TheJournal of the British Flute Society

President James Galway Vice President Albert Cooper Council Area Representatives Douglas Townshend Chairmun Helen Baker Avon/Somerset Robert Bigio Even& Organizer Carole Timms, 'Marlow', Garston Lane, Blagdon, Avon BS18 Ann Cherly 6TG Tel: 01761 462348 lan Clarke Birmingham Jackie Cox Margaret Lowe, 10 Navenby Close, Shirley, Solihull, West Mid- Margaret Lowe lands B90 1LH Tel: 0121 474 3549 Hiigh Phillips Tessa Ralphson Bolton/Lancashire Christine Ring Irene Barnes, 40 Grange Park Road, Brornley Cross, Bolton Tel: Susan Mary Whittaker 01204593911 Julie Wright Area Reps Minafor Cardiff Iau Provis, 13Werfa Street, Roath Park, Cardiff CF2 5EW Tel: Jenny Wray Mnnbmhip Secretapy Philip Wray Treasurer Susan Bn~ceHun Legal Advisor East Trevor Wye Archivist Kate Cuzner, 52 Turnstone Close, Upper Road, Plaistow, London Tel: 0171 511 5552 Judith Fitton Ediiitm Guildford The British Flute Society was formed in January 1983 from the constitution: Clare Lund, Down Amphrey, Rowley Drive, Cranleigh, Surrey 'The objects of the Society shall be to advance the education of the public GU6 8PN Tel: 01483 273167 in the Art and Science of Music and in particular the Art and Science of Hertfordshire Flute playing in all aspects by the presentation of public concerts and Wendy Walshe, Kennel House, Howe Green, Hertford SG13 8LH recitals and by such other ways as the Society through its Council shall deter- mine from time to time'. Tel: 01707 261573 Leeds The Editor welcomes contributions to Pan -typed and always double spread Pauline Jackson, Croft Cottage, Old Bank Top, Pool-in- - by post to 116 Woodwarde Road, Dulwich, London SE22 8UT (also see Wharfedale LS21 3BZ Tel: 01532 842457 Membership Secremy's address). Norfolk Views expressed by the contributors are their own and do not necessarily Elaine Smith, The White Homestead, Bramerton, Norwich NR14 voice any official view of the Society. 7DP Tel: 05088 215 Subscription rates to BE Oxford Carolyn Nelson, 21 Trinity Street, St Ebbes, Oxford OX1 ITN Individual Membership (U.K.) f20 Tel: 01865 250169 Husband and wife/daughter etc £25 South Buckinghamshire Student (25 &under) & O.kP. £13 Ann Davidson, Alborough Lodge, Packhorse Road, Gerrards 1 Flute Clubs and schools £20 Cross SL9 8JD Tel: 01753 888121 I Commercial (Worldwide) £40 Overseas Membership Europe S25 South East London Overseas Zone 1 & 2 £30 Susan Mary Whittaker, 52 Red Post Hill, Herne Hill SE24 9JQ All Overseas students (25 & under, must be in Tel: 0171 733 1328 full time education) £18 South Hampshire Lie Membership f 300 Karen Morrison, 4 Havant Road, Emsworth, Hants PO10 7JE Joint Lie Membership £350 Tel: 01243 378735 Membership Secretary Jenny Wray South Kent The Wbite House John Gridley, 47 Park Avenue, Deal, Kent CT14 9AW Tel: 01304 Hatton Green, Hatton 364806 Warwickshire CV35 ?LA Southport/Lancashire Adv&isemenl Reprpsenlotives: Tessa Ralphson, 57 Salford Road, Ainsdale, Southport Tel: Maple Media Ltd, 411 Wokingham Road, Earley, Reading RG6 2EL. 0170477614 Telephone: 01734 261669 Fax: 0734 665611 Surrey Printed by The Lavenham Press Ltd. Lavenham, Suffolk Jackie Cox, 3 West Street, Carshalton, Surrey SM5 2PT Tel: 0181 All coprights rcserued 773 0436 Swansea Lie Members of the British Flute Society Hugh Phillips, 116 Delffordd, Rhos, Pontardawe, West Glamor- 1 gan SA8 3EW Tel: 01792 865825 Michie Bennett Pauline Jackson Twickenham William Bennett Anne Jakeman Wissam Boustany Trevor James Julie Wright, 41 Devon Avenue, Twickenham TW2 6PN Tel: Lamond Clelland Ian McLauchlan 0181 755 1584 Pabicia Clelland Susan Milan West Sussex Albert Cooper Christopher Paul Money Lindy Thwaites, 19 Downview Road, Bamham, Bognor Regis Philomena Cooper Alexander Murray P022 OEG Tel: 01243 553623 Elena Durin Barbara Noble Wiltshire Michael Emmerson Stephen Robinson Caroline M. Franklyn Kirsten Spratt Mrs P. Clelland, 23 Islington, Trowbridge, Wiltshire BA14 OEG James Galway Andy Thomson Tel: 01225 752971 Jeanne Ciante Galway David Sr John-Weyen Cumbria Brian Hamilton Trevor Wye Janet McCallum, Wyresdale, 7 Limethwaite Road, Patricia L. Harper Danielle Baron-Janke LA23 2BQ Tel: 01539 446611 Paul Ferguson Christopher Hammond Worcestershire Nils-Thilo Wmer Carla Rees Hannah Long Sheila Searchfield Alison Uren, Chalfont House, 26 Christchurch Road, Great Jennifer Welsh Lals-Arne Wennquist Malvern, Worcs WR14 3BE Tel: 01684 567819 France South West Cover: Stained Glass by Jennifer Weller Atarah Ben Tovim, Au Bosch, Juillac 33890 Gensac, France Tel: 1 57474003 1 Editorial Con tents

Well here we are again after the long hot Editorial 2 summer, refreshed by the recent rain and ready to plough into the new educational year. Royal Scottish Academy of Music and Drama 5 I hope you will enjoy the contents of this issue, The Osten-Brannen Kingma System Flute 10 in particular an overdue feature on the RSAMD the Anne La Berge only conservatoire that I know of where the head of woodwind (David Davies) is a flautist and a distin- Trevor Wye Profile/Interview guished one at that - that the students in Scotland Judith Fitton should be so lucky. I always worry just as Pan goes out in case I have Hearing Damage to the Musician 24 dropped a clanger, but never again shall I suffer such Anthony McCall feelings of anxiety, not after the debacle at the Evening Standard a few weeks ago. It is beyond belief Area Reps Portrait Gallery 30 that a publication as big as the Standard with its Tips for Teachers - Modern Techniques 35 editors and sub-editors and numerous staff and com- Clare Southworth puters etc, could publish an article by a nineteen year old 'unknown' (albeit the son of a conservative Reviews Minister) and ascribe it to a Labour ex MP more than twice his age. It is also quite extraordinary that there Minutes of the 1995 AGM were subsequent comments written by political Letters/Diary journalists who could not have read it through (did they not realize when the author mentioned taking Albert Cooper Competition his 0 levels recently that it was unlikely to have been Michael Emwson written by a New Zealander of 50 plus?) No, as Pan finally goes to print I feel more 'laid back' about it all Huddersfield Festival - I think! . . . I do hope I chechd the pages, suppose I put Heh-Louise Baker thephoto of my son instead of the one of Trevor in, it was on my desk at the same time, I couldn't have - or could I?. . .

Editor Diary

October English Chamber Orchestra with William Bennett, 7.30p.m. Stephanie Gonley, Ian Watson. Programme includes Brandenburg 5. Barbican. Box Office: 0171 638 8891

November 12 Flute Improvisation Spectacular with Eddie Parker AU Day Event and Mike Mower. How to do it, how to teach it. Evening concert with bands featuring Eddie Parker, Mike Mower. Suitable for amateurs, students, Pr* fessionals. Further Information: application forms, tickets: Top Wind, Lower Marsh SE1 7RJ. Tel: 0171-401 8787 Fax: 0171 401 8788

November 21 Patrick Williamspeter O'Hagan flute and piano recital 7.30p.m. Conway Hall, Red Lion Square WC1

Please send your dates in to the Zheenquirdesfimn all over the count?y about forthcmning events. Your audience?Ed ...... ' ,8,. .. F Xoy a1 M2f cabgmy ' of 2Ilusic. . . ! T t TENTERD,EN STREET, HANOVER SQUARE, W.

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Photo: Eric Thorburn

4 The Royal Scottish Academy of Music and Drama

David Davies - Head of Woodwind Scottish Opera - which gives our reached extraordinarily high writes . . . students a real head start in gaining standards in its concerts and there The RSAMD is situated in Glasgow professional experience. are many smaller wind ensembles and has a long and distinguished I'm often pleasantly surprised at too. A recent tour which included history. It now boasts a beautiful, the number of entrance candidates Birmingham, Huddersfield and purpose-built new home right in the who remark on the 'really friendly' London received rave reviews and a heart of the city and only a few steps atmosphere at the Academy. This is repeat tour is already planned for from the beautifully restored Theatre maybe something that we tend to 1996/97. Most important of all Royal (home of Scottish Opera) and take for granted but, on reflection though, there is a flexibility within the brand new Glasgow Royal everyone at the RSAMD is very help the department which ensures that Concert Hall. ful and the atmosphere among the every student can be sure of the The building is first class and has students retains all the necessary maximum opportunity to develop won favourable comments from all its elements of competitiveness but according to his or her own indi- visitors. There is a fully equipped healthily so and with a generous vidual strengths. The nature of our concert hall (Stevenson Hall), the- helping of good old Glasgow warmth profession is constantly changing and atre (New Athenaeum Theatre), of heart thrown in. It's a friendly city students (and conservatoires) must recital room (Guinness Room), and the many excellent pubs and respond positively to the demands of recording studio, electronic studio, restaurants nearby the Academy the marketplace. various ensemble rooms, lots of prac- ensure that a healthy social life is a Each student has weekly indi- tice rooms (all with excellent pianos must. The stunning countryside vidual lessons with their appointed and available seven days a week) as which is all round Glasgow is quite tutor and this is complemented by well as all the classrooms, lecture breathtaking and an excellent inte- the performance classes where pieces theatre, refectory, etc. Having a grated public transport system means are performed in front of that most drama school in the same building that everyone can benefit from it. critical of all audiences - one's peers. means that students have the chance The RSAMD now offers its own This continuous assessment and to broaden their horizons, not only degrees and students can undertake exposure ensures that the competi- socially but musically, and there have the BMus (Performance) degree, the tive element is there on a regular been some first rate collaborations in BA (Musical Studies) degree, the basis but that there is also a sharing music theatre. The total number of Certificate of Postgraduate Studies of ideas and experience. One of my students is comparatively small thus and the MMus (Performance) concerns is that we try to produce not ensuring the maximum opportunity degree. The courses undertaken by just rounded musicians but rounded to take part and perform in a great flute students are quite rigorous, as human beings who are not only out- variety of activities. you would expect, and all students standing individuals but great team Glasgow is a flourishing city with take part in classes in chamber music, players too! a cultural life second to none in orchestral repertoire, performance Students are encouraged to do Europe - art, ballet, classical music, and communication techniques. professional work whenever possible contemporary music, dance, gastro- There are regular masterclasses, most and the success rate of our students nomy, mime, music theatre, opera, recently with William Bennett and achieving their goals in the profes- theatre, traditional music - if it's Charles Dagnino and this coming ses- sion is remarkably high and nowhere happening, it's happening in Glm sion with Goran Marcusson. There more so than in the flute depart- gow (GLASGOW'SMILESBE?TER! are classes in instrument mainten- ment. There are four specialist flute is the City's slogan). There are strong ance, techniques of teaching and the tutors and one specialist piccolo links with all the major musical history and repertoire of the instm- tutor: Helen Brew, Sheena Gordon, organizations - the BBC Scottish ment. The Symphony Orchestra and John Grant and David Nicholson Symphony Orchestra, Paragon the Chamber Orchestra give regular teach flute and Janet Richardson Ensemble Scotland, Royal Scottish concerts with outstanding guest con- teaches piccolo. A new appointment National Orchestra, Scottish Cham- ductors and the repertoire is wide is imminent for a baroque flute ber Orchestra, Scottish Ensemble, and varied. The Wind Orchestra has specialist to replace Rachel Brown. FLUTES by BUFFET CRAMPON

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Studied in London with and in France with Jean- Pierre Rampal. He then moved to Scotland where he became a founder member of the New Music Group of Scotland. He has been the Principal Flute of the Scottish Chamber Orchestra since its inception in 1974. Solo work with the SCO has included works from Bach to Sir Peter Maxwell Davies, whose flute was writ- ten for David in 1992. A recording was released in 1994 to critical acclaim. David has been on the teach- ing staff of the Royal Scottish Acad- emy of Music and Drama for more than 25 years and many former pupils now hold orchestral positions and responsible teaching posts throughout the UK. David has given flute classes throughout Britain and abroad.

My personal approach toflute teaching is in their musical interests as possible. I though it is. Evq student (and $n-ofes- to try to produce musicians who play the would aho hope to engender a spirit of CO- sional) has strengths and weaknesses and Jute, rather than Jute-playing tech- operation between students. Healthy com- theshould always be something to learn nicians. One accepts that allflute players petition is fine, but helqp2ng intmse and from one's colleagues, at college and after- must have a vety solid technique, but I bitterrivalry while still at college is not, in wards, that is an atmosphere worth want my students to retain their indi- my opinion, the best way to ensure sur- striving fm. viduality as players, and to be as diverse viva1 in the music profession, tough D.N.

Helen Brew Janet Richardson

Completed her studies at the Royal Began her flute studies while reading within the department to permit my own Northern College of Music under the for a BA (Hons.) at the University of ideas on course content for the piccolo to tuition of Trevor Wye, Clare South- Lancaster. After graduating she stud- be implemented. Ifeel that all theflute stu- worth and Kate Hill before going on ied at the Royal Northern College of dents should be made aware of the import to the Guildhall School of Music and Music where she combined flute ance second instruments hold and the rel- Drama to continue her studies with tuition from Trevor Wye with piccolo evance they have in future employment Paul Edmund-Davies. Whilst there, tuition from Pat Morris. During this prospects. How many students are going she became a member of the Euro- time she also freelanced with the to walk into an orchestral position with- pean Community Youth Orchestra RLPO, BBC Philharmonic, Man- outJi-eelancingfirst?- not many, and to and on completion of her postgrad- chester Camerata and RSNO. In 1984 build up experience in orchestras thq, uate studies went on to freelance she took the position of Principal Pic- must be able to play the pzccolo up to a with many of the leading London colo with the RSNO. She began good standard. As a consequence I try to orchestras before moving to Scot- teaching at the Royal Scottish Acad- develop a good knowledge of orchestral land to take up her present position emy of Music and Drama in 1992. repertoire in conjunction with overall tom as Assistant Principal Flute with the development and intonation. At the end Royal Scottish National Orchestra of their time with me I hope to equip my and flute tutor at the Royal Scottish Wzen Ijoined theflute department aspic- students with the knowledge and con.- Academy of Music and Drama. Helen cob tutor, I was vqpleased tofind that dence to go into an orchestral audition is a member of Bamboozle. there was in place the necessary fixibility and p@m well. John Grant . . flute and coaches chamber .&sic and orchestral repertoire. W ho is Principal Flute with the Royal Scottish National Orchestra, took up the flute at the age of 13 and at 15 became a member of the National Youth Orchestra of Great Britain. He studied at the Royal Scottish Academy of Music and Drama where As musicians we are all, hopehlly, indi- he won various prizes before under- viduals. I like to build on this idea with taking post-graduate study at the my students - I encourage them to work . He became on the things theyfind diflcult and toper- Sub-Principal Flute with the Hall6 form the pieces they enjoy PEaying. I don't Orchestra in 1983, Principal Flute believe in a set formula for everyone and with Scottish Opera in 1986 and Prin- make it clear to my students that the mme cipal with the RSNO in 1987. He has thq, give in th&r lessons the more I will be played as guest Principal Flute with a abb to give them in return. I don't think number of orchestras and is a thq, should be spoon-fed, because when member of various chamber music they find themselves in the hard world of groups. He joined the staff of the pofessional playing, thq, will have to be RSAMD in 1987 where he teaches able to look after themselves.

Sheena Gordon Scotland as well as teaching flute for a thorough and comprehensive prac- and piccolo at the Royal Scottish tice routine, and to encourage a self-criti- Studied flute at the Royal Scottish Academy of Music and Drama: cal approach to their playing. The fun Academy of Music and Drama, where comes Pom stretching my imagination to she won the Governors' Recital prize Teaching, for m, is a stimulating and its utmost to find a visual image m and a scholarship to study in Paris rewarding experience. My ultimate satis- phrase that will help a pupil to under- with Alain Marion. She was a member faction is when a pupil solves a chronic stand a technical point, or to express the of the Scottish Chamber Orchestra problem, thereby moving on to a new music in a new way - it is not unknown for many years and since leaving has phase of development. It is important, at for m to dance a minuet to demonstrate followed a busy freelance career in the beginning to lay down theground rubs the stresses in a bar! Photo: Hanya Chlala

David Davies Head of Woodwind ing and he rapidly achieved consid- Mr Davies' work as an inter- erable success. In 1987 he conducted preter of contemporary music has the Paragon Ensemble Scotland in received particular recognition and Studied flute and composition in his the Edinburgh International Festival in September 1993 he was invited to native Scotland and was a member of and in the same year made his debut conduct the winning works in the the National Youth Orchestra of with L'Orchestre Philharmonique Royal Scottish National Orchestra Great Britain. He won a scholarship de Marseille and in 1988 with IBM Composers' Competition. He to study flute with Jean-Pierre Ram- L'Op6ra de Marseille. In 1991 he has been responsible for the com- pal and later he studied conducting conducted the Stadtorchester Win- missioning and first performances of at the Conservatoire National de terthur, Switzerland. He made his a considerable number of works Marseille, where he won the Premier Paris debut with l'orchestre Phil- including symphonies, , Prix, the Medaille d'Or. harmonique de Radio France in opera, music-theatre and music for His professional career began as January 1993 and in February 1993 film. From 1992-94 he was a Direc- a flautist and he was Assistant Princi- he conducted the Caput Ensemble, tor of The Scottish Music Inform- pal Flute in the Scottish National Iceland. In Britain he has conducted ation Centre. Recognition of his Orchestra (1975-80) and then Prin- the BBC Scottish Symphony pioneering work has included the cipal Flute with Scottish Opera Orchestra, the Royal Scottish Performing Rights Society award for (1980-85) as well as appearing as National Orchestra, the Scottish his services to contemporary music in guest principal flute with a number Chamber Orchestra, the Royal Liver- Scotland. He took up his position as of orchestras, but in 1985 he turned pool Philharmonic Orchestra and head of Woodwind at the RSAMD in his attention exclusively to conduct- the Ulster Orchestra. September 1991. The Oston-Brannen Kingma System Flute

by Anne La Berge

One of the most revolutionary ideas in the development the potential imbalance the extra weight causes. This of the concert flute has been brewing this past year. flute is remarkably light and well balanced. The flute is Dutch flute builder Eva Kingrna (creator of the open- immediately playable with or without using the new hole alto and bass flutes) and Bickford Brannen (presi- keys. dent of Brannen Brothers in Boston) have The new keys and touches are used to open or close collaboratively designed and built a flute that not only keys placed on top of keys. The 'key-on-key' system func- provides quarter tones throughout the range of the tions the same way as 'half-holing' a rim on open hole flute, but also offers an entirely new gamut of multi- keys. This technique of half-holing already exists on the phonics. The new Osten Brannen Kingma System Flute modern open hole flute. By using the 'key-on-key' has opened an acoustic door that will undoubtedly system, performers can now half-hob keys which affect the future of music. normally their fingers can't reach. In other words, it is Like all revolutions, the birth of this flute did not possible to depress the rim of six more keys than was happen overnight. Through frequent and lengthy tele- previously the case. By using the new touches and keys phone conversations, faxes and visits, the builders (on keys), it is possible to play six new quarter tones and designed and created working prototypes, eventually many new multiphonics. Until now, the standard open leading to the present design. From time to time, flutists hole flute could play the quarter tones D# high, E high, specializing in extended techniques were consulted for F high, G# high, A high, C# high (with the C# trill key). feedback and suggestions. Their knowledge was helpful The rest (D high, F# high, G high, Bb high, B high, C in testing the logical placement and the necessity for high) all required venting and crossfingering. The certain keys and touches. cross-fingerings previously needed to produce a quarter The Oston-Brannen Kingma System Flute feels and tone are acousticall;. complex and have a variety of inter- plays like the Boehm system flute we all presently use. esting but unstable colours. For example, the fingering The new touches and keys are elegantly designed and used to produce the quarter tone between F# and G on intelligently placed. They don't obstruct normal playing the Boehm system flute in the first octave involves elab- and are easy to reach for most extended techniques. A orate venting and cross-fingering (see Example 1). danger when extra mechanism is added to the flute is Example l.Fingering fmH high on the Boehm System flute.

It is impossible to depress the rim of the F# hole to play a more simple quarter tone because we don't have enough fingers. An example of a simple quarter tone is the one between F and F#. This is produced by depress- ing the rim of the F key.

Exampb 2. Fingering forF high on the Boehm Systemflute.

On the Oston-Brannen Kingma System Flute, the F# key can be half-holed by depressing a touch which closes only the rim and leaves a small (keyun-key) key open. This quarter tone is acoustically similar to the normal tones of the flute, and much easier to finger than the old cross-fingering.

Example 3. Fingering form high on the Osh-Brannen Kingma System flute.

Therefore the Oston-Brannen Kingma System these composers write music which is complex and Flute offers us not only the acoustic variety of the old virtuosic, requiring long hours of dedicated practice. microtuning on the Boehm open hole flute (Example Their music utilizes a full assortment of quarter tones, 1) but it gives us a new set of reliable and well-tuned microtones and multiphonics. Starreveld plans to work quarter tones. By using the new options for half-holing, out the possibilities of the instrument, to provide the potentials for fingering combinations extends the composers with information, and to 'let the flute guide list of available multiphonics too. The normal fingerings the future of its music.' for the entire range of the flute have not changed. Flutist/composer Jos Zwaanenburg is a member of Now that we have this instrument, what music shall the faculty of the Amsterdam School of the Arts and the we play on it? I spoke with a few flutists who have played Brighton University in England. Like most musicians this flute. Some of them are already performing on it, specializing in new music, commissioning composers and each has exciting plans for future projects. Some and seeking out new sonic and aesthetic possibilities is a will first play older pieces involving extended tech- lifestyle for him. Zwaanenburg's reaction to the new niques, some have begun commissioning composers, flute is that it is '. . . beautiful. Eva and Bickford have some will improvise, and some are writing their own found terrific solutions to problems I have faced in my music. The general consensus was that there is a new experiences and experiments on the alto and bass world of sounds to discover on this instrument. Because flutes.' every musician's talents and tastes are different, the Kate Lukas, Professor of Flute at Indiana University, musical and pedagogical directions we take are guaran- performed Fukushima's Mei for solo flute on the third teed to be rich and full of surprises. prototype of the Oston-Brannen Kingma System Flute at Harrie Starreveld, Professor of Flute at the Sweel- the Kansas City Convention in August, 1994. She had inck Conservatory in Amsterdam, will tackle the cham- two days to practice on the flute before her perfor- ber music of Brian Ferneyhough and premiere a work mance. Her reaction at that time was that the flute was by American composer Morris Weddington. Both of 'made for pieces like this'. Subtle pitch and colour inflections were easier to execute, and she felt that she marvel at the solutions flutemakers and players find for could do more with the piece than she could on her own design and music. Here again, it is a priviledge to witness flute. The instrument handled like a conventional flute, and take part in a truly remarkable stage of the flute's and invited experimentation without requiring special evolution. skills in extended techniques. Her image of what the flute could do was expanded each time she ventured to Flutist/composer Anne La Berge grew up in Stillwater, try yet another new key or fingering. Minnesota and is now based in Amsterdam. The Netherlands. John Fonville, Professor of Flute at the University of Her education includes a Bachelor of Music degree from the California San Diego and a pioneer in microtonal University of New Mexico where she studied with Frank Bowen, compositions and explorations on the conventional a Master of Music degreefiom the University of Illinois where flute, wants to begin by cataloguing the fingering possi- she was a teaching assistant to Alexander Murray, and two bilities and their probable sonic results on the Oston- years of theoretical research studies at the University of Cali- Brannen Kingma System Flute. He is inviting composers fmia San Diego. She was awarded the perfiance Wfiom to write pieces for it. In his own compositions, he partic- the 1990 Damtadt Ferenkursen fir Neue Musik, and was a ularly wants to bring out the acoustic and musical guest perfw/teacher in the first European Flute Festival in strengths of the instrument. In addition, Fonville is 1993. La Berge has been on the faculty of the Amsterdam School developing exercises to build strength and speed at for the Arts since 1989. Her works are published by Frog Peak getting around microtonally on all the open hole and Music, who have also recently released a CD of her works for quarter tone flutes that he uses. Jute calkd 'Blow: This author's first project is to intimately under- stand how the Oston-Brannen Kingma System Flute Flutemaker Eva Kingma patented the present version of handles in many musical situations. My practice time is the 'key on key' system, which she developed for her dedicated to exercises for the development of fluency, open hole alto and bass flute design. For more infor- flexibility and an intuitive response to the flute. In my mation, see Anne La Berge, 'Contemporary Concerns: work, improvisation and composition come as a Eva Kingma - Open Hole Alto and Bass Flute Builder,' response to intuitive reactions. I am developing cham- The Fluist ~uarc&y,vol. XV no. 2 (Spring 1990), pp. ber music repertoire which uses the basic quarter tones 31-33. and the new multiphonic families by commissioning composers and writing myself, and have written a piece 01995 by The Flutist Quarterly. Reprinted with per- for flute quintet which will be premiered at the NFA mission. Originally printed as 'The Oston-Brannen convention in Orlando. Kingrna System Flute' by Anne La Berge, Vol. XX, No.4 As I watch the development of the flute, I always (Summer 1995), pp. 88-90.

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12 TOP VWND AUTUMN DIARY

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Frankfurt Flute Festival September 8th-10th Croydon Flute Day October 1st Belfast Flute Day October 14th Bolton Flute Day October 14th Southport Flute Day October 15th Flau tissimo '95 November 1st-5th Flute Improvisation Spectacular November 12th Bristol Flute Weekend November 25th-26th Surrey Flute Day December 2nd

For details of these and other events call 0171 401 8787. You can, of course, visit Top Wind in Waterloo or take advantage of our First Class mail order service still the best but getting better thanks to our growing stock of flutes, piccolos, music, recordings and accessories. To find out more just call, fax or write to receive your copy of the new Top Wind catalogue.

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2 Lower Marsh London SE1 7RJ Telephone +44 (0)171 401 8787 Fax +44 (0) 1 71 401 8788 TOP WIND Telephone or fax for our latest catalogue Trevor Wye

'Sometimes irascible, difficult and occasionally impossi- 'May I write about you, "Some Days in the Life of" ble' - a portrait of Trevor? They are in fact his own perhaps?' words on his mentor, . . . the confusion is 'Not if you are going to call it that, sounds like understandable. Woman's Own, but you can come and interview me.' Ever since I first met Trevor, when I was appointed One lovely sunny day in May, I made my way to Wye Editor of Pan there has been a mutual air of 'loving to station (I suppose it is coincidence - the name and the hate one another'. It goes without saying that it is 'par place?) and was met by Trevor. After a prolonged look for the course' for him to stir things in his wake and be around his completely glorious 'Monet' style garden, lily ultra critical, and over the last four years I have been one ponds and all (another passion of his, I feel it could wounded recipient (though not mortally as yet). This is eventually get the upper hand - well almost), we sat not the whole story of course. It is a fact for instance that down to coffee provided by Dot. Trevor's wife of very without Trevor's initiative and drive, the BFS would not many years is certainly a major contributor to his success exist and I would not have the pleasure either of editing having kept him for six months earlier in their lives, Pan nor of interviewing and writing about such an inter- done the administrative and secretarial work for the esting and controversial person. For interesting and flute courses he has run and the books he has written, controversial he certainly is, a person with very many who acts as an interceptor of interruptions when he is attributes. His completely brilliant 'Afflatus of Flutes' working, probably does a major part of the gardening perhaps demonstrates this more succinctly than any- and a million other things besides. thing else he does, with variations on what seems like 'Shall I get a proper recording machine', said 101 different flutes including illuminated ones that pop, Trevor with irritated exasperation as I fiddled with the explode and disappear - it has to be seen and heard to switches on my mini tape recorder - it was characteristic be believed -yes, he has certainly made his mark in very though entirelyjustified this time. many ways. 'What I want to know, is when you started the flute, How did Trevor come to be afflicted (if that is the and how you progressed into so many areas of the flute right word) with flute mania and become one of the best field. The background to it all? We know a lot about known names in the flute world, for it has to be said that what you do now and where you have taught etc, but not everywhere there are flutes - players, music, records, many of us know how it all started.' discs and literature, Trevor Wye's name is writ large. I I then began an interview session with Trevor dur- wanted to know - how did it all start and evolve? ing which I was ticked off (rightly), for talking too much Projle/In terview myself 'you'd better turn that thing off (the tape) you ber asking. Also, although I shall not use my editorial don't want to have to listen to all that' and also for not rights as Trevor thought I might do, to edit out his (well (apparently) asking questions chronologically, 'let m aired) comments on the running of the BFS, I must say do this' as he tried to re-direct the interview. I felt he that when he compares it to the NFA, a comparatively might be bored, going over the same ground perhaps as enormous society, operating across such a vast country, he had in a recent interview published in La Traversi&e? he should remember that small is beautiful and most 'Oh no, thqr asked about professional things'. certainly not bumbling! I did get what I wanted though, which was Trevor's history from the beginning, and I had a lovely day (and Did you come from a musical family?" gorgeous lunch in one of his conservatories). I was impressed by the idyllic surroundings in which he lives My father died during the war years when I was seven so and wonder why he ever leaves it. In fact I do remember I was brought up by my mother. Times were difficult in hearing him say somewhat ruefully at a recent recital London because of the bombing so I was sent to a prep one Sunday in London, 'I had to interrupt my garden- school in Lincolnshire where I don't remember music ing to come here.' His house is full of interesting and making of any kind. My mother played the mandolin in artistic objects, pictures, books and prints (his music the 1930s and freelanced with Troyse and his Bandoliers. archive and flute collection apart). There are at least They were quite a famous band who frequently played twenty-viewing-minutes worth of prints in the lavatory for the BBC in programmes such as 'Music While You alone. Work'. They may well still be in existence. There was no When I arrived home, I realized that I had forgot- other music-making in the family, though my sister ten my notebook. It did not really matter because I had remembers how obsessed I was with playing tunes by recorded everything but it is a useful back-up so I rang whistling down the vacuum cleaner pipe. It makes an Trevor to ask him to post it. 'Oh don't wony about that', interesting sound. Therein lies the clue to why I started: he said, 'I'm writing it all out for you,' and then, 'and at first, I was fascinated more by the mystery of acoustics don't bother listening to your tape it won't be any use.' than by music. I did play the mandolin on and off for a A few days later it arrived (but not the note book yet), few months when I was about thirteen and sang in clearly typed on Trevor's new computer! I feel bound to Gilbert and Sullivan Operettas at school - the only say that there are one or two questions I do not remem- music making that took place there.

Head Office Hereward Rise, Halesowen, West Midlands, B62 8AN. 57, Martley Road, St. John's, Worcester, WR2 6HH. Telephone: 0121 550 9707 Fax: 0121 501 3873 TelephoneIFax: (01905)420241 FREEPHONE 0500 340690

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E375 Interview

At what age? flute world, Geoffrey Gilbert. I had saved up enough to have five lessons though Geoffrey asked me, 'Do you know I began on a simple system piccolo and the eight keyed what my fees are?' No', I replied. 'Three guineas', he said. flute at the age of fifteen, and quickly discovered that He saw my face and then asked 'Would you be able to the flute sounded better and the low notes were more afford one guinea?' So, during the next few months, I had accessible when the instrument was wet inside. So my about six lessons in which I wrote down everything that practice always began by running cold water through he said. I learned such a lot in a short time. I particularly the flute before playing, a technique I was later to trans- learned abou the discipline of practice and of organiza- fer to the Boehm flute. tion of time.

Like many of your generation, you had joined the fmes? Did you get anything from being in the Marines? l Yes I joined the Royal Marine Band Service as a boy at It wasn't all misery for me in there: I met some wonder- fifteen and a half, both as a way of escaping my step- ful musicians and made many friends. I also learned , father and a way of learning to play the fute. It was a skills such as transposing and sight reading and I trav- mistake for me and for the Marines. Having signed on, elled a good deal. Most of the time was spent in a syrn- there was no way out until the age of thirty unless they phony orchestra. allowed you to purchase your discharge - in those days an unheard of escape. My application to purchase my How did you jnalij get discharged? l discharge was registered for some years before it was accepted, a mistake on their part because I was a bad By appearing to be fanatical about the CND. I shouted influence on all the musicians around me: I persuaded out 'ban the bomb' whilst taking part in an important many talented players to do the same thing - get out and ceremony. The reaction from the authorities was swift. rebuild your life in 'ciwy st'. Within five days, my long awaited application for During my time in the Marines, I picked up bits and discharge was granted - I had been waiting six years - I pieces of flute playing and several flute players were was out. . . with no job and £1.30~in the bank! My final particularly kind and helped me over basic technical act of defiance and outrageous conduct was to play the problems, though the official lessons were of poor Mozart G Major with a CND badge on my uniform at a quality. That decided me to go to the 'top chap' in the publ'ic concert.

80 years of flute experience! Yours absolutely free.

(Now that's got to be worth something!)

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Flutes, Piccolos, Headjoints, Altos, Basses, Rentals, Accessories, Repairs and Servicing. Very fast Mail Order Service.

Abell, Allen, Altus, Crabb, De Medici, Gemeinhardt, Hammig, Hardy, Jupiter, Kahonen, Korregelos, Lunn, Mateki, McLauchlan, Miyazawa, Monnig, Muramatsu, Natsuki, Oxley, Pearl, Sankyo, Simmons, Yamaha Interview

How did you manage to live? Dot, my wife, went to London as a temp' secretary, to keep us and our daughter Mickey, in crusts and water, whilst I lodged with a friend in Deal who arranged to get me some teaching in the Canterbury area. Bit by bit I built up a very busy teaching week. For some years, I taught all four woodwinds, and really enjoyed the change from the flute. It wasn't long before I had formed several wind ensembles and had begun conducting a youth orchestra.

What about the Jute playing? ' Around this time in the early sixties, I met William Bennett and was greatly influenced by his approach to tone production, though I still had an occasional lesson Ventus digiti ra idi with Gilbert. Wibb began to offer me orchestral and solo Inhabiting higher elevations an&own for its fleetness and agility, the flute can often be seen work and gradually I began to expand that part of my only as a blur as it reaches its highest speeds. life. Wibb and I decided to go to Switzerland in 1964 to hear the legendary Marcel Moyse teach and I hardly missed a year in Boswil until Moyse died in 1984. Moyse was the perfect complement to Geoffrey Gilbert. He confirmed some of my musical ideas and shocked me INSTRUMENT into changing other ideas. He didn't do this in any way 3 other than by demonstration and example. I realized W 2 k when I heard him teach and play that this was like hear- W ZOOLOGY 5 ing the truth for the first time. Sure, he was sometimes W irascible, difficult, and occasionally impossible. But I S" wanted, at the age of twenty six, to sort out my musical T-SHIRTS E S ideas and to play and teach well before it was too late. If 0 I had wanted a calm and gentle teacher, I would have SWEAT SHIRTS i taken lessons with a bank clerk. Top quality white T-shirk and sweat-shirts, available in small, medium, large and extra large. When did you begin arranging and editing music? T-shirts £12.95, sweatshirts £21.95 inc P&P. Many instrument designs available other than the two During these East Kent years, I was writing and arrang- shown here. ing bits and pieces, as one does, for the kids to play at Current stock includes flutes by by Altus, concerts and the like. But I really taught too much at Armstrong, Buffet, De Ford, Emerson, this time. It was a six day week with other activities such Gemeinhardt, Haynes, Jupiter, Lamberson, John Lunn, Mateki, Miyazawa, Muramatsu, Oxley, as flute tuning and experimenting with key design and Pearl, Powell, Rudall Carte, Sankyo, Takumi, with the flute scale. Toulson, Trevor Jam Yamaha, Michael Allen, Ewen What exactly were you doing? MCDougall, It was the influence of Albert Cooper, William Bennett Wicks, Zentner. and Elmer Cole which got me started on that road: that Extensive selection of new, the current flute scale was wrong there was no doubt. second-hand and + But how to correct the scale of the lovely old flutes which s~ecioloffer flutes. I could still be found in abundance? During evenings and recorders, Windi Monumentus accessories These we p usta few ofthe vnedamls you ran Knd at John Myatt Wmdwnd & Braw'l' weekends, I 'tuned', that is, moved the tone holes on and sheet music. over a hundred flutes: Louis Lot, Bonneville, Lebret, Competitive prices with friendly knowledgeable service from professional musicians. Phone for Haynes and Powell. My workmanship was poor but I was FREE 1995196 catalogue and our second hand 81 the only one who was prepared to do this tedious job special offer lists. Tel: 01462-420057 cheaply. It did have a good effect: it made people think .---- "4" -, * <*" ,..-.,.-, -- -7.- , about the flute scale instead of just accepting what the 1 maker had made. Powell was one of the first to change WOODWIND & BRASS SPECIALISTS the scale. No doubt, having seen some of my acts of butchery, they wondered why anyone had thought it 57 Nightingale Road, Hitchin, Herts. necessary to move the holes. They began to offer SG5 1 RQ Tel: 01 462 420057 Fox: 435464 Open Tues - Sat 9.30 - 5.30 Cooper Scale flutes and traditional scale flutes, the former almost completely taking preference. Haynes Interview resisted change and almost went bust because of their International Summer School was born and was to con- obstinacy. tinue until 1988 as the only masterclass summer school During this 'mechanical' phase of my life, I was grate- and certainly the biggest. ful to Eric McGavin of Boosey and Hawkes and to Norman Maloney of Rudall carte who helped me to How can masterclasses benefit by being big? acquire bits and pieces of flutes for my experiments. One of these was to check the flute scale. I built an 'automatic Moyse came both in 1969 and 1970 to St Augustines Col- Trevor', a machine which blew a headjoint by mechani- lege, Canterbury, but in 1971 his wife died and, instead cal means, but which was attached to a flute body with of cancelling at the last minute, I asked Jimmy Galway and moveable tone holes. Using a newly invented tuning Wibb to take over. I believe it was a first masterclass for machine borrowed from Pat Lynden, I was able to check both of them and they rose to the occasion and did a the current thinking as far as tone hole placement was grand job. An oboe colleague suggested some oboe concerned. classes on the same lines and so I asked Heinz Holliger Repitition bores me and so, having brought a certain and Maurice Bourgue to do alternate years, with Han de influence to bear on the flute scale, I turned my atten- Vries as visitor. That was a great success and led to a con- tion to other matters. siderable change in oboe playing in the UK. Then bas- soon and clarinet naturally followed on and together with Were you playing in orchestras ? the flute and oboe classes also continued for some fifteen years, though of course, with some changes of personel I was freelancing with the LSO, the Academy, several Nick Daniel took over the oboes and Tony Pay, Thea other bands as the occasion arose, and for many years King, Joy Farrall and Alan Hacker kept the clarinets with the Menuhin Orchestra, formerly the Bath Festival happy. The bassoons were blessed with various teachers, Orchestra. Orchestral playing on an occasional basis was Roger Birnstingl, William Waterhouse, and Stephen fun but not my scene as a 'regular' - my mind was always Maxyrn. I then decided to build on this success and try wandering on to something other than counting rests or bass and string quartets. The brass was taught by the then listening to conductors droning on. Sitting next to Patri- famous Philip Jones Brass Ensemble and the strings by cia Lynden was a real pleasure. She is surely one of the Manoug Parikian, and William Pleeth. great orchestral players of our time, a view shared by Guitars followed on when we moved to St Lawrence Col- many string and wind players from the orchestras in lege, Ramsgate with Alirio Diaz. By this time, to answer which she has played. A modest person, she never your question, there were around 200 flutes for the three pushed herself forward - though she had every reason weeks, and about 100 other instruments. The flutes cer- for doing so! Wibb was also interesting to sit next to and, tainly dominated the scene. as a consequence, a great influence on my playing and teaching. I can remember an occasion when we were playing the St. John Passion and we got to that page How did you manage to teach 200Jluteplayers? which is a prominent part for two flutes. It is written as a By this time, Wibb was teaching for the whole three weeks, minim rest followed by two minims and very slow. Half I was also teaching, and we had many distinguished flute way down the page, my mind once again wandered: I visitors, because during the summer school we ran a con- looked up at the conductor and when I looked back at cert series called Music at Night. But at the height of the the page, I had no idea where I was supposed to be. I Ramsgate years Geoffrey Gilbertjoined us - more of him tried various places but they all sounded wrong. At the in a moment - and, by way of a completely different style, next minim rest, I whispered 'Where are we?' Two Peter-Lukas Graf. We had evening masterclasses on the horrible minims followed, then Wibb whispered 'Festi- repertoire taken by one of us four, and we split up in the val Hall'. mornings to take our individual classes for those who had Wibb and I also around this time began to make asked for a specific teacher. In parallel with that there some two flutes and piano recordings with Clifford were some fine associate teachers, who, though young, Benson. were excellent teachers; they cut their teeth at Ramsgate Meantime, what about your life in Kent? and went on to do great things in the profession. Amongst them were Kate Hill, Clare Southworth, Alexa Tuein, Well, every summer was marked by a visit to The Master, Rachel Holt, Helen Brew, Hazel Wake all of whom gave Moyse, but at one course, I wondered whether he could classes or individual lessons. I thought that we gave every be persuaded to come to England. I really felt that English one on the course a great deal. The atmosphere was stiff-upper-lip, and rather cold playing style needed fantastic where more than half of the students were from Moyse. I asked and he agreed to come the following year, overseas. Even today, around the world I meet mature 1969. The Gulbenkian Foundation on the recommen- players who say 'I don't suppose you remember me but dation of John Francis, guaranteed me against loss. I played in your class in Ramsgate in 1979'. Interview

Sketch by John Ward RA prompted by a con& he attendedfeatunng William Bennett with Trmor Wye conducting.

19 Interview

admire his classes: we were once more his students and What were you going to say about GeofJi-ey? he was what he had always been for us, 'The Master'. Sarah Fenn - now 's secretary, was our Well, in 1969, I was invited to teach in at the RMCM in Summer School organizer during the final years. I Manchester by Geoffrey Gilbert, first as his assistant, remember her announcing at breakfast that she preferred and, when I told him that I preferred to teach as his eating cereal with nothing on! 'associate' but not as his assistant, we taught in parallel for a year during which he announced that he was What about the founding of the BFS? How did that come leaving for the USA. Before he left, I told him of my about? experience with the Moyse classes and how I was con- vinced that classes were the way to learn. He disagreed. In 1969, an extraordinary year - the International Sum- 'That sort of thing is fine for France where there is a mer School started, I began a society for wind instrument tradition of masterclasses, but here, the British students players in Kent called The Kent Wind Society, I began to prefer to air their problems in private - not in front of teach both at the RMCM, (later the RNCM), an associa- their fellow students. Private lessons are the normal way tion that was to last twenty-two years, and at the Guildhall of teaching here. I advise you against this but if you do School of Music, and I had the first thoughts that choose to ignore my advice, then I advise caution. Do it summer about a flute society! Perhaps the moon was in in easy stages by having an occasional class to begin Scorpio. with'. Geoffrey left for the USA and the following year, I changed entirely to masterclasses with almost no private What was the Wind Society all about? lessons. When Geoffrey left, I also took over hiswind The Kent Wind Society was a kind of music club where Band and his chamber music coaching. we invited fine soloists to give an informal recital and where members also took part. Our speciality, though, You left the RNCM, didn't you? was massed wind pieces such as Handel's Fireworks and Yes, after travelling up to Manchester by rail for twenty Water Music, and that wonderful piece, the Grande two years, I finally relunctantly left and with some regret. Symphonie Funsbre et Triomphale which we played a I was priviledged to have helped some fine players in couple of times, on one occasion with Sir Colin Davis Manchester, some of whom I still see often when they conducting. We had a wind band of young players come to stay. Most of the International Summer School around 300 strong and a choir of 250 with Dennis Wick teachers were former students. Before going to teach in as the trombone soloist. It took place in Canterbury Manchester, I taught Hilary Grubb and Alison Free- Cathedral. It was an occasion I shan't forget and I'm sure guard; they were packed off to Manchester to Geoffrey's many others who took part won't either! In the Colin excellent teaching only to find that when he left a year Davis concert, there were some players who had only been later, I was once again their teacher! Much the same playing for three months and had been taught only a few happened to Paul Edmund-Davies; he was at the Can- notes but knew exactly where to play them! terbury Cathedral Choir School at the age of nine, and Colin had been warned not to delve too deeply into the he was a pupil until the age of thirteen and then again inner parts! at eighteen at the Guildhall School together with The Society carried on for many years with some fine Jonathan Snowden. I was lucky to have met such inter- concerts and we commissioned some works, notably by esting students such as Sarah Brooke, Rachel Brown, Alan Ridout and both of whom became Richard Davies, Kate Hill, Clare Southworth (perhaps friends and supporters. Of course, my contacts with the the longest serving student), Rachel Holt, Tim professors at the Summer School enabled me to invite Hutchins, and many more. excellent players down to Canterbury to play and talk But back to Geoffrey; I invited him to Ramsgate to about their lives and their playing. , teach but he would only agree to come if he gave private Sorry, you asked about the BFS! In 1969, having had lessons. He had never taught in classes before this time. the idea, I asked around in orchestras I was freelancing At Ramsgate, he observed Wibb, Peter-Lukas Graf and me with but the reaction was cold - so cold in fact that in one in our evening classes but said little. I invited him to have orchestra, the two other players told me in no uncertain a go the following year and he agreed to allowing a max- terms what I could do with the idea! I was very shocked imum of six listeners in to his 'private' lessons, though because as an enthusiast, I couldn't see why everyone else the year after, he agreed to twelve listeners! And I can who played the flute wasn't either!; I was so shocked that remember that he gave me hell when a thirteenth listener during a break, I told my friend Deidre Dundas-Grant, sneaked in to his class. 'Our agreement was for twelve lis- the bassoonist about it. Looking around the orchestra, teners only: this morning there were thirteen - contrary she said 'Apart from you and me, there are about tyo to our agreement'. We posted someone on his door to other musicians who are keen players: the rest hate music' see that there would only be twelve in future! He asked I was even more shocked and as a result shelved the idea Wibb and me questions about our approach to giving for some eight years, only occasionally mentioning it in classes, and the following year he gave his first class, but passing, afraid of the reaction I might get. Later, I in the mornings only. When he was persuaded to take an warmed to the idea again and with the help of Don Close evening class the year after, Wibb and I used to listen and of Boosey and Hawkes who gave us free use of the hall at Interview

Edgeware we had our first meeting to form a steering Well what about the BFS then? committee. I wrote to about a hundred flautists whom I Crumbs, do I have to answer that? Yes, why not. I think thought might be interested, and a goodly bunch turned that in general, I've been happy with the way it has gone up. Chris Hyde-Smith was our first Chairman, and John except for two areas, one is the low professional mem- Francis, the first secretary. I remained on the committee bership, and the other is the bumbling way in which (later changed to Council) for some six years together future events are planned. Some events seem to have been with Simon Hunt and Jim Dower, organizing several thought up on the back of an envelope and executed the 'Flute Days' to raise funds to put the Society on a sound next day! The National Flute Association of the USA is financial basis. I did a lot of work for the Society in the very professionally run. Almost every orchestral player is early days on the basis of, 'If you want ajob done well -do a member. The organization is such that the members it yourselfl' This might have been a mistake because I know the venue of every event, and the name of the 'Pro- visited Russell Parry one day and he called it the Trevor gram Organizer' for three years in advance. The financial Wye society. It was time to get out. basis for all events is carefully monitored. The trade sec- tion is a separate and very powerful limb. I think it is time How did you find time to do all this? for the BFS to take a long hard look at the structure of the Society and organize the Council more efficiently. Adding Sometimes it is a mystery to me, but the simple answer is yet more Council members means that they take more that I do things quickly. I usually spend a lot of time think- time to waffle. It's not advice the BFS needs: it's work. Too ing about an idea, then one day, if it's raining, I sit at my much time is wasted. What do I think of the BFS? I love desk and get on with it. Of course, Dot did a great deal it and everyone in their own way has done their best to of the work for the Summer School and was responsible help it along. But now the first twelve formative years are for arranging accommodation, food etc. She also typed over it needs a policy for the future. If you think my all my books and articles for magazines, etc. remarks have been too strong, you can always edit them out claiming Editorial Rights! But can I claim Founder's [How about the BFS, you are always critical - I know all Rights? I warmly wish it well. But I wish it well quickly! the things you say about me and Pan What about your books: how did you come to write those? As far as Pan is concerned I am entirely indifferent, I have no feelings about it at all] Quickly! Interview

Is that it? We do a lot of peripheral stuff in that seven months; basic flute making, repair, history, early recordings, repertoire, Yep! I heard a German student in Boswil, Switzerland, and, of course, flute playing. Usually in the afternoon, I playing to Moyse. He was simply reproducing the notes spend three or four hours in the garden. We grow most on the page. Curious, I later asked him 'What are you of our own vegetables and fruit, though most of the practising?' 'This exercise called, Tone' he replied. I asked garden, as you have seen, is ornamental. That is during him to tell me how he set about the exercise. 'If you keep the better months of the year. On rainy days, I make some- playing these notes, your tone gets better', he replied. At thing. On Fridays I do a fish-run to Hythe for the village: that moment, I decided to write a tone practise book with they leave their orders at the village shop. It's a wonder- easy-to-understand exercises. I thought about it for a few ful village with plenty of social activities; both Dot and I years and then wrote three books, Tone, Technique and are members of the Gardening Society and I'm some- Articulation in about ten days. They are now published in times the Chairman. nine other languages. It was reallyJimmy Brown, the oboist in the ECO who first started me off on editing and now I have around 150 *The text for this interview was provided entirely by editions ofvarious kinds in print. More recently, my musi- I Trevor, except for the passage in square brackets which cal biography of Marcel Moyse was published in the USA, \ was transcribed by me from my recording. and is currently going to appear in French, German, J.F. Spanish and Japanese.

What is a musical biography?

Well, it's the name I gave to the book because it was not FLUTES, NEW & USED IN STOCK. intended to be a true biography - that's to say, a detailed COLLECTORS' ITEMS life history. But rather, a book about the man and his OFTEN AVAILABLE affect on the flute; a book which would be read by musi- NEWCASTLE MUSIC cians rather than the lay reader, and a book which flute 7 1 WESTGATE ROAD players could learn a lot from. NEWCASTLE-UPON-TYNE NE1 I SG Tel: 0191-221 0595 At the BFSEasterFestival, you were playing electricflutes. Did you make them? Yes, I started making 'funny' flutes specifically for my presentation 'Flutes Fantastic' which is a recital on about fifty flutes with a commentary. Electronics interest me but North West North West North West North West so does all the modern technology, fax, modems, Lancashire Lancashire Lancashire Lancashire computers, e-mail, etc.

And the future? BFS Flute Day I'm working on a flute encyclopedia with Sarah Bull, Martin Hoffman and Robert Scott. We are simply gath- Sunday October 15th 1995 ering information at present, though as general editor I have started to write some of the bigger entries. The book will contain information on all flute players, composers, David Nicholson makers, ethnic flutes, notes on the principal repertoire, and much more. I'd like to finish it before turning my toes up. Other than that, I like playing my flutes in other and countries, and I give about five summer courses each year. I also appear on juries for international competitions Atarah Ben-Tovim about twice a year - this year, I'm going to Prague and Munich, I really enjoy meeting and hearing the world's young flute playing whiz kids. at Turton High School What is a typzcal day for you? Bromley Cross Bolton I start the day with two mugs of tea and by 8.15 I'm answering the mail or sitting at the word processor, Details from . . . lrene Barnes writing or adding entries to the encyclopedia. Then, for 40 Grange Park Road two days a week, I teach in my studio. I run a seven month Bromley Cross, Bolton residential course for six students: they live in the village 01204 593 91 1 and come to my house for classes for two days each week.

Hearing Damage to the Musician

A Review of Audiometm'c Studies in Orchestras and their Practical Conclusions

by Anthony McColl

a further difficulty in defining noise-induced hearing loss. Thought must be given to methods of protecting However a study made in 1981 in Scandinavia used a defini- muslclans from thelr musk tion of hearing loss as 'greater than twenty decibels on one ear and one frequencf, and proceeded to identify eighty players from a group of one hundred and thirty nine as With this intriguing paradox Suzanne Palin of Birmingham having some hearing loss. Further to this issue, it has been Medical School concludes a recent review of the literature generally established that the hearing loss is frequently differ- concerning potential hearing damage in musicians playing in ent in the left or right ear, depending on the instrument and symphony orchestras. Study of this subjjdates back to 1967, the way in which it is held; thus the left ears of violinists and when a survey of more than two hundred German orchestral viola players are more affected and the right ears of flautists musicians was made; and since then, further research has and horn players. This self-exposure to the musician's own been carried out in Scandinavia, Germany and the U.S.A.. instrument is of course more or less of a hazard depending on Most recently, audiometric testing and sound pressure meas- the instrument in question; thus the sound pressure levels urements were undertaken in 1992 with the City of Birming- recorded for the ', harp, piano and bass are usually at the ham Symphony Orchestra by a team of lecturers from the lower end of the spectrum whiie the brass, woodwind and Institute of Occupational Health at the University of Birming- percussion are in the upper part. The other stringed instru- ham. ments seem to produce varying levels throughout the range of sound pressures. Much of the earlier research was essentially descriptive in character, presenting the numbers of cases of hearing loss A number of common features emerge from these various which were presumed to have been inducedby noise of musi- studies; thus the hearing loss of the women was less than that cal origin, or comparing levels of hearing ability with those of of the men, and the instruments which produced the highest sound level measurements were the trumpet, piccolo, horn all musicians have had their hearing and (perhaps surprisingly) the bassoon. In the Birmingham study, the sound pressure levels of these instruments in two capacities reduced particular works ( Dkserts by Varbe and Turangalila by Messiaen) on occasion exceeded the legal occupational expo- a more general population. Indeed, one of the principal weak- sure standard .of ninety decibels throughout an eighthour nesses of the studies originating in Germany, Scandinavia and day as defined in the 'Noise at Work Regulations' of 1989. Of the U.S.A. thus far has been the failure to establish a definition course, this level of sound was confined to a few moments of noise-induced hearing loss. The study made in Birming- and this incidence bears little relation to being in the proxim- ham avoided the difficulty of relying on such a definition by ity of a noisy piece of machinery for eight hours. It is therefore making internal comparisons between a high-risk group and difficult to establish what degree of hearing loss might be a low-risk group (matched in age and sex) within the same incurred by a musician at an individual rehearsal or perform- orchestra. ance of such pie- of music; or at what point of repeated exposure some hearing loss might be registered, since expo- Virtually all executant musicians have already had their hear- sure to this decibel level when averaged out over an eight- ing capacities reduced to some degree over the years by the hour period of time produced only 65% of the daily dose of mere fact of playing any instrument whether on its own or in noise allowed by the regulations. bands, orchestras, and other ensembles; and this fact presents Safe Levels Vs. Listening Time hard to see how such a consideration could be taken into account by concert promoters or managements unless statu- tory obligations to restrict the sound levels for all orchestral Noise No 15dB 20dB programmes were laid down, by the Musicians' Union for Level Protection Protection Protection example; and such attempts would surely be counter-produc- (dB4 + + + tive in that they might reduce the number of concert perform- ances or recordings etc. and hence the employment of 90 8 Hours musicians!

93 4 Hours On the other hand, when the noise threat is derived from amplification and those extra-musical 'effects' of fireworks, 96 2 Hours gunshots, etc. so rightly deplored by the Editor in the last issue, some limitations of volume and control of the distance from the players could be demanded by the Musicians' Union 99 60 Mins if a sufficient body of the membership pressed for their intro- duction and refused to play in such events without secure 102 30 Mins guarantees of the control of noise levels and the proximity of explosions. This is an area where political pressure should be 8 Hours 105 15Mins >16Hours applied in order to protect the hearing and hence the liveli- hood of all players; but at the more immediate and personal 108 7.5Mihs 4 Hours >8Hours level some protection may be gained by the use of earplugs. More recent designs of these now cause less sound attenua- tion than formerly, and plugs of various shapes and materials Another variable factor - first examined in a Scandinavian do seem to provide a measure of relief, especially for string study in 1981 - is the effect of ageing on our hearing capaci- players who are liable to suffer most for the various reasons ties. In this study some fifty-nine musicians from a group of outlined earlier. one hundred and thirty nine were found to have poorer hear- ing than would be expected for their ages, and exposure to Pollution by noise is one of the most disagreeable features of music seemed to be the mapr contributory factor. late twentieth century industrialised societies: and, in com- mon with other aspects of the society we have created, music- The way in which musicians are seated within an orchestral making has been compelled to raise its voice, often intolerably environment obviously helps in identifying those players at and not always just because of amplification. Even at the higher or lower risk according to their proximity to the loud- beginning of the century, the orchestral scores of Mahler and est individual instruments; and, as the Editor pointed out Richard Strauss created unprecedented levels of sound fro^ with feeling in the last issue, cor anglais and contra-bassoon ever larger forces of players; and while the orchestra remains players regularly suffer in this respect by sitting directly in a desirable means of creative musical expression, composers front of the trumpets and trombones in a conventional concert show no inclination to decline its range of volume or to con- hall seating arrangement. Some players must also sit in front sider the effects of their compositions on the hearing of their performers.

TABLE l Swnd I~I(d~) Sound levels during EquivrleM of the percussion section which, in contemporary music, may Duration comprise six or more players and - especially in the confined rehearsals continuous 'Oak (minutes) space of a theatre 'pit' - may regularly contribute bursts of Goldschmidt Ciacona Sinfonica 89.7 108 1W sound exceeding ninety decibels. But in the 1992 study with the City of Birmingham Symphony Orchestra it was found Haydn: Symphony No. 7 83.3 106 36 that the range of sound levels to which percussion players Mozart Piano Concerto in Eb 81.6 108 36 themselves are exposed is tilted towards the lower frequen- cies and hence likely to be less damaging to hearing. Sadly, Ravel: Mother Goose SuRe 85.5 95 27 however, the seating problems cannot be solved by placing Ravel: La Valse 87 112 29 'high risk' brass and woodwind instruments at any effective distance from the larger low risk' body of strings when the Ravel: Piano Concerto for the LH 83 108 24 cohesion and homogeneity of the whole ensemble is what constitutes an orchestra and its quality. Suzanne Palin and the Ravel: Piano Concern in G 77 108 42 authors of the Birmingham study suggest that, as it is gener- SchniWe: Symphony No. 4 86.9 109 80 ally agreed that noise-induced hearing loss does occur in orchestral musicians, some protection could be provided by Shostakovich: Symphony No. 1 88.8 110 47 more careful planning of programmes to create a balance Turnage: Night Dances 84.6 105 25 between sonically 'heavy' and 'light' pieces of music. But it is

25 TABLE 2: Noise doses wndM (del Advances in Earplug Design A survey of the options available to the practical musician

Ha (M.Nn Rh Ciy&my) 03.8 NIA 103 02 As YOU will have seen, hearing ability and sensitivity varies considerably between individuals, and the capacities of the two ears are rarely the same in maturity. Likewise, the level of tolerance when exposed to high decibel levels varies accord- For the sake of our readers, it may be helpful to explain the ing to a player's psychological make-up and temperament, following. The Health and Safety Executive 'Noise at Work though the general exposure to pollution from noise which Regulations' 1989 are concerned mostly with weekly totals of afflicts us all today must ultimately have an adverse effect on exposure (as in a car factory) acd lay down Action Levels that our hearing. might be thought unrealistic 'when you observe the music profession. At the Fit Action Level (exposure to 85 dB), it is For musicians who have to play in performances of much the duty of employers to make employees aware that they contemporary music, the periodic onslaughts of percussion could be harming themselves. At the Second, it is also their and brass, often in close proximity, may be mitigated by the duty to have remedies available, such as screens and earplugs. use of ear-plugs if one learns where these outbursts are due to As we can see, musicians regularly work at levels rising to 112 take place: but if the work is unfamiliar and one is therefore dB. (Jhch rise of 3 dB implies a doubling of sound levels.) uncertain of the required strength or significance of the part To the extent that the regulations address sudden bangs (Tosca, one is playing, the plugging of the ears may prove quite '1812 Overture' etc.), it would seem that measurements taken unhelpful for the task in hand. There is no merit in feeling from the seat of the nearest player have not to date been more comfortable if it turns out that you are out of synchroni- commissioned from employers or hall managers. A working sation by several beats or even bars with what is being played agreement is urgently needed. around you! Likewise, there is little value in being so single- mindedly plugged as to be oblivious to anything but one's The Birmingham study says further, 'The noise dose is an own part, an impression we may receive from some rock exceptional exposure standard which limits the exposure to music performers! A.McC. 90 dB for eight hours a day and defines the maximum permis- sible (or 100% of) daily noise dose. This is not completely protective: this exposure will result in a hearing loss of 26 On the simplest level, musicians in occasional danger of dB or more at age 65 in 15% of a working population so hearing damage often resort to wax ear-plugs, straight or exposed." tapered, that can be bought at a chemists' shop and are cheap and washable. Fully inserted, they cut down a lot of damag- You have seen from the first chart that every rise of 3 dB ing noise, but have severe drawbacks for practical use. Cotton halves the permitted daily exposure time. Tables 1 and 2 show wool or balls of kitchen towel can be used in an emergency, in plain English how peak levels can reach 113 dB. More than but it is not unheard of for bits to be left behind. Gunshot two minutes at this level daily will damage your hearing - earplugs have flaps that react to loud bangs. They are deemed even 'officially'! Anyone who has sat on the 'wrong' end of a not to be generally suitable for musicians. piccolo, or in front of tympani or of directional trumpet bells knows how quickly levels of pain are reached. There are three basic problems with conventional earplugs. Most important, they produce an extra 10 to 20 dB attenuation Mr. D. Garfield Davies FRCS of the Middlesex Hospital adds at high frequency, muffling detail that musicians require; in a letter to the Musicians' Union, "It is however absolutely second, they have a large 'occlusion' effect, which makes the vital that the M.U. tell their members that they must also be user hear his/her own voice with a boomy quality, and third, mindful of wearing adequate ear protection (ideally ear muffs) they cut out more sound than necessary. A frequent result of when they are using any power drill (i.e. Black & Decker etc.) these problems is that some people will either wear no ear in any confined space such as a garage or under the stairs, protection or they will wear their earplugs loosely so that mowing the lawn and in recreational hobbies such as motor sounds can be heard more clearly. Pulling them out allows all cycling. P.S. - Conductors are certainly not exempt from de- levels of damaging frequencies into the ear. veloping hearing losses either." Which may after all be some slight comfort for wind players! G.S One problem results from the design of the human ear, which has a built-in boost-in response (accepted by the brain as 'normal') of 20 dB between 2 and 3 kHz. (Remember that EXCELLENT PIANIST SEEKS every additional 3 dB represents a doubling of the true loud- BRILLIANT FLAUTIST FOR CONCERTS ness.) 'Standard' earplugs not only block out this but nor- TEL: 01784-457280 mally perceived enhancement but cut as much as 40 dB off high frequencies. New research has led to a range of earplugs that overcomes MBS Medical Ltd., director Robert Beiny, of 129 Southdown these problems. The cheapest of these are a compromise, still Road, Harpenden, Herts. AL5 IPU. Tek 0582 767218, Fax: not ideal, but an improvement. Known as the "Ultra Tech. 0582 767214 offers protection services to musicians and is also ER-20", or recently as the "M.U. Plugs", they can now be in consultation with the Musicians' Union over the drawing- bought by sending E8.00 to the Central London Branch of the up of practical guidelines to limit exposure to over-high mu- Musicians' Union (you do not need to be a member) at 6W62 sic levels and noise. The company offers two earplugs, made Clapham Road, London SW9 OJJ. These plugs cut out sound specially for each individual, the ER-15 and ER-20. The former ranging from 14 dB at 250 Hz to 10 dB at 4000 Hz, but do is probably of most use to musicians, other than rock musi- dampen upper frequencies (including the 'boost' area at 2-3 cians and individuals with postexposure tinnitus, allowing kHz) rather too much. one still to hear what is going on! A glance at the graph will show that the 15 dB cut is fairly constant, even in the 2-3 kHz John Schroder of the C.B.S.O. describes them as follows:- range. A drop of 15 kHz from, say, 105 dBA to 90 dBA, means "The plug consists of a central plastic support with three that one's permitted daily exposure rises from 15 minutes to 8 hollow hemispheres of rubber of increasing diameter. They hours. 'The fidelity of the original sound is preserved, and the are, of course, designed to be pushed right in and are no world doesn't sound muffled". C.S. , doubt very effective, but playing in an orchestra one does need to hear something! In practice, by pulling them out as far Robert Beiny continues: as they will go, I find that I cm reduce the danger whilst still hearing the orchestra." G.S. ER filters eliminafe the biggest probk associated with conuen- twd ear protection by providing near equal attenuation at all frequencies and reducing the occlusion effed where users experience a 'blocked-up' feeling and feedback of their own mice. They are currently the only viable choice for musicians who wish to prem the fuielity and clarity of the original sound but reduce levels to within safety limits that will allow them to protect their hearing. The applications fir tkis product ertends to anyone who is working within sound hlsof up to 120 dB and needs to hear accurately. Etymotic Research in the US developed the ER filters specifically with musicians in mind rmd tr& mmk them as 'Musicians' Ear- plugs'.

My partner and I became inwloed with ER pters in the middle of lnst year and felt tM they had a potential in the UK if utilised and fitted correctly. Thegreatest difficultywith the ERfilters is achieZT- ing a flat attenuation to match the individual's open ear frequency response. This response is determined by building a flexible dia- sealung damper ring phragm which acts as a compliance (in the same way as a passirre speaker cone). Control of the channel diameter through the mould ads as an acoustic mass, so that a Helmholtz Resonator is formed between the inertiance of the sound channel and the combined compliance of the flexible diaphragm and the ear canal volume. The correct combination of channel diameter and length of canal tip will

carbp SIC^^ end cap irreparable damage that high sound levels can do to . . . their most EARPLUG ATTENUATION 61 t important instrument

ER.iS MUSICIANS PLW) allow the Helmholtz Resonator to produce a resonant peak at ap- m-:*-..- -0- -m--- y- proximately 2.7 kHz to approximate the open ear response. A \,EA.~) * 111.nPCUO '\ special piece of equipment called a mass meter determines the ----.+-*A-- ' S--- %- attenuation in production, and it is vital that the impressions of -U-- ER.25 MUSICIANS PLUO 'L\c ?"-- ---M-- the ears are correct in euey detail - particularly the canal flemdk) length, which has to be past the second bend in the external meatus. +Lm-- M--. -.,+- .H -.-)(--A--7 7 We feel that for the products to have the success they &m,it is TOAM C-A4 PLUG (DEEP) necessary to use distributors who are knowledgeable in the field of l/\-* earmoulds and capable of taking good deep impresswns. We haw therefore established a network of some 20 Commercial Hearing Aid .soJ. 8 1 7.l 0.125 0.25 0.5 1 2 4 D Audiologists to achieve this aim. Each distributor is currently FREQUENCY IN KHZ undergoing a full training programme to enable himlker to ensure good fittings. This product is oery speciulised and as such our distribution network is limited; hummer, we do haae reasonubk geogmpkial coverage. THE SPECIALIST MUSIC SCHEME AT Our experiince hus shown that musihns and tecknicians who are WELLS CATHEDRAL SCHOOL looking for keanng profection kuve been pkused with the results of tkse filters and ~nllythey work extremely well. Some read is pleased to announce the appointment of instrument players haae rrported initial difticulties in using this produd due to mbrutions from the red being conducted through the skull. It is possible to overcome this in tk majority of cases KAREN JONES huwezm. In some extreme situations, this is not possible due to tk as specialist Flute Teacher cm physiml properties of the cunul itself. and There is a certain reluctam to wearing any fanof bring protec- tion and many musicinns are under preconceiDcd ideas tM they PETER LLOYD don't work. With current legislation, it is a requirement for em- ployers to provide their st# with ear protection suitable for their as Flute Consultant job d,realistiually, professionul musiciuns may haae to reconsider this whole subject. Our sister company, The Hearing Healthre DFE and School Scholarships available: Practice, instigated a comprehensizw hearing consemation pro- gramme for musiciuns in 1994 which pro* indiDiduals with an For further information please contact: on-going long-tm protection plan tailored to their requirements. At first, prticulmly us ule are dealing predominantly with rock Roger Durston, Director of Music musiciuns, it was treated quite lightly, but, through education, we Wells Cathedral School now find our clients take their sense of hearing very seriously and are aware of the irreprable damage tkut high sound lmls can do to Cathedral Green, Wells, Somerset BA5 2UE wkut is probably their most importunt instrument. Tel: 01749 679945 Fax: 01749 679939

With regurd to cost, the price for a pair of custom made ER-15s (or ER-25s) is currently E120.00 + VAT. This price includes all mater~irlcosts, freight and shipping charges. We are currently having our attenuators made in Holland at the EhLmborutoy, Etymotic Research's Europenn agent, and this will continue until me are sure thut we can produce an identical product in the UK. We arc hopeful of setting up our oum lnboratory this yem and will be producing a complete range of custom ear protection to cater for most of the situations where noise is a problem..

We kuve recently been in contact with the BBC who are also concerned about tkcurrent legislation, and they me also consider- ing using the ER filters with their musicians. The Dutch Philkur- monk & Chicugo Symphony Orckestra recently started to use ER-15s and h reported excellent uduptation. Hand made flutes In the following issue of DRN we shall bring you advice about the avoidance and alleviation of Tinnitus and news of distinction about a unique earphone of hi-fi quality that cuts out back- ground noise so effectively that dynamic range is enhanced Introducing the Conservatoire model, without hearing damage. latest in a range of highly acclaimed instruments Student discounts available Our thanks from DRN to the following:R.N.I.B.; Robert Beiny of MBS Medical Ltd; Simon Kahn; John Schroder; the Institute of h-further infmation contact: Occupational Health at the University of Birmingham; Ms. S. Stephen Wessel Palin, Birmingham Medical School; Mr. D. Garfield Davies FRCS, Millbrook House Middlesex/U.CH.; Tony Lucas, M.U.. Alhampton Shepton Mallet Printed by courtesy of Graham Salter the Editor of Double Somerset BA4 6PX Reed the magazine of the British Double Reed Society in which Phone or fax: (01749) 860047 this article wasJirst published. 2nd INTERNATIONAL FLUTE COMPETITION 3" lTALlAN FLUTE CONVENTION

FLAVTISS Riva del Garda 1-5 November 1995 JURY : Riva del Gsrrdsr 1-5 Nsvernber 1995 Ancillotti Artaud Chastain Debost Masterclsrsses, csncerts, lectures with: Guiot Persichilli Zoller ADORJAN ANClLLOTTl ARTAUD BALINT BENNETT first round BERNOLD BlGNARDELLl CHASTAIN CONTl Bozza: Image for solo flute DEBOST FORMISANO GROSS1 GUlOT HENKEL second round HUNTELER MARASCO MARCUSSON a) Pilati: Sonata for flute and piano b) one of the following pieces (Suvini Zerboni): MARION MORAGUES MORlNl PAHUD PERSICHILLI - Cristina Landuzzi Fantasiestuclt N.2 (1 994) PRETTO SPRATT ZIEGLER Z~UER for solo flute - Ruggero Laganii La volta (1994) for solo flute 5 days IT1 230,000* c) J. S. Bach: E minor Sonate l day IT1 82,000* Final a) Jolivet: Concerlo or Nielsen: Concerto Half board IT1 40,000 b) Martin: Ballade Daily flights London - Verone The Sonata for flute and piano by Pilati is published by 'for BfS members only Accademia Italiana del Flauto and is distributed in the UK by JUST FLUTES: 36, CHPSEAD VALLEY RD, COULSDON, SURREY, CR5 2RA Tel : 0181-6684444

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1 All tnformation at: ACOEMIA ITAIJANA DEL F'LAWI'O - VIA INNOCENZO X 43 I40152 ROME TEL u39 6 5816225 FAX ++S9 6 5880429 Atarah (with Jinz Rapp from. Pearl Flutes and prize-winner Becky 'Tizomas) at the London Earter Flute Festival.

Atarah Ben-Tovim Area Rep Extraordinaire - SWFrance all social and educational backgrounds'. The result was the formation of Atarah's Band. 'A weird ensemble once Atarah Ben-Tovim began the flute at school when she was rudely described as "six musicians and a flute-player". We eleven 'I borrowed my teacher's wooden Rudall Carte played all kinds of music, to over three million children for the first two weeks, and that really gave me "flutitis"'. in school and family groups, did all the major concert She had to play the metal school flute for the next two halls and festivals, had our own radio and TV series and years but was not happy until she had acquired her own made recordings. wooden Rudall Carte. Progress was rapid and she began 'My community arts phase led, in 1975, to my hold- studying at the Royal Academy of Music, first as a junior ing some "Flute Days". The tutors were pupils of mine exhibitioner (toujours I'exhibitionist!) with Norman blackmailed into helping out - among them a younger (Ginger) Knight and later as a full time student with Julie Wright [BFS Educational Rep], bursting with energy Gareth Morris. Then came a year in Paris on a French and showing her talent for communication even then. In Government scholarship where, on arrival, 'Fernand those days, there was very little music for flute ensembles, Caratge and Rampal were aghast at my "antique" so I commissioned the "Elastic Flute Band" - fun com- wooden flute as they called it'. positions and arrangements which Simon [Hunt] pub Soon after returning to England and doing some lished just in time for the Easter Flute Festival where they work with the Ballet Rambert and Sadler's Wells Opera were enthusiastically received.' Company, Atarah was appointed Principal Flute with the As it is clear, Atarah's activities are varied. On the last Liverpool (now Royal) Philharmonic Orchestra, to suc- evening of the Easter Flute Festival, with hardly time to ceed the distinguished Fritz Speigl. 'Aged twenty two and wipe out their flutes, Atarah plus fifty teachers leapt into with the job I had dreamed of, I was walking on air. Won- a coach to begin the journey to SW France for the BFS derful years - all the orchestral repertoire, the Mozart, Teachers' Course, and thereby began another adventure Ibert, Frank Martin and Nielsen concertos to play, plus . . . reported in the last issue of Pan. my own chamber music groups and BBC broadcasts etc. In August, together with Julie Wright, Atarah Incidentally, Pat Morris, the superb piccolo player was ran a course for adults entitled 'Conspiracy of Flutes'. also in the Liverpool Phil and had already started work Why the title? 'Well the meaning of the word con- on her excellent book on the piccolo'. spiracy is "breathing together" and that's what we'll be It is hardly surprising that, after a few years in the doing!' orchestra, Atarah's career should take a change of direc- What next for Atarah? ever probing and always inter- tion, she has, after all, immense drive and an insatiable ested in everything and everyone - that is her secret, she appetite for new challenges - only last year her first novel really is interested in what and how and where and always 'Queen Eleonor's Legacy' was published [the Editor has in you and of course, she is a great communicator . . . yet to receive a copy for review!] Douglas Townshend tells a story about Atarah in her 'I was doing a free concert in a children's home and Liverpool Phil days 'If you needed to circulate informa- suddenly, playing in an orchestra didn't seem half as tion of any sort, all you had to do was 'telephone, interesting as making live music accessible to children of telegram or telatarah!' Alison Uren - Wmcestershire John Gridley - South Kent

Alison was born in Watford in 1954 and started the Strictly an amateur flute player, I have had manyjobs in piano at the age of seven, and the flute five years later. the past; army instrument technician, salesman, police- She looks back with very great pleasure at her years with man and several other short term employrnents. I am the Herts County Youth Orchestra. By the time she was now 46, married with one son and work in a school as a 18 she had passed the LRAM diploma and was having computer and science technician. I first became inter- lessons with Sebastian Bell. However, she decided that ested in music during the miners strike of 1984 (bore- music college offered a narrow experience of life, and dom and long hours). I saw Jimmy Galway playing the went instead to Oxford to read English, and later to tin whistle with the Chieftains and thought 'I could do Cambridge to study for the M.Phil in Linguistics. Both that'. Little did I know where this would lead (plus he universities offered wonderful opportunities to play in had the same initials, well, it meant something to me!). orchestras and chamber ensembles. I had to teach myself to read music first so I bought a 1 Since then Alison has taught English at various 22.50 kit (book and D whistle, wow). I then saw him play schools, flute and piano at Malvern College and the the flute and thought 'I can do that'. I bought an old La Kings School, Worcester, as well as teaching private Fleur flute and in the first year managed to bend the students. She plays in several chamber music groups and body with the tension in my hands. My first tutor was a for operatic productions. She very much enjoys accom- clarinet player. Well, I didn't know! panying on the piano and next year will be working in My first 'real' flute teacher was Margie Caldicott in this capacity at the Gloucester Academy of Performing Deal and once we'd unlearned the lessons I had previ- Arts. For five years she has organized the Lunchtime ously learnt, I made some progress. She encouraged me Concert series for the Malvern Festival Fringe. to go to Hindhead on the annual Flute Course where I Alison married in 1981 and has three children; the met Susan Milan and Julie Wright. Needless to say I was older two are keen musicians and she spends hours inspired by the enthusiasm of everyone and had a really supervising their practice and driving them to NCO fabulous week. I then started lessons with Julie. I still rehearsals all over the country. She encourages them have the adult learners fault of wanting to run before I and all her pupils to play chamber music together, and can walk, can't find enough time to practice but enjoy her group The Chalfont Ensemble has had particular learning although playing solo reduces me to a quiver- success at music festivals, and has performed in two con- ing heap. I still can't 'Do that' like Jimmy Galway but I'm certs recorded by BBC Hereford and Worcester. always getting that little bit closer. Patricia Clelland - Wiltshire Irene Barnes - Bolton, Lanmhire

Patricia began the flute at the age of 17. Her first teacher Irene is originally from Glasgow but spent her formative was Lamond Clelland (now her husband) and within years in Edinburgh. She really wanted to play the trom- two years she had passed grade 8 with distinction. Her bone or 'cello but due to starting high school a week late flute studies continued at the London College of Music (because of a broken ankle) found that all the instru- with Edward Blakemann and Rainer Schuelein and, ments had been handed out and all that was left was a after leaving college, privately with Geoffrey Gilbert. flute without a headjoint! She patiently waited for a Having graduated she began teaching and playing in complete flute and then began lessons with the school Bournemouth but gradually her teaching spread wind teacher (an oboist). towards Wiltshire where she now lives. Patricia teaches After passing well in all her flute exams she went on three days each week at Millfield School in Street, and to study at the RSAMD Junior Department with David has an extensive private teaching practice with students Nicholson. That was when she really began to play the travelling from all over the West Country as well as from flute (back to basics!). Later she went to Napier Univer- her local area. She is co-founder and conductor of the sity and sat diplomas in both flute and piano. very successf~ilWessex Flute Band which was set up to Irene spent many years playing in the Edinburgh provide opportunities for the many flautists of all ages theatre pits as well as in several orchestras and chamber who do not have the chance to play elsewhere. groups on the Festival Fringe. She did a lot of teaching Patricia has played flute and piccolo in wind bands, in the Edinburgh schools and also taught privately. various orchestras and chamber groups; she often gives Marriage, children and a move to Northumberland recitals and has performed in Italy, Spain and Germany, was made in 1987. As Area Rep for Northumberland she as well as through the south and southwest of England. organized two small (25 people) but successful Flute She also plays the occasional solo at flute band concerts. Days with David Nicholson. They took place in the vil- As well as playing and teaching she does a lot of arrang- lage hall where the rent was &20! ing of music for various groups, including the flute She is now living near Bolton and is at present band, and also does realizations of 18th century music. putting the finishing touches to a bigflute day planned Patricia believes that music and the opportunity to for 15 October with David Nicholson and Atarah Ben experience performing it, should be available to every- Tovim (where she wishes the rent was &20!). one who wants to take part. (Hence the flute band) Irene continues to teach privately and has recently Excellence should be encouraged in everyone, the fact joined the North West flute group Tooti Flooti. Other that not everyone will achieve the same level of excel- interests include, swimming, geneology, theatre and try- lence does notjustify the exclusion of some people from ing to keep sane with daughters aged eleven, nine and the pleasure of music, particularly at school level. nearly six. Insured? Even if the answer is 'yes', is your instrument cover as wide as ours? The British Reserve 'plain English' policy has been specially designed to meet the needs of musicians, with exclusions kept to a minimum. We provide worldwide cover against accidental loss or damage (which includes fire and theft) at competitive premiums. Our customers are both amateurs and professionals ranging from young people playing in school orchestras to virtuosi performing in the world's great concert halls. To ensure speedy repair or replacement, we have established an excellent working relationship with makers and dealers around the world who can offer expert advice and the highest levels of craftsmanship. Contact us now for a specific quotation. 1111 British Reserve C Insurance CO ~td Musical Instruments Dept, Cornhill House, 6 Vale Avenue, Tunbridge Wells, Kent TNI IEH Telephone: 01892 5 15244 Flutemakers Guild Ltd

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Modern Techniques

Clare Southworth writes . . .

When I first started playing the harmonic sequences. They are often embouchure and to use your flute, people used to get excited if the whistles that you get at the end of diaphragm to support the airstream. they heard flutter tonguing. Nowa- a diminuendo, just when you don't Multiphonics is the name given days, there are so many modern want them! We practise whistle tones to the technique whereby more than techniques that are considered nor- mainly to help get rid of them at the one pitch is played at the same time. mal. Even if you never play a con- ends of notes, but also to help Multiphonics played on natural har- temporary piece of music, it is develop very fine control of the air monics, are used fairly frequently. important to at least try some of stream. To play them, breathe very This is achieved by splitting the these techniques, to help develop lightly over the embouchure hole, pitches while playing harmonics and your level of playing. with a relaxed embouchure. They can so achieving two sounds at the same Let me list some of the com- be found just above the actual pitch time. We all split notes at one time or monest modern techniques: of the note being fingered. All notes another and so we have all played can produce whistles and some are multiphonics, without realising. Bending notes much easier than others. As in har- This subject is immense and Harmonics monics, the longer the column of air, rather than get too involved in Flutter tonguing the more whistles can be played. explaining it, I must recommend Tremolos Experiment, try different notes, don't that you read Robert Dick's book The Glissandi give up! When you can play some Other Flute. Robert has done more Multiphonics tones, try stopping on individual than any other player in bringing Whistle tones pitches and then move up and down, new techniques within reach of all of Quarter tones just as in harmonic exercises. The us. Listen to his recordings and if at Key slaps easiest way to achieve this, is to imag- all possible hear him in concert. The Tongue clicks ine how you would change the pitch if effects he makes on the flute are Jet whistles you were whistling. Most ofus use small almost unbelievable! Circular breathing tongue movements to change the Bending Notes are achieved by I'm sure that most of you will pitch, so use the same technique when bending th; airstream up or down, I have tried some of these already e.g. playing. The best thing about prac- using your jaw (or head sometimes) harmonics and tremolos, but we tising whistle tones, is that it encour- to move the pitch. This helps pro- need not only to try these techniques ages you to relax your embouchure. duce quarter tones and small glissandi, ' out, but to extend and develop them. Harmonics are found in many depending on how far you bend the If you practice the techniques, your pieces and are easy to practice. All note. If you have an open hole flute, playing develops, even if you do not notes produce harmonics and all you can combine bending the note perfect the exercise. harmonics appear in the same and putting a ring key down (or slid- Don't get worried that you have sequence i.e. octaves, perfect fifths, ing a finger off the hole) to produce to be able to play all of these. I played perfect fourths, major thirds, minor a larger glissando. Experiment and in a contemporary chamber orches- thirds and major seconds. Play your see how far you can go. tra for twelve years, and only had to fundamental note and then increase So we've had a brief look at use, flutter tonguing, harmonics, the airspeed, just as in playing an some 'new' techniques. The import- tremolos, key slaps and quarter tones octave. Now keep increasing the air- ant thing to remember, is to try them - all of which are easy. speed, and the note will continue to and experiment, to see what you and Whistle tones very occasionally split, in the sequence of notes your flute are capable of, and to read appear. These tones are light and mentioned above. Remember to and listen to the material available. quiet whisper pitches, that are in keep a relaxed but supported More on all of this next time. Reviews

Bass Flute are disadvantages, though, such as found in 1992 by flautist Pierre- Rainer Bischof. Elegie fir Bassjlote the problem of two players trying to AndrC Valade in gathering together Op.30. (ca 6 min). Doblinger. £4.70. elbow their way near enough to the the flute works ofJolivet. Written for stand to see all the notes. And there This serial work, naturally strongly recorder or flute and several percus- are a lot of notes! R.B. influenced by Schijnberg and his dis- sion instruments it would interest ciples is of a melodic nature, mostly devotees of Jolivet's music but for adagio with a central poco allegro Flute and Guitar performance it does stop rather section and quite a lot of double Antonio Ruiz-Pip6. Jarcias. Max suddenly after a minute and a half. tonguing. D.C. Eschig/UMP. £1 1.40. D.C. A set of three atonal pieces for equal Flute, Oboe and Piano partners who would need to be Two Flutes Gordon Jacob. Introduction and A&- advanced players. A welcome addi- gm Jaap De Lange. Triptychon. Universal Alla Tarantella. (Dur. 5'12 mins) tion for this combination which Emerson 168. UE 19511. £7.95. needs more up to date music. D.C. In this set of three duets the com- As one always expected from the pen poser takes, in the first two, as his of Gordon Jacob this is a well crafted starting point the musical elements Flute and Manmba and accessible piece of music. I like from the names of several composers, Hugo Weisgall. Tangents. Theodore his feel for melody and have always (Don't composers love these Presser. £23.75. found his allegros bubbling with games!). The man on the Clapham merriment. This work, of only mod- If you know an excellent marimba omnibus wouldn't notice; all he's erate difficulty, satisfies both my player (Evelyn?), are really compe- interested in is whether it sounds like expectations.Worth having. D.C. tent technically and enjoy a chal- music. In my opinion it does. De lenge then go for it. The four pieces Lange has an interesting way of using Studies (Episodes) are entitled Starting Out, technique well rooted in the past but Georges Lambert. Exercises Jour- Scooting By, MoseyingAlongand Taking adapted to his own personality. The naliers, Bogressifi. Lemoine/UMP. third duet is quite a good play but Off D.C. £11.60. sounds like a rather bitty transcrip This is a very interesting book con- tion, which it is, from the fifth section Piccolo and Bassoon cerned with an holistic approach to of Brahms's Requiem. D.C. James Hook. Hompt'pe. Emerson 251. playing music on the flute. It has This short piece is simply and effec- many good exercises based on the French flute tradition that most of us Kuhlau: Three Virtuoso Concert-like tively arranged for piccolo or flute (a were brought up on, although with Lhdsfm Two Flutes, Op. 87. Edited by clarinet transposition is included). some variation and additions. You Patricia Harper. McGinnis & Marx. Two complete duet parts are pro- vided, one for each player. Would need to be comfortable reading Patricia Harper has undertaken the make a nice little encore or short French as much of the book is dis- huge task of preparing all the flute concert item, though could benefit cursive and is not translated into duets of Kuhlau in score form. Her from being played twice as suggested English. With the growing interest in edition of the Op. 87 pieces is metic- by the arranger. D.C. the part that various areas of one's ulously researched and is printed anatomy play in the resonance of accurately. Page turns have been well one's sound production, the distinc- Flute and Percussion thought out, with blank pages and tion between fact, suggestion and Jolivet. Une Minute-Trente. Billau- fold-out sections where necessary. metaphysical speculation becomes dot/UMP. S4.30. There are clear benefits to having increasingly blurred. I cannot believe these very popular works in score The title refers to the length of this in the necessity of keeping relaxed so form, particularly for teachers. There uncompleted fragment which was that the natural resonant frequency of my legs will enhance the tone of Flute and Piano maliconico. This is a welcome my lower notes. Some people may Poulenc Sonata (New Edition). change, as most players have sus- believe it. Much discussion and Edited by Car1 B. Schmidt. Con- pected that this speed indication was advice on breathing to increase tributing Editor Patricia Harper. incorrect, and this has given author- capacity and control, and much, Chester Music £7.95. ity to some performances of dubius much more. Reasonably priced; musical integrity. Changes in articu- worth it for the exercises and, what- Chester Music deserve much credit lation include dispensing with the ever your beliefs, it is interesting. in seeking to present, in this new edi- tenuto accents in 1st Mov., bars D.C. tion, a more accurate representation 34-35, and perhaps less sensibly, of this well known work. The result of introducing." a flute accent in bar 3 of a great deal of research has culmi- the slow movement, which might be Louis Moyse' syhr*kcises On nated in 26 pages of preface in misinterpreted by a naive player. Leduc'UMP' 29.60. several languages, which thoroughly One of the notable dynamic changes Forty compressed pages of exercises lists the changes, and the sources of is found in the 3rd Mov. bar 149. The on the chromatic scale. What a information, on which these alter- flute is now instructed to play f whilst , thought! Louis Moyse has designed ations have been based. These the piano remains pp. The excite- the book to free the execution of this sources include several manuscript ment and subtlety generated by start- scale which so often manifests itself scores and copyist's parts, and are fur- ing quietly in the minor key and as an almost glissando-like slide fill- ther corroborated by Poulenc's own building up to the trill is now lost. ing in the space between two notes. recordings of the work with Jean- The old printing error in the 1st Mov. To this end he encourages the per- Pierre Rampal and Gareth Morris. It has gone, and bar 22 now has the cor- former to get away from thinking in has been shown that discrepancies rect number of beats. However, the groups of two, three or four and exist in articulation, dynamics and last two bars of the piano part of the works exhaustively up to groups of nuances, between the manuscripts 1st Mov. remain an unresolved con- thirty-six (of course) in Part I. A sim- and the 1958 edition. They have flict of pedal and rests. The sonata is ilar pattern follows but including been assessed and form the basis of wonderf~illyclearly printed on top leaps to different octaves between the new printing. Here are a few of quality paper with a tough cover, continuous groups. If it makes you the changes. and the page turns remain the same. spend more time than usual on your The most striking difference is at What would Poulenc make of all chromatic scales it's got to be bene- the start. The 1st movement is now this? If he thought that the 1958 edi- ficial if somewhat pricey. D.C. Allegretto malinconico, not Allegro tion was less than perfect, the fact is

FROM SCHOTT

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SHOWROOM SALES DEPT 48 Great Marlborough Street m 38 Eldon Way, Paddock Wood London WIV 2BN Universal Kent TNI 2 6BE Telephone: 0171-4375203 Edition Telephone: 01892 833422 not recorded in this very detailed Teaching be worked through with a teacher preface, and he lived a further five Clare Southworth. LightAerobics.Just and that time spent on gaining early years. Perhaps he just didn't accord Flutes. £6.95. a correct embouchure, which she this piece the same significance that illustrates well, alongside posture and I am not sure that this is a good title flautists have. H.G. so on, is vital. since the physical variety of aerobics The book is well produced with is often known as the physio's a comic-style cover and amusing little delight! However, I am sure that only Gretchaninoff: Ear5 morning. Edited sketches throughout. In the next good will come of this book, based as by Sabine Stegmiiller. Schott. £8.25. edition I hope the unconventional it is on Clare Southworth's experi- right-hand thumb position illustrated This is a collection of ten delightful ence of motivating groups of flute on page 7 will be reconsidered. and very easy pieces for young play- players. These are essentially warm- I would advise teachers of begin- ers. up exercises for players up to about ners to put aside their prejudices, buy Grade V standard and best used in a a pack and give it a try. It doesn't cost group situation, some of them much and might be interesting. D.C. Mozart: Two Soljiem.os for flute and necessarily so, but they are so @no, W 393. Arranged by Hans- designed that the lone player can use Martin Linde. Schott. £7.25. them for limbering up. Exercises and sound advice JAZZ These are arrangements of vocal Easy Jazzy flute by James Rae for cover finger-work, articulation, tone, exercises written by Mozart for his Flute and Piano. Universal £4.50. breathing, posture and rhythm in a future wife, Constanze Weber. They palatable and encouraging form with Universal Edition's Jazzy Series work very well on the flute and make a nice light touch. Good value. D.C. already contains four other collec- excellent additions to the repertoire. tions involving flute. They have now R.B. introduced this one with the stated aim of providing players of a very Liz Goodwin. The Fife Book. Just modest level, a stepping-stone to the Flutes. 54.95 (or complete with fife more advanced material in the rest of for £8.95!) the series. The five short original pieces are about grades 2 to 3 and are Joseph Schwantner. BMAnemones, This is a somewhat misleading title. in various jazz-influenced styles for flute and @no. Helicon Music The subtitle 'An Introductory Course including blues, Latin, tango and Corporation. £9.45. to Playing the Flute' is a better one waltz. I found that pupils of different since it is designed for use with the This delicious work, performed to levels enjoyed this collection Yamaha fife, not the 'real' centuries great acclaim at the 1995 London immensely and easily assimilated the old fife which is fingered differently. Easter Flute Festival by Mary Karen syncopated and swung rhythms. With The Yamaha fife is fingered in the key Clardy, is a transcription by piano accompaniments that are of C like the flute with a C hole for Schwantner of one of his songs. I simple and effective these pieces are the thumb and tuned to have the have little doubt that many of those an excellent resource for perking up right-hand little finger on except for who were at the concert will want to a flagging lesson. A.G. D, so is an ideal introductory instru- play it themselves. R.B. ment in that respect. In this book only notes fingered as on the Boehm flute are used. (The fingering chart Joachim Andersen: The Andersen supplied with the instrument gives a Collection: 9 Pieces for flute and piano chromatic scale up to third octave D, edited by Paula Robison. European though the tuning of some of these American Music Corporation. notes is highly suspect!) S10.95. Music Received Liz Goodwin has much experi- Blavet. Sonata in G majorforflute and Do not be put off Andersen by his ence in using this method to start continua, Op. II/l. Edited by Hugo worthy, but occasionally dour studies. pupils for the first term or so and Ruf. Schott. £10.00. He could write some juicy tunes as speaks with confidence of its effi- : Fantasising on a Welsh well, and Paula Robison has assem- cacy. Certainly with children the Tuneforflute, oboe andpumo. Griffiths bled quite a few of them in this lightness, size and simplicity of the Edition. volume. These are very enjoyable. instruinent would make it easier to Victor Fenigstein: Two Pieces forfute The edition is good; the paper is of insist on good posture and hand or alto saxophone m yiolin and strings, good quality, the printing is clear, positions with a reasonable chance of arranged for piano accompaniment. and some thought has been put into winning. The author has a very sound Edition Kunzelmann. 514.85. the placing,of the page turns. This is approach to the early stages dealt an ideal collection of lovely salon with here and also makes the point Reviewers: Dennis Clarke, Robert pieces. R.B. strongly that this book should really Bigio, Hiary Grubb, Aidan Goetzee. Minutes of the Annual General Meeting of the British Flute Society

Held on Sunday 16July 1995 at the Birmingham Conservatorie, Paradise Street, Birmingham B3 3HG

Council Present He also thanked Robert Bigio purchased in previous years had not Douglas Townshend (Chairman), for putting on an event of Interna- been taken into account. He also Albert Cooper (Honorary Vice tional stature at short notice this year asked why VAT had not been shown. Chairman), Elizabeth Taylor (Secre- - the Easter Flute Festival. Philip said the BFS had de-reg- tary), Jenny Wray (Membership Sec- He told members that there had istered from VAT, as the turnover was retary), Philip Wray (Treasurer), been a thorough investigation of the not large enough to benefit from Susan Bruce (Legal Advisor), Julie accounts this year, including some being registered, and in fact the BFS Wright (Education Representative), matters which had been left unfin- had gained revenue due to this. Ann Cherry (AFT Co-ordinator), ished in previous years, and he was Robert Bigio (Events Co-ordinator), glad to say that all was now in order. 4. Membership Secretary's Report Hugh Phillips, Susan Mary Whit- He thanked Philip Wray for his work Jenny Wray reported that the taker, Alastair Roberts. as treasurer of the BFS. number of members remained stable He mentioned to members that at 1100-1300 during the year, and Co-opted Council Members due to the BFS's recent correspon- she was pleased to report a growing Helen Louise Baker (BFS Pen Pal dence with the Charity Commission, overseas interest in membership. Co-ordinator). (see minutes of 15 May meeting, no Members from the floor asked 4) the use of the BFS Logo would what had been done to publicise the BFS Members Present now be carefully checked on, and the BFS this year, and thus increase the Irene Barnes, Michael George Titt, use of the Society's name on any membership. Jackie Cox, Carolyn Kelly, Brian bank accounts held by local Area Jenny reported that a mailout Johnson, Christopher Steward, Eliz- Representatives of the BFS. from All Flute Plus advertising a com- abeth Rowan, Joan Orton, Candida Irene Barnes asked if Area Reps petition had brought in 60 members, Whitmill, David Orton, honne would now have to pass on any profit though from now on the BFS will not McIllwaine, Rachel Old, Sheila made at flute days to the BFS. be allowing its logo to be used in this Faulkner, Sarah Lane, Tessa Ralph- Douglas said that if Area Reps were way. The AFT have offered to give son, Elena Duran, Michael Emerson. going to use the BFS Logo on their any joining members of the BFS a advertising, in other words the event 10% discount voucher on musical Apologies was to be a BFS Event, any profits accessories, and the BFS continues to Were received from Judith Fitton, should be given to the BFS Treasurer, advertise in Classical CD. Christine Ring and Margaret Lowe. where it would be held in a separate Kate Lucas suggested that the subsidiary account (with the name of BFS could have advertised on local 1. Matters arising from the minutes the Area Rep concerned on it) until radio for this event. She also asked of the 1994 AGM that Area Rep should require it again whether the plans discussed at the Section 3 'Chairman's Report', para for a future event. last AGM had been put into action, 1 line 5, 'Austrian' should read and if so, had they been successful? 'Czech' and 'Heinrich' should read 3. Treasurer's Report Jenny replied that mailouts to 'Jindrich' regarding the composer Philip Wray circulated copies of the schools in the London and Birming- Feld. BFS accounts from 31 Dec 1993 to 1 ham Areas had brought in some No one from the floor was able Dec 1994 to the members. corporate membership. The flyer in to verify that these minutes were a In 1993, the net profit was Classical Music had not been placed, true account of the 1994 AGM. £3,424, and in 1994 the net profitwas as it was considered too expensive. £4,469. Membership forms printed in Pan 2. Chairman's Report A member asked if the cost of had been started, but so far had not Douglas Townshend introduced him- producing Pan could be more clearly always appeared due to oversight on selfto the members as the new Chair- itemised on the accounts. Philip said the part of Lavenham Press. An infor- man of the BFS. He thanked the that it would be possible to give a mation pack has not been compiled Council Members who were standing more detailed breakdown in future. yet, as there is no Area Corps Co- down from ofice, Elizabeth Taylor, Andy Thomson commented ordinator at present. Carolyn Nelson and Alastair Roberts. that depreciation on equipment Michael Emerson suggested that a letter could be sent to 'lapsed' could be done in a shorter version, as tion accompanies all initial commu- members inviting them to join again. having subscribed to both magazines, nications. So far the cost of putting He also regretted that there were not she had had to read the same article this in motion has only been g28.94 more professional players in the BFS twice. Jenny replied that the recip in stamps. She said that she planned as is the case with the NFA in rocal arrangements with the other to advertise in Pan again shortly. America, and suggested that the BFS magazines required that any article , advertise in magazines such as the copied be printed in full, and not 10. Changes to the Constitution I ISM Journal and the Musicians Union edited in any way. Susan Bruce asked that No 4, section l Magazine. Tessa Ralphson was concerned B of the Constitution be changed in Michael George Titt suggested that a report of the Stratford Flute order to delete all reference to Flute- that Douglas Townshend write Course which she had sent in had not wise. Members agreed that this personally to all the orchestral flute been printed. Jenny replied that should be done. Elizabeth Taylor players in the country, inviting them Judith had received so many articles announced that as a result of the bal- to join the BFS. about various courses, that to print lot, four nominees have now been Elena Duran said that she felt them all would read like an adver- voted on to the Council in addition the BFS had not invited enough tisement, so now Alastair Roberts writes to Julie Wright, who has been re- professional players to take part in a short summary of each course. elected. They are Ian Clarke, Jackie their events, and many more would Cox, Tessa Ralphson and Christine be willing to come and play for no fee 6. Education Report Ring. The voting had been very as they did on her Stratford course. Julie Wright reported that at the evenly distributed among the candi- Douglas Townshend pointed London Easter Flute Festival, the dates. out that the job of orchestral flute Pearl and Albert Cooper Competi- player was extremely time consum- tions had aroused a lot of interest, 11. Future Plans ing, and indeed it had only been due especially among teachers of the A flute day is planned in Cardiff in to the cancellation of some recording flute, who came to the event with 1996. sessions that Kevin Gowland from the their students. Another similar event CBSO had been able to perform at is planned for 1997. 12. Any Other Business that day's event. Andy Thomson asked that these Irene Barnes put the following ques- Ideas from other members competitions be more widely adver- tion to the Council - included the following - tised in the future, this would be 'We are as Area Reps encouraged to Local Area Reps to target people in another way of encouraging people stage local flute days, with, to the best their area. to join the BFS. of my knowledge, no financial safety More contactwith other societies such Julie reported that this year's net, and are encouraged to cancel at as CASS and the Double Reed Society. teachers' course in France had been short notice if they are not going to Application forms to be delivered to a great success. There had been 41 break even. Why therefore, has the concert halls throughout Britain. participants. One member regretted Council ignored its own advice and Customers in flute shops and that the cost had not been shown on staged events (although very success- students should be encouraged to the initial advertising, as she would ful at the time) knowing that they join the BFS. have gone if she had known that the would incur substantial loss to the It was pointed out that in cost would be so reasonable. In fact, BFS. Is this not a double standards?' comparison with CASS or similar the cost was no more expensive than In answer to this question, societies, the number of members a similar length of course would have Douglas Townshend reassured Irene was actually quite good. been in Britain. that any profit she might have made Andy Thomson pointed out that from a local flute day would not be these ideas had been put forward 7. Events Report used to pay off losses incurred at a many times before. Robert Bigio was not able to give an larger BFS Event. Other Council \ events report as there was not time. Members said that they should have 5. Pan Report had warning of such a question. Jenny Wray read this in the absence 8. m Report Irene had, in fact given warning that ofJudith Fitton. She stated that as in There was no AFT Report. she wished to ask a question, though the past, the advertising covers a she had not stated what the question good part of the cost. Features 9. BFS Pen Pal Club Report was. Due to lack of time, the question coming up include more for the jazz Helen Louise Baker introduced was not fully discussed, but Douglas section and circular breathing. Soon herself to the members present. She Townshend stated that the whole it should be possible to produce a full reported that since starting the BFS question of Area Reps, and how colour cover. As always, suggestions Pen Pal Club, she had received com- much responsibility they had would from members are welcome. munications from Australia, the USA be discussed at the next Council A member asked that if an arti- and Europe. She had had 96 letters Meeting. New guidelines were in the cle from another magazine such as offering to be pen pals and 133 process of being drawn up. La Traversih-ewere printed in Pan it requests for pen pals. A BFS applica- The meeting was declared closed. Letters

Dear Editor, ularly fascinating and look forward to can only be considered mistakes on I have just attended my first AGM the second episode. the part of the publisher. At the end with interest, and was quite amazed Keep up the good work. of bar fifteen, the last grace note to hear a member complaining about Yours sincerely, should be F natural, not G flat, and an article from La Traversiire being O.P. five bars from the end, the first and reprinted in Pan. I personally found Wales second D flats should not be tied it very interesting, all of it (did I hear together. I hope that teachers will correctly when I heard the good lady point these mistakes out to their say couldn't the article have been cut! Dear Editor, pupils, and that Trevor Wye will ask Does she not know the laws of copy- It was interesting to read Trevor the publisher to issue an erratum. right? Not to mention respect for the Wye's article in the spring edition of author of the article). Pan concerning the differences Yours sincerely Please continue to reprint between the recently found Brussels Judith Hall articles of interest from anywhere manuscript of Syrinx and the Joubert Bovey Tracey (how many Pan members read edition which has been used for Devon French and take La Trav&eanyway seventy years. However, it is dis- Trevor Wye replies: Would you please one wonders?). I found the 'Acoustic appointing to find that Trevor Wye's thank Judith Hall for her comments Shields' article form the British edition of Syrinx has two differences and reassure her that the offending Double Reed Society journal partic- which he did not mention, and thus grace note had already been noted by Novel10 and will be corrected in due f \ course. SIGNET MUSIC The two D flats are indeed slurred together in the Brussels New from Signet: manuscript just before the sixth bar MOZART RONDO PASTORALE from the end. Debussy expected a lot Arr. for Flute and Piano from us, including the long phrase Mown Rondo Pa,lornle nun from the end of bar 24 to the end of -- "" pi *c -95 l: r,-F~~-~.~r~~~~r;- '%+ bar 28.

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A Special Flute Festival in Huddersfield

by Helen-Louise Baker

If you are the sort of person who is nent of contemporary flute playing music and actually enjoy them. interested in the cutting edge of - Pierre EGes Artaud. The final recital item on flute music, then you must kick During the first workshop he octobass flute was outrageous, both yourself for not attending the demonstrated four types of vibrato in sound and character and can only Huddersfield Flute Festival, for this and their combinations, and divi- be described as a cross between a was no ordinary flute event. Having sions of tone - less than a quarter! double bass and the creature from already been 'wowed' by IstvAn Fascination stuff. Because of his the 'Alien' - an encore was Matuz and Jgnos Bdlint at the Easter straight forward way of explaining demanded. Flute Festival, it was difficult to new techniques, it was surprisingly I very much hope there will be believe that here at Huddersfield easy to sit through two evening an encore for the Huddersfield existed yet another virtuoso expu recitals of solely contemporary Flute Festival in 1996.

FOR SALE Rudall Carte wooden flute (modem Solid Head Joint; Leather Case and BARGAIN MARAMATSU pitch) Serial number 3092. £500.00 Besson wooden Piccolo Serial number Fleece Lined outer case; Exc Cond. Solid Head (Model Ex5721) Lmmaculate Condition £ 1,200 24558. £300.00 Bought October '94 £2387 new. Tel: 0 1584-8 19598 Played approx. 10 times. Richard 01650-5 11717 anytime or ImrnaculateIAs new. mobile 083 1-296454 £1395 ono. Private Sale - Call Mrs Wright - Portsmouth Tel: 01705-360687 "Moyse" model offers Tel: 00 353 1282 low D flat. Some repairs to headjoint 23 11 "Elrnhurst", Ballybride Road, otherwise good condition.

standard and custom-made alto- and bassflutes open hole and quartertone models available

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