The New York Flute Club N E W S L E T T E R March 2003 A Conversation With Robert Aitken Interview by Patti Monson Patti Monson spoke with Robert Aitken by phone in January. ATTI MONSON: Could you tell us often looking for works to play with instru- about some of your most recent ments besides piano. Then there are my Pcompositions? two [1977] solo flute pieces Plainsong ROBERT AITKEN: The last work and Icicle which are quite often played, [Shadows V, a concerto for flute and and may in fact become contemporary strings, 1999] was a commission for the flute classics. From time to time Plain- Chamber Orchestra of Neuchâtel [Switzer- song is a required piece in flute contests land]. They specifically wanted a work and Icicle is often a required work for related to native peoples. At first I had entrance to French music schools. little interest in doing exactly that, but Of course extended techniques are eventually I became fascinated with the used in all these pieces, but in an unpre- idea. I think it came off rather well. It is tentious, rather natural way. I hope that not an imitation of western Indian music all are playable on every flute. Of course In Concert but the inspiration for the work came one runs into trouble if a composition is from what I had learned about the music intended for a flute with B foot and the ROBERT AITKEN, flute several years ago. It is quite a long piece, flutist does not have one. But I am really PHOTO: JOHNPHOTO: SHAW Colette Valentine, piano some 22 minutes in length, [but it] seems not very upset if a practical solution is Saturday, March 29, 2003, to hold the attention of the audience. found, or another note is played instead. 5:30 pm I like to think that all of my pieces (Cont’d on page 4) Union Theological Seminary take the listener somewhere he or she 100 Claremont Avenue has not been before, and when the (between 120th and 122nd Streets) piece is over, they suddenly wake up NYFC Flute Fair 2003 and find themselves in the concert hall. Program SATURDAY, MARCH 29, 2003 These works are called “shadows” and 9:00 am–7:00 pm Plainsong for flute alone once again do not imitate music from (1977) ...................... Robert Aitken Union Theological Seminary other cultures, but just show glimpses RafflE! Paris-Yangana-Paris for solo of this music from time to time. Details on Page 4. flute (1984) ........ Diego Luzuriaga Shadows IV: My Song [for 2 flutes and ad libitum ensemble of oboe, Scrivo in Vento for flute alone (1991) ............. Elliott Carter bassoon, violin and cello, 1994] involves I N T H I S I S S U E playing first on the footjoint, then the Ghosts and Gargoyles middle section, followed by the foot- A Conversation with (2001) ......................... Henry Brant joint and the middle section together, in Robert Aitken .............................. 1 Spatial Soliloquies for solo flute, the end-blown shakuhachi manner and Interview by Patti Monson with flute octet and jazz drummer finally the entire flute is put together, New York premiere From the President ..................... 2 but no real traditional flute tones are United Flutists Behind the Fantasie über Mutterseelenallein produced. There is an optional accom- 2003 Flute Fair von Albert Braun, Op.41 paniment to the piece but so far I have Member Profile ........................... 3 ..................Albert Franz Doppler not been pleased with the result. I hope Stefani Starin Gute Nacht, Die Taubenpost sometime soon to make an accompani- Henry Brant on the Birth of ............................ Franz Schubert ment which can be performed by any Angels and Devils ...................... 5 arr. Theobald Boehm number of instruments. All I need is Interview by Nancy Toff time. Monodie [1983] for flute and mixed Fantasie-Sonate, Op. l17 Announcements ............. Max Meyer-Olbersleben chorus is played from time to time. I wish Flute Happenings ............................... 3 there were more works for flute and choir Member Announcements ................... 4 Program subject to change. as it is a marvelous sound and choirs are Flute Fair Update/Raffle ..................... 4 2 — NYFC Newsletter The United Flutists Behind the 2003 Flute Fair THE NEW YORK FLUTE CLUB INC. by Jayn Rosenfeld ear Friends: 2002–2003 D Board of Directors We are all looking forward to the 2003 Flute Fair, and I won- Jayn Rosenfeld, President der if you can imagine the amount of planning, organization Jan Vinci, First Vice President and cooperation that goes into the orderly unfolding of one Ardith Bondi, Second Vice President day. It feels like we have had to mobilize the powers of a Svjetlana Kabalin, Recording Secretary From the United Nations, let’s call it the United Flutists. I for one feel Michele Smith, Membership Secretary enormous pride in the intelligence and generosity of our board James Blair, Treasurer President and other volunteers. Let me count the ways. Katherine Fink Bärli Nugent Rochelle Itzen Rie Schmidt Kathy Fink: Kathy is the Program Chair Pat Zuber: We will have a knife-edge Sue Ann Kahn Patricia Spencer for the Fair. She took the job and ran competition with the best of our regional Robert Langevin Nancy Toff with it, creating a basic plan in the fall, young flutists, respectfully handled, and Patricia Zuber that she fine-tuned as performers and Pat has been organizing the best way to presenters revealed their availability and encourage the contestants for months. Advisory Board interests. She has consistently finished her May the best one win! Julius Baker Gerardo Levy Jeanne Baxtresser Laurence Libin work ahead of schedule. Unbelievable. Harold Jones Marya Martin Patricia Spencer: We are able to take Ardith Bondi, Svjetlana Kabalin, Sue advantage of Robert Aitken’s insights, Past Presidents Ann Kahn, Bärli Nugent, Rie Schmidt, humor, and teaching experience in a Georges Barrère .................. 1920–1944 Nancy Toff, Jan Vinci: These board masterclass setting organized by Pat. This John Wummer ...................... 1944–1947 members with excellent memory for pre- is a three-way win: the flutists who play Milton Wittgenstein ............ 1947–1952 cedent have kept the history of flute fairs learn, the listeners hear a fascinating con- Mildred Hunt Wummer ...... 1952–1955 intact so that we do not have to reinvent cert dissected and analyzed, and other Frederick Wilkins ................. 1955–1957 Harry H. Moskovitz ............. 1957–1960 the wheel. The commitment is just stag- young players receive inspiration and Paige Brook ........................... 1960–1963 gering; we are all very lucky. Do you know perhaps a clearer definition of future goals. Mildred Hunt Wummer ...... 1963–1964 how many meetings, phone calls, emails? Maurice S. Rosen ................ 1964–1967 The many subjects of concern? the num- Stefani Starin: We will have an informal Harry H. Moskovitz ............. 1967–1970 ber of rooms, chairs and tables, coffee, presentation of youngsters full of enthu- Paige Brook ........................... 1970–1973 Eleanor Lawrence ............... 1973–1976 parking, music teachers, insurance, siasm and (perhaps) not so much polish, Harold Jones ........................ 1976–1979 badges, prizes, the DETAILS? You will see but it is important to display the con- Eleanor Lawrence ............... 1979–1982 on the day (MARCH 29) how many jobs tinuum of flutists from beginner to artist. Paige Brook ........................... 1982–1983 there are to do. Catch the walkie-talkies! It helps us all appreciate the challenges John Solum ........................... 1983–1986 and the rewards. Eleanor Lawrence ............... 1986–1989 Sue Ann Kahn ...................... 1989–1992 Michele Smith: Membership, registra- Nancy Toff ............................. 1992–1995 tion, mailing. Cheerful when faced with Alex Lissé: We have profited from the skills Rie Schmidt ........................... 1995–1998 time-consuming details, Michele has of a another professional designer who also Patricia Spencer ................... 1998–2001 given what feels like hundreds of hours happens to play the flute. Our advance Jan Vinci ................................. 2001–2002 to the job. announcement and the program for the Newsletter day wouldn’t have happened without him. Katherine Saenger, Editor Jim Blair: Jim is our new treasurer. He 115 Underhill Road has collated past, present and future pro- Kathy Saenger, Alice Barmore and Ossining, NY 10562 jected expenses in a professional way that Rana Boland: Our Newsletter “eyes and (914) 762-8582 gives us very clear fiscal expectations. ears” and our press contact. Enough said. [email protected] This is important! Alice Barmore, Layout/Production Laura George: Laura is reaching out to 125 Christopher St., #4H Rebecca Quigley: Her interest in indus- YOU to help us run the day quietly and New York, NY 10014 (212) 675-9706 (phone and fax) trial relations, manufacturers, publishers, smoothly. This takes quite a few people; [email protected] etc. will enrich our exhibitions with a no one gets payment or recompense; that’s greater variety than ever. how it is with a club where people care. www.nyfluteclub.org Copyright © 2003 by The New York Flute Club Inc. If this encourages you to become one of the United Flutists, let me know. unless otherwise noted. All rights reserved. See you on the 29th. ❑ March 2003 — 3 FLUTE HAPPENINGS Member Profile Influential flute teachers: She has studied with a myriad of teachers including O C TMARCH O B E R ’03 2 0 0 2 Stefani Starin Julius Baker, Jim Walker, Louis Moyse, NYFC