V O L U M E X X X V I I , N O .

4 S U M M E R 2 0 1 2

T H E
lutist Q U A R T E R L Y

Remembering William Alwyn

Rubies! Celebrating 40 Years of Artistry and Vision
Drive and Inspiration: An Interview with Jihoon Shin
Annie Wu, Beatbox Flutist
T H E O F F I C I A L M A G A Z I N E O F T H E N AT I O N A L F L U T E A S S O C I AT I O N , I N C
Table of
CONTENTS
THE FLUTIST QUARTERLY
DEPARTMENTS
VOLUME XXXVII, NO. 4 SUMMER 2012

13 From the Chair 74 Honor Roll of Donors to the NFA

17 From the Editor 77 Notes from Around the World
20 High Notes 79 Passing Tones
26 Where Are They Now? 82 New Products
65 Across the Miles 84 Reviews
94 NFA Office, Coordinators,
68 The Inner Flute Committee Chairs
71 NFA News 95 From the 2013 Program Chair
72 Student Spotlight: Annie Wu 97 Index of Advertisers

FEATURES
22 22 Remembering William Alwyn
by Francesca Arnone
Despite leaving behind a swath of admired works and film scores, the flutist and composer William
Alwyn never enjoyed the public recognition he sought during his lifetime. Yet nearly three decades
after his death, Alwyn continues to command high esteem, inspiring ongoing concerts, lectures, and
even a week-long William Alwyn festival held in the fall of 2011.
30 The Next Decade: Robert Willoughby
by Aralee Dorough
June 6, 2011, the 90th birthday of flutist and pedagogue Robert Willoughby, sprouted nationwide
parties and concerts. One year later, a close friend and former student reflects on the grand
celebration of Willoughby’s life and loves, and on her teacher’s still-vibrant journey forward.
36 A Passion of Historic Proportions: Nancy Toff
by Beth Chandler
Nancy Toff, the NFA’s 2012 National Service Award recipient, seeks to make history “lively and interest-
ing and intriguing,” whether she is addressing fifth-graders or the elder statesmen she first documented
as up-and-comers. Her prolific publishing output—slipped in around her employed hours as an editor
at Oxford University Press—has been aided in recent years by the advent of the Internet, on which she
can do “a very large amount of research sitting at home at 11:00 at night when the libraries are closed.”
40 Drive and Inspiration: An Interview with Jihoon Shin
30
by Ellen C. Johnson
“I don’t think I can do this competition,” Jihoon said to her teacher, Carol Wincenc, the day before
the 2011 National Flute Association Young Artist Competition in Charlotte, North Carolina. Flights
from New York City were canceled for 24 hours, she was too young to rent a car, and all the trains
to North Carolina were fully booked. Maybe I’m not meant to go? she thought. Luckily for her, and
for many others, this was not the end of the story.
42 Rubies! Celebrating 40 Years of Artistry and Vision
by Zart Dombourian-Eby and Sandra Saathoff
Our 40th anniversary convention is shaping up to be a truly extraordinary and memorable four
days, as we celebrate “all things NFA.”
Cover: Reproduced by permission of the Syndics of Cambridge University Library

T HE NATIONAL F LUTE A SSOCIATION

26951 RUETHER AVENUE , S UITE H
S ANTA C LARITA , CA 91351
FOUNDED N OVEMBER 18, 1972, IN E LKHART, I NDIANA

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.

40 ISSN 8756-8667 © 2012 National Flute Association, Inc.

42
nfaonline.org Summer 2012 The Flutist Quarterly 5
 D O
THE
NEXT
WOOD
© 2012 Drelinger - All Rights Reserved.

HEAD Playing is Believing

Superb Projection
Minimal Effort
OFFICERS
Founder, Honorary Life President
Mark Thomas
824 Charter Pl.
Charlotte, NC 28211-5660
phone/fax: 704-365-0369
mark@markthomasflutist.com
markthomasflutist.com

Chair of the Board

Jonathan Keeble
University of Illinois
1114 West Nevada St.
Urbana, IL 61801
217-333-8142
keeble@illinois.edu

Vice Chair of the Board

Beth Chandler
James Madison University
School of Music, MSC-7301
880 S. Main St.
Harrisonburg, VA 22807
540-568-6836 (w); 540-574-3772 (h)
Fax: 540-568-7819
chand2be@jmu.edu

Secretary
Joanna Cowan White
400 Crescent Dr.
Mt. Pleasant, MI 48858
989-772-6175
white1jm@cmich.edu

Chair of the Finance Committee

Debbie MacMurray
4554 Leathers St.
San Diego, CA 92117-3419
858-663-6389
Fax: 513-492-4580
debbieduby@aol.com

Assistant Secretary
Lisa Garner Santa
3211 22nd St.
Lubbock, TX 79410
806-780-3649
lisa.garner@ttu.edu

BOARD OF DIRECTORS
Daniel Dorff (2009–2012)
221 Meadowbrook Ave.
Upper Darby, PA 19082
610-306-9480
ddorff@danieldorff.com

Sarah Jackson (2010–2013)

31 Martos Dr.
South Pasadena, CA 91030
213-393-2223
picc8va@aol.com

Catherine Miller (2011–2014)

1212 5th St
Coralville, IA 52241
319-341-0042
cmiller829@gmail.com

Alison Brown Sincoff (2011–2013)

155 Columbia Ave.
Athens, Ohio 45701
740-593-1622
browna2@ohio.edu

Terri Sundberg (2011–2014)

UNT College of Music
1155 Union Circle #311367
Denton, TX 76203-5017
940-565-3756
terri.sundberg@unt.edu

Linda Toote (2009–2012)

55 Arlington St.
Newton, MA 02458
617-964-3571
ltoote@bu.edu
Inspire the desire to aspire.

This fall, The Achievement Program will be presenting music teacher

Carnegie Hall and information sessions across the US to support student and teacher
The Royal Conservatory participation. The Program inspires excellence with individual student
assessments in all instruments and voice, and the academic areas of
are pleased to announce theory, music history, and pedagogy.

the Carnegie Hall Find out how you can join the growing community of teachers
who are discovering the benefits of The Achievement Program:
Royal Conservatory k A recognized national standard that supports student success
k An effectively sequenced course of study with built-in flexibility
Achievement Program. k Outstanding teacher and student resources including a rich
variety of repertoire and etudes
k Professional, detailed adjudications
k Ease of participation – no membership fees, paperwork,
or volunteer hours

RSVP TODAY Each session includes:

k An in-depth program overview by leading presenters
for a free three- k Demonstration assessment
hour interactive k Complimentary Teacher Support
music teacher Resource Package worth over $100
information session. Find out how you can qualify as a Founding Teacher and
receive an additional comprehensive incentive package.

To RSVP or for dates, locations, and more information, please visit FOLLOW US:

theachievementprogram.org/teachers/tis
 THE FLUTIST QUARTERLY
Anne Welsbacher, Editor
Erica Whitcombe, Copy Editor
Dolores August, Christine Beard, Lee Chivers,

dedicated to professional musicians

Amy Hamilton, Contributing Editors
Victoria Stehl, Art Director
Marsha Jacobson, Advertising Sales Representative

and those aspiring to be Editorial Advisory Board

John Bailey
Professor of Flute
University of Nebraska–Lincoln
Lincoln, Nebraska
Leone Buyse
Joseph and Ida Kirkland Mullen Professor of Flute
Rice University
Houston, Texas
Michelle Cheramy
Associate Professor of Music
Memorial University of Newfoundland
St. John’s, Newfoundland
Zart Dombourian-Eby
Principal Piccolo
Seattle Symphony
Seattle, Washington
Susan Goodfellow
Associate Professor of Flute
University of Utah
Salt Lake City, Utah
Ellen Huntington
Flutist, Lyrebird Ensemble
Flute Instructor, Loyola University Chicago
Mount Prospect, Illinois
Amy Likar
Flute, Piccolo, and Alexander Technique
Oakland, California
Betty Bang Mather
Professor of Flute Emeritus
University of Iowa
Iowa City, Iowa
Roger Mather
Adjunct Professor of Flute (retired)
University of Iowa
Iowa City, Iowa
Nina Perlove
Executive Director, American Classical Music Hall of Fame
“Internet Flutist,” realfluteproject.com
Adjunct Instructor of Flute, Northern Kentucky University
Jerrold Pritchard
Professor of Music Emeritus
of America California State University–San Bernardino
ne ’ San Bernardino, California
O

Rebecca Quigley
Flutist, Webmaster, The New York Flute Club
Top 100
Westchester, New York
Eldred Spell
Professor of Flute
Western Carolina University
Cullowhee, North Carolina
Michael Stoune
Associate Director of Graduate Studies, School of Music
Texas Tech University
res!
Music Sto Lubbock, Texas

YAMAHA Paul Taub

Professor of Music, Cornish College of the Arts
Flutist, Executive Director, Seattle Chamber Players
Seattle, Washington
Visit us on-line, at our new Nancy Toff
Music Historian
state-of-the-art space, New York, New York

or at NFA in Las Vegas! Michael Treister, MD

Orthopaedic and Hand Surgeon and Amateur Flutist
Chicago, Illinois
Brooks de Wetter-Smith
James Gordon Hanes Distinguished Professor of Flute
10167 Royalton Road University of North Carolina–Chapel Hill
Chapel Hill, North Carolina
North Royalton, OH 44133 Reviews Board
(440) 237-9400 | (877) RMC-1964 Penelope Fischer
Principal Flutist, Ann Arbor Symphony
www.professionalsuitebyrmc.com Member, Detroit Chamber Winds
Ann Arbor, Michigan
www.royaltonmusic.com Ruth Ann McClain
Flutist and Studio Teacher
Memphis, Tennessee
John Wion
Straubinger certified Professor of Flute
The Hartt School
technicians West Hartford, Connecticut
National Flute Association, Inc, Staff
brought to you by Phyllis T. Pemberton, Chief Executive Officer
Anne Welsbacher, Publications Director
Madeline Neumann, Convention Director
Maria Stibelman, Membership Director
Brian Covington, IT Director
The National Flute Association does not promote or endorse
any products, companies, or artists referenced in the editorial
content of The Flutist Quarterly or other NFA publications.
MURAMATSU
HANDMADE FLUTES BY SKILLED CRAFTSMEN

MURAMATSU AMERICA SALES & SERVICE

tel: (248) 336-2323 fax: (248) 336-2320
flute@muramatsu-america.com www.muramatsu-america.com
From the
CHAIR
Sisyphus and the Program Chair

A
s the NFA’s Ruby anniversary sands of flutists and wonder over how
convention approaches, the year many things you’ve neglected. That the
and a half of tireless work of program chair is putting this together
Program Chair Zart Dombourian-Eby while simultaneously holding down a
and her assistant, Sandra Saathoff, is full-time job makes the 18 months of
coming to a head. To sample but a few planning all the more difficult, and
of their tasks, consider that hundreds of more than a little frightening.
performers and presenter applications Below, to provide perspective on what Jonathan Keeble
have been reviewed, a scheduling grid our programs chairs and assistants go
organized that by itself represents a through, is a brief narrative of a “nor-
major undertaking, and a program mal” day in the life of these hardwork-
book assembled, complete with bios, ing volunteers. The following is based and a bag of nuts while driving to teach
quick glance tables, full programs, and upon true events. lessons at local university.
more. Being a program chair isn’t a 5 a.m. Wake, make coffee, check e-mail,
completely thankless job, but it is a 1 p.m. Tackle the Prokofieff Sonata with
suppress groan as two screens of new e- first student. You’re a good teacher.
labor of love and periodic frustration mails greet you.
and can certainly be a lesson in the Counsel second student on profession-
value of humility. 5:05 a.m. Begin answering e-mails. alism in the orchestra, investigate the
Many of you may know the tale of Dutilleux Sonatine, but he’s a mess.
6 a.m. Shower, get kids up, realize you’re
Sisyphus, the tyrant king in Greek Desperately try to keep eyes away from
out of milk, improvise a breakfast of
mythology, made to pay for his arro- cell phone that keeps ringing with more
scrambled eggs, 3-week-old bananas,
gance and deceit by being forced to “urgent” problems.
and tater tots.
push a boulder to the top of a hill, only 3 p.m. Begin commute to pick up kids
7:30 a.m. Kids out the door for bus,
to see it roll to the bottom. Sisyphus’s for transport to track and soccer prac-
resume e-mailing.
task was to be repeated, over and over tices. Make phone call to flutist who just
again, for eternity and represents the 7:33 a.m. Eldest child returns to pick canceled for Friday night’s Gala, ask her
embodiment of a meaningful life laid up forgotten trumpet. to reconsider. Fail, go to plan B.
asunder by the futility of the repetition 7:36 a.m. Eldest child returns to solic- 3:23 p.m. Contemplate traffic patterns
of a hopelessly mundane task. it parent for a ride to school after and curse the civic planner responsible
For Zart and Sandy, it is my hope missing bus. for programming every single traffic
Sisyphus’s tale hasn’t come to mind on a
8:00 a.m. Return home, resume e-mailing. light on your commute to turn red.
regular basis as they’ve worked these
past 18 months; however, distinct ele- 9:00 a.m. Begin commute to rehearsal; 3:35 p.m. Pick up kids. Realize that in
ments of the unpaid, purely volunteer illegally and compulsively check e-mails spite of three missives directed at your
program chair position are reminiscent while weaving through traffic. aspiring soccer player that he pack his
of the frustrations encountered by cleats that morning, somehow, they are
Sisyphus. In addition, beyond the repet- 9:40 a.m. Arrive at rehearsal, dash out two not with the rest of the equipment.
itive, at times mundane, tasks inherent more e-mails while walking, narrowly
Absorb blame from the aspiring soccer
miss walking in front of bus.
to the program chair’s job, there is also player for aforementioned cleats
the sheer terror confronted as you 12:30 p.m. Finish rehearsal, consume absence, debate whether the child’s lack
approach this event that attracts thou- second questionable banana of the day of logic and responsibility is a learned
nfaonline.org Summer 2012 The Flutist Quarterly 13
 From the Chair Continued
trait or a genetic one. Contemplate
boarding schools.
4 p.m. Kids eject selves from car. They
are now the coaches’ problems.
4:32 p.m. Arrive home, unpack unfa-
miliar metal object. Oh yes, that’s a
flute. Practice tomorrow’s difficult
rehearsal passages while reading e-mails
on computer.
4:38 p.m. Succumb to the siren’s call of
the e-mail and answer a few of the 46
additional messages that have accumu-
lated over the course of the day. Resume
“practicing.” Repeat aforementioned
pattern for the next hour.
6 p.m. Kids arrive home. Who’s the
stranger with them? Of course, that’s
the spousal unit. Cook dinner together,
pretend to read from recipe book,
answer e-mails surreptitiously, eat;
wow, food is good.
7:03 p.m. Phone rings...stand over
phone debating whether to answer (it’s
the NFA chair), but finally, duty pre-
vails. Chair, irritatingly jolly as ever, has
three board directives to add to the list
of program chair duties.
8:30 p.m. Kiss kids goodnight, tell
them you love them, return to com-
puter, e-mail.
9:30 p.m. Call assistant program chair.
She has a nervous eye twitch that has
been irksomely present for four days.
Tell her the NFA’s medical plan will take
care of it. Laugh hysterically, hang up,
return to e-mail.
11:30 p.m. Bed.
3 a.m. Wake up with a start, realize you
inadvertently scheduled five convention
events on Thursday at 3 p.m. Get up,

Harbor Winds
look at convention schedule grid, resist
urge to weep, pull yourself together,
solve the problem.
5 a.m. Wake, consider Sisyphus.
W O O D W I N D R E PA I R
Huntington, Long Island NY If you have a chance to drop Zart and
Sandy a line, or see them in Las Vegas,
631-258-8658
By appointment only be sure to say thanks. They certainly
deserve it!
www.harborwinds.net
—Jonathan Keeble
STRAUBINGER CERTIFIED FLUTE TECHNICIAN

14 The Flutist Quarterly Summer 2012 nfaonline.org

Jeanne Baxtresser
ESSENTIAL GUIDES for SCHOOL
and ORCHESTRAL AUDITIONS
PUBLICATIONS RECORDINGS (partial list)
Orchestral Excerpts for Flute Orchestral Excerpts for flute (with spoken commentary)
Great Flute Duos Jeanne Baxtresser A Collection of My Favorites
from the Orchestral Repertoire Chamber Music for Flute
Flower Duet from Lakmé Jeanne Baxtresser Debut Solo Recording, Montreal 1977

CDs available via iTunes, CD Baby and Flute World via:

www.jeannebaxtresser.com/recordings-publications
“…an essential resource for any flutist who aspires to play in an orchestra.” CCONGRATULATIONS
O N G R ATU L ATI O NS
—Zubin Mehta to the
“Your advice is not only a mirror of your great experiences but National Flute Association on
much more proof of your high artistic imagination.” 40
40 years!
—Kurt Masur
 From the
E D I TO R

The Reviews Department

Anne Welsbacher

N early six years ago, in the fall 2006

issue of this magazine, the reviews
department made its debut. Two pages
inets, trumpets, and other musical
instruments) gave generously of their
time and expertise when I queried them
held critiques of a whopping three about how to run a reviews depart- would be largely negative. When a
items—one CD and two books. That ment—about not only philosophical reviewer cannot find at least a 50–50
trim introduction belied the volume of matters, but brass-tacks concerns as mix of positive and negative things to
electronic paperwork, correspondence, well: where to find reviewers, how to say about an item, I am advised that the
face-to-face meetings, time, and deci- keep them happy, what sorts of rules to item “should not be reviewed.” In which
sion-making that went into the depart- lay down. case, the item will appear in our annual
ment’s creation, because—as difficult as Among warnings was that I had best “Items Received” listing where with this
it might be to believe today—the very not fret too much over finding quality visibility, however modest it might be,
notion of having a reviews section in the reviewers and focus simply on retaining the human being who created it and
member magazine of our thoughtful what few reviewers I could find, espe- who is trying to make a go of it in a
organization was controversial. The cially since we couldn’t pay them any- small and tough universe will reap—I
NFA’s pithy mission statement is thing. This proved, for whatever reason, hope—some small benefit.
“inspiring flutists, enriching lives”; to be a groundless concern. (I have a The very nature of reviewing renders it
pointing out drawbacks in a member’s theory about flutists and extra energy impossible, by definition, for any publi-
lovingly wrought CD hardly seemed in genes.) The people who write for us
cation to offer truly “objective” assess-
keeping with that supportive spirit. But analyze their assignments with thor-
ments. Reviews are written by people,
writing only pleasant things about any ough and thoughtful care, often con-
and every person hears something differ-
item we reviewed would be a disservice scripting students or colleagues to help
ent. As a member magazine, The Flutist
to our members and would defeat the them study a piece of a particular diffi-
very purpose of the department. culty level or combination of instru- Quarterly must account for that element
My editorial board thoroughly mas- ments. Then they turn in well-crafted of “service” that lies at the very center of
ticated the topic through two annual essays that are a pleasure to edit and, I the NFA’s purpose, adding a layer to this
convention meetings; in between, we hope, to read. already complicated undertaking.
elaborated via e-mail, prepared docu- Or they don’t. The guidelines we But I am proud of the essays that
mentation for swaying the board of developed (after the aforementioned appear in our reviews department—
directors, established a reviews board, discussion) was to avoid (avidly!) now typically 10 or 12 pages long. And I
and found people to serve, both in that puffery, to encourage and even welcome am particularly proud that the reviews
new body and as reviewers. Once we mixed reviews—but, in the interests of we do publish are never puffery but
had convinced the board to let us try supporting the membership of the praise by your peers, most decidedly
this experiment, editors of like-minded NFA, of which this magazine is a bene- deserved.
member magazines (for players of clar- fit, to refrain from running reviews that —Anne Welsbacher
nfaonline.org Summer 2012 The Flutist Quarterly 17
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Principals Depend
on Yamaha
A Yamaha performing artist since 1984, Jeffrey
Khaner is a distinguished soloist, educator and an
exceedingly active clinician. As Principal Flute of the
renowned Philadelphia Orchestra, he is one of the
most acclaimed musicians of our time.

Principal Flute of the Philadelphia Orchestra

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

he Palisades Virtuosi,
T whose flutist Margaret
Swinchoski is a long-time
NFA member, premiered
a landmark 50th work for
flute, clarinet, and piano
in the 50th state March
14. Aina by Hawaiian
composer Donald Reid
Womack is a reflection on
The Palisades Virtuosi the forces of nature that
shape and form the
islands of Hawaii. In its concert at the University of Hawaii
in Honolulu, the ensemble showcased two pieces from its
library of commissioned works: Full Circle by Gwyneth
Walker and Birding in the Palisades by Amanda Harberg,
The Armstrong Flute and Percussion Duo’s Eleanor and Dan Armstrong.
both of which have been released on the group’s fourth vol-
leanor Duncan Armstrong, Penn State’s flute professor for ume of New American Masters. The group also held a com-
E 30 years, will retire in 2012. Armstrong joined the Penn
State School of Music faculty in 1983. She has instructed the
poser workshop and masterclasses. Palisades Virtuosi began
its “Mission to Commission” in 2003. In nine years, the
flute studio, coached flute chamber music ensembles, and per- ensemble has created a repertoire for the flute-clarinet-
formed with the Armstrong Flute and Percussion Duo and the piano instrumentation where before there was relatively lit-
Pennsylvania Quintet, a wind chamber ensemble that has tle. Aina is the 33rd work commissioned by the ensemble
toured extensively throughout the United States and Europe. and joins other commissions, composer transcriptions of
She has performed with the Aspen Festival Orchestra, the existing works done for Palisades Virtuosi, and gift works —
Breckinridge Colorado Institute, and the Oklahoma 59 in all currently. Visit palisadesvirtuosi.org.
Symphony and is principal flutist with the Pennsylvania
Centre Orchestra. She also is a member of the Pennsylvania icole Riner has joined
Quintet, which has performed at the National Gallery in
Washington, D.C., Carnegie’s Weill Recital Hall, and the
N Christina Guenther and
Valerie Potter on the faculty of
Schleswig-Holstein Musik Festival in Germany; has been fea- Interharmony/Sulzbach-Rosen-
tured on National Public Radio’s Performance Today; and is a berg International Summer Music
past winner of the NFA’s Chamber Music Competition. The Festival. This two-week festival,
quintet’s CDs include American Wind Music, 20th-Century held from July 31 to August 12,
Wind Chamber Music, and Recent American Works for Winds. provides intensive individual
BY CHUCK FONG.

With the Armstrong Flute and Percussion Duo—in which she instruction and chamber music
performs with her husband, Dan Armstrong—she has pre- coachings for all playing levels, a
sented masterclasses and recitals throughout the country. The Nicole Riner
festival orchestra for advanced
duo is especially active in commissioning new ensemble works players, and nightly concerts by
2 ARMSTRONG PHOTO COURTESY OF STUDIO

and has recorded Exotic Chamber Music and Creative Mix. faculty, guest artists, and students. Visit srimf.com.
Armstrong holds graduate performance degrees from the
Juilliard School and the University of Michigan. She earned imi Stillman was honored as a woman leader in the
her undergraduate degree in flute performance at Oklahoma
City University.
M arts by Women for Greater Philadelphia (Laurel Hill
Mansion) on March 25. She participated in a discussion
A longtime member of the NFA, Armstrong edited the orga- forum with three other honorees. The program’s theme was
nization’s newsletter in the 1970s and early 1980s. She will be “How Arts for Women Have Changed Over the Years to
featured in an article in a future issue of this magazine. Meet Current Demands.”

20 The Flutist Quarterly Summer 2012 nfaonline.org

 Arts Center Theater, the Xuzhou Grand Theatre, and the
Tianjin Grand Theatre.

n March, Viviana Guzman

I
presented a tour with her
guitars and flute quartet,
Festival of Four, in Florida,
Mississippi, and California.
She also presented master-
classes sponsored by Altus
The Los Angeles Flute Orchestra.
Flutes in Florida and Califor-
he Los Angeles Flute Orchestra performed April 13 in a nia. She appeared in concert
T concert featuring low flute specialist Peter Sheridan in the
second performance of Peter Senchuk’s Nuestro Pueblo, a con-
in Portugal, Melilla, and
Spain. Guzman presented a
Viviana Guzman
certo for low flute soloist and flute ensemble. Sheridan and the solo concert in her home-
LAFO premiered this piece at the 2010 NFA convention in town of San Francisco and taught a residency at a private
Anaheim; the group will be featured again at the 2012 NFA boarding school near Santa Barbara. In April, she performed
Convention in Las Vegas. Nuestro Pueblo is a four-movement in Brazil and Spain, and on June 16–17 will host the San
work inspired by the Los Angeles landmark Watts Towers. Francisco International Flute Festival.
Each movement features the soloist on a different low flute
and depicts the colorful and tumultuous history of the artist
and the towers. The program featured other original works for
low flutes and flute ensemble ranging in style from classical to
swing. The LAFO and Sheridan also have recorded the work
and other pieces for an upcoming CD and iTunes release.
LAFO members slated to perform at the 2012 NFA conven-
tion are Jonna Carter, David Lamont, Cathy Larson, Joanne
Lazzaro, Michael Morton, Laura Osborn, Emily Senchuk,
Roland Tso, and Sherril Wood, with Ellen Burr conducting.
The program will consist of music written and arranged for
the LAFO by Michael Kibbe, Pierre Schroeder, Emily Senchuk,
and Peter Senchuk and will feature ethnic instruments: a low
flute section including F bass, contra bass, F contra bass, and sub Mary Jane Rupert and Peter H. Bloom.
contra bass flutes; and a guest solo appearance by Sheridan.
Visit losangelesfluteorchestra.net or search on Facebook. n March, flutist Peter H. Bloom and pianist Mary Jane
I Rupert (the duo “2”) toured New Zealand and Australia in
concerts featuring music by U.S. and New Zealand composers.
The five-week tour included New Zealand appearances at New
Zealand School of Music in Wellington, University of
Canterbury in Christchurch, Nelson School of Music, All
Saints Anglican Church in Howick, Radio New Zealand in
Wellington, and Frank’s Café in Greymouth (where the con-
cert piano was a classic Fender Rhodes 88), and Australian
appearances at the University of Canberra College of Music
and St John’s Hall in Robertson NSW. The duo performed
Imani Winds with flutist Valerie Coleman, second from left. Kleemation by American composer Elizabeth Vercoe, Duo
(1971) by Aaron Copland, Metamusic (2007) by New Zealand
n May, Imani Winds conducted its first tour of China, clos- composer John Rimmer, and Nga Whetu e Whitu (2005) by
I ing out a season that included three world premieres, a six-
concert tour of France, a South American tour, and nearly 50
New Zealand composer Gareth Farr. In May, Bloom per-
formed Music of Thomas Gainsborough’s Circle at the National
North American concerts. Imani Winds kicked off the China Gallery in London with Ensemble Chaconne, a period instru-
tour with a residency at Beijing’s Central Conservatory of ment group with Bloom as baroque flutist, in a tour that
Music, China’s national conservatory, and performed in many included performances at Thomas Gainsborough’s House
other venues, including the National Center for the Museum in Sudbury, Riverhouse Art Centre in Walton-on-
Performing Arts in Beijing, the Shanghai Oriental Arts Center, Thames, and other venues in England. Visit americasmusic-
the Suzhou Cultural Arts Centre, Zhongshan City Cultural works.com.

nfaonline.org Summer 2012 The Flutist Quarterly 21

 REPRODUCED BY KIND PERMISSION OF THE SYNDICS OF CAMBRIDGE UNIVERSITY LIBRARY

Remembering William Alwyn

Despite leaving behind a swath of admired works and film scores, the flutist and
composer William Alwyn never enjoyed the public recognition he sought during his
lifetime. Yet nearly three decades after his death, Alwyn continues to command
high esteem, inspiring ongoing concerts, lectures, and even a week-long William
Alwyn festival held in the fall of 2011.

by Francesca Arnone
22 The Flutist Quarterly Summer 2012 nfaonline.org
 W
hen considering writing an autobiography in 1970,
composer William Alwyn (1905–1985) noted, “I was
born an Englishman of good English stock—and
that was my first disastrous mistake.”1 An extraordinarily suc-
cessful teacher and film composer, Alwyn spent most of his life
seeking what he considered to be ever elusive: true public
regard as an art music composer. As a restless Renaissance
man, he painted, wrote poetry and prose, and learned German
and French to study literary works in their original language.
He was also a very accomplished flutist, his foundation as
a musician.

An Art-Loving Family
William Alwyn Smith was one of five children born to Ada and
William Smith, comprising a family of modest means. The
William Alwyn
Smiths owned Northampton’s grocery shop, “The Shakspere
[sic] Stores—The People’s Provider,”2 a name that reflected
William Smith’s fondness for the Bard. An industrial town
known for its shoe and boot industries, Northampton provided
a thriving business for the grocery shop and an endless parade of
working-class clientele. Although each of the Smith children
developed an interest in literature and an appreciation for art,
young William was unique in his fascination with music:

I developed an early passion for music, roused by the

Sunday afternoon military band performances in the
park, and my ambition was to become one of these uni-
formed bandsmen. I was still a child when my parents
decided to indulge my strange passion by providing me
with a piccolo3—the only instrument they thought suit-
able for my small hands. A teacher was found: a local Woodland Voices.6
boot-operative who used to come on Saturday after-
noons to give me lessons, still grimy-handed and
smelling of leather from the factory where he worked.4

That private teacher was Mr. Law, a factory worker by day but
movie house pit orchestra flutist by night. Their lessons large-
ly focused on theme and variations pieces such as the Carnival
of Venice, The Ashe Grove, and The Keel Row.5
Although in his autobiography, Winged Chariot, Alwyn
notes that his first compositional attempt was Sparkling
Cascades for piccolo solo (written at age 9), Woodland Voices
was most likely the piece he composed at this time, as record-
ed in his composition notebook documenting the early opus
numbers of W.A. Smith.

Life Turns Early composition notebook.7

WILLIAM ALWYN PHOTO COURTESY OF THE NATIONAL GALLERY

In 1913, the death of the oldest Smith son, Tony, was life-chang-
ing for 7-year old Alwyn. Although incomprehensible at the time for admission to the Royal Academy of Music, far from a life
for the young boy, his brother’s death left Alwyn as the heir to the as a store manager.
family business. With the outbreak of World War I in 1914, he At age 15, Alwyn commuted twice a week to London for class-
was taken out of school at age 14 to work at the store full-time. es at the Academy as a scholarship student. There, his principal
Despite his occupational shift from student to store worker, course of study was as a flute student of Daniel S. Wood.8 Years
Alwyn continued to focus on music each weekend. His moth- later, Alwyn wrote, “I myself was trained very strictly by Daniel
er also arranged for him to take piano lessons with the local Wood, the original first flute in the L.S.O. when it was first
organist, R.W. Strickland, who knew his student was destined formed, and a cool pure tone, immaculate breath control, and
to be a professional musician. He managed to convince a phrasing were the essentials of his teaching.”9 He won several
reluctant Mr. Smith of the same, and he recommended Alwyn prizes that year, including the Silver Medal for Flute.
nfaonline.org Summer 2012 The Flutist Quarterly 23
Available Works for Flute you do the concert and not the rehearsal?’ I shall be at the
rehearsal.’ Murchie would say to me, ‘But I’m playing for
by William Alwyn the Ballet in the evening...’ I remember one occasion when
Murchie asked me to do the Queen’s Hall concert for
him—he was, of course, appearing at the morning rehears-
Three Easy Pieces for Flute and Piano (1931). London:
al (incidentally no concert had more than one rehearsal). If
Stainer and Bell, 1931.
there was a concert—I asked him what was the pro-
Divertimento (1939). London: Boosey & Hawkes, gramme—‘Oh, nothing to worry about. I forget what the
1993/1943. symphony is, but look out for Ravel’s ‘Daphnis and
Sonata for Flute and Piano (1948). London: Legnick, 2006. Chloe’—that scale that begins on the piccolo, and then by
way of 1st flute and 2nd flute ends with a solo scale on the
Trio for Flute, Cello, and Piano (1951), London: William
3rd flute—if you miss it, it leaves an aufu [sic] gap! But
Alwyn Foundation, 1997.
there’s nothing to worry about! Don’t worry, old chap, it’ll
Naiades (Fantasy-Sonata) for flute and harp (1970). be all right.’
London: Legnick, 2000.
Concerto for Wind Instruments (1980), arr. McCabe In 1921, Alwyn more practically relocated to London to
(2005). London: Legnick. Rental available through continue his studies full time at the RAM. His work in flute
Chester Novello. and secondary area of piano were progressing well, but he was
not immediately permitted to pursue composition as there
were no composition professors on staff at the time. After a
providential conversation with his flute professor, Alwyn
showed some of his compositions to Daniel S. Wood for his
review. Finding them to be of very high quality, Wood suc-
cessfully petitioned on his student’s behalf for him to study
composition with John B. McEwen.
McEwen’s refreshingly un-academic manner transformed
Alwyn’s approach to composition, encouraging him to study
scores of Debussy, Liszt, Strauss, Schoenberg, Scriabin, and
Szymanowski in place of traditional textbooks. McEwan
encouraged his student to assume the professional name of
William Alwyn, which the young composer eagerly adopted to
secure an identity more distinct than W.A. Smith.

Professional Musician and Composer

His father’s unexpected death forced Alwyn, at age 18, to leave the
shelter of being a student to become a professional musician. He
continued to compose in between music teaching assignments,
sending the scores to McEwen for feedback. At age 21, Alwyn was
appointed to join the composition faculty at the Academy and
was contracted to join the London Symphony Orchestra as third
flute/piccolo for an important upcoming festival.
This experience afforded Alwyn the opportunity to play
many works by British composers such as Holst, Walford
Davies, Vaughan Williams, Delius, and Elgar, who himself
conducted several of his own compositions. Later in the same
Carol Denese Hester took this photo of Alwyn’s flute collection in 1988 month, the LSO performed Alwyn’s Five Preludes for Orchestra
while visiting Mary Alwyn at the Alwyn estate. at the Queen’s Hall Promenade Concerts.
These experiences led to even greater performing opportu-
FLUTE IMAGE COURTESY OF CAROL DENESE HESTER

As a special 16th birthday present, his family gave him a new nities, as Alwyn discussed in Winged Chariot:
Rudall Carte flute, a used Böhm flute, and a new Rudall Carte
piccolo.10 By now Alwyn had become a formidable sight-read- I was in increasing demand, not only as an orchestral
er and was hired as a substitute for professional orchestras. In player but also as a soloist. I introduced to Britain the
Winged Chariot, he writes: Roussel Joueurs de Flûte … and major new works by
European and American composers—I well remember a
Robert Murchie, the famous 1st flute of the Queen’s Hall fiendishly difficult sonata by the American composer
Orchestra, or the equally famous Gordon Walker, 1st flute Wallingford Riegger. As a chamber music player I also
of the L.S.O. would ring me up and say ‘Can you do the took part in the first London performance of Ravel’s
rehearsal at Queen’s Hall today?’ or, sometimes even, ‘Can Chansons Madécasses. 11
24 The Flutist Quarterly Summer 2012 nfaonline.org
 Although “Alwyn the flautist is forgotten today,”12 this
expertise landed him in the right place at the right time. Hired
to play a recording session for a documentary film directed by
Alexander Shaw, Alwyn played a score by Raymond Bennell,
who, believing his work completed, left England at the conclu-
sion of the sessions. The following day, Shaw contacted Alwyn
to write a new film score: the playback had proved to be blank.
Alwyn completed the final product swiftly and with great
expertise, tipping the balance he had maintained between pro-
fessional flutist and composer to that of a full-time composer.
Since his arrival as a film composer coincided with dramatic
audio developments in Britain’s Golden Age of Cinema,
Alwyn ably explored an orchestral palette broader than that
of his predecessors. With 86 film scores and 107 documentary
film scores in his body of work, Alwyn’s compositional skills
sharpened dramatically. Few composers have the opportuni-
ty to hear their works performed so close to their date of
completion, let alone by the caliber of the orchestras that
recorded Alwyn’s scores. Although he was reluctant to be
known primarily as a film composer, Alwyn’s successes also
Alwyn conducting; he also painted and wrote poetry and prose.
gave him the means to produce concerts of his art music.

Compositional “Beginnings” My studio overlooks the river Blyth—tidal waters flanked by

In 1938, Alwyn “took the extreme step of disowning all my pre- a broad expanse of reedy marshes, haunt of shrill seabirds.
vious works…and mentally I made a new beginning.”13 Resolved To wander there on a summer evening, when the reeds are a
to develop a sharper technique, he turned to neoclassic forms for rustling sheet of gold and the water the colour of the
new compositions. Among the first of these was his ‘winedark’ sea, is to believe again in Pan and Syrinx, sense
Divertimento for Solo Flute (1939), a highly contrapuntal work the presence of Undine, and hear the Naiads sporting in the
for a solo instrument: “…by exploiting my intimate knowledge shallows, hidden from mortal sight by the shrouding reeds.18
of the instrument I contrived a suite which contained a
Prelude and Fugue (!), Variations on a Ground, a Gavotte and The Concerto for Flute and Orchestra (1980) was written for
Jig, often written on several staves but all performable by the members of the English Chamber Orchestra. Intensely lyrical,
single soloist.”14 Premiered at the 1940 International Festival of it was arranged as a wind nonet by John McCabe in 2005, and
Contemporary Music in New York by René Le Roy, the piece its exuberant in no way belies the struggle Alwyn experienced
remains a standard repertoire piece in the U.K. in returning to composition after a two-year hiatus.19 As one
Throughout his career, Alwyn continually evaluated and of Alwyn’s latest compositions, the concerto presents a final,
refined his creative process of composing. His five symphonies exuberant work featuring the flute.
(1949–1973) outline his major compositional styles after 1938.
From highly romantic material in the traditional four-move-
ment form, he progressed through a new harmonic system Instrument of Choice
using small scale patterns as limited units and 12-tone systems Despite his giving up playing the flute for fear he would not
divided into two groups of modes, and concluded with a high- be taken as a serious composer,20 Alwyn continued to regard
ly compact and seamless four-movement work within one 16- it as his instrument of choice, from the beginning of his
minute movement. Alwyn’s Sonata for Flute and Piano (1948)15 compositional career to the end.
shares the neoclassical fugue with the Divertimento, yet it is The flute world has greatly benefited from Alwyn’s versatility
similar in scope to the Fifth Symphony (1973) in that it is a and need to express himself through composition. As author Ian
compact, three-movement work within a one-movement Camalt noted, “Alwyn believed that it is a creative artist’s duty to
frame. “It is a virtuoso work and the piano writing is complex express completely in such a way as to communicate to others all
and an integral part of the work’s construction…this sonata the ideas which are genuinely in him.”21 ❃
challenges both performers.”16
Naiades (Fantasy-Sonata) for flute and harp was composed The author thanks Carol Denese Hester for her generosity and
in 1970 for flutist Christopher Hyde-Smith and harpist Marisa assistance in sifting through boxes of research to find photos
Robles. A full-blown, one-movement virtuosic work, Naiades that she had taken, and then having them digitized.
showcases and challenges both instruments equally.
“Naiades” are defined as the mythological nymphs living in Francesca Arnone teaches at Baylor University and Italy’s
rivers, fountains, and springs.17 Alwyn’s program notes written Grumo and InterHarmony festivals. A member of the Brazos
for the Aldeburgh Festival in June of 1973 provide keen insights Ensemble, she is an active chamber music advocate, recitalist,
to the piece’s inspiration: orchestral musician, and soloist.
nfaonline.org Summer 2012 The Flutist Quarterly 25
 End Notes
11
Winged Chariot, 23.
1
Adrian Wright, The Innumerable Dance: The Life and Work of William Alwyn
12
Wright, 55.
(Rochester: Boydell Press, 2008), 4.
13
Winged Chariot, 27.
2
Ibid., 6.
14
Ibid.
3
A six-keyed piccolo with an extraordinarily stiff key, permanently distorting one
15
A new edition edited by Smith and Rhodes is due to be published, reflecting the
of Alwyn’s fingers (Ibid., 6) errors determined to exist in the 2006 Legnick edition.
4
William Alwyn, “Winged Chariot” (1983), in Composing in Words: William Alwyn
16
Kenneth Smith and Paul Rhodes, “William Alwyn’s Sonata for Flute and Piano,”
on his Art, ed. Andrew Palmer (Chippenham: Toccata Press, 2009), 18. Pan, The Flute Magazine (June 2009): 35.
5
Wright, 14.
17
http://www.merriam-webster.com/dictionary/naiades
6
C. Hester, “A Structural and Stylistic Study of the Works for Flute by William
18
William Alwyn, “Composer’s Choice: William Alwyn,” program notes for a recital
Alwyn” (DM diss., Florida State University, 1990), 4. given at Aldeburgh Festival, June 22, 1973; quoted in Hester, 76.
7
Hester, 11. 19
William Alwyn to de Moret, October 2, 1980, quoted in Wright, 256.
8
Daniel S. Wood is the author of the famous Studies for Facilitating the Upper 20
William Alwyn: Ariel to Miranda in Palmer, 155.
Notes of the Flute. 21
Ian Camalt, “William Alwyn—A Romantic Composer of His Time.” From the
9
William Alwyn to Christopher Hyde-Smith, March 12, 1971, quoted in Hester, 41. British Music Society, reprinted. http://www.musicweb-international.com/class-
10
Hester, 28. rev/2000/mar00/carmalt.htm

W H e r e A r e T H e Y N O W ?
Lea Arsenault 2006 Young Artist Competition (and 2002 High School Soloist Competition)
“I was very fortunate to have Jim Walker on my panel of judges. That was my first experience playing for him.
Two years later, I was accepted to the Colburn School, where I got to study with him before winning my first
orchestral job in Louisville.”
Leah Arsenault, acting second flute with the Cincinnati Symphony Orchestra, has also won first prize
in the Myrna Brown Young Artist Competition and the Frank Bowen Young Artist Competition. She was
second flute with the Louisville Orchestra, a fellow at the Tanglewood Music Center, and a member of
the Spoleto Festival (USA) orchestra, and was piccoloist with the Star Wars in Concert national tour.
Arsenault has performed as a soloist with the New Mexico Symphony Orchestra and has been a guest
artist at NFA and Texas Flute Society conventions. She has collaborated with eighth blackbird, Lucy Shelton, and Paul Neubauer.
Arsenault earned her BM and MM degrees from the University of Cincinnati College-Conservatory of Music and professional
studies certificate from the Colburn School Conservatory of Music in Los Angeles. Principal teachers include Bradley Garner, Jim
Walker, Tadeu Coelho, and Philip Dunigan.
“Winning the 2006 Young Artist Competition had a huge effect on my career,” says Arsenault. “Having my name associated with
the competition has given me valuable ‘street cred.’ ”
 Compact Discs from Crystal Records
Leone Buyse was principal flutist of
the Boston Symphony, and is now on
the faculty of Rice University. She has
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 W
hen you are lucky enough in life to spend time
with a person of extraordinarily high quality,
your appreciation continues to grow in ever-
widening circles as time goes by. For the many students of
Robert Willoughby, the year of 2011 provided a wonderful
opportunity to reflect, share, and express thanks through
articles, concerts, and festivities in honor of his 90th birthday.
Named “American Grandmaster of the Flute” by Flute, the
journal of the British Flute Society, Robert Willoughby is
considered one of the most successful flute teachers of our
time, a distinguished orchestral musician and solo performer,
a champion of new music and a pioneer of baroque flute
playing in the U.S. His teaching represents, for all of us who
studied with him, our common denominator, the foundation
of our present day work and a model of fairness and integri-
ty. Bob, as he is known, continues to inspire new students as
a faculty member at the Longy School of Music, and he and
his wife, Elaine Macmann Willoughby—Mac—have become
for many of us cherished friends who continue to take an
interest in our lives.
The summer evening light was especially beautiful as I
headed back inside the pretty little church, a stone’s throw
from the Willoughbys’s house in New Castle, New
Hampshire. It was June 6, 2011, Bob Willoughby’s 90th birth-
day. An article in the local paper that week noted that
Willoughby’s first combat flight as pilot of a B-24 bomber in
1944 was also on June 6, his birthday—a date more famous-
ly known as D-Day. The church was filling up with friends,
some of whom were just discovering their neighbor to be
quite famous. The event had been painstakingly and lovingly

The Next
organized by Mac, famous in her own right as a published
children’s author. Their son John, there with his wife, was
doing double duty as photographer. In a room off to the side
were the flutists, many of us seasoned pros, and all of us get-

Decade: ting an extra bit nervous. A special recital was about to begin.
As I looked around the room, studying the program and
listening to the music, I marveled at the continuum of
Willoughby students. Turning pages was a girl from the

Robert area who takes private lessons when she is home from col-
lege. Two current grad students from the Longy School
played a duet. The rest of us represented earlier decades—

Willoughby his 10 years at Peabody and nearly 40 at Oberlin. The music

on the program was representative, as well, reflecting the
diverse tastes of our teacher.

Grounded Lives
PHOTOS COURTESY THE WILLOUGHBYS UNLESS OTHERWISE NOTED.

June 6, 2011, the 90th birthday of flutist As students at Oberlin in the early ’80s, I’m sure few of us
and pedagogue Robert Willoughby, grasped the bigger picture of Bob’s career. We had a vague
idea that our unflappable teacher had at one time flown air-
sprouted nation-wide parties and concerts. planes and that he knew all the answers about how to play
One year later, a close friend and former music. Lessons were very demanding and each of us faced an
individual struggle, be it an embouchure change or simply
student reflects on the grand celebration working harder and getting our fundamentals in order. There
of Willoughby’s life and loves, and on her was neither over-nurturing nor a cult-of-personality to obey,
just frank criticism, encouragement, and, when needed,
teacher’s still-vibrant journey forward. humor. Just to be in the weekly presence of someone with
such grounded ideas and orderly life was soothing to me at
by Aralee Dorough that ängstlich age of early adulthood, as was my sense that
30 The Flutist Quarterly Summer 2012 nfaonline.org
 there was an even more impeccable authority in the back-
ground: Mrs. Willoughby.
Mac was a colorful figure to us, and we treasured the occa-
sions we were invited to their home with an invitation that
read “Mrs. Willoughby Cordially Invites the Orphans to Tea,
Sunday at 4:00.” We orphans would do our best to clean up our
usually slovenly, frisbee-throwing, Birkenstock-clad under-
graduate selves and walk to the Willoughby home to sit at a
table beautifully set with two large, silver teapots, fine china,
and lots of British tea-time delicacies like scones, cakes, “clot-
ted cream” and marmalade.

From Law to Music to Bomber Planes

Our inspiring teacher, who could so thoroughly convince us of
the logic of an idea, had originally planned to go into law Willoughby is fifth from the right in this picture of the B-24 bomber crew.
when a summer spent at Interlochen tipped the balance
toward music. In 1938 he went to Eastman as a student of
Joseph Mariano and loved it. By the end of his fourth year, the
U.S. had just entered World War II, and he enlisted in the
Army Air Corps. Rather than join a military band, he thought
it would be “more fun” to become a pilot.
“I thought every joy I had for music would disappear if I
went into a band,” he said in a 2011 interview for Flute. “I had
always been athletic, and so I thought I could fly a plane.”
In February 1943, he began training to become a bomber
pilot. At one phase of training the recruits were taught aerial
acrobatics by an old barnstormer (a stunt pilot from the 1920s).
Bob cited a detail from those times while talking recently
about a different topic: conducting. He had been unable to do
one of the maneuvers. One day the instructor reached down
and took his foot through the correct rudder motions.
“Once I could feel it, I had no trouble doing it next time,” The caretakers of “the orphans”: Mac and Bob.
Bob said. He now finds that asking students to conduct and
feel the connection between the notes is often the only way to
get an idea across.
After his time overseas, Willoughby helped teach other
pilots, and—in another parallel to music—he has often said,
“Teaching is the same, no matter what the topic. The difficul-
ty lies in getting people to think for themselves. Once you
teach people to think, they can do anything.”
After training, Willoughby sailed to Britain and began flying
missions from an airbase in Bungay, Suffolk. In addition to the
danger of the flights, conditions on board the B-24s were
extremely uncomfortable and hazardous, with cramped con-
ditions and freezing temperatures. Willoughby flew 35 mis-
sions. He says his first, on D-Day, was not the most difficult.
WILLOUGHBY WITH FLUTE PHOTO BY KATHERINE BORST JONES.

“It was what we called a milk run, when we just flew across
the Channel and straight back again,” he said in Flute. “The
second mission was different because we bombed an airport
further afield. I always remember seeing a sky full of fighter
planes, and I had heard that they would attack bombers when
they were over their target. I have to admit that I was really
scared, but it turned out that they were our fighters. I didn’t
know that at the time, but that was the most frightening mis-
sion I ever had, because I didn’t know what to expect.”
One mission did almost end in disaster. “We were over
Denmark when two engines failed—fortunately on opposite
sides. We dumped everything we could into the sea and head- Willoughby recommends taking a year off to practice nothing but technique.

nfaonline.org Summer 2012 The Flutist Quarterly 31

 ed home. We had just reached the runway when a third engine
failed. We were very lucky that day.”

Flute with a Vengeance

After he got out of the service in 1945, Willoughby returned to
his flute studies with a vengeance, this time at the New England
Conservatory with George Laurent. He put practicing above all
else and accomplished more in one year than he had in four at
Eastman. He recommends to anyone really serious to take a
year off at some point to do nothing but practice technique.
Laurent—whose own teachers were Phillipe Gaubert and Paul
Taffanel—was a very demanding teacher. One week Willoughby
went into his lesson feeling good because he had practiced par-
ticularly hard, but when Laurent asked for the one thing he had
Mark Sparks and Bob Willoughby in the lounge at Oberlin. skipped and then admonished him with, “What’s wrong, didn’t
you practice?”, he left feeling dejected and vowing never to let that
happen again. The importance of being prepared and leaving no
stone unturned became a theme of his teaching.
“With the competition today,” he said to us once at Oberlin, “you
just cannot afford to neglect any aspect of your performance.”
With George Laurent, Bob’s own orchestral career was about
to take off. Laurent had a beautiful sound, and to hear him play
with the Boston Symphony was to tap into a mainstream of
musical tradition. When the BSO played Daphnis et Chloe,
Laurent could quote Ravel as to his preference for an E-natural
at the beginning of the flute solo.
Willoughby took the train to New York to audition for con-
ductor George Szell, who was planning to expand the wood-
wind sections of the Cleveland Orchestra from three to four
Performers with the Willoughbys at Bob’s 90th birthday celebration.
players. He played the Fauré Fantasie and some orchestral
solos, and then Szell asked him to sight-read some opera parts.
He got the job—and was offered a salary of $100 a week for
30 weeks, which was a premium salary for an orchestra musi-
cian. He played assistant principal with the orchestra from 1946
to 1955 during a time in which the Cleveland Orchestra was
widely acknowledged to be the finest ensemble in the country.
Szell was a tyrant, but Willoughby never got any of the heat—he
came to every rehearsal scrupulously prepared. Szell sometimes
concerned himself with the vibrato of the flute section, insisting
on good blend. Willoughby admired his meticulous musician-
ship and the musicality of principal oboist, Marc Lifschey.

Time to Teach
Willoughby had begun teaching at Oberlin Conservatory while
with Cleveland, and when he decided to leave the confines of
orchestral life, Oberlin offered him a full-time position. When he
took a year off in 1959 to play principal flute with the Cincinnati
Symphony under Max Rudolf, he enjoyed it but decided to
return to Oberlin and the greater variety this post afforded.
It was during his long tenure at Oberlin that he further honed
his skills as a chamber music player with longstanding faculty
ensembles like the Oberlin Woodwind Quintet and the Oberlin
Baroque Ensemble and made numerous recital recordings. His
first impression of a baroque flute was, “What a God-awful
instrument!”, but he soon fell in love with its quirks.
On a sabbatical year in London in 1970, he took the opportu-
“Yesterday we received a marvelous letter and recording from Kazuo
nity to travel to Amsterdam and Den Haag to study with leaders
Tokito (piccolo, Philadelphia Symphony) telling how much he got from in the growing authentic performance practice movement, Frans
his work with Bob. And so goes on the love.” —Mac Willoughby Vester and Frans Brüggen. Equally open-minded to contempo-
32 The Flutist Quarterly Summer 2012 nfaonline.org
rary music, Willoughby performed and commissioned works and
has always encouraged students to explore the margins of the
repertoire. Frank Martin, Aaron Copland, Alberto Ginastera,
Luigi Dallapiccola, and Easley Blackwood are among composers
he has known personally and whose work he has performed.

“Retired”
In 1986 the Willoughbys decided to build a home near the
water in scenic New Hampshire, and Bob retired from
Oberlin—but began commuting to Baltimore to teach at
Peabody three days a week. He now teaches three students a
week at the Longy School in Boston.
In 1996 the NFA honored him with a Lifetime Achievement
Award, and in 2001 a celebration was held at Longy in honor of
Willoughby’ 80th birthday; the event included a commission of
a new work by composer John Heiss.
At this point in musical time, the aesthetic is widespread that
music of all styles and periods should be interpreted with equal
care and authenticity yet infused with freshness and “the now.” It
is hard to imagine anyone more on the cutting edge of bringing
us there than Robert Willoughby. One of the favorite
Willoughby quotes challenges us to action and makes us chuck-
le at the same time: “Make me love it, or make me hate it—but
please don’t bore me!”
In his own life, he continues to learn, to explore, and to give.
What could be a better inspiration for us all? ❃

Aralee Dorough is principal flutist of the Houston Symphony

and is an affiliate artist on the faculty of the Moores School of
Music at the University of Houston. She teaches orchestral A special program at Oberlin commemorated Willoughby’s birthday.
repertoire at the Texas Music Festival.

nfaonline.org Summer 2012 The Flutist Quarterly 33

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National Service Award 2012
A Passion of
Historic Proportions
Nancy Toff
Nancy Toff seeks to make history
“lively and interesting and intriguing”
whether she is addressing fifth-graders
or the elder statesmen she first docu-
mented as up-and-comers. Her prolific
publishing output—slipped in around
her employed hours as an editor at
Oxford University Press—has been
aided in recent years by the advent of
the Internet, on which she can do “a
very large amount of research sitting
at home at 11:00 at night when the
libraries are closed.”

by Beth Chandler Nancy Toff with a few of her books. The third edition of The Flute Book was released this year.

N
ancy Toff successfully balances her career as an to China and Russia, was integral to the process of hiring a
author and flute and music historian with her actu- full-time publications director, and played a key role in estab-
al day job as a vice president and editor at Oxford lishing the NFA’s archives at the Library of Congress.
University Press. Known to flutists worldwide for her signifi- Toff has served two three-year terms as president of the New
cant contributions to flute research and literature, Toff is the York Flute Club, set up its website, and continues as its archivist
2012 recipient of the NFA’s as well. She has given myriad lectures and presentations at NFA
National Service Award, in conventions and writes often for NFA publications. In addition
honor of her remarkable life to her official roles, she acts unofficially as advisor, mentor, and
and work. She has served on flute resource extraordinaire to countless flutists, historians,
the NFA board of directors and scholars all over the globe—Toff is the “go-to” resource for
and as secretary, program virtually anything related to the flute. And if she doesn’t know
book editor, and in numerous an answer, she’ll find out.
other positions within the As anyone who knows Toff would, I relished the recent
association. She serves on the opportunity to have an invigorating chat with her about a wide
Flutist Quarterly editorial variety of topics on which she is knowledgeable and passionate,
advisory board, as chair of and as always, her eloquence and wit were palpable.
the archives and oral history
committee, and on both the Congratulations again on receiving the National Service
PHOTO BY IRA N. TOFF

research and special publica- Award. Obviously, the NFA recognizes your enormous con-
tions committees. In addi- tributions and countless volunteer hours, as you are only the
tion, she participated in the eighth recipient of this award.
Beth Chandler NFA cultural exchange trips That’s a lucky number in Chinese culture!
36 The Flutist Quarterly Summer 2012 nfaonline.org
 You’ve served in so many different capacities in the NFA, with
many tremendous accomplishments on behalf of the organi-
zation. One of your most significant contributions is your
work with oral history and archiving. Can you tell us a bit
about those projects?
The idea of the oral history committee started in order to doc-
ument the association for the 25th anniversary. The idea was to
interview past presidents and program chairs and to have some
record of what we had done before, but at the same time to
think a little more broadly about the history of the flute, music
for the flute, and the playing of the flute, and to interview sig-
nificant people in our world. With the advent of the Lifetime
Achievement Awards, those people, whenever possible, have
been interviewed because they represent some of the best and
most important people in the profession. But the program is
not limited to that. The oral history project is one way, institu-
tionally, the NFA has recognized the importance of history.
Nancy Toff signing copies of her books at the 2005 NFA convention in San Diego.

And the archives? to me. Little did I dream that we would become colleagues and
I was involved in arranging for our archives to be housed at the friends in the NFA several years later.
Library of Congress, so that there will be a permanent record. I get a huge number of questions from students and from
That’s a particularly good place, not only because it’s the other professionals about one trivia item or another. I enjoy
Library of Congress, and it will be there forever, but also answering good and interesting questions from NFA members.
because the Dayton C. Miller Flute Collection is there. I hope to inspire people to do good research of their own and
Although we’re not part of that collection, its presence means to consult me when they are really stumped. Sometimes their
that people working on the flute can go to one place and find questions actually enhance my own research, and that’s the
even more material. whole point of scholarly interchange. If I hear a particular
question enough times, I say, “Well, gee, I ought to put that into
Kind of one-stop shopping for flute research. the next edition of The Flute Book.” I think there are very few
Exactly. And it didn’t hurt that I had been working in the other instrument organizations that are as generous and tight-
music division as a researcher and sort of an honorary mem- knit as this one, and people tend to cooperate on these types of
ber of the staff there for a very long time. That just makes projects really well.
everything easier.
As you’ve seen the NFA evolve through the years, what areas
You’re certainly well regarded as a professional in the flute should the association explore further?
world, yet your full-time job is unrelated to the flute. How I’d always like to see the level of research go up. Given how hard
would you describe what kind of NFA member you are? it is to be a successful performer, I think those research and
I see myself as a professional because I am. I write about the writing skills are crucial for everybody in any profession. You
flute and I’m a music historian who works on the flute. I’ve have to communicate well with your audience and your col-
been a performer, but not to earn a living. I decided many years leagues. What I like to do when I do some kind of program or
ago that that was not the path that I wanted to take, that my write an article for the Quarterly is to make the process of writ-
strength lay more in the research area. So I like to think that I ing and the process of doing history lively and interesting and
bridge those constituencies and that I can, through my profes- intriguing and not forbidding, and also try to show performers
sional activities in publishing and through my research and how it can enhance their own performance.
writing, help the students and the performers within the organ-
ization to have a greater appreciation of their history. Do you think there are other ways to foster a more elevated
level of research?
Just as you’ve given to the NFA, I assume you feel you’ve If studio teachers require more writing and more research and
gained something from your involvement as well. make it a required part of the curriculum, as some do, that
Absolutely. Everybody needs an audience, whether you’re a per- would certainly help. That can be as simple as writing a good
former or a writer. The NFA convention is a place where I can set of program notes.
do my research and talk to performers, to educators, to instru- Typically, if you look at the biography shelf in a music library,
ment makers, to other people in the industry, on occasion to there are many more biographies of composers—music histo-
other historians. It’s been kind of fun to think that when I start- ry is told from the point of view of the composers. I think it’s
ed writing the first book (The Development of the Modern very interesting to look at music history from the viewpoint of
PHOTO BY MIA DREESE

Flute), which was actually my honors thesis at Harvard, I start- the performers. You can see how they made their careers, how
ed writing to people like Alex Murray, Wally Kujala, and Paula they made their repertoire choices, how they worked with com-
Robison these very formal letters, as one should. And I heard posers. All these things are instructive, so there are some life les-
back from them, and they were very, very generous and helpful sons there, as well as some plain human interest.
nfaonline.org Summer 2012 The Flutist Quarterly 37
 In the forthcoming edition of The Flute Book, are there big
changes, or is it primarily focused on updates to repertoire
and changes in the instrument?
Very few changes to the instrument, really. There’s a new section
on the lower instruments; the bass, the contrabass, the double
contrabass. Those didn’t exist 15 years ago. Of course, all the
prices doubled again. One of the most interesting things was to
look at the profession and at what I had written 20-plus years
ago about the young, rising generation who are now our elder
statesmen—or statespeople, shall we say? And there’s another
generation coming up now. It’s also been interesting to docu-
ment the renaissance and slight decline of the wooden Böhm
flute. The repertoire catalog and all the appendices are com-
pletely revised.

What’s the anticipated publication date?

It will be out in time for the convention. And the Barrère book
Sue Waller and Nancy Toff visit Frances Blaisdell at her home in Los Altos in 2000. will be coming out in paperback in time for the convention—
that’s “hot off the presses” news.

Speaking of your book on Georges Barrère, who might be

your next historical celebrity of choice?
I’m working on Louis Fleury right now because he is in many
ways the successor to Barrère. Fleury is turning out to be a very
interesting character. I don’t think he was quite the personality
that Barrère was, but he was at least as much a musician. He had
a very deep interest in Baroque music and equal interest in
modern music, and he juggled those two facets of his repertoire
very adroitly. I have no idea if it will make a book, but it’s cer-
tainly the making of some articles. And it’s an excuse for
another trip to France.

In thinking of the next generation, do you have hope that

younger flutists will have the same kind of fervor for research
Clowning with Jim Walker, Ohio, 2000. Toff and Paula Robison, New York, 2011. and music history that you have?
I actually do. I’ve given talks about doing research to fifth

TOP PHOTO COURTESY NANCY TOFF; PHOTO WITH WALKER BY FRANK SUETHOLZ; PHOTO WITH ROBISON BY SUSAN LURIE
In your last Flutist Quarterly interview (the Spring 2003 issue), graders, and they’re great! They love it because they like the
you discussed how your research methodology has changed, detective aspect of it. It’s intriguing, and there’s personality
including how you went from documenting repertoire on index involved. I don’t have any illusions that it will interest every-
cards housed in shoeboxes to extensive databases on a laptop. In body, but I think it’s important to know what our traditions are.
these past nine years, how has your process changed? And I think that’s true in any artistic form. Whether it’s paint-
I still have those shoeboxes, by the way. Every so often I have to ing or film or the piano or the flute or anything else, we need to
go back to them. First of all, library catalogs and finding aids for know where we’ve come from. The traditional metaphor is that
special collections very often are accessible on the web, so that we stand on the shoulders of giants. It doesn’t mean that we
it’s possible to be much more efficient in planning research out have to be slavish to those traditions, but that knowledge will
of town. You can do a lot of spade work ahead of time. help to take us to the next level.
Secondly, there is a lot of material that is now digitized. I say
that with some caution because I don’t mean things like Postscript: Toff mentioned that when she received her award to
Wikipedia. I mean things like newspaper databases, library cat- commemorate 20 years at Oxford University Press, the publish-
alogs, and Google Books. I was quite amazed that in redoing the er observed that her love of history was “infectious.” She notes,
repertoire catalogue for the third edition of The Flute Book, I “It’s a really good kind of infection.” I would also have to add
was able to do a very large amount of that research sitting at “meticulous” and “passionate” to the description. She hopes
home at 11:00 at night when the libraries are closed. I couldn’t that her “passion is infectious, that it makes other people curi-
look at scores, I couldn’t cross-check editions, I couldn’t look at ous, and sends them off to find out about whatever it is that
thematic catalogues…all those things had to be done in a strikes them as interesting.”
library, and happily so. But a good deal of work can be done
online, and that’s very helpful. To somebody like me who has a Beth Chandler is the flute professor at James Madison
day job and has to do this other work around the edges, that’s University in Harrisonburg, Virginia. She serves as vice chair
just, from a practical point of view, a great thing. of the NFA.
38 The Flutist Quarterly Summer 2012 nfaonline.org
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 Drive and Inspiration:
An Interview with
Jihoon Shin
“I don’t think I can do this competition,”
Jihoon said to her teacher, Carol Wincenc, the
day before the 2011 National Flute Association
Young Artist Competition in Charlotte, North
Carolina. Flights from New York City were
canceled for 24 hours, she was too young to
rent a car, and all the trains to North Carolina
were fully booked. Maybe I’m not meant to go?
she thought. Luckily for her, and for many
others, this was not the end of the story.

by Ellen C. Johnson

F
or an aspiring flutist, it takes a combination of talent, Wincenc at SUNY Stony
skill, and tenacity to jump into the flute competition brook University for her
pool and keep your head above water. Jihoon Shin offers DMA degree and performing
us a winning perspective on the drive it takes during competi- as a soloist and as a cham-
tion preparation to keep alive hope, with a dash of inspiration ber musician. Jihoon Shin
to spare. Despite potentially devastating roadblocks, Jihoon’s is a faculty member at Yale
travel plans were saved by a devoted friend who drove her University’s Morse Summer Music Academy and Music in
overnight from New York City to the NFA’s 2011 Young Artist Schools Program.
Competition in Charlotte. Their efforts were richly rewarded
when Jihoon won the competition and also received the award How did you decide to become a flutist?
for Best Performance of the Commissioned Piece. I was 10 years old when I started the flute. I don’t know why,
Jihoon Shin was born in Seoul, Korea, in 1987 and began but for some reason I had been fascinated by this instrument
studying with Soyoung Lee (former principal flutist in since I was 5 years old. My mother often took me to orchestral
Bucheon Philharmonic Orchestra) at the age of 10. Shortly concerts and I happened to have an older friend who would
thereafter she received her first public accolades by winning play in the youth orchestra. I would always see her playing and
JIHOON SHIN PHOTO BY MINJOO KIM; ELLEN JOHNSON PHOTO BY HANNAH NEAL.
the Chosun Daily Newspaper Music Competition and Music just wonder—because the flute is not quite attached to the
Journal Competition in 1998. In 2002 Karl-Heinz Schütz, cur- mouth like other wind instruments—how the sound was pro-
rent principal flutist in the Vienna Philharmonic Orchestra, jecting out anyway. I thought it was magical. Other instru-
invited her to study with him in Austria, and the following ments have their own logic—they have strings that play or you
year Professor Jean-Claude Gérard welcomed her to put it in your mouth and play. But the flute is not that. It’s just
Musikhochschule Stuttgart, Germany. floating there on the lips, generating sounds. I also went to a
During this time she won Second Prize from private school in elementary and they had this “Creating a
Deutschehochschulewettbewerb, Special Prize from the Kobe Flute” class. I just wanted to do it, so I thought, “I’ll do it!” and
International Flute Competition, First Prize in the Friedrich then later I got to.
Kuhlau International Flute Competition, and First Prize in the
Greece Flute Meeting International Flute Competition. After You’ve performed in a lot of flute competitions. How do you
her graduation from Stuttgart, she studied with Ransom keep focused and play your best once you arrive?
Wilson at Yale University for her Master’s degree and won When I was younger, if I would be at international competi-
Special Prize from the Jean-Pierre Rampal International Flute tions and see a flutist who was winning everything, I would
Competition in 2008. Currently she is studying with Carol feel pretty stressed and think, “Oh my God, it’s him again.”
40 The Flutist Quarterly Summer 2012 nfaonline.org
And I would be overwhelmed, since there were so many bril- Moyse Gammes et Arpege. These three are the main ones, and
liant players around. Eventually I got to the point where I then things by Anderson, Paganini, and Karg-Elert—I keep
thought, “I really shouldn’t quite care.” Yeah, so I think since rotating them, too.
two years ago I felt much more comfortable in competitions
once I decided to think about it differently. Now I think of it Can you tell us some examples of the best and worst advice
more like a concert series where I get to meet other flute you’ve received at a flute competition?
players and get to know them instead of competing against The best advice I got was from Aurele Nicolet at the Kobe
them, so I feel much better. International Flute Competition in 2005. He told me that he
doesn’t doubt a bit that one day I will become a big musician,
What advice can you give flutists on how to make a nice and he also told me his ears have never been wrong. So a com-
recording for the initial round of a competition? ment like that was so good to hear, and also I have to credit my
If I am in Korea, just because I know many recording engineers flute teachers who trained me so strongly that I could do well.
here much better than those in America and Germany, I go to I’d never imagine what I could do without them showing me
them, and usually it’s much cheaper here to make a nice studio how to do more and what I should aim for always.
recording. I usually go to their studio and book one hour. I
really think that the recording shouldn’t go over one hour
because for me it really doesn’t work. If I don’t get a nice take
I thought it was magical.
in the first or second try, then it won’t work for me. And I tell
them we’ll have two takes and no matter how it goes that’s all I
The flute is not quite
will do. And I think that works much better for me because I attached to the mouth like
lose my concentration after one hour and recording is pretty
stressful, too. Yeah, but if I’m not in Korea I just bring my other instruments. It’s just
recording device and find a pretty nice acoustic room or hall at
school and I just do it there. floating there on the lips,
When you were preparing for the NFA Young Artist Competi- generating sounds.
tion, what sorts of gigs or obligations were you balancing?
I was teaching in New Haven pretty full time because the music The worst advice I received was what a prominent flutist told
camp only happens in the summer, and I went to Yale and me at the Larrieu Competition in 2007. He told me that my
worked through Yale for the public schools’ music education intonation was horrible and my music was boring. It was bad
program. The summer camp is a four-week program and the for me to hear that, since no other juries had told me such com-
NFA Young Artist Competition is exactly in the middle of it. So ments about my playing. In fact, I was in such a deep trauma
I had to be at the camp from eight o’clock in the morning until from his comment that now I’m always trying to keep my into-
five or six o’clock in the evening teaching and going to staff nation correct and my music interesting!
meetings—and after that I got really exhausted. So what I did
was that after everything was over, I would go out and get food What are your goals as a flutist for five or 10 years down
and lock myself in the practice room. First I would sleep one to the road?
two hours after dealing with 12 kids all day long, and then I My dream life, of course—I would love to be playing in the
would just plan out every piece. I think I had about nine pieces orchestra. But at the same time I see myself more as a soloist,
that I had to do, so even if I spread them out with 30 or 40 min- maybe since I’ve been trained that way since I was so young. So
utes each, it’s already many hours of practicing each night. So I I would love to play recitals, chamber music, and with an
just did it that way, and around 11 or midnight I’d pack myself orchestra as a soloist, and also I love to teach. I really do. So if I
up and call it a day. I really had no choice about my schedule, can get any sort of teaching position, that would be awesome.
so I just had to adjust myself to it.
What inspires you to play music and work as hard as you do?
When you arrived at the NFA Young Artist Competition after The first thing would be reading. A really easy example is the
all the travel drama, how did you manage to focus on the task Twilight series. It really helps me in keeping up my inspira-
at hand? tion. I also like to read Sherlock Holmes. I don’t know—I
I think it helped me focus more just because I gave up. I was think I have a tendency to collect everything into my musical
like, “OK, I am here after 13 hours of all this driving.” I didn’t ideas. Everywhere I go I just connect with the scenery, or in my
even aim for the first prize or going to the next round. My goal conversations with friends; if something clicks, I try to put
was just to play, and, just being appreciative of the fact that I these kinds of things into my music. If I think there is some sort
could just get there and play—I think that helped. of thing that will help with my music, I just try to pick it up and
try to connect. Exhibitions or museums, even ballet or opera, I
For flutists who are gearing up to perform in competitions try to experience as many things as I can to feel inspired or keep
this year, what are some of your favorite flute books for daily my music interesting. ❃
practice?
I really like Philippe Bernold’s La Technique d’Embouchure, the Ellen C. Johnson, DM, is the chair of the Career and Artistic
Taffanel and Gaubert Seventeen Daily Exercises, and Marcel Development Committee for the National Flute Association.
nfaonline.org Summer 2012 The Flutist Quarterly 41
4 0 T H A N N U A L N A T I O N A L F L U T E A S S O C I A T I O N C O N V E N T I O N

Rubies!
Celebrating 40 Years
of Artistry and Vision

Caesars Palace, Las Vegas, Nevada

Our 40th anniversary convention is shaping up to be a truly

extraordinary and memorable four days, as we celebrate “all
things NFA.” Concerts, lectures, competitions, and workshops
will feature every facet of our beloved organization. “Hands on”
events are prevalent throughout each day and, as always, the
exhibits in the Forum Exhibit Hall will enthrall you for hours!

We are especially excited about several new events for this year:
“Masterclass Circles”—These “circles” for flute, piccolo, Cirque de la Flûte—One of the best things about NFA
and low flutes will feature some of the world’s greatest conventions is being able to meet and talk with our col-
teachers and will allow attendees to drop in for individual leagues, but we’re always running in opposite directions!
advice and mini-coachings. Everyone is encouraged to This event was created to remedy that, grouping us into
bring instruments and questions, visit various stations, areas of special interest/expertise and giving us the
and receive feedback from these fabulous experts in a chance to mix and mingle and be entertained by a troupe
casual environment. of Las Vegas acts. Don’t miss this one!
Free wirelesss Internet access will be available in Octavius 5 during the convention Thursday through Sunday. Keep up to date
with the latest info at nfaonline.org/Annual-Convention/ and on our Facebook page.
Looking forward to Rubies!
—Zart Dombourian-Eby and Sandra Saathoff

SChEDulE of EvEntS
all EvEntS in CaESarS palaCE

Wednesday, august 8 (pre-convention activities)

3–6 pm Registration for Pre-Registered 5–10 pm Young Artist Competition:

Milano Attendees Milano Preliminary Round
Registration Ballroom Preliminary Round participants are
Desk Raoul Cho, Xue Su, YingXi Liu, Laura
Kaufman, Yukie Ota, Valerie Estes,
4–5 pm Flautino Royale Rehearsal Hannah Weiss, Joanna Wu, Carmen
Palace Kick off this year’s festivities by performing Lemoine, Won Pyo Lee, Mira Magrill,
in this annual flute orchestra event, this Timothy M. Hagen, Chao Wang, Alice
year directed by Hal Ott and coordinated Jones, Lindsay Leach, Martin Godoy,
by Kathy Farmer. Participation is open to Enrico Sartoir, Julian Michael Rose,
all NFA members as long as there is space David Graham, Robert Myers, Holly
available. Pre-registration for the entire Susan Melia, Kelly Sulick, Bianca Rose
convention is required of all participants. Garcia, Catherine Rose Gregory, and Abi
To play, please sign up in advance; visit the Coffer. Virginia Broffitt, Young Artist
convention section at nfaonline.org. Competition coordinator.

42 The Flutist Quarterly Summer 2012 nfaonline.org PROGRAM AND SCHEDULE SUBJECT TO CHANGE
 Jasmine Choi Walfrid Kujala Holly Hofmann

6–6:50 pm Volunteer Welcome and Orientation management techniques to enhance

Octavius 16 Hosted by Program Chair Zart healthy practice and performance, build
Dombourian-Eby and Volunteer stamina and support, and reduce perform-
Coordinator Jennifer Grim. All are welcome ance anxiety. Wear comfortable clothing
to join the convention’s volunteer team. We and bring your flutes! Led by Nina
need you! Assignments and important infor- Assimakopoulos.
mation for all volunteers will be discussed.
8 am Zumba Fitness for Flutists
6–6:50 pm Adults Returning to Flute Playing Emperor Don’t miss this Latin-inspired dance-fitness
Octavius 2 Did you put your flute away but pull it out party for all levels! Dance to your favorite
recently? Join Patricia George for discus- flute music, improving your health and your
sion and suggestions on becoming an playing, with the guidance of Melinda
active flute player after taking a break. Ostrander-Aviles. Dress comfortably.
7–7:50 pm First-Time Attendees Orientation
9 am Rubies! Opening Festivities: NFA
Octavius 8 Receive tips for making the most out of
Palace 2012 Annual Meeting and Flautino Royale
your first convention! Hosted by Sandra
Flute Orchestra Concert
Saathoff, 2012 assistant program chair, and
Meet your NFA officers, board members,
Tadeu Coelho, 2013 program chair for the
and candidates for office, with President
New Orleans convention.
Jonathan Keeble presiding. A concert
7–9 pm Registration for All Attendees featuring the Flautino Royale flute
Milano Welcome! orchestra immediately follows, with
Registration Hal Ott, conductor.
Desk
9 am High School Soloist Competition:
8–10 pm Flautino Royale Rehearsal Augustus 5–6 Final Round
Palace See 4 pm listing for details. Finalists are Elizabeth Sperry, Dominique
Kim, Chaoyue Zhang, Yinzi Zhou, Audrey
Watkins, Yibiao Wang, Jennifer Chiang, and
thursday, august 9 Chung Eun Chae. Cristina Ballatori, High
School Soloist Competition coordinator.
8 am–5 pm Registration
Milano 9 am Baroque Artist Competition:
Registration Desk Pisa-Palermo Semifinal Round
Semifinalists are Nihan Atalay, Leighann
Octavius 5 Free Wireless Internet through Sunday! Daihl, Emma Zoe Elkinson, Joanna Marsden,
8 am Pranayama Breathing and Breath Joseph Monticello, and Kelly Roudabush.
Milano 8 Management Techniques Nancy Schneeloch-Bingham, Baroque Flute
Explore pranayama breathing and breath Artist Competition coordinator.

THURSDAY, AUGUST 9 nfaonline.org Summer 2012 The Flutist Quarterly 43

 National Flute Association 40th Annual Convention
Las Vegas, Nevada, August 9–12, 2012

Sexteto Venezolano de Flautas Alexa Still

9:15–9:40 am Exhibitor Showcase: Important Features 10:30 am The Literary Muse

Verona and Services to Consider Before Buying a Emperor This concert explores music with literary
Headjoint ties and presents the flute in unusual com-
Sanford Drelinger, presenter. Drelinger binations including works with percussion,
Headjoint Company. seven-string guitar, trombone, and even
dance. Featuring the Kata-Vento Brazilian
10 am–5:30 pm Visit the Exhibits quintet, Kristen Stoner in Lou Harrison’s
Forum Exhibit Ariadne, and a hybrid arts performance
Hall featuring The Fourth Wall, complete with
an arrangement of the Schulhoff Sonata
10 am 2011 Young Artist Winner Recital: for flute, trombone, and percussion!
Octavius 22 Jihoon Shin
Hear 2011 NFA Young Artist Competition 10:30 am Preparing to Practice: The Art of
winner Jihoon Shin perform works by Milano 8 Breathing and Movement in Your
Mouquet, Hue, Saint-Saëns, and Practicing
Taktakishvili. Practicing is an exercise in efficiency,
growth, problem solving, and improve-
10 am PhD/DMA Dissertation ment. Help yourself create these goals
Octavius 16 Competition through mindful breathing and deliberate
2012 winners present their research. physical movement before practicing;
Michelle Cheramy, Graduate Research taught by Michelle Stanley.
Competition coordinator.
10:45–11:10 am Exhibitor Showcase: Elegant,
10 am Open Rehearsal with NFA High Verona Contemporary, Ergonomic
Pompeian School Flute Choir on Temps Variable Come meet the newest addition to the
Come watch an open rehearsal with Powell family. Christina Guiliano Cobas,
composer Sophie Dufeutrelle as she presenter. Verne Q. Powell Flutes, Inc.
instructs the High School Flute Choir on
playing techniques for Temps Variable 11 am The Composed Flutist
(Unsettled Weather)—a meteorological Octavius 8 Flutists are composers, too! Enjoy the
fantasy for initiation into extended tech- works of flutists Robert Dick, Paul Fried,
niques of the flute: breath, pizzicato, flut- Gary Schocker, Lawrence Ink, Wil
ter tongue and tongue ram become wind, Offermans, and Rob Cronin performed by
rain, birds, and frogs... The conductor the composers themselves, with Alexa Still,
needs an umbrella! Amy Porter, and Jeffrey Barker.

10 am Orchestral Piccolo Panel 11 am Open Piccolo Masterclass with

Augustus 1 Everything you wanted to know about play- Palace Peter Verhoyen
ing piccolo in an orchestra but were afraid Receive tips for a more successful perform-
to ask. Join Deborah Baron, Regina Helcher, ance on the piccolo from Belgian piccoloist
Sarah Jackson, Walfrid Kujala, and Peter Peter Verhoyen during this masterclass
Verhoyen with Carl Hall as moderator, for a with volunteers from the audience. Bring
lively discussion with plenty of Q & A. your piccolo and plan to play!

44 The Flutist Quarterly Summer 2012 nfaonline.org PROGRAM AND SCHEDULE SUBJECT TO CHANGE
 Program and schedule subject to change
THURSDAY

Aldo Baerten Bonita Boyd Ian Clarke

11 am Learning to Play Music for Flute Dawn Grapes’ discussion of the origins of
Octavius 2 and Computer Debussy’s panflute voice and concludes
In this lecture/recital, Patricia Surman will with an actual staging of the translated
instruct flutists interested in performing scene from Gabriel Mourey’s play Psyche
interactive and fixed media computer for which Syrinx was composed.
music and will provide the tools needed to
begin exploring this musical genre. 11:30–11:55 am Exhibitor Showcase: Yamaha Corporation
Verona of America
11:30 am Coast to Coast: from Oregon
Octavius 22 to Connecticut 12 pm Flute Choir Lobby Concert
This recital features the flute studio of the Forum Lobby Featuring the Las Vegas Flute Ensemble
University of Oregon and the flute music and the Colorado State University Flute
of the Hartt School faculty composers. Choir.
Performers include Molly Barth, Janet
Arms, Thiago Sousa, Michelle Stockman, 12:30 pm An American Voice: A Robert
Arielle Burke, Kristen McGuire, Nick Octavius 8 Muczynski Retrospective
Goodwin, Jenny Hunt, and Mary Robert Muczynski’s quintessentially
Matthews. American works are among the most fre-
quently performed flute pieces worldwide.
11:30 am A Journey to Syrinx: Staging a Scene This concert highlights his most popular
Octavius 16 from Mourey’s Psyche works played by Brian Luce, Philip
This lecture/presentation begins with Dikeman, and Elizabeth Goode.

Caesars palace Conference Center

Featuring an elegant classical Roman
design, Caesars’ state-of-the-art meeting
facilities comprise 300,000 square feet of
space set apart from the action of the casino
yet just an elevator ride from guest rooms
in the Palace Tower. Caesars also features
seven swimming pools, 180 retail outlets,
and 45 restaurants and lounges with four
celebrity chefs.

THURSDAY, AUGUST 9 nfaonline.org Summer 2012 The Flutist Quarterly 45

 National Flute Association 40th Annual Convention
Las Vegas, Nevada, August 9–12, 2012

Aaron Goldman Jill Felber Gergely Ittzés

12:30 pm Harvey Sollberger: Music of Six nal arrangements in world music styles
Palace Decades with the World Flutes Ensemble. Bring
Harvey Sollberger has been highly influen- your flutes!
tial as a flutist, composer, conductor, and
teacher. This concert presents works from 1 pm Nurtured by Love
various phases of his career performed by Augustus 1 Join Rebecca Paluzzi, Wendy Stern, and
Jan Boland, Sydney Carlson, Leonard Cynthia Mann as they offer a demonstra-
Garrison, Jennifer Rhyne, Paul Taub, and tion of the Suzuki approach to develop-
Rachel Rudich. ing expressive playing in students of all
ages. This presentation includes audience
12:30 pm Steve Kujala’s Tutti Flutti participation, a question-and-answer ses-
Emperor Bring your flutes and music stands and sion, and performances by students from
join in this open reading of Tutti Flutti Las Vegas.
with parts for piccolos, flutes, and alto and
1 pm The Gilbert Legacy
bass flutes. This piece is the closing num-
Augustus 5–6 The mysteries of the invaluable teaching
ber of Steve Kujala’s show, Flutopia.
concepts and inspiring life of Geoffrey
Gilbert are unveiled through the sounds,
12:45 pm Piccolo Artist Competition: sights, and humor of his students, includ-
Milano 1–2 Semifinal Round ing Claudia Anderson, Jill Felber, Susan
Semifinalists are Jennifer Bouton, McQuinn, Rhonda Cassano, George Pope,
Zachariah Galatis, Bianca Rose Garcia, and Angeleita Floyd.
Mirjam Loestcher, Courtney Morton, and
Lauren Weidelich. Hillary Feibel, Piccolo 1:30 pm Getting It Together
Artist Competition coordinator. Octavius 16 Maria Harman presents practical tips for
creating and maintaining a successful
1 pm Brazilian Choro Workshop career in music, including use of technolo-
Octavius 2 Come learn the basics of Brazilian choro gy, networking, time management, and
music! Bring your flutes and join Rebecca “Taxes 101 for Musicians.”
Kleinmann as we explore stylistic nuances,
traditions, phrasing, rhythmic patterns, 1:30 pm Las Vegas Composers, Presented by
counterpoint, and the history of choro. Pisa-Palermo the Las Vegas Flute Club
The Las Vegas Flute Club presents a recital
1 pm Rubies! Flute Choir Reading Session of folk-inspired music of South America
Pompeian with Francesca Arnone and beyond written by UNLV faculty and
To honor our Ruby Anniversary, please other Las Vegas-based composers.
bring your flutes and join us in a flute choir
reading session featuring Newly Published 1:45–2:10 pm Exhibitor Showcase: Miyazawa Rising
Music Competition winners, convention Verona Stars, Part 1
commissions, and a few other favorites! Experience the incredible talent perform-
ing on Miyazawa as their flute of choice!
1 pm Groovin’ in Style Come hear Abi Coffer, Kenneth Cox, Eric
Octavius 22 A participatory workshop on improvisa- Maul and Emily Potter in performance.
tion and rhythmic grooves featuring origi- Miyazawa.

46 The Flutist Quarterly Summer 2012 nfaonline.org PROGRAM AND SCHEDULE SUBJECT TO CHANGE
 Program and schedule subject to change
THURSDAY

Desert Echoes Flute Project Jim Walker

2 pm From Rubles to Rubies: in concert! NMA members Dianne

Octavius 8 Russian Chamber Music Aitken, Peter Bacchus, Molly Barth, Lisa
Saluting the NFA’s delegation that trav- Bost-Sandberg, Sarah Brady, Valerie
eled to the Soviet Union in 1989, this Coleman, Stephanie Jutt, Greg Pattillo,
concert presents three lesser-known Carla Rees, Patricia Spencer, and Paul
Russian chamber music gems, topped off Taub perform radiant solo and chamber
with the Prokofiev sonata, performed by works written by NMA members and
flutists Lee Ann Chivers, Yvonne Chavez commissionees.
Hansbrough, Virginia Broffitt, and
Jonathan Snowden. 2:30 pm Let’s Dance and Orate Bach’s B
Octavius 22 Minor Suite
2 pm Showcase #1: Happy Birthday! Learn to perform simple Baroque dance
Augustus 4 In honor of the NFA’s 40th anniversary, steps to the notes égales (steady values) of
this birthday concert features composers each movement and to declaim each
and works that celebrate significant mile- melody as a poetic oration! Betty Bang
stones this year: Thom Ritter George’s Mather lectures with the assistance of
70th birthday, the 150th anniversary of demonstrators Elizabeth Sadilek-
Debussy’s birth and 100th anniversary of Labenski, flute; Julie Hobbs, piano; and
Escher’s birth, and the 100th anniversary Joanne Chadima and Tamara Maddaford,
of Pierrot Lunaire. Flutists include Gerald Baroque dance. All willing attendees are
Carey, Michelle Cheramy, Patricia invited to dance and orate the start of
George, Ellen Grycky, Adah Toland Jones, each air.
and Kristen Stoner.
2:30–2:55 pm Exhibitor Showcase: Rockstar Flutist
2 pm Masterclass Circle: Low Flutes Sarah Jane Hargis, presenter. Sherry’s
Palace Advice from the pros! Check out one of Flute Repair and Sales.
the exciting new events of the 2012 con-
vention: “Masterclass Circles” will feature 3 pm Contemporary Mexican Music
some of the world’s greatest teachers of Octavius 16 for Flute
low flutes and allow attendees to drop in This lecture-recital discusses the back-
for individual advice and mini-coachings. ground and composition of three con-
Everyone is encouraged to bring alto temporary Mexican solo flute works and
and/or bass flutes and questions, visit up presents them in performance. Also fea-
to six stations, and receive feedback from tured are interviews with the composers,
these fabulous experts in a casual envi- who express their ideas on the perform-
ronment. Pros include Marion Garver ance of their pieces and on the contem-
Fredrickson, Paige Dashner Long, porary repertoire in general.
Christine Potter, Carla Rees, Peter
Sheridan, and Kelly Mollnow Wilson. 3 pm Gems for Quartets
Pisa-Palermo Come enjoy the Scirocco Woodwind
2 pm Reaction Al2O3:Cr—Ruby Reactions Quartet and the Sonoran Silver Flute
Emperor from the New Music Advisory Quartet in recital, featuring flutists
Committee Elizabeth Goode, Lee Ann Chivers, Karen
The NFA New Music Advisory committee Merry, Jeanie Pierce, and Nancy Sowers.

THURSDAY, AUGUST 9 nfaonline.org Summer 2012 The Flutist Quarterly 47

 National Flute Association 40th Annual Convention
Las Vegas, Nevada, August 9–12, 2012

Leone Buyse Camellia City Flute Choir

3 pm Quatorze Etudes-Arabesques pour 5 pm Ruby Thursday

Augustus 1 Flute by Eugene Bozza: An Approach Pisa-Palermo A smorgasbord of flutists presents a recital
Patricia Harper presents a discussion of in which all of the featured works have
these challenging etudes, with performed food-related titles and are “served” in
excerpts, addressing the question of why proper course order. You could say that
they were written originally: to educate attending a great concert is as satisfying as
or to self-promote? a good meal! Our “chefs” include Rebecca
Johnson, Melissa Keeling, Deanna Little,
3 pm Flute Choir Showcase #1 Stephanie Rea, Kallie Rogers, and Lisa
Pompeian Featuring the Stanford Flute Ensemble and Schroeder.
the New Mexico State University Flute
Ensemble. 5 pm The Deep and Wide of It:
Octavius 16 Live Vibrato Analysis
4 pm Visit the Exhibits Shelly Granger demonstrates how sound
Forum Be sure to take advantage of this free hour analysis software can be used to teach and
Exhibit Hall to visit the Forum Exhibit Hall! analyze vibrato and pitch. Peek into the
future of information-rich imaging!
5 pm Happy Hour with Kata-Vento
Octavius 8 Brazilian Quintet 5:45 pm NFA Dine-Around for New
Hot Brazilian rhythms and dynamic Meet near Convention Attendees: In Memory
improvisations! Composer Carlos Oliveira the Milano of Myrna Brown
explores Kata-Vento’s unique instrumenta- Registration The tradition of Myrna Brown Dine-
tion with rich harmonies often evocative of Desk Arounds was established to carry on the
pifano flutes of his native Northeast Brazil; friendliness of the NFA during its growing
with flutists Sonia Caltvedt, Rebecca years under the direction of Myrna Brown.
Kleinmann, and Chloe Scott. All NFA members are invited to meet for
dinner before the evening concert.
5 pm Jump-Start Your Teaching and Get Individuals pay for their own meals.
Augustus 1 Paid What You’re Worth! Groups of no more than eight will be led
Want a waiting list of students eager to be by an active NFA member to a nearby
in your studio? Bonnie Blanchard shares restaurant for an opportunity to meet
strategies to become a respected, well-paid other flutists in a relaxed social setting.
professional with a fulfilling career.
7 pm Pre-Gala Lobby Concert
5 pm Low Flutes Interactive: Red Hot Tips Octavius Lobby Featuring the flute ensemble of the Utah
Pompeian and a Reading Session Flute Association under the direction of
This interactive and participatory work- Elizabeth Weissman.
shop will include tips from Paige Dashner
Long for performing on low flutes and will 8 pm Generations of Excellence Gala
be followed by a reading session with Augustus 5–6 Concert
Christine Potter of duets, trios, and quartets Celebrate the NFA throughout its 40 years,
for low flutes. beginning with the Ruby All-Stars Flute

48 The Flutist Quarterly Summer 2012 nfaonline.org PROGRAM AND SCHEDULE SUBJECT TO CHANGE
 Program and schedule subject to change
FRIDAY

DeMarre McGill Mimi Stillman Greg Pattillo

Orchestra featuring luminaries of our Kallie Rogers, and Lisa Schroeder. Ellen
organization’s history conducted by Johnson, chair of the Career and Artistic
Angeleita Floyd. NFA archivist and Development Committee.
National Service Award recipient Nancy
Toff will narrate an entertaining multi- 8 am Holistic Practice: Practicing for the
media tribute, and our dynamic evening Octavius 22 Whole Musician
performances continue with Ian Clarke, Holistic Practice is a focused, self-aware
assisted by Aaron Goldman and Gergely method of practice that incorporates Body
Ittzés, and Demarre McGill joined by Mapping, Alexander Technique, yoga, and
Jasmine Choi. Jim Walker and Free Flight performance psychology, maximizing prac-
will cap off the gala by performing their tice time while minimizing stress. Led by
arrangements and original compositions Alexis Del Palazzo.
from 30 years of collaboration.
8 am Pilates and Physics: The Healthy,
10:30 pm Thursday Late Nite: World Flutes Octavius 16 Resonant Flutist
Octavius 8 Cabaret Interlochen Arts Academy instructors of
Relax with the World Flutes Ensemble as it
flute, pilates, and physics will explain and
performs original arrangements of jazz,
demonstrate their research on the benefits
dances, and popular songs from Argentina,
of proper body alignment in flute per-
Brazil, and Turkey.
formance; hosted by Nancy Stagnitta.
10:30 pm Thursday Late Nite: Viviana in Vegas
Augustus 5–6 Viviana Guzman presents an “Evening of 8:30 am True North, Strong and Free: New
Culture, Glamour, and Passion” featuring Octavius 8 Works by Canadian Composers
classical, original, and traditional world Explore recent works for flute, flute duo,
music while displaying her own photogra- and flute quartet from contemporary
phy and videos. Canadian composers with Jessica Raposo
and Mark McGregor and Quartet Laurier:
Jennifer Brimson Cooper, Amy Hamilton,
friday, august 10 Jeff Stonehouse, and Heather Snowden.

8 am–5 pm Registration 8:30 am Truths and Trials of Auditioning for

Milano Milano 8 Music School
Registration Desk You have decided to be a college flute major
or apply for graduate school; here’s advice
8 am Making It Happen! Career and from those about to listen. Panel will
Octavius 2 Artistic Development Workshop Series: address choosing schools; how to prepare
Part I and present a repertoire list, resume, and a
Learn how to create and implement career pre-screening DVD or CD; different types
goals that fit your entrepreneurial vision of audition committees; and how to decide
during the transition from college to pro- which degree is right for you. Live audition
fessional life and beyond. Featured guests preparation will also be discussed. Katherine
include Lillian Burkart and Deanna Little Borst Jones, moderator, with Jill Felber, Amy
with guest panelists Jessica Dunnavant, Porter, Alexa Still, and Linda Toote.

FRIDAY, AUGUST 10 nfaonline.org Summer 2012 The Flutist Quarterly 49

 National Flute Association 40th Annual Convention
Las Vegas, Nevada, August 9–12, 2012

Amy Porter Lansing McLoskey Carla Rees

9 am Young Artist Competition: 10 am–5:30 pm Visit the Exhibits

Milano 1–2 Semifinal Round Forum
Virginia Broffitt, Young Artist Competition Exhibit Hall
coordinator.
10 am Begin with Excellence
9 am Composing a Classical Cadenza Octavius 16 This session provides practical tips for get-
Augustus 1 Explore the compositional process of the ting beginner flutists off to a good start
classical cadenza through the Mozart with tonguing, tone/vibrato, rhythms, and
Concerto in G Major. Meg Griffith guides reading. Applicable for both private studio
and group instruction. Bring your flute
participants as they create their own
and join in with Phyllis Avidan Louke.
cadenza in five simple steps.
10 am Masterclass with Peter-Lukas Graf
9 am Quarante! Augustus 5–6 Winners of the 2012 Masterclass
Augustus 4 Celebrate the NFA’s 40th à la française! Performers Competition play for Peter-
This all-French recital features works of Lukas Graf, internationally renowned
Proust, Guiot, Bozza, Damase, and flutist and pedagogue; with flutists
Françaix (on the 100th anniversary of his Hyunmin Choo, Hannah Hammel, and
birth) played by Nan Raphael, Emily Emily Rodovsky. Martha Councell-
Hoppe McKay, George Pope, Leonard Vargas, Masterclass Performers
Garrison, and Ann Yasinitsky. Competition coordinator.

9 am Bach for Modern Flutists 10 am Teaching Reinecke’s Undine Sonata

Pisa-Palermo Stephen Schultz instructs volunteers on Octavius 8 Nineteenth-century “water” motives are
each of the four movements of the solo utilized in this staple of the flute reper-
Partita, focusing on general stylistic princi- toire. A holistic approach, presented by
ples of 18th-century interpretation. John Bailey, will investigate the formal
Contact Schultz at ss@stephenschultz.net. and motivic structures of this four-
movement work.
9:15–9:40 am Exhibitor Showcase: Intro to a Career in
Verona KinderFlute™ 10 am Flute Choir Showcase #2
Discover the joy of instilling the love of Pompeian Featuring the Fisenden Flute Ensemble
music and flute in young children; and from Australia.
learn how to energize your flute career by 10–10:25 am Exhibitor Showcase: Miyazawa Rising
becoming a certified KinderFlute™ Verona Stars, Part 2
instructor. Kathy Blocki, presenter. Blocki Experience the incredible talent perform-
Flute Method LLC. ing on Miyazawa as their flute of choice!
Come hear Jessica Anastasio, Alex Ishov,
9:30 am Jack Wellbaum Tribute and Gina Luciani in performance.
Octavius 22 Family members, former students, friends, Miyazawa.
and colleagues pay tribute to the life of the
great piccoloist, teacher, and mentor Jack 10:30 am World Flute Traditions:
Wellbaum, 1922– 2011. Beth Chandler- Augustus 1 A Crash Course
Cahill and Nina Perlove, organizers. In essence the simplest of wind instruments,

50 The Flutist Quarterly Summer 2012 nfaonline.org PROGRAM AND SCHEDULE SUBJECT TO CHANGE
 Program and schedule subject to change
FRIDAY

Robert Dick Conservatory of Puerto Rico Flute Choir

the flute is found in virtually every culture Competition coordinator and Jennifer
and in every historical period from antiquity Robin Lau, Newly Published Music
to the present. In the modern world, the Competition coordinator.
flute continues to play a major role in virtu-
ally all folk and classical traditions. In a 11:30 am 40 BeLow: Solo and Chamber Music
wide-ranging presentation, World Music Octavius 22 for Low Flutes
Chair Peter Westbrook introduces the The Low Flutes Committee presents solo,
panorama of world flute traditions. chamber, and large ensemble music for low
flutes, including the world premiere of Low
10:45–11:10 am Exhibitor Showcase: The Carnegie Hall Flutes at High Tides by Matthias Ziegler.
Verona Royal Conservatory Achievement With performances by Susan Adragna,
Program Laura Benning, Sue Blessing, Karen Bjork,
Join Dr. Jennifer Snow and members of the Ellen Burr, Sharyn Byer, Karen Demsey,
Achievement Program for an introduction Marion Garver Fredrickson, Mariana
to this exciting program that supports Gariazzo, Andrea Graves, Lindsay Hager,
excellence in teaching and celebrates stu- Tracy Harris, Virginia Johnson, Karen
dents’ achievement through a national McLaughlin Large, Paige Dashner Long,
standard. Dr. Jennifer Snow, presenter. The Phyllis Avidan Louke, Marty Melicharek,
Carnegie Hall Royal Conservatory Martha Oestreich, Tereasa Payne, Chris
Achievement Program. Potter, Peter Sheridan, Wendy Stern, Penny
Zent, and Matthias Ziegler.
11 am How My Native American Flute Went
Octavius 2 Classical: James Pellerite, with Alexa Still 11:30 am Tried and True and Some Things
A lecture/demonstration/recital introduc- Pompeian New: Flute Choir Reading Session with
ing new music for solo Native American Katherine Borst Jones
flute, including first performances of com- This reading session features commission-
positions by David Yeagley, Randall Snyder, sand pieces performed often by Katherine
and John Heins. James Pellerite discusses Borst Jones and the Ohio State University
the blending of Native American tradition- Flute Troupe over the past 20 years. Bring
al styles with contemporary instrumental your flutes!
techniques and methodology for expand-
ing the musical and technical boundaries 11:30 am Flute Lovers’ Luncheon, with Leone
of the instrument. Joined by Alexa Still. Octavius 11 Buyse
Enjoy lunch and conversation with fellow
11 am Newly Published Music Concert flute enthusiasts! Leone Buyse, guest speaker.
Pisa-Palermo Flutists chosen from the Convention
Performers Competition perform winning 11:30 am The Flute in Tango, with Paulina Fain
works from the Newly Published Music Octavius 8 Hear the new development of the flute in
Competition. Flutists are Kristi Ballif, Ayca tango! Performance includes works by the
Cetin, Nancy Toone, and Whitney Farris Fain-Mantega Duo, duos of Piazzolla’s Six
O’Neal; composers are McIntyre, Hoover, Tango Etudes, and tango quartets. Featured
Currier, Coleman, and Folio. Sally flutists are Paulina Fain, Stephanie Jutt,
Humphreys, Convention Performers Sandy Schwoebel, and Elena Yárritu.

FRIDAY, AUGUST 10 nfaonline.org Summer 2012 The Flutist Quarterly 51

 National Flute Association 40th Annual Convention
Las Vegas, Nevada, August 9–12, 2012

Linda Toote Matthias Ziegler Ransom Wilson

11:30–11:55 am Exhibitor Showcase: What Does 1–1:25 pm Exhibitor Showcase: Two Generations
Verona Gemeinhardt Mean to You? Verona of Jazz Flute
Join Greg Pattillo, Ali Ryerson, Christine Two Pearl Artists, teacher and student, per-
Beard, and Nan Raphael as they demon- form Selections from the Great American Jazz
strate what Gemeinhardt means to them Songbook. Discussion will include teaching,
through the expression of their life’s pas- learning, and performing jazz from the per-
sion. Gemeinhardt Musical Instruments. spective of two different generations and will
include a brief product discussion of Pearl
12 pm FUNdamentals! Flutes. Holly Hofmann, Zachary Kellogg,
Octavius 16 This participatory workshop led by Mike Wofford, Tom Warrington, Larry
Cassandra Rondinelli Eisenreich, Julie Aberman, presenters. Pearl Flutes.
Hobbs, and Kelly Mollnow Wilson will
share innovative games and exercises for 1:45–2:10 pm Exhibitor Showcase: Nagahara Flutes
teaching body awareness and movement, Verona In Concert: Celebrating Vegas Stars
rhythm, and technique. Bring your flutes! Las Vegas Philharmonic principal flutist
Alexander Viazovtsev and Phantom of the
12 pm Flute Choir Lobby Concert Opera principal flutist Jennifer Kuk
Forum Lobby Featuring the Florida State University demonstrate the beauty and versatility of
Graduate Flute Ensemble and the Texas their Nagahara Flutes. Alexander
Tech University Flute Choir. Viazovtsev and Jennifer Kuk, presenters.
Nagahara Flutes.
12 pm Getting Started on Baroque Flute
Augustus 1 Enjoy your very first Baroque flute lesson 2:30 pm Jazz Flute Summit
in the company of your colleagues. Linda Octavius 8 The Jazz Flute Summit features Ali
Pereksta, Wendy Rolfe, and Nancy Ryerson, Sam Most, and Billy Kerr with the
Schneeloch-Bingham will provide the Mike Wofford Trio and special guest Holly
flutes as well as the instruction. Hofmann. Peter Verhoyen is featured with
pianist/composer Marc Matthys.
1 pm Cirque de la Flûte
Augustus One of the best things about NFA conven- 2:30 pm Remembrance and Healing Concert
tions is being able to meet and talk with Milano 1–2 A concert of music performed in memory
our colleagues, but we’re always running in of loved ones lost and cherished and dedi-
opposite directions! Cirque de la Flûte was cated to our families, friends, and mentors
created to remedy that, grouping us into who have inspired us. Performers include
areas of special interest/expertise and giv- Philip Dikeman, Cynthia Ellis, Leonard
ing us the chance to mix and mingle and Garrison, George Pope, Wendy Rolfe,
be entertained by a troupe of Las Vegas Diane Boyd Schultz, Patricia Spencer, and
acts. Cirque is the event everyone will be Darrin Thaves. George Pope, coordinator.
talking about, an event so cool, your pro-
gram chair team would like to make it 2:30 pm The Challenges—and Rewards—of
mandatory! This year’s inaugural Cirque is Milano 5–6 College Recruiting in Rural Areas
presented in memory of Vicki Bigley by Explore with college professors from all
her students. over North America creative solutions to

52 The Flutist Quarterly Summer 2012 nfaonline.org PROGRAM AND SCHEDULE SUBJECT TO CHANGE
 Program and schedule subject to change
FRIDAY

Peter-Lukas Graf Imani Winds

the problem of finding talented students. 3 pm Irish Flute for the Classical Flutist
Nicole Riner, moderator, with Shelley Octavius 2 Andra Bohnet shows everyone how to play
Collins, Tracy Doyle, Nicole Molumby, and Irish music in a way that will keep them
Laurel Swinden. from sounding like classical geeks. Bring
your flute and your ears!
2:30 pm Flute Choir Showcase #3
Pompeian Featuring the Venezuelan Flute Sextet, the 3 pm Memorizing Music Step by Step
Conservatory of Puerto Rico Flute Choir, Milano 8 Memorization is logical if our brains can
and Voces de Ehecatl. make sense of it. Molly Barth presents a
way to begin, using a Stockhausen piccolo
2:30–2:55 pm Exhibitor Showcase: NYC Duo solo as an example.
Verona A flute and guitar ensemble whose repertoire 3 pm Rubies in the Rough: Open Amateur
stretches beyond borders and across ages, Augustus 4 Masterclass with Lisa Garner Santa and
NYC Duo delves into classic chamber and Dianne Frazer
folk music from around the world. Jung-Yi Adult amateur flutists are selected from the
Alice Daugherty and Michael Gilsinan, pre- audience to participate in this fun master-
senters. Flute Center of New York. class format. Receive guidance from the
delightful team of Lisa Garner Santa, flute,
2:45 pm Commissioning New Repertoire: and Dianne Frazer, piano.
Octavius 22 A Journey of Discovery
Gain insight into the commissioning 3 pm TGIF!
process as the Hoeflicker/Reedy Duo Pisa-Palermo “TGIF!” provides a wonderful assortment
shares information about its commission- of flute and piccolo treats! Start your
ing project for alto flute and guitar and weekend with performances by Manuel
premieres new works by Foreman, Lich, Guerrero, Christine Beard, Michelle
Matheson, and Rabens. Stanley, Tracy Doyle, and Virginia Broffitt.

2:45 pm Legal Issues for Flutists 3 pm Committee Chairs Meeting

Octavius 16 This practical and engaging presentation Octavius 11
by Sara Anne Hook, MLS, MBA, JD, will
3:15–3:40 pm Exhibitor Showcase: Flute Security and
cover some of the major legal issues that Verona Protection
flutists should be aware of at all levels of Advances in the protection of valuable flutes
their careers. during every-day transportation, including
Carbon-Fibre construction, Tracking
2:45 pm The World of Louis Fleury: Lecture devices, shock-absorbing materials and
Augustus 1 Nancy Toff will give an illustrated lecture ultra-compact designs. Howard Wiseman,
on Louis Fleury, the flutist who premiered presenter. Wiseman Cases-London.
Debussy’s Syrinx and succeeded Barrère as
director of the Société Moderne 4 pm Visit the Exhibits
d’Instruments à Vent. She will provide Forum Be sure to take advantage of this free hour
details of his promotion of new woodwind Exhibit Hall to visit the Forum Exhibit Hall! NFA board
music and his involvement in the Baroque members will be available to visit with at
revival in early 20th-century Europe. the NFA Booth. Stop by and say hello.

FRIDAY, AUGUST 10 nfaonline.org Summer 2012 The Flutist Quarterly 53

 National Flute Association 40th Annual Convention
Las Vegas, Nevada, August 9–12, 2012

5 pm Sonatas and Slots: A Baroque Recital 8 pm Lifetime Achievement Award

Pisa-Palermo with Stephen Schultz and Nancy Hadden Augustus 5–6 Winners Gala Concert
Baroque flutist Stephen Schultz performs a The Friday night gala concert starts with
program of Telemann, J.S. Bach, and W.F. the Imani Winds performing the winning
Bach, joined by Nancy Hadden. composition of the Joint Wind Quintet
Project competition: Hardwood by Lansing
5 pm Short and Sweet McLoskey. The balance of the evening is a
Milano 5–6 A potpourri of brief works for flute, this tribute to this year’s Lifetime Achievement
recital includes 12 pieces, each under five Award recipients, Betty Bang Mather and
minutes! Flutists are Emily McKay, Amy Bonita Boyd. Coordinated by Claudia
Morris, Sue Ann Kahn, Peter Sheridan, Anderson, many of Mather’s former stu-
Yvonne Chavez Hansbrough, Kathryn dents will present works dedicated to or
inspired by Mather’s innovative teaching
Scarbrough, Katherine Borst Jones,
in Baroque and contemporary genres.
Regina Helcher Yost, Amy Likar, and Rena
The evening concludes with Bonita Boyd
Urso-Trapani.
performing works for flute and percus-
sion with Eastman School of Music
5 pm Happy Hour with Wouter Kellerman Professor of Percussion Michael Burritt.
Octavius 8 SAMA (South African Grammy) winner This concert will prove to be one of the
Wouter Kellerman performs with his gui- highlights of the convention!
tarist, singer, and bassist. Come and experi-
ence an exciting fusion of musical elements 10:30 pm Friday Late Nite: Jim Walker and
and influences! Octavius 8 Free Flight
Jim Walker and Free Flight, featuring Mike
5 pm Tuning for Flutists Garson, performs its distinctive
Octavius 16 Peter Middleton offers a multi-media pres- classical/jazz renditions in a “club” setting.
entation covering factors that influence Special guests will be invited to sit in
tuning; an overview of methods and recent throughout the evening.
research on how musicians hear pitch; and
10:30 pm Third Annual Traditional Irish
suggestions on ways to improve intonation.
Milano 5–6 Session: Version 1.0 with Leo
Mac Namara and Friends
5 pm Healing: Using the Native American Bring your instruments and share some
Augustus 1 Flute as a Tool for Meditation tunes! Leo Mac Namara will lead a tradi-
Unwind with the Native American tional Irish session. Players of any ability or
flute…originally for courting…now used experience level can participate. Slainté!
for healing. Gera Clark demonstrates med-
itation techniques while incorporating a 10:30 pm Friday Late Nite: Spanish
visual/music presentation of Letting Go. Pisa-Palermo Composers of the XX-XXI Centuries
From Valencia, Spain, the Gelós-Santes
5 pm Showcase #2: Gems for Flute flute and guitar duo will perform exciting
Augustus 4–6 Come enjoy a concert of your old favorites recent works by Spanish composers includ-
for flute including works by Fauré, ing a world premiere of Haiku del Aire by
Persichetti, Doppler, Dutilleux, Telemann, Mario Carro.
and Hindemith played by Christine
Harper, Shelley Binder, Paul Fried,
Catherine Ramirez, and Robert Dick. Saturday, august 11
6 pm Exhibitors Concert 8 am–5 pm Registration
Milano
Milano 1–2 Come hear employees of our exhibiting
Registration Desk
companies in recital; performers are Ellen
Burr, Daniel Dalarossa, Daniel Dorff, Matt 8 am Making It Happen! Career and
Johnston, Kasumi Leonard, Ervin Monroe, Octavius 2 Artistic Development Workshop Series:
Gina Sebastian, Emily Senchuk, and Eileen Part II
Yarrison. Organized by Rebecca Johnson. Making your ideal career and artistic vision
a reality requires fortitude. Come explore
7 pm Pre-Gala Lobby Concert the inner workings of successful flutists
Octavius Lobby Featuring the Camellia City Flute Choir who think outside of the box! The
under the direction of Martin Melicharek III. Saturday sessions provide guidance for

54 The Flutist Quarterly Summer 2012 nfaonline.org PROGRAM AND SCHEDULE SUBJECT TO CHANGE
 Program and schedule subject to change

SATURDAY
flutists seeking to expand or rejuvenate 9 am Workshop with Imani Winds and
their artistic vision and voice. Dare to be Octavius 22 Lansing McLoskey: Hardwood, the Joint
you! The “Artistic Development” workshop Woodwind Quintet Project Winner!
features guest Valerie Coleman of Imani Lansing McLoskey, winner of the JWQP
Winds; the “Finding Your Artistic Voice” commission, will discuss, with Imani
workshop is led by Eva Amsler with guest Winds, his new work for wind quintet,
panelists Deanna Bertsche Hamm, Hardwood. Come hear about this exciting
Stephanie Jutt, and Matthias Ziegler. Ellen collaboration!
Johnson, chair of Career and Artistic
Development Committee. 9 am Yoga for Flutists
Florentine 3–4 “Yoga for Flutists,” led by Yvonne Chavez
8 am Finding the Spirit from Within Hansbrough, is designed for flutists of all
Octavius 8 Drawing on theater, dance, analytical tech- ages and will include guided meditation
niques, and historical perspective, Mark and visualization, pranayama (breathing),
Dannenbring will take the audience and asanas (postures). Bring your yoga mat
through his process of making interpretive and wear comfortable clothing.
performance decisions.
8 am Free Your Arms! 9:30 am Norwegian Sounds
Augustus 1 In this fun and lively lecture, Kimberly Octavius 16 Norwegian Sounds, a project of profes-
Clark explores movement of the arms, sional flutists and students from
wrists, and hands, using principles of Body Trondheim, Norway, will present a pro-
Mapping and Alexander Technique. gram of exclusively Norwegian music, with
visuals, sound clips, and Norwegian folk
8 am Morning Mobility costumes, and featuring the Norwegian
Octavius 16 Come get a personal training session just for instrument Seljeflute.
flutists! Angela Joy McCuiston guides partic-
ipants in how to stretch and warm up prop- 9:30 am The World of Louis Fleury: Recital
erly to play well, live well, and prevent injury. Octavius 8 Katherine Borst Jones, Wendy Herbener
Mehne, Aaron Goldman, Alyce Johnson,
8:30 am Teachers’ Breakfast: A Feast of Ideas Leone Buyse, and Don Hulbert perform
Octavius 11 with Walfrid Kujala works of Debussy, Ibert, Ravel, Koechlin,
The Teachers’ Breakfast, in its third year, Bréville, Granom, Hahn, Tansman,
will continue the tradition of offering a Roussel, Schoenberg, and Scott that were
hearty breakfast and the opportunity to dedicated to and/or premiered by Louis
hear words of wisdom from a well-known Fleury. Concert is curated by Nancy Toff.
flutist and pedagogue. This year’s speaker
will be Walfrid Kujala! A question-and- 9:45 am Open Rehearsal with NFA Collegiate
answer session for attendees will follow Pompeian Flute Choir: The Rattlesnake
Kujala’s presentation. Sponsored by the The Rattlesnake combines extended and
Pedagogy Committee, Stacey Steele, chair. classical writing. It takes listeners to the
heart of the desert, revealing the wind,
8:30 am Commercial Members Meeting
sand, and snakes! Join composer Sophie
Milano 8
Dufeutrelle in an open rehearsal as she
9 am Orchestral Audition Competition guides members of the NFA Collegiate
Milano 5–6 Finalists are James Brinkmann, Hannah Flute Choir in a rehearsal of this piece.
Leffler, and Analiese Trimber. Jennifer
Parker-Harley, Orchestral 10 am–5:30 pm Visit the Exhibits
Audition/Masterclass coordinator. Forum
Exhibit Hall
9 am Pastiche: A Chamber Recital
Pisa-Palermo This program features the flute in combi- 10 am Composers Forum
nation with various instruments in a Milano 8 Many of the composers whose works
wide variety of repertoire including are included at the convention will be
works for flute and guitar; flute and involved in this panel discussion moder-
clarinet; flute and cello; flute, oboe, and ated by Molly Barth. Audience members
piano; and flute and jazz guitar. Flutists are encouraged to come prepared with
include Erica Coutsouridis, Joanna questions for composers Gergely Ittzés,
Cowan White, Judith Ranheim, Brent Tom Lopez, Leanna Primiani, and Harvey
Register, and Nancy Stagnitta. Sollberger.

SATURDAY, AUGUST 11 nfaonline.org Summer 2012 The Flutist Quarterly 55

 National Flute Association 40th Annual Convention
Las Vegas, Nevada, August 9–12, 2012

10 am Technology for Today and Jennifer Brimson Cooper, who focuses on

Augustus 1 Tomorrow selected contemporary Canadian works
Francesca Arnone moderates this action- for flute and piano illustrating styles across
packed panel reviewing technology available three main Canadian musical regions.
to today’s flutist. Jim Walker, Nina Perlove, The second half of the program is a lec-
and Linda Howard share their best practices ture/recital of not-yet-published, innovative
to empower music-making and teaching. flute music by the living Brazilian composer
Hermeto Pascoal, collected and curated by
10 am Orchestral Audition Masterclass his close colleague Jovino Santos Neto,
Milano 5–6 with Bonita Boyd and Friends with Paul Taub.
Bonnie Boyd, with the assistance of her fel-
low judges, leads the Orchestral Audition 11 am Yahtzee!
Masterclass for the winners of the Pisa-Palermo “Yahtzee!” features music for one, two,
Orchestral Audition competition. three, and four flutists. Performers are
10–10:25 am Exhibitor Showcase: The Flutist’s Kathleen Melago, Laura Benning, Keith
Milano 4 Handbook: A Pedagogy Anthology, Vol. 2 Hanlon, Alexandra Aguirre, Nathaniel
Created as a companion to the NFA’s 1998 Berman, Brielle Frost, Joan da Silva Heit,
publication, this anthology contains 40 Nancy Mulholland, and Jill Thomassen.
articles by flutists around the globe.
Articles on tone, technique, technology, 11:30 am Favorites from Around the World:
and more make this a necessary resource Pompeian Flute Choir Reading Session with
for any flutist. Holly Clemans, presenter. Shelley Collins
NFA Pedagogy Committee Bring your flutes to take a musical trip
around the world in this flute choir read-
10:30 am Baroque Artist Competition: ing session directed by Shelley Collins.
Florentine 1–2 Final Round
Nancy Schneeloch-Bingham, Baroque 11:30 am Piccolo Artist Competition:
Flute Artist Competition coordinator. Milano 1–2 Final Round
Hillary Feibel, Piccolo Artist Competition
10:30 am Contemporary Sounds for Flute coordinator.
Octavius 2 This concert features some of the out-
standing “new music” written for flute, 11:30 am Down and Up and Forward Flow
opening with a bouquet of pieces written Augustus 1 This participatory masterclass with
for (and played by) Patricia Spencer and Patricia George will explore the down
followed by three pieces for flute and elec- and up and forward flow phrasing ges-
tronics. Christine Beard plays Mario tures. Bring your flute!
Davidovsky’s Synchronisms No. 1 for flute
and electronic sounds, the first electro- 11:30 am Sonic Visions with Matthias Ziegler
acoustic piece written for flute, in celebra- Augustus 5–6 and Ian Clarke
tion of its 50th anniversary. The concert Expression through innovation! These
closes with Nico Mulhy’s Radiant Music, European flutists share their musical
written for and played by Alice K. Dade, visions in an innovative program that
and Kelly Mollnow Wilson performing includes many of their compositions and
Espaces Pointillés with composer Tom highlights their own personal artistry.
Lopez providing live electronics. Microsound structures, micro-tones,
10:45–11:10 am Exhibitor Showcase: Muramatsu color fingerings, and more...but as a
Milano 8 Technicians Forum means to a creative musical experience,
A discussion regarding the importance of with the whole being more than the sum
using certified Muramatsu technicians and of any of these parts!
description of the new Muramatsu initia-
tive for expansion of service in the 11:30 am Amateur Roundtable Brown
Americas. Hiroshi Aoki, Jeff Buick, Kaoru Octavius 11 Bag Lunch
Noda, presenters. Muramatsu America. Bring your lunch, meet your Amateur
Resources Committee members, and dis-
11 am Beyond Our Borders—Two Lecture cuss ideas for amateur events, projects, and
Octavius 16 Recitals: Canadian and Brazilian Music promotion of amateurs and adult aficiona-
for Flute and Piano dos within the NFA. Ann Konopinski,
This dual lecture/recital commences with Amateur Resources Committee chair.

56 The Flutist Quarterly Summer 2012 nfaonline.org PROGRAM AND SCHEDULE SUBJECT TO CHANGE
 Program and schedule subject to change

SATURDAY
12 pm Flute Choir Lobby Concert ent, by her former students, who span gen-
Forum Lobby Featuring the Arizona Flute Society Alla erations from the 1950s to the 1990s.
Breve Flute Choir and the KFEA Flute
Orchestra. 1 pm Celebrating NFA Commissions
Pisa-Palermo This concert showcases some of the great
12 pm Jazz Flute Big Band Reading Session NFA-commissioned works from the past.
Octavius 8 Led by Ali Ryerson, this session is open to Works will include pieces from the 25th
all flutists (piccolo, C, alto, bass, contra). Anniversary, Young Artist, and High School
Play exciting jazz arrangements with the Soloist competitions and the Piccolo Artist
JFBB rhythm section (piano, bass, drums). Competition. Performers include Virginia
Broffitt, Martha Councell-Vargas, Rebecca
12:15 pm Masterclass Circle: Flutes Johnson, Deanna Little, Meerenai Shim,
Florentine 1–4 Advice from the pros! Check out one of Kimberly Clark, and Amy Likar.
the exciting new events of the 2012 con-
vention: “Masterclass Circles” will feature 1 pm Flutes, Loops, and Laptops
some of the world’s greatest teachers of Octavius 2 Dave Weiss and Greg Pattillo demonstrate
flute and allow attendees to drop in for playing flutes with laptops for practice,
individual advice and mini-coachings. recording, and live performance—working
Everyone is encouraged to bring flutes and with loops, dance remixes, plug-ins, pads,
questions, visit up to six stations, and sound sculpting software, and mixing.
receive feedback from these fabulous
experts in a casual environment. Pros 1 pm Frances Blaisdell: America’s Pioneer
include Angeleita Floyd, Nina Perlove, Milano 1–2 Female Flutist
Emily Skala, Jonathan Snowden, Alexa Still, Presented by the Special Publications
and Jim Walker. Committee’s Patricia Harper, this illustrat-
ed lecture focuses on the efforts and
12:30 pm Showcase #3: World Chamber achievements of American flutist Frances
Augustus 4 Concert Blaisdell (1912–2009). A selection of her
This concert features the flute and the pic- performances, now documented on the
colo with chamber ensembles—as both NFA’s newly released fifth CD in the
partner and soloist. The internationally Historic Recordings series, honors her
inspired and diverse works include Alwyn’s trailblazing work on this 100th-year
Concerto for Flute and Eight Wind anniversary of her birth.
Instruments, a variety of contemporary
chamber works by Puerto Rican com- 1 pm The Flute in Tango Workshop
posers, Richard Auldon Clark’s Four Octavius 16 Paulina Fain introduces all the elements of
Sketches for Flute and String Trio, and a playing tango on the flute, including
new piccolo concerto by Flemish composer Piazzolla’s music. Volunteers will be
Robert Groslot. Performers include John recruited to try some of these new tech-
Bailey, Josué Casillas, Christine Fish niques—so bring your flutes!
Moulton, and Peter Verhoyen.
1–1:25 pm Exhibitor Showcase: Flute Music of
1 pm Big Flutes/Small Hands Workshop Milano 8 Slovenia!
Pompeian Plus an Open Masterclass for Alto and Come hear some new releases from ALRY
Bass Flutists Publications featuring Slovenian com-
Kelly Mollnow Wilson will begin this posers Blaz Pucihar, Anže Rozman and Črt
workshop by exploring the physical chal- Sojar Voglar. Matt Johnston, presenter.
lenges presented by big flutes and helping ALRY Publications, LLC.
flutists find an efficient way to support
these instruments. Following will be an 1:45–2:10 pm Exhibitor Showcase: Flute 102: Mastering
open masterclass with Carla Rees on music Milano 8 the Basics with Patricia George and
for solo alto and bass flute. Open to all Phyllis Avidan Louke
abilities and experience levels. Bring your flute and discover how to use
this method in teaching and practice.
1 pm Betty, Bach, Berio, Baroque, and the Integrate etudes, solo repertoire, excerpts,
Augustus 1 Big Bang! A Tribute to Betty Bang Mather, duets, preluding, and contemporary tech-
2012 Lifetime Achievement Award Winner niques with activities to develop tone,
Memories, testimonials, performances, and vibrato, technique, and musicianship.
other shared tributes to Betty Bang Mather, George and Louke, presenters. Theodore
2012 Lifetime Achievement Award recipi- Presser Company.

SATURDAY, AUGUST 11 nfaonline.org Summer 2012 The Flutist Quarterly 57

 National Flute Association 40th Annual Convention
Las Vegas, Nevada, August 9–12, 2012

2 pm Circular Breathing: How To Do It Hulbert, Leone Buyse, Sue Ann Kahn,

Milano 8 and Why You Should! Katherine Fink, Patricia Spencer, and
Robert Dick will teach his revolutionary Mindy Kaufman.
method of learning circular breathing and
will demonstrate how circular breathing 3 pm Hot Off the Press!
can be used to enhance performance of Pisa-Palermo “Hot Off the Press” is a concert of pieces
repertoire from Baroque to contemporary. written within the last year—come hear
some very new works, including perform-
2 pm Reunion! ances of the High School Soloist and
Octavius 22 This collaborative concert features Mary Young Artist competitions commissioned
Karen Clardy and Trudy Kane performing works. Performers include Aaron
traditional flute repertoire of Bach, Kuhlau, Goldman, Christine Fish Moulton,
Liebermann, Sancan, and Schulhoff. Susan Greenberg, Leslie Timmons,
and Gergely Ittzés.
2 pm Misconceptions Regarding the
Florentine 3–4 Mozart Concerti 3 pm Composing the Musician’s Mind
Professor Chang-Kook Kim will present a Octavius 16 Explore the issue of “identity” as the
lecture on uncovering the wrong notes, primary barrier to success. Through
ornaments, articulations and trills often yoga psychology, Lisa Garner Santa
found in editions of the Mozart Concerti. will help participants uncover belief
Mihoko Watanabe serves as translator. patterns that perpetuate transpositional
behavior and learn solutions that lead
2:30 pm The Grand Tour to peak performance.
Milano 1–2 Journey with Jonathan Snowden, Mimi
Stillman, and Elena Durán as they take us
3 pm The Golden Age of the Flute and Harp
on a world tour though Mexico, France,
Augustus 1 Discover the wealth of original 18th- and
England, Switzerland, China, Argentina,
19th-century repertoire for flute and harp
the U.S., Italy, and Mexico. Bon voyage!
and the history of the duo in this lecture/
recital with the Lyrebird Ensemble—Ellen
2:30 pm Flute Choir Showcase #4
Huntington and Lillian Lau.
Pompeian Featuring the Stetson University Flute
Orchestra, the University of Utah Runnin’
Flutes, and the Desert Echoes Flute Project. 3 pm Baroque Meets Renaissance:
Florentine 1–2 Christopher Krueger and Nancy Hadden
2:30 pm 40 Things to Ask Your Doctor Christopher Krueger and Nancy Hadden
Octavius 2 Got pain? Get the most out of your visit present a varied program ranging from de
to healthcare professionals with a state- Rore to Quantz.
of-the-art questionnaire to help deter-
mine important information for diagno- 3:15–3:40 pm Exhibitor Showcase: Syrinx and the
sis and treatment. Panelists include Dr. Milano 8 Allemande—How to Extemporize on
Michael Weinstein, Amy Likar, and Lea Them and Come Out with a New Piece
Pearson, moderator. Keep the Allemande of the Partita vital and
alive, like a jazzer finding new ways of
2:30–2:55 pm Exhibitor Showcase: Introduction of the playing a favorite standard! Peter Bacchus,
Milano 8 New Closed and Open Hole Kingma and presenter. Falls House Press.
Brannen Alto Flute
Matthias Ziegler will present the new 4 pm Visit the Exhibits
closed and open hole Kingma and Brannen Forum Be sure to take advantage of this free hour
Alto Flute, as well as the Kingma Basses, Exhibit Hall to visit the Forum Exhibit Hall! NFA board
Contra and Subcontra. Matthias Ziegler, members will be available to visit at the
presenter. Kingma Flutes. NFA Booth. Stop by and say hello.

2:45 pm Barrère-iana: A Tribute to Nancy 5 pm A Tale of Two Countries: Austria

Octavius 8 Toff, 2012 National Service Award Winner Pisa-Palermo and France
A concert to honor Nancy Toff, recipient Explore the music of Austria and France as
of the 2012 National Service Award. The Elisabeth Moest and Sandra Church, with
program will feature music that was Francesca Arnone, perform the works of
dedicated to or premiered or championed Wolfgang Wagner, Josef Wölfl, and
by Georges Barrère. Flutists include Don Philippe Gaubert.

58 The Flutist Quarterly Summer 2012 nfaonline.org PROGRAM AND SCHEDULE SUBJECT TO CHANGE
 Program and schedule subject to change

SUNDAY
5 pm Three Continents 10:30 pm Saturday Late Nite: Jazz with Holly
Octavius 16 South America, Europe, and Asia are rep- Octavius 8 Hofmann
resented in music with these three works: This jazz quartet concert features Holly
sonatas by Brazilian composer Brenno Hofmann and an all-star trio playing blues,
Blauth and Edvard Grieg and Homage to bebop, and Brazilian jazz from the Great
Iran by Henry Cowell. Flutists are Sergio American Songbook.
Pallottelli, Michel Bellavance, and Alice
10:30 pm Saturday Late Nite: 21st-Century
K. Dade.
Augustus 1 Guide to the Flute and Guitar
From Argentinian tangos to Bulgarian
5 pm Succeeding as a Flutist with dances, Baroque sonatas to cutting-edge
Augustus 1 Rheumatoid Arthritis: the Role of commissions, the Agnew-McAllister Duo,
Therapy featuring flutist Aisling Agnew, demon-
September Payne shares her journey as a strates the huge popularity of flute and
professional flutist with rheumatoid arthri- guitar music worldwide.
tis, using biofeedback to master learned
relaxation responses to joint pain, reducing
muscle tension and allowing her to conquer Sunday, august 12
tendonitis. Discussions include selected
orchestral and solo excerpts that put excess 8 am–4 pm Registration
tension on specific joints and tendons. Milano
Registration
5 pm Lifetime Achievement Desk
Milano Foyer Award/National Service Award and 40th
Anniversary Reception 8 am The Petite Player: Position
All members are welcome to meet and Roman 2 Adjustments for Small Hands—Plus 40
greet; a cash bar will be available. Tips on How to Prevent Injury and
Play Better
Molly York shares her struggles and sugges-
5:45 pm Lifetime Achievement and National
tions as a flutist of small stature.
Milano 5–6 Service Awards Reception and Gala
Dinner 8 am The 40-Minute Practice Hour
Bonita Boyd, Betty Bang Mather, and Octavius 2 You don’t need to play to practice! Lea
Nancy Toff are honored. Pearson introduces strategies for imaginary
practicing and warm-ups to improve body
7 pm Pre-Gala Lobby Concert use, musicianship, and technique in limited
Octavius Lobby Featuring the Los Angeles Flute Orchestra practice time.
conducted by Ellen Burr.
8:30 am Upper Body Strength Training for
8 pm Concerto Gala Florentine 3–4 Flutists
Augustus 5–6 This year’s concerto gala is the epitome of Jennifer Rhyne will outline a fitness pro-
the 40th-anniversary theme, featuring NFA gram tailored to address muscle imbal-
ances caused by the asymmetrical posture
founders, presidents, program chairs,
required for playing the flute.
Lifetime Achievement Award winners,
mentors, orchestral players, professors, and
8:30 am 40 Years of Performing Flute Choirs:
soloists playing music ranging from Vivaldi Pisa-Palermo The Flute Choir as a Teaching Tool
to Mozart to world premieres! Concerto Panelists will discuss the history of their
soloists include Walfrid Kujala, Linda flute choirs and how they keep them going.
Toote, Amy Porter, Peter-Lukas Graf, Aldo Tips range from how to start a choir to
Baerten, and Alexa Still. Conducted by using the flute choir as a teaching tool.
Ransom Wilson. Panelists include Christine Beard, Adah
Jones, Janice Spooner, Pam Youngblood,
10:30 pm Third Annual Traditional Irish and Dolores August, moderator.
Milano 1–2 Session: Version 2.0 with Andra Bohnet
and Friends 8:30 am Bartók’s Folk Music Research
Bring your instruments and share some Augustus 4 Julia Tunstall demonstrates how Béla
tunes! Andra Bohnet will lead a traditional Bartók and Zoltán Kodály researched and
Irish session. Players of any ability and recorded the original folk dances and songs
experience level can participate. Slainté! used in the Suite Paysanne Hongroise.

SATURDAY, AUGUST 11 nfaonline.org Summer 2012 The Flutist Quarterly 59

 National Flute Association 40th Annual Convention
Las Vegas, Nevada, August 9–12, 2012

9 am Flute and Friends Jasmine Choi present a varied program

Octavius 22 “Flute and Friends” features the flute in that stretches from Bach to Paganini to
combination with a variety of instru- Clarke to Ittzés!
ments—the pairings range from standard
to quite unusual! Flutists include Katherine 9:30 am Phrasing 1.0: Architecture, Artistry,
Fink, Christopher Chaffee, Sarah Miles, Octavius 16 and the Breath
Diane Boyd-Schultz, and Ginny Atherton George Pope discusses using Moyse’s 24
and Frank Martinez of Bearaven. Petites Etudes Mélodiques as the starting
point for understanding the structure of
9 am Introduction to Beatbox Flute with music and developing skills for controlling
Augustus 1 Greg Pattillo the elements of performance that allow
This class with Greg Pattillo is a step-by- each of us to bring our music to life.
step introduction to beatboxing on your Presentation will include ideas about
flute focusing on three basic sounds every phrasing and how to use the breath.
beatboxing flutist needs. Bring your flute! Volunteers from the audience will play, so
bring your flute!
9 am Masterclass Circle: Piccolo
Roman 2 and 4 Advice from the pros! Check out one of 10 am–4 pm Visit the Exhibits
the exciting new events of the 2012 con- Forum
vention: “Masterclass Circles” will feature Exhibit Hall
some of the world’s greatest teachers of
piccolo and allow attendees to drop in for 10 am Professional Flute Choir Concert
individual advice and mini-coachings. Pompeian Featuring the two winners of the Flute Choir
Everyone is encouraged to bring piccolos Composition Competition, Alberto
and questions, visit up to five stations, and Guidobaldi’s Tarantella for 12 Flutes and
receive feedback from these fabulous David Gunn’s The Fifth Universal Principle of
experts in a casual environment. The pros Alignment. Clyde Mitchell conducts, with
include Cindy Ellis, Nicole Esposito, Carl flutists Janelle R.A. Barrera, Laura Benning,
Hall, Sarah Jackson, and Horacio Massone. Renee Bhatia, Lisa Book, Judy Diez d’Aux,
Adrienne Geffen, Dawn Grapes, Laura
9 am Two Worlds: Ethnic Flute Solos for Gustavsen, Cassy Hewett, Rose Johnson,
Octavius 8 Western Flute and the World Flutes that Cheryl Lamb, Brian Logan, Dorli McWayne,
Inspired Them Whitney Farris O’Neal, Kristin Osaki, Dan
A recital of western flute solos that have Parasky, Debra Schild, Lucy Snell, Christen
been written either in the style of world Stephens, Darrin Thaves, Lenora Warkentin,
music or to emulate a world flute. Each Kelly Via, and Penny Zent. Pamela
solo will be preceded by a short description Youngblood, Professional Flute Choir
and solo on the world flute that inspired it. Competition coordinator, and Paige
Dashner Long, Flute Choir Composition
9:30 am The Art of the Traverso Competition coordinator.
Florentine 1–2 This concert opens with Traverso Colore
performing original and transcribed works 10 am Mining for Gems! 40 Years of
for large Baroque flute ensemble by mem- Pisa-Palermo Flute Clubs and Societies
bers of the greatest generation of Baroque How to find and keep volunteers for your
composers: Boismortier, Handel, and organization. Raise them up, don’t use
Vivaldi. Featuring Eva Amsler, Jessica them up! This panel discussion will
Dunnavant, Carlos Feller, Ellen Johnson, include practical flute society tips from
Karen Large, and Sarah Jane Young. The Jessica Dunnavant, Ellen Johnson, Karen
showcase of Baroque flute playing con- Kontos, and Lynne Stukart. Moderated by
cludes with Magda Schwerzmann perform- Dolores August.
ing works by Nardini, Telemann, and
Boismortier. 10 am NFA Pedagogy Anthology LIVE!
Octavius 2 Two of the 40 Gems
9:30 am Bach to Baccarat The NFA Pedagogy Committee is pleased
Augustus 5–6 International flutists Gergely Ittzés and to present Bonnie Boyd and Trudy Kane,

60 The Flutist Quarterly Summer 2012 nfaonline.org PROGRAM AND SCHEDULE SUBJECT TO CHANGE
 Program and schedule subject to change

SUNDAY
two of the 40 authors whose words of wis- 11 am Gems from the NFA Anthology of
dom are included in the newly published Octavius 22 American Flute Music
Pedagogy Anthology, Volume 2! Hear outstanding American compositions
of the 20th century in this performance of
10:30 am Ten Rubies and Pearls of Wisdom: works selected from the NFA 20th
Florentine 3–4 Vibrant Activities to Boost Confident Anniversary Anthology of American Flute
Performing Music. Performers include Christopher
Don’t just stand there, do something! This Krueger, Wendy Rolfe, Shelley Collins,
workshop is all about achieving self-assur- Candice Behrmann, Erin McKibben,
ance, focus, and control on stage. Join Lindsay Carr Bartlett, Elise Schauer, and
Helen Spielman, performance anxiety Cynthia Ellis.
coach, for this fun, active class.
11:30 am O Fortuna
10:30 am Showcase #4: Kaleidoscope Pisa-Palermo “O Fortuna” celebrates the wealth of
Augustus 4 UK-based ensemble rarescale (Carla Rees music accessible to flutists and pic-
and Michael Oliva) presents new works for coloists. Nicole Esposito and Rogerio
flute/alto flute and electronics; Argentinian Wolf present a wide variety of repertoire
piccoloist Horacio Massone performs from composers Gaubert, Mower, Cervo,
works of Ginastera, Silva, and Lovreglio; and Dvorák. The program concludes with
and Catherine Ransom-Karoly plays C.P.E. Adrianne Greenbaum’s celebration of the
Bach, Gaubert, and Burton. gambling spirit with commissions,
klezmer, improvisations, and an on-the-
10:30 am Masterclass with Ransom Wilson spot audience encore.
Roman 2 Winners of the 2012 Masterclass
Performers Competition play French 11:30 am Collegiate Flute Choir Concert
repertoire for Ransom Wilson; flutists are Pompeian John Bailey conducts; flutists are Teresa
Allison Emerick, Bethany Padgett, and Sandragorsian, Aleksandra Tremblay, Clara
HyeJin Park. Martha Councell-Vargas, Manino, Danielle Stevens, Audrey Sulit,
Masterclass Performers Competition Katie Bakker (Dimick), Sean Adamiak,
coordinator.
Charles Page, Sarah Jackson, Sarrong
McIff, Margaret Gregory, Melissa Gaughan,
11 am American Classical Music Hall of Rayna Goldsmith, Jennifer Zarek, Amanda
Octavius 8 Fame Presents: FLUTE! Truong, Jana Havens, Clarice Miller,
A showcase of works by composers in the Kendra Kanaversky, Catie (Sarah) White,
American Classical Music Hall of Fame
Jeremy Jimenez, Deann Duncan, Delara
features flutists Amy Porter, Nina Perlove,
Hashemi, Amanda Sullivan, Sarah Cathryn
Joan Sparks, Kathy Karr, Heather Verbeck,
Wolf, and Adam Wisniewski. Dorli
Leone Buyse, Catherine Ramirez, and Beth
McWayne and Tabatha Easley, Collegiate
Chandler-Cahill.
Flute Choir Competition coordinators.
11 am Centered in Song: Schubert/Böhm
Octavius 16 and Ämirov 12 pm Young Artist Competition:
Francesca Arnone explores two highly con- Augustus 5–6 Final Round
trasting flute and piano works centered in Virginia Broffitt, Young Artist Competition
song: Schubert/Böhm’s Six Songs and coordinator.
Ämirov’s Six Pieces.
12 pm The Flutist of Sanssouci: Frederick
11 am Extreme Makeover: Flute Edition, Florentine 1–2 “the Great” as Composer and Performer
Augustus 1 with Jill Felber Mary Oleskiewicz presents this lecture-
An invigorating workout for all levels recital, which includes performances and
incorporating exercises to develop reso- commentary on several flute sonatas by
nance, projection, and focus with dramati- the virtuoso flutist, King Frederick “the
cally improved facility and flexibility. Led Great” (1712–1786), King of Prussia and
by Jill Felber. Bring your flute! pupil of Quantz.

SUNDAY, AUGUST 12 nfaonline.org Summer 2012 The Flutist Quarterly 61

 National Flute Association 40th Annual Convention
Las Vegas, Nevada, August 9–12, 2012

12 pm Interactive Guide to Flute Repair and 1:30 pm What To Do After College: So Many
Roman 4 Maintenance Augustus 1 Choices!
Flute repair experts give tips on things you Join Jan Boland, Michael Emmerson,
can do to keep your instruments in good Karen Garrison, Amara Guitry, Rebecca
playing condition. Johnson, Kana Marakoshi, Angela Joy
McCuiston, Kathy Melago, Nicole
12:30 pm Flute Choir Lobby Concert Molumby, Stephanie Pedretti, Chris Potter,
Forum Lobby Featuring the Central Arizona Flute Nicole Riner, and Ruth Ann Ritchie to dis-
Ensemble and the Pacific Flute Ensemble. cuss insightful ways to move your career
forward after college graduation, including
12:30 pm Alternate and Sensitive Fingerings jobs in artist management, academia, and
Octavius 2 Alternate fingerings improve technique, service in military bands as well as consid-
intonation, and musical sensitivity. Ervin erations for marketing of performance
Monroe discusses and illustrates flute ensembles and seeking study-abroad
structure, harmonics, and how to use alter- opportunities. This post-collegiate panel is
nate fingerings. Bring your flute! moderated by Lisa Garner Santa.

12:30 pm Generations of Excellence: 1:30 pm Flute Ensembles: The Next

Octavius 22 The Recital Augustus 4 Generation
Highlighting the legacy of excellence, we Ready to challenge your perception of what
feature Peter-Lukas Graf, Aldo Baerten, a flute trio can achieve, Tempest, from
England, brings an enterprising program
Peter Verhoyen, and Anke Lauwers (2010
from across the pond. Then, Flutronix pres-
Piccolo Artist winner) as teachers, stu-
ents “Plugged-IN: a Definitive Exploration
dents, and grandstudent performing a daz-
of Electro-Acoustic Music” to expose flutists
zling array of works for flute and piccolo.
to the vibrant and diverse repertoire cele-
brated and developed by the duo.
12:30 pm NFA Pedagogy Anthology LIVE!
Octavius 16 Two of the 40 Gems
1:45 pm A Tribute to Bonita Boyd, 2012
The NFA Pedagogy Committee is pleased
Roman 2 Lifetime Achievement Award Recipient
to present Jim Walker and Leonard
Join us in this celebration of Bonita Boyd’s
Garrison, two of the 40 authors whose
remarkable career as a performer, mentor,
words of wisdom are included in the newly and beloved friend to generations of
published Pedagogy Anthology, Volume 2. flutists. The creators of this concert collab-
orated to showcase the many ways Boyd
1 pm Jazz Soloist Competition Winners inspired each of them, not only in her own
Octavius 8 Recital artistry and signature repertoire but also in
Jazz Soloist Competition Coordinator the meaningful ways that she encouraged
Bryan Kennard. The recital features win- her students to find their individual voices.
ners Bill McBirnie and Kenny Stahl. The program features the contributions of
flutists from diverse professional back-
1 pm Practical Tips and Tricks Workshop grounds and eras, including Mindy
Florentine 3–4 on Clarke Repertoire Kaufman, Emily Skala, Aaron Goldman,
A practical workshop on key excerpts from Alyce Johnson, Donna Shin, Maria
Clarke’s repertoire with tips from Ian on Harding, Joanna Bassett, Jeffrey Barker,
how to approach his music and unlock the Gina Sebastian, Kasumi Leonard, Mihoko
learning process. Bring your flute! Watanabe, Jennifer Parker, Valerie Watts,
Cynthia Folio, Daria Binkowski, Amy
1:30 pm Made in America Hamilton, Jen Brown, and Hilary Abigana
Pisa-Palermo “Made in America” features recent and The Fourth Wall Ensemble.
American compositions for piccolo, flute,
and alto flute. Performers include Carl 2 pm High School Flute Choir Concert
Hall, Cristina Ballatori, Susan Greenberg, Pompeian Eva Amsler conducts flutists Oria
and Cindy Ann Broz. Alexander, Gabriela Nisly, Isaac Alter,

62 The Flutist Quarterly Summer 2012 nfaonline.org PROGRAM AND SCHEDULE SUBJECT TO CHANGE
 Program and schedule subject to change

SUNDAY
Zachary Arend, Bryan Baker, Haelin Cho,
Emily Duncan, Ashley Fleming, Ann
Green, Mimi Harding, Tasiaeafe Hiner,
Erin Keppner, Katja Kochvar, Rachel Li,
Cindy Lin, Laurella Lutz, Sarah Meidel,
Sarah Mitchener, Lucy Schermer, Gabrielle
Squillante, Katie Buchbinder, Charlotte
Zee, Becky Zhang, Belle Hutchins, Charlie
Jacobs, K’Deidra Morrison, and Charlotte
Zee. Ronda Benson Ford, National High
School Flute Choir coordinator.

2 pm Improvisation: A Fascinating
Octavius 16 Approach to Extended Techniques, with
Matthias Ziegler
Contemporary music often asks for sonic
areas we have never really experienced
before. Matthias Ziegler will assist flutists in
integrating new sounds into their own musi-
cal vocabulary through simple improvisa-
tional concepts in this engaging workshop.

2 pm Scale Mirrors: Whole Tone,

Octavius 2 Octatonic, Hexatonic, and Chromatic
Scales Made Easy!
As many staples of the flute repertoire drift
from a tonal center, mastery of symmetri-
cal scales is not only important but also
fun! Bring your flute and join Molly York
as we explore these scales.

2 pm Piccolo All Stars: Top 40!

Octavius 22 An all-piccolo chamber music recital fea-
tures Regina Helcher-Yost, Deborah Baron,
Carl Hall, and Sarah Jackson, with music
by Jan Bach, Dehnhard, Schocker (world
premiere!), Benshoof, and Waterhouse.

3 pm Visit the Exhibits

Forum Be sure to take advantage of this free
Exhibit Hall hour to visit the Forum Exhibit Hall!

4 pm “All the Things You Are”: Gala

Augustus Finale and Closing Ceremonies
Sadly, all good things—even NFA conven-
tions—must come to an end! But our 40th
anniversary festivities conclude with a cele-
bration of all things NFA—you don’t want
to miss the spectacular Las Vegas-style
grand finale, “All the Things You Are.” The
convention closes with the NFA’s tradition-
al performance by all convention attendees
of Bach’s Air.

SUNDAY, AUGUST 12 nfaonline.org Summer 2012 The Flutist Quarterly 63

 he
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Across
by Dolores August

the Miles
News about flute club and flute choir activities throughout the United States
Southeast Michigan Flute day with excitement for music and the flute. Students and
Association held its benefit con- professionals from all over the region attended the event,
cert and auction with the Motor which included an exhibition room with more than 12
City’s own jazz flutist, Alexander exhibitors of flute-related products. A flute ensemble show-
Zonjic, in October 2011. The case presented flute ensembles from Ohio and beyond. The
association’s 2012 events includ- guest artist for the 2012 convention was Jean Ferrandis, who
ed a concert and workshop given also led a masterclass that included the previous year’s winners
by In Sterio in February; William of the festival’s four competition divisions. (Previous guests
Bennett in recital and masterclass artists have included Marina Piccinini, Robert Dick, Alexa
Amy Porter
in March; and, in April, SEMFA’s Still, and Jim Walker.) The festival included four solo division
10th Annual Flute Festival featuring Trudy Kane as guest artist. competitions. Visit cofa.osu.edu or contact Katherine Borst
Competitions included the SEMFA High School Young Artist Jones at jones.6@osu.edu.
Competition, the Erv Monroe Young Artist Competition, and
SEMFA’s 10th Anniversary Flute Ensemble Composition The Nashville Flute Choir, under the direction of Karen
Competition. The SEMFA Flute Choir performed concerts in Mitchell, had several new members join the ensemble
Dexter, Ann Arbor, and Livonia, Michigan, under the direction through audition in 2011. The group had a busy holiday
of Jacqueline Wright and Kelsi Gautz. SEMFA was founded in season in November and December 2011. The choir per-
2002 by Amy Porter, professor at the University of Michigan formed five public and private concerts across Nashville.
School of Music, Theater, and Dance. Concert repertoire included selections from the choir’s 2010
CD In the Spirit of Christmas, which is available for purchase
Flutissimo! Flute Choir (Texas) finished its Christmas season through CD Baby and iTunes. Visit nashvilleflutechoir.com.
with the creation of a fundraiser cookbook, Flute Salad, fea-
turing recipes from the group’s members. The choir The Greater Cleveland Flute Society
thanks members Keri Holzschuh and Tina Slayton for the opened 2012 with a second members-
organization and printing of the books. Flutissimo! presented only recital and a pedagogy roundtable
a spring 2012 series, “Planes, Trains, and Automobiles” at mul- in January. In February, the group hosted
tiple dates and locations. Music included a Texas premiere of its student flute festival, featuring
“Contraptions” by Zach Sheets and a world premiere of “The Kimberlee Goodman as guest artist/clini-
Flying Scotsman” by Scottish composer Alex Abbott. The cian. In March, Shelley Binder was fea-
Flying Scotsman was considered the fastest train in Scotland in tured in a recital and masterclass; also fea-
Kimberlee Goodman
the early 20th century and ran between Edinburgh and tured in the concert event were Fay Adams
London. Abbott states in his notes that “the train” needs to on piano and Mary Ann Archer on flute. The program year
make its run in “less than 3-1/2 minutes!” Other pieces include concluded in April with the Cleveland Composers
Franz’s “Fun of Flying,” Louke’s “Oh, the Places We’ll See,” Connection Concert. This year’s concert featured nine com-
Clarke’s “Walk Like This,” and others. The 2011–2012 season positions—one for solo flute, four for flute and piano, and
will conclude with a performance for the MasterWorks Series four for ensemble.
sponsored by the Northeast Tarrant Arts Council June 21 at
the Hurst (Texas) Public Library. The Long Island Flute Club is proud to
announce the finalists and winners in
The Central Ohio Flute Asso- this year’s high school and college
ciation hosted its 29th annual competitions. In the college under-
convention April 14, 2012. The graduate division, the Samuel Baron
goal was to celebrate the music Memorial First Prize was awarded to
and instruments of the flute fam- Samantha Clarke, a sophomore at Long
ily with everything from ensem- Island University C.W. Post College. In
ble playing to solo competitions the high school division, the Harold
Jean Ferrandis and student recitals, filling the Judith Mendenhall Bennett Memorial First Prize was

nfaonline.org Summer 2012 The Flutist Quarterly 65

 SPOTLIGHT ACROSS THE MILES

Las Vegas Flute Club awarded to Leah Stevens; second prize went to Abigail
Senghese-Maier; third prize went to Brianna Munch; and
elcome to fabulous Las Vegas, flutists! It is truly an excit- fourth prize was given to Sudheer Nuggehalli. Four finalists
W ing time for us here. The Las Vegas Flute Club is proud to were Isabel Hanson, Becca Schaarschmidt, Michele Elena
Zarco, and Alexandra Leonardo. All winners and finalists
be a part of the vibrant cultural life in southern Nevada, and
we strive to enhance a busy local calendar with events that performed in concert on Sunday, March 11, at the Half
serve our diverse population of flutists. Hollow Hills Community Library; the concert was followed
Our organization was founded in 1987 by a group of teach- by the presentation of awards and a reception.
ers who wished to foster a flute community in Las Vegas. The Congratulations to all! On Sunday, May 6, the Long Island
LVFC Flute Choir was formed soon thereafter, and it fell to Flute Club ended its season with a recital by Judith
the current president of the club to lead the ensemble. The Mendenhall in the Red Ballroom at Old Westbury Gardens.
size of the ensemble has fluctuated over the years. However,
since the establishment of our new LVFC Flute Ensemble in The Raleigh Area Flute Association
2010 through the University of Nevada, Las Vegas, we have hosted Lebanese flutist Wissam
seen rapid growth. The amount of interest shown in two Boustany and Polish pianist Aleks
short years inspired us to set up monthly flute ensemble Szram in a March 18 concert.
reading sessions. These informal gatherings are a playing Boustany also presented master-
outlet for flutists who are unable to commit to the rehearsals classes at the University of North
and performances of the Flute Ensemble.
Carolina at Chapel Hill earlier
In addition to maintaining a thriving Flute Ensemble, one
that weekend. Fall 2012 events
include a September pedagogy
of our goals as a club is to host events that appeal to a wide
session led by RAFA’s profession-
variety of flutists. Each year we bring in a guest artist as part Wissam Boustany
al flutists and teachers and the
of our annual Flute Day. For that event this March, we host-
Flute Fair on November 10 with Greg Pattillo and Project
ed Jean Ferrandis in a masterclass and recital. For our young
Trio. Visit RaleighFlutes.org.
flutists, we offer masterclasses throughout the year taught
by local professionals to help students prepare for school
district auditions. For flutists of all ages, we present several
Boston’s Willow Flute Ensemble will present a concert fea-
turing newly arranged motets by Monteverdi, Bach, and
recitals every year featuring our LVFC Flute Ensemble, flute
Gesualdo at Harvard University Memorial Church May 5,
teachers, and flute students, and a summer recital at which
2012. This concert continues Willow’s year of bringing new
all members are invited to perform.
music for flute ensemble to varied audiences. Last February,
In outreach to our local community, one of our most
Willow performed new world music for flute ensemble at
recent developments is the creation of the LVFC Scholarship
Club Passim and schools in Cambridge. WFE has also col-
Program. With this, we aim to provide quality private flute
laborated with non-flute guest artists (percussion and
instruction to those who may not otherwise have access to
string bass). Visit WillowFluteEnsemble.com.
it. For the trial run of this program, we asked band directors
at selected schools to choose a dedicated flute student who
Quad City Flutes Unlimited presented its spring concert,
has not had the opportunity to study privately due to finan-
“Historical Harmonies,” May 4 at Asbury United
cial hardship. Each of our board members has volunteered
Methodist Church, Bettendorf, Iowa. The 21-member flute
to partner with a scholarship student for six weeks of free
choir took the audience chronologically through American
lessons. We are all very excited about this program, and we
history with The Mayflower Suite by McMichael,
sincerely hope to see it grow in future years.
Woodbridge Suite by Morse, Civil War Suite by Wood, and
Finally, we enthusiastically await the arrival of the 40th Annual
Western Suite by Caliendo. The program also featured two
NFA Convention. We are thrilled to present two concerts; one
movements from McMichael’s flute quartet Legends of the
will feature the LVFC Flute Ensemble and the second will feature Greenwood. Mary Kae Waytenick was director and Janet
local flutists performing works by Las Vegas composers. We are Stodd was artistic director for the program.
eager to share our Las Vegas flute community with all of you,
and we hope that you will join us for these performances!
In 2012, the Kansas City Flute Choir obtained its 501(c) (3)
Visit lasvegasfluteclub.com, become a fan on Facebook,
status. The intergenerational flute choir, under the direc-
or contact us at flutes@lasvegasfluteclub.com. We look for-
tion of Emily Smith, has been in existence since 2005. The
ward to seeing all of you in August! flute choir performed several concerts in the past year
including at two new venues: the Thimble Thursdays con-
—Clare Birmingham and Emma Pease-Byron cert series at Garment District Park in downtown Kansas
City and a holiday concert for the luminary walk at one of
Spotlight profiles active flute clubs and choirs. Articles are assigned in advance, Kansas City’s premier tourist attractions, Powell Gardens.
but we welcome queries from active organizations for consideration. Contact In the coming year, the newly nonprofit KC Flute Choir
Dolores August for information.

66 The Flutist Quarterly Summer 2012 nfaonline.org

Kansas City Flute Choir

hopes to expand its numbers and community outreach with

performances throughout the Kansas City metro area. Visit
kcflutechoir.org.

The Capital Area Flute Club (CAFC) from the surrounding

Albany, New York, area has been active in the 2011–2012
season. The club has experienced a growth in membership
following increased advertising and a detailed article in a local
newspaper. In December, members of the flute group per-
formed holiday music at the First Presbyterian Church in
Hudson, New York. In March, CAFC members performed at a
local senior center and again in April at the Grafton Senior
Center. Musical selections included “The George M. Cohen
Medley,” “You Made Me Love You,” and “Colonel Bogey
March.” The CAFC season concluded with a May concert fea-
turing flute choir music and small ensemble performances,
including a piccolo duet. Visit capitalflute@hotmail.com.

The Arizona Flute Society

kicked off its membership year
with Flute Camp June 13–16 at
Chapparal Christian Church.
Special guest artist Mary Karen
Clardy taught and performed.
Students were arranged into
ensembles and gave a concert at
camp’s closing, among other
activities. The AFS flute choir,
Mary Karen Clardy
Alla Breve, will perform at the
Las Vegas convention. Featured
will be Kelly Via playing piccolo on his own piccolo concerto.
“Autumn Affair” will be held September 23. This annual
fundraiser features a guest artist, silent auction, and hors
d’oeuvres and desserts. Proceeds go to a scholarship fund.

Send information about flute club activities, and high-resolution

images if available, to Dolores August, Flute Clubs Coordinator,
solored_august@yahoo.com.

nfaonline.org Summer 2012 The Flutist Quarterly 67

THE INNER FLUTE
A
s I was approaching my 21st birthday, my parents decid-
ed that they wanted to give me something truly special.
They thought about all the things that I enjoyed and
came to the realization that what gave me the most profound
pleasure was music. As an amateur flutist, I probably spent more
time than anything outside my school work playing the flute,
and when I wasn’t playing I was listening to music either at
home or in the concert hall.
Two of my parents’ dearest friends were the composer
George Rochberg and his wife, Gene. At the time, George was
a professor at the University of Pennsylvania, where my father
was also a professor.
What if their friend could compose a piece for flute just for
their daughter? What could be more special than that? They dis-
cussed the possibility with George, who gladly agreed to the
commission, and thus began the process of what was to culmi-
nate in Between Two Worlds (Ukiyo-e III): Five Images for Flute
and Piano, the third piece in George Rochberg’s Ukiyo-e series.
This was planned to be a surprise, all discussed and
arranged without my knowledge, and what a surprise it was
when I was told on my birthday that George Rochberg was
composing a piece for me!

Thank You, But…

Yes, I was very pleased. But looking back now, 30 years later, I
realize that at the time, I did not appreciate—was probably
not capable of appreciating—how truly special it was to have
a piece composed specifically for me, nor was I able to con-
ceive of how dear to me the piece eventually would become.
Karen E. Wolfgang-Swanson in 1977. When presented with the score about a year after my birth-
day, I was intimidated by all the black I saw, wondering
whether I had, or would ever have, the technique to play the

A Lifelong piece. And as someone who had some familiarity with

Rochberg’s music but who was, at the time, steeped in the glo-
ries of 19th-century Romantic music, I was wary of whether I
would understand it, musically, and—most scary of all—

Birthday whether I would…like it.

I was too fearful on all those fronts to try to learn it. And, as
with so many amateur musicians, I had packed up my flute,
my precious and treasured Haynes flute, when the demands of

Present life took hold. I didn’t think I would have the time to practice
while I was in law school, so I didn’t even try to maintain my
playing, resigned to having lost, even before it had begun, the
proverbial battle between work and pleasure.
The piece commissioned for this amateur In August 1983, Sue Ann Kahn was scheduled to give the
world premiere of the piece at the NFA convention with
flutist’s 21st birthday gave her something pianist Vladimir Sokoloff. I had spent the summer in London
she hadn’t anticipated: lessons about her- studying law and had then spent a few days sightseeing in
Paris, having planned to be back in time to see the premiere at
self and about her love of playing flute— the convention, which was conveniently in Philadelphia, my
not to mention the composer’s work home town.
itself, which she has made her mission to However, not a seasoned traveler, I did not realize that to
preserve my seat I had to “reconfirm” my flight back to New
share with fellow flutists. York, where I was then living, and, as a result, I lost my seat on
the plane. My travel agent was unable to find a seat on a flight
leaving within the next few days, so I would miss the world
by Karen E. Wolfgang-Swanson premiere of the piece written just for me!
68 The Flutist Quarterly Summer 2012 nfaonline.org
Family friends: Gene and George Rochberg. The handwritten score for Between Two Worlds by George Rochberg, dedicated to Karen Wolfgang, age 21.

The agent said that I should stay near the phone in case who had literally not touched the flute in the past 20 years
something opened up. In a world without cell phones, this would be permitted to join the choir. A hearty and very wel-
meant waiting in the hotel room. Stuck in a hotel room in an coming “yes” from Elly Ball, the director of the choir, and there
airport hotel outside Paris, being able neither to see the won- I was, standing in a room with other adult flutists, all with
ders of Paris nor to go home to a once-in-a-lifetime event, was children and other careers, playing music for the first time in
the closest to being in prison that I had (and have) ever come. two decades, for the sake of the pleasure it gave. I was quite
Several days went by, and I finally received a call from the intimidated at first, but I gradually became more comfortable
agent that a seat had opened up. However, he regretted to say, and began to look forward to the hour each week when we
the flight was to Philadelphia, not New York. would get together to play.
What incredible luck! The flight would land on the day of The yearning developed strength, and the feelings of a fun-
the premiere and, if on time, with just enough time for me to damental, elemental need that playing the flute had satisfied in
make it to the convention from the airport before the concert my former life began to stir and regain life. I wanted more
began. Luck stayed with me, and the flight was on time. I raced than playing just one hour a week. I asked if I could take flute
from the airport directly to the convention, ran to the concert lessons. Another very welcoming “yes.”
hall, luggage in tow, and made it—breathless, but in time! Several years went by during which I increased the frequen-
I wanted to understand and love the piece—I really did. cy of lessons to once a week, improved my playing, joined a
However, not only did the piece sound beyond my technical chamber music group coached by flutist Joseph Piscitelli,
capability, but what I heard was foreign to my still-young and added a music theory class with Edmund Niemann, an
traditionally trained ears, and it wasn’t until the excitement of instructor who is a champion of contemporary music…and
the adventure abated that I realized that I didn’t really know George Rochberg’s name started to come up.
what to make of the piece.
Hauntings from the Past
Life Whizzed By I began to be haunted by my piece—I had never played
With my flute packed away and my skills disappearing into through the whole piece, let alone truly learned it. I brought it
the ether, I succumbed to the demands of law school, then to my lesson one day, and Elly was ecstatic about the fact that a
practicing law, then raising two children, and the flute and piece of music had been written just for me. It was “my” piece
the piece receded to a state of dormancy for 20 years as life in a way that it was no one else’s, she impressed upon me. Her
whizzed by. enthusiasm became infectious, and I decided to try to learn it.
When my children started to take music lessons, a yearning After I started to work on it, I realized that I had a special
began to grow inside me for the lost pleasures I had had when opportunity to learn about the piece from the composer
I was young and so involved with music. I started questioning. himself! I called George and left a message that I was start-
Why had I given up something that was such an intrinsic part ing to study the piece intensively and that once I learned it well
of my life? How could I have given it up? enough to have an informed and intelligent conversation
I learned about an amateur adult flute choir at Hoff- about it, I would like to meet with him. He called right back
Barthelson Music School in Scarsdale, where my children were and left a message that he would love to sit down with me
taking lessons, and I gingerly approached, asking if a person and go over it.
nfaonline.org Summer 2012 The Flutist Quarterly 69
A LIFELONG BIRTHDAY PRESENT

The more I worked on the piece, the more I appreciated it

and the more I began to like, and then love, what I only then
started to think of as “my piece” rather than just the piece that
had been composed for my birthday.
I was getting to the point of feeling that I could have a
meaningful discussion of the piece with George. Then tragedy
struck. Rochberg fell ill, declined very rapidly, and passed
away. I mourned the loss of a dear friend, and I then mourned
the loss of the chance to learn about my piece from the com-
poser. I did not erase his message from my answering machine
for a very long time. I listened to it numerous times, and I
finally recorded it onto a cassette, which I still have and keep
with the score he gave me.
I was upset and discouraged, and I lay the piece aside, too George Rochberg’s writings, with a chapter on the piece, were later published.
dispirited to continue learning it.
Several more years went by, and George’s wife began to pub- After a year of devoted work, I finally performed the piece
lish his unpublished memoirs, letters, and manuscripts. In his that had been composed for me over half a lifetime earlier. I
memoir, published under the title Five Lines, Four Spaces, there gave the “Scarsdale premiere” at the music school. Surrounded
is a chapter devoted to the Ukiyo-e series in which he discuss- by friends and family, particularly my mother—who, with my
es my piece. I thought again about my piece. I must go back to father (who had died 10 years previously), had come up with
it. I must learn it. this wonderful idea—I found that performing it was a very
With renewed commitment, I decided to learn it inside and emotional experience for me, one I shall treasure always. My
out and then perform it. I couldn’t speak with the composer, piece was finally “my” piece in every sense of the word. I final-
but I decided to try the next best thing and seek out Sue Ann ly was able to invite it into my life, to envelope it, to share it,
Kahn, who had worked with him in preparation for the pre- and to make a permanent place for it to stay with me, and in
miere at the convention 25 years previously and who might be me, forever.
able to share with me what she had learned from him. She Although George Rochberg would never hear me play it, I
teaches at Mannes, and I live just half an hour away, so the stars gave a video of my performance to his wife. After she watched
it, she said that George would have approved of my perform-
were aligned. She very graciously met with me and went over the
ance. That meant the world to me.
piece with me, consulting the notes that she had taken during her
I then became a person with a mission. I wanted the whole
sessions with Rochberg, and I came away with a vicarious feeling
world to experience the beauty and wonder of this piece. I
of having worked with him, or at least with a feeling of having
overcame my inherent shyness enough to go up to performers
had a glimpse into his feelings about the piece.
after recitals and present them with the sheet music and tell
I pored over the piece. I spent a whole year working on it,
them what a wonderful piece it was. I sent cold e-mails about
studying it, thinking about it, talking about it, practicing it,
it to flutists. I told flutist-friends about it.
working on it in lessons. And I came to love it very dearly—
I discovered that it was slowly developing a following. I
every note of it, every one of George’s meticulous markings. It
learned that my wonderful high school flute teacher, Adeline
was definitely an inspiration that my teacher, Elly, thought it a
Tomasone, had performed it. I learned that flutist Alexa Still
terrific piece and that my accompanist, Jonathan Ackerman, was
had recorded it (and saw that George had given a nod of
enthusiastic about it as well, particularly as it is truly a work of approval to the recording in his memoir). I learned that my
chamber music with piano every bit as vital as the flute. childhood friend Bart Feller admired it and had even had
Elly continued to impress upon me that it is truly “my” some of his students work on it.
piece, that I am the only one in the world who can say this, and I have been working with Gene Rochberg on a treatise of
that even though I missed the opportunity to learn from the George’s, primarily theoretical, scheduled to be published this
composer himself, it is still my piece to learn and play and summer. I was able to share my copyediting and proofreading
interpret as I wish, in a way that no one else can. skills to help prepare it for presentation to the publisher, and I
helped to review the first set of proofs. Every time I take it up
Thank You, At Last to do some work, I smile inside, grateful that I had the benefit
After considerable work and time, I finally “got it”; I under- of the encouragement to learn and master the piece and grat-
stood it; I mastered it; I loved it; it became a part of me. ified that I finally had the courage, the determination, and the
How could I have waited 25 years to reach this point? I have maturity to make my piece truly my piece.
been reflecting on this question and have come to realize that at
age 21, I was just not ready to understand this piece. At that age Karen E. Wolfgang-Swanson, a former corporate lawyer, is a free-
I hadn’t had the experience, the knowledge, the breadth of expo- lance editor in the greater New York metropolitan area and
sure—not just to different types of music but to the complexities an avid amateur flutist. She takes particular pleasure in editing
and exigencies of the world—even to be able to understand it, let publications about music and has enjoyed helping to proofread
alone love it. This sounds like a cliché. But it is so true. the NFA convention program book for the past three conventions.
70 The Flutist Quarterly Summer 2012 nfaonline.org
NFA News
Updates on committee activities and other news of interest from the national office

National Flute Association

Rubies! Celebrating 40 Years

of Artistry and Vision

August 9-12, 2012

Las Vegas, Nevada
Caesars Palace

the Historic Recordings series—and the new volume of The

J oin us for Rubies! Celebrating 40 Years of Artistry and
Vision, the NFA’s 40th annual convention, to be held Flutist’s Handbook: A Pedagogy Anthology, with articles by
leading pedagogues on topics including pedagogy, tone,
August 9–12 in Las Vegas.
As always, a full-to-bursting exhibit hall will be featured, technique, performance, technology, the flutist’s health, and
with convenient hours throughout the convention because “the other flutes.”
You also can pick up plenty of other items from the peda-
you will need to make multiple visits to see it all. More than
gogy and special publications committees, incuding the
75 companies and organizations will be on hand to offer you
books Kincaidiana and Historic Recordings CDs featuring
information and plenty of products on all things flute. Joseph Mariano, Robert Willoughby, and Maurice Sharp.
Also, be sure to check out the NFA booth for informtion, Also featured are T-shirts, polo shirts, and sweat shirts
camaraderie, and connections—plus tons of resources! The with the NFA logo, this year’s Rubies! theme, and 2009’s
NFA booth is conveniently located near the registration desk Bright Lights Big City theme. You’ll also find hats, lanyards,
and will be open throughout the convention. and other wearable goodies.
Featured in 2012 are Frances Blaisdell—the latest CD in Stop by and say hello!

Burkart of Burkart Flutes & Piccolos and Valerie Coleman

T he Performance Health Care
Committee, chaired by Lea
Pearson, will host a special table at
of Imani Winds. Come benefit from their guidance on
how to build successful and rewarding careers that are
the 40th annual NFA convention in anything but typical.
August. The table will be staffed daily Complimenting sessions are hands-on workshops led by
with health care professionals who Deanna Little of Middle Tennessee State University and
can share resources to address your Eva Amsler of Florida State University, each with a specif-
health questions. Ask specialists ic focus and talented line-up of panelists. Plan to bring
about physical therapy, hand surgery, three of your toughest questions for the team.
Lea Pearson speech and hearing, Alexander The “Making It Happen!” schedule features, on Friday,
Technique, Body Mapping, ergonomics, and fitness. Stop by guests Burkart at 8 a.m. and Little (with panelists Jessica
to visit and find out the staffing schedule. See you soon! Dunnavant, Kallie Rogers, and Lisa Schroeder) at 9 a.m.,
and on Saturday, guests Coleman at 8 a.m. and Amsler
(with panelists Deanna Bertsche Hamm, Stephanie Jutt,
In Las Vegas this summer, explore
what it takes to create a flute career
that fits who you are as an artist and
and Matthias Ziegler) at 9 a.m.
See you in Vegas!
entrepreneur. The Career and Artistic
Development Committee announces
the line-up for the convention work-
The NFA seeks a volunteer or a team of volunteers with
shop series: “Making It Happen!”
experience in public relations to serve as the organization’s
The committee will devote
Public Relations Director. Contact Beth Chandler at
Friday and Saturday, 8 to 10 a.m., to
chand2be@jmu.edu or 540-560-1020.
Lillian Burkart interactive workshops for flutists
just like you. This year, featured guests include Lillian
nfaonline.org Summer 2012 The Flutist Quarterly 71
STUDENT SPOTLIGHT

Confessions
of a Flutist
“Beatbox Girl”
Annie Wu, the winner of the 2011
High School Soloist competition,
describes her preparation and process
in the months leading up to the event
in Charlotte—the repertoire of which
included the NFA’s first-ever work for
beatbox flute.

by Annie Wu

When I first read over the beautiful flourishes of the

I
n 2005, I was 9 years old and had just started my studies
as a flutist. Even though I could barely extend my stubby Ferroud, I became captivated by his fusion of French taste and
arms across the flute, my dedicated mother decided to Chinese melodies. My flute teacher, Isabelle Chapuis, happens
bring me to the National Flute Association’s convention in not only to be French, but a noted proponent of the French
San Diego to inspire me with all the other passionate musi- School of flute as well. Our two cultural backgrounds com-
cians. The High School Soloist Competition was my most bined and made the Ferroud an adventure to learn and play.
poignant memory of that convention. I remember sitting in Copland’s Duo also quickly became one of my favorites.
the back row, cranking my head over the crowd to see the Both a technical and musical challenge, the Copland posed
amazing flutists compete. Their playing left me speechless. many new problems for me. I became more aware of the
And even though at the time high school felt light years away, importance of intonation, essential in the surreal solo begin-
my dream of one day playing on that stage stuck in my mind. ning, and the crisp articulation that spans the lively third
In late 2010, when I became a high school freshmen, this com- movement. Written as a piece of chamber music, the Copland
petition became truly tangible for the first time. Though partic- also taught me about playing with others. My pianist, Miles
ipants are typically juniors or seniors, I thought it would be a Graber, and I rehearsed often to create a harmonious collab-
great experience to push myself, knowing that I work best with a oration. Following two months of hard work, I had a success-
ful recording session and sent in the tapes.
goal in mind. I would give it my all and see where it took me.
One morning, just as I was about to run to orchestra
rehearsal, I did a quick scan of my e-mail. First in the inbox
To Work was a subject that read “Congratulations from NFA!” My
Immediately, I got to work. The first-round repertoire includ- heart stopped as I clicked on the message, reading that I was
ed the first and third movements of the Copland Duo and a one of the eight high school finalists who would compete in
choice of either the previous year’s commissioned piece or the Charlotte at the 2011 Convention.
third movement of Ferroud’s Three Pieces. I ran through both I, little freshman Annie from Pleasanton, was going to be
of these options in the hopes that one would stand out to me. one of the flutists competing?! My instant celebration con-

72 The Flutist Quarterly Summer 2012 nfaonline.org

sisted of a run around the house—while screaming, of on to me many of the comments that Dutilleux himself had
course—followed by many hugs with my mom and many, made regarding tempos and musical freedom. There are actu-
many licks from my puppy. ally several ritardandos not marked in the music that many
After the initial joy, though, a sense of unease crept into my flutists do, which Dutilleux absolutely did not want!
mind. If I was going to be like those flutists that I had seen For practice, Isabelle presented me with a new technique—
competing years before, it was going to be a hard few months! small chunks of the piece at a time with ultimate concentra-
tion. I set a distinct goal for each difficult passage and every
The Real Work Begins time I made a mistake, she urged me to question why it was-
The second-round repertoire was a formidable challenge: the n’t working. Once I took this approach, it made me intellectu-
Dutilleux Sonatine, Telemann Fantasie in A Minor, and Greg ally more aware of the precise technical problems. I became
Pattillo’s Three Beats for Beatbox Flute! Not only were these conscious of what was going wrong and the mistakes seemed
pieces individually intricate, but put together, they created a to fix themselves!
very diverse program to master. For the Telemann, I had the good fortune of receiving help
When I found out about the beatbox flute piece, I thought it from the amazing flutist Robert Stallman. Robert gave me
was outrageously funny. It was such an original idea and a treat some fantastic lessons on the pure but expressive sound nec-
to see Greg rocking out in his rendition—but me? I’m not exact- essary for Baroque music. He also guided me in improvising
ly the type you’d imagine “busting out a beat.” My friends historically appropriate ornaments. These gave the
refused to believe me when I mentioned my beatbox endeavors, Telemann—especially the slow introduction—a free and
though now I’m known as the beatbox girl at school! spontaneous character.
Such a new technique required hours of individual study
and analysis. Pattillo’s piece involves playing the flute notes, Competition Day Approaches
making rhythmic sounds with the mouth and throat, and When competition day drew near, the problem of endurance
singing pitches—all at the same time! I watched hundreds of also came into play. Twenty minutes of music including an
beatboxers online, teaching myself the basic sounds and exhausting beatbox number at the end took so much prepara-
rhythmic combos. Many times I would catch myself laughing: tion just physically. The whole program was a tour-de-force,
I was alone in my room, spitting, coughing, hissing, and and I knew I was an athlete training for the marathon.
singing at a computer screen! It took a few weeks of preparation before I could reach the
Once I learned all the flute notes and percussive sounds sep- end of the program without getting winded. Every other day,
arately, I slowly began putting them together. After carefully I had my dad set up the camcorder, and my family would
combining all three elements, the piece became less intimidat- gather on the couch as I ran through the whole program with-
ing. Isabelle helped me tie up all the loose ends, reminding me out a stop—bows, cues, and outfit included. These recordings
that even though it was a free piece, I had to stick to the exact were incredibly valuable because they showed me what I was
rhythms and dynamics that Pattillo wrote. As jazzy and rock- unaware of, like funny gestures or phrasings. My run-
ing as the beatbox number seems, its basis is in strict throughs were so frequent that soon even my non-musical
rhythm—once I established a steady beat, then I could loosen parents were humming the Dutilleux as they did the dishes.
it up with accents and gestures. Having all this preparation behind me definitely made me
In preparation for the competition, I held a recital at a local relax for the competition. Even with some nerves, I felt a self-
church for my friends and family where I performed the control that I never had before. I knew what I wanted to do
whole program. When I came out to perform the Three Beats, and how to do it. I went in competition day feeling like a win-
I donned a baseball cap, shades, and my newfound swagger. ner because I had improved myself drastically from this
My friends were beside themselves with laughter. process, learning more about both practicing and performing.
I definitely learned to be comfortable with whatever I play. It was very fulfilling knowing that I could do this and that I
Although I felt ridiculous beatboxing at first, being confident was one of those eight finalists.
with the work behind the beats made my performances trans- I went in with a smile, played with all my heart, and came out
late better for audiences. I knew everyone felt more relaxed feeling like it represented me. This competition helped guide me
hearing me when I was also comfortable rocking out. to a whole new level beyond anything I had ever imagined, and
I think that is the whole point of the NFA’s commissioned after I played, I felt like I was on top of the world!
piece every year: to see how versatile a flutist is and how far
out of their comfort zone they can go. It took a few perform- Annie Wu is a sophomore in Pleasanton, California, and is a
ances in front of my friends and family before I learned this, member of the San Francisco Symphony Youth Orchestra. In
but it has stuck with me ever since. addition to winning first prize in the NFA’s 2011 High School
Then came the Dutilleux and Telemann. The technical and Soloist Competition, Wu was awarded the prize for Best
emotional mastery the Dutilleux requires made it extremely Performance of the Commissioned Piece by the NFA (Greg
difficult. Fortunately, Isabelle not only had the Dutilleux in Pattillo’s Three Beats for Beatbox Flute). A video of her perform-
her repertoire but had actually performed it for the composer ing this work can by seen on Greg Pattillo’s channel on YouTube;
when she was a student at the Paris Conservatory. She passed she also posts videos on her own YouTube channel, FluteyCutie27.

nfaonline.org Summer 2012 The Flutist Quarterly 73

Honor Roll of Donors to the Rubies Campaign for the National Flute Association
The National Flute Association extends its heartfelt thanks to the following individuals and organizations whose generous
contributions help to sustain its operations, programs (such as cultural outreach, special commissions, publications/recordings,
and flute choir), and endowments. The list reflects donations received from November 1, 2009, to May 1, 2012.

Diamond Claudia H. Brill Linda Mintener Roberta Brokaw James R. Walker

($100,000 and above) Burkart Flutes & Piccolos Catherine Montano Jean M. Burnett Jack H. Wellbaum
Andrew D. Callimahos Madeline Neumann Bret Burns Christian C. Wistehuff
Ruby ($50,000–$99,999) Gerald V. Carey Edith K. Nishimura Mimi Carlson Richard Wyton
Mary Ellen Cerroni Joyce Oakes Chesapeake Flute Consort Ruth M. Yanagi
Sapphire ($10,000–$49,999) Beth E. Chandler Lauren Osnato Karen Q. Christensen Eileen Yarrison
Bickford W. and Laura Sandra Church Ann C. Pearce Carol Christofferson Alan Zaring
Brannen Kimberly Clark Phyllis T. Pemberton Cathy Clare
Eugenia L. Cline George S. Pope Susan J. Clark Friend ($1–$49)
Emerald ($5,000–9,999) Robert F. Cole Ardal Powell Harriet Coppoc Melanie Addington
Anonymous Donor Valerie Coleman-Page Gwen and Dick Powell CYSO Jr. & Sr. Flute Ensemble Dianne Aitken
Hawley Family Charitable David Cramer Ronald Prechel Nan Wood Davies Hideko Amano
Foundation Linda Crisafulli Bruce P. Price Caroline Dawson Sara Andon
Mark & Judith Thomas Linda Cykert Margaret Jane Radin Marcela DeFaria Arista Flutes
Monica Daniel-Barker Deborah L. Ragsdale Claire Durand-Racamato Timothy E. Arnette
Platinum ($2,500–$4,999) Brooks de Wetter-Smith Wendy H. Rolfe Charlotte Ellis Julia Michelle Barnett
Eleanor Duncan Armstrong Karen B. Demsey Helene Rosenblatt Nicole Esposito Nina Barwell
Angeleita S. Floyd Judy Diez d’Aux Sue A. Rupp Rev. William Morris Evans Vicki Bell
Leonard L. Garrison Zart Dombourian-Eby Edith Sagul Lisa Ann Fahlstrom Karen Betz-Griewahn
Keefe Piccolo Company Darlene Dugan Mary Novak Sand Lynne L. (Hadley) Fowlkes Jackie Jo Blackburn
William J. Egnatoff Lisa Garner Santa Nora Lee Garcia Marjorie Bollinger Hogan
Gold ($1,000–$2,499) Cynthia Ellis Therese Schneider Kimberlee R. Goodman Carla Bowman
The Abell Flute Co. Greer Ellison Sandy Schwoebel Jacqueline Goudey Danielle R. Breisach
Conn-Selmer Inc. Arthur J. Ephross Sherry’s Flute Repair & Sales Ann E. Graham Elizabeth Buck
Marilyn First Susan Fain Angela Allen Sherzer Adrianne Greenbaum Emily Butterfield
Sarah Jackson Ann Fairbanks Mary DeLano Sholkovitz Gaile Griffore Michelle Caimotto
Victoria & Andrew Jicha Jill Felber Sign of the Silver Birch Music Vanessa Gwynne Elise Campbell
Katherine Borst Jones Steven Finley Ellen Silverman Julie Guitry Harris Trish Campos
Marie Jureit-Beamish Lewis T. Fitch Alison Brown Sincoff Julie R. Hobbs Jeanine Cariri
Marjorie Koharski The Flute Pro Shop Eve E. Slater Carolyn Krysl Hutchinson Xue Chen
Sherry & Walfrid Kujala Sarah B. Fouse John Solum Jennifer Isadore Michelle Cheramy
Nagahara Flutes NNI Inc. Noreen B. Friedman Patricia Spencer Rebecca R. Johnson Sandra Serdahely Clark
Sandra Saathoff Elena Gagon Corydon S. Sperry Rose V. Johnson Christina Cobas
Colin Garnett Maria Stibelman Gwyn E. Jones Deborah Coble
Silver ($500–$999) Patricia George Wayne Summers Melonie M. Jones Tadeu Coelho
Sue Blessing Jan Gippo Terri Sundberg Kris Keith Shelley Collins
Amy Rice Blumenthal Diane Gold-Toulson Cynthia R. Tate Zara Lawler Sheri D. Conover
Leone Buyse and the Rice Susan S. Goodfellow Betsy Templeton Jane Lenoir Martha Anne Councell-Vargas
University Flute Studio Sally Grant The Flutist’s Faire Elie Litov Mary E. Craig
Chesapeake Flute Consort Susan Greenberg Leslie Timmons Leslie Maaser Milan Curro
Margaret Cornils Luke Penny Griffy Nancy E. Toff Katherine H. McClure Morgann E. Davis
Patrice, Fred, Angela and Carl D. Hall Linda Toote Audrey McPherson Robert Dick
Jessica Ficken Wilda M. Heiss Anna Tough Wendy Mehne Alaina B. Diehl
William S. Haynes Flute Co. Betty Austin Hensley Peggy Vagts Marcia Strom Metzger Louise DiTullio Dillon
Jerry Jenkin Dorothy (Dot) Holcomb Julia K. Vasquez Catherine Miller Ann Droste
Martin Melicharek III Eric Hoover Gail D. Vehslage Polly Monson Sophie Dufeutrelle
William Montgomery Helen Callimahos Hurry Ann S. Vinod Howard E. Motteler Suzanne Duffy
Christine E. Potter Margaret Foote Jamner Susan Waller Sharon Muller-Ho Emily Duncan
David Robbins Sue Ann Kahn Michel Wapler Jean Nakamoto Paul Dutka
Janet Davidson Romanishin Trudy Kane Lenora Warkentin Conor Nelson Kirstin Eade
Nancy Schneeloch-Bingham Ellen Kaner Alice Kogan Weinreb T. Richard Nichols Deborah Egekvist
Straubinger Flutes Robert Katayama Anne Welsbacher James J. Pellerite Jennifer A. Elliott
Paul Taub Peter Katz Jean Ohlsson West Margaret A. Peterson David Etienne
Clifford Tretick Mindy Kaufman Patricia Wheeler Mary Peterson Christa Anne Flueck
Nancy M. Vinson Tara Kazak Stephanie A. Wheeler Rolfe Pitts Donald Garcia
Jasper Welch Jonathan Keeble Robert Willoughby Sandra Ragusa Marianne Gedigian
Katherine Kemler Theresa H. Wilson Catherine Ramirez Roberta Gillette
Wood ($100–$499) Linda Kirkpatrick Carol Wincenc Judith A. Ranheim Ai Goldsmith
Patti Adams Christopher Krueger Windward Flutes Ltd. Eric Robison Sheryl Goodnight
Robert Aitken Sherry Kujala Richard E. Winslow Ginger Rombach-Adams Mildred D. Gottwald
Lori Akins Joanne Lazzaro Ying-Yu Emily Yeh Jean Rosenblum K. Dawn Grapes
Altus Flutes Dorothy Tutt Lee Mary Ross Alyssa Greengrass
Eva Amsler Levit Flute Company Donor ($50–$99) Sue Rudholm Margaret Griffith
Rebecca Tryon Andres Amy Likar Anonymous Donor Elaine Marie Schaeffer Christine Gustafson
Francesca Arnone Gail E. Looney Trudi Anderson Heidi Schuller Jane Hahn
Deborah Rebeck Ash Deborah MacMurray Jan H. Angus Janet See Doris Hall
Frances Lapp Averitt Janet Maestre Carla Auld Ken Sherman Jean M. Harling
Peggy F. Baird Claire Della Mahon John R. Bailey Robert Singer Linda Hartig
Teresa Beaman Julie Martin Maisel Diane Barton-Brown Ann D Smith Lisa Hedley
Laura Benning Rebecca Malone Janet Becker Zoe Sorrell Stephanie Hegedus
Laurie Benson Leslie Seid Margolis Beth Behning Cynthia C. Stokes Sy Helderman
Mary Berk Roger B. Martin Jane Elizabeth (Liz) Bell Glennis M. Stout Ellen Hershey
Robert L. Berton Betty Bang Mather Sandra Benke Sue Swilley Fritz M. Hessemer
Joanne Ennis Bourquin Richard A. Mc Pherson Judith Bentley Natalie Syring Brendan Hogan
Brannen Brothers Dorli McWayne Wissam Boustany Judith Thomas Gail Holsclaw
Flutemakers, Inc Catherine Miller Morgan M. Bresett-Brown Michael Treister Ina Mae Holt
Carol Brecker Mary Minsk Elizabeth M. Brightbill Verne Q. Powell Flutes, Inc. David Houston
74 The Flutist Quarterly Summer 2012 nfaonline.org
Alison Hubbard Ayana Terauchi Stephanie A. Wheeler Mary Berk Margaret A. Peterson
Don Hulbert Caen Thomason-Redus Robert Willoughby Francis Blaisdell Mary Peterson
Ellen Huntington Paul Thompson Mary E. Wilson Joanne Ennis Bourquin Mary Louise Poor
Maria Infurchia Karen Van Dyke Ransom Wilson Leone Buyse George S. Pope
Sarah Jackson Jessica Vogel Eileen Yarrison Linda Caillavet Christine E. Potter
Christina Jennings Jane Voyles Dr. Alan Zoloth Jenna Charles Calixto Irene Pruzan
Catherine M. Johnson Albert Vreeland Jeffery Zook Andrew D. Callimahos Deborah L. Ragsdale
Yeva Johnson Ulrika Wallersteiner Gerald V. Carey Barbara S. Rives
Adah Toland Jones Maya Washington Frances Blaisdell Fund Kim Carey Cynthia Rugolo
Ruth Kasckow Mihoko Watanabe The Abell Flute Co. Mary Ellen Cerroni Sue A. Rupp
Melissa Keeling Kristin Webb Eva Amsler Chesapeake Flute Consort Max Schoenfeld
Jennifer S. Keeney Carol Weinstein Rebecca Tryon Andres Timothy A. Cholyway Sandra Seefeld
Crys Keiser Arnie Wernick Peggy F. Baird Cathy Clare Peter Sheridan
Amalie C. Kempton Frederick Westphal Laurie Benson Loretta Contino Angela Allen Sherzer
Janice S. King Alexander L. White Mary Berk Albert Cooper Mary DeLano Sholkovitz
Eden Klepper Joanna Cowan White Joanne Ennis Bourquin Richard Cooper Alison Brown Sincoff
Denise R. Koncelik Takanori Yamane Mimi Carlson Linda Crisafulli Christine Michelle Smith
Mary Kopsieker Elena Yarritu Carol Christofferson CYSO Jr. & Sr. Flute Ensemble Mary T. Stolper
Karl F. (Fritz) Kraber Leung Ka Yau Susan J. Clark Monica Daniel-Barker Glennis M. Stout
Laura Sanborn Kuhlman Kelly K. Yeung Charlotte Ellis Rachel Roxanne Davidson Terri Sundberg
Beth Kupsco Linda Zelonis Greer Ellison Maria Luisa De La Cerda Paul Taub
Sue Kurian Jeffery Zook Colin Garnett Rohde Barbara Todd-Simard
Elaine Layne Leonard L. Garrison Melanie Delcid Anna Tough
Harold Leinbach David Hart Fund Jacqueline Goudey Claire Durand-Racamato G. Warren Turner
Shin Ying Lin Karen Adrian Susan Greenberg Paul Dutka Nancy Urbscheit
Andrew Liu Peggy F. Baird Jean M. Harling Jennifer A. Elliott Ignace Vanmoerkerke
Charles E. Lofties Laurie Benson Patricia Harper Emanuel Flutes Boston Gail D. Vehslage
Nancy Loomba Mary Berk Alexandra Hawley Sarah B. Fouse Rachel Lynn Waddell
Diane J. Lynch Paul Bolman Hawley Family Charitable Lynne L. (Hadley) Fowlkes Michel Wapler
Michael Lynn David Brinker Foundation Leonard L. Garrison Kristin Webb
Mary MacRae Carol Kaulfus Codrescu Wilda M. Heiss Elaine Goldfarb Jack H. Wellbaum
Margaret Mc Govern Charles & Maria Coldwell Eric Hoover Ai Goldsmith Jean Ohlsson West
Deborah McAndrew Grady E. Coyle Alison Hubbard Susan S. Goodfellow Mary E. Wilson
Karen B. McClintock Linda Crisafulli Jerry Jenkin Sheryl Goodnight John Wion
Diane McCloskey Tina S. Dreisbach Marie Jureit-Beamish Erich Graf Katherine Wood
Kayoko Minamino Paul Dutka Robert Katayama Winona Richards Grant Debbie Woods
Joseph Mitchell Greer Ellison Sue Kurian Dorothy A. Grogan-Gardner Lois A. Wynn
Kelly A. Mollnow-Wilson Susan Fain Joanne Lazzaro Hollie Grosklos Edward M. Young
Nicole Molumby Lewis T. Fitch Dorothy Tutt Lee Christine Gustafson Leslie Zieren
Roland F. Moritz Jackie Flowers Janet Maestre Anders Hansen Jeffery Zook
Clara B. Mortiboy Leonard L. Garrison Julie Martin Maisel Anne Harper
Christine Fish Moulton Gulab H. Gidwani Leslie Seid Margolis Patricia Harper Dedications
Nancy L. Mulholland Elaine Goldfarb Clara B. Mortiboy Linda Hartig Marilyn First in Memory of
Kana Murakoshi Dr. Ralph Guenther Jean Nakamoto Betty Austin Hensley Vicki Bigley
Tomiko Nakagawa Anne Harper Merryl D. Newler Lynn Hertel Marjorie Koharski in Memory
Barbara Neal Jim V. Hart Edith K. Nishimura Sandra Howard of Helen Callimahos Hurry
Roger Neumann Jodi Himes James J. Pellerite Helen Callimahos Hurry In Memory of Helen
Merryl D. Newler Don Hulbert Gwen C. Powell Gene Isayev Callimahos Hurry by
Erica Nightengale Paul R. Jacobson Linda M. Prior Jerry Jenkin Chesapeake Flute Consort
Mary Hunley Norris Margaret Foote Jamner Mardee Reed-Ulmer Trudy Kane Patrice, Fred, Angela, and
Yeji Oh Dr. Leonie L. Jenkins Janet Davidson Romanishin Ellen Kaner Jessica Ficken in Honor of
Kris Palmer Helen Jenner Ginger Rombach-Adams Robert Katayama Katherine Borst Jones
Cindy Paradiso Barbara Kallaur Jean Rosenblum Linda Kirkpatrick Andrew Callimahos in
Deborah Sinacore Parker Christopher Krueger Sue Rudholm Martha Kitterman Memory of Lambros
September Payne Gerardo Levy Edith Sagul Lake Erie Flute Choir
Demetrios Callimahos &
Jordan Pearson Louis W. Lewis Sandy Schwoebel Dawn L. Larson
Helen Callimahos Hurry
Martha Peltier Michael Lynn Mary DeLano Sholkovitz Rhonda Larson
Jason Peterson April Showers Joanne Lazzaro In Memory of Lambros D.
Julie Martin Maisel
Amy Porter Andrea Mason Robert Singer Frances Leek Callimahos by Helen
Linda M. Prior Carolyn Riedell May Eve E. Slater Harvey Leikind Callimahos Hurry
Irene Pruzan Linda Mintener Glennis M. Stout Gerardo Levy Wayne Summers in Memory
Mardee Reed-Ulmer Clara B. Mortiboy Nancy E. Toff Marlee Lindon of Helen Callimahos Hurry
Emily F. Regis Karin L. Nelson Karen Van Dyke Jan Luoma Anna Tough in Memory of
Arlene H. Renico T. Richard Nichols Susan Waller Leslie Maaser Helen Callimahos Hurry
Rachel Rodgers Edith K. Nishimura Arnie Wernick Julie Martin Maisel Katherine Borst Jones in
Roger Holman Enterprises Ann Marie Ouellette Jean Ohlsson West Debby Malnic Honor of Robert
Rebecca Carson Rogers Linda Pereksta Alan Zaring Roger B. Martin Willoughby’s 90th Birthday
Toby Rotman Mary Peterson Krystal Mata
Geri Rotella Rotter Mary Louise Poor McCanless Flutes Legacy Circle/
Jill M Rubio Ardal Powell Myrna Brown Fund Dennette Derby McDermott Planned Gifts
Marcia Rudin Calliope Inc. Renaissance Darima Alexandru Nancy Mentch The NFA Legacy
Sonia Ruiz Band Eva Amsler Alan S. Miller Circle honors visionary individ-
Debra C. Schild Wendy H. Rolfe Clarissa Andersen Townes Osborn Miller uals who help to ensure the
Paul Schliffer Sue A. Rupp Asako Arai Virginia L. Miller future excellence of the NFA
Lisa Schroeder Nancy Schneeloch-Bingham Frances Lapp Averitt Linda Mintener through planned gifts. It is with
Virginia Schulze-Johnson Janet See Kelli Bahner Sharon Muller-Ho deep appreciation that we recog-
Magda Schwerzmann Shorey Antique Flutes Peggy F. Baird Alexander Murray nize our members of this presti-
April Showers Marilyn Shotola Diane Barton-Brown Nagahara Flutes NNI Inc. gious group:
Merrie R. Siegel Fenwick Smith Donna Swarts Bath Carol Naveira-Nicholson
Christen Sparago Francis Soges Jeanne Baxtresser Edith K. Nishimura Katherine Borst Jones
Mark Spuria Paul Thompson Laurel J. Beavers Priscilla Ochran Holt Eric Hoover
Rosalind Stack Keith Underwood Joyce M. Bennett Ann Marie Ouellette and Deborah Gaynor
Lew Tabackin Anne Welsbacher Susan M. Berdahl Phyllis T. Pemberton Carol Kniebusch Noe
Suzanne Teng Jed Wentz Karen Bergquist Lueth Karen Perkins Gwen and Richard Powell
nfaonline.org Summer 2012 The Flutist Quarterly 75
Notes
from Around
the World
Conventions, festivals, competitions,
and other global flute activities
by Christine Erlander Beard

near Barcelona, and had the initial vision to bring together

the flutists of his country. Prats and Wendela Van Swol, vice
president of AFE and professor of flute at Cordoba’s
Conservatorio Superior, organized the convention, with
assistance from volunteers.
Presenters and performers from the United States included
Tadeu Coelho, Nicole Esposito, Helen Spielman, Kate
Steinbeck, Eva Amsler, Leonard Lopatin, James Lyman, Alan
Weiss, Peter Bacchus, and Dianne Winsor. Spanish soloists
included Omar Acosta, Luis Orden, Albert Mora, Joaquin
Gerico, and Alvaro Octavio.
Competition jury members, from left, are Ana Maria Alcaraz, Dianne Winsor, International performers included Phillippe Bernold, Aldo
Claudi Arimany, and Jaume Cortadellas.
Baerten, Nicola Mazzanti, Rogerio Wolf, Michel Bellavance,
Mattias Ziegler, Karl Heinz Schutz, and Jean Louis
Beaumadier. The convention also featured workshops and
performances by flute orchestras, including one from Korea.
As part of the convention, the 2012 Asociación de Flautistas
de España National Flute Competition drew 15 flutists
between the ages of 14 and 20. Candidates prepared first- and
second-round programs, which included a new work for solo
flute, “Giravolts,” composed for this event by Spanish com-
poser Salvador Brotons. Judges were Claudi Arimany, Dianne
Winsor, Ana Maria Alcaraz, and Jaume Cortadellas.
Convention founder Vincens Prats. Wendela van Swol and Helen Spielman First prize winner was 14-year-old Rafael Adobos Bayog, of
Ibiza, the youngest competitor. Bayog received a Guo New
Voice Flute and a 150 € gift certificate from Editoriales
Brotons. Nicolás Hernández Carrión received second prize,
an Emanuel silver headjoint. A special prize for the best inter-
pretation of the new Brotons composition was awarded to 15-
year-old Francisco Izquierdo González. Emanuel Arista,
Omar Acosta (representing Guo Flutes), and composer
Salvador Brotons personally presented the awards following
the competition.
The next Asociación de Flautistas de España convention will
Rafael Adobos Bayog took first prize. Niccola Mazzanti
take place in March 2014.
—Helen Spielman
The second Spanish Flute Convention, hosted by the
Asociación de Flautistas de España (AFE), was held in An international flute competiton “Premio Internacional
Barcelona March 23–25 at the Superior Conservatory of Andalucia Flauta” will take place at the Conservatorio
Catalonian Music. The event drew 1,000 people interna- Superior de Musica “Rafael Orozco” in Córdoba, Spain,
tionally—more than three times the number of the AFE’s October 12–14. The competition is divided into three differ-
300 members—including attendees, performers, presen- ent age categories: up to age 14, 15–18, and 19–23 years, with
ters, commercial members, and students. The convention monetary prizes ranging from 150 € to 1.500 €. Send an e-
was conceived by Vincens Prats, president of AFE and solo mail to administracion@produccioneshercules.com or visit
flutist of the Orchestre de Paris, who was born in Catalonia, produccioneshercules.com/andflauta/default.asp.
nfaonline.org Summer 2012 The Flutist Quarterly 77
NOTES FROM AROUND THE WORLD
Golob, Nenad First, Tomaz Habe, Igor Krivokapic, Robert
Kamplet, Marko Mihevc, Anze Rozman, Crt Sojar Voglar, and
Aldo Kumar. The International Flute Orchestra (U.S.) also
performed under the baton of John Bailey. Future dates of this
biennial festival are May 17–18, 2014; May 21–22, 2016; May
19–20, 2018; and May 23–24, 2020. Visit slo-flute-festival.org.

The First International Flute

Competition “Santiago Grand
Eva-Nina Kozmus Dejan Gavric
Prix” was held in Santiago,
Chile March 16–19. First prize
was awarded to Javier Rodriguez
from Venezuela; third prize
went to Laura del Sol Jiménez
from Colombia. (Second prize
was not awarded.) Awards were
Javier Rodriquez a silver Miyzawa concert flute
specially engraved for the competition (first place) and a
Trevor James flute (third place). Two special mentions went
to Felicia Coelho from Brazil and Vicente Vacanni from
Chile; each received scholarships to Ecole Normale de
Rogerio Wolf Zoya Vyazovskaya
Musique de Paris “Alfred Cortot.” The 12 selected candidates
The Ninth Slovenian Flute Festival was held May 19–20 in were Kalliopi Bolovinou, Rubén Cáceres, Coelho, Joo Youn
Zagorje ob Savi, Slovenia. Concerts, workshops, and master- Chang, Jiménez, Min-Hee Lee, Sung Jun Lee, José Ignacio
classes were presented by guest artists Jim Walker (U.S.), William Orellana, Javier Rodriguez, Carlos Rojas, Vicente Vaccani,
Bennett (U.K.), Carlo Jans (Luxembourg), Dejan Gavric (Serbia- and Ya-Tin Yu. The second competition will be held in 2015.
Germany), Rachel Brown (U.K.), Gergely Ittzés (Hungary), Visit http://flutecompetition2012.cl/english.html.
Rogerio Wolf (Brazil), Zoya Vyazovskaya (Russia), and the young
Slovenian flutist Eva-Nina Kozmus, who premiered nine new Send submissions for this department to Christine Beard at
pieces written for the festival by Slovenian composers Rok cbeard@unomaha.edu.

Happy 40th Birthday, NFA!

New releases coming in August:
Frances Blaisdell, fifth in the
historic recordings CD series.
The Flutist’s Handbook: A
Pedagogy Anthology, Volume 2,
with works by 40 pedagogues
and flutists.
See nfaonline.org/NFA-Store
Passing
Information about absent friends Tones

John Taylor Thomas John Taylor Thomas, sixth from left, with classmates at Tally-Ho Camp.

John Taylor Thomas, 89, of Penfield, New York, died February 15, 2012, at Rochester General Hospital, of a massive aortic
rupture that had been diagnosed only a few weeks before. He survived two subsequent surgeries but eventually experienced mul-
tiple organ failure.
Thomas was born in 1922 in Pittsburgh, Pennsylvania, the son of Ralph Thomas, a clerk at Mellon Bank, and Rebekah
Crawford Thomas. In his youth he studied piano, flute, and organ. After he graduated from Schenley High School in 1940, he
faced a choice between attending Westminster Choir College as an organ major or Eastman School of Music to study flute with
Joseph Mariano. He chose the latter, but organ-playing never completely disappeared from his life.
Thomas married Marian “Mimi” Parsons at Ft. McClellan June 22, 1944, shortly before he enlisted in the army and entered
World War II in August of that year. As a member of the 29th Infantry Division, he was assigned to a company band. The first
pieces the band played on its new instru-
ments were from a new hit show—
Oklahoma!—which it rehearsed in the field
with smoke from the Battle of the Bulge ris-
ing in the distance.
Thomas didn’t see combat. “I never had to
fire a shot,” he said. “Only had the safety off
my rifle once.”
While stationed near Bremen, Thomas
took flute lessons with Eduard Wissmann, a
flutist, composer, and student of Karg-Elert.
Thomas received Bachelor’s and Master’s
degrees from Eastman, where he was
awarded the Performer’s Certificate. His
first orchestral post was as principal flute in
the San Antonio Symphony, where he
moonlighted as organist at Travis Park United
Methodist Church. From 1954 to 1968 he was
a member of the Rochester Philharmonic/
Eastman-Rochester Orchestra, playing flute
and piccolo on Mercury recordings con-
ducted by Hanson and Fennell. He played Joseph Mariano’s flute class, probably 1946 or 1947. John Thomas, rear, third from left; Walfrid Kujala,
principal flute in the Rochester Chamber rear, fourth from right.

nfaonline.org Summer 2012 The Flutist Quarterly 79

 Orchestra for its first 20 seasons and performed with cellist Alan Harris and pianist Jared Bogardus as the Rochester Chamber Trio.
For 44 years, he taught flute and coached chamber music at Eastman School and Eastman Community Music School. He also
spent many summers at Tally-Ho Music Camp and the Allegheny Music Festival.
“He was my flute teacher for one transformative summer at Eastman, when I was still in high school,” notes NFA member Zara
Lawler. “I will always remember his ‘Karate Kid’ approach. Although I had been playing advanced pieces for many years, he took
me back to the beginning and we spent the summer working through very simple pieces to make them musically communicative
and meaningful. Though I had been working on scales for years, I never really ‘knew’ them until that summer of being put
through my paces by Mr. Thomas in our daily lessons.”
“John Thomas’s studio on the third floor of the Eastman School of Music was a fixture for years,” says Anne Harrow, associate
professor of flute at Eastman. “We knew that behind that door, surrounded by a fascinating assortment of flute repair tools and
gadgets, we would find one of the kindest, most knowledgeable flutists anywhere. He was never too busy to tinker with a leaky
pad or sluggish key for a relieved student. I often think of him when I pass that door. We will miss you, John Thomas.”
After retiring in 1995, Thomas renewed his love for organ-playing, serving Brighton United Congregational Church for 30
years until his death.
Thomas was predeceased by his parents; by brother Ralph, Jr., of Pittsburgh; and by Mimi, his wife of 67 years, who died in
June 2011. His brother, Robert Thomas of Pittsburgh, died in April. John Thomas is survived by five children: John, Jr. (Sarah
Davis); Jeffrey (Jane) and children James, Rebekah, Sarah, and Susannah; Timothy (Jody) and children Joel and Joelle; David
Evan; and Christine (Thomas) Tsen (William Tsen) and children Kira and Liam. In lieu of flowers, donations may be sent to the
World Wildlife Fund.
A memorial service for John Thomas was held April 21 at the Penfield Baptist Church in Rochester. At the service, his son David
Evan noted that he had once found among his father’s things words attributed to Pablo Casals: “When you wake up in the morning,
thank God you are alive. Remember you are the most important person in the world. When you are unhappy, play Bach.”

Vicki Bigley, of LaCrosse, Wisconsin, died on December 26, 2011, at

Mayo Clinic’s Methodist Hospital in Rochester, Minnesota, after multiple
medical complications. Bigley had survived multiple forms of cancer for
more than 30 years. She was 69.
Bigley studied with Bernie Birnbaum and Robert Cole and held a degree
in microbiology from the University of Wisconsin. She was on the faculty
of Western Technical College in LaCrosse, where she taught in the Medical
Technology program. In the late 1970s, she left the field of microbiology to
devote herself to performing and teaching flute exclusively.
She was principal flutist of the LaCrosse Symphony Orchestra for
decades, the longest-serving member of that orchestra. “Vicki was the
heart and soul of the orchestra,” said Tracy Fell, executive director of the
LaCrosse Symphony Orchestra.
Bigley was one of the first women to perform with the LaCrosse Concert
Band. “It was an all-male bastion for a long time, a good-old-boys club,”
said Alex Vaver, the band’s director. “She was kind of a pioneer.” She con-
Vicki Bigley tinued to play with the band until 2011, when she became ill.
Bigley also served as faculty for the La Crosse Area Youth Symphony,
staying involved with the organization for 30 years. She taught flute at the University of Wisconsin-LaCrosse and held a large
private flute studio. She founded, managed, and performed with the Rosewood Classical and Jazz Trios and worked behind the
scenes serving on boards, raising funds, and establishing scholarships and opportunities for students and professional musi-
cians alike.
A long-time member of the Federation of Musicians’ Union and the National Flute Association, Bigley was an avid support-
er of both organizations. She regularly invited students to travel with her to annual NFA conventions and often purchased flute
periodicals for them. Many of her students continued their studies with teachers including Bernie Birnbaum, Robert Dick, Zart
Dombourian-Eby, Michele Debost, Tim Lane, and Robert Willoughby.
Bigley is preceded in death by her mother, Sophie, and husband, John Bigley. She is survived by her family: Judy and Terry
Sheridan, Donald Hladky, Sam Kaptain, and June Miller. Among close friends are Jerry Every, Laurie Craig, Gina Eichman,
Mona Gardner, Nich Handel, Pam Helgerson-Dome, Sue Retzlaf, Marilyn First, and many others.
To join in performing or attending a recital or other activities in memory of Vicki Bigley, send a message by e-mail to
vickibigleystudents@earthlink.net.

80 The Flutist Quarterly Summer 2012 nfaonline.org

 Janet Louise Kristensen Weiss years she was a member of the
died December 25, 2011, after a long Musician’s Guild of America. She
struggle with cancer and subsequent moved to New York in 1965 with her
complications. She was 80. husband, clarinetist Mitchell Weiss, and
A native of Duluth, Minnesota, Weiss children, and worked with the Radio
excelled at music and academic studies, City Music Hall orchestra and the
graduating from high school two years American Symphony. But her playing
early. At 17 she was accepted to study at career was cut short by repetitive stress
the Curtis Institute of Music in disorders of the hands and wrists.
Philadelphia by noted flutist William During the 1970s and ’80s she
Kincaid, but her parents disapproved of researched extensively on these disor-
her desire to be a musician and she did ders, ultimately becoming a recognized
not attend Curtis. She subsequently authority on this then-new topic. She
Janet Weiss with one of her Skye Terriers. graduated from the University of
advised many flutists, instrument mak-
Minnesota with an English degree.
ers, and National Flute Association
But Weiss was determined to be a
members on prevention, rehabilitation,
musician and eventually graduated
and ergonomically redesigned flutes. In
from Eastman School of Music in 1955,
studying flute with Joseph Mariano. She later years, these studies led her to
also studied with Julius Baker, Harold become an expert flute-repair person
Bennett, and Haakon Bergh. and design consultant. She served as a
Weiss was a member of the American chair of and participant in many com-
Federation of Musicians since the mid- mittees related to these topics.
1950s, first with Los Angeles Local 47 Throughout her life, Weiss was an
and since 1965 with New York Local active teacher with countless students,
802. From 1958 to 1965 she lived in Los young and old, amateur and profession-
Angeles, where she worked in motion al. She loved music, the Baroque and
Weiss and Julius Baker in Riverside, 1967. pictures and TV. During some of these early Romantics being her favorites, but
especially the French school of Debussy,
Ravel, and Faure.
Weiss’s hobby was raising show dogs,
specifically her beloved Skye Terriers, at
which she excelled. Of the many dogs
she owned, 15 were awarded the title
Champion. Her dogs were shown at
countless dog shows throughout the
United States, Canada, and Europe,
including the Westminster Dog Show,
three times winning the Award of Merit
there. Her dog Ch. Talyot Dionysis won
the Pedigree Award in 2003 as the
Number One Skye Terrier in America.
She also was a past president of the
Garden State All Terrier Club.
Weiss died peacefully on Christmas
morning at the Oakland Care Center
near her longtime home in Oakland,
New Jersey, with her immediate family
at her side. She is survived by her hus-
band of 59 years, Mitch; her son, flutist
David of New York, and daughter,
Cecilia, a TV producer, of Santa
Monica, California; and one grandson.
—David Weiss

nfaonline.org Summer 2012 The Flutist Quarterly 81

NEW
PRODUCTS
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NFA member Paul Taub Verne Q. Powell Flutes has launched a new website with
has released Edge: New expanded features and sections including the Repair Doctor,
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The five works on the CD appraisals; News and Events; Fun Stuff and Links; the VQP
reflect Taub’s nearly 25- Shop; and more. The Powell Academy allows flutists to sched-
year interest in music of the ule lessons with master teachers, request to host events, read
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Soviet Union. He commis- releases and discontinued recordings are available for down-
sioned the earliest piece on load in the Recording Studio. Visit powellflutes.com.
the CD, Sergei Slonimsky’s Recitative, Aria and Burlesque, in
1990 for the Goodwill Arts Festival in Seattle, following the
NFA-sponsored tour of the USSR, where he heard Ludwig Böhm, the great-great
Slonimsky’s opera The Master and Margarita and was grandson of noted flutemaker
impressed with his synthesis of a strong Russian classical tra- and composer Theobald
dition with many modernistic touches. Böhm, announces that the
Around the same time, Taub discovered the music of complete collection of Böhm’s
Latvian composer Peteris Vasks and was an early American works and arrangements is
exponent of his first solo flute piece, Landscape with Birds. now printed and available for
This CD includes the premiere recording of Vasks’ even more purchase. The collection—30
compelling Sonata for flute/alto flute. years in the undertaking—
The music of Armenian composer Artur Avanesov and includes 37 works and 54
Azerbaijani Elmir Mirzoev was introduced to Taub through arrangements for flute and
his work with the Seattle Chamber Players. Avanesov’s lyri- piano or orchestra and repro-
cism in his Namu-Amida-Butsu, and Mirzoev’s use of the bass duces sources as close to the
flute with pre-recorded street sounds of Cairo in Fayum original as possible. Work on
Portraits, both make for intriguing examples of music by this collection began in 1981,
younger composers from the Caucasus. when Böhm contacted 600 libraries and 600 musical intru-
Georgian composer Giya Kancheli’s Ninna Nanna Per Anna ment collection owners in 60 countries to seek out his ances-
was commissioned by the National Flute Association during tor’s flutes and works. By 1988 he had completed the majori-
Taub’s tenure as chair of the New Music Advisory Committee. ty of his collection with approximately 500 manuscripts. At
It was a coup for the NFA to commission a work by Kancheli, that time he enlisted Munich musicologist Michael Nowotny
whose singular voice has long held a special place in the inter- to develop computerized reproductions of the works and
national music world. This is the premiere recording of this Swiss musicologist Raymond Meylan as co-editor. An appen-
intimate and personal work in its revised and final version. dix cites the corrections made by Meylan on the pieces, and
Visit presentsounds.com. Böhm has authored—in German, English, and French—a
preface for each work and arrangment. The works are avail-
able individually or as a complete collection. Send an e-mail
Canadian flutist Susan to ludwig/boehm@t-online.de or visit theobald-boehm-
Hoeppner, with pianist Lydia archiv-und-wettbewerb.de.
Wong, has released American
Flute Masterpieces, featuring
the works of Liebermann, A piano accompaniment has been added to the Andersen 24
Copland, Burton, Barber, Studies, Op. 15, and to Marcel Moyse: 24 Little Melodious
Corigliano, and Muczynski. Studies by Trevor Wye and Robert Scott. Both publications
The CD was nominated for a help the student in the understanding of the phrasing, rhyth-
JUNO, Canada’s highest mic structure, and stress and release points in these studies.
recording honor. Hoeppner The piano accompaniments are easy and playable by anyone
teaches at the Glenn Gould School of the Royal Conservatory with a little ability. A separate flute part is also included in the
of Music and the University of Toronto and is a graduate Andersen Studies, but only a rhythmic guide-line is included
of the Juilliard School, where she studied with Julius Baker. for copyright reasons in the score of the Moyse Studies. Both
Visit susanhoeppner.com. are published as downloads; visit scorvivo.com.

82 The Flutist Quarterly Summer 2012 nfaonline.org

 The Los Angeles Flute MakeMusic, Inc., creator of SmartMusic interactive music
Orchestra recently released learning software for band, orchestra, and voice, has signed an
its second CD, Winter agreement with Hal Leonard Corporation, the world’s largest
Wonderland, a collection of music print publisher. Under the agreement terms, MakeMusic
holiday music featuring will expand its SmartMusic music library to include many of the
flutists Ellen Burr, Jonna most popular songs of the 20th century and contemporary hits.
Carter, David Lamont, Cathy For the first time, those songs will be available for purchase from
Larson, Joanne Lazzaro, within the SmartMusic application.
Michael Morton, Laura
Osborn, Emily Senchuk, and
Sherril Wood with conductor Pamela Sklar announces
Peter Senchuk. Two selections also feature percussionists the release of her debut CD,
Stephen Burr and Alex Smith. The CD includes Michael A Native American-Jazz
Kibbe’s arrangement Christmas Flutes; Kinda Blue Xmas, a Tribute, featuring her own
cool-jazz arrangement of God Rest Ye Merry Gentlemen and compositions. Straddling
We Three Kings by Peter Senchuk; Five Movements from the world music and jazz, the
Christmas Concerto by Arcangelo Corelli; Anne Cameron CD features classical and
Pearce’s African Noel with varied percussion including African improvised chamber music
talking drum; and A Hanukah Celebration and Suite of for mixed instruments,
Nutcracker Dances, both arranged by Emily Senchuk. Also on including flute, alto flute,
the CD are Koliady—Three Ukrainian Christmas Carols by bass flute, and piccolo per-
Peter Senchuk and The Little Drummer Boy, arranged by formed by Sklar. Sklar has appeared with Claude Bolling,
Emily Senchuk. Among websites carrying the CD is flute- Dave Brubeck, Alan Hovhaness, and Andrea Bocelli and has
world.com; also visit losangelesfluteorchestra.net. recorded for many other artists. Influenced early in life by
the professional musicians in her family, Sklar grew up lis-
tening to and absorbing diverse musical styles, including
classical, rock, folk, avant-garde theater, and jazz. The co-
The Palisades Virtuosi, with featured colleagues on this CD perform in New York-area
flutist Margaret Swinchoski, ensembles, orchestras, and recording sessions. They include
has released its fourth CD, Sarah Davol, English horn; Steven Hartman, clarinet;
New American Masters, Vol. 4. Richard Locker, cello, William Anderson, guitar; and John
The recording’s seven works Arrucci, percussion. A portion of proceeds from sales of A
include Statements by Joseph Native American-Jazz Tribute will go to National Relief
Turrin; Melinda Wagner’s Charities, which serves more than 75 Indian reservations.
Thumbnail Moon; Amanda Visit nrcprograms.org and pamelasklar.com.
Harberg’s Birding in the
Palisades; Gwyneth Walker’s
Full Circle; Ryan Francis’s Duo Resonance—Toronto
Trio; Sunbin Kim’s Whirlwind; and Matthew Halper’s Trio. flutist Sibylle Marquardt and
Previous CDs showcase works by Dan Cooper, Aaron Grad, guitarist Wilma van Berkel—
John Lampkin, Richard Lane, Robert Manno, Godfrey Schroth, has released From the New
and Paul Mck Somers (2006); Caroline Newman, Frank Ezra Village on Woodlark Discs
Levy, Gary Eskow, Allen Shawn, and Carlos Franzetti (2008); with works by Piazzolla,
and Eric Ewazen, Brian Schober, Fred Messner, Dick Hyman, Pujol, Torok, Takemitsu, and
Randall E. Faust, and Ben Model (2010). Bogdanovich. The CD in-
The group, which also features Donald Mokrynski, clarinet, cludes Argentinian tangos,
and Ron Levy, piano, has been creating new works since 2003 Slavic dances, a short homage
when its first commission, Lep-i-dop-ter-o-lo-gy by Aaron to James Brown by Toronto
Grad, premiered in Ridgewood, New Jersey. Over the past composer Alan Torok, and the spheric sounds of Takemitsu’s
nine seasons the group has premiered a new work on each of Toward the Sea. A native of Germany living in Canada since
its concerts, by both prize-winning and younger composers. 1997, Sibylle Marquardt is a member of the ERGO ensemble
The ensemble’s “Mission to Commission” has expanded the specializing in modern music, the Trio D’Argento, and Duo
repertoire for flute, clarinet, and piano by more than 50 new Resonance. She has performed in Canada, Germany,
works of music. For more information and to hear clips, visit Switzerland, Austria, Japan, Italy, the former Czechoslovakia,
palisadesvirtuosi.org. and France. Visit silverflute.ca/duoResonance.html.

nfaonline.org Summer 2012 The Flutist Quarterly 83

 REVIEWS
CDs
Reviews of flute-related recordings,
books, and other items of interest

Music from the the listener in rhythmic playfulness typical of Mucynski’s style.
Americas Wilder’s four movement, Quintet No. 2, like the
Pitomberia, has clear references to native idioms—in this
Lieurance Woodwind case, jazz. The jazz influence, especially evident in the charac-
Quintet teristic swing/rhythmic lilt, is especially evident in the first
©2011 Summit Records movement (Allegro). It’s even more apparent in the third
movement, Allegro Epoco Vivace, which opens with a soulful
he Lieurance Woodwind clarinet solo that is soon followed by flute and oboe reitera-
T
Quintet, faculty quintet
of the Wichita State Uni-
tions of the “jazzy” melody line.
The five-movement Dance Suite for Woodwind Quintet by
versity School of Music, is Paul Valjean provides a light and airy contrast to the first three
one the longest running works. Each movement averages two minutes in length, giving
quintets in the U.S. Accor- a taste of varied dance styles with titles as follows: Gavotte,
ding to the CD jacket, Music from the Americas commemorates Sarabande, Tango, Pas De Deux, and Waltz. Valjean, born in
the ensemble’s 63 years by featuring music composed since its 1935 in Norristown, Pennsylvania, was a bassoon and theory
inception and, more specifically, works demonstrating “influ- student at Eastman in 1955 when he wrote this work. He
ences” from North, South, and Central America. composed this delightful suite for “The Bassoonists’ Ballet,”
The CD’s title and stated repertoire objectives may not be a show organized by Eastman bassoon students. Particularly
readily apparent to the listener who anticipates an array of impressive in the quintet’s performance of this work is their
works that either originate from the three Americas or con- rendering of the waltz. The blend of the flute, clarinet, and
tain clear compositional references to these areas. Four of the oboe in the playful unison melody line is so united that it
five works are by U.S. composers (Robert Muczynski’s sounds as if one player is controlling them all.
Quintet for Winds, Op. 45; Alec Wilder’s Quintet No. 2; Paul Harbison’s Quintet for Winds, the last work on the pro-
Valjean’s Dance Suite for Woodwind Quintet; and John gram, is in five movements—Intrada, Intermezzo,
Harbison’s Quintet for Winds). The only representative piece Romanza, Scherzo, and Finale—each providing challenging
that is not from the U.S. is Suite Hermeta for Woodwind passages for the ensemble to navigate. The scherzo features
Quintet, by Brazilian-born Liduino Pitomberia. A potential a writhing, sinuous melody passed between the instruments
avenue for displaying even more diverse musical language in relay form—a la the opening of Smetana’s Moldau. The
may have been tapped if the quintet had explored repertoire quintet performs this beautifully with seamless execution.
from a broader range of origin. The finale is equally impressive for its beautiful blend of
That said, the beautiful and cohesive performance along colors, rhythmic unity, and solid intonation.
with the interesting selection of repertoire make this a “must The group’s technical performance throughout the entire
have” for woodwind quintet aficionados. CD is tight in all facets—rhythmic, timbral, and intonation,
The Pitomberia work, first on the program, is a tribute to which is impeccable. Kudos as well go to the production team
Brazilian composer/musician Hermeto Pascoal, one of (Nicholas Smith, producer; David Muchl, engineer and edi-
Pitomberia’s inspirations in the development of his composi- tor; and Dave Shirk, digital mastering). The CD as a whole
tional style. Sprinkled throughout are musical references to showcases a homogenous and musical performance clearly
Hermeto’s birthplace, Lagoa da Canoa, Alagoas, in the evidencing the quintet’s long tradition as an ensemble.
Brazilian northeast. These references include regional specific Music of the Americas is performed by Frances Shelly, flute;
dance rhythms and characteristic harmonies. Andréa E. Banke, oboe; Suzanne Tirk, clarinet; Nicholas
Next on the program is Mucynski’s Quintet for Winds, Op. Smith, horn; and bassoonists Scott Oakes and Nicolasa Kuster.
45, in three movements. The first and third movements engage —Julie Koidin

SAVE THE DATE

Las Vegas, Nevada Chicago, Illinois
August 9–12, 2012 August 7–10, 2014
(Caesars Palace) (Hilton)

New Orleans, Louisiana Washington, D.C.

August 8–11, 2013 August 13–16, 2015
(Marriott Hotel at French Quarter) (Marriott Wardman Park)

84 The Flutist Quarterly Summer 2012 nfaonline.org

 Turn Signal stream and learned to make the flute work in that context.
Mike Wofford/Holly Hofmann belongs in the latter group. According to the Los
Angeles Times, “Holly Hofmann has single-handedly
Hofmann Quintet
destroyed the stereotype of the delicate female flutist, thanks
© 2012 Capri Records
to her muscular attack and improvisational abandon.” A
he American essayist slight exaggeration, perhaps—others have made significant
T Gerald Early once
wrote that, “when they
contributions—but certainly with a kernel of truth.
One aspect of Hofmann’s approach that appears on this new
study our civilization two release is the successful blending of her flute with the trumpet
thousand years from now, of her guest artist, the now-mature young lion Terrell Stafford.
there will only be three This is still a rare combination in jazz compared with the more
things that Americans will be known for: the Constitution, ubiquitous trumpet/saxophone front line. But Hofmann makes
baseball, and jazz music. They’re the three most beautiful it work beautifully with the help of Wofford’s arrangements,
things Americans have ever created.” Saxophonist Phil Woods
which not only adroitly exploit this timbre, but also extend it by
puts it more succinctly: “The only thing we ever invented is
including the gorgeous but rarely heard alto flute/flugelhorn
baseball, Mickey Mouse, and jazz.” It is a short list, perhaps, but
the moral, for Americans at least: It’s best to know something combination, particularly on the first two selections.
about these things. For NFA members who wish to know some- “Karita” is a more up-tempo Latin piece, while Soul Street
thing of jazz, this is getting easier all the time, with a particular- mines a deep blues groove allowing Hofmann to let her hair
ly rich selection of jazz flute recordings appearing recently. down and get “in the pocket.” “Pure Imagination” introduces
The new recording by former NFA Jazz Committee Chair Willy Wonka as a jazz composer to great effect, while “The Girl
Ali Ryerson appeared in 2011 and was reviewed elsewhere, as from Greenland,” a feature for Wofford’s piano, displays the
are several recordings of Cuban music that come under the wry humor of its composer Richard Twartzik. The big finish is
rubric of Latin jazz. Hard on their heels comes Turn Signal by Hofmann’s composition, an up-tempo burner entitled “M-
Holly Hofmann, with Mike Wofford playing piano; Rob Thorsen Line” with all the soloists rising to the occasion, Hofmann
playing bass; Richard Sellers playing drums; and special guest
exploring her bebop roots, Terrell eloquent even at this tempo.
Terrell Stafford playing trumpet and flugelhorn.
Hofmann is well known to NFA members, performing reg- As a reviewer I am frequently critical of jazz artists who
ularly at conventions—in her own right as well as with the Jazz insist on either including their own compositions before
Flute Big Band—and organizing jazz masterclasses and soloist these are ready for prime time or going to the opposite
competitions while Wofford, her husband, has recently been extreme and performing the same-old, same-old jazz stan-
the hard-working accompanist for the jazz artists at these dards. Hofmann and Wofford here avoid both Scylla and
events. If my count is correct, this is Hofmann’s 12th release, Charybdis by balancing a couple of originals with rarely
featuring her flute in a variety of settings, duos, quartets, etc., heard pieces carefully selected from the jazz canon.
and with the multi-flute group Flutology. All of these record- Wofford’s writing, as composer or arranger, is always com-
ings are thoughtful, beautifully crafted, and highly engaging pelling, and Hofmann is a beneficiary of his skill.
and belong in the collection of any flutist desiring a greater
Overall, these selections find a flutist fully confident of her
appreciation of jazz.
role in this music. Having played a major part in establishing
After more than a century, flutists are still fighting to over-
come a prejudice toward their instrument in the jazz world. the flute in jazz, Holly Hofmann has no need to prove any-
Those who have succeeded, not counting saxophonists who thing, and is thus free to pursue her own musical vision. In the
pick up the flute for an occasional ballad or bossa nova, have company of four of her peers in the profession she succeeds
either created a variation of the genre more suitable to the handsomely. Highly recommended! Visit hollyhofmann.com.
flute or have gone straight to the heart of the music’s main- —Peter Westbrook

The Chamber Paul Fried joined by Brian O’Connor, horn; Gayle Levant, harp;
Music of Kevin Tereza Stanislav, violin I; Belinda Broughton, violin II; Robert
Brophy, viola; Andrew Shulman, cello; and Michael Valerio, bass.
Kaska and Jack It is a superb performance, superbly recorded.
Jarrett Kevin Kaska, an eminent composer who received a degree
Paul Fried in film scoring from the Berklee College of Music in Boston,
©2011 Denoument currently resides in California. His compositions and
Records arrangements have been performed by many orchestras
worldwide, including the Boston Pops under John Williams
ddressed in this
A review is the
Capriccio for Flute and
and Keith Lockhart. Kaska’s movie score orchestrations
include Evan Almighty, Dark Knight, and Sherlock Holmes,
among many others.
Seven Instruments, with Most flutists are aware of Fried’s enviable reputation as

nfaonline.org Summer 2012 The Flutist Quarterly 85

 CDs
the complete master of his instrument. Fried attended the Additionally, it makes use of Fried’s virtuosity to a fault.
Juilliard School and is a protégé of Julius Baker. He served as In addition to the solo flute, there are many opportunities
alternate principal flutist of the Boston Symphony, principal for the strings and horn to shine. The flute, when not in the
flutist of the Boston Pops, and principal flutist of the solo role, provides requisite filigree along with motifs remi-
Pittsburgh Symphony. Currently he lives in Los Angeles and niscent of the mischievousness of the flute-writing in
is an active freelancer. He performs in a multitude of ensem- Strauss’ Till Eulenspiegel. Especially effective are both the
bles and records extensively for movies and television. responsive writing between soloist/ensemble and the com-
Kaska’s Capriccio for Flute is a sparkling virtuosic work pelling unison writing between the flute and the other
replete with the playfulness of Shostakovich and Prokofieff. instruments. The centerpiece of the Capriccio is an evocative
This work conforms to Merriam-Webster’s definition of a and plaintive flute cadenza that includes motivic references
capriccio, “an instrumental piece in free form usually lively to melodies throughout the score.
in tempo and brilliant in style. The capriccio is in ABA form I believe that this work will occupy a permanent place in
and culminates in an exciting conclusion.” Kaska’s composi- the flute chamber music repertoire. Not only is the Capriccio
tion demonstrates his understanding of the technical capac- both aerobically and musically rewarding, but performanc-
ities of the flute, and it reflects his own exploration into the es will constitute a thrill for audiences.
use of the flute in different compositional styles. —Erich Graf

Looking Back with words by William Butler Yeats (thoughtfully repro-

Leonard Garrison duced in the liner notes) and later transcribed for flute, it is
©2012 Albany Records played here as an exploration of the poem’s reflections on
the transiency of life, the inevitability of loss—“And one by
or lovers of contem- one we drop away”—and the understanding that “All that’s
F
porary flute music,
this CD provides excit-
beautiful drifts away/Like the waters.”
The CD ends as it begins with music by Joseph
ing and also thoughtful Schwantner (born in 1943). We hear finally Garrison’s
selections from among interpretation of “Black Anemones,” Schwantner’s 1991
our most distinguished transcription of the second song from his Two Poems of
composers of the 20th Agueda Pizarro. Again we have in the liner notes the text of
and 21st centuries. Elliot Cook Carter (born in1908) is still the Pizarro’s poem, the narrator of which “is a child
actively writing and, as pointed out in the CD’s excellent liner addressing its mother” speaking “not of intimacy but of
notes, has “garnered more awards, including two Pulitzer estrangement and fear.”
Prizes, than any other American composer.” Here we are treat- But it is the CD’s title selection, Looking Back, written by
ed to “Scrivo in vento” (1991), a “drama of contrasting char- Schwantner in 2009 on a commission from many former
acters” inspired by a poem of Petrarch’s (1304–1374) reprint- students and colleagues of Samuel Baron (1925–1997) to
ed here to underscore the music’s story line. memorialize him that makes this CD stand out. I love the
Not often heard, but played with great sensitivity here on
comment Schwantner makes about his composition: “There
alto flute, is Vincent Persichetti’s Parable for Solo Alto Flute,
is something to be said for just being on the verge of losing
Op. 100 (1965). This music explores the entire range of the
it—and really good players embrace that sometimes, and go
alto flute on a loosely constructed 12-tone row, “stated at
for the jugular.”
the beginning…and in retrograde at the end.” More famil-
iar, but always stirring, is Robert Dick’s “Fish are Jumping” There is no doubt that Garrison does exactly this: the per-
(1999), played with great virtuosic flashes evoking visions formance sparkles through an occasional fluff (very occa-
of sparkling silver fish leaping about with abandon! sional). Virtuosic, contemplative, and retrospective, each of
Calming us a bit, the disk moves to a beautiful rendition the movements “looks back” thematically and yet still man-
of the famous Canzone for flute and piano by Samuel Barber ages to provide anticipation of what is yet to come. The
(1910–1981), thought until recently “to be the composer’s “remembering” is both of Baron and of “sonorities from
own transcription of the second movement of his Piano previous pieces.” Challenging in range and technique, it
Concerto, but Barber actually wrote the flute version first.” requires that the flutist be in full control of large intervallic
Garrison’s playing here is exquisite, particularly in the third leaps at breakneck pace, singing/playing, speaking into the
register tonal control: pure and sweet. flute, whistle tones, and spit attacks. Garrison proves him-
For pure lyricism, “The Old Men Admiring Themselves in self more than up to all, and pianist Jay Mauchley is a well-
the Water” by Robert Beaser (born in 1954) seems hard to matched musical companion throughout.
match. Originally composed as a song for voice and piano —Cynthia Stevens

86 The Flutist Quarterly Summer 2012 nfaonline.org

 NeoBossa— I learned these tunes from my dad’s old Stan Getz records.
Old Songs New: OSN Upbeat yet gentle, this is the music you play for guests or just to
accompany your own leisurely moments at home. The other jazz
Mike Colquhoun
standards, including “All of Me” and “Well You Needn’t,” are
No Date or Publisher Given
equally recognizable. This program is like a great collection of
old friends we had forgotten we’ve been missing over the years.
e might know Mike
W Colquhoun better
for his compositions like
Colquhoun plays with a simple, unadorned style that suits
the jazz aesthetic perfectly. His improvised solos fit the style of
Charanga, a solo piece that the pieces and are performed with a light touch, keeping his
incorporates extended interpretation about the music rather than merely a showcase
techniques in a very tune- for himself. Don Metz on guitar infuses his rhythmical parts
ful way, and First Flight for with all the verve and simple joy I want to hear in classic bossa
flute and claves. He is also a flutist in his own right with a pen- nova. The occasional down-tempo numbers are performed
chant for jazz and Latin-influenced music. with great pathos and care. OSN plays well together and indi-
NeoBossa, recorded with guitarist Don Metz, is a collection vidually in this style, and it makes for a listening experience
of bossa nova classics written by Antonio Carlos Jobim. Also that is great fun from start to finish.
included are bonus jazz standards familiar to American audi- Listening to jazz flute played by a saxophonist with bad
ences. The “neobossa” in the CD’s title is meant to communi- chops can be downright frustrating; it is refreshing to see more
cate the artists’ attempt to put a “new spin” on these old tunes, and more trained flutists taking over the literature, and
but they don’t stray dangerously far from what we’ve heard Colquhoun should certainly be included on that roster. This
before, making for a pleasant, easy listening experience (and I album is a great example of what a flute can sound like in the
mean that in a good way). jazz idiom, a well-constructed program of terrific music and
The titles of these bossa nova tunes may not be familiar (“Agua an album that is good, simple fun at its best. Bravo, OSN—
De Beber,” “Desafinado”), but if you have ever listened to a successful debut.
Brazilian popular music from the 1950s, you’ve heard them— —Nicole Riner

Uncommon Time work. These pieces require comfort with theatrical reading,
Janice Misurell- and some text is almost sung (Sprechstimme). Misurell-
Mitchell does it very convincingly, but these pieces are not for
Mitchell
he faint of heart. “Everything Changes,” for flute/piccolo/voice
© 2010 Southport
and percussion, could be described similarly.
Along the same vein, “Are You Ready?” is purely a sound
ncommon Time is a
U collection of com-
positions by the multi-
poem and begins with an explanation of its construction by
the composer. The piece was recorded live, and it is helpful to
talented artist Janet hear the composer’s thoughts to help guide listening.
Misurell-Mitchell. A Misurell-Mitchell’s vocal technique is impressive—her clarity
flutist, composer, and of diction in fast technical passages is amazing, actually—but
performance artist, she for all of these spoken word tracks, I feel as though the visu-
also serves on the faculty of the School of the Art Institute of al element of a live performance is missing. It would be
Chicago and as a member of CUBE Contemporary Chamber wonderful to join her at the Green Mill in Chicago and
Ensemble in Chicago. She has been commissioned by the NFA experience the audience’s reaction (such an integral part of
on multiple occasions and was even named “Chicagoan of the any performance) as well. But merely listening to the aural
Year” in classical music in 2002. element on my stereo while sitting on my couch did not
When I saw that this music was for flute and voice, I imag- draw me in enough. My experience of these tunes as record-
ined the more traditional pairing of a flutist and a classically ings was a bit too removed.
trained singer, but this was not the case: In several tracks, the “Mamiwata” for solo marimba is comprised of atmos-
flutist is actually more spoken word poet than flutist. pheric melodic fragments strung together by delicate beads
In “Profaning the Sacred II” and “Blooz Man/Poet Woman” of sound. It is lovely and abstract, but it maintains a pretty
the flutist (Misurell-Mitchell) begins by reading text derived steady pace that becomes slightly taxing by the end of its
from different sources by Allen Ginsberg. Eventually, flute almost 10 minutes.
notes punctuate this reading, but the speaking itself continues “Uncommon Time” for flute and frame drum improvisa-
through these notes for an acrobatic feat that makes Robert tion is a breath of fresh air—rhythmically tantalizing, tuneful,
Dick’s sing-and-play moments sound like elementary school and a great utilization of some of the flute’s many extended

nfaonline.org Summer 2012 The Flutist Quarterly 87

 CDs
techniques. Mary Stolper plays the flute part beautifully, with quotations but soon develops into a completely different,
a positive energy that makes me want to learn the piece abstract collection of sounds that float in and out of existence
myself. This composition can keep both performer and audi- and to my ear (and without a score in my hand) rarely inter-
ence satisfied, and I loved every short, precious minute of it. A acting with one another. I would file this one under the “eso-
solo flute version of this piece was commissioned by the NFA teric” category, and given its distinct aesthetic and demands
in 1991 for the High School Soloist Competition. placed in individuals, it may be uncommon to hear on stage.
“Una voce perduta: in memoriam, Ted Shen” for solo alto As evidenced in her playing and composing, Misurell-
flute is more free flowing than “Uncommon Time” and lovely Mitchell is an immensely multi-talented woman. She and her
in its own way. Another avante garde piece with extended colleagues on this recording deliver flawless performances.
techniques (both are quite heavy on the flutter tongue and Misurell-Mitchell’s aesthetic is rather experimental (with the
also employ double stops, sing-and-play, key clicks, and other exception of “Uncommon Time” and perhaps “Una voce per-
standard techniques), the compositional style here reminds duta: in memoriam, Ted Shen”), and she imagines new ways
me of Takamitsu. Sound and space are mingled to create a of involving the flute in performance. It is a very specific style
kind of wordless haiku that is simple and straightforward. but it is done incredibly well. Kudos to her for engaging such
“A Silent Woman” for voice (a separate singer this time), talented artists for this recording project and for the creative
voice/flute (more of the speeched flute playing), clarinet, and work she has undertaken.
piano, borrows its introduction from 12th-century musical —Nicole Riner

Music
Study with Style: 30 The works of all of the former composers, with the exception
Selected Studies of Reitz, will most likely be familiar to most seasoned flute
pedagogues. Reitz, who is still alive, appears to have been cap-
Peter-Lukas Graf
tured by the Germanic influences of Paul Hindemith and
©2011 Schott
Harald Genzmer. His etudes therein are challenging, interest-
ing, and reflective of the intervallic obsession of Hindemith
lthough I hardly consider
A
myself “iconic” like some of
my namesakes—flute stars Peter-
with a scosh of Leonardo DiLorenzo applied for spice. In this
edition, Graf ’s annotations and suggestions for practice are
Lukas Graf and Richard Graef, very helpful and his metronome markings well-conceived, and
along with tennis legend Steffi in the reprint of the originals, he has deferred to the com-
Graf—I am indeed fortunate to posers’ own diacritical markings regarding dynamics and
have been tasked with review- other elements.
ing Peter-Lukas Graf ’s new Additionally, I appreciate the size of the musical print in this
flute publication, Study with Style. This is the latest product rendition, which is enlarged from some of the originals I own.
from Schott’s library of basic literature for study entitled This eliminates the necessity for the squints of yesteryear that
Essential Exercises. used to constitute fine excuses for mistakes in performance.
I have always been an admirer of Graf as both performer This select publication has caused me to practice (with
and scholar. In his latest offering, he has elegantly annotated metronome) many of the etudes from my distant past—with
selected etudes from the annals of Theobald Böhm, Joachim renewed vigor.
Andersen, Paul Jeanjean, Sigfrid Karg-Elert, and Heiner Reitz. —Erich Graf

Joachim Andersen: New York Public Library where Andersen’s scores and papers
24 Etudes for Flute, Op. reside—and the access she therefore had to Andersen’s own copy
of Op. 15 complete with original penciled marks, as well as a
15 (With Flute 2 Part) manuscript fragment of Etude Number I (housed at the Pierpont
Urtext Ed., ed. Morgan Library). She pays tribute to her own mentor Marcel
Carol Wincenc Moyse who, while his students played, would create a counter-
©2011 Lauren Kaiser Music point to the original study and who frequently provided vocally
Publishing improvised melodies. Thus it was “the great French flutist Marcel
Moyse,” she writes, who provided the idea for this edition, exquis-
Carol Wincenc’s prefatory itely prepared and published, a bargain at the asking price.
remarks explain her rationale Thank you, Carol Wincenc! What a lovely addition to the
for creating this beautiful edi- teaching literature. For many years, my students have enjoyed the
tion—the research she did at the Henri Altes etudes which, in the Leduc hardcover edition of the

88 The Flutist Quarterly Summer 2012 nfaonline.org

Altes Methode Complete, are accompanied by a second flute part learn by playing the second part with the teacher on the first.
to be played by the teacher. Now we can also play a second flute I hope we can look forward to more etude projects of this
part with this marvelous classic set of Andersen etudes. I’ve kind. For serious music students working with inspiring and
always found that my students come better prepared with their careful masters like Carol Wincenc such projects would seem
etudes when they know they can be rewarded—and instructed— to be perfect as compositional assignments in counterpoint
by playing with me on second part. This is one way students learn classes or as doctoral dissertations. Again, thank you, Carol
“about rhythmic stability, phrasing, intonation, and quality of Wincenc, for once again leading the way.
sound.” And, as Wincenc points out, beginning students can also —Cynthia Stevens

Duggan Theme effects a necessary accent and a sense of restarting, so to speak,

Gareth Farr despite whatever uneven number of notes comes before. The
©2011 Promethean Editions constant sense of an underlying eighth-note pulse gives a
sense of drive or urgency without sounding frantic. It’s quite
he very brief duet “Duggan pleasant as a melody and very fun and easy to play for an
T Theme” is for marimba and
flute, though it optionally can be
advanced flutist.
As a student piece, the required responsibility of maintain-
played as a solo marimba piece. ing a steady pulse through the various meter changes could be
It was originally written for the a great project for an advanced high school or early college
television series of the same student. As a bonus, the marimba part stays within a narrow
name, a popular cop drama in range and only requires two mallets, also making this piece a
New Zealand. This might not do fitting project for a student percussionist.
much for us in the States, but it Advanced performers could make good use of this piece as
does seem fitting for the mood and style of the composition. a tonal, pop-y palate cleanser; almost minimalist in style, it
“Duggan Theme” is based on a catchy, mixed meter tune provides a short little flash of color and simple, easy listening
that gets repeated several times with brief connective material that could work nicely to break up a serious program. It is also
to bring us back home each time. It’s at a moderately fast quite easy to put together, making it a good on-the-fly piece
tempo and the flute part is almost exclusively written in eighth that requires minimal rehearsal time.
notes. The mixed meter is all compound—5/8, 7/8, 6/8—and The piece is just under two minutes and a pleasant bit of
the effect is one of a seamless, fluid song. color in our limited flute-percussion repertoire.
Having said that, however, the return of the theme always —Nicole Riner

Purple Phobia thing different. This happens one more time before the flute
by Liesa Norman entrance, and because of the rhythmic uncertainty, the flute
©2011 Falls House Press entrance could be tricky.
Several opportunities for ad lib or improvisation are noted
he lively jazz piece “Purple specifically in the score (although not in the flute parts), and chord
T Phobia” alternates be-
tween a lilting, playful 6/8 feel
symbols are provided in the parts in this section. The optional bass
part has an extended 16-bar solo, and a suggested solo is provided
and a section in 4/4 meter in the part for the first eight bars followed by “continue solo ad
marked “with cool intent” and lib.” The composer also notes that these 16 bars “may be extended
“swing,” finally returning to the for as many solos as desired,” so the flutes, who are resting at this
original 6/8 increasing to a point, could get in on the fun, too. Unfortunately, the flute parts
lightning-fast tempo and
do not include chord symbols, so flutists will need to create an
accelerando to the end. The first
insert for their parts and transfer the chord symbols from the
flute is predominantly melody while the second (which
requires a low B foot) provides more of a harmonically sup- score. Although there is no formal drum part, specific notation for
portive role, but the two parts are equal rhythmically. a percussion solo at the end of the bass solo suggests that the
The piano part is written primarily in block-chord style ensemble should include this instrumentation.
with a few brief departures, particularly during the final push “Purple Phobia” would pair well with “Mood Swingin’,”
to the end. In the very beginning, the notation of the piano another jazzy work by Liesa Norman for two flutes and piano
part is a bit unclear; it begins in 6/8 with a tempo marking for (with optional bass), with this energetic piece following the
the dotted quarter, but after a few bars, the meter briefly slower, sultry “Mood Swingin’.” The cover art for both is from
changes to 2/4 without any indication of whether the quarter abstract paintings by the composer.
note pulse equals the previous dotted quarter or if it is some- —Rebecca Hovan

nfaonline.org Summer 2012 The Flutist Quarterly 89

 Music
Mood Swingin’ of the rhythms, a bit tricky at first glance, are easily manage-
Liesa Norman able with a bit of careful study. Brief opportunities are provid-
© 2011 Falls House Press ed for improvisation in each of the flute parts, but only for a
maximum of three bars. Chord symbols are not provided in
ood Swingin’” is appropri- the parts, so the flutists will want to consult the piano score for
M
ately titled in that the
mood and tempo of this jazzy
the appropriate chords in those places.
The piano part is quite simple, mostly written in block-style
piece never seems to stay in one chords but with some syncopated rhythms that contribute to
place for very long, shifting the jazzy nature and the lazy mood of the piece. Because of the
between brief sections that are part’s simplicity, this piece could be an ideal selection for a
alternately lazy and playful. The pianist inexperienced at playing jazz to get a feel for this style.
composer uses unusual markings There are no chord symbols in the piano part, which does not
throughout the piece to indicate call for any improvisation. In the hands of an experienced jazz
mood and tempo. The initial indication is “moody/sexy”: I pianist, the part could be embellished to make it more inter-
don’t believe I have ever seen the term “sexy” indicated in a esting; an optional bass part also could be spiced up a bit by an
piece of music, but there it is. This and other unusual mark- experienced jazz bassist. No drum part is included or indicat-
ings such as “laissez faire” and “retrospectively” leave much ed, but it seems appropriate to add percussion for a full
to the interpretation of the performers. On the other hand, rhythm section; a drum part would be a nice addition.
the composer is exceptionally specific about tempo changes, As a classically trained musician, I have not had much
giving very precise metronome markings every few bars experience at playing jazz, so I appreciate composers of this
along with the text indications for mood. These may be style who write music that is accessible to me. “Mood
helpful for younger students as they learn how to make fre- Swingin’” would work well on a traditional recital as a light
quent, slight changes in tempo, but they are unnecessary for piece, on a jazz program for a change of mood, or paired
the more advanced player, especially at points where a ritard with “Purple Phobia,” also by Norman, for a slow/fast set. It
is indicated. also would be ideal for background music at a dinner party,
The two flute parts engage in a jazzy dialogue of alternating reception, or other occasion. The cover art for both is from
phrase fragments connected by brief interludes of coming abstract paintings by the composer.
together before returning to the initial dialogue pattern. Some —Rebecca Hovan

Flute Concerto and because Nielsen was suffering from an extended illness, he
Carl Nielsen (ed. András was unable to work further on the piece in time for the per-
formance. Shortly after that time, Nielsen re-wrote the end of
Adorján)
the second movement, and this version was used in the first
© 2011 Edition Svitzer,
edition. To facilitate the interplay between the solo flute and
Denmark
orchestral solo instruments, the Telmányi edition had inserted
long with the Ibert Flute in the flute solo part a thorough set of cue notes for the
A
Concerto (1933), this Nielsen
Concerto (1926) remains a pop-
orchestra’s solo passages (a kind of chamber music version).
The Carl Nielsen Edition presented the flute solo part without
ular piece. The first edition these cue notes.
was published in 1952 by In Adorján’s new Svitzer edition, the orchestra’s extra part is
Samfundet til Udgivelse af inserted again (although sometimes rendered a little different-
Dansk Musik and edited by ly), and also added is an adaptation for second flute. The piece
Nielsen’s son-in-law Emil also can be played by two flutes and piano; the notes that are
Telmányi, who also conducted the first performance; the 2003 identical for the second flute part and piano are printed in red.
edition was published by Edition Wilhelm Hansen as part of I found text that I initially thought was a kind of commentary
The Carl Nielsen Edition. A new edition, edited by András on the differences in articulations—the old edition’s lack of
Adorján, was released in 2011. accents and breath marks—but realized is a description by
In his foreword to the first edition, Telmányi writes that he John Fellows of the musical development of the composition.
completed parts of the first movement and the whole second It is very interesting reading, too; but regarding the reasons
movement for flute soloist Holger Gilbert-Jespersen, a student behind Adorján’s choices, we are left to guess. Also included is
of Hennebains and Gaubert, who played the first perform- a bibliography of literature about this flute concerto.
ance. The original, pencil-written manuscript had been lost, —Mia Dreese

90 The Flutist Quarterly Summer 2012 nfaonline.org

 Tweet for solo piccolo point is a section of rapidly arpeggiated grace notes that appears
Daniel Dorff four times throughout the piece. The piece mostly occupies the
© 2011 Theodore Presser first two octaves of the piccolo’s range, with a few higher notes
Company appearing on occasion. Any advanced player with a dedication
for piccolo work should be able to play this work successfully.
hen piccoloist Lois Herbine brought the work to life by bringing out different
W Herbine commissioned
“Tweet” as part of her 2011 NFA
characters within what is, at first glance, a less varied texture,
especially in the aforementioned arpeggiated sections. By giving
performance program, compos- these characters a voice and turning “Tweet” truly into a conver-
er Daniel Dorff turned to the sation between birds, the performance was engaging and truly
birdsong outside his window for enjoyable, with fluid phrasing and virtuosic technique. Herbine’s
inspiration. I was able to hear the thoughtful interpretation could help inform anyone preparing
premiere at the NFA convention the work. Though she took some liberties with tempo not indi-
in Charlotte, and the performance has influenced this review. cated by the composer, the results were excellent.
The most difficult aspect of “Tweet” from a technical stand- —Rebecca Johnson

Progressive Duets, vol. 2 Mozart and Gariboldi, new arrangements of four J.S. Bach
Larry Clark Inventions, four more arrangements of duets by Mazas, an
© 2011 Carl Fischer arrangement of the famous little Clementi Sonatina, Op. 36,
No. 1, and three newly arranged Ernesto Koehler duets.
wenty duets, 64 pages, all As I tested out some of these duets with my students, how-
T printed both parts to the
page—these are indeed progres-
ever, their favorite was frequently Larry Clark’s “Twist of Fate,”
with its mixed meter, quirky articulations, and tempo changes.
sively arranged duets perfect for (Proviso: Most of my testers had already played a great deal of
the sight-reading portion of the music from the 18th and 19th centuries and hungered for the
lesson (or, of course, for presen- “contemporary” feel captured by the Clark composition.)
tation in recital). No. 1, originally
Clark’s Foreword nicely summarizes his purposes for
written for violin, by Jacques F.
assembling this material: “…important teaching and perform-
Mazas (1782–1849), is comprised
of quarter notes, whole and half notes, and a few eighth notes, ing…range of keys…both parts on similar ability level…each
but the articulation variations make for some interest. No. 20, line given opportunity to play a lead role at some point…”
composed by Larry Clark, is a six-eight Rondino (dotted- This second volume of Clark’s Progressive Duets series may
quarter=60) that romps through its E minor key with stan- indeed fulfill his hope that it be “a useful tool for you for years
dard rhythm patterns and a few tempo changes (ritardando/a to come.”
temp). In between are newly arranged excerpted duets by —Cynthia Stevens

Two Sonatas for Flute and These two works are quite typical of Telemann’s sonatas. They
Basso Continuo are both in four movements in slow-fast-slow-fast format. The
Georg Philipp Telemann edition is “urtext,” so the performers should be prepared to add
© 2011 Bärenreiter some improvisation, especially in the slow movements for an
authentic performance. This publication comes with a solo flute
t is almost an understatement part, keyboard part, and separate continuo part. The parts are
I to say Telemann was a prolific
composer. This fact alone makes
printed in such a way that there are no page turns within the
movements for both the flute and continuo parts. The print is
it quite difficult to keep up with very clear and a good size making the parts easy to read. An
all of his solo flute sonatas, which excellent preface is helpful for writing program notes and it also
are quite numerous. Then the contains performance practice suggestions.
fact that a number of flute
Most people who read reviews want to know of these
sonatas are tucked away in col-
sonatas are any good. This a question of personal taste.
lections that include sonatas for other instruments as well fur-
ther complicates and confuses the issue. These two sonatas— However, this writer finds these to be very solid works in typ-
D Major, DWV 41:D9 and G Major, TWV 41:G9—are found ical Telemann style. They should make a nice addition to
in a collection of 24 works named Essercizii musici (Musical Telemann’s other sonatas, especially for those who would like
Exercises). As far as this writer has been able to ascertain, this “new” Telemann works to add variety to their programing.
is the only modern edition of these two sonatas. —Keith Pettway

nfaonline.org Summer 2012 The Flutist Quarterly 91

 Music
Syrinx sources in a very detailed manner in terms of markings and
Debussy (urtext) breath marks of the two sources.
© 2011 Bärenreiter In addition, he has included in the introduction many
details of the compositional process of the composer and his
he newly released Barenreiter questioning of the nature of the work and its placement in the
T
Urtext edition of Debussy’s
Syrinx is an important addition
play. Debussy wrote, “Would you please tell me, very precisely,
after what lines the music starts? After several attempts I think
to a fuller understanding of the that one has to stick to the Pan flute alone without any accom-
interpretive markings of this paniment. This is more difficult but more natural.”
famous solo flute work. A Woodfull-Harris has also carefully footnoted with reference
detailed introduction by the material much of the correspondence between the playwright
editor, Douglas Woodfull- and the composer. He carefully refers to the pages of his refer-
Harris, gives a scholarly expla- enced material from Claude Debusssy, Correspondance
nation of the work’s back- (1872–1918), ed. Francois Lesure and Denis Herlin (Paris: edi-
ground and of the existing sources. He refers to the auto- tions Gallimard, 2005). In this edition, the spoken words from
graph—presumed lost, according to the editor—in a letter the play are given at the two appropriate places at the opening
of November 26, 1913, between Debussy and Gabriel and before measure 9. In another letter, Debussy also lament-
Mourey, who wrote Pyche, the play for which Debussy’s ed the worry of not finding an appropriate performer as the
piece was written. This letter was written when the work was orchestras were in full season.
just completed. The other sources are a manuscript copy It is quite revealing to read of the compositional problems
with the title La Flute de Pan that was owned previously by and questions and many of the usual performance dilemmas
Louis Fleury and the first edition with the title Syrinx pub- alluded to by the composer and poet of this remarkable and
lished by Jobert in 1927 (Fe). innovative solo. In the end, noted flutist Louis Fleury, a stu-
The editor has done a marvelous job of comparing the dent of Paul Taffanel, performed at the premiere of Psyche
sources and preparing a critical edition with the changes from December 1, 1913, at the home of M. Louisa Mors. I give this
the various sources marked in square brackets or broken lines highly informative and critical Urtext edition my highest rec-
(for slurs, ties, and hairpins). In general he has used the Fe ommendation.
source but has elucidated discrepancies between the two —Andrea Loewy

Four Seasons Complete tions a bit awkward and chose to change them.
Trans. for flute and piano Galway includes translations of the programmatic subtitles
within the music, which is helpful to the performer’s interpreta-
by James Galway
tion. The print is somewhat large on the page, making it easy to
©2011 G. Schirmer, Inc.
read in all kinds of lighting, but this layout does also yield some
rather awkward page turns. Copious photocopies will need to be
his collection of all four
T
“Season” concerti looks to be
merely a new way of packaging
made if one is not performing these pieces from memory.
Galway has made interesting choices in leaving out materi-
Sir James Galway’s transcrip- al, generally tutti passages, but some of the soloist’s original
tions, each of which has already obbligato lines are also omitted, giving the flute soloist an
been made available by Schirmer occasional welcome break. I think these choices work just fine.
for individual purchase. It is a Characteristic of Galway’s transcription style, many pas-
convenient collection to have all sages are taken up an octave higher than the original, which is
together, and the price (around $20) makes it even more eco- often not necessary and becomes taxing to the performer, who
nomical than his original, individually published movements, must make passages in the extreme range sound graceful and
which tend to run $9–10 each. light when they would much more easily have come off this
So, let’s say you have already done the math and come to the way in the original range.
same conclusion. Why should you purchase Galway’s edition Conversely, there are also a couple of times (third move-
rather than choosing another (or doing it yourself)? In com- ments of Summer and Fall), when passages exploit the
parison to the original transcription, dynamics, ornaments, extreme low register, requiring great skill to be heard and to
and articulations to this transcription have been added sparse- maintain clear articulations. At these times, one wonders if the
ly, giving the performer an idea of a way the solos could be goal is to serve Vivaldi as well as possible or to show off the
performed. However, it is up to the performer to carry on with performer’s great athleticism.
these markings in similar passages, as they are not always con- In terms of ability level, Spring seems mismatched to the
sistently applied through a movement. I found some articula- rest (Vivaldi’s fault, not Galway’s). This concerto could easily

92 The Flutist Quarterly Summer 2012 nfaonline.org

 be performed by a young college student or even a very purchase for personal entertainment alone. If one does under-
impressive high school student, but the other three require take to perform from this or any other edition, I think it is per-
such stamina in double tonguing and confidence in prolonged fectly reasonable to assume that the performer will need to
fast scale and arpeggio passages that they should probably be
apply creative license in writing or rewriting ornaments, artic-
left to a more advanced student or professional to perform on
stage. However, Vivaldi is great fun to play, and it is immense- ulations. If you’re comfortable doing that, this is a fine edition
ly pleasurable to play through these tunes that we have heard for your library.
so many times in our lives; this edition might be worth the —Nicole Riner

Play a Song of Christmas so requested around the holiday times. As the publisher states,
Ruth L. Zimmerman “Part-books for each instrument provide the melodic line
©2011 Theodore Presser along with various other parts so that anyone can play the
Company tune and any combination of instruments can play in 2-3-or
4-part harmony.”
he recently renewed publi-
T cation of Play a Song of
Christmas by Ruth L. Zimmerman
Now, with the CD with piano accompaniment also provid-
ed, the student can play along “as a soloist or in any combina-
tion of musicians with the accompaniment provided” by the
by Theodore Presser now includes
CD along with the complete printable lyrics for the audience
a CD with recorded piano accom-
or party, if needed. The score under review for two flutes
paniments (mp3), lyric sheets
(PDF), and the score itself. The works extremely well for the instruments, and this publication
work consists of 35 Favorite would enable intermediate students to feel great joy and pride
Songs and Carols in Easy Arrangements for Variable Mixed in being able to play these popular holiday tunes upon request.
Ensemble or Soloist with Accompaniment. This is an extremely I highly recommend this publication.
versatile and well put-together arrangement of songs that are —Andrea Loewy

Lipstick
Katherine Kemler
Sonatina

Download live performances

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

NFA OFFICE Program Book Editor Historical Flutes Flute Choir Composition ARCHIVES AND LIBRARIES
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Chief Executive Officer 7213 E. Chelsea St. University of Wisconsin–Oshkosh PO Box 1436 NFA Librarian
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Nancy Toff (2007) Piccolo Kalamazoo, MI 49008-5434 rcollaros@aol.com
Santa Clarita, CA 91351
425 East 79th St., #6F Carl Hall (2009) 269-387-4697
661-299-6680
fax: 661-299-6681 New York, NY 10075 1352 Metropolitan Ave SE martha.a.councell-vargas@wmich.edu International Liaison
nfaconvention@aol.com 212-772-1343 Atlanta, GA 30316-1670 Aldo Baerten (2009)
nancy.toff@oup.com 404-377-6112 National High School Flute Choir
Mezenlaan, 11
Local Arrangements Chair cdhall51@bellsouth.net Ronda Benson Ford (2009)
Career and Artistic Development Sint Genesius Rode
Jennifer Kuk-Bonora 1208 Laurelwood Drive
Ellen Johnson (2011) Special Publications Chattanooga, TN 37412 Belgium B-1640
8765-103 Traveling Breeze Ave.
Las Vegas, NV 89178 605 E. 69th St. N. Patricia Harper (2008) 423-710-1142 Ph/fax: 003223811575
kukj2003@yahoo.com Wichita, KS 67209 38 Oak Dr. flutie300@aol.com aldobaerten@infonie.be
316-210-0222 Centerbrook, CT 06409
Volunteer Coordinator ellen@ellencjohnson.net 860-767-0629 Newly Published Music Legal Advisor to the Board
Jennifer Grim patricia@patriciaharper.com Jennifer Robin Lau (2007) Linda Mintener (2009)
University of Nevada, Las Vegas Commercial Members Center of the Arts 3976 Plymouth Cir.
Department of Music Beth Chandler (2010) World Music MSC04 2570 Madison, WI 53705
4505 Maryland Pkwy. 3215 Briarwood Ct. Peter Westbrook (2010) 1 University of New Mexico
Las Vegas, NV 89154-5025 608-231-1680
Harrisonburg, VA 22801 13012 Magellan Ave. Albuquerque, NM 87131
702-895-5849; 646-554-6915 fax: 608-266-3049
540-574-3772 Rockville, MD 20853 505-401-2398
jennifer.grim@unlv.edu 240-481-2213 lmintener@aol.com
Fax: 540-568-7819 jlau@unm.edu
chand2be@jmu.edu ganved@earthlink.net
Convention Equipment Chair Masterclass Reporter,
Kimberlee Goodman Orchestral Audition and Masterclass
COMPETITION COORDINATORS Flutist Quarterly
4783 Cherry Park Dr. Cultural Outreach Jennifer Parker-Harley (2008)
Terri Sundberg (2010) University of South Carolina Lee Chivers (2008)
Columbus, OH 43230 General Coordinator
UNT College of Music School of Music 1933 E. Renee Dr.
614-805-5261 Diane Boyd Schultz (2010)
kimberleegoodman@hotmail.com 1155 Union Circle #311367 813 Assembly St. Phoenix, AZ 85024
University of Alabama 623-580-5244
Denton, TX 76203-5017 School of Music, Box 870366 Columbia, SC 29208
Exhibits Management 940-565-3756 803-777-4853 leesflute@earthlink.net
Tuscaloosa, AL 35487-0366
Jim Magee Terri.Sundberg@unt.edu 205–348–4532 jparkerharley@mozart.sc.edu
N’Awlins Trade Show and Myrna Brown International
dschultz@music.ua.edu
Convention Services, Inc. Development Piccolo Artist Liaison and Scholarship
612 Highland Ct. Katherine Borst Jones (2007) Hillary Feibel (2009) Coordinator
Baroque Flute Artist
Mandeville, LA 70448
4635 Rutherford Rd. Nancy Schneeloch-Bingham (2007) 6435 West Jefferson Blvd. #138 Angeleita Floyd (2007)
985-626-3046
fax: 985-727-3940 Powell, OH 43065 Hayes School of Music Fort Wayne, IN 46804 3743 Beaver Ridge Cir.
jnawlins@bellsouth.net 740-881-5008 Appalachian State University 260-450-6674 Cedar Falls, IA 50613
fax: 740-881-5252 Boone, NC 28608 nfapicc@aol.com ph/fax: 319-268-1001
Exhibits Assistant jones.6@osu.edu 828-262-6447 cell: 319-290-2852
Patti McCleney schneelochna@appstate.edu Professional Flute Choir angeleita.floyd@uni.edu
N’Awlins Trade Show Endowment Pamela Youngblood (2009)
and Convention Services, Inc. Richard Wyton (2010) Collegiate Flute Choir Texas Woman’s University
Tabatha Easley (2011) Myrna Brown Society
P.O. Box 8538 P.O. Box 294 PO Box 425768
Mandeville, LA 70470-8538 Department of Music Eva Amsler (2007)
West Redding, CT 06896 Denton, TX 76204
ph/fax: 985-893-9521 Virginia Commonwealth University 1650 Snowball Wy.
203-938-0667 940-898-2495
pattimccleney@yahoo.com 922 Park Ave., P.O. Box 842004 Tallahassee, FL 32301
rwyton@optonline.net pyoungblood@twu.edu
Richmond, VA 23284-2004 850-877-2096
Showcase and Exhibitors’ 804-828-6120 eamsler@mailer.fsu.edu
Graduate Research tapeters@vcu.edu Young Artist
Concert Coordinator (2008)
Rebecca Johnson Michelle Cheramy (2007) Virginia Broffitt (2010)
School of Music Oklahoma State University NFA Library Liaison
DFAC 2415 Dept. of Music Convention Performers
Eastern Illinois University Memorial University Sally Humphreys (2008) Department of Music Sandy Schwoebel (2008)
600 Lincoln Ave. of Newfoundland 380 E St. 132 Seretean Center 638 S. 6th Ave, Unit 1
Charleston, IL 61920 St. John’s, Newfoundland Salt Lake City, UT 84103 Stillwater, OK 74078-4077 Tucson, AZ 85701
217-581-6627 Canada A1C 5S7 801-355-8859 405-744-3964 520-490-1817
94 The Flutist Quarterly Winter 2012
rrjohnson2@eiu.edu
nfaonline.org
mcheramy@mun.ca sallyhumphreys@msn.com virginia@virginiabroffittcom sandyschwoebel@aol.com
4 1 S T A N N U A L N A T I O N A L F L U T E A S S O C I A T I O N C O N V E N T I O N

Confluence of Cultures
& Perseverance of Spirit
New Orleans, Louisiana
August 8–11, 2013

Oh, Lord! You will want to be in that number when

the flutes come marching into the Crescent City.

M
ark Twain once said, “An As you make your destination the
American has not seen the Crescent City, your unfailing smile will
United States until he has seen certainly proliferate because you will
Mardi-Gras in New Orleans.” I say contribute to a greater cause that perhaps
flutists have not seen a flute convention transcends your daily life. We are plan-
until they have seen the NFA Flute ning opportunities for you to join and
Convention in New Orleans in 2013. A volunteer in the reconstruction of the
confluence of cultures and perseverance spirit of New Orleans. As you serve, you
of spirit will abound. are served. Test it out in New Orleans.
Come! Come and be a part of this An immense opportunity for flute
number of flutists when we celebrate the ensembles from the U.S. and abroad is
41st NFA convention in the Crescent also being created. We ask ensembles to
City. Also known by other nicknames submit programs that contain at least
Tadeu Coelho
such as The Big Easy or Saint City, none one “world premiere” of a work written
of these do justice to the complex culture specifically for the New Orleans con-
and riches that New Orleans, the most vention. The world premiere must have print out the completed submission form
Latin of U.S. cities, offers. As the birth- an identifier word or phrase in the title,
and mail it, along with supporting pro-
place of jazz, the city has expressed its such as New Orleans, The Big Easy,
posal materials including recordings and
jubilant testimony to the love of life ever Crescent City, or any words that will
list of audio-visual needs, to:
since its inception. Beginning with unmistakably connect the piece to the
Choctaw Indians, followed by French Crescent City. Stay tuned for more in
Tadeu Coelho,
colonial settlers, then followed by the coming months as we materialize
NFA 2013 Program Chair
Spaniards and the arrival of Acadian set- our dreams for this convention.
tlers, to name a few historical periods My wish is that this convention will Krisztina Der, Assistant PC
associated with New Orleans, we might give you the pleasure of partaking in an 120 Harwick Place Ct
stop and ponder. We can’t help looking authentic musical experience; that you Winston-Salem, NC 27103
inward to ask: how was it possible that will feel like you are one in the number nfapc2013@gmail.com
something good emerged from the of great flutist-friends; and that you will
tragedy of Katrina? be inspired and proud to be in the num- All non-flute choir applications must
A rebirth occurred, a coming togeth- ber of your convention, where great art, be postmarked by October 1, 2012. All
er, which brings us, still today, hope and creativity, and imagination will sur- flute choir proposals must be post-
faith that we will abide. This is a testa- round you. I hope you are tempted to marked by November 15, 2012, and
ment to the perseverance of the spirit, a do your best to help us make this event must include three audio CDs (no
restoration and preservation of the memorable. Come on down to New DVDs) made within the past 15
legacy and tradition of this amalgama- Orleans in 2013! months, with exact timings.
tion of cultures, a born-again spirit, a Please complete and submit the online
new life! And you just have to be in that proposal form available on the NFA web- —Tadeu Coelho, Program Chair, 2013
number, my friends. site at nfaonline.org. Additionally, please Convention
nfaonline.org Summer 2012 The Flutist Quarterly 95
 Index of
ADVERTISERS
Abell Flutes .......................................................................................64 Muramatsu ........................................................................................11
British Flute Society............................................................................76 Music Factory Direct ..........................................................................33
Brannen Brothers Flutemakers, Inc. ..........................................................3 Musikgarten ......................................................................................29
Burkart Flutes and Piccolos (2) ......................................................6, 99 Nagahara Flute (2).....................................................................................12, 96
Carnegie Hall Royal Conservatory Achievement, The ...........................9
National Flute Association.....................................................................78
Carnegie Mellon University................................................................18
Chopsaver ............................................................................................8 New England Flute Shop, The.............................................................39
Clarion Insurance ..............................................................................35 Ogura Flute Works ............................................................................78
Classical Collection, Inc ....................................................................39 Packard Humanities, The ....................................................................34
Crystal Records .................................................................................28 Pearl Corporation ............................................................................100
Drelinger Headjoint Co. .......................................................................7 Polak, Simon .....................................................................................34
Ellen Ramsey Flute Service.................................................................29 Potter, Christine .................................................................................64
Flute Pro Shop, The ............................................................................29 Professional Suite Royalton Music Center...........................................10
Flute Specialists, Inc. .........................................................................97
Progress Press (3) ...............................................................................16
Flute World Company, Inc..................................................................96
Gary Lewis Flutes ...............................................................................63 Sagerman ...........................................................................................39
Graf, Erich .........................................................................................39 Shorey, David and Nina .....................................................................14
Harbor Winds Woodwind .................................................................14 San Diego Flute Guild........................................................................78
Jeanne Baxtresser ...............................................................................15 Sherry Lee’s Flutes ..............................................................................14
Keefe Piccolos ...................................................................................39 Tai Hei Shakuhachi Flutes .................................................................64
Kemler, Katherine ..............................................................................93 Trevor James/Hammig Piccolos
KHS America, Inc.................................................................................4 (see also Miyazawa) .......................................................................98
Kingma Flutes.....................................................................................26
Windward Flutes Ltd. .........................................................................18
Landell Flutes ...................................................................................63
Lopatin Flute Company .....................................................................39 Winzer Press .....................................................................................27
Mancke-Flutes ...................................................................................67 Woodwind and Brasswind..................................................................15
Miles Zentner ....................................................................................64 Yamaha Corporation of America .........................................................19
Miyazawa Flutes, Ltd (2) ...............................................................2, 98 Your Flute Works .................................................................................81

-IYAZAWAs(AYNES
-URAMATSUs!LTUS
(AMMIGs!RISTA
'RENADITTE.EW6OICE
+OTATOs4OM'REEN
6ERTICAL3WAN(EADJOINTS
!ZUMIs!VANTIs,YRIC
*UPITERsDI-EDICI 29
!MADEUSs%MERSON
$EAN9ANGs$E&ORD
*AMES'ALWAY3PIRIT
4REVOR*AMESs$I:HAO
“Simply the
Very Best Flutes.”
- Jim
Walker

Play it. Hear it. Feel it.

Lillian Burkart The Sound and Feel of Great Design

Burkart Flutes & Piccolos 2 Shaker Road #D107 Shirley, MA 01464 USA Phone: 1-978-425-4500 E-mail: info@Burkart.com
 THE NATIONAL FLUTE ASSOCIATION, INC. N O N P RO F I T O R G
U S P O S TAG E PA I D
26951 R U E T H E R AV E . , S U I T E H L O S A N G E L E S , C A
S A N TA C L A R I TA , C A 91351
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