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Summer 2007 Flutist Quarterly

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Summer 2007 Flutist Quarterly 19039 nfa.cover.qxd 6/13/07 1:28 PM Page 1 VOLUME XXXII, NO.S4 UMMER 2007 THE LUTIST QUARTERLY THE OFFICIAL MAGAZINE OF THE NATIONAL FLUTE ASSOCIATION, INC 19039 nfa.cover.qxd 6/13/07 1:28 PM Page 2 19039 nfa.body.2-18.qxd 6/14/07 10:13 AM Page 1 Table of CONTENTS THE FLUTIST QUARTERLY VOLUME XXXII, NO.4 SUMMER 2007 DEPARTMENTS 5 From the Chair 52 ¡Viva la Flauta! The 2007 Convention 9 From the Editor 73 New Products 13 Letter to the Editor 75 Passing Tones 15 High Notes 77 From the 2008 19 Across the Miles Convention Program Chair 23 NFA News 78 NFA Office, Coordinators, 26 Student Spotlight Committee Chairs 29 Notes from Around the World 81 Reviews 33 The Inner Flute 93 Index of Advertisers 36 FEATURES 36 Dizi Selection and Performance by Lydia Ayers The dizi flute is beautiful enough to hang on a wall, but it can be played and enjoyed more than two millennia after its earliest known use. 44 Remembering Joseph Mariano by Leone Buyse and Fenwick Smith A colleague and close friend recalls the musician who shaped the lives of generations of students, and a key participant recalls the process and pleasures involved in the making of the NFA’s Historic Recordings Series, Volume 2: Joseph Mariano. 60 Commissioned Works from the High School Soloist Competition: Jennifer Higdon’s “Song” by Ronda Benson Ford The composer of the 1995 commissioned work for the high school soloist competition chose to keep it free of extended techniques. Second in a series. 66 Tim Carey: The Tim Philharmonic by Helen Spielman 44 Pianist Tim Carey started out as a soloist, but found he preferred playing with others. He now spends 70 percent of his professional time collaborating with flutists. 70 One Stone, Many Ripples: Paula Robison Teaches the Teachers by Cynthia Stevens The renowned flutist and teacher extended a masterclass and performance trip by one extra day to meet with area flute teachers for their own private lessons. A participant describes the experience. Cover Photo: Courtesy Lydia Ayers THE NATIONAL FLUTE ASSOCIATION 26951 RUETHER AVENUE, SUITE H SANTA CLARITA, CA 91351 FOUNDED NOVEMBER 18, 1972 IN ELKHART,INDIANA This magazine is published quarterly by the National Flute Association, Inc., a nonprofit organization. The statements of writers and advertisers are not necessarily those of the National Flute Association, Inc., which reserves the right to refuse to print any advertisement. ISSN 8756-8667 2007 National Flute Association, Inc. 70 33 nfaonline.org Summer 2007 The Flutist Quarterly 3 19039 nfa.body.2-18.qxd 6/14/07 10:13 AM Page 2 OFFICERS Founder, Honorary Life President Mark Thomas 824 Charter Pl. Charlotte, NC 28211-5660 phone/fax: 704-365-0369 [email protected] Chair of the Board of Directors Alexa Still Sydney Conservatorium of Music Macquarie St. Sydney, NSW 2000 Australia 011 61 2 93511266 fax: 011 61 293511287 (attn: Alexa) [email protected] [email protected] Vice Chair of the Board of Directors Patti Adams 2840 Coliseum St. New Orleans, LA 70115 504-895-5908 [email protected] Immediate Past President Katherine Borst Jones 4635 Rutherford Rd. Powell, OH 43065 740-881-5008/614-292-4618 fax: 740-881-5252 [email protected] Secretary Carol Dale 12902 W. 102 Street Lenexa, KS 66215 662-801-2978 [email protected] Chair of the Finance Committee Teresa Beaman Department of Music CSU, Fresno 2380 E. Keats Ave. Fresno, CA 93740-8024 559-278-3975 [email protected] Assistant Secretary Lori Akins 5113 Glenaire Dr. Dublin, OH 43017-9479 614-766-1838 [email protected] BOARD OF DIRECTORS Robert Aitken (2005–2007) 14 Maxwell Ave. Toronto, ON M5P 2B5 Canada 416-481-4967 fax: 416-481-0040 Zart Dombourian-Eby (2005–2007) 2515 10th Ave. W. Seattle, WA 98119 206-285-0206 [email protected] Amy Porter (2005–2007) 1647 Broadway Ann Arbor, MI 48105 734-623-4853 [email protected] Joanna Bassett (2006–2008) 85 Maywood Ave. Rochester, NY 14618 585-383-0650 [email protected] Beth Chandler (2006–2008) 626 Sunrise Ave. Harrisonburg, VA 22801 540-574-3772 fax: 540-568-7819 [email protected] Hal Ott (2006–2008) Department of Music Central Washington University Ellensburg, WA 98926 509-963-1103 fax: 509-963-1239 [email protected] 19039 nfa.body.2-18.qxd 6/14/07 10:13 AM Page 3 From the CHAIR Conventions and the NFA y teacher, Samuel Baron, was tially raising convention attendance fees very involved in the NFA. I or other means (sponsorship) or cut- Mfirst joined to get the insurance ting back on the convention costs deal, but as soon as I was studying with (knowing that you don’t get what you Mr. Baron, I became more aware of this don’t pay for), we chose to invite bids for great organization. I remember doing my sponsorship to literally help us pay the best to record tough pieces for the newly bills. Presenting the convention, and published music competition at his potentially being able to spend even request and marveling that he had the more on it, helps everyone; more buzz time to fit NFA business into his sched- about the flute can only mean more ule. It wasn’t all just the glamorous flutists and more flute business all artistic stuff for him either; I vividly round. But since we certainly aren’t remember hearing strains of Paula going to let sponsors have any artistic Robison for the first time while mov- voice, we do need to ensure their ing stacks of chairs at a convention. sponsorship event is truly free of com- Baron and his colleagues inspire me peting commercial identities—and to do my bit serving as an officer, but I that leads us to the new promotion Alexa Still also find myself wondering what he’d policy that you’ll be able to read in the think. The founders of this organization convention program. chose very carefully to foster the very Our expectation of the very best places can in order to spend more money on best of flute-related stuff with strict considerable pressure upon volunteers’ what you, the members, want. For protections ensuring both an even efforts. “Professionalizing” the NFA instance, we always need volunteers at the playing field for commercial members started a long time ago, when we first convention to do jobs that might seem and keeping the artistic choices of the offered meager payments to Myrna insignificant but require skilled people NFA free of commercial influences. Brown. Phyllis Pemberton has been our who understand our passion (for exam- At the time of writing, it is too soon guiding light and essential thread of ple, that audience members should not to know, but we hope we’ll enjoy some continuity since those days. Madeline enter the room during a performance). It sponsorship at our Albuquerque con- Neumann manages our office and is the would cost us a huge amount to hire vention, and we are inviting artists to remarkable professional keeping our enough suitable individuals to do this provide information about themselves, massive convention on track every convention work for us! But as the NFA including whatever commercial activities year…we quite literally couldn’t do it grows, it becomes more important to they may be involved in, to be posted without her. Maria Stibelman looks after entrust business management work to outside of their events. I can see simi- the thousands of memberships in our our professional staff and the select num- larities to other idealistic and excellent database. More recent, and perhaps more ber of particularly skilled individuals organizations; the Olympics have at visible, results of “professionalizing” who donate their professional services to some time in the past 20 years opted to our organization can be seen in the us in various appointments. accept sponsorship. We still expect hires we made for our Web site (Brian Sam Baron was a very successful musi- and trust that the Olympics operate Covington) and our publications cian, a member of the New York Wind with nothing but the highest ideals. (Anne Welsbacher). The officers have Quintet, the Bach Aria Group, and the Any suggestion otherwise incites scandal made a clear choice this year to continue Orpheus Chamber Orchestra, and a and intense scrutiny! applying volunteer contributions where prominent player and teacher. I am sure What has made the world head in this it is appropriate, to get professional he understood the concept of managing direction? Could it be the reduced expertise where it makes good sense to funding opportunities to support his purchasing power we seem to have these do so, and to better define lines of own artistic concepts. I know he knew days, or is it our increasing desire to have responsibility to help everyone do their the importance of professionals’ entre- the very, very best at any cost? jobs most efficiently. preneurial skills for his ensembles. I’m Like many things in our lives, conven- I hope I can make this clear; our goal is guessing he’d be very proud that the tion expenses continue to rise—current- reflected in our new mission statement: NFA is big enough and busy enough to ly almost $400,000 each year. Faced to enrich the musical lives of flutists.Of be presented with these issues. with having to choose in the near future course, we continue to keep the costs of See you in Albuquerque! to find more money by either substan- running the organization as low as we —Alexa Still nfaonline.org Summer 2007 The Flutist Quarterly 5 BWIND61419039 nfa.body.2-18.qxd Jim Walker:Layout 6/14/07 1 4/27/07 10:13 11:24 AM PageAM Page4 1 YFL-994DH JIM WALKER DEPENDS ON YAMAHA.
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