The Pedagogy of Walfrid Kujala: The American Flute School and its Roots in the French Flute School of the Late Nineteenth Century A Document submitted to the Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in the department of Performance Studies of the College-Conservatory of Music March 2017 by Erinn Elyse Frechette B.M. Northwestern University, 1997 M.M. University of Cincinnati, 2000 Committee Chair: Scott D. Lipscomb, Ph.D. Advisor: Heather Verbeck, DMA Abstract Chicago Symphony Orchestra Piccoloist and Northwestern University Professor of Flute Walfrid Kujala is renowned as one of the leading flute pedagogues of the twentieth century. During his forty-year career, he guided scores of young flutists, many of whom went on to serve as orchestral players or professors of flute in prestigious orchestras and universities across the United States and beyond. As a student of some of the founding members of the American Flute School, Kujala’s teachings represent a comprehensive blend of the French Flute School’s apotheosis (seen under Professor Paul Taffanel) and its progeny, the American Flute School. By the turn of the twentieth century, the Paris Conservatory held the reputation as the world’s foremost flute institution. Following in the footsteps of his predecessors, Paul Taffanel used his original compositions and study materials to instruct his students in the most technically and musically advanced style of the time. Hallmarks of the French style include technical brilliance and precision, a singing tone, a flexible embouchure, liberal use of vibrato, and light articulation. The need to fill chairs in American orchestras lured the finest flutists across the Atlantic; most were graduates of the Paris Conservatory. Georges Barrère (a Taffanel pupil) not only served as Principal Flute of the New York Symphony Orchestra, he also taught at the Institute of Musical Art. There he tutored the father of the American Flute School, William Kincaid. As Professor of Flute at the Curtis Institute of Music, Kincaid instructed a large percentage of the flutists who would continue the French/American tradition, including Joseph Mariano (Kujala’s instructor, Eastman School of Music). While these flutists did not profess to ii teach in a specific national style per se, the traditions carried from the Paris Conservatory to America are undeniable. Only a very few minute differences between the two schools exist. As a pedagogue at Northwestern University, Walfrid Kujala composed original tutorials in addition to using the established Parisian method books. Upon examination, one may clearly see that Kujala’s studies are directly descended from the Paris Conservatory tradition. Although Kujala did not intend to mirror the past, his pedagogy is a reflection and outgrowth of the Parisian traditions of the late nineteenth century. iii iv Acknowledgements I would like to thank the many people who helped see me through this arduous project. First, to my wonderful teachers—Walfrid Kujala- you have been more of an inspiration and friend to me than you could ever possibly know. Thank you for your time, dedication, and patience (which I am sure to have tested on more than one occasion!). I am so proud to have had the opportunity to study with you at Northwestern University and to be your colleague and friend. I will forever treasure all that you have given me. Additionally, many thanks to Sherry Kujala for her support and help during this project as well as numerous other occasions at Northwestern and since! Richard Graef- you kept me going at a time when I thought I was finished. Thank you for your support and guidance while I worked with you at Northwestern University! Dr. Bradley Garner- thank you for everything you have done for me at the University of Cincinnati! My time with you and the many members of your extraordinary flute studio was among the best of my life. Through tears of frustration, loss, or defeat you never allowed me to give up. I am fortunate to call you my teacher and friend. Jack Wellbaum- you know what is in my heart and you will always remain in mine. So many friends and colleagues have given me strength and determination through my college years and beyond. To my advisor, Dr. Scott Lipscomb, and committee members Drs. Mark Ostoich and Terence Milligan- thank you from the bottom of my heart for your help and guidance with this project. Additionally, many thanks to my advisor, Dr. Heather Verbeck Harrison for never giving up on me and helping me see this through to fruition! To my wonderful Charlotte Symphony colleagues, many of whom pushed me to complete this degree, I am forever grateful, especially to Elizabeth Landon and Amy Orsinger Whitehead. Dr. Kristin- v Bacchiocchi-Stewart- you once told me that I was your best teacher and friend. You have been and will always be mine too. I love you! To my family, without whose support none of this would have ever been possible—my great-grandparents, Clarence and Lucille Goddard, my grandparents, Francis “Booty” and Phyllis Reiss, and my mother, Rebecca Frechette- your unending love and constant encouragement made me into the woman I am today. There are no words to express my gratitude adequately. Thank you, and I love you! And finally to my wonderful husband and son—Martin, you are the love of my life. I would never have been able to complete this document without your steadfast love, counsel, support, and occasional kick in the pants. Thank you from the bottom of my heart! I definitely owe you a million dollars! And to my beautiful son, Alexander- you will never understand how much mommy loves you. You are the light of my life, filling me with so much pride, hope, and love! I am so grateful to be your mother and am so proud to have you as my son. I hope that this paper will in some small way inspire you as much as you inspire me every day. I love you more than anything in the whole wide world. vi Table of Contents List of Musical Examples……………………………………………………………………........x Chapter 1. Introduction……………………………………………………………………………1 2. The Paris Conservatory………………………………………………………………..8 François Devienne……………………………………………………………….11 Antoine Hugot……………………………………………………………………13 Johann Georg Wunderlich……………………………………………………….13 Jean-Louis Tulou………………………………………………………………...13 Vincent-Joseph Dorus……………………………………………………………15 Joseph-Henri Altès……………………………………………………………….16 Célèbre Méthode Complète de Flûte…………………………………….17 Paul Taffanel……………………………………………………………………..25 Méthode Complète de Flûte……………………………………………...28 Philippe Gaubert…………………………………………………………………51 3. William Kincaid and the American Flute School……………………………………53 Georges Barrère………………………………………………………………….53 William Kincaid………………………………………………………………….61 Kincaidiana………………………………………………………………62 Tone……………………………………………………………...63 Vibrato…………………………………………………………...64 vii Articulation………………………………………………………64 Finger Technique………………………………………………...65 Phrasing…………………………………………………………..66 Legato Playing…………………………………………………...67 Musical Line……………………………………………………..68 Basics…………………………………………………………….70 Breathing…………………………………………………70 Rhythm……………………………………………...……71 Dynamics…………………………………………….…..73 Tempos…………………………………………………...73 Alternate Fingerings……………………………………...74 Ornamentation……………………………………………74 4. Walfrid Kujala: Musical Beginnings………………………………………………...79 Altès discovery…………………………………………………………………..80 Eastman School of Music and Joseph Mariano………………………………….82 Lessons with Kincaid…………………………………………………………….85 5. The Pedagogy of Walfrid Kujala…………………………………………………….87 Focus of Tutelage Cheek Inflation…………………………………………………………...87 viii Jaw Movement…………………………………………………………...90 Vibrato…………………………………………………………………...95 Articulation………………………………………………………………97 Technique……………………………………………………………….100 Alternate Fingerings…………………………………………………….102 Phrasing…………………………………………………………………104 Études…………………………………………………………………...107 Repertoire……………………………………………………………….111 The Publications of Walfrid Kujala…………………………………………….112 The Flutist’s Vade Mecum of Scales, Arpeggios, Trills and Fingering Technique……………………………………………………………………….112 Orchestral Techniques for Flute and Piccolo: An Audition Guide……………………………………………………………………119 6. Practice Guide for Advanced/Collegiate students based on the Kujala American/French Paradigm………………………………………………………...124 7. Conclusions…………………………………………………………………………130 Notable Former Students………………………………………………….133–134 Bibliography……………………………………………………………………………………136 Appendix One…………………………………………………………………………………..141 Appendix Two………………………………………………………………………………….143 Appendix Three………………………………………………………………………………...144 ix Appendix Four………………………………………………………………………………….147 Appendix Five…………………………………………………………………………………..148 Appendix Six…………………………………………………………………………………...149 x List of Musical Examples 2.1 Henri Altès 7me Solo for Flute and Piano………………………………………..………….18 2.2 Henri Altès Célèbre Méthode Complète de Flûte, vol. 1, 92…………...……………………21 2.3 Henri Altès Célèbre Méthode Complète de Flûte, vol. 2, 206……………………………….22 2.4 Taffanel and Gaubert Méthode Complète de Flûte, 112……………………………………..22 2.5 Henri Altès Études Complémentaires, no. 1…………………………………………………25 2.6 Taffanel and Gaubert Méthode Complète de Flûte, 58………………………………………45 3.1 John C. Krell Kincaidiana, 37……...…………………………………………………….….67 3.2 John C. Krell Kincaidiana, 50……………………………………………………………….72 3.3 John C. Krell Kincaidiana, 72……………………………………………………………….76 5.1 Joachim Andersen Twenty-four Exercises for the Flute, Op. 15, no. 16 (B-flat minor), no. 17 (A-flat major)…………………………………………………………………………………...108