Patricia of Aldo Baerten at the Royal Conservatory in Antwerp. The Dydnansky, Rik Noyce, Samantha Chang, Sara Hahn, and 2013 “Bachelorstudents” winners were Hazar Birkan (Turkey), Stephen Tam. Visit canadaflute.com. student of Aldo Baerten at the Hogeschool voor de Kunsten Utrecht, first place; Marija Zandberga (Latvia), student of The second European Piccolo Philippe Benoit at the Conservatorium Maastricht, second Festival will take place in place; and Valeria Miller (Russia), student of Vukan Milin at Jezersko, Slovenia, August 24–25. the University of Music, Drama and Media in Hannover, third Organized by Matjaž Debeljak, place. Additional prizewinners included Hazar Birkan this year’s festival guest artists will (Turkey) and Tina Vorhofer (Austria), student of Wally Hase include Trond M. Brekka at the Franz Liszt Academy of Music in Weimar. The 2014 (Norway), Zart Dombourian-Eby competition will be held in early April 2014. Visit fluitcon- (U.S.), Gabriel Goñi (Costa Rica), cours.nl or send an e-mail to [email protected]. Andrea Jelavić (Croatia), Horacio Massone (Argentina), Milica Milsovjević (Serbia), and Natalie Matjaž Debeljak Schwaabe (Germany), with additional performances by Kia Benett, Maša Bertok Duh, Mateja Crnčan, Urška Križnik Zupan, Špela Lampret, Andreja Marčun, Carla Rees, Tanja Repe, Jasmina Šubic, and Brina Zupančič. Visit piccolo-festival.eu.

The 2014 British Flute Society Convention will be held August 22–24, 2014, at the Warwick Arts Centre at the University of Warwick near Coventry, England. The deadline for submissions is September 1, 2013. Visit bfs.org.uk/ or contact the conven- Nicola Mazzanti Jean Ferrandis tion’s director, Carla Rees, at [email protected]. The Norwegian Flute Festival will take place June 21–23 at the Toneheim Folkehøgskole in Hamar, Norway. Guest artists Preregistration is now open for include Jean Ferrandis, Davide Formisano, Gergely Ittzes, the Australian Flute Festival taking Nicola Mazzanti, Ewa Murawska, Sophie Defeutrelle, Sibel place October 4–7 in Canberra, Pensel, Ruth Wentorf, Cordula Hacke, Ulla Miilman, Heinrik Australia. The artist roster features Sitzer, Tom Ottar Andreassen, Torkil Bye, Vidar Austvik, headliners Marianne Gedegian Maiken Mathisen, Paul Wählberg, Jan Junker, Michael Titt, (U.S.), Jim Walker (U.S.) and Lars Asbjørnsen, Jørn Schau, Anne Randi Haugejorden, Tore Roberto Alvarez (Spain/Singapore), Aaen Aune, Anne Lill Ree, Lnn Annett Ernø, Arild Andersen, with additional international and Morten Mortensen, Gitte Tangen Dulat, Marianne Aarum, Australian guest artists to include Veronica Nagel Alne, and Carina Amudsen. Visit flute.no. Lina Andonovska, Alan Aungles, Shaun Barlow, David Barnard, The Canadian Flute Association is proud to announce the Jim Walker Michel Bellavance, Morwenna first Canadian Flute Convention, to be held June 29–July 1 at Collett, Margaret Crawford, Christine Draeger, Prue Appleby College in Oakville, Ontario, Canada. Confirmed Farnsworth, Jocelyn Fazzone, Haga Duo, Leigh Harrold, Alan international guest artists include William Bennett, Carla Hicks, Vernon Hill, Jude Huxtable, Derek Jones, Wouter Rees, Atarah Ben-Tovim, Peter Sheridan, Alena Lugovkina, Kellerman, James Kortum, Adrianna Lis, Janet McKay, Niall O’Riordan, Bill McBirnie, Jean-Louis Beaumadier, Lamorna Nightingale, Gabriella Pusner, Jane Rayner, Peter

72 The Flutist Quarterly Summer 2013 nfaonline.org

Sheridan, Rebecca Steel, Jeffrey Smith, and Virginia Taylor. For more information, visit australianflutefestival.com. Gps!Uif The 15th International Friedrich Kuhlau Flute Competition Qjddpmp!Tqfdjbmjtu will be held October 17–November 2 in Uelzen, Germany. boe!gps Judges this year will be Cordula Hacke, János Bálint, Philippe Boucly, Toke Lund Christiansen, Toshinori Ishihara, Andrea Uiptf!Xip!Offe Lieberknecht, and Susan Milan. Visit uelzen.de. up!Tpvoe!Mjlf!Pof

The 13th annual Chieri International Music Competition for Young Performers will take place November 19–23 in Complesso LFFGF 65!Divsdi!Tusffu San Filippo, Chieri, Italy. (Note that this is a new location.) The QJDDPMPT Xjodiftufs-!Nbttbdivtfuut!129:1!VTB competition schedule is still being developed, but the traditional Qipof;!892.47:.2737 applications deadline is in November. The 2013 competition’s CPTUPO F.nbjm;!kjnAlffgfqjddpmp/dpn instrumentation does not include a flute category but does have a xxx/lffgfqjddpmp/dpn chamber music section; categories for the 2014 competition will be flute, bassoon, trumpet, and trombone along with chamber music. Visit https://sites.google.com/site/circolocameristi- copiemonteseen/concorso or send an e-mail to Chiara Giani at [email protected].

Applications will be accepted through November 4 for the Erich Graf biannual International Flute Competition “Domenico A Flute Recital: Cimarosa” to be held December 4–6, 2013, in Aversa, Italy. Bach (c minor suite) Competitors must have been born after December 31, 1965, to Roussel (Joueurs de Flute) be eligible. For competition details and the application, visit Berio (Sequenza) Gaubert (Sonata #3) concorsocimarosa.it, or for information, send an e-mail to [email protected]. Flute Masterworks: Poulenc (Sonata) Debussy (Syrinx) Varése (Density 21.5) Bourne (Carmen Fantasie) Nobis (from western mountains) Prokofiev (Sonata)

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

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nfaonline.org Summer 2013 The Flutist Quarterly 73 PassingPassing Information about absent friends TonesTones

Claude Monteux: 1920–2013 Monteaux the Younger pursued dual careers, as flutist and conductor. He was a protegé of Georges Laurent and performed the premiere of Elliott Carter’s Sonata for flute, oboe, cello, and harpsichord. by Nancy Toff

o much of the classical world, the name Monteux conjures Tvisions of the charismatic, walrus-mustachioed Pierre Monteux, the conductor who led the premiere of Le Sacre du Printemps in Paris in 1913, and who brought French style to the podiums of the San Francisco and Boston symphonies. Pierre was also a Paris Conservatory classmate and close friend of Georges Barrère. But to flutists, the surname refers equally to Pierre’s son, Claude, who had dual careers as flutist and conductor. Claude Monteux died at his home in California on February 22. Claude Monteux Claude Monteux was born in 1920 in Brookline, Massachusetts, at the beginning of his father’s tenure as music He also had a bit of contact with Barrère. “I was just learn- director of the Boston Symphony. His mother, Germaine ing how to play the flute. I still didn’t know how to finger high Benedictus Monteux, was a baroque keyboard specialist. The B or anything above that,” Monteux said. “He showed me the parents divorced, and Claude grew up in France with his fingering for high B. I didn’t have anything to play because I mother; he enrolled at Black Mountain College in North was a beginner, but he let me play on his platinum flute, which Carolina at age 17, already an accomplished pianist. But, as he I thought was a nice gesture, and I got the impression he did noted in an interview, “My piano lessons had to stop because this because he knew my father.” I put my right hand through a glass door while chasing one of During World War II, Monteux served in the U.S. Army, my friends...So I had to play another instrument.” performing in the cast of This is the Army and working as a Fortuitously, he had the opportunity to attend a Boston translator in France. After the war, he played in the New York Symphony concert in nearby Asheville. “I heard the solo in the Philharmonic’s summer concerts at Lewisohn Stadium, some- Brahms Fourth played by Georges Laurent,” he said, “and right times under his father. In 1946, he was named principal flutist then and there I decided I had to play the flute.” (All quotes of the Kansas City Philharmonic, where he played for two sea- here are from the interview that the author conducted for the sons under Efrem Kurtz. “I think the audition consisted of my NFA oral history project in 2001.) playing the first five or six bars of the Mozart D major concer- Monteux took one lesson with Emil Medicus, who was by to,” he said. “And he said, OK, you’re in. It’s not the same thing then well past his prime, then studied with another local now, but I was on the spot right away because I didn’t have any COM teacher for two years before going to Laurent. “I was very for- experience, but I learned fast.” . tunate that he had been brought to Boston along with 35 other In the 1950s and ’60s, Monteux was an active freelancer in French musicians by my father. That’s before there was a New York, playing on Broadway and in recitals and chamber union. So I received two lessons a week and I improved very concerts in a repertoire that ranged from baroque to brand- fast.” Laurent taught him at no charge—a gesture perhaps new. Emblematic of his career in that period was his work as made in gratitude to Monteux père. (See Demi Fair’s Ohio flutist of the Harpsichord Quartet, where he replaced Harold State University DMA dissertation, Flutists’ Family Tree: In Bennett in November 1952. Founded by harpsichordist Sylvia

Search of the American Flute School, 2003.) Marlowe, with oboist Harry Shulman and cellist Bernard PHOTO COURTESY OF CLAUDEMONTEUX

74 The Flutist Quarterly Summer 2013 nfaonline.org of classic works, and five years later they released a full disc of sonatas for flute, viola, and viola d’amore. Monteux made several recordings as concerto soloist, notably the Bach Suite in B Minor, Mozart Concerto No. 2, and Gluck Dance of the Blessed Spirits with the London Symphony conducted by his father. With the Academy of St. Martin in the Fields under Neville Marriner, he recorded the Mozart Concerto No. 1; the Mozart Concerto for flute and harp, with harpist Ossian Ellis; and a disc of concerti by Quantz, Loeillet, Gretry, and Leclair. When Monteux was orienting himself to New York’s freelance world, Julius Baker took him under his wing. In fact, “When I was between wives, I stayed with him,” Monteux said. He recalled, “Julie was the king of New York and he had all the big fat jobs. Still, he would every once in a while ask me to second flute with him, and I didn’t mind that at all. I really admired his playing.” One such invitation resulted in a rare recording—a gem—the d’Indy Suite in Olden Style, for trumpet, two flutes, and strings, Op. 24, with Baker, trumpeter Harry Glantz, and the Guilet String Quartet. Another disc presented the Loeillet sonatas for flute and Claude Monteux occasionally performed under the baton of his famous father, recorder with his wife Marianne on harpsichord. He also par- both as an orchestra member and as soloist. Their one joint recording was released in 1964. According to Claude, his father hated splicing, and then recorded the ticipated in the historic 1956 recording of Henry Brant’s Mozart in one take. Angels and Devils (which the New York Flute Club re-released on CD in 2006). Greenhouse, the group played what was then quite unusual Taking after his father, Claude Monteux pursued an active baroque literature, leavened with works that became landmarks career as a conductor. In 1953, he was named conductor of the of the 20th-century harpsichord repertoire—“Exquisite per- Columbus (Ohio) Little Symphony Orchestra, where he stayed formances of Baroque music, spiced with a dash of mod- for three seasons. It was with that ensemble that he played the ernism,” as the New York Times reported. (See “Ensemble Offers premiere of Nicholas Flagello’s Concerto Antoniano in 1954, Sonata by Carter” in the New York Times, November 11, 1953.) On November 10, 1953, the Harpsichord Quartet gave the with the composer conducting. premiere of Elliot Carter’s Sonata for flute, oboe, cello, and In 1959, Monteux took over the direction of the Hudson harpsichord, commissioned by Marlowe, in Carnegie Recital Valley (NY) Philharmonic, turning a community orchestra Hall; the Times gave it a mixed review. The Quartet also pre- into a fully professional ensemble that he would lead for 16 miered the Serenade, Op. 39 by Ben Weber in January 1954 years. For a time in the ’60s, he ran the conducting school in and recorded it for Decca. Hancock, Maine, founded by his father. In other concerts, too, Monteux was adventurous. His Monteux taught flute at the New England Conservatory, recital in Carnegie Recital Hall on October 5, 1953, featured Peabody Institute, Vassar College, and San Diego State the premiere of Paul Nordhoff’s Dance Sonata for flute and University. In his later years, after giving up flute playing piano (with the composer at the keyboard), along with a because of dystonia, he gave lessons by correspondence course challenging program of Bach, Schubert, Martinu, and was a frequent presence on the FLUTE listserv, dispensing Hindemith, and Virgil Thomson. the wisdom gained over a long career. Among his students A March 1957 concert with the Beaux-Arts String were Jim Walker, former principal flutist of the Los Angeles Quartet, with Henry Brant at the piano, accordionist Philharmonic; New York baroque flutist Daniel Waitzman; William Costa, and bassist June Rotenberg, included the and former NYC Opera principal flutist John Wion. premieres of Alec Wilder’s Suite for flute and strings, FILM- PAINTING by Len Lye, and Brant’s All Saints Carnival for Nancy Toff, recipient of the NFA’s 2012 National Service flute, violin, cello, acordion, and piano. Brant and Monteux were good friends and frequent collaborators, and Monteux Award, is the author of The Development of the Modern was a strong proponent of Brant’s Partita, which he had Flute, The Flute Book (3rd ed., 2013), Monarch of the Flute: played with the composer at the New York Flute Club in The Life of Georges Barrère, and Georges Barrère and the February 1957. (NFA member and former chair of the New Flute in America. She is chair of the NFA’s archives and oral Music Committee Paul Taub revived the Partita at the NFA history committee. convention in Anaheim in 2011.) In October 1962, Monteux and violist Walter Trampler A shorter version of this article appeared in the April 2013 issue gave a joint recital, also in Carnegie Recital Hall, primarily of the New York Flute Club Newsletter. PROGRAM PHOTO COURTESY OF NANCY TOFF

nfaonline.org Summer 2013 The Flutist Quarterly 75 Honor Roll of Donors to the National Flute Association

The National Flute Association extends its heartfelt thanks to the following individuals and organizations whose generous contributions help to sustain its operations, programs (such as cultural outreach, special commissions, publications/recordings, and flute choir), and endowments. The list reflects donations received from November 1, 2011, through June 1, 2013.

Sapphire Linda Crisafulli Sherry’s Flute Repair & Yeva Johnson Danielle R. Breisach Samantha Kurihara ($10,000–$49,999) Linda Cykert Sales Lucie F. Jones Morgan M. Esther Landau Wm. S. Haynes Flute Co. Richard L. Dalton Angela Allen Sherzer Melonie M. Jones Bresett-Brown Mary Laurie Monica Daniel-Barker Mary DeLano Sholkovitz Keefe Piccolo Company Jennifer Brimson Cooper Elaine Layne Emerald ($5,000–9,999) Karen B. Demsey Sign of the Silver Birch Katherine Kemler Jennie Brown Matthew Lee Bickford W. and Laura Judy Diez d’Aux Music Laura Sanborn Kuhlman Alex Burdette Gina Leija Sebastian Brannen Zart Dombourian-Eby Ellen Silverman Anne M. Laboda Jean M. Burnett Harvey Leikind Mark & Judith Thomas Daniel Dorff Alison Brown Sincoff Lawrence H. Liggins Linda Caillavet Carmen A. Lemoine Darlene Dugan Fenwick Smith Elie Litov Michelle Caimotto Kasumi Leonard Platinum William J. Egnatoff Lucille Snell Andrew Liu Elise Campbell Barbara Levine ($2,500–$4,999) Arthur J. Ephross John Solum Nancy Loomba Trish Campos Gerardo Levy Aaron Copland Music Ann Fairbanks Corydon S. Sperry Deborah MacMurray Nikolaos Chalkias Tzu-Ying Jennie Lin Fund Steven Finley Terri Sundberg Leslie Seid Margolis Sandy Chang Margaret Linnan-Kegel Eleanor Duncan Cynthia J. Folio Paul Taub Marcia Strom Metzger Xue Chen Nikki Lohr Armstrong Noreen B. Friedman Betsy Templeton Microsoft Matching Gifts Kimberly Clark Diane J. Lynch Angeleita S. Floyd Colin Garnett The Flute School Program Shelley Collins Carlen Mandas Levit Flute Company Katrina Garnett (online with) Catherine Miller Cara Conway Susan J. Manwaring Nancy E. Toff Lisa Geber Jeffrey Khaner Mary Minsk Alexandra Conza Samantha Marshall Patricia George Ruth Toff Polly Monson Lynne Cooksey J.T. Martin Gold ($1,000–$2,499) Aaron Goldman Philip Trackman Elizabeth Z Morales Mary E. Craig Cory Maxfield Anonymous Susan S. Goodfellow Keith Underwood Howard E. Motteler Tara Novy Crawford Karen B. McClintock The Abell Flute Co. Susan Greenberg Peggy Vagts Anna-Katharina Mueller Mark Dannenbring Audrey McPherson Sue Blessing Penny Griffy Ignace Vanmoerkerke Sharon Muller-Ho Melissa DaPonte Wendy Mehne Leone Buyse Yvonne Chavez Julia K. Vasquez Marissa Heartly Olin Luella Daugherty Julianna Moore Gerald V. Carey Hansbrough Ann S. Vinod Lauren Osnato Maretha Davel Roland F. Moritz Marilyn First Kathleen Ann Henkel Alice Kogan Weinreb Ann C. Pearce Maria Luisa Christine Fish Moulton Flute Center of New York Betty Austin Hensley Jean Ohlsson West Margaret A. Peterson De La Cerda Rohde Conor Nelson Leonard L. Garrison Jill Heyboer Patricia Wheeler Margaret Jane Radin Marilyn Deavers Pamela Nelson Sarah Jackson Dorothy (Dot) Holcomb Stephanie A. Wheeler Catherine Ramirez Erin Delaney Susan Nelson Katherine Borst Jones Ellen Huntington Robert Willoughby Ginger (Virginia) Jessica Deskin Susan Nguyen Katha Kissman Rose V. Johnson Theresa H. Wilson Rombach-Adams Ann Droste Lisa Norton Sherry & Walfrid Kujala Sue Ann Kahn Carol Wincenc Helene Rosenblatt Sophie Dufeutrelle Alex Ogle Martin Melicharek III Trudy Kane Windward Flutes Ltd. Sue Rudholm Emily Duncan Kris Palmer Nagahara Flutes NNI Inc. Ellen Kaner Kara Wuchner Ali Ryerson Donna Morse Dymond Dan Parasky Nancy Schneeloch- Robert Katayama Ying-Yu Emily Yeh Debra C. Schild Lisa Ann Fahlstrom Jennifer Parker-Harley Bingham Peter Katz Heidi Schuller Jill Felber September Payne Straubinger Flutes Tara Kazak Donor ($50–$99) Peter Sheridan Katherine Fink Martha Peltier James R. Walker Jonathan Keeble ALRY Publications, LLC Emily Hope Skala The Flute Market Sibel Pensel Janet D. Kinmonth Jan Boland Ann D Smith Ronda Benson Ford Jason Peterson Silver ($500–$999) Linda Kirkpatrick Joanne Ennis Bourquin Diana Sparacin Sarah B. Fouse Mary Peterson Shelley Binder Marjorie Koharski Wissam Boustany Patricia Spencer Diane Gold-Toulson Antonio Carlos Andrew D. Callimahos Christopher Krueger Bonita Boyd Alexa Still Ai Goldsmith Portela da Silva Jerry Jenkin Gay Landstrom Burkart Flutes & Piccolos Cynthia C. Stokes Jennifer Grady Amy Porter William Montgomery Joanne Lazzaro Bret Burns Patricia Stortz K. Dawn Grapes Donna Prather David Robbins Amy Likar Joanne K. Chadima Natalie Syring Alyssa Greengrass Kathryn A. Prinz Sandra Saathoff Gail E. Looney Chesapeake Flute Consort Lew Tabackin Gaile Griffore Linda M. Prior The Flutist’s Faire Phyllis Louke Carol Christofferson Cynthia R. Tate Maria K. Harding Irene Pruzan Nancy M. Vinson Leslie Maaser Andrea Clark Rae P. Terpenning Courtenay Hardy Judith A. Ranheim Richard E. Winslow Janet Maestre Susan J. Clark Catherine W. Tetreault Jean M. Harling Arlene H. Renico Claire Della Mahon Harriet Coppoc Michael Treister Linda Hartig Hiram G. Wood ($100–$499) Julie Martin Maisel William R. Davis, Jr Verne Q. Powell Flutes, Adrienne Havelka Carrasquillo Rivera Anonymous Rebecca Malone Marcela DeFaria Inc. Pamela Hawley Cynthia Roberts Robert Aitken Roger B. Martin Claire Durand-Racamato Susan Waller Kimberly Helton Rachel Rodgers Eva Amsler Betty Bang Mather Charlotte Ellis Lenora Warkentin Ellen Hershey Charlotte Jane Roth Rebecca Tryon Andres Richard A. Mc Pherson Robert Estlund Mihoko Watanabe Gunn Hill Rita Roth Francesca Arnone Katherine H. McClure Penelope Fischer Anne Welsbacher Julie R. Hobbs Ronnie Rothchild Deborah Rebeck Ash Dorli McWayne Lewis T. Fitch Ruth M. Yanagi Priscilla Ochran Holt Toby Rotman Frances Lapp Averitt Catherine Miller Lynne L. (Hadley) Alan Zaring Amber Hrynczyszyn Sonia Ruiz Peggy F. Baird Linda Mintener Fowlkes Caroline Calabro Hughes Crystal Safarian Teresa Beaman Catherine Montano Hans Friese Friend ($1–$49) Don Hulbert Elaine Marie Schaeffer Brooke Bennett D. Kent Morest Kimberlee R. Goodman Patti Adams Maria Infurchia Lynette Schatz Laura Benning Madeline Neumann Jacqueline Goudey Melanie Addington Sarah Jackson Mary Schneider Laurie Benson Edith K. Nishimura Ann E. Graham Dianne Aitken Margaret Foote Jamner Lisa Schroeder Brannen Brothers Joyce Oakes Eileen Grycky Lori Akins Donna Long Jerz Virginia Schulze-Johnson Flutemakers, Inc Linda Pereksta Vanessa Gwynne Claudia Anderson Emlyn Johnson Magda Schwerzmann Carol Brecker George S. Pope Harbor Winds- Sara Andon Rebecca R. Johnson Darrius Serrant Claudia H. Brill Christine E. Potter Woodwind Jan H. Angus Tamara Kagy Jialin Shan Roberta Brokaw Ronald Prechel Repair Services Alice D Avouris Catherine Kapoor Arastu Sharma Jeanine Cariri Deborah L. Ragsdale Julie Guitry Harris John R. Bailey Mindy Kaufman Ken Sherman Kirsten Carlson Wendy H. Rolfe Susan Hayes Joanna Bassett Melissa Keeling Robert Singer Beth E. Chandler Sue A. Rupp Lisa Hedley Beth Behning Amalie C. Kempton Harvey Sollberger Gary & Kathryn Chandler Edith Sagul Wilda M. Heiss Vicki Bell Bryan Kennard Lezlie Spann Sandra Church Sam Ash Music Eric Hoover Sandra Benke Janice S. King Janet Sperry Jenny Smith Cline Lisa Garner Santa Sandra Howard Debra Blecher Elyse Knobloch Rosalind Stack Robert F. Cole Patricia Schmid Carolyn Krysl Nancy Budd Bostwick Laura Koenig Keri Starling Margaret Cornils Luke Therese Schneider Hutchinson Carla Bowman Mary Kopsieker Deborah Steinbacher David Cramer Frances Shelly Jennifer Isadore Beverly Bradley Sue Kurian Syrinx Flute Repair

76 The Flutist Quarterly Summer 2013 nfaonline.org Ayana Terauchi Eileen Yarrison Karen Bergquist Lueth Ann Marie Ouellette Norman C. Thibodeau Dr. Alan Zoloth Mary Berk Karen Perkins Heidi Toevs Sheridan Jeffery Zook Francis Blaisdell Margaret A. Peterson Haynes Challenge Rosalyn Trotter Karen Bogardus Mary Peterson Albert Vreeland Frances Blaisdell Fund Joanne Ennis Bourquin Mary Louise Poor Endowment Fund Melanie Walters The Abell Flute Co. Leone Buyse Agatha Juichih Wang Eva Amsler Linda Caillavet George S. Pope Richard Warner Rebecca Tryon Andres Jenna Charles Calixto Christine E. Potter he Wm. S. Haynes Company’s Maya Washington Peggy F. Baird Andrew D. Callimahos Irene Pruzan donation of $125,000 for the NFA Valerie L. Watts Laurie Benson Gerald V. Carey Deborah L. Ragsdale T Kristin Webb Mary Berk Kim Carey Barbara S. Rives endowment includes a matching Arnie Wernick Joanne Ennis Bourquin Mary Ellen Cerroni Cynthia Rugolo challenge of an additional $125,000. Chesapeake Flute Consort Joanna Cowan White Mimi Carlson Sue A. Rupp As of June 1, 2013, the endowment Kerrie Wrather Vespaziani Carol Christofferson Timothy A. Cholyway Patricia Schmid Eileen Yarrison Susan J. Clark Cathy Clare stands at $1,223,461.07. Thank you! To Leung Ka Yau Nan Wood Davies Robert F. Cole Max Schoenfeld date, the following individuals have Kelly K. Yeung Charlotte Ellis Loretta Contino Sandra Seefeld stepped up to the challenge: Charles Young Greer Ellison Albert Cooper Peter Sheridan Colin Garnett Richard Cooper Angela Allen Sherzer Nancy Budd Peter Katz David Hart Fund Leonard L. Garrison Linda Crisafulli Mary DeLano Sholkovitz Bostwick Tamara Kagy Peggy F. Baird Jacqueline Goudey CYSO Jr. & Sr. Flute Alison Brown Sincoff Roberta Brokaw Walfrid Kujala Laurie Benson Susan Greenberg Ensemble Christine Michelle Smith Leone Buyse Linda Mintener Mary Berk Jean M. Harling Monica Daniel-Barker Paul Bolman Patricia Harper Rachel Roxanne Davidson Mary T. Stolper Andrew D. Virginia Schulze- David Brinker Alexandra Hawley Maria Luisa Glennis M. Stout Callimahos Johnson Carol Kaulfus Codrescu Hawley Family Charitable De La Cerda Rohde Terri Sundberg Gerald V. Carey Angela Allen Charles & Maria Coldwell Foundation Melanie Delcid Paul Taub Beth E. Chandler Sherzer Grady E. Coyle Wilda M. Heiss Claire Durand-Racamato Barbara Todd-Simard Richard L. Dalton Lucille Snell Linda Crisafulli Eric Hoover Paul Dutka Anna Tough Flute Center of John Solum Jennifer A. Elliott Tina S. Dreisbach Alison Hubbard G. Warren Turner New York Nancy E. Toff Paul Dutka Jerry Jenkin Emanuel Flutes Inc. Nancy Urbscheit Leonard L. Ruth Toff Greer Ellison Marie Jureit-Beamish Sarah B. Fouse Garrison Ignace Susan Fain Robert Katayama Lynne L. (Hadley) Fowlkes Ignace Vanmoerkerke Lewis T. Fitch Sue Kurian Leonard L. Garrison Gail D. Vehslage Patricia George Vanmoerkerke Jackie Flowers Joanne Lazzaro Elaine Goldfarb Rachel Lynn Waddell Ann E. Graham James R. Walker Leonard L. Garrison Dorothy Tutt Lee Ai Goldsmith Michel Wapler Betty Austin Alice Kogan Gulab H. Gidwani Janet Maestre Susan S. Goodfellow Kristin Webb Hensley Weinreb Elaine Goldfarb Julie Martin Maisel Sheryl Goodnight Jack H. Wellbaum Jill Heyboer Theresa H. Wilson Dr. Ralph Guenther Leslie Seid Margolis Erich Graf Jean Ohlsson West Donna Long Jerz Eileen Yarrison Yvonne Chavez Katherine H. McClure Winona Richards Grant Mary E. Wilson Katherine Hansbrough Clara B. Mortiboy Hollie Grosklos Borst Jones Anne Harper Jean Nakamoto Christine Gustafson John Wion Jim V. Hart Merryl D. Newler Anders Hansen Katherine Wood To join the Haynes Challenge Leaders, send Jodi Himes Edith K. Nishimura Anne Harper Debbie Woods your check and a note on how you would Don Hulbert James J. Pellerite Patricia Harper Lois A. Wynn like to be recognized in the listing to: Paul R. Jacobson Christine E. Potter Linda Hartig Edward M. Young Betty Austin Hensley Haynes Challenge Grant Margaret Foote Jamner Gwen C. Powell Leslie Zieren Dr. Leonie L. Jenkins Linda M. Prior Lynn Hertel c/o The National Flute Association, Inc. Jeffery Zook Helen Jenner Mardee Reed-Ulmer Priscilla Ochran Holt 26951 Ruether Ave., Suite H, Barbara Kallaur Janet Davidson Sandra Howard Santa Clarita, CA 91351 Christopher Krueger Romanishin Amber Hrynczyszyn Dedications Gerardo Levy Ginger (Virginia) Helen Callimahos Hurry Andrew D. Callimahos in Louis W. Lewis Rombach-Adams Gene Isayev Honor of Chesapeake Michael Lynn Jean Rosenblum Jerry Jenkin Youth Symphony Julie Martin Maisel Ronnie Rothchild Trudy Kane Orchestra Andrea Mason Sue Rudholm Ellen Kaner Anonymous in Honor of Carolyn Riedell May Edith Sagul Robert Katayama Can’t Find It? Linda Mintener Patricia Schmid Linda Kirkpatrick Robert Willoughy’s Clara B. Mortiboy Sandy Schwoebel Martha Kitterman 90th Birthday Karin L. Nelson Mary DeLano Sholkovitz Lake Erie Flute Choir Chesapeake Flute Consort Gotta Have It? T. Richard Nichols April Showers Dawn L. Larson in Memory of Helen Edith K. Nishimura Robert Singer Rhonda Larson Callimahos Hurry Ann Marie Ouellette Eve E. Slater Joanne Lazzaro Lisa Gerber in Memory of The complete index Frances Leek Linda Pereksta Glennis M. Stout Jack Wellbaum of articles in The Flutist Mary Peterson Nancy E. Toff Harvey Leikind Marjorie Koharski in Mary Louise Poor Karen Van Dyke Gerardo Levy Quarterly, volumes 16 Ardal Powell Susan Waller Marlee Lindon Memory of Helen Calliope Inc. Renaissance Arnie Wernick Jan Luoma Callimahos Hurry through 36, is now online! Band Jean Ohlsson West Leslie Maaser Patricia Wheeler in Wendy H. Rolfe Alan Zaring Julie Martin Maisel Memory of John Sue A. Rupp Debby Malnic Thomas Visit nfaonline.org Nancy Schneeloch- Myrna Brown Fund Roger B. Martin Bingham Darima Alexandru Krystal Mata Legacy Circle/ and look under the Janet See Eva Amsler McCanless Flutes Shorey Antique Flutes Clarissa Andersen Dennette Derby Planned Gifts Flutist Quarterly section Marilyn Shotola Asako Arai McDermott The NFA Legacy Circle Fenwick Smith Frances Lapp Averitt Nancy Mentch honors individuals who of the site to find Francis Soges Kelli Bahner Alan S. Miller help ensure the future of the Paul Thompson Peggy F. Baird Townes Miller NFA through planned gifts. the index. Keith Underwood Diane Barton-Brown Virginia L. Miller It is with deep appreciation Linda Mintener Anne Welsbacher Donna Swarts Bath that we recognize these (A printed index to issues prior to Jed Wentz Jeanne Baxtresser Sharon Muller-Ho members: Stephanie A. Wheeler Laurel J. Beavers Alexander Murray volume 16 is available from the Robert Willoughby Brooke Bennett Nagahara Flutes NNI Inc. Linda and Harry Fegley NFA office on request.) Mary E. Wilson Joyce M. Bennett Carol Naveira-Nicholson Katherine Borst Jones Ransom Wilson Susan M. Berdahl Edith K. Nishimura Carol Kniebusch Noe

nfaonline.org Summer 2013 The Flutist Quarterly 77 NEW PRODUCTS Recordings, music, and other products by and for NFA members

Meerenai Shim presents The Composer and flutist Susan Art of Noise, a new album of Conant announces the release chamber music for flute, cello, of her CD, Lowcountry Sojourn, piano, percussion, and pro- containing original works that grammed Gameboy. The Art of fuse Celtic, jazz, and classical Noise features works composed influences. The CD features specifically for Shim by Daniel “Lowcountry Suite,” a three- Felsenfeld, Janice Misurell- movement work evoking the Mitchell, and Matthew Joseph watery landscapes of coastal Payne along with works by Jay South Carolina. Performances C. Batzner and David E. Farrell. Shim performs on flute, alto are by Conant (flute, alto flute, pennywhistle), Lin Raymond flute, voice, brake drums, suspended cymbals, castanets, gong, (piano), Eden MacAdam-Somer (violin), and Rafael and mouth siren. Christopher G. Jones plays vibraphone, flower Popper-Keizer (cello). For recordings and sheet music, visit pots, mouth siren, cowbells, snare drum, washboard, congas, conantpoint.com/susanconant. temple blocks, bongos, bamboo and metal wind chimes, brake drums, suspended cymbals, gong, tambourine, and tom-toms. Lori Lack plays piano and Paul Rhodes cello. “Milky Way” or Ian Clarke has released Deep “Galaxy” are translations of the traditional Korean word, pro- Blue both on CD and as a dig- nounced “me-ren-ay,” that is also the first name of flutist ital download. The album, Meerenai Shim, whose performance style straddles the classical, which follows Clarke’s first CD pop, and experimental worlds. Shim is a member of the new flute Within…, includes works he and percussion group, A/B Duo, and a freelance musician in the composed between 2006 and San Francisco Bay Area. She overcame a performance-related 2012. Included on Deep Blue injury and teaches both professional musicians and young stu- are the title track, for flute and dents with learning disabilities. Since 2005, she has been study- piano; “Curves,” for three ing the Alexander Technique, Feldenkrais Method, and Body flutes and piano; “Touching the Ether,” for flute and piano; Mapping, and in 2012 became a licensed Andover Educator. She “Hatching Aliens,” for flute and piano; and “Beverley,” for studied with Linda Lukas, Mary Stolper, Liisa Ruoho, and Alexa solo flute. Pianist Tim Carey joins Clarke on the album. Still. The Art of Noise is available at iTunes, Amazon, and CD Clarke, whose compositions have been performed across five Baby, or visit meerenai.bandcamp.com. continents, studied with Simon Hunt, Averil Williams, and Kate Lukas as a part-time student of the Guildhall School of Music and Drama, London—where he currently serves as Jazz flutist and chair of the NFA’s World Music Flutes professor of flute—while concurrently studying Mathematics Committee Peter Westbrook has released the film The Flute in at Imperial College, London, and graduating with honors. Jazz following the 2009 release of his related book by the same Visit ianclarke.net. name. The film will be screened at the 2013 convention in Carey teaches and performs as a solo performer, as a cham- New Orleans. In both book and film, Westbrook examines the ber musician, and as an orchestral keyboard player. His early history of the flute in jazz and looks at the artists, techniques, studies were with Harold Parker and Louis Kentner, and then and styles that make jazz flute a rich part of contemporary at the Royal Conservatory of Music, London, with Kendall world music. The book includes an introduction by James Taylor, David Parkhouse, and Bernard Roberts. He performs Newton and interviews with leading flutists, whose work is with many different instrumentalists and in particular has represented by clips in the film. In development is an accom- collaborated with flutists at events all over the world. He panying website with interviews, pictures, reviews, news, an teaches in his home county of Essex. extensive discography, and links to flutists worldwide. The flute is found in some form in virtually every culture and in every historical period, but it was a relative latecomer Fofa Le Nna (“Fly With Me”) is the to jazz. Now it is making up for lost time, contributing a rich title of a new CD from South Africa color to the jazz palette and attracting the attention of leading featuring works for two flutists. artists—for many as a main “double” for the saxophone, for Composers on the CD include some as their exclusive instrument. Others are taking flute Neo Muyangfa, Elizabth Brown, techniques from Cuba, Brazil, India, or Japan and blending Hendrik Hofmeyr, Goffredo them with jazz styles, contributing to the streams of fusion Petrassi, and Elisenda Fábregas. that make up world music, and bringing the music of the Flutists are Barbara Highton world into jazz. Visit fluteinjazz.com or contact Westbrook at Williams and Marietjie Pauw. The [email protected]. CD is available through CD Baby.

78 The Flutist Quarterly Summer 2013 nfaonline.org Stefano Parrino has released a Laura Larson announces the double CD devoted to works release of her new CD, Jinju. by 19th-century Italian opera Featured are Larson, pianists composer Saverio Mercadante. Angelina Pashmakova and Valrie Included on the album is the Kantorski, double bassist Lucas world premiere recording of Drew, and harpist Kerstin Allvin 20 capricci. Among other CDs performing works by Gieseking, of Parrino’s flute solo work are Doppler, de la Presle, Miki, his world premiere recordings Martinu, Bolling, Donizetti, of Malipiero’s flute concerto Cima, and C.P.E. Bach. Also fea- and Ghedini’s double concerto for flute and violin. Parrino tured are two world premiere recordings, Detours by James studied with Peter-Lukas Graf, Maxence Larrieu, and Hartway and the title track by Ichiro Higo, both commissioned William Bennett and performs as soloist and chamber by Larson following her cultural exchange performances musician in Europe and North and South America. He per- between the Sister Cities of Detroit, Michigan, and Toyota City, formed Mercadante’s Concerto with the Saint Petersburg Japan. A potpourri of styles, from the light-hearted jazzy Philharmonic Orchestra, conducted by Sergio Monterisi. Baroque and Blue by Claude Bolling to the intense and dramat- He is a founding member of the Trio Albatros Ensemble ic Jinju for solo flute, this CD is a compilation of music Larson and has collaborated with Patrick Gallois, Stephen Burns, has recorded from 1981 to 2012. Laura Larson is principal flutist Graf, and Susan Milan. He teaches both flute and continu- in the Flint Symphony Orchestra and plays flute and piccolo ous respiration, a technique for which he is a recognized with the Michigan Opera Theater Orchestra. She is on the researcher and practitioner. Visit stradivarius.it or violi- adjunct applied faculty at Wayne State University and is a Suzuki nandflute.com/stefano/English/english.html. Flute teacher trainer. Visit larsonflute.com.

Andy Findon and pianist Geoff Eales have released the CD The Dancing Flute, featuring 13 works by Eales reflecting classical, jazz, Latin (tango, flamenco, rumba), Eastern European, and folk influences. Findon plays a variety of flutes including alto flute, bass flute, piccolo, and pennywhistle. Geoff Eales is a PhD graduate from Cardiff University where he studied composition under Alun Hoddinott and piano with Martin Jones. His compositions include a symphony, piano concerto, and numerous chamber works. As a pianist, he has worked with Andrew Lloyd Webber, Henry Mancini, Lalo Schifrin, and Elmer Bernstein and as a jazz pianist has released 10 albums and plays in jazz festivals, clubs, and concert halls. In addition to his work as a classical flutist, Andy Findon is a leading exponent of the ethnic flute and has recorded and performed extensively for film and television. He plays baritone saxophone and flute in the Michael Nyman Band and is a member of the award-winning folk band The Home Service. His personal recording projects include his transcription of Michael Nyman’s Yamamoto Perpetuo for solo flute and his most recent, Density 21.5. Visit andyfindon.com

Become a Haynes Challenge Leader and help ensure the continued excellence of your NFA!

To learn more about this and other ways to contribute, contact Katha Kissman at [email protected]

nfaonline.org Summer 2013 The Flutist Quarterly 79 Reviews of flute-related recordings, REVIEWSREVIEWS books, and other items of interest Cooking Cuba: Four Recordings by Charanga Flutists Jane Bunnett, Orlando “Maraca” Valle, Fay Roberts, and Mark Weinstein channel the charanga tradition through their own artistic lenses. Listeners reap the rewards. by Peter Westbrook number of cultures hold special interest for flutists Aexploring world music. One of these is Cuba, whose major genre, known as charanga, traditionally has featured the flute as lead instrument. Four recent recordings by flutists draw upon the charanga tradition to various degrees and for their own artistic purposes. These will be of particular interest for those attending the 2013 NFA convention in New Orleans, which will feature a good deal of Cuban music and explore its relation to jazz. Charanga is one of several genres that sprang up in the 19th century as a result of the interaction of European and African El Cumbanchero Charangoa cultures in the clubs and dance halls of Havana (charanga), Mark Weinstein Fay Roberts Rio de Janiero (choro and samba), Buenos Aires (tango), and ©2011 Jazzheads, Inc. ©2011 Charangoa Music New Orleans (jazz). Continued interaction among them has produced further hybrid forms such as bossa nova, nuevo tango, and what is loosely termed Cuban, or Afro-Cuban, jazz. As hybrids from the outset, these forms continue to evolve, making the notion of authenticity something of a quagmire. Ironically, perhaps, the only Cuban performer represented here has produced a very progressive recording, while the American and Canadian contributions have explored some of the more traditional forms. Possibly the most traditional sound comes from Fay Roberts. A resident of Los Angeles, Roberts became interested in Cuban music after hearing a legendary Latin jazz flutist. “I Reencuentros: Live at Cuban Odyssey saw this flutist I’d met in New York; his name is Artie Webb, a wonderful flutist,” Roberts says. “I just said, ‘That’s the most the Grand Theater of Jane Bunnett fun thing. That’s what I want to do.’ ” She soon found her way Havana Maraca & His ©2003 Blue Note to Cuba where she found an influential teacher, the legendary Latin Jazz All Stars flutist Richard Egües, known as la flauta mágica—“the magic © 2011 Self Produced flute.” Egües not only coached her as a flutist but helped her in planning an ensemble, the Orquesta Charangoa, which is still Mark Weinstein’s approach is different, but equally com- going strong after 12 years. As the name suggests, the group is pelling. A professor of philosophy from New Jersey, modeled on the traditional charanga instrumentation with a Weinstein has produced an impressive body of recordings flute lead plus two violinists, piano, bass, and half a dozen oth- for which he functions as musicologist as well as flutist and ers handling percussion and vocals. bandleader. Although he characterizes himself as a jazz This is essentially dance music, built around Roberts’ artist, only three of his 17 CDs can be counted as straight- arrangements of traditional Cuban danzon forms featuring ahead jazz recordings. The rest pit his flute against materi- her on the type of wooden instrument beloved of Cuban al and musicians from West Africa, Brazil, Argentina, flutists in the equally-beloved third octave tessitura that floats Cuba, Eastern Europe, and the world of Jewish music. Not high over the ensemble. that he is aiming for some sort of ethnomusicological “It’s music for dancers,” says Roberts, “You’re participating “authenticity.” Rather, he is striving for a fusion of forms in with dancers, interacting with them.” Push back your furniture its truest sense, drawing on jazz’s proven ability to blend when you play this CD—you will want to join them. with other genres.

80 The Flutist Quarterly Summer 2013 nfaonline.org In his latest release, Weinstein returns to his Cuban roots Book. Their approach is what you might expect from two but with an emphasis on the use of strings rather than the classically trained musicians who are also schooled in jazz and percussion-centered approach of his earlier Cuban adven- deeply immersed in Cuban music. They stay close to the tures. As with previous projects, he has brought in a collabo- melodies for the most part, although they are clearly not con- rator familiar with the genre, in this case the brilliant Cuban strained by exact notation. They give each piece a free reading, arranger Aruán Ortiz. Working with a string quartet and elaborated with just a touch of improvisation. The result is rhythm section, Ortiz creates a series of arrangements that utterly charming from beginning to end. evoke charanga while moving it beyond purely dance music Where Bunnett is beguiling, Orlando “Maraca” Valle is scintil- into the concert realm, creating always interesting backdrops lating. This young lion of Cuban flute performance also has for improvisations from Weinstein on C, alto, and bass flutes clear links to the past; along with Bunnett, his wife Céline, and and Ortiz on piano. Between them, they not only move cha- Richard Egües, Maraca is part of the Havana Flute Summit on ranga into new areas but also join other flutists, such as Anne Bunnett’s landmark 1998 recording. Since then Maraca has per- Drummond and the Canadian Francois Richard, in advancing formed in 41 countries, collaborated with artists from multiple string writing in a jazz context. A remarkable recording! genres, issued best-selling albums, and won multiple awards for Flutist/saxophonist Jane Bunnett is another artist who has composition and arranging and for flute performance. His most been drawn to the music of Cuba from overseas. Visiting the recent recording, Reencuentros, is a tour-de-force, combining all island in 1982 (as a Canadian, entering Cuba is a lot easier for of Maraca’s talents to leap several genres in a single bound. her than for U.S. citizens), Bunnett and her husband, trumpeter The album, which includes both a CD and a DVD, documents Larry Cramer, were profoundly impressed by the music they a concert at the Grand Theater of Havana that was sold out in encountered there. This led to extensive interaction with Cuban musicians, multiple subsequent visits to Cuba, and a series of two hours and that features Maraca with all-star Cuban and jazz award-winning albums that Bunnett has alternated with record- performers plus the Orquesta de Cámara de La Habana (Havana ings of more traditional jazz genres. Like Weinstein, Bunnett has Chamber Orchestra) under the direction of Iván del Prado. created a rich variety of settings for her work from all the Beautifully shot and recorded, the concert flows through a resources that Cuba offers—voices, pianists, percussion. series of Maraca’s compositions and arrangements that morph For Cuban Odyssey, Bunnett has gone to another extreme effortlessly from traditional Cuban forms to Latin jazz to con- and pulled off what is perhaps the hardest thing in any art temporary chamber music, featuring solos from Maraca along form—to pare it down to its simplest, most essential level of with several guest artists, including U.S. tenor saxophonist expression. To accomplish this, she has called upon the talents David Sanchez and Japanese violinist Sayaka, with support from of Cuban ex-patriot, fellow Toronto resident, and frequent an excellent rhythm section. Maraca’s virtuosic work on flute collaborator pianist Hilario Duran. Together, with Bunnett will be enough to interest NFA members, but everything about alternating between her flute and the lovely, supple sound of this music is engaging and an extraordinary testament to the the soprano saxophone, they explore some of the great depth and flexibility of the Cuban music tradition that contin- melodies from what we might call the Great Cuban Song ues to provide inspiration to musicians all over the world.

CDs Blue Landscapes: Thies’ piano is the focal point of a track, creating simple Music from a direction, while Krajacic provides haunting flute sounds. Quieter Place Other times, the piano serves as the backdrop for gorgeous bluesy or Shakuhachi-inspired interjections. Each track Damjam Krajacic fades, allowing the ear to believe that the musical world cre- ©2012 Gentle Rain ated by the musicians continues forever. Music Although an overall mood is created by this CD, there are a few ways in which the performers are able to affect a Damjan Krajacic joined pianist Robert Thies (who change in the musical texture between tracks. For instance, also plays synth pads) to at some points only the piano or the flute are featured. create the music for Blue Landscapes during sessions of collabo- Also, Krajacic’s alternate uses of C and bass flutes and rative improvisation. Each piece has the power to lull listeners Thies’s use of a Steinway versus synth pads help to create into relaxed and contemplative moods. Both musicians call contrasting colors. upon diverse influences from classical, jazz, and world music The beautiful blue nature scene used as cover art is the realms. Each track is between one and a half to eight minutes perfect visual representation for the overall auditory mood long, with 16 tracks or “landscapes” altogether. this album creates. The music is sure to inspire, calm, and From the very first track, the music creates a sense of float- sooth the ear. ing and beckons the listener to feel at peace. Sometimes, —Tess Miller

nfaonline.org Summer 2013 The Flutist Quarterly 81 CDs or flutists not yet traditionally ends with a strong feeling of the dominant, with Facquainted with the little to no actual resolution to tonic. This rendering leaves the flute playing of Sharon tango movement completely unfinished, but it winds down Bezaly, the CD Pipe Dreams and then ends up in the fifth movement (Allegro comodo), a will serve as an excellent fast conclusion much more strongly rooted in a tonality. It is introduction to the young in F major throughout, though the key is established as much British flutist. Some may by centricity as by functional harmony. have heard her in the U.S. The Australian Chamber Orchestra and Sharon Bezaly premiere of José Serebrier’s bring Serebrier’s Flute Concerto with Tango alive in an excit- Pipe Dreams new flute concerto in ing performance of an impressive piece. Works by three other Carnegie Hall in 2012. For composers round out this CD. Sharon Bezaly those who missed it, Pipe Adina Izarra’s Pitangus Sulphuratus prominently uses the ©2012 BIS Records Dreams includes not only call of the bird for which the piece is named. The Venezuelan Serebrier’s virtuosic, lus- composer draws upon traditional dance forms and music of cious concerto, but excel- her homeland, weaving an expressive tapestry frequently lent works by Adina Izarra, punctuated by birdcalls. Carl Vine, and Alberto Australian composer Carl Vine wrote the CD’s title track Ginastera as well. while musing about what a flute might dream, should it have In the first movement of the chance. This is a sectional, one-movement work of 15 Serebrier’s Flute Concerto minutes, full of attractive writing for both the flute and with Tango (Quasi presto), orchestra. Bezaly’s sound is golden, resonant, mellow, and infi- the virtuosic flute part is nitely flexible. Vine’s writing allows full exploration of the lyri- punctuated with interjec- cal and virtuosic sides of the flute, whose dreams—at least for tions by the small chamber the purposes of this piece—are limitless. With a great orches- orchestra. The scoring is tra and flute soloist, Vine’s Pipe Dreams would be an excellent quite effective and would addition to a concert program. provide little potential for Impresiones de la Puna, for flute and strings, was composed by balance problems in a live a young Alberto Ginastera in 1934 and well received by the artis- Flute Concerto with Tango performance by a high-cal- tic society of his time. Each movement is based on traditional José Serebrier iber player. The athletic song forms popular in the Andean regions of South America. ©2009 Peer Music III Ltd. writing requires excellent Though the composer was not happy with the piece later in his legato over large intervals life, the gorgeous melodies and interplay between the flute and and runs that span the range of the instrument. Bezaly makes orchestra make this short work an excellent addition to a flutist’s a difficult piece sound easy and elegant—no small feat. repertoire. Bezaly plays with such a lovely sound and clear artic- Following the second movement (Andante rubato), which ulation that the tunes may not have the same bite they often have opens with a lengthy cadenza that becomes a quick sprint to in a more traditional setting, but the truly gorgeous playing spins the end once the orchestra enters, a lyrical alto flute solo a sound world in which it is easy to become immersed. begins the third movement, which the composer titles Though I love the flute, its music, learning new repertoire, Fantasia. As in past movements, this third becomes an impres- and the craft of teaching it, I am not often completely enam- sive array of technique and fluidity from Bezaly—particularly ored by a flutist’s recording from the outset. In Pipe Dreams, I when considering that she is playing on the less agile alto flute have found an exception. Bezaly’s playing is both humbling throughout, again with no signs of struggle. and captivatingly generous, and she does justice to Serebrier’s The short fourth movement is called a Tango inconclusivo, concerto and the other pieces on the CD. which the composer states is drawn from the idea that a tango —Rebecca Johnson

Spillville & Gilead: he Iowa-based Red Cedar Chamber Music has released Chamber Music by Ta captivating CD of music by Harvey Sollberger. After Harvey Sollberger retiring and moving back to his native state of Iowa, the composer was drawn to the stories and culture of the Red Cedar Midwest and wrote these two works in homage to these Chamber Music later-life experiences. ©2012 Fleur de Son Jan Boland and John Dowdall, flute and guitar respectively, Classics, Ltd. have been working together under the auspices of Red Cedar Chamber Music for many years and have contributed greatly to chamber music repertoire through commissioning projects.

82 The Flutist Quarterly Summer 2013 nfaonline.org Two of these commissions appear on this CD and inspire its Sollberger bases the second work on the CD, Perhaps title. Each is a significant work that bears the name, real or Gilead, on a fictional town, that of author Marilynne otherwise, of an Iowa town (Spillville and Gilead); each is Robinson’s creation. Each movement takes a character or for flute and guitar as well as additional players. moment from Robinson’s novel Gilead as inspiration, In “Spillville,” for flute, viola, and guitar, Sollberger draws resulting in an amazing variety of textures, styles, and directly upon Dvorák’s String Quartet in F, Op. 96, usually instrumental techniques. Perhaps Gilead is scored for flute, known as the “American Quartet.” Four of its seven move- guitar, and string quartet, and the composer uses the tech- ments are directly inspired by the four movements of the nical and expressive capabilities of all instruments through- string quartet. Alternating with these movements are duo out this 30-plus-minute work, expertly performed by arrangements of Czech folk songs for two group members Boland, Dowdall, and an excellent string quartet comprised each time. The entire work is an inviting mixture of tex- of Miera Kim, Nancy McFarland Gaub, Lisa Ponton, and tures, from soaring lyrical lines to strongly articulated pas- Carey Bostian. Perhaps Gilead is well written and effectively sages that require excellent chamber playing and communi- rendered on this CD. cation among group members. Boland and Dowell, along Spillville & Gilead might appeal most to connoisseurs with violist Anthony Devroye, are clearly collaborators of of Harvey Sollberger’s music or those familiar with Red the highest caliber, who remarkably match articulation and Cedar Chamber Music, but others should have a listen style while playing three instruments with completely dis- as well. The listenable music is played well and will provide parate means of sound production. Boland’s flute sound is captivating pieces on chamber music concerts in the sweet and slightly woody, with excellent intonation and coming years. expressive lyricism. —Rebecca Johnson

Traveling Sonata: goal in writing this piece in 1999 was to step away from tradi- European Music for tional flute and guitar works that emphasize a “nice” flute tone Flute and Guitar with the guitar playing the role of an accompanist, and Viviana Guzman instead give both instruments equal voices. As this work is in homage to the famous Bulgarian flutist in its title, listeners ©2012 Reference Recordings will notice that Guzman transforms the traditional flute tone in colorful ways to imitate the sounds of a “kaval,” the tradi- he premise of Traveling TSonata: European Music tional Bulgarian flute. In addition, Jouve uses many percus- for Flute and Guitar, featur- sive-like techniques on the guitar that emphasize the folk- ing Viviana Guzman with song nature. guitarist Jérémy Jouve, is that listeners will be taken on a “Cavalcade” by French composer Mathias Duplessy receives musical journey throughout Europe. Although the com- its recording debut on this CD. This composition for solo gui- posers represented on this CD span only three countries, tar was inspired by flamenco rhythms and South American the variety of musical influence from several European guitarists Augustin Barrios and Egbarto Gismonti. countries is evident. The final work, Traveling Sonata, is by Tunisian compos- The first six tracks present some of the best-loved works er Roland Dyens. Each movement musically depicts cities from France. Gabriel Fauré’s Pavane, Op. 50, presents a sul- that the composer has visited: Bellinzona, Mottola, and try invitation to attend this CD’s journey. The artistry of Ankara. Bellinzona, the center of Italian Switzerland, Guzman and Jouve are palpable and a delight to experience. sounds fiery and rhythmic, and listeners will hear the use of The duo provides two works by Maurice Ravel. The well- voices and cries that evoke a bustling city scene. In contrast, known “Boléro” is delivered in a much shorter yet unfail- Mottola is a small Italian city, and Dyens chooses to depict ingly exciting arrangement. Ravel’s strong Spanish influ- the opening of this movement as quiet and almost barren. ence is demonstrated further by the duo’s arrangement of There are short quotes from the previous movement, perhaps the Pièce en forme de habanera. suggesting cultural similarities between the first and second Bizet was also inspired by the music of Spain when composing his cherished opera Carmen. Guzman and Jouve exe- towns presented in this work. Ankara, the capital of Turkey, is cute Borne’s Fantasie brillante sur Carmen with much per- the final movement. Dyens also requires the flute to explore sonality and gusto. We remain in France and visit compos- nontraditional tones via colorful extended techniques. er Erik Satie, who broke new ground with works such as While the well-known tracks are very pleasing, I found Gnossienne No. 1, here for guitar only, and Gymnopédie the newer works for flute and guitar especially exciting. No. 1 in a beautiful arrangement for flute and guitar. Perhaps today’s composers will be inspired to continue Next, we move on to Bulgaria to hear Atanas Ourkouz- finding fresh ideas on how to write for this beloved pairing. ounov’s Sonatine hommage á Theodosii Spassov. The composer’s —Tess Miller

nfaonline.org Summer 2013 The Flutist Quarterly 83 CDs Game Changer and her team have been aiming for: From the first note, the Ali Ryerson’s Jazz impression is not of a flute ensemble but of a jazz ensemble. Flute Big Band Much of the credit for this goes to the arrangers. Contemporary writing for large jazz ensembles is given to a ©2013 Capri Records broader range of timbre and dynamics than that of the traditional big band, with a lot of woodwind doubling, including ou can play jazz on on flutes, in what used to be just the saxophone section. But it the flute?” This “Y is also clear that these arrangers really understand the flute question, put to me several and how to write for it. years ago by a publisher of Adding to the quality of these performances—and evident books on jazz, took me from both section work and solos—these flutists are seasoned totally by surprise. He was right, in a way; the flute has played jazz players, from poll-winners such as Hubert Laws, Nestor an important role in virtually every culture and every histori- Torres, Holly Hofmann, Jamie Baum, and Ryerson herself, to cal period, but it has always struggled to gain acceptance in jazz. Certainly the music has evolved, and today the flute is the featured soloists deserving of wider recognition: Marc almost de rigeur as a double for saxophonists, but there are still Adler, Andrea Brachfeld, Fernando Brandão, Bob Chadwick, limited opportunities for flute specialists in jazz. Kris Keith, Billy Kerr, and Paul Lieberman, to the dedicated A number of artists have fought this trend. One of those is section players: Richard Ford, Zachary Kellogg, Rachel NFA stalwart Ali Ryerson, who has played a leading role in Rodgers, Jonathan Royce, Donna Sevcovic, Stan Slotter, and introducing NFA members to jazz, including a five-year term Keith Underwood. A third factor is the rhythm section, which (through 2010) as jazz committee chair. Ryerson notes that, in never lets up, pushing the ensemble without overpowering it her travels as a performing jazz flutist, “I’ve encountered many while leavening the flute sounds with admirable solo work aspiring jazz flutists with stories of rejection in the world of from pianist Mark Levine, bassist Rufus Reid, and drummer jazz education simply because they played the flute, not a Akira Tana. mainstream jazz instrument.” One further thing comes through—this project has been a Ryerson’s response to this situation, after establishing a jazz labor of love. Many of these flutists, and two members of the flute ensemble at one of her masterclasses in 2002, was to rhythm section, came to New York from all over the country introduce the NFA to the idea of a jazz flute big band. That (and Canada) to do this project on a shoestring budget. That band is now a fixture at NFA conventions. Since its NFA debut enthusiasm is evident from the opening measures of in 2007 at the Albuquerque convention, the Jazz Flute Big “Daahoud” to the final chorus of “Lil’ Darlin.” As Reid told Band has gone from strength to strength, with concert appear- Ryerson after the session, “You have a gem here, my friend.” ances, NFA competitions and commissions, and reading ses- And the title? “Game changer” is defined as: “A newly intro- sions. Now, a new (and highly recommended) recording fea- duced element or factor that changes an existing situation or turing the JFBB has been released, thanks to Tom Burns of activity in a significant way.” In its struggle to gain acceptance Capri Records, a longtime advocate of jazz flute. It makes its in jazz, the flute has been aided by not one but many record- debut in August 2013, coinciding with the NFA’s jazz-heavy ings that became game changers, several by individual flutists 2013 convention in New Orleans. and a few by jazz flute ensembles. Hopefully the Ryerson Jazz The idea behind the JFBB is simple: take 16 to 30 top-quality Flute Big Band’s first recording will be a real game changer, flutists (chosen, in the case of NFA convention performances, by not only for the flute world, but for the jazz world. audition) and add a dynamic rhythm section to form a jazz —Peter Westbrook ensemble, in Ryerson’s words “inspired by, but not the equivalent of, a jazz big band.” Thus trumpets, trombones, and saxophones (Editor’s note: Peter Westbrook, who writes reviews fre- are replaced by flutes, alto flutes, bass flutes, and the occasional quently for this magazine, has appeared twice with the Jazz piccolo and contrabass flute. The next step is to establish a book Flute Big Band. Westbrook is the author/producer of the of really fine charts of jazz classics by leading arrangers—and let book and film The Flute in Jazz. The film will be screened in the jazz world see what the flute can really do! August at the 2013 annual convention in New Orleans. Visit The result on the CD Game Changer is exactly what Ryerson fluteinjazz.com.)

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84 The Flutist Quarterly Summer 2013 nfaonline.org BCMF Premieres Rorem’s “The Unanswered Question” is a 10-minute, Bridgehampton through-composed work. In the opening section, there is a Chamber Music clear difference in dynamics between the piano’s part and the strings; the strings provide color and resonance, while the Festival piano does the melodic heavy lifting. Without knowing the ©2011 BCMF Records music, it strikes me that the piano’s explosive melodic lines seem to need a little more direction, rather than simply pro- hree of the four interest- viding a loud, accented contrast to the softer parts in the Ting works included in this strings. The combinations of consonance and dissonance are CD by the Bridgehampton effective, and the technical passages are extremely well coordi- Chamber Music Festival were nated as they pass among players in the ensemble. commissioned by the festival. The festival’s artistic director, Bunch’s woodwind quintet “Changes of Phase” provides Marya Martin, is also the flutist for the recording. One work this eclectic composer an opportunity to explore minimal- was recorded live; the others were produced in the studio in ism and melody. The four movements contrast from the 2011. The intent is for this to be only the first of a series of powerful melodic lines of the first to the dialogue of the sec- recordings released by the annual summer music festival. The CD’s two woodwind quintets, composed by Paul ond, in which the players effectively pass the spirited lines Moravec and Kenji Bunch, are great additions to the reper- around the ensemble. The third movement has a dark color toire of this standard ensemble. More unusual for chamber and impressive blending of the five disparate tones, bal- music are the instrumental forces employed for the other anced by a fast, rhythmically difficult final movement. This two works: Ned Rorem’s “The Unanswered Question,” for last movement includes fantastic ensemble playing and truly flute, violin, cello, and piano; and “Light Upon the Turning beautiful horn sound. Leaf,” by Bruce MacCombie, for flute, clarinet, bassoon, vio- Bruce MacCombie’s “Light Upon the Turning Leaf” is the lin, viola, cello, and piano. sole live recording. A static opening blossoms into melodic Each piece is expertly written and performed. Paul moments that are passed seamlessly among instruments. Moravec’s Wind Quintet is clearly written to demonstrate Powerful, dramatic harmonic language supports the compos- the expressive and technical capabilities of the woodwind er’s melodies, which are heard in many different groupings quintet as an ensemble. Some of the seven short movements within the ensemble. feature quickly articulated passages, which the ensemble BCMF Premieres provides a wonderful journey through executes at the highest level. Other movements feature fan- truly contemporary music. All works were written within the tastic balance and clarity, and in others, Moravec highlights past 14 years by award-winning composers, and each is an the tone color potential of the ensemble. The work is by no excellent piece of music, brought to life by some of the best means easy, so he is lucky to have such a high-quality chamber musicians of our time. Listening to the recording is ensemble. The work closes with a catchy movement remi- an inspiring experience. niscent of the work of Francaix. —Rebecca Johnson

Fantaisie Conservatory in the Hague, the Netherlands, with Rien de Agata Igras-Sawicka Reede and Thies Roorda. ©2012 DUX She is the prize winner of numerous solo and chamber music competitions. For many years she was a scholar of gata Igras-Sawicka Minister of Culture and Art. She worked with such flutists as Ajoins pianist Maruissz Julius Baker, William Bennett, Robert Aitken, Jean-Claude Rutkowski on Fantaisie, Gerard, Emmanuel Pahud, Carlos Brueel, Patricia Morris, and a CD dedicated to its Robert Dick. She collaborated as orchestra musician and title theme and featuring soloist with top Polish orchestras, including the Polish mostly French composers Chamber Philharmonic Orchestra, Polish Radio Orchestra, and compositions for Wratislavia Orchestra, Concerto Avenna, and Sinfonia flute and piano. Collaborations feature “Fantaisie”s (and slight Varsovia, where she held the principal flutist position. She has variations on the title) by Philippe Gaubert, Gabriel Fauré, made numerous radio, TV, and theatre music recordings. Georges Hüe, Albert Franz Doppler, François Borne André This charming and entertaining CD offers an enjoyable Jolivet, Howard J. Buss, and Raymond Guiot. and fascinating journey through styles and types of cham- Agata Igras-Sawicka graduated from the F. Chopin Music ber music, classical music, and French music created and Academy in Warsaw where she studied in the flute class of E. designed for flute and piano. Dastych-Szwarc and had postgraduate studies in the Royal —Gary Fitelberg

nfaonline.org Summer 2013 The Flutist Quarterly 85 Music

J.S. Bach Overture-Suite reference, and trying to read it makes one truly appreciate in B Minor, BWV 1067 the clarity of Mather and Karns’ score. Informed Performance Most interesting, however are the approximately 15 pages of critical notes appended to the flute part and the four-page pref- Edition for Flute and ace in the full score. These extensive and carefully researched Keyboard by Betty notes cover many topics, including musical form, Baroque dance Bang Mather and Dean choreography, affect, poetic oratory, and Baroque articulation. M. Karns They demand a thorough reading and are an invaluable source ©2012 Theodore Presser of information for college-level players and up. Some of the ter- Company minology is defined, yet knowledge of music theory will be very helpful to the reader. The dance choreography will be danceable his new edition of the by those with previous dance experience. Many of the topics dis- Tfamiliar Suite in B Minor, cussed will be more familiar to players of the Baroque flute than by 2012 NFA Lifetime to modern flutists; they can lead to deep reflection and lively dis- Achievement recipient Betty Bang Mather and Dean Karns, cussions between teachers and students. professor emeritus at Coe College, is a groundbreaking com- For the player who has never thought about how dance cho- bination of performance edition and Baroque music treatise. reography could influence their musical interpretation, or For traverso players and for modern flute players looking for a about affect or oratory, this is an eye-opening experience. For window into traverso technique and performance practice, the serious student of Baroque music, this edition can help in this is a fascinating and valuable publication. pulling together many elements into an informed, unified per- The score and flute part are clear and easy to read, and most formance. One can dig as deeply as one cares to into Mather page turns work well. Notes on the form and affect (character and Karns’ commentary, and the extensive footnotes provide or sentiment) of each movement are printed in the music, yet sources for further research. all editorial suggestions are clearly marked as such. In keep- This book is my new favorite tool for teaching Baroque per- ing with the authors’ desire to produce a clean performing formance practice to my college students, and I highly recom- edition, there are no added articulations or ornaments. A mend this work to all serious flutists. facsimile of Bach’s handwritten flute part is included for further —Barbara Hopkins

Three Rondos with piece. In addition, he employs the technique of thematic Riffs and Refrains transformation by presenting the same, or similar, melodic Norman G. Nelson material in each movement. © 2011 Falls House Press The first movement is quite fast at half note=90, which heightens the difficulty not only of the rhythmic content but hree Rondos with Riffs also of the equally demanding technical passages. The sec- T and Refrains, in three ond movement, a slow movement in 9/8 at dotted quar- movements, is a brilliant ter=60, has a flowing, lyrical quality with many repeating showpiece for flute and technical patterns that create a soothing effect. Nelson often piano composed for Bradley pits duple rhythms in one part and triple in the other, which Garner, one of composer contributes to the rhythmic challenges of this movement. Norman G. Nelson’s former The third movement is my favorite of the three. This students. The piece is full of movement is in a fast 6/8 meter at dotted quarter=132 and rhythmic patterns, in both the flute and piano parts, that are quite difficult to coordi- is an exciting, technically demanding conclusion of perpet- nate at times since they often create a sense of hemiola or ual motion. Again, Nelson uses repeating patterns that, at are superimposed upon the meter of the piece. The com- this speed, will require brilliant technique for successful poser incorporates jazz elements (hinted at by the word performance. The piece is a bit long but, despite that, well “riffs” in the title) and hints of an Asian flavor (pentatonic worth the effort. scales) that add to the melodic and harmonic interest of the —Rebecca Hovan

86 The Flutist Quarterly Summer 2013 nfaonline.org

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

NFA OFFICE Showcase and Exhibitors’ Historical Flutes Flute Choir Composition ARCHIVES AND LIBRARIES Concert Coordinator (2008) Nancy Schneeloch-Bingham (2012) Paige Dashner Long (2011) Interim Executive Director Rebecca Johnson Hayes School of Music PO Box 1436 NFA Librarian Katha Kissman DFAC 2415 Dept. of Music Appalachian State University Flagler Beach, FL 32136-1436 Michelle Monroe-Menjugas 202-669-4423 Eastern Illinois University Boone, NC 28608 386-569-3010 NFA Music Library [email protected] 600 Lincoln Ave. 828-262-6447 [email protected] c/o University of Arizona Libraries Charleston, IL 61920 [email protected] 1510 E. University Convention Director 217-581-6627 Graduate Research Tucson, AZ 85721-0055 [email protected] Jazz Jessica Raposo (2012) 520-621-7010 TBD Kris Keith (2010) 14 N. Taylor Avenue [email protected] 26951 Ruether Ave., Ste. H 5129 Glenaire Dr. Program Book Advertising Bldg. 2, Apt. 3 Santa Clarita, CA 91351 Dublin, OH 43017 Steve Wafalosky Norwalk, CT 06854 OTHER APPOINTMENTS 661-299-6680 614-263-1702 LaRich & Associates, Inc. fax: 661-299-6681 [email protected] 203-858-7992 512 East Washington St. Flute Choirs Coordinator [email protected] [email protected] Chagrin Falls, OH 44022 Joan da Silva Heit (2012) Low Flutes 440-247-1060 High School Flute Choir 2604 Amanda Court Information Technology Consultant Christine Potter (2009) Woodstock, MD 21163 fax: 440-247-1068 2985 18th Street Kelly Via (2012) Brian Covington 410-655-6849 [email protected] Boulder, CO 80304 965 Daisy Court [email protected] [email protected] 303-443-3330 Lawrenceville, GA 30044 Program Book Bio Editor [email protected] 770-935-1379 Membership Director Flute Clubs Coordinator Lisa Van Dusen [email protected] TBD 26629 N. 45th Pl. New Music Advisory Dolores August (2009) 26951 Ruether Ave., Ste. H 2 Raintree Court Cave Creek, AZ 85331 Dianne Aitken (2010) High School Soloist Santa Clarita, CA 91351 Mansfield, TX 76063 480-473-4877 116 Earl Grey Road Cristina Ballatori (2009) 661-713-2072 682-553-0979 [email protected] Toronto, Ontario University of Texas at Brownsville fax: 661-299-6681 [email protected] M4J 3L5 Canada Fine Arts Dept./Music [email protected] Gala Fundraising Dinner Chair 416-465-3967 80 Fort Brown Patti Adams Flute Research Coordinator [email protected] Brownsville, TX 78520 2840 Coliseum Street Jessica Raposo (2012) Publications Director 585-880-4381 New Orleans, LA 70115 Nominating 14 N. Taylor Avenue Anne Welsbacher [email protected] 7213 E. Chelsea St. 504-895-5908 Zart Dombourian-Eby (2012) Bldg. 2, Apt. 3 [email protected] 2515 10th Ave. West Norwalk, CT 06854 Wichita, KS 67206 Jazz Flute Big Band Seattle, WA 98119 203-858-7992 661-313-8274 Ali Ryerson (2010) [email protected] COMMITTEE CHAIRS 206-285-0206 [email protected] [email protected] 12 Longview Dr. Brookfield, CT 06804 Advisory Committee Frances Blaisdell Convention CONVENTION 203-740-2044 Jonathan Keeble (2012) Pedagogy Scholarship Coordinator Stacey Graham Steele (2009) [email protected] Marie G. Jureit-Beamish (2010) Program Chair University of Illinois 1114 West Nevada St. 110 Poplar Forest Dr. aliryerson.com Principia College Music Department Tadeu Coelho Urbana, IL 61801 Slippery Rock, PA 16057 1 Maybeck Place 120 Harwick Place Court 217-333-8142 724-794-2127 Jazz Flute Masterclass Elsah, IL 62028 Winston-Salem, NC 27103 [email protected] [email protected] Bryan Kennard (2010) 618-374-5006 336-659-7860 2015 Cedar Bend Dr., #401 [email protected] [email protected] Amateur Resources Performance Health Care Austin, TX 78758 Lea Pearson (2010) Ann Konopinski (2011) 216-224-3123 Grants Committee 3085 Kenlawn St. Assistant Program Chair 4100 Teal Lane [email protected] Rebecca Collaros (2011) Columbus, OH 43224 Krisztina Dér Wolverine Lake, MI 48390 2112 Wittington Blvd. 614-353-7259 14755 Brenda Agnes Place 248-669-9037 Jazz Flute Soloist Alexandria, VA 22308 [email protected] Hughesville, MD 20637 [email protected] Bryan Kennard (2010) 703-622-6952 301-274-0348 2015 Cedar Bend Dr., #401 [email protected] Piccolo [email protected] Austin, TX 78758 Archives and Oral History Carl Hall (2009) 216-224-3123 International Liaison Nancy Toff (2007) 1352 Metropolitan Ave SE Aldo Baerten (2009) Convention Director 425 East 79th St., #6F Atlanta, GA 30316-1670 [email protected] Mezenlaan, 11 Madeline Neumann New York, NY 10075 404-377-6112 Sint Genesius Rode 26951 Ruether Ave., Suite H 212-772-1343 [email protected] Masterclass Performers Santa Clarita, CA 91351 [email protected] Rebecca Hovan (2012) Belgium B-1640 661-299-6680 Special Publications 23685 Arlene Ave. Ph/fax: 003223811575 fax: 661-299-6681 Career and Artistic Development Patricia Harper (2008) Elkhart, IN 46517-3643 [email protected] [email protected] Ellen Johnson Mosley (2011) 38 Oak Dr. 574-875-5447 605 E. 69th St. N. Centerbrook, CT 06409 [email protected] Legal Advisor to the Board Linda Mintener (2009) Local Arrangements Chair Wichita, KS 67209 860-767-0629 3976 Plymouth Cir. Patti Adams 316-210-0222 [email protected] Newly Published Music [email protected] Madison, WI 53705 2840 Coliseum Street Danilo Mezzadri (2012) World Music 608-231-1680 New Orleans, LA 70115 20 Classic Woods Dr. Commercial Members Peter Westbrook (2010) fax: 608-266-3049 504-722-1115 Hattiesburg, MS 39402 Zart Dombourian-Eby (2012) 13012 Magellan Ave. [email protected] [email protected] 601-296-7865 2515 10th Ave. West Rockville, MD 20853 [email protected] Seattle, WA 98119 240-481-2213 Masterclass Reporter, Convention Equipment Chair 206-285-0206 [email protected] Orchestral Audition and Masterclass Flutist Quarterly Kimberlee Goodman Lee Chivers (2008) [email protected] Jennifer Parker-Harley (2008) 4783 Cherry Park Dr. COMPETITION COORDINATORS 1933 E. Renee Dr. University of South Carolina Columbus, OH 43230 Phoenix, AZ 85024 Cultural Outreach School of Music 614-805-5261 General Coordinator 623-580-5244 Terri Sundberg (2010) 813 Assembly St. [email protected] UNT College of Music Diane Boyd Schultz (2010) [email protected] University of Alabama Columbia, SC 29208 1155 Union Circle #311367 803-777-4853 Volunteer Coordinator Denton, TX 76203-5017 School of Music, Box 870366 Myrna Brown Dine-Around [email protected] Sarah M. Gill Schettler 940-565-3756 Tuscaloosa, AL 35487-0366 Karen McLaughlin Large (2012) 4519 S. Galvez St. [email protected] 205–348–4532 234 McCain Auditorium [email protected] Piccolo Artist Manhattan, KS 66506 New Orleans, LA 70125 Hillary Feibel (2009) Development 850-345-1446 504-319-5074 Baroque Flute Artist 6435 West Jefferson Blvd., #138 Katherine Borst Jones (2008) [email protected] [email protected] Sarah Paysnick (2012) Fort Wayne, IN 46804 4635 Rutherford Rd. 42 Calvin Street, Apt. 3R 260-450-6674 Powell, OH 43065 Myrna Brown International Exhibits Management Somerville, MA 02143 740-881-5008 [email protected] Liaison and Scholarship Jim Magee 413-654-8462 Coordinator N’Awlins Trade Show and fax: 740-881-5252 [email protected] Professional Flute Choir Nicole Molumby (2012) Convention Services, Inc. [email protected] Pamela Youngblood (2009) 5124 W. Outlook Ave. 612 Highland Ct. Collegiate Flute Choir Endowment Texas Woman’s University Boise, ID 83703-3517 Mandeville, LA 70448 Tabatha Easley (2011) Jim Keefe (2010) PO Box 425768 208-571-5782 985-626-3046 Department of Music Denton, TX 76204 Keefe Piccolo Company Virginia Commonwealth University [email protected] fax: 985-727-3940 940-898-2495 54 Church St. 922 Park Ave., P.O. Box 842004 [email protected] [email protected] Winchester, MA 01890 Richmond, VA 23284-2004 NFA Library Liaison 781-369-1626 804-828-6120 Sandy Schwoebel (2008) Exhibits Assistant [email protected] [email protected] Young Artist 638 S. 6th Ave, Unit 1 Patti McCleney Virginia Broffitt (2010) Tucson, AZ 85701 N’Awlins Trade Show Graduate Research Convention Performers Oklahoma State University 520-490-1817 and Convention Services, Inc. Jessica Raposo (2012) Sally Humphreys (2008) Department of Music [email protected] P.O. Box 8538 14 N. Taylor Avenue, Bldg. 2, Apt. 3 380 E St. 132 Seretean Center Mandeville, LA 70470-8538 Norwalk, CT 06854 Salt Lake City, UT 84103 Stillwater, OK 74078-4077 Public Relations 405-744-3964 88ph/fax:The 985-893-9521 Flutist Quarterly Winter 2012 nfaonline.org203-858-7992 801-355-8859 Viviana Guzman [email protected] [email protected] [email protected] virginia@virginiabroffittcom [email protected]

SUBSCRIPTIONS articles for style, content, or space requirements. The Flutist Quarterly budget does Receipt of The Flutist Quarterly is a benefit of membership in the National Flute not include honorariums for authors. Association, Inc. Subscriptions are available to libraries and institutions at a charge Editorial deadlines for The Flutist Quarterly apply to time-sensitive depart- of $35 per year. Personal subscriptions are not available. The Music Library Catalog ments providing news of interest about flutist activities and products. Unsolicited (6th ed.) is also available to libraries and institutions at $15 per copy. feature articles (see above), items for review, and news about member achievements may be sent at any time for consideration. Submissions to Across the Miles ADDRESS CORRECTIONS and Notes from Around the World should be sent to those departments’ editors at Bulk-rate mail is not forwarded. Send address corrections to: Maria Stibelman, least one week prior to deadline dates to be considered for inclusion. Send materi- Membership Services, 26951 Ruether Ave., Ste. H, Santa Clarita, CA 91351; als to time-sensitive departments for the fall issue by June 1; the winter issue by 661-713-2072; 661-299-6681 (fax); [email protected]. The September 1; the spring issue by December 1; and the summer issue by March 1. NFA will be responsible for one missed magazine in the event an address change crosses in the mail. Missed issues due to bad addresses are available at the rate of Please send all submissions except Across the Miles and Notes from Around the $10 per copy through the membership services director. World (see these departments for contact information) to: Anne Welsbacher BACK ISSUES 7213 E. Chelsea St. Members and nonmembers may purchase back issues of The Flutist Quarterly at Wichita, KS 67206 the rate of $10 each through the membership director at the address listed above. 661-313-8274 [email protected] EDITORIAL GUIDELINES Please submit manuscripts electronically as Word files attached to an e-mail message that clearly states what you are submitting. (Unidentified attachments No submissions will be returned. might be deleted as a virus security precaution.) If you are unable to submit via e-mail, please send submissions as Word files on a CD. Please include a single- ADVERTISING GUIDELINES spaced, printed copy of your submission. Queries via e-mail or phone prior to Guidelines, deadlines, and fees are available at nfaonline.org/fqadvertising.asp, submission are encouraged, and welcome at any time. or contact Steve Wafalosky at the address below. The following dates are dead- Submissions should also be accompanied by a cover letter stating that the mate- lines for The Flutist Quarterly: fall issue, August 1; winter issue, November 1; rial contained in your submission (1) is entirely original; (2) has not been previ- spring issue, February 1; summer issue, May 1. ously published; and (3) is not currently under consideration for publication else- where. The Flutist Quarterly retains all copyright on articles published in the mag- Please send advertising submissions and queries to: azine; however, upon request, authors may retain copyright and it will be so noted Steve Wafalosky on articles printed in The Flutist Quarterly. LaRich & Associates, Inc. You will be notified that your manuscript has been received. Posted quarterly 512 East Washington St. deadlines (see below) pertain only to time-sensitive department submissions, not Chagrin Falls, OH 44022 feature articles, which are reviewed throughout the year. Accepted manuscripts 440-247-1060 will, when appropriate, go through a review process. Authors might be asked to fax: 440-247-1068 revise manuscripts during this procedure. The editor reserves the right to edit all [email protected] www.tjflutes.com.tjflutes.com [email protected]

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