Presiderlt: Sir James Galway OBE Vice-presihr: Albert Cooper

Acting Chairmat/: Kenneth Bell

The Journal of The British Flute Society

Volume 2 1 No. 1 March 2002

Editor& Committee Clare Roberts Editor

Kenneth Bell Christine Ring

Helen Baker

Contacting the BFS General enquiries

Kenneth Bell Acting Choir E-mail: secretary@bfs,org.uk

Membership enquiries John Rayworth A4en1bedip Secretary

The Nook, How Mill, Brampton

Cumbria CA8 9JY Tel: 01228 670306

E-mail: membership@bfs.org.uk All telephone enquiries regarding

membership should be directed to John Rayworth

Editorial Clare Roberts Editor

2 \Voodlawn Road London SW6 6NQ

Telephone 020 7385 2071 Fax020 73853276

E-mail: pan@bfs.org.ulc

Advertising Maple Media Ltd.

41 1 Wokingham Road Earley, Reading,

Berlrshire RG6 7EL Telephone 0118 926 1669

Fax0118 9665611

Cover Statue of Pan (see tinted box for details)

Courtesy of the newspaper Stroucl News and Journul

Design, production and printing Michaelangelo Design

The Fitzpatrick Building 158-194 Yorli Way, London N7 9AS

Telephone 020 7700 4733 Fax 020 7700 3703

E-mail:michaelangelo@btinternet.com

Views expressed by contributors are their own and do not necessarily reflect the official view of the British Flute Society. All copyrights reserved.

Registered charity No. 326473 ISSN 1360-1563

cover is from the worlishops of sculptor Jan van Nost and has been in the grounds of Painswiclc House, Gloucestershire, since it was first constructed in the 18th century.

....................................... British Flute Society Address Book 2 Comment 3 BFS news i\ new section to keep vou up to date 4 . .

with all BFS events, activities and information, including memhers' noticeboard ........................................ Flute news Ben's diary, tlute days for young people, advice, rare crystal flute

6 Letters Octotonic music, coping with braces 1 1 BFS June playing day with Susan

12 Milan

.............. .......... Concert and flute day reviews 14 Obituaries illl~ert Iloney, Russell King, James Cuming Hopliinson

17 ........................................ Concert listings

Flautist of fire and flexibility 20 Jol~athan Snowden believes the key to survival in the flute world is flexibility - in dynam~cs, style, colour and interpretation. Susan Fitzgerald finds out more ' about this talented, versatile musician.

The psychology of flute teaching 24 Lucinda klackworth-Young shares some of the best-kept secrets of successful tlute teaching and happy, motivated pupils.

Sing alto flute! The sonoritv of the alto flute has 28 enormous expressive possibilities. Carla Rees reveals its history and sings its praises in this first article of a new series. ........................................ Brian Finnegan: a bit of a wizard 30 Funky tlute playing from a techno acrobat - to find out more about the man and his music, read I-Ielen- Louise Balter's interview with the central figure of the folli band Flook! ...................... Deafness no bar this flautist The flute is the best thing that has ever happened to Ruth Montgomery. The beauty of her playing has been described as inspirational. Here, this determined, inspired flautist tells the story of her music-making. ........................................ Historical clues to the origin of the flute 37 really invented in

Simon O'Sullivan delves into the mists of time.. .

Summer school listings Pan's annual list of flute summer schools in the UK and abroad

38 ........................................ Reviews

........................................ Advertiser index and classified 55 ........................................ Counterpoint Further shock revelations from

of the Spheres, world music, ... 56 the Comos Daisy \Veal on Harmony

Neapolitan sixths and Zarathustra ...

The aims of the British Flute Society: ... ro advntance the edt/cntion ofrhep~tblic in the Art and Scierrce of iblrcric and in por~ir~tlar the AI? nnd Science of FMe p/n.ying it1 anN its nspccts ...

P A N M A G A Z I N E 1

I The British Flute Off' leers 1 Society

Pmi&it: Sir .lames Galway

Rachel Misson Peasrirer Spring Farm, \Vanviclc Road, Stratford-upon- Avon CV37 OPZ TeVfax: 01789 731966 Fas: 01789 731499

l Nbert Cooper

Kenneth Bell Acting Chairman Central Band HQ Music Services, RAF Uxbridge Middlesex UBlO ORZ Tel: 01895 237144 x 6341 chairman@bfs.org.ult Cliristine Ring Mitrrrles Secretaq The IIemmel, Low Warden, Ilexham, Northumberland NE46 4SN. TeVfax: 01434 603489 Yvonne Mcl1w:line Events Coordittnor 4 Church Farm Cottages Packington Lane Maxstoke \Varlrs B42 2QP TeVFas: 01675 466216 Email: events@bfs.org.uk Irene Barnes Area Reps Coornitrator Broughton 28 Station Road, IGnross, Scotland KY13 7TG Tel: 01577 862433 Clare Mellor Assisfan/ Treasurer 25 Melrose Avenue Reading, Berlis RG6 7BN Tellfax: 0118 966 9767 E-mail: CsnifIute@aol.com Helen Baker Edltcatio 11 Repmsetita five 7 West Street. Isleham, Ely, Cambs CB7 5SD Tel: 01638 780275 education@bfs.org.uk David Oliver 'Hill Side Cottage', Brailes, Banbun. OX15 ~ A F Tel: 01608 665529 Fax: 01608 686592 Mobile: 07813 258283 Email: flute@david- oIiver.co.uk

Nber t Cooper Hot~ary Vice Presihl 9 \Vest Road Clapham London SlV4 7DL Tel: 020 7622 7663 Susan Bruce Legal Represetrtafive 4 Winston Close Stratford uoon Avon

Tel: 01789 292708 Fas: 01789 414081 Email: susan@bn~ce.co.~~k Clare Roberts Editor 2 Woodlawn Road London SW6 6NQ Tel: 020 7385 2071 Fax: 020 7385 3276 pan@bfs.org.uli John Rayworth ~Ventbership Secretmy The Noolr, How Mill Brampton Cumbria CA8 9JY Tel: 01228 670306 membership@bfs.org.uli Niclr Wallbridge Il'ebrnrner and Sofmare Cotisultat~t Fas: 01923 710519 Email: iVebmaster@bfs.0rg.uk Lisa Nelsen AFTrep 153 Logan Street Market IIarbol~rough Leicestershire LE16 9AP TeVfax: 0116 259 0184 'lkevor Wrye Archivist Tamley Cottage Nastingleigh, Ashford, Kent TN25 5HlV TeVfax: 01233 750493

Avon & Somerset Carole Timms 4 Sheppards \h lk Chilcompton Somerset BA3 4FF TeVfax: 01761 233982 Birmingham Margaret Lowe 10 Navenby Close Shirley, Solihull, West Midlands B90 1LM Tel: 0121 474 3549

Cumbria Janet McCallum Wyresdale 7 Liniethwaite Road Windermere LA23 2BQ Tel: 01539 446611 East London liate Cuzner 52 Turnstone Close Upper Road, Plaistow, London, E13 Tel: 020 7511 5552 East Central Scotland Irene Barties, Broughton 28 Station Road, ICinross, Scotland KY13 7TG Tel: 01577 862433 Hertfordshire \Vendy LVaIshe, Iiennel House. Howe Green. Hertfoid SG13 8LH Tel: 01707 261573 Norfollr Elaine Smith The White Homestead Bramerton Norwich NR14 7DP TeVfax: 01508 538215 North East England Christine Ring The Hemmel, Low \Varden, Hexham, Northumberland NE46 4SN. TeVfax: 01434 603489 North Scotland Gillian Leonard 5 Conglass Cottages Inverurie, Scotland AB51 5DN Tel: 01467 623507 Gilliantlutes@aol.com North \Vales Heather MacEaunruig Hafod Ruffydd Uchaf, Beddgelert, Caernarfon Gwynedd LL55 4UU TeVFax: 01766 890434 North West London Patricia Clelland 7 Cherry Tree Avenue Yiewsley, West Drayton, Midds UB7 8DB Tel: 01895 437570 Oxford Carolyn Robinson 21 Trinity Street St. Ehbes, Oxford OX1 ITN Tel: 01865 250169 South Devon Garth Freeman Highbanlzs, The Orchard, Holcombe Dawlish, Devon EX7 OJD Tel: 01626 865653 South East London Susan Mary W~ittalter 52 Red Post Mill Herne Hill

London SE24 9JQ Tel: 020 7733 1328 Surrey Jacliie Cos 3 \Vest Street, Carshalton, Surrey SM5 2PT Tel: 020 8773 0436 Swansea I-lug11 Phillips 116 Delffordd, Rhos, Pontardawe, Swansea, \Vest Glamorgan SAS 3E\% Tel: 01792 865825 Twicltenhan~ Julie \Vright 41 Devon Avenue Twiclrenham, Middlesex T\V2 6PN TeWax: 020 8241 7572 Thames Valley lan Mulin 96 Grovelands Road Reading, Berks RG30 2PD Tel: 0118961 3476 \lresses Jan Trevithiclr Thorny Banli 4 The Retreat. Frome Somerset ~ ~ 1 ' 1 5JU Tel: 01373 452922 Wrest Susses Lindy Thwaites 19 Downview Road Bamham Bognor Regis P022 OEG Tel: 01243 553623 \Vorcestersbire Alison Uren Chalfont House 26 Christchurch Road Great Malvern, \Vorcs. WR14 3BE Tel: 01684 567819 France Sor~tli \Vest Atarah Ben Tovim Au Bosch, Juillac 33890 Gensac, France F a 0 0 3 3 557474003

Association of Flute Traders

Albert Cooper Chairman 9 \Vest Road, Clapham, London SW4 7DL TeVfax: 020 7622 7863 All Flutes Plus 5 Dorset Street London WII1 3FE Tel: 0171 935 3339 Fax: 0171 224 2053 Boosey Pr. Hawltes Deansbrook Road. Edgware, b~iddlesex HAS 9BB Tel: 020 S429 7511 Fas: 020 8429 7556 Barenreiter Burnt Mill

Elizabeth Way Harlow, Essex CM20 2HX Tel: 01279 417134 Pax: 01279 429401 E-mai1:baerenreiter @dial.pipex.com Bill Lewitigton Ltd AFT Unit 8, Hornsby Square Southfields Industrial Park, Laingdon, Essex SS15 6SD Tel: 01268 413366 Fax: 01268 418008 Email: sales@bill-lewington.coni

ClCW Publications i\ttn. Geraldine Russell-Price 10 Avenue Road Kingston-Upon-Thames Surrey KT1 2RB Tel: 020 8541 OS57 .John klyatt \lloodwind and Brass 57 Nightingale Road Hitchin, IIcrts SG5 1RQ Tel: 01462 420057 Fax: 01462 435464 Jonathan Myall/Just Flutes 46 South End, Croydon, Surrey CRO 1DP Tel: 020 8662 8400 Fax: 020 8662 8404 JnpiterIDi Medici C l 0 Korg UK LTD 9 Newmarket Court Kingston, Milton Iieynes Buclts MK10 OAU Tel: 01908 857100 Fax: 01908 857199 Sheehan's Music Services C Noel Sheehan, 50-52 London Road, Leicester LE2 0QD Tel: 0116 255 7492 Fax: 0116 285 5932 Email: noel@sheehans.com Top Wind 2 Lower Marsh London SE1 7EJ Tel: 020 7401 8787 Fax: 020 7401 8788 Pearl (UK) Ltd Sherbourne Drive Tilbrook Milton Keynes MK7 SLP Tel: 01908 366941 Fas: 01908 640655 Yamaha-Kemble Music (U10 Ltd Acoustic Division Sherbourne Drive Tilbrook blilton Keynes bIK7 8BL Tel: 01908 366700 Fax: 01908 369225

2 P A N M A G A Z I N E

Life Members of the BFS Julian Arnmstrong

Danielle Baron-Janli Michie Bennett \Villiam Bennett

\Vissam Boustany Robert G. \V. Brow

Briat~ Burgess Patricia Clelland i\lhert Cooper

Philomena Cooper Paul Dhasrnana

Elena Duran Andrew Edwards

Michael Emrnerson Paul Pelguson Daniel Fisher

Carlos Pitzpatriclr Dr ilngeleita Floyd

Caroline M. Frankly James Galway

Jeanne Cinnante Galway Lucy Gibson

Brian Hamilton Robert B.S. Ilamilton

Christopher Ilammond Patricia L. Ilarper

Louis M. Henry Pauline Jaclrson Anne Jalreman Trevor James

Nils-Thilo Icrlmer I-Iannah Lang

Ian LlcLauchlan Susan Milan

Christopher Paul h.lo~*v I-lannah hloney

Alexander Murray Barbara Noble

Carla Rees Stephen Robinson

David St.John-Il'eyela Mary Scudder

Sheila Searchfield Richard Shaw

Rachel Sherlock ICirsten Spratt

Andy Tbomson hlarlr Underwood Jennifer \\'elch

Lars-Ame \Vennqui: Susan-Nary \\'hittalc

Emma IVilliams Trevor \\'ye

Membership information ilnnual subscriptions 2002

U<: Individual 220.00 Two members at the same address (one journal) 225.00 Student (under 25) 213.00 Pensioners 213.00 Schools and flute clubs 820.00 Europe: Individual 225.00 Student (under 25) 818.00 Worldwide: Individual (air mail) 230.00 Student (under 25) 218.00 Pensioner 218.00 Schools and flute clubs 225.00 Life membership: Individual 2300.00 Joint 2350.00

John Rayworth, Membership Secretary The Noolr, How Mill, Brampton, Cumbria

CA8 9JY. Tel: 01228 670306. E-mail: membership@bfs.org.uk

his month sees a bumper issue of Pan to start the new year with a bang! Don't miss our major interviews of two

. exceptional flautists, Jonathan Snowden and Brian Finnegan. Their talents and personalities may have taken their playing in somewhat

.: different directions, but they both have fascinating tales to tell. Jonathan Snowden, known for his sumptuous range of tone, has been successful as principal flute with several

hestras, and shares his love of the t, his belief in the importance of flute

teaching and insights into the power of mance. Meanwhile, Brian Finnegan, who

expresses himself with astonishing dexterity on of different flutes in the band Floolr!,

tells of his inspiration and fellow travellers on the folk road ...

We may be inspired by the great flautists of our day (don't forget that Susan Milan is leading the BFS June playing day - see pages 12 and 13 for details), but we were all pupils once and it never hurts to stop and think how we present ourselves to those who, after all, may be inspired (or unwittingly discouraged!) by us. Lucinda Mackworth-Young reminds us of the butterflies in the stomach most of us felt at our first lesson (and beyond!) and how teachers can help to create successful, happy pupils by being aware of feelings and modifying their attitudes to learning accordingly.

Sometimes pupils astonish by their talent and determination to succeed and Ruth Montgomery, a deaf flautist whose playing has had excellent reviews (see June 2001 issue of Pan), is one of those. For her, a hearing impediment is simply another challenge to be overcome in her music making. You can read her story on page 34.

Another major series starts this month in Pan with Carla Rees' introduction to the history of the alto flute and its status in the music world today. Readers will miss the next instalment of the audition series by Nicholas Vallis-Davies - but don't worry, this will reappear in the June issue. Our regular columnists Simon O'Sullivan, with his insights into the flute in art and literature, and the musings of Daisy Weal, are also not to be missed.

Finally, you will find Pan's annual listing of flute summer courses, which take place in prodigious numbers in every corner of the UK (as well as exotic locations abroad), to whet your appetite for this year's holiday season. This issue also includes the usual flute news (with special pages for BFS events and information), concert listings and reviews, obituaries and letters.

Clare Roberts

BFS ANNUAL GENERAL MEETING THE AGM is an importa;nt date in the BFS calendar, when you, the members can meet the council and officers and

state your views. The AGM this year takes place on 24th March at 2.30pm in the Bertrand Russell Room of

Conway Hall, Red Lion Square, near Holborn tube station, central London. The BFS exists to further the flute-playing

opportunities for YOU, the members, so please do come along and tell us what you think!

P A N M A G A Z I N E 3

r -- 1 New music for wind ensemble THREE COMPOSERS have been appointed by tlorsham Wind Ensemble to undertake three commissions, funded by a second major award to the ' Ensemble by South East Arts.

Ilominic Se\vcll (ahove) will conlpose a piece based on folk music from different cultures which will bring together the ten senior players and Ilorsham Junior Wind Quintet.

The second commission is for two flutes, two oboes, two clarinets, two bassoons, two French horns, piano, alto saxophone and ten professional singers. The piece will trace the popular music tradition from the 1920s through jazz, ragtime, swing, pop and so on to the present day. Ben Pope (above centre) is 'delighted to have been given the opportunity to work with the Ensemble again on such an

intcrcstinfi and innovati\'e pro,ject. ' I have also been asked to dircct the piece from the piano, so it will be wonderful to be involved as a player interpreting my own score.'

The third commission is for a piece of music for double wind quintet and piano. Liz Lane (right), when told o f the award said, 'I am looking forward to the challenge of writing this work, which will be based on a Romanian folk tale entitled "\Vhy cats sit on the doorstep in the sun". The music is intended to be contemporary, accessible and fun to dance to for a group of 7-13 year olds. It will also stand alone as part of the double wind quintet and piano repertoire'.

Dr Richardson, one of the Directors of the Ensemble was delighted that the three composers had accepted these

very considerable challenges. "We are only interested in contemporary music which is tonal and appeals to wide musical tastes ... \Ve are committed to introducing our audiences to music written by contemporary composers but we know from our audience

1 surveys that they are not interested in "experiments with sound".

Dominic's piece will be played at Chequer Mead, East Grinstead on 23rd June; Ben's commission will be performed on 17th November also at Chequer nilead and Liz's piece will be premiered at Horsham Arts Theatre in the Capitol Theatre on 9th November 2003. For further details, contact Dr Geoffrey Richardson on 01403 242429. Website: www.sussexcoast.co. uldiorshadwind-ellsem ble. htm

i Members wanted for Hcrts flute group ... : A couple o f summers ago, after going to : Atarah's and Julie's Bloshani flute course, I i managed to start up a flute group (Grade : 2-7) which had enthusiastic adult players : meeting on a regular basis. I made phone i calls, bought music, filled the kettle, put up : the music stands and we kept it running : for over a year, with each o f us taking

turns to set up a room in our homes and : have an evening's good playing. : Unfortunately it's now faded away because i o f other commitments, but I'm keen to get : it started again. : Living in I-Iatfield, Hertfordshire, I'm : fortunate to be able to go to Wendy i \\ralshe's excellent flute group in Hertford : once a month, but it's not enough of a flute- : fix for me. There must be others out there i who feel the same, are dead keen to play : and might like to contact me and get : something going. It doesn't necessarily have i to be in Ilerts as I'm not worried about : getting in the car and travelling a bit ... : I have plenty of flute music for duet, trio, i quartet and larger ensembles, there's a large : hall I can hire with good facilities and : parking, or I'm happy to set this up at home

again as I have plenty o f spare chairs, a good sized living-room ancl tea ancl coffee! :

Making phone calls doesn't put me o f f i and I'll buy some new music as we go ... all I : need, then, to start is some enthusiasm from other like minded-flautists, so please i call me any time! Les Cirkel, 19 Cornerfield, Hatfield, Herts, i ALlO OUN. Tel: 01 707 268500. Email: lescirkel@onetel.net.uk . -~

Help! Where are Popps 12 Easy Pieces? i L

Does anybody have knowledge (or copies!) : .. of 12 Easy Pieces by Wilhelm Popp (one o f : them is printed as no 15 in First Repertoire i Pieces (Wastall). hly Grade 6-8 students : love playing the various pieces currently : available by Pop (Stimmungsbilder,

i Vortragsstiiclte, Sonatine, Nightingale especially) and we find the Kleine Anfangeriibungen a useful tool at all levels. : I am hoping that these other pieces would i extend the range o f abilities to which I : could introduce his music. I f you can help : me in my search please phone me on 01202 884196/07974 113918 or email:rosflute@excite.com. Roz Triibger

, M A G A Z I N E f

l

Annual General Meeting TI-IE AGM is an important date in the BFS calendar, when you, the members, can meet the council and officers and state your views.

It is the time when the council is reelected to office and, this year, the AGM will also be the time for members vote for the adoption of the new constituion (printed in full in the December 2001 issue of Pan).

The AGM generally lasts about an hour and there are refreshments afterwards, giving you

Two Fantastic Flute Days 11/12 May 2002

to be held at

Mowden Hall School, Stocksfield, Northumberland

There will be: Flute Choirs, Masterclasses, Jazz Flute

Irish Flute, Chamber Music Yoga Breathing for Flute Players

Special sessions for Beginners and Adult Learners

TUTORS Eva Stewart, Mike Mower, Brian Stewart,

Martin Dunn, Liz Taylor, Irene Rarnes, David Nicholson

Sat £121 Sun E15 (includes coffee, lunch, tea each day)

For more detailslbrochures contact: Christine Ring

The Hemmel, Low Warden, Hexham, Northumberland,NE46 4SN

TelO1434 603489 email: cmring@waitrose.com

time to catch up with other flute players and fellow members. It takes place in the Bertrand Russell Room of Conway Hall, Red Lion Square, London and the nearest tube station is IIolborn.

The BFS exists to further the flute-playing opportunities for YOU, the members, so please do come along and tell us what you think! Full details of date, time and venue are printed in the box to the right.

McDowall flute venture for kids

YOUNG FLUTE PLAYERS nationwide will get a chance to appreciate and play music by composer Cecilia McDowall when they take part in Flutewise's countryside venture Project Flutewise next year. Jeanne Galway, wife of BFS President Sir James Galway, has recorded one of McDowall's Six Pastiches for flute on the CD that will accompany the book that all children receive on signing up for the course.

The Flutewise project taltes place in eight locations. It began in Staffordshire in December, went on to Bingley, then Tewkesbury in January, Sheffield, Leicester, Truro, Taunton, Newcastle on Tyne then finally London.

McDowall's Six Pastiches were published by Pan Educational Music in 1985. Her own CD Piper's Dream, will be released this month (DXL 1033) and is performed by flautist Emma Williams, with Richard Shaw, piano, and the Ensemble Lumiere.

Flutewise's latest venture is funded by the National Foundation for Youth Music with firnding from the National Lottery.

BFS website: www.bfs.org.uk Did you know that the BFS has had a website since October 1998? The purpose of this article is to explain the aims of the website and where it might go in the future.

New members The primary aim of the website is to attract new members. It is our society's presence on the world wide web and gives information about the objectives and benefits of the society. \Ve experience somewhere in the order of 1,000 'hits' (ie. people visiting the site) per month. Prospective members can obtain

h information on how to contact us, events that

, are being run, and details about Pan magazine, including access to several sample articles from baclr issues. The site also provides a secure new online membership application facility, which has proved very popular. On average about 50% of all new members now join the society online each month.

Useh11 resources for existing members The site also provides resources for existing members. You can renew your membership online using the secure membership renewal form. The process is quick and easy: all you have to do is enter your membership number (from your renewal reminder), name, postcode and payment details.

The site lists BFS organised events as well as having a page of more than 70 flute and music related linlrs to other websites. During major events such as the Convention and Bach2000, the site provided online booking facilities as well as comprehensive programme details.

Looking to the future There are many possibilities for the future. Pan magazine will remain the main 'voice' of the society, while the website will provide complementary services to prospective and existing members.

We do not publish Pan online, but in future we may look at providing online access to the current issue for members only. Another possibility is to extend the range of events (currently limited to BFS organised events) displayed on the site. This is an area where there might be a distinct advantage to the currency of information compared to the quarterly listings possible in Pan.

If you have any ideas or views about how the web site should develop in future, please e-mail me at webmaster@bfs.org.uk. Nick Wallbridge, BFS Webmaster

The BFS site is developed and maintained free of charge by Metal Minds Ltd. Website: ~ ~ v . m e t a l m i n d s . c o m .

Annual General Meeting of the

British Flute Society Sunday 24th March 2002 at

2.30p.m. in the Bertrand Russell

Room Conway I-Iall, Red Lion

Square, London (Nearest Underground

Nolborn)

AGENDA 1. Apologies for Absence 2. Election of Chairman of

the Meeting 3. Minutes of the Annual

General Meeting held on Sunday 20th May 2001 to be approved

4. Matters arising from the Minutes of the AGM held on 20th May 2001

5. Chairman's Report 6. Treasurer's Report and

presentation of accounts to 31st December 2001

7. Membership Secretary's Report

8. Pan Report 9. Education Report 10. Area Representatives'

Report 11. Events Co-ordinator's

Report 12. Announcement of

election of new Officers and Council Members

13. Adoption of new constitution for the BFS

14. Presentations to retiring members of the Council

15. Questions and comments from the floor

Birmingham Flute Day

Don't forget the Birmingham Flute Day on 17th March at Birmingham Conservatoire, Paradise Place. For information call 0121 474 3549. -

The BFS Playing with Susan Milan take place on 16 For full details se pages 12

Day will

June. ,.

P A N M A G A Z I N E 5

P% YOU ICUOiV IIOIV it is - sometimes things just feel

1' right. Summer was barely over ,- and my playing felt good. My ,. summer courses had been

great fun and I had learned a ,'' lot. The coming year looked :- like hard work and I could

barely wait to get going - a couple of competitions and a discussion about concerto

,- possibilities with my teacher. .. There was a lot of technique I

wanted to look at too and 1 .'' planned to really give it my ,-- all. Things were going well. , But not so fast!

.-~ Perhaps I had overdone it a

bit. Maybe I had played just an - hour too long that day. It will ,-. be okay tomorrow. ,,.. No it wasn't. The ache in my

wrist seemed a bit strange. You hear so many stories about musicians suffering from

Ben's diary: coping with tendonitis

wrist and hand problems that I made an appointment to see the doctor. Acute tendonitis, he said, and how lucky I was. that it had been caught in time and so should not become a long-term chronic problem.

'Don't worry', he said. 'With a bit of rest and physiotherapy you should be right as rain.' The terms 'tendonitis' and 'repetitive strain injury' really scared me. My first assumption was that my hand position on my flute must be at fault but I thought that wasn't the likely cause as I was sure that my hands and posture were relayed and I play an offset G flute. My teacher and 1 looked very carefully at this and still couldn't understand it, particularly as it was my right wrist that had the problem.

Piano was the culprit! My next appointment with the doctor and my first physiotherapy session provided me with the answer. Piano was possibly the culprit! The clue was in the specific tendons that were inflamed and painful: overstretching on the piano with my right hand seemed the lilrely cause. I had spent part of the summer getting to Itnow Beethoven

better and had been playing hard preparing for a piano assessment. I must have overdone it.

\\'hat is tendonitis? It is inflammation of the tendons due to overuse and unnatural stretching - basically, a repetitive strain injury. This has meant no flute playing whatsoever for weeks, \vhich is like having a body part cut off. All the things I was looking forward to - competitions, auditions, and so on - were off too. I tried to put a brave face on it but it wasn't easy. I attempted to see it as a good opportunity to look at things differently. I worked on my diaphragm, looked and listened to new music and really focused on what I wanted to do when I could play again.

Thanlifully, I am fascinated by technology and enjoyed the physiotherapy sessions. For tendonitis, the general cure is complete rest but things can be speeded up by laser treatment, ultrasound and a strange but effective sort of electrical therapy - all of which were aimed at my wrist over the following weeks.

Boxing Day was the big day: I was to be allowed to play for five minutes. The anticipation and excitement were

enormous. What a disappointment. My tone was poor and my mouth and fingers were not quite together but at least I was playing again and things could only get better. I could add only one minute a day so a full practice regime was still a little way off. It was very easy to focus on exactly what was required in each session so things started to come together very quicltly. It is surprising how a total break from something can, in some ways, actually help. I am sure my tone is now better than before, although it may just be my delight at playing again.

I'm back! But still having to be very careful.

It seems so unfair that my flute playing should have suffered because of an injury caused by something else, but it shows just how careful we all have to be. I know my posture and hand position weren't responsible but it has made me very conscious of how important these things are and how aware of our bodies we have to be. If you feel any pain when you are playing, stop and seek proper advice. Continuing playing regardless could mean that you might never play again, which is far too much to risk. Ben iMacDotigull

Series of flute days for young people :: VIF FLUTE ENSEMBLE is running a series of flute days through which young players have the opportunity to broaden their musical experience, meet others who share their interest in flute playing and work with experienced music educators.

The days include small ensembles, flute choirs, masterclasses, warm-up and technique sessions, all designed to be fun, in a relaxed, friendly environment. For most, the highlight is the creative piece composed by the students themselves, which is later performed in the afternoon concert. Special guests include Clare Southworth, Philip Brunton, Ian Clarke, Sarah Newbold.

There will also be the chance to apply to join VIF on a tour to IIolland in August, following the success of the

. 2001 visit to Paris! For a brochure, call Ian Judson, tel: 020 83742841 or

^ Louise Matthew, tel: 0208 374 0199. Email: - mail@vif.or~.ult

17 March, Dagenham Music Centre, Essex 19 May, St Andrew's School, Hitchin 9 June The Cavendish School, Camden, 30 June Lauderdale House, Highgate (special

worltshop performance) 29 September St Nban's Music School, St i\lbans 13 October Hampstead School, London S December, Burgh House, Hampstead (special worltshop performance)

John Packer's are moving !

Thanks to you we need bigger premises to increase

our stocks and continue offering the service that you

expect.

From March 6th our address will be:

141, Staplegrove Rd, Taunton, TA2 6AF

TeVFademaillwebsite are remaining as before - please see below.

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For people ~n the muslc busmess there IS always help at hand from

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email: info@mbf.org.uk website: www.mbf.org.uk

P A N M A G A Z I N E 7

-,

,. Advice for those setting IN BRIEF Festival of nlusic and dance

1:lautist Ruth Underwood's roots are in out in the flute world Salisbury Plain, IVlltshire anci she r a s insn~recl bv the story of the remote C1

' FIRSTLY, DON'T let anyone ever say to village of frnber to &ite a song last Remember that there is safety in summer called Song of the Open Downs. r you 'Have realistic goals': what a dim numbers; try to form at least two music Imber was evacuated in 1943 to *L. thing to say! If Columbus had had groups, duos or whatever. For example, provide a military training ground and

realistic goals, would he have found I-+

Put an advert in Brides Magazine and get the villagers were never allowed back America? The way I see things, if you aim some work playing for weddings and despite vigorous campaigning. Seeing

F- as high as you call regarding your career, functions. As a starter, it is good money the ripe wheatfielcls in A~~~~~ gave her you will get further then aiming low. Also Ring around some of your local concert the idea for the song, which reflects on -

-, mnember this: there is a big difference halls, especially churches. These places the old days and looks ahead with hope. .. between confidence and arrogance. One often have lunchtime concerts, and these The campaign to restore Imber is now

r- must dream; one must have asPirations, are great.events to invite agents, record reactivated If you are interested, come or what is life about? It is the dreamers labels or promoters to, ~f you get people to Imber on Easter Day, Sunday 31 _ who create wonders. to these concerts, it is ace PR for the start March, when army firing is suspended

This is very well; but One of your career, and most of all, you are and the roads are open There will be a C it?. One turn dreams playing to audiences: you learn to have 'a festival of music, dance and visual art so

I have say is my healthy adrenaline rush' not nerves! It is bring your flute and be prepared to _ point of view, but it has done me well. a job and nobody wants to hear that you improvise! Firstly, you have to get networlring are scared. There is a CD single and booklet with

" from the first day at Music College or Uni. lvrite off to every business you can background to the Imber story available While taking Your classes seriously, You think of for sponsorship, ~~~~~b~~ that for f 6, including post and packing from - have to build contacts in the outside the arts inspire and motivate Ruth Underwood, 2 St. John's Grove, , world, ready for when you have your degree or diploma. If you leave communities and businesses lilie this. You 5R\V. TelephO1le 7272 . professional concert work or teaching till treat music as a business: you may 8500 \\'ebsite:

malie a pretty sound but does your bank ~w\v.active.uk.com/imber-restoration the end of your course, you are toast.

manager care? No. Get business cards designed, Also, however good you are, you will Sonthampton Flute Fun Day

advertising your teaching1 performing, I\ flute fun day with Ian Clarlie is being and put them up in all the music shops earn quite a lot of your from

teaching. Don't think you are above it; run in association with Flautissi~no, you can find. Able-Label (Tel: 01604 The Southampton Flute Orchestra, a t 810781) can design 100 business you can learn a lot from it. Teaching is Thornden School, Chandlers Ford, for 99.00. If any College friends laugh at rewarding and it is as important as Southampton on Sunday 21st April

"

you, just remember; you are the winner. performing; somebody has to Pass on the 2002 from 10 am until 4.30pm, when Buy the British Music Year Book and kno\vledge. When I left college I was there will be a concert showing the

, that will be your music bible. 5 p e out a given a lot of contacts from other music highlights from the day. The day is simple CV and biography. Ask a buddie to teachers regarding concerts etc and even open to all flautists of Grade 4+ talie a photo of you for publicity; black formed ensembles with them. standard, and will focus on extended - and white looks better than colour. Type There is so much to say, I could go on technique! For more information please , out a list of all the recital and orchestral for hours, but basically you must never contact Sarah Logan, (musical director works you can do. Get all this info give up and, as Miss 0'1-Iara said, of Flautissimo) on 023 80 61 83 62 or

" together and make an information pack to 'Tomorrow is another day'. email magicmusic@tesco.net . send to people. Andy Anson

. . , . . . . e . . . . . . . . . . . , -4

P A N M A G A Z I N E

:rclinccm I son of

!l3~ rct.3-e a+~istal glass j k t e (spotted at ,\lct.llet Gccll two former editors yf Pan) wit11 silver mounts

ned and datecl 'Luurent a E'cwis 1814'. engmved I !h the coctt of to-ms of Cltctrles Fc

~rtois, lltike of Berry, and seconcc a r k s S (1 757-1 8.36). Thanks to

.I~tclitlz Fitton and Sim.on Ilu,nt. Price: $48,000. - -. Length: 62cm.. ..-% .,.X'

./'I Claude Lazcrazt,

rC

Paris 1805-1 848. In. 1806, Lazcrent, a jlute

specialist, inventecl the process of glass flzste manufachrre and

pioneered the use of metal lined sockets ancl key pillars mozsnted on plates screwecl to the bocly. He patented this design in the sa9n.e

year that a Conservutoire commission reported favourably on this flute of crystal glass, capable of

withstanding extremes of temperature ancl with su.perior keywork. Few examples still exist. One is in the Smithson,ian, Washington DC.

Tribute CD to Laurie Kennedv was leaving, Laurie was appointed as their F'-..;-,---- . . -. .. . . . .

, youngest principal wind member at the . .

. , / age of 21. I-Ie performed many concertos .. .

. . r-.,. .,. . . . with them, includirfg the Ibert, and Bach's

Brandenburg concerto No 5 with the Jacques Loussier Trio. Ile also gave solo and chamber music BBC radio broadcasts.

As a flautist, Laurie possessed characteristic qualities of tone purity and intense vitality and spirit and, as

1 illustrated on the CDs, an ever-increasing virtuosity. James Galway said of him: 'Laurie was a wonderful player and his natural singing tone was always easy to

: spot. IIe had a very tllasculine way of playing which I loved and a personal charm which was truly endearing.'

! Laurie had a particdar flair and charm in playing worlts of the Victorian era, and his

1

IN k\UGUST 1970, the outstancling young Flautist Laurie Kennedy was tragically ltilled in a car crash at the age of 22, after a brilliant and promising start to his career. This memorial double CD has been compiled and produced as a tribute to him, to present the unique qualities of his playing to those who remember him and to new audiences.

1,aurie Kennedy was born in September 194'7. He grew up in the village of Speen, i\ylesbury, in a country environment which he loved and which inspired him as he grew up. Laurie showed great musical talent at an early age, taking part in local music festivals, and went on to study with William Bennett and Geoffrev Gilbert, attending man). of the ~ a r c e i Moyse Masterclasses in Canterbury and Boswil, Switzerland, where he was awarded the Marcel Moyse Prize in 1967. (Marcel kloyse sent him a self portrait and detlication which is in the CD cover.)

At a young age Laurie held positions of principal flute with the Ilalle Orchestra, and then with the 'BBC Training Orchestra', where he spent t\vo years. These CDs include inspiring performances of Daphnis and ChloG and 13ach7s Brandenburg Concerto No 5 from that time. After this, Laurie movetl to London and was encouraged by Sir James Galway to apply for principal flute in the Royal Philharmonic Orchestra which he himself

his natural, deep sense of integrity ancl honesty in his playing, and his firm adherence to his musical convictions. IIe also had a cheeky and mischievous side (demonstrated in the Till Eulenspiegel solos!) and was a great risk-taker, driving fast cars and climbing dangerously high mountains. Laurie also hacl a very do\vn-to- earth side and was often seen driving his eccentric, unpredictable camper van across Europe, to the Moyse courses, transporting 'the English contingent'.

Now, 31 years after his death, as a special friend of Laurie's, I am pleased to have completed this prqject with the help of many of his colleagues and friends, to - I - bring his memory baclt to life. Evelyz Frail k

astonishing performances of Genin's Carnival of Venice (his favourite piece!) will not be forgotten by those who heard him.

The solo CD includes Bach's Brandenburg Concerto No 5 in the original version, followed by the Jacques Loussier jazz version, and finishes with a unique and mysterious performance by the 19-year-old Laurie of Syrins and the Chopin Variations in close duet with a tawny owl (location and circumstances so far unltnown!). The pieces on the second (orchestral) CD feature Laurie's playing in well known flute solos or pieces that were a particular source of inspiration in his musical development.

Laurie's fundamental characteristics were

Tlze CDs (which will be rev i~wed in a 1 fhrthcoming issue qf Pan) can be orderecl by sencling donation.< to the 'Laurie I(et1ned~1 ~Memoi-inl Scholarship', 40 CVoodlands Avenue, London, N 3 2NR. Teyfax: 020 6 3 7 1 0 6 0 8 (s~iggestecl n?iilimum: $10 + 31.50 p&p in the UIO. They a re also civciilable.fro~n tlte.fltcte shops.

l l 1

All proceeds will be dorutecl to 'War Child ', a n international charity committecl to providing immediate cind lasting a id to children aifected ~ J J war izationwide. This includes the opening of recreation ancl music ccrztres i n uffectecl regions.

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Octotonic music I am very pleased to be able to respond to the appeal for more octotonic music (Ricliard S t a g , PAN, December 2001, page 40). My piece The Pied Piper of lIamelin (not to be confused with another of the same title recently reviewed in PAN) was composed for the East Riding's amateur orchestra, IIessle Sinfonia, and its fine principal flute, Michael Taylor. They gave two performances in 2000. The main theme (the Piper) is in octotonic mode, with niy own harmonic scheme accompanying it.

In case readers fear this would offend the ear, I can say that the effect is exotic but very pleasant. The narrator uses poetry specially written by ilnn Liles; the full orchestra is used, including some unique percussion (which presents no diffic~dty). The town has its bells, hymns and a landler, the children are represented by a nursery tune made sinister by use of a gapped minor mode, the foolish mayor is evoked by 'Toytown' humour, a small jazz group led by the flute dance the children into the mountain and gritty whole tone figures depict the rats.

Combination of the modes creates

terrifying climaxes. The whole worlr lasts for less than 20 minutes. The flute solo is not easy (see extract above), but contenlporary effects are all optional. My hope in composing the work was to increase a small repertoire of good stories for narrator and orchestra, and to showcase the flute's beauty and versatility. Alan Eclgar

Coping with Braces - There are arguably many challenges in a flute player's career. From learning to play the first note, the first grade exam, first school performance, grade 8, GCSE and A level performance, they can all be perceived as a challenge. IIowever, one of the most difficult, that I personally have just overcome, is that of learning to play with braces.

A month ago, 1 had my fixed appliance ('traintraclis') removed and an1 now playing with a retainer. I know that braces are a major obstacle, and many friends of mine have given up because they had braces put in (one even gave up when she had them removed). However there are ways that students can keep going.

A removable brace is easy. I f you can

still play with it in, that's fine, but if you can't, then it can be talren out (just don't tell your orthodontist). This is not possible with fixed braces. They only way to combat this is to practise. Go back to easy pieces while you get used to your braces. Later, a retainer is just the same as a removable brace, in that you can take it out while playing. Some students even find that a brace can help. My fixed appliance gave me a stronger upper register, and I ci~rrently find it easier to play with a retainer in than with it out.

You may also find that the fixed brace rubs against the inside of your mouth. This however is no real problem. Strips of wax can be bought from the orthodontist, and they have been extremely useful for me in the past. If braces feel tight, and cause tooth ache, Paracetamol, or something similar, helps. When you get a brace, or have it tightened, I would advise you to stock up on painkillers for 4-5 days.

My advice to those with braces looming is DON'T GIVE UP! Keep trying: practice nialtes perfect and plenty of it will do you no harm. Always lieep painkillers and wax handy, and most importantly, enjoy playing. I linow I still do. David Vigar (1 7) david-vigar@hotmail.com

P A N M A G A Z I N E 11

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P Timothy Moore celebrates his.80~' birthday in 2002

Recent publications include his .Sonniinn for fl & pno, Q ~ ~ o ~ l i h e t for flr~tc with alto fl, euph or bn & piano

Quirkv for flute \\.it11 alto fl & picc, eupll or bn & piano

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I would lilte ticltets for "An Audience with Susan Milan" please indicate numbers in boxes below , 0 I enclose a chequelpostal oyler made payable

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I Send the completed form with SAE to: Yvonne Mcllwaine, 4 Church Farm Cottages, Packington Lane, Maxstoke, WARKS B42 2QP

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Happy Birthday Sir Malcolm h o l d ! Tl-IE COMPOSER Sir Malcolm Arnold celebrated his 80th birthday on 21st October and is currently attending a spate of concerts up and down the country in his honour. Arnold is best Imown as the prolific composer of music for films such as The Bridge on the River Kwai, and many orchestral works.

Two concerts at London's Wigmore Hall on 23 and 25 October celebrated his birthday with a full range of his chamber works. The concerts were devised by pianist Richard Shaw and were supported by Top Wind, The Performing Right Society Foundation, RVW Trust, Hoist Foundation, \Vorshipful Company of Musicians, Britten-Pears Foundation, the Musicians Union, and Sir James Galway, among others.

Malcolm Arnold has written many fine works featuring the flute. Most of these (the Sonatina for Flute and Piano Op19, Concerto for Flute and Strings Op45 and Concerto No2 for Flute and Orchestra O p l l l , for example) were written for Richard Adeney, a

fellow student a t the Royal College of Music. Naturally, the flute was well represented at the two birthday concerts. .

The critics took a keen interest in the very substantial Sonata for Flute and Piano Op121. The Times commented: "Surprises littered the first of the Wigmore IIall's two birthday concerts. A Rute Sonata, you think: let's settle back and be burbled at [sorry, readers!]. But Arnold's Sonata of 1977 knoclrs the stereotype for six, echoing the late symphonies' questing mood. Karen Jones gave a lovely performance, assisted by Richard Shaw's piano."

The website SeengHeard regarded Karen Jones' performance as 'the highlight of the concert', high praise considering that the performers that night included the very distinguished singer Ian Partridge (tenor), Roger Chase (viola), Paul \Vatluns (cello), and Ensemble Lumihre (with Emma \Villiams, Emma Feilding and Fiona Cross), among others. The Sonata was written for James Galway and premiered by him in 1977. Richard Adeney went on to champion the work, and wrote a touching commentary on the piece specially for the printed programme for the Wigmore concerts:

'The Sonata for Flute and Piano is a strange piece, difficult to take in at first. Unlilre the earlier Sonatina, but like Flute Concerto No 2, it isn't the usual jovial, jokey h o l d at all, but sombre; it seems to me almost frantic in its expression of unhappiness. But 1 feel it is hugely exciting to play. How grateful we flautists are for everything you [Malcolm] have

written for our instrument.' Sebastian Bell featured in the

second concert, taclding the treacherous Fantasy for Flute Op89, written to trip up contestants for the International Wind Competition held in Birmingham in 1966 (and won by a young James Galway). SeentkkIeard (w\w.musicweb. uli.net/Sand~V2001/NovOl/Am old-at-Ru.htm ) wrote: 'One wondered how the flautist, Sebastian Bell, fitted in all the notes!' and Classical Source ( www.classicalsource.com) reported that 'Sebastian Bell was a t home in the capriciousness of the Flute Fantasy (1966), having played the straight man to trumpeter Mark Law's keen showmanship in the Grand Fantasia Op973 (1940) [for flute, trumpet and piano], a teenage skit worth reviving for this occasion.'

The Daily Telegraph noted 'a dazzling performance from Ensemble Lumihre [Emma \Villiams, flute; Emma Feilding, oboe; Fiona Cross, clarinet] of the quirky Divertimento for \\rind Trio'. This entertaining work was given its first performance by Arnold's LP0 friends, Richard Adeney (flute), Sidney Sutcliffe (oboe) and Stephen \\rater-s (clarinet) back in 1952.

The Galliard Ensemble (with flautist Kathqm Thomas) opened the second concert with 'a sparkling rendering of the Three Shanties Op4 (1943)'(Seen&IHeard), 'dispatched with suitably wry characterisation' (Richard \Vhitehouse, Classic Source).

At the second concert, Sir Tim Rice presented the composer with a Fellowship from the British Academy of Composers and Songwriters. In her speech to Sir Malcolm, Sarah Rodgers spoke for us all when she said, 'There is perhaps no-one among the

I 2 country's living composers who

has achieved more in transcending the actual or imaginary boundaries of m~lsical style, and no-one whose music has reached more audiences worldwide than you. You yourself have said, "there is no such thing as 'serious classical music'. In the end there is just music, good or bad." This chimes with the view of Academy members and we believe you have written a lot of very good music!"

Sir Malcolm received standing ovations at both the

Above: Richnrcl Acleney with ~\lalcol~n Arnold at the reception, Wigmore concerts. after wltich he received his Fellowshipfron~ the British Accrclerny See concert listings (page of Composers and Songwriters. Top: Sebastian Bell 18) for more Arnold concerts.

BFS Jazz day success Sunday 14th October WHEN AN inexperienced adult flute player said to me, 'I have never played any jazz before: aren't I going to make a complete fool of myself?", my answer was, 'Nor have I - so shall we go along together and just see what it's like?'

I brought some of the members of my flute choir and we duly arrived at the Royal Academy of Music where I was immediately struck by the wonderf~~lly calm but purposeful atmosphere - despite the fact that there were many students coming and going. I do hope we shall be able to have more sessions there.

IVe started at 10.30am with ensemble playing - groups of about 10 players in each of four ensembles. This gave 11s an excellent opportunity to hear the tutors at close range. Next, we had the improvisation session given by [(ate Cuzner (beginners) and Nick Cartledge (intermediate). I have no experience of improvisation though I have been teaching the flute for many years -so I joined the beginners section. Others with some experience were quickly able to 'go around' the given note patterns with ease, leaving some of us on the basic note pattern.

Cleverly devised session Although Kate appeared not to have any particular structure for the session, it was cleverly devised so that a t the end of the hour we had in fact covered a lot of ground and many ideas had been generated. IVe all found ourselves playing with a sense of freedom and there were some very interesting progressions and sounds developing. Even so, why couldn't I 'stamp, cliclr, clap, cliclr', then 'stamp, stamp, click, clap', to say nothing of singing some nonsense words at the same time?

After a brief break for lunch, we were treated to a half hour recital by Nick who was accompanied most sltilfull!r by his father. I particularly enjoyed an exquisite piece for alto flute.

There followed the preparation of group pieces to be performed at the informal concert. My own group was given a concentrated coaching session with Ann Cherry, which was informative and

14 P A N M A G A Z I N E

exhausting! At the concert itself any performance nerves were dissipated by the audience, who were required to get up and dance a samba (what audience has ever had to do this before?) and this was particularly helpful to new and inexperienced players'

After all this, by 4.15pm, we were all pretty exhausted and were therefore very happy to relax and enjoy listening to Kate who, with guitar and drum accompaniment, displayed her considerable skills to bring the day to a close.

Thank you Jaclrie Cox and your team of helpers for organising the day and a very special thanks to the tutors, David Oliver, Helen Baker, Clare Mellor and the jazz players Nick Cartledge and Icate Cuzner. \Vendy Walshe

Flute Day 28th October I did wonder at one point just what I was doing, but then I remembered - I had got out of bed on a Sunday morning and got myself, with flute, to the Ealing Flute Day, with Christiiie I-Iankin (flute) and Irene Bridgmont (piano). As a 50-soniething returning to flute playing after a long break, it seemed a good opportunity to get back into the swing o f things and see what was going on these days. Often these events are just for the younger generation, but Chris assured me there were no age restrictions this time - so here I was.

By way o f introductions, and to wake everyone up, we began with a run-through of one of the pieces for the whole band - 20 or so participants stretched right across the hall, creating a wall o f sound! We all stayed together for a session on 'how to practise' (at 10.30am on a Sunday morning the answer is...!) but some interesting topics were covered, including warm-ups (no-note blowing, whisper tones, low notes, harmonics etc) and how to get creative with scales, using different rhythms, articulation and dynamics to express a mood. We also used the notes of a scale to improvise ideas. The message is that practice isn't a punishment - combining the technical and expressive aspects o f playing is what it's all about, and makes the whole thing more worthwhile.

The remainder of the morning was taken up with a masterclass which, for me, was the most interesting part of the day. For those participating it's a chance to get some top-class tutoring in technique and interpretation, with top-class accompaniment. For those listening it's also a chance to learn, and hear the sometimes instant effect of Christine's suggestions - such as 'tone improved while-U-wait'!

There is also that all- important chance to get out there and perform in front of an audience -you only get better at this by doing it! For us listeners it was a joy to see everyone (especially the younger players) getting out there and giving it their best shot. Christine has a skill of pointing out faults and possible improvements while remaining positive and encouraging, and her energy and enthusiasm carried the day along.

The afternoon went all too quicldy - master classes with some o f the more experienced players, rehearsal of the 'full band' and work on pieces for groups o f 4/5 players. This was great fun and good practice.

At the end of the day was the 'concert' with family and friends invited to attend. Amazingly everything was incorporated - all the masterclass participants, the smaller groups and the 'big band' pieces, rounded-off nicely by Christine and Irene with a rousing rendition of Gaubert.

What did the day do for me? Well, I plan to spend more time on genuine practice now - listening to what's happening and trying to improve - and less time aimlessly tootling tunes. As I usually spend Sunday afternoons comatose after eating too much lunch, a Flute Day has got to be better!

When I'm asked to provide a reference for someone, the only question they need ask is 'would you employ this person again?'. Would I do an Ealing Flute Day again? - Definitely! Venton Wood

Ealittg Flute Dny: worthwhile

Kirkcaldy 10 November I have just driven back from an inspiring, fun-filled day full of new ideas, new music and new friends. As many as 106 flute players and approximately 30 non-playing participants filled the St Brycelrirk Centre in Wrlrcaldy for an action packed day planned to perfection by the energetic East Central Scotland BFS rep, Irene Barnes. It was a perfect venue - a converted church with several large rooms downstairs, a coffee shop, meeting area and a worship area upstairs which proved to be a beautiful venue for the budding performers who serenaded David Nicholson all day.

There were several workshops to choose from throughout the day. A large number joined David for a warm-up to start with. I heard the long tones wafting along the hall as I joined seven other people for an equally calming start to the day - an introduction to the Alexander Technique with Jo Barlow.

The Alexander Technique makes so much sense. I wish it was more readily available, at a more affordable cost. Lying on the floor and having my head gently lifted was only surpassed by finding where and how I should be sitting! An enlightening experience.

As I headed for my welcome cup of tea ( I had been up since 6am and needed help) and a catch up chat with flute friends (the best!) I was passed by chattering young players heading either for the senior choir or David's masterclass. My next stop bas the Suzuki workshop with Barbara Newland. \Ve also heard some of her extremely young students in the junior .masterclass in the afternoon.

The Suzuki method has many positive aspects that we could all do well to include in our teaching. Great emphasis is placed on praise and positive criticism - not so much saying something is wrong but asking for it to be played in a different way. The emphasis placed on

Flute Day - memorisation is something I .. want to include more in my own teaching - it is only when we can play something without the protective shield (music +

stand) in front o f us that we really 'know' a piece. F

Thanks to Top Wind for m

travelling to the frozen North to support yet another flute event! This was much P

appreciated by all o f us. A Patrick gave enlightening talks p

on flute maintenance, as well as answering a million IA

questions throughout the day. m I caught the end of Pianist ,

Tips with Scott Mitchell and enjoyed David's Audition Tips (wished I'd heard it all 25 years - ago!). Sadly I missed Understanding Baroque with Christine Ring but I did enjoy Exam tips with Richard P

Michael and his Jazz Flute workshop. He had us all playing with a groove in an amazingly short time, and this was followed by an introductory session in improvisation. I could have spent the entire day learning more - maybe he will get a longer slot next time , X

(please?!). From the Jazz I ran up to -

the junior masterclass and . watched a tiny flute player (6 or 7 years old) performing Wallring in the Air and another 0

performing Bach's Siciliana. David's versatility as a performer and teacher was in

' evidence throughout the day. Every time I hear a class I am given another gem to add to my own teaching. That is what these days are all about.

At the end o f the day we all premiered Richard Michael's jazzy flute choir piece entitled Tutti Flutey - it may become . the signature tune for flute - days in Scotland! Flute players

p from all over Scotland made the journey - Edinburgh, Glasgow, Aberdeen, Elgin, Glen i

Oig (near Skye) as well as fi Preston.

This was a self indulgent day m

- I look forward to more of P

the same next year: same time, same place3 See you there! Gillzan Leonard ,-

J James Cuming Hopkinson JIM OR HOPPY, as he was lrnown among orchestras, was born 14th June 1914 in Scotland and died 13th September 2001 in Perth, Western Australia, after a long life which embraced music, writing and a passionate liuniour all of his own.

His mother was a keen amateur cellist, his father a seasoned professional flautist (being a foundation member of Beecham's LP0 in 1932) while an uncle, Albert, was for many years principal of that orchestra's second violins.

It was no surprise, therefore, to find Jim, aged 15, entering the Royal College of Music as a Scholar, where between 1930 and 1933, he studied flute with Robert Murcliie, conducting with Sargent, and moonlighted in \Vest End theatre pits and opera orchestras.

I am led to believe that a t some time in those early years Jim took the opportunity to change his flute and style of playing to accord with the French way, and may even have had some lessons from Moyse. IIis father, though, was also clearly an abiding musical influence and mentor. Indeed, Jim's first fulltime appointment, in 1934, was as second flute to his father in the London Philharmonic Orchestra. He took part in major tours of Holland and Belgium where Beecham showcased the new orchestra.

Jim's next major appointment was with the BBC Symphony Orchestra, from 1936 to 1948. During World \Var Two he was seconded to the RAF and thence to ENSA, but the details we have of this are slretchy.

He was then 'headhunted' to become Principal Flute of the New Zealand Broadcasting Corporation Symphony Orchestra, from 1949 to 1963, during which years lie also appeared as soloist on many occasions with the orchestra. I\

highlight of those years was the StravinslryIRobert Craft tour of 1961, where Jim and other members of the NZBCSO worked happily with the composer and his assistant.

A rather full-on broadcast recording of Jim in Car1 Nielsen's Flute Concerto dates from this time. It probably represents the peak extant record of his playing and his friends in \\restern ilustralia (WA) are hoping to have it restored onto CD.

Before arriving in Perth, Australia, in the mid-1960s, Jim played with the State Orchestra of Victoria (latterly the Melbourne Symphony Orchestra).

In his remaining years as a professional in Perth, \VA, Jim came full circle insofar as his main nlusical employment, which he relished, was as Principal Rute of the Western Australian Arts Orchestra, an opera orchestra that played mostly in the pit although it gave tlie occasional concert.

Thmpet-like clarity As a pupil and avid listener of Jim's, it was clear to me that a unique heritage and individuality was at worlr in Jim's playing. It is difficult to analyse elements of anyone's playing, but I will try:

There was ahsolute rhythmic security, a gift for sight reading, and a trumpet-like clarity where needed in his playing - all hallmarks of the early British training, where orchestras had limited rehearsal time and had to play in vast icy halls like the Royal Albert, pre-amplification.

His sound was always cultivated in what is usually talren to be the French style, but it was not predominantly cool, being capable of a mellowness which could push delightfully over the top, into a Iceatsian ripeness.

The timbre I have probably just failed

Russell King (1922-2001) ANOTHER FLllUTIST with English and Australian connections, Russell King (pictured right), died in Adelaide, South Australia, on 29th October last year, aged 79 years. Born in Sydney in 1922, he came to London in 1946, where he studied at the Royal Academy of Music with Gareth Morris, going on to play with the Ilall6 and then in the London Philharmonic Orchestra, and also the BBC Symphony Orchestra under Sir Malcolm Sargent. After this, he became a freelance player, performing with all the ma-jor London orchestras.

In the 1960s, he returned to Australia to play in the South Australian Symphony Orchestra (later known as Adelaide Symphony Orchestra). He also re-formed the Adelaide Flute Quartet.

During the first half of his profressional career, in 1950s England, he was associated with many leading English flautists (notably Geoffrey Gilbert) and orchestras. A fuller article about Russell ICing and his connections with other leading flautists of the day will appear in the June issue of Pan.

to describe was very much 2 la Hoppy. But even 'Hoppier' was a oneness with singers and singing in his playing. I believe that the early worlr he did, some of it with his father in the pit, in support of singers on stage, was definitive for him. .. It lead to be1 canto playing which 'lrnew' where the phrase was going and what kind of nuances would help it on its way. This was playing that could convey the whole opera of life and hint even a t what might lie beyond.

James Hopkinson played his part in building the enviable professional reputation of British orchestras in their pivotal period of the 1930s. His emigration to Australasia coincided with and contributed to the inexorable rise in orchestral standards here. He provided his students, who include Evelyn Frank, with a musical richness which humbly aclrnowledges that the flute is but a tool - tlie flute in the hands of a great musician , is like tlie typewriter in the hands of a great writer - an instrument used to express something else of great depth. I k n Gasmier -

I a m researching a longer article on James Hopkinson a n d would be gratefil " jor any injbnnation, photos, etc which r . P a n readers can provide or point me to. ,,, References Personal communication, Viclry Sturgess, m

Numini Secretary, RCM c>

Russell, Thomas (1944) Philharmonic !-,

Decade. London: Hutchinson (see p135 'Record of Players').

Iienyon, Nicholas (1981) The BBC Symphony Orchestra 1930-1980. London: BBC (see p444 'Personalia').

Tonlrs, Joy (1986) The NZBC Symphony Orchestra: The First Forty Years. Auclrland: Reed Methuen.

------7 <-

1 c- 1 8 7

F- 1 .-, l *- A

C 1 ' P ,

L h

Albert Honev J

PAN ALSO announces the passing of Albert Edward Iloney, known as Doc, or Bert, on 9th November. He will be remembered as a virtuoso flute player, with a wonderful tone, a teacher and man of many other talents, including

. composing, arranging and poetry writing. IHe was born in Devon in 1919, and

during the war he was principal flute in the Band of the Royal Dragoons in

Edinburgh then in the Coldstream Guards. After this, he did composition at Trinity College and studied flute with Geoffrey Gilbert and Gerald Jaclrson. Albert was one of the early English players to change to the silver flute and French method and in 1949-50 lie studied at the Conservatoire in Paris. Then, he became principal flute of the Scottish National Orchestra then of the BBC

Review Orchestra. Ile was mentor to leading flautists such as IVibb and Sir James Galway, and friend to Albert Cooper. He became senior lecturer a t Rhodes University in South Africa and on ,- retirement (1984) moved to Johannesburg where he remained active teaching and playing. He will be remembered with great affection and respect. A more detailed . eulogy will be published in due course; any anecdotal information is welcomed.

?

Miclzael Botha. Email: mbothacons@intekom.co.za

MARCH l March 7.30pm The Scottish Flute Trio with guitarist Allan Neave IGlmardinny Music Club, Kilmardinny IIouse, Milngavie, Glasgow To include: Renneth Dempster, St Kilda's Parliament; Edward McGu~re, Western Light; Karen

- Wimhurst, Exposed Island; #. Edward McGuire, Dances.

' Sun 3 Mar 3.00pm . P Purcell Room, London

The Feinstein Ensemble with Martin Feinstein, flute To include: Handel, Sonata in B minor for flute and continuo,

. 0 p . l No.9; Bach, Trio Sonata in B minor for flute, violin and continuo. Wq.143; Bach, Musical Offering - 6 i o Sonata in C minor; Bach, Flute Sonata in E flat, BWV.1031; Telemann, Trio Sonata in A minor for flute/recorder, violin and continuo (from Essercizii musici) 1\11 tickets 910 (including refreshments in interval).

- Concessions: 99. Series Offer: 020 7960 4201

" Mon 4 Mar 7.45pm *- Queen Elizabeth Hall, London ,- Battlefield Band

Scottish music inspired by Celtic music and today's Scottish

- cultural scene. They play on a fusion of ancient and modern instruments - flute, bodhran, bagpipes, fiddle, synthesisers, guitar, cittern and accordion. Ticlrets: 815, 813, 811

Wed 6 March, 7.30~111 Royal Festival Hall London Philharmonic Orchestra; Vladimir Jurowslri, conductor; ' Camilla Hoitenga, flute. - Prolrofiev Suite, Lieutenant Kij6, - Saariaho Aile du Songe for Flute

and Orchestra, Stravlnsky The " Firebird -. 6.15pm FREE pre-concert event.

Icaija Saariaho and Camilla Moitenga interviewed by

" Anthony Burton. - 20% discount for Pan readers: ,. tel: 020 7840 4242 quoting

British Flute Society.

l 0 March , Dartington Hall, Devon

Andy Anson, flute; English ' Mozart Players

Malcolm Arnold flute concerto . OPllS 45

Tel: 01803 847070

Sun 1 0 Mar 7.30pm Jacksons Lane Theatre, 269a hrcliway Road, London (opposite IIifllgate Tube)

- Palace Band Paul Harris, Overture: Ally Pally (premiere: latest commission of the Palace Band). Also: music by

Haydn, hilozart, Vivaldi, Byrd; Derek Bourgeois; new arrangement of Meadowsweet by Colin Cowles. Tickets: 98. Concessions: 85. Box Office: 020 8341 4421

1 2 March Holy Trinity Church, Rowle Road, Exmouth Andrew Anson, flute Malcolm Arnold Concerto Op 45 Tel: 020 7627 8894

Thu 1 4 Mar 7.30pm Purcell Room, London Badinage; with Paul Garroll, baroque flute, oboe, recorder, bassoon, chalumeau To include: Vivaldi: Flute Concerto in D, RV.427; Telemann: Concerto in C for recorder Tickets: 814, 811, 97

Fri 1 5 Mar 7.45p1n Queen Elizabeth Hall Idir: Berber roots with identities Gerard Geoffroy, flutes Tickets: $18, 816, 914

Saturday 1 6 March 7.30~111 South Hill Parlr Arts Centre, Braclmell, Berlts

London Castellain Ensemble Carla Rees, alto flute; Aidan 'homey, bassoon; Antony Davie, conductor Chamber Music of Andrew McBirnie: String Quartet No.2, The Moon at Night for alto flute and piano (premiere), Lament for Bassoon and string quartet (premiere), Images for clarinet and piano; Poulenc, Sextet; Schoenberg, Chamber Symphony No.1 Tickets: 98/34

20 March lpm Church St Library, Church St. London Flute and guitar recital Andy Anson, flute. Kids' workshop: 2.15-2.45pm Tel: 020 7641 54791020 7641 2814

Sun 24 Mar 3.00pm Purcell Room, London The Feinstein Ensemble To include: Handel, Sonata in E minor for flute and continuo 'Ilallenser No 2'; Bach, Sonata in D for flute and continuo, Wq.83; Bach, Trio Sonata in G (after BIiV.525); Bach: Trio

C (Wq87); Prokofiev,

i S$-

Sonata , I L op94; Oltra, Tres

,224

\ -

Estacions; Faure (accent), Morceau de contours; Feld, Sonata. Tickets 98.50 (97.50 conc) Box office tel: 01344 464123.

Sonata in A, Wq.146 All tickets 910 (including refreshments in interval). Concessions: 99.

Sun 24 Mar 7.45pm Oueen Elizabeth Hall, London

1 7 March 4pin Concert a t BFS Birmingham Branch's Flute Day, Adrian Roult Hall, Rirmingha~n Emma Williams. flute: Sandv

condon Sinfonietta Paul Zulrofslry conductor; Sebastian Bell, flute; Teresa Shaw, mezzo soprano DebussyIGrainger, Estampes No.1 (Pagodes); RaveVGrainger, La Vallee des Cloches (Miroirs); Delius, Summer Night on the River; Kondo, Hagororno (one- act opera for dancer, narrator, singer, solo flute and orchestra. X11 tickets 812. Concessions: 87

APRIL

Sun 1 7 Mar 3.00pm Purcell Room, London The Feinstein Ensemble Telemann: Concerto in C for recorder; Quantz: Trio Sonata in C for recorder, flute and

nay, contrabas~tlute;'Richdrd Shaw, piano To include: Arnold, early Flute Sonata (1942) (premiere), Downes, Symphony for Flutes.

continuo; Handel: Sonata in F for recorder and continuo, 0 p . l No.11; Quantz: Sonata in B flat for flute and continuo; Telemann: Quartet in D minor for two flutes, recorder and continuo (Tafelmusilc 11) All tickets 810 (including refreshments in interval). Concessions: 89.

nesday ll 7pm St George's Church, Hanover Square, London W1 London Handel Orchestra, Adrian Butterfield. directorlviolin; ~ a c h e l Brown baroque flute Programme to include CPE Bach Flute concerto in D minor and worlrs by Handel, Purcell, Lully and Corelli.

Saturday 13 April Memorial Hall, Freshwater, Isle of \\light Andv Anson, flute; Alan Cuckston, piano Sichler, Bird in May; Schubert, Variations on Troclrne Blumen; Sancan, Sonatine; Debussy, Syrinx; Rutter, Suite Antique; Rachmaninov, Vocalise; Field,

15 11pril Royal College of Music,

19 March 7:30pm Warehouse, Theed Sh-eet,

London Emma Williams, flute All-Arnold gala concert given by the Junior Fellows at the Roval

Sonata. Tickets E7.50 (conc 92) Tel: 01983 752278

College in the prcsencc of thc composer (see www.rcm.ac.~ilr ).

Sat 27 April 1.00pm St Alfege Church, Greenwich Church Street, London SE10 Sheila Searchfield, flutes; Ann Dixon, guitar To include: Maximo Diego Pujol, Suite Buenos Aires; John Duarte, Un Petit Jazz. Tel: 020 S852 7866.

MAY 9 May 1.05pm Purcell Room, London Emily Beynon, flute, Andrew West, piano, Paul Watlrins, cello Weber, Trio in G minor, Op 63; Beethoven, Violin Sonata in F major, op 24 (arr Emily Beynon for flute and piano); Martinu, Trio for flute, cello and piano

Thurs 1 6 May 7.30~111 St James's Church. Piccadilly, London W1 Ruth Undenvood, flute; Margaret Lion, piano To include: Bach, Sonata in B minor; Schubert, Introduction and Variations, Elena Firsova, Spring Sonata; Robert Hinchliffe, The Elements. In aid of The Samaritans. Tickets: 910. Concessions: 96.

JUNE 1 5 June 7.30pm All Saints Fawley Parish Church, nr Sor~thampton Anson Quartet Tel: 023 8069 1778

Moll 24 drrne 1.lOpm St James's Piccadilly London Glen Ballard, flute; Sarah McClure, oboe; Christopher Glynn, piano To include JS Bach, Trio Sonata BLW 52.7; Gaubert, Tarantelle; Kohler, Valse des Fleurs; Wesley, Trio in F. Tel: 0118 9732107.

Althoz~gh every ejyort is made to ensure accuracy, the British Flute Society and Pan do not accept responsibility.for any errors in these listings. Readers are adwised to check ticket availability ancl details with venues bejbre attenclance.

18 P A N M A G A Z I N E

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loam to 4pm 25 to 27 July 2002

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Recent past students now playing with BBC National Orchestra of Wales and Welsh National Opera Orchestra

Flautist of fire and f lexibilitv

U l

As a talented young flautist, everything seems to slip into place for Jonathan Snowden. l

Notable for his sumptuous range of tone, he believes that teaching is as important and rewarding as performance. This interview reveals more of the man and his music. l

l

Where did it all begin? \ m y did a rehearsal and thought, I lilte the you choose the flute? sound of that. Her friend came That's quite easy actually. My round to tea and I rudely asked if I

A--- hL mother was a professional violinist could have a go on her flute, and and she decided to teach me the she agreed to let me try with just

I

violin when I was very young. the head joint; I made a sound However, being a very independent straight away. minded child I didn't want to do %"",, what my mum was doing. My So how old were you when you mother had a friend in one of the realised that you wanted to be a orchestras that she played in who professional flautist? What drove . -P was a flautist, and one day I went to you forwards?

I was about six or seven years old. I told mum that I didn't want to play

BY the violin and gave up. From the age

Susan Fitzgerald of 14 I knew that all I wanted to do i

.. was become principal of a London Orchestra and I never deviated

! from that, ever. I was always completely focused and it was

7 something that I was very Oh yes. Recording can sterilise passionate about. music because everybody is

expected to play a million and one & "hat do you love about the flute? right notes a second and if there's a Well, looking back, I would have blemish you're no good. Of course,

l liked to be a violinist or perhaps a notes are essential, but what's really singer, but I have always loved the important is magic. If you don't take flute. It has fantastic possibilities. risks you don't produce any magic

I Some of them are hidden, like - and all for the pursuit of playing dynamics. The readily available the right notes - and that's not a

a dynamic range of the flute is small good or successful compromise. compared with that of the clarinet

After recemirrg aafitst class honorrrs degree at Trlnll/ College of FllzReraldworl but, if you really focus on it, the What is your favourite repertoire?

l

- m o awards to cor~trrrlre her strrd~ec as a dynamic range is huge. It has to be Brahms. Performing a

Posgradrdate wrth Susan A4t/an arrd Stnart People should put more effort Brahms Symphony with an ckIcIlwharn at the Royal College oo/ll.f~dsrc.

She enjoys workir~g both as a so/otst arrd as a into searching around for these orchestra is ultimately the most memhofwanotlsense~nhles Herrnostrece,~t possibilities. Quiet can be almost fulfilling thing for me, and I'd have

Peffornlaflce,aftheR~~alFestl~alHall?tnc/tl~ed inaudible and loud can be almost toincludeaPucciniOperainthere a perfomarzce of the Doppler Dotthle Flute

Corrcerto of de deafening, which takes a lot of as well. Of course, the French flute I I ~ I / Y ~nterrratrona/ Y O I ~ ~ Corrcerts A r m energy. It's just a huge risk that repertoire is everything. Prelude h

Competrtron. She haspla~~c~/atntanyprest~g~otts Some people do not like taking. l'apr2s midi couldn't possibly have wenrres wrth the Hanower U'nld Q~tlr~tet.

Susan IS also part of the F/&-Ellton flute and been written for any other harp c160 and IS ctrrrent~pnf~crpalfrrrte ofthe SO huge dynamic range and instrument or started on any note

k p t d r Chamber Orchestra arid the London taking risks are essential for a good other than C#. Can you imagine Pheonlx Orchestra. performance? starting it on E flat?!

20 P A N M A G A Z I N E

-. .... . 1 Jonathan Snowden

\%'h0 would you say has been your biggest influence, particularly during your college years? I started with Peter Lloyd at Guildhall and then studied with Trevor Wye and also had the odd lesson with LVibb.

I remember going to Wibb's house and playing the first movement of a Mozart Concerto to him. When I had finished he said, 'have you ever heard Moyse play this'? I said no. I sat down and he played a record of Moyse performing Mozart. At the end he said, 'there you are'. I was too embarrassed to say what I really thought and said, 'great', when what I really wanted to say was, 'I don't want to play it like that, I want to play it like you'! Looking back, I realised that every generation and every person has their idol. Wibb's idol was Moyse, Moyse's idol was probably Taffenel or Gaubert and mine was Wibb.

Why was this? Because, although I am passionately interested in the flute, I am more interested in being a musician. The flute is how I get there, the vehicle that I use to communicate. I don't want to be remembered for being a flute player; I want to be remembered for being a musician. The message is in the music. I want the audience to come away thinking, 'wow, that was

an amazing set of experiences'. That is my goal - to take them on a journey according to what I am playing.

When did your career really begin to take off? While still at the Guildhall I intended to continue having lessons with Wibb, but I got a job and decided to take it, as I thought that it might be the only job I'd ever get.

I remember it well. Trevor had seen an advert in the Daily Telegraph for a new orchestra in Leeds. It was called the English National Opera North (now known as Opera North).

He recommended that I apply for it to get some experience. However, he told me not to take the usual two contrasting pieces but to take more. I remember turning up and they asked me what I was going to play and I plonked down a pile of music and said, 'anything you like really'. And it paid off!

\%'hat did they ask for? One of the pieces they asked for was Messaien's Le Merle Noir. And I played it without an accompanist! On my 21st birthday I called to find out how I had done and was dumbfounded to hear that I was principal flute .and my second was a flautist called David Moseley, who was my idol when I was about 14 and he was 17, playing in my county youth orchestra! I was absolutely dumbfounded!

After Leeds, I understand you went on to work with the RPO: is that right? Not quite. While in Leeds, I received a call from The Academy of St Martin in the Fields inviting me to play with

them as principal flute for a series of recordings, concerts at the Royal Festival Hall, London, and also a tour to Poland. Still only 22, I had to take this opportunity. It was fate. Also playing on this tour was the principal clarinet and principal bassoon of the WO. After two weeks, the manager contacted me asking if I was free to do a concert with the WO. I checked my diary (knowing it was empty) and accepted the work. During the concert I met Derek Wickins, principal oboe, who was a fantastic influence on me. At the end of the concert he said, 'great, I've enjoyed working with you and have put you top of the extra list. I couldn't believe what was happening. It was luck.'

Having been principal flute with the Royal Philharmonic, London Philharmonic and Philharmonia, and having a very successful solo and recording career, I have to ask you, for my benefit and other young flautists reading this, how much practice you did while a t college ... ? I wasted some of my time at Guildhall because I was growing up doing growing up things. I

P A N M A G A Z I N E :

Jonathan Snowden

remember spending evenings walking around the East End of London visiting pubs and chip shops and chatting to the locals.

The East End really was a community of its own and people were fascinated by this young lad who desperately wanted to be a flautist. However, I think I did this for a bit too long and eventually went back to playing the flute!

I think that has to be the best practice routine I have ever heard! I might try that myself - I think I'd be rather good at it! I would also go into Soho at around midnight with friends, all armed with our instruments. \?re would find various jazz groups in bars and clubs and ask if we could join in for free beers. It was a great time and I thinlc an important part of my development.

On a serious note, what was your practice routine? What did you concentrate on? I had a passion for sounds. For about two years I practised tone with

-F- complete conviction. I practised sounds within a musical contest and that was absolutely in the centre of my heart all the time. Practice is a very personal thing and different people seem to sustain different amounts. What's important is really passionate and focused practice. It's when you practise connected with your spirit and emotions that you benefit the most - you can seelt a huge dynamic and colour range. If you practise as a machine for eight hours you don't feel the benefits and you only get the notes. A lOOm Olympic sprinter

1 cannot practise the 100m sprint for eight hours. My happy

: -S . . medium is 4-5 hours of committed practice every day.

Did you ever get disheartened? Oh yes: when I was working on tone for two years, I found older colleagues at College were way ahead of me in technique. Sooner or later, I thought I'd better get a move on as I was getting left behind! So I began worlcing on technique, concentrating on studies - playing notes, fast ones, and often in the wrong order!

How do you prepare for auditions? Any tips? I have only ever done one audition and that was for my first job. My other work seemed to just fall into place by accident. I did sort of audition for the Boston Symphony Orchestra. They contacted me asking me to play principal flute with them for 10 days because the job was vacant. I went to Tanglewood and Mr Ozawa asked if I minded standing up and playing to the orchestra. I agreed and was asked to perform the flute solo from Daphnis and Chloe, a Mozart Concerto and a Mozart Quartet. They then offered me the job,

which I turned down for family reasons. I had prepared for the audition purely by enjoying it. I thinlc that's the best way.

I think most people would disagree with you there, as they would find it very difficult to enjoy the highly pressured environment of an orchestral audition. Agreed. On an audition panel, I do my very best to try and make the I

person feel at ease. An orchestral audition can be a ghastly and very destructive environment and people do not want to be destroyed!

What do you look for when you are on an audition panel? The audition is not about playing sonatas and concertos. From my point of view, it's about choosing someone who will not be an embarrassment to the orchestra or an annoyance to the conductor.

I look for someone who has a lot of potential and, above all, flexibility, for example, being able to respond quickly when aslted to play quietly or loudly, and making adjustments to intonation, or colour and style changes.

Conductors are not always known for their forgiving qualities. It can be a ruthless environment and conductors don't want to aslc twice; if they do, they don't ask a third time. You have to make a change.

In an audition, I want to see if the performer is filled with the music and can respond quickly to making such changes. Don't forget, you can have orchestral musicians who aren't great soloists and vice versa.

\Vhat do you enjoy most about your life as a musician?

22 P A N M A G A Z I N E

- - . - - .p -- -- .

.- . .. - -- -. - - . - - l Jonathan Snowden 1

-

I used to live to work but now I Yes, I am not affiliated with any work to live and that has made main orchestra at the moment and music a much richer experience, have just gone through a rest period because it's not so self centred and to spend more time with my family. you're not just thinking about I do miss the orchestral repertoire projecting yourself. One of the and opera. things I enjoy most about life is my I adore my work, especially my family - Rosie, who is six, Toby, teaching. Teaching is very who is five, and my wife Ruth, who important to me, particularly on the is a professional harpist. International Flute Summer School.

I wouldn't want to do playing I You are obviously extremely without teaching.

passionate about your work. Have you ever thought about what you \Vhy is teaching so important to w o ~ ~ l d do if you didn't have music? you? If I had my time again I'd be a vet. I Teaching is very fulfilling for me. It's adore music and I adore the extremely rewarding to nurture countryside where I live. It is somebody who has a passion for the important for me to feel that I am music inside themselves to develop. doing something of service. It's like planting a flower and

What I love about music is the watching it grow into something ,- sincerity of the audience. I looli beautiful. You are giving somebody - across a concert hall and see people an opportunity for fulfilment sitting there with their eyes shut, regardless of their ability. I think it F - 1

really adoring each moment that is important for all musicians to they are experiencing. That is teach and find a balance, as * hugely important to me. Being a vet teaching also draws attention to would be dealing with people and one's own playing. animals in a compassionate way and I would get to wear my wellies! Do you have any tips for flute

players in general? I understand that you have just Survival is the bottom line and the

had a well-earned rest period. liey to your survival is flexibility - ---- --,---.-".--" ... - ..- -- in dynamics, style, colour

and the way you interpret something. In an orchestra,

**+y. * I ' . I

you often have to play in a . - S . .+ +. -m .,. i + . * i way you might not want to,

t , 6 ' a l

t.f ' ... i but in a way someone else 7 l .

, &

I . . . . I

wants you to play. V Also, you have to be an

actor. Classical music on the flute is a combination of things. It has to be a show. You have to involve the audience in an experience, drawing them to you with a sort of power. Playing with power doesn't necessarily. mean playing loudly. Playing that is secretive, personal and very tender is hugely powerful. The show .and the message are what are important. Never lose sight of what's inside of you. And never just practise notes in a repetitive, dead

CDs Solos G Nolst, Fugal concerto, EM1 CDEMX 2227 M Rozsa, Sonata Silva, SLICD 6006 Kaleidoscope JS Bach, Suite No 2, Teledislr ACDM lOCD Various: French recital, Virgin Classics, VBD 5 61495 2/7243 5 61495 2 6 WA Mozart Concerto No 1, Flute and harp concerto, EM1 CDCFPSD 4808/7243 5 6894426 S Prokofiev, Concerto (arr sonata), Conifer CDCF 173 W Lloyd Webber, Sonatina, The Gardens at Eastwell, Mulberry Cottage, Hyperion CDA 67008

Orchestral solos C Debussy, L'Apres Midi, EM1 CDEMX 9502 (LPO) G Bizet, L7Arlesienne Suite, Tring TRP 049 (WO) \V Walton, Symphony No 1, Virgin VC 790715-2 (LPO) R Vaughan IVilliams, Greensleeves (London Chamber Orchestra) R Vaughan Williams, Epithalamion, EM1 CDC 7 47769-2 Jonathan is a fantilv ntan as well cis cc .fine flautist. environment - anyone can

His wife Ruth is a professional Imrpist. do that!

P A N M A G A Z I N E 23

The psychology of flute teaching

, The success offlute teaching, like other musical education, can rest on simple things such as the tone of voice used to greet a new pupil. Learning is an emotional experience and the teacher has an important role to play in creating a safe, nurturing environment

mew beginnings always bring heightened emotional intensity - both excite- ment and fear. Like

animals entering new territory, all our senses are on the alert as we hope to find what we seek, but fear danger. Fear can be about finding the building or studio, being late, being welcomed and accepted by fellow pupils and, especially, being

By Lucinda

Mackworth-Young

Lucinda A bung (MAPsychEd GTCL) i.r a lead1 ng Lonsttltant it1 P.r~fcho/ogyfor

M~/siciatrs and an esperienred cotrcer pianist and teacher: I.Ir,ll known for her etzte~taining, experiential and accessible approach, she puts

psjchology into ~zpkvant and practica/fonns for mtlsir teaching, /earning andpe?forming.

She runs cotmes for Mrtsic, iblir~d and Alovetnetrt (see ad), prowides corme work/orprofessiona/ dmeIopment cosmes run Ly the ABRSAf and

ISM, atnong othen, ant1 w?.ites estetrsive~y in the field (see over/eaffor detads of her book).

welcomed, accepted and appreci- ated by the teacher. Younger pupils may also be concerned about how long they'll be there, who will be collecting them or where they should go next, and whether they can find the bathroom without having to ask! But, as a general rule, the younger the pupil, the more the excitement, and the older and more self-aware the pupil, the worse the fears. Any previous experience of the building, studio, fellow pupils or teacher can help to reduce fear.

First impressions Owing to the heightened emotional intensity, first impressions of the studio and teacher, whether typical or not, are powerful and long lasting. A warm and welcoming beginning will evoke warm and welcomed feelings within the pupil and give him or her the belief that music is a safe and enjoyable place to be. The potency of these initial feelings will also help sustain him or her when, later, the going gets harder. An uncared for, cold or bleak first impression of a studio or an unwelcoming first impression of a teacher may be equally powerful and make it very difficult for the pupil to feel either safety or enjoyment. It may even put the pupil off music lessons for life.

Learning anxiety In addition to fears about the studio, fellow pupils and teacher, there may also be anxiety about learning itself. Usually well hidden, as it's not 'cool' to show such feelings in our society, there is a fear of 'not being able to do

it7, a fear of failing. Fearing not being able to do it and, worse, finding that he or she cannot do it, may cause the pupil to feel very worried and sometimes utterly overwhelmed with anxiety, as though he or she is falling apart or tumbling into a bottomless pit. It can literally feel unbearable.

This learning anxiety is exacerbated as the pupil has to learn in front of the teacher, the perceived authority. There is a fear that he or she might be found wanting, and humiliated, annihilated or cast out.

Signs of anxiety l

Common signs of learning anxiety include engaging the teacher in distracting chatter (especially at the beginning of lessons!), providing endless valid-sounding reasons for not practising, 'forgetting' the music, arriving late or leaving early. Other signs are: seizing up, 'going stupid', sitting in uncommunicative silence or running away in mind ('I'm not listening!') or in body, either by begging to be allowed to give up or, simply, by not turning up. The most common sign is avoiding practice, or avoiding practising certain things I I

(such as scales, or difficult -

passages). It can feel better not to try than to try and fail.

These anxious feelings, whether in lessons or practice, may seem out of all proportion to the actual situation. The adult learner, especially, may be aware that the intensity both of the fear of 'not being able to do it' and of the need for the teacher's approval, seems absurd, but yet feels caught up in it. \ a y ?

24 P A N M A G A Z I N E

p . p -. . - Psychology of teaching I - - . .

The 'Inner Child' As we experience any emotion we cannot help but be lreyed baclr into earlier experiences of the same emotion. So when did we first experience anxiety about 'not being able to do it'?

In infancy. To the infant, hunger, thirst,

heat, cold or loneliness are intensely experienced. They are life

. threatening, but the infant is utterly unable to do anything about them by himself. He can only cry, and the cry expresses the way he feels. It can sound as though he is overwhelmed with helplessness and terror.

So, the feelings of anxiety experienced in education may seem out of all proportion to those warranted by the actual situation because they reawaken the similar but infinitely more profound feelings of utter helplessness and terror in the face of not-being-able- to-succeed experienced by the infant-within-the-pupil.

Simply by becoming a pupil, whether at the age of six or 66, the pupil cannot help but hark baclr, at some level, into his own inner infantile and early childhood emotions, his 'Inner Child'. He may easily feel anxiety and helplessness to the extent that 'not being able to do it' is experienced as severely threatening: a matter of life and death.

In 'Inner Child', the pupil transfers onto the teacher the role of 'Parent', having a seemingly out of proportion need for care and fear of criticism.

to open up to something new, to try and to risk failing.

Typically, the mother contains her infant by wrapping her arms around him, bearing his anxious feelings and providing for his needs. In a similar way, the pupil looks to the teacher to focus her mind on him, bearing his anxious feelings and providing the emotional reassurance and practical help that he needs.

Teacher as Critic Just as to the helpless infant the parent is all powerful, knows everything and is always right so, through transference, there is a level at which the pupil believes the same of the teacher, especially where music and his or her ability are concerned. In being perceived as the 'Ultimate Authority' in this way, the teacher has enormous power and significance in the eyes of the pupil.

Life Giver or annihilator? Just as, through the quality of care, the parent literally has the power of life or death, comfort or discomfort, over a helpless infant so, through transference and the quality of care, the teacher has the power of musical life or death, comfort or discomfort,

over the pupil. Care, interest and appreciation from the parent is life giving, and conveys to the child that he or she matters and can succeed as a person, whereas neglect or disapproval can severely threaten physical and emotional survival.

Similarly, care, interest and appreciation from the teacher are musically life giving and convey to the pupil that he or she matters and can succeed as a musical person, whereas neglect or disapproval can severely threaten musical survival.

The ' Inner Parent' Whatever messages the pupil receives from parents or teachers, whether caring or critical, and however they are conveyed (through words, tone of voice, silences, actions, body language or feeling), he or she may then internalise so that they become what he believes about himself and says inside his head to himself daily. They become the 'Inner Parent'.

Thus, a child who receives care, approval and encouragement, receives positive messages about himself such as, 'You matter as a person', and 'You can succeed'. When internalised, these messages become 'I matter as a person' and 'I

Teacher as parent P The parental role is twofold, both

nurturing and authoritative: the teacher is 'Caregiver' and 'Critic'.

a Teacher as Caregiver In the same way that the infant depends on the parent to make him feel safe and secure, to contain his anxiety, so that he can take things in, feed and grow, so the pupil, at any age, depends on the teacher to make him feel safe and secure in her presence, recognise and contain any learning anxiety, so that he can learn. Only if the pupil feels internally secure can he or she learn, because learning requires us

Directors U S ~ C Lucinda Mackworth-Young MA(PsychEd) GTCL M in. Nicola Gaines BPhil(Hons) LISTD 0veI'Ilent Karin Greenhead GRSM ARCM LDS

Dip.Sup.Institut Jaques Dalcroze, Geneva

PRACTICAL PSYCHOLOGY for MUSICIANS who are

TEACHING, LEARNING & PERFORMING including:

Understanding Pupils, Teacher-Pupil Relationships Emotions and Motivation, Lesson Content, Practice

Teaching Styles and Learning Strategies Problem Pupils & Parents

Inner Authority in Performing, Performer-Audience Relationships Communication, Technique, Anxiety & Safety in Peiformance

Improvisation, Dalcroze Eurhythmics and Dance for Musicians

COURSES: Sat 13th-Sun 14th April 2002, Norfolk

Mon 15th-Thurs 18th July 2002, London Also PRIVATE CONSULTATIONS throughout the year

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can succeed'. This child then has a caring, supportive Inner Parent or, more simply, an Inner Carer.

On the other hand, a child who has not been so cared for and has perhaps even been persistently criticised, will have internalised critical messages such as 'You're no good', 'The others are much better than you', 'You won't get anywhere' and so have an Inner Critic.

Similarly, a pupil who receives care, approval and encouragement from the teacher will feel and then internalise, 'I matter as a musical person' and 'I can succeed with music'. The converse is also true with a lack of encouragement: 'I'll never be good enough', 'The others are much better than me'.

Need for the 'Inner Carer' A strong Inner Carer is essential in learning, as it is the resource that

supports the pupil, enabling openness and an acceptance of 'not knowing' and the fear of 'not being able to do it' while patiently working out what to do, how to do it and trying it.

A critical awareness is necessary in alerting the pupil to quality and spurring work. But, if not balanced by the Inner Carer, the Inner Critic destroys the pupil internally, resulting in increased learning anxiety, increased fear of the teacher and no internal resource, so that the pupil is unable to persist through difficulties, and gives up.

However, the pupil's internalisations are not solely the parents' or teacher's responsibility. Owing to differences in innate disposition (evident at or soon after birth), infants, children or pupils elicit different messages from parents and teachers and they also

play an active part in accepting or rejecting them. Messages that resonate with the child's feeling and any existing internalisations are more likely to be accepted than others which don't.

Becoming independent Just as the parent brings up the child to be independent, so the teacher's role is to help the pupil become musically independent. The pupil's primary need in becoming independent is to develop his own inner security and resource. With this Inner Carer he can stay fully present and engaged in learning, even through difficulty, and also feel confident enough to continue learning by himself whether or not he is having lessons.

The Inner Carer is developed through positive emotional experience in lessons. In particular, the pupil needs to feel and then internalise acceptance, appreciation and achievement from the teacher. In practical terms we need to:

Give the pupil unconditional positive regard The more the pupil experiences unconditional positive regard, belief and trust from the teacher, the more he or she will internalise and so believe and trust in him or herself. He needs to feel our belief in him and hBjotentia1, whether or not he appears to have talent, because only then will he feel safe enough to try, only then will he believe he has a safe place to 'fall' (our unerring faith in him) if he gets it wrong. The more he believes in himself, the more he will dare and discover within himself.

Validate and honour any previous musical achievements The pupil will want to show us what

e.

he can play and has learnt. Our validation of his existing expertise strengthens his faith in himself, enabling him to feel safe enough to open up to further learning with us.

Be constantly in touch with the pupil's feelings In particular we need to be aware of any anxious feelings and be ready to contain them with reassurance, or

by giving practical help, or by shifting activity to something the pupil enjoys and can do.

Give ongoing praise Praise is musically life giving. We need to praise whenever it's due and whenever we're in doubt whether it's due. There's always something that can genuinely be felt and said: 'Those two bars were exquisite', or 'Well done! That was hard, wasn't

t it?' Under the considerable time pressure of the lesson it can be only too easy to forget to praise as we tend to feel we must use the time to help the pupil with his difficulties. Perhaps surprisingly, praise can be especially encouraging when there has been little improvement because it can give the pupil the courage to continue to face and conquer his difficulties: 'Oh! So it's worth continuing to try after all!'

Be wary of criticism Criticism implies to the pupil that he is not good enough as he is, and is usually felt as a threat. It can be especially devastating if the pupil tried but couldn't succeed. Any constructive comments, so easily felt as criticism, should be preceded by praise: 'I enjoyed that!' with enough pause for the compliment to sink in, and then, put positively, 'You phrased those two notes beautifully! Now apply that from there to there'. Or: 'The legato playing there was lovely. What about bringing out the staccato more to make a real contrast?'

In this way, the pupil feels secure in our belief in him now, so he or she is able to hear, accept and take on board what we are saying. If

b the pupil does not first feel secure, he will put up defences to avoid or lessen the pain: 'It went all right at

* home!', 'I don't usually do that!'.

Know when to criticise There may be occasions, perhaps in the case of persistent non-practising, despite careful, thorough work in the lesson, when it may be appropriate to deliberately criticise the pupil in order to make him feel more anxious about coming to the lesson having not practised again than about facing the practice (anxiety blocks learning

Psychology of teaching

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Improvisation, Group Teaching Inner Authority in Performance, Performer-Audience Relationships

Anxiety, Communication and Safety in Performance ......................................................................................

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unless it drives!). But this will$ only work if the teacher-pupil relationship is sufficiently strong and the pupil can do what is required, so that he or she wants to work to regain the temporarily lost approval. Otherwise the pupil may feel irredeemably undermined and give up rather than face us with failure again.

Encourage a relat ionship

based o n reality no t transference We need to encourage pupils to check into what they think and feel, rather than what they hope or dread we think or feel. Thus, they learn to trust and rely on themselves by taking more responsibility for their own progress in a spirit of mutual respect, communication and cooperation with us: 'Adult' to 'Adult' rather than 'Child' to 'Parent'.

Sing alto flute! The alto flute is becoming easier and more rewarding to play all the time and composers and players are realising the huge potential of its rich colours and deep sonority. Carla Rees examines its history and extols its virtues in thefirst article of a new series.

he alto flute as we know it today was ' developed by Boehm in the mid 1850s. The exact date of its inven-

tion is unknown, though there is documentary evidence to suggest that he made his first alto flute in 1854 or 1855, when he was 60 years old. There are also references in letters of 1865 that suggest the alto flute was already well established.

The name of the alto flute has created much confusion since it was first manufactured in the UK by Rudall Carte & CO in 1891. As the alto flute was, at that time, the lowest of the flute family, the English name for the instrument became the bass flute in G. This was often abbreviated to bass flute, and used by composers such as Holst in

BY Carla Rees

Carlo Rees is a principal strml,~ a/to f/tl/ep/aj~et; working as a perjornrer and /eucher in and

arorttrd Londorr. Follo~itrg a m o year part time Alil11ts coutxe at /he Royd College of ihsic, she is

crdrretr//y workirig closely with composets to innzase the repertoire of the ako f/ftte. Sht

pefjhtrrrs replari'y in dtdos with piano, hatp atid pitor; atrd rut~.r a stnallprrblishitrg cotnpafiy,

Tetrac~s Prtl//iations, dedicated to iucreasing the mailability of mrrsic for alto frtte. To cotrtact

Cnrla, please etnail: car/a@telrac~ss./reeseme.co.uk

The Planets. It is important that the modern alto flute player should take this into account when approaching early works, to ensure that they are playing the correct instrument!

Deep, strong, sonorous tone The only orchestral instrument to be pitched in G, the alto flute sounds a fourth lower than the concert flute, with a sounding range of approximately three octaves from the G below middle C. Boehm set out to create an instrument with its own distinctive sound, rather than merely a lower extension of the C flute:

'The long felt need for a deeper, stronger, and at the same time more sonorous tlute tone has not been satisfactorily provided for either by the former "flute d'amour" or by the extension to the foot of a C flute, since the tones thus obtained are weak and uncertain, and their combination difficult and entirely impracticable. There must be created an entirely new instrument in the family of flutes of deeper pitch, similar to the basset-horn and English horn.'*

Several makers experimented with the design of lower pitched flutes in the early 1800s, though the results were largely inadequate. In addition to suffering from the problems associated with all simple- system flutes, such as complicated cross fingerings and inconsistent intonation, the length of the tube itself compounded difficulties for the performer. Finger holes were widely spaced, for intonation purposes, and were large and difficult to cover with the fingers. The tube length required the player to stretch the arms a long way, particularly to reach the left hand finger holes, and the instrument could only be played with extreme

discomfort. It is unlikely that an average sized female would have been physically large enough to be

I able to play the alto flute.

Many early experiments with l

alto flutes relied on the addition of extra notes, extending the C flute downwards by lengthening the tube

and adding keys with levers to close the holes (which could not be reached by the fingers). This involved a large amount of hand movement, interfering with the positioning of the right hand and making the instrument unstable.

History and design Flutes at this time were generally made with a conical bore. This meant that the more the tube was lengthened (that is, the lower the pitches required), the smaller the bore became. In order to achieve the required resonance of the harmonics for the low notes, a wider bore is required than that

1 necessary for higher pitches (as may be clearly seen by comparing

I the C flute with the piccolo). The narrow diameter at the foot end of the extended flute created a gradual weakening of the sound in the low register, which was clearly unacceptable for a flute designed for its lower pitch range.

The essence of Boehm's design was the idea that the alto flute should be a proportionally larger instrument than the C flute. In

other words, he used the same schema as for his C flutes, and simply made an enlargement in order to keep the proportions exactly the same. He experimented with different tube lengths and bore sizes in order to find the optimum size for the instrument. He found that a flute in E or F would be too big to be manageable, and a flute in A already existed as the flute

1 d'amore. A flute in B flat, he decided, would not have a

I sufficiently different sound quality from the C flute to be justified.

He settled for a bore size of 26mm, 7mm more than the C flute, which allowed for increased sonority in the low register. It also meant that the same pitches, played on alto flute and on the C flute, would have different tone qualities, according to their different sizes. The range of Boehm's alto was approximately two and a half octaves, with the sound becoming characteristically thinner towards the top of the compass, since the large bore size does not correspond well with the resonance of high harmonics. This has been seen by some as a wealtness of the instrument, though it is clear from Boehm's own comments and music for the instrument that he found this difference in sound to be one of the alto flute's strengths.

In creating the new instrument, Boehm set out to solve many of the problems of earlier low pitched flutes, by subjecting it to the logical key systems already used in his 1832 and 1847 model C flutes, which by this time were becoming more widely used.

I In adapting the alto flute to the

now commonly termed 'Boehm

1 System', he enabled players of his C flute to switch to the alto whenever necessary, without having to learn a new system of fingerings. He also reduced the previously limiting finger stretches by creating a series of levers, attached to the keys of the left hand, which would enable the player to reach the keys with the minimum strain to the hand.

Boehm's instrument was the first low flute to become accepted by the flute-playing population, though it remains somewhat neglected in

p. p

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.-

comparison to the C flute and piccolo. Its repertoire includes some of the most ground breaking and prominent masterpieces of the last 100 years, by composers such as Stravinsky, Ravel, Holst and, more recently, Maxwell Davies and Boulez, to name but a few. It has a distinct, beautiful sound with

.-

Sing alto flute! 1

enormous expressive capabilities, and yet, < --

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150 years after its r

original conception, it remains an outsider to the orchestral flute section, with very few specialist players.

As a solo and chamber music instrument, there are numerous original compositions and arrangements for the alto flute, which make particular use of the intimacy of the alto flute's sound and the range of espressive colours available in contrast to other instruments.

these works are rarely performed in standard recitals, and none of them have become mainstream repertoire for flautists.

Remedying the drawbacks The reasons for this apparent lack of interest in the alto flute are numerous, but can be easily remedied. Perhaps the most obvious is the clumsiness of the instrument, due to its size. It is heavier than the

range of contemporary techniques available to players, and causing further limitations for composers in a world of new unexplored sounds.

None of these hurdles, however, is insurmountable. The demand for alto flutes has risen considerably in the past 20 years or so, and makers are beginning to cater for this demand with vastly improved instruments. Composers and players alike are discovering the alto flute as an enormous untapped resource of musical variety and depth.

Instruments are now more reliably in tune, more comfortable to play and more easily available, and the benefits of playing the alto flute can be enormous. The alto flute is attracting attention with its unique, languid tone colour. It is rapidly emerging as one of the new sounds of the 21st century.

C flute, and takes more air to play, Carla Rees is happy to answer any

making it especially physically questions on the alto flute. Please

demanding and exhausting. The send your queries to the editor.

length of the instrument is itself enough to make the alto flute Readers will be interested to hear impractical for shorter or younger that there is a new alto and bass players. The dynamic range is flute repertoire list on the web: limited, especially within the https//carbon.cudmer.edu/-cpotter. 'Ontext of the modern symphony Theobald ~ o e l i m . The Flute and Flute orchestra, where there is Playing. English translation by Dayton undoubtedly an increased nee'd for C ~ ~ l l ~ ~ . 2nd edition (1922): ~ ~ ~ ~ + ~ ~ ~ d

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projection in the wind section. The D,,,? N,, York (1964): p119) alto flute needs to .be carefully balanced with the orchestra, demanding much skill from composers to be successfully scored. This has perhaps served to discourage some composers from using the instrument. Practically all alto flutes are closed-hole (plateau) models, limiting somewhat the

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P A N M A G A Z I N E

negan: Technically brilliant, m2inal and fill of poetry, as well as an integral part of the hip folk band Flook!, Brian Finnegank playing and personality are making people sit up and listen all over the world. Helen-Louise Baker finds out more.

B rian Finnegan, one of the finest folk musicians of modern times, first came to my attention in 1999 when

I was persuaded by a friend to attend the Cambridge Folk Club. It was held in the baclr room of a drinkers' pub in a busy part of the city. I was reluctant to go initially as I was new to the folk scene and

BY Helen-Louise

Baker

Helet/-Lotrise Baker is a fvelarrce f/auti.rt, teadter and dedicated advocate of contemporary mtisic and mtcsical 'crossover' between classical, jazz;

andfolk s g b . She is a tnen~ber ofthe Silverwood Duo (with g/iitat.ist Fiotra Harrisotr) and the Lowlat~d Band (with perct~ssiorristlconrposet- Antre Sparkes). As a tutorshe specialises in

building sftidenr confdence thrort.gh metnorisation and irnplovisatiotr and has led a~orksl,ops in the UK and USA. Helen is a graduate of the RCM

and the U ~ ~ i v e r x i ~ of Not-fh T m s . She is deliiR/lted to have been chosen as the new BFS

Ed~icatiorr Repre.rentative.

didn't like smoky atmospheres. The friend was insistent, 'you'll like it,' she said, 'it's a flute group, they're called Flook!'

So we trundled along and I was surprised to arrive and find the event absolutely packed out. We bought the very last two tickets and had to squeeze our way down the side of the room and stand between the walls and a speaker. Brian's playing that day was quite simply spectacular and I hadn't felt as excited as this about flute playing since the day I first heard Susan Milan. I was converted.

Techo-acrobat Brian's reputation as a techno acrobat on the flute is well deserved. Multiple tonguing and improvised ornamentation trip from his fingers with the agility of a dancer. I-Ie stops, starts and rolls his way dexterously through tunes, often soaring above the melody in a burst of improvisation.

His musical personality is unique, and noticeable for an artistic depth of poetry that is rare among today's musicians. A desire to experiment with a wider range of tone colour than the wooden flute offered prompted him to collect a range of different flutes upon which to express himself. These include traditional wooden Irish flutes, whistles of all shapes and sizes and bamboo flutes such as the Indian bansuri.

In my view, Flook! is folk music's most formidable and imaginative young band. The Anglo Irish folk quartet is made up of Brian

Finnegan (flutes), Sarah Allen (flutes), Ed Boyd (guitar) and John Joe Kelly (bodhran - a type of drum). They are more than accustomed to playing for packed houses all over the country and, indeed, across the world. In the last year they have visited Australia, America, New Zealand, Canada, Austria, and Ireland, to name a few.

Unusually for a folk ensemble, especially one using flutes as the primary attraction, their image is of modern culture and youth. Luckily, the latter is still very much on their side and they continue, after five years together as a band, to fit with a 20-30-something's image. They have a reputation for high energy - -.

playing - 'fiery wildness and adrenaline-fuelled spontaneity', quotes one newspaper review.

\men I met him (just before another sell out gig), Brian Finnegan was wearing trendy sports shoes with soft 'comfort' soles (Sarah Allen, Flook's other amazing flautist,

30 P A N M A G A Z I N E

. .- . . - .

- .- p I Brian Finneaan

has a similar bright red pair) and fashionably cut jeans, which complete the look.

There is no doubt he is the hippest flautist I've ever met, and I wondered about the type of audiences their image and their swinging, trad 'folk-gone-jazz' music attracted - 'uh, we get a lot of young people coming to our gigs and signing into our guest book,' he told me. An extremely 'cool' group, they have a guest book on their website.

Funky 'Recently, we did a tour in Ireland and our first gig was at the Fleadh [pronounced Flah],' Brian said. 'It's the big music event in Ireland, and

I

the whole audience was young people, it was just a really great concert. They seemed to think it was Irish Music as they'd never heard it before, and they were tallung about our clothes and our haircuts. It seemed to connect with them on a younger level. I guess if you're watching John Joe play the bodhran then it's quite funky; he makes it sound like not many people make it sound!' He added reflectively, 'I think that's great, if you can get young people into your music'.

Swapping between flutes follows

a natural progression for him that started during childhood in the Armagh Pipers Club with Brian and Eithne Vallely. 'They decided they were going to educate the kids from the town and all the kids would start on tin whistle,' he explained. 'It was much easier, if you were going to learn a completely new music (which traditional was to most of us), to do it on the whistle and get the tunes in our head, before moving to something much more difficult lilie the fiddle or pipes. I played the whistle for two years and then Brian came to me and said "I've got this flute and I think you should try it, we need a few flute players in the club"'.

So does he think of himself as a whistle or a flute player? "A bit of both really. I wouldn't say I'm only a flute player because I'm sure you've seen Flooli! I play a'lot of whistre as well, but likewise when I'm at home in Ireland I wouldn't play that much whistle. If I'm playing in sessions it would all be flute.' .

The legendary folk 'sessions', where folk musicians learn their art, still remain a huge mystery to many who come from the classical background, yet they are essential - a bit like 'jamming' in jazz.

Anyone who hopes to progress and enjoy this style of music can only learn it in the traditional way - and that's by ear. 'Some are advertised, but these sessions often lack atmosphere. The best ones happen spontaneously' he said.

A natural memory Brian talks about being guided by recordings of great folk flautists lilie Matt Molloy and Jean-Michel Veillon, and this reminds me of another aspect of folk playing that peaks my curiosity - the sheer capacity for memorised music that these players naturally possess. Has he ever forgotten a tune? 'Yes.. .sometimes,' he admits and laughs. 'I have started with the A part of one and finished with the B part of another! But I remember tunes from way back in my childhood without even trying. They come to me from nowhere.'

What about his technical prowess, is this a result of copious scale practise? 'No', he says honestly, 'Technique was something we didn't really dwell on back then - we were more concerned with volume of repertoire, so we could sit down in sessions and play for hours with our friends. It was in the

Brian Finnegan

endless playing and in the listening to other great flute/whistle players that my own style began to surface. Technique and ornamentation is an intuitive reaction to the music I am playing and the way I am feeling. I can't explain where it comes from or how it got there'.

i\stonished at the answer, I ask him more about his learning experience as a child. 'When I was going to classes, I was just part of a big group of people. It was a one hour class and we were thrown in together. And then Brian Vallely's cousin, Fintan Vallely (author of the Timber Flute Tutor) and I used to go to a weeklong summer school outside Armagh. Fintan was the teacher and he was my main inspiration for seven or eight years. For a long time I was heavily in to music. Music was kind of the family holiday; we'd all go away to competitions!'

With such a prodigious start it is surprising to discover the road to the top was not smooth. Twice in his career he has taken a brealr from the flute suffering the curse of the talented, burnout, "When I was sixteen I was getting into discoing and falling in love and the session didn't really fit my new super cool image. I was also very involved in sport and travelled to competitions and training camps abroad, so my music suffered and it was three years before I found my way back to it". Later on, unable to resist the lure of music he formed his own band 'Upstairs in a tent', but gradually he felt the pressure again,

" I took on organising the work for UIAT near the end of our life together and to be honest I am not a very organised, methodical person. I found the business world and the creative process a stressful combination and I stopped enjoying the music I was playing. The moment that happens it's time to listen to the cue and move on."

New verve and energy With hindsight, it becomes possible to see how a brealr of this nature may, in actual fact, have contributed to Brian's success. When he returned to music making it was with a new verve and energy and with a definite feeling that flute was his true passion. He found fresh inspiration from an extended trip to Hungary: 'I had been to Budapest a c o ~ ~ p l e of times to perform at a festival on the Danube and had really fallen for the warmth of the people I met while I was there. I fancied a break from a life on the road and wanted a routine in my life for a change, so moved out to Buda and got a job teaching and another collecting music. Inevitably, it wasn't long before I was searching out musicians and writing tunes, but that year in Budapest was very important for me; it graced me the space to think things through.'

Brian's 'collecting music' comment sounded very interesting. It turned out he was employed by the Bartok Kodaly Institute, who briefed him to gather indigenous folk tunes for their documentation and research work. So what was

that like? 'We went out with a tape recorder to people's weddings and funerals,' he says. Completely uninvited, I ask? 'Yes', he laughs, 'you know, those were the only times when they were playing their traditional music. I met a lot of interesting people ! '

As luck would have it, also during this time Brian was introduced by chance to the future members of Flook! - Mike McGoldriclr and Sarah M e n , both flautists. They started with a one-off project called Three Nations Flutes. It was a bold idea to have a band made entirely of flutes, but any doubt about a woodwind trio's ability to draw crowds was quiclrly dispelled.

They had much early success and were quiclrly joined by a talented guitarist, Ed Boyd, who played with undertones of jazz and swing. The Irish Times described their first album thus: 'the pace effortless, the standard of playing quite brilliant. Definitively traditional root, its style is a wandering in and out of jazz with beautifully contrapuntal, mixed wind timbres ... the ultimate modern flute album'.

Later on, Mike was to leave the group to pursue his solo career and the press speculated that the 'instinctive magic' and 'charmingly unique' sound would be lost. Brian comments, 'I was totally devastated when Mike left - he was such an inspiring person to play with. He is r T C T - * 7 - b R - x - P -

such a natural improviser and really pushed me into new territory - scary impro territory. Every gig was a whole new highway, all four of us just ripped up the map from the night before and set off again'.

Mike's departure meant there was a vacancy. ' We tried lots of flute players but it was really difficult to find someone to fill Mike's shoes,' Brian explained. Good fortune once

32 P A N M A G A Z I N E

Brian Finnegan

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again smiled on the band in the form of John Joe Kelly, bodhran player extraordinaire, 'We'd been

V playing with each other in sessions down the years and I'd seen John Joe across a crowded room and thought, wow, that guy can really play!' It was an amazing stroke of luck for Flook! and they entered a new phase of their playing.

'John Joe brought great space to our music. He is a melody player as well as a drummer, so he understands the inner sanctum of traditional tunes and both he and Ed leave Sarah and myself the room to explore, lrnowing that if we fall they'll both be there holding it together. This took the emphasis away from the full-on flute attack and rounded us into a fuller sound and a more complete band, as opposed to a novelty flute thing.'

He knows that the four of them have something special, something that all ensembles long to have: sheer telepathy: 'Sometimes I believe that you could spend your musical life searching for the musicians who can hear the music inside your head the way that you can hear it - people who will push you every night, not allow you to sit back. When you meet them everything makes sense. Sarah, Ed and John Joe are my biggest inspirations. Socially, we lead very different lives but on stage there is a very strong bond between us that

words could never explain. I don't try to understand it, I just enjoy it! We are so fortunate that we met each other when we did.'

Looking into the crystal ball So what does the future hold? 'We're in the middle of an English tour right now and then we're going to Denmark next week and then we have 31 concerts in Germany and work in Belgium and Japan before Christmas.' Will this allow them time for anything else, I wondered? 'We've an album tour that's just started to be booked for next year, but we don't have an album!' He didn't look put out about this as 'we've got some time set aside for recording' and started talking excitedly about it: 'I think the recording part of making a CD is for me the most interesting side, because it means I can be creative on another level.'

Live performance alone doesn't cut the mustard then? 'There is a lot of spontaneity about our gigs because John, Joe and Ed allow Sarah and me the luxury of experimenting and trying new things. But there is nothing like being in the studio, playing new sets, arranging and being creative. A lot of compositions we've composed ourselves.'

Both Brian and Sarah continually write new material for the band: 'Between us we come up with quite a bit. A lot isn't really playable,' he said n~odestly. 'Now and again we come across one that

we like and play it to the boys. We watch their eyebrows - if they disappear into their heads then we scrap it! And if they like it, it becomes part of the set.'

Another unexpected new branch in Brian's career has been education. Despite coming to teaching relatively late in life, Brian has proved a naturally gifted tutor. His ability to focus on a student, to be both patient and gently demanding has proved inspirational for students. He is genuinely pleased to be able to pass on the benefit of his experience and this is backed up by his conviction that 'everyone has a window of artistry'. Unsurprisingly, his folk flute class at Bunvell House in Cambridgeshire this year was overwhelmed with subscribers; so many signed up they had to put 12 on a waiting list.

Ultimately, success has brought Brian a punishing and perhaps daunting schedule of live performances, recordings and now teaching; but it has also brought him rewards, not least of which have been the artistic and creative opportunities it provides him in life. It appears very much as if he was destined to play the flute.

This begs the question, what does he do in his spare time? 'You linow, if I have a week off, I try to kid myself that I should be doing something like yoga or gardening - but after three or four days I'm climbing the walls, so it's easier to sit down and write a few tunes!'

P A N M A G A Z I N E 33

Deafness no bar to this flautist Ruth Montgomery, a 20-year-old who was born profoundly deaf, says playing the flute is the best thing that ewer happened to her. Undaunted by her hearing problems, she shares her musical experiences and her hopes of becoming a performer.

t first, it may seem that the experience of music is as alien to the world of the deaf as say, the experience

of deep-sea life is to birds. However, just as there are birds that catch fish in the sea, there is contact between the world of the deaf and the world of music.

There's music to the ears, the eyes and skin. With hearing, you are familiar with one of its kind - the ear music. But when I go to a concert, my eyes interpret the music, they tell me what's playing; I watch the flautist play around the keys so I can see the movement of the rhythm. Following the fingering rhythm is very similar to lip-reading which I always do. My eyes play a vital role in the world of music; they hear and listen for me.

I also believe that deaf people are more sensitive to and aware of

BY Ruth Montgomery

vibrations; we take more account of them because they are so relevant to the sense of hearing; we know that vibrations produce sound. This provides a connection with the skin and the sense of touch.

Every day, when I wake up in the morning without my hearing aids, all I get is the golden silence: no sounds of the kettle boiling for my cup of tea, the toast popping out of the toaster or voices with good morning greetings. Then I put my hearing aids in and I can hear the keyboard tapping away as I type for this article, the sounds of the television in the other room, my voice and my name.

Being deaf means not simply hearing things more quietly but hearing things distorted. For example, when I pick up the telephone, the sounds of voices are just a cacophony of assorted noises which I cannot cope with. This also applies to the mumbling sounds of voices on the radio. It drives me mad! It is difficult to ltnow what is being said without the additional input of lip-reading.

I must have been about three years old when I started wearing hearing aids and started to explore the world of sound. This was a big thing because, as a young child, I was surrounded by music - it was a big family interest, my dad being a classical guitarist and my mother involved in the local operatic society. Later on in life, when my three brothers all played the piano and became choristers at the cathedral, it seemed natural for me to take part in learning music too.

At the age of six, my parents

took me to piano lessons. I could perform the instrument successfully, but never fully understood the purpose of learning music and its language. It was all meaningless sounds to me, even though I could hear the low and high ranges and enjoy the rhythmic feel of the playing.

When I was 10, I joined the marching band at the Girls Brigade, playing the drums. I remember experiencing no difficulties in learning; I had to imitate the rhythmic motives and themes taught by a teacher and, with plenty of encouragement, I picked it up and played very accurately. I think it was the drums that helped me develop a good sense of inner rhythm, especially with the marching on my feet, and the strict timing of the music. That is when I learnt the value of time keeping.

In 1992, when I was 11, I went to the Mary Hare Grammar School for the Deaf in Newbury, Berkshire. By the time I started, I had already given up the piano, because the novelty had worn off. I found the sounds on the piano to be what I call 'noise' - it was too much for my

34 P A N M A G A Z I N E

had much

ment and

activities. I

the school band and

taking part

P

P

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in dance, music and acting. In summer 1994, I played along with the Mary Hare Band tour to Australia! It didn't stop there: the band continued playing in public places

Deafness no bar

f i t , : 1'o:loutrtittC cct tltc dloscow Cottscmcctoiue oj'Jlttsic in Se),tctrtber s~lch the 1997. Above: Rtctlt with cc locrrl wincl orcltestrc~ in Frrtnce. Royal Albert

Hall for the ears to take in. But I felt I had the TV Series, Challenge Anneka, in ability to understand music, SO one 1995; and a year later we played day I piclred up the flute and went together again at the same concert on from there. 1 soon discovered a with Evelyn Glennie and the Kings7 new side of sound. The flute was the Singers at the Anvil in Basingstoke. best instrument for me as it was In September 1997, a school close to my hearing aids, and this friend who plays the clarinet and I meant I could distinguish different went to Russia, to play at the intervals and simple melodies. The MOSCOW Conservatoire of Music in a head of music at Mary Hare, festival for young musicians from Christine Rocca, played a very big all over the world with various Part in my development. She is my disabilities; we were the only deaf mentor and gave me much advice people. The concert hall had over and direction when I was in the 1000 people in the audience. I upper school Years. She kept my could not believe my eyes!, My spirits up if 1 became discouraged. 1 friend and I played' Handel's water also had a good flute teacher, Chris music suite with the MOSCOW

Molloy from Reading, who taught Symphony Orchestra. And then I me the flute from beginner level to played the flute obligato part to passing the Associated Board grade Bach's Jesu Joy of Man's Desiring, V111 with merit. with 100 choristers and the

I was fortunate, because mar^ orchestra. The evening also Hare Chan~mar Ekhool is a pioneer included Monseratt Caballe singing in making music Part of the regular a duet with her daughter. I will curriculum of deaf education and I never forget that day: it was the key

moment in my life, when I knew I wanted to perform.

Learning and performing music has, for me, no particular problems and I take every opportunity to do so. I have performed in a number of different situations - with piano, small ensemble and regularly with a large local wind band. There is not too much difficulty as I rely on watching the conductor or colleagues. It was difficult at first, because not only am I hearing my flute, but also all the other instruments playing their various parts. I try to study the whole score before the performance as it really helps to understand the flow of the music, and familiarise myself with where I am. One of the biggest difficulties is that the finer points of tuning are not possible for me so I cannot tell whether my flute is playing sharp or flat. But, since using a chromatic tuner, I can feel the different air adjustment. It has improved dramatically over the past year, as I work my scales, again using a tuner, and my teacher Ann Cherry suggested some simple singing practice to help me train my inner hearing.

Learning the flute has had other benefits. It has helped me to train my hearing to understand the noises that I pick up. Apart from these minor problems I face, the flute is the best thing that has happened to me: I can enjoy it and understand the language of music

in my own way. I can hear all pitches, control the dynamics, and like to think of expression as portraying various characters in the music. It also helps me with my speech, and especially with the use of articulation and phrasing in talking.

Two years ago, I applied to the

P A N M A G A Z I N E 35

Trinity College of Music in London to do the B.Mus performance

- . Deafness no bar

degree. They had never had a deaf student before and I think they had

-. . .-

--p

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Comments from Ruth's teacher their doubts but they let me db the pre-degree, one-year ~ ~ ~ ~ d ~ ~ i ~ ~ When I was asked by Trinity College of Music if I would accept a deaf

course. was there that I met pupil, I said yes - but I was worried. For a start, I had never taught

cherry, who has been a wonderful a pupil with a disability. How would I teach her? How would she

inspiration and who has had faith understand me? Could she really appreciate music? It must be the

that I could make it as a performer. goal of every music teacher to find a way of communicating

I enjoyed ,.he one year foundation khowledge to a deep inner level; would I manage to do that? . .

course immensely; it improved many aspects of my flute playing and academic worlt.

After that, I took a year out and worked hard on my flute studies, finally getting myself a place at the Welsh Colleke of Music and Drama

L>

to study the four years BMus performance degree course. I know there will be aspects of the degree course that will not be easy for me but I am determined to work hard in order to be able to perform professionally by the end of the course. I also want to teach and, most of all, to be able to show other deaf people that anything is possible if you really want it.

My fears, I'm happy to say, turned out to be unfounded. Ruth had attended a very fine specialist school; her lip-reading skills are excellent, and she does have some slight hearing ability with the help of a hearing aid. In a very short while I forgot she has a hearing problem, and we got on with the business of making music. -

Her innate musicianship and warm personality shone forth, and we found ways of 'feeling' the pitch and the quality of tone. The things we tried must have worked, because Ruth's tone is lovely and her performance can move you to tears by its beauty. Teaching Ruth has been one of the greatest experiences of my life. Although I have always prided myself on finding a different and special approach for each pupil, with Ruth new avenues were opened. I have learned so much from my pupil!

Ann Cherry BMus, Hon FTCL, Hon FLCM, ARAM

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T he earliest ltnown picture of a transverse flute in Western European art appears in the Hortus Deli-

ciav-t~m. This 'Garden of Earthly Delights' was compiled between 1160 and 1200 by two abbesses of the Convent of Mount Saint-Odile in Alsace as a series of moral lessons for their nuns on the temp-

I tations that befall the soul on its spirit~lal journey. One of these was a re-interpretation of the legend of Ulysses and the Sirens, first told in Homer's Odyssey.

The manuscript of the Hortz~s Deliciarum was lost in a fire in Strasbourg in 1870, but the pictures had been copied as tracings some years before, and a text has been

BY Sirnon

O'Sulliva

IS ttzat-ryed to an atnatetdr flatrtfst m the Light F/t~te Orch~stra.

Historical clues to the origin of the flute

reconstructed from the writings of medieval theologians. Among these was Bishop Isidore of Seville, who wrote in his Etymologiae (600AD):

'Three sirens are imagined to have been part virgins, part birds, having wings and claws: of whom one with the voice, the other with the flute, and the third with the lyre did sing, and by their songs led unwary sailors to shipwreck.'

Seductive music of the sirens The commentary of the Mortus Deliciarum explains that the three sirens whose sweet song caressed sailors into sleep are the delights that soften the heart to vice. The one who sings with her voice is avarice, the one who expresses her melody with the lyre is extravagance, and the one who sings with the flute is ostentation, whose song says: you are young and noble, you should show off your worldly distinction to everyone. The beautiful faces of the sirens are intended to seduce, while their wings symbolise the fickleness of worldly desi,res and their clawed feet grip those whom they draw into sin.

Isidore of Seville, writing in Latin, describes the flute as a tibia, the Roman name for the Greek aulos, which was a reed instrument more like an oboe or a clarinet than a flute proper. The significance of the picture in the Hortzis Deliciarum is that it is almost contemporary with the first mentions of the flaiite or fleiite in European literature in Anglo-

Norman romances, which can be dated between 1160 and 1170, a few decades before a vloite appears in German in the Nibelungenlied (the source of Wagner7s Ring). Before then there is only the frestel, a kind of small pan-pipe, derived from the Latin fistula, which was indeed one of the names of Pan's flute in classical times.

What is remarkable is that the flute, as a transverse instrument rather than a recorder, appears to spring fully crafted into medieval musical life as if from nowhere. There is no Latin word or instrument from which the name derives, although the most convincing ideas are that flaiite might come from the Latin tibia flatur (literally, 'a pipe is blown') or that the 'ah-oo' sound is onomatopoeic, like the breath of the wind whispering in the reeds, as the Roman poet Lucretius mentioned in the first century BC.

We may never know whether the transverse flute was really invented in Western Europe in the late 12th century or whether, as some historians of musical instruments have suggested, it was brought by travellers from Byzantium.. . but from its earliest days it has been an instrument with profound symbolic meaning.

This tracing of the three sirens was first published in an edition oj' the Hortus Deliciarum by the Socie'te' pour la Conservation des Monuments Historiques in Strasbourg in 1901.

P A N M A G A Z I N E 37

MARCH 25-29 March Robert Pot, Rudolf Dobler Masterclass for advanced amateur flute players in the Black Forest (Germany) (languages: English, German, Dutch and a little French). For more information, brochure and application form, email: info@RobertPot.com or Flotenlturs im Scharzwald, Rudolf Dobler, Krefelder Strasse 20, 10555 Berlin. TeWax: 004930 39907701. Email: RudolfDoebler@t-online.de

27 March - 3 April Trevor Wye Flute Master Class Trevor Wye, Clifford Benson (piano) with YLI I(urata Sasayama, Japan Classes for many aspects of flute playing in friendly non- competitive atmosphere. Cost: performer: 95,000 yen; participant: 75,000 yen; auditor: 35,000 yen Accommodation: 7 nights plus 20 meals: 63,000 yen Information: Jun Sasai 2-22-8- 401 Minami Tsultaguchi, 661- 0012 Japan. Tel: +81 (0)6 6424 2071. Fas: +81 (0)6 6424 2072. Email: junsasai@mac.com

APRIL , 9-13 April

In Search of Inspiration Bossut, Belgium This taltes place on a very peaceful, rustic farm just outside Bruxelles, Belgium. Maximum 10 participants, so you need to apply early. Information and online applications for all the Wissam Boustany courses can be found at: www.wissamboustany.com. Email: croucherlisa@hotmail.com. Contact address: 47 Sedlescombe Road, London SW6 IRE, UK Tel: 020 7385 5569. Fax: 020 7381 9001

MAY 11-12 May In Searcli of Irispiration Dublin, Ireland This is an intensive weekend course, the first 'In Search of Inspiration' course Wissam gives in Dublin. This is being organised in conjunction with William IIalpin and Candice IIamel. Informatio~i and online applications for all the Wissarn Boustany courses can be found 011 the website: www.wissamboustany.com. Email: croucherlisa@hotmaiI.com. Contact address: 47

Performers (S405), participants (5345) and auditors ($150) Board: S160 Daily fee: S30 (not including Wye/Benson/Kurata concert) Deadline: 3 May Contact: Carla Beauchamp: alrac@mindspring.coml

Sedlescombe Road, London SW6 IRE, UI(. Tel: 020 7385 5569. Fax. 020 7381 9001

JUNE 15-21 June Wildacres Flute Retreat (25th anniversary) Wildacres Retreat, Little Switzerland, North Carolina \Villiam Bennett,,modern flute; Stephen Preston, traverso, modern flute and early repertoire; i\my Rice Blumenthal, Flute Choir Symposium Wildacres Flute Retreat taltes place on an isolated mountaintop retreat centre in the beautiful Blue Ridge Mountains of North Carolina, \vildacres is similar to a resort lodge with hotel-Jilte rooms, but without the distractions of telep~lones in every room and no televisions. Meals are served family style, further enhancing the strong sense of community. It combines an informal, and supportive atmosphere with teaching, performance, and artistic standards of the highest calibre. Includes afternoon seminars, ensembles, and recitals for high school through professional players, including amateurs. 45 performerd20 participantdlo auditors Tuition: S575/Performer, S550/FlLlte clloir symposium, 5525fferformer-Participant, S475/auditors; room, board and tuition are included. Deadlines: March 29 to June 1 to listen contact: \vi1dacres plute ~ ~ t ~ ~ ~ ~ , C/O Karl Barton, 2308 Orleans Drive, Tallahassee, FL 32308- 5929. TelRax: (850) 309-0556, Email: Itarl@barefootboy.org. Website: http://www.barefootboy.org~Wilda cres.html

22-29 June Trevor Wye Surlllller course University of New Mexico A week of masterclasses and a concert in Albuquerque Trevor Kurata, Clifford R ~ n r n n

vvww.wissamboustany.com. Email: croucherlisa@hotmaiI.com. Contact address: 47 Sedlescombe Road, London SW6 IRE, UK Tel: 020 7385 5569. Fax: 020 7381 9001

16-21 July Mchael Cox's Lower Hayne

Liz Taylor and Ruth Underwood. There will be yoga exercises and stretches to improve breath control, work the diaphragm and improve posture, mental exercises for concentration and relaxation for performance nerves. There will also be some creative music making on instruments. For more details on course content contact the City Lit Music Dept. Tel: 020 7430 0546, email: Liza)roga@aol.com, or phone Ruth Underwood on 0207 272 8500. The City Lit enrolment and information line is 020 7831 7831.

Zdenek Bruderhalls 'lute S"rnrner Servit Church and Monastery,

'lrady, 37333 Czech Republic AgeRlaying level: high school to

teachers performers

Number of auditors/visitors: no restriction T~lition costs: performer USS 330; auditor: US S Room: cca 280 Czech Crowns per day Application deadline: 11 June 2002 Technical ifor all particpantsl Masterclasses [for performers] Seminardectures Listening sessions include some historical recordings Tuition Languages: English, Czech; restricted French,

Contact: Arbitrium PO Box 13, Ilove SA 5048 Australia. TeWax: 61 - 8 - 82983099. Email: flute@senet.cOm.au. \Vebsite: http://~w.senet.com.au/-flute

10-18 July I" Searcl' of llis~iMtiOrl \\rissarn Boustany Victoria, Canada This popular course has now been expanded into a full length course - please see details on Wissam's website, which should be up by 1 Fehruary.. information and "line applications for all the Wissam Boustany courses can be found on the website:

sessions are available for any ensemble applying as a pre- formed group. Applications from individuals will also be accommodated wherever possible. I\S an alternative, flautists and other wind players may attend the Summer School as members of the Symphony Orchestra (conductor: Russell

intense and demanding 6-day course for a group of 15-18 very advanced players (usually 18yrs+) held at Michael's home in beautiful Devonshire countryside. It is unique in that it has been carefully designed as a curricular course. It builds strategically through a range of disciplines and styles from day 1 to 6. Every student plays in every class. There are also wallts, swimmimg and cycling trips alongside nearby rivers, hills or coasts to complement the intense study schedule.There arc really excellent evening meals and wonderful lunches and home-baliing by Michael's wife Rosalind. Concerts, classes and accommodation are all in the village. Further details or applications (with CV) to Lower Hayne Flute Course, Lower Hayne Barton, Ashill, Cullompton, Devon EX15 3NL Tel./fas 01884 841968. Email: trimcox@supanet.com

20-26 July Jonathan Snowden International Flute School Jonathan SnowdedChristine Hanltin Stonar School, nr Bath, UR Masterclasses with Jonathan Snowdedtechnical worltshops with Cliristine Hanltin/concerts/wine tastingots of fun! Cost: Masterclassed~~orltshops/full board: $449.00 \Vorltshops/obsen~e masterclasses/fi~ll board: 9399.00 Observe any class/full board. 9299.00 Daily Observer: f69.00 Jonathan Snowden International Flute School, 23 Egerton Gardens, London \V13 RI-IG, UIt. TeVfas: +44 (0) 20 8998 7788. Email: admin@jonathansnowden.com. Website: jonathansnowden.com

20-26 July Charterhouse Summer School of Music, Godalming. Surrey The Wind Chamber Music Course, tutored by flautist Emma IVilliams and members of Ensemble Lumikre. Full-time wind chamber music

JULY Flute Course Keable) or the Chamber klichael Cox with Robert Orchestra (conductor: Bob

1 38 P A N M A G A Z I N E l

July (Tuesday evenings) Yoga for Woodwind Players The City Lit 9 , 16, 23 July, 6.15-7.45~m with

Manasse Ashill Village, Cullompton, Devon Cost: 9395 inclusive Michael Cos's course is an

Chassey) A d the Wind Band (conductor: David Clacli), and join some of the additional wind chamber music sessions on offer Contact: Emma kVilliams. Tel:

Oxford Flute Summer School 12- 1 8 August 2002 Worcester College

Mich el Debost

Anders Ljungar-Ch apelon & visiting tutors

The essential experience for every flute enthusiast

Select from a unique programme of Course Options

Enjoy an inspirational week whatever your level of expertise

C\

flT* p3 all flutes plus Oxford Flute Summer School is generously supported by

websitc: mr(.\w.oxford-flutes.co.uk email: katie.bycroft@]talk2 l .com

Administrator, 9 Pinehurst. Horsham RH12 2DL tel: 01403 259463 fax: 01403 240610

P A N M A G A Z I N E 39

07971 2004751020 8882 5333. Email: emma@emmawilliams.co.ult. Website: www.emmawilliams.co.uk Or apply to: The Music Office, Charterhouse Summer School of Music, Charterhouse, Godalming, Surrey GU7 2DX. Tel: 01483 291696.

20-26 July Cl~arterhouse Summer School of Music, Godalming, Surrey The Art of Accompaniment, tutored by pianist Richard Shaw, with flautist Emma Williains and members of Ensemble LumiBre. This course is intended for experienced pianists who wish to develop their accompanying sltills. The flute repertoire includes Elgar's Chanson de Matin and Serious Doll, Poulenc's Sonata, Reineclte's Ballade, and the Weber Trio (with cello). Flautists with pre- formed duos and trios (including piano) are also welcome to attend with their own chamber group. Contact: Richard Shaw. Tel: 07976 6144291020 8882 5333. Email: richard.shawpiano@btinternet.co m. Wbsite: www.ensemble- lumiere.com Or apply to: The Music Office, Charterhouse Summer School of Music, Charterhouse, Godalming, Surrey GU7 2DX. Tel: 01483 291696.

20 July - 3 August Stratford-upon-Avon International Flute Festival Artistic Director: Elena Duran Associate Directors: Jonathan Rimmer, Jenny Brooks Resident Artists: Vieri Bottazzini, Catherine Goodman, William Dowdall, Thomas Pinschoff, Sandra Seefeld, Miguel Angel Villanueva Guest Artists: IZeith Brag, Marisa Canales, Paul Edmund Davies, IZaren Jones, Jaime Martin, Jean Paul Wright The Stratford Flute Festival is open to students of all ages, levels and experience. Apart from the main Festival, there are 'Magic Flute Worltshop' sessions each morning for younger students. On the middle weekend there is a special 'Flutes for Pleasure' weekend for adults who might be returning to the flute or amateurs who want a weekend of enjoyment with the flute. In the course of the two weeks there are almost 30 concerts, more than half of which are given by students of the flute Festival. The Festival also includes the Albert Cooper Competition which takes place in the second week and culminates in the final concert on the last day. Cost for two weeks (includes

accommodation, full board, tuition and admission to concerts): E595 (1900, Euros 900) For more information, please contact the administrator, Rachel Smith, 10 Guild Street, Stratford-upon-Avon, CV37 6RE. UK. Tel: 01789 261561. Email: stratflute@aol.com. Website: stratford-flute.co.uk - 21-25 July Hindhead Flute Course Atarah Ben-Tovim, flute. Julie Wright, Director. Roy Stratford, accompanist. IIugely popular children's course Grades 1 - Diploma, ages 10-19. Lovely setting, pool, good food, large staff. Hindhead Music Centre, Hindhead GU26 6BA. Tel: 01428 604941. Email: juIie.flute@virgin.net. \Vebsite: www,hindheadmusiccentre.co.uk

22-26 July Benslow International Flute Summer School Benslow Music Trust, Hitchin, Ilertfordshire, UK Philippa Davies and visiting specialist tutors, lan Clarlte and Sarah Newbold. Jan Willem Nellelte, accompanist. A stimulating and rewarding course given by one of Britain's finest flautists and teachers. The course will cover all aspects of technique, from breathing and posture to tone and articulation, to enable greater musical awareness and expression in solo, chamber and orchestral repertoire. There will be general and master classes given by Philippa and a team of distinguished visiting tutors. All levels of observers welcome. Minimum Grade 8-music college level for participants. Repertoire list available. There will be a public recital given by the course tutors on the Thursday, free to course members. Resident: 5275 Non-Resident: $230 Benslow Music Trust, lbberson Way, Off Benslow Lane, IIitchin, Hertfordshire SG4 9RB. Tel: 01462 459446. Fax: 01462 440171. Email: info@benslow.org. Website: www.benslow.org.

22-27 July In Search of Inspiration Wissam Boustany IIamline, Minnesota The first 'In Search of Inspiration' intensive course to be held within the USA, this is being organisied in conjunctionwith Hamline University (Janet Greene and Amy Morris). Information and online applications for all the Wissam Boustany courses can be found

on the website: www.wissamboustany.com. Email: croucherlisa@hotmail.com. Contact address: 47 Sedlescombe Road, London SW6 IRE, UK Tel: 020 7385 5569. Fax: 020 7381 9001

23-31 July Zdenek Bruderhans Flute Sun~mer Schools Servit Church and Monastery, NovC Ilrady, 37333 Czech Republic AgeRlaying level: high school to university teachers. 10 performers. Tuition costs: performer US1 330; auditor: US S l50 Room: cca 280 Czech Crowns per day Application deadline: 11 June 2002 Technical classes [for all particpants]. Masterclasses [for performers]. Seminars/lectures Listening sessions include some historical recordings Tuition Languages: English, Czech; restricted French, German, Swedish Contact: Arbitrium PO Box 13, Hove SA 5048 Australia. Tel/Fax: 61 8 82983099. Email: flute@senet.com.au. Website: http:l/www.senet.com.au/-flute

27th July - 2nd August .Just Flutes at Woldingham \Voldingham School, Surrey, UK Teachers: Clare Southworth, Ilelen Brew, Michael Cox, Ian Clarlte, Louise Matthew, Gary \Voolf, Tim Carey Join us at one of the most successful summer schools in the UK. i\ week of music-making, in a beautiful English countryside location, which will be relaxing, instructive and a great way to meet new friends. This is a unique opportunity to study with and hear performances from the country's leading flute professors, who currently teach at the Royal Academy of Music, Royal Scottish Academy of Music, Royal Northern College of Music and Guildhall School of Music & Drama. Cost: 9435.00 (full board); $65.00 non-refundable deposit to accompany application form. Day visitors welcome at a charge of E60.00 per day (excludes accommodation, which can be arranged if required). Contact: Course Administrator, Jonathan Myall Music, 46 South End, Croydon, CRO IDP UI(. Tel: 020 8662 8400. Fax: 020 8662 8404. Website: www.summermusic.org.ulr

29 July - 2 August Bunvell Musical Madness Contact: Stephen Bardwell, tel: 01638 751483. Email: bardwells@freeult.com

29 July - 4 August Scottish International Flute Summer School Strathallan School, Perthshire, Scotland Tutors: Peter Lloyd, Wissam Boustany, Ruth Morley, Elaine McPherson with Alan Hiclts and Scott Mitchell, Piano There are four ways to attend the summer school: Performer: master class and private lesson with Peter or Wissam, two coaching sessions with Alan or Scott, two technique worltshops, all group classes, play in a concert. Participant: private lesson or masterclass with Peter or Wissam, piano coaching session with Alan or Scott, two technique worltshops, all group classes. Course Member: two private lessons with Ruth Morley, two technique workshops, a piano coaching session and all group classes. Ensemble Course (31st July - 2nd Aug inclusive). This three- day course for adults will include ensemble coaching, a private lesson and technique worltshops. You will also be able to listen to masterclasses and concerts, including Wissam's concert on the Thursday night. Special offer: Book with a friend and you both receive a 10% discount off your course fee. Course fees in Pounds Sterling: Performers: $285; Participants: 9205; Course member: E 165; Ensemble course: $165 (including 2 nights accon~modation and a11 meals, 31st July - 2nd Aug inclusive). Accommodation costs: 6 nights, full board: E180; meals only: 870; extra nights for visitors: 930 Scottish International Flute Summer School, 319 Canada Court, 81 Miller Street, Glasgow G1 IEB, Scotland. Tel/Fax: +44 (0)141 248 5756. Email: flutescotland@ndirect.co.ult. Website: www.flutescotland.co.uk

28 July - 3 August Trevor \Vye Surnmer course Sion Switzerland Contact: Acadenlie de Musique de Sion, Casa Postale 954, CH- 1951 Sion, Switzerland.Emai1: musacademysion@bluewin.ch. Website: www.festiva1-varga.ch. Tel:02732 26652. Fax: 027 323 4662.

29 July - 6 August (course 1) William Bennett International Flute Summer School 2002 Frensham Ileights, Farnham, England \Villiam Bennett with assistants: Michie Bennett and &-Young Song. Piano: Clifford Benson. Student Recital Pianist: Waka Narui Cost: Performer: 5335; Participant: 5295; Auditor: 5245

~ o l d i n g h a m Clare Southworth

with 20 Helen Brew, Michael Cox, lan Clarke, Louise Matthew & Gary Woolf

-+ THE P R I N T E D MUSIC & I b

v--- -as=, - / . -- ,-A--

##&,,-i&-J * : An amazing week of masterclasses, workshops, private lessons,

ensembles,concerts and much, much more in a fabulous setting in the English countryside. The facilities include: luxurious single rooms with wash basin, shared kitchen with tea and coffee provided, arts centre including full size concert hall, studios and practice rooms, covered heated swimming pool, all weather tennis dome,

sports complex including squash courts, fully equipped gym etc. and attractive grounds for walking.

For more information and a course brochure, please contact: Course Administrator, Jonathan Myall Music, 46 South End, Croydon, CRO 1DP

Tel: +44 (0)20 8662 8400 Fax: +44 (0)20 8662 8404 email: admin@summermusic.org.uk web: www.summermusic.org.u~

INTERNATIONAL FLUTE FESTIVAL .

Associate Directors Jenny Brooks & Jonathan Rimmcr

20 July - 3 August 2002

Magic Flute Workshop

Flutes for Pleasure Weekend

I - l~r~ i ic . r i~~li:rtii;r~ioll fiuni: Rnclicl Snllrli. i\dlnini,rramr. Str;~~lbnl-upo~i-:\\or1 I~iicrnnlicrn;~l 1-lu~s I c a ~ i ~ n l . 10 Guild Srrccl.

F"

; A warm and wonderful

Bank Holiday feast of flutes and flutinc

FOR ADULTS OF ALL LEVELS

from beginners to advanced, from cautious to super-confident

AT BLOXHAM SCHOOL, Nr OXFORD Noon Saturday 24th August - 4pm Monday

26 August 2002 Host: Atarah Ben- Tovim MBE Hon D Mus

Course Director: Julie Wright B. Ed. Teacher at Trinity College, London

More info from 'Conspiracy' 41 Devon Avenue, Twickenham TW2 6PN

faxlphone: 020 8241 7572 or e-mail julie.flute@virgin.net and see www.atarah tv

ABELL FLUTE 12 b - -A.

C O M P A N Y ! $=€G

Cr, g 3 :

JONATHAN SNOWDEN INTERNATIONAL FLUTE SCHOOL

2 0 t h - 26th July 2002 BATH

ENGLAND For full details please contact:

Jonathan Snowden International Flute School 23 Egerton Gardens

London W13 8HG England

TelIFax: +44 (0)20 8998 7788 email: snowden@westea1ing.0rg.uk

www.jonathansnowden.com

42 P A N M A G A Z I N E

Accommodation (8 nights, 8 breakfasts, S suppers, 7 lunches): shared room: 6177; single room: S197

- One of the most popular and best attended Summer Schools in a beautiful location, with excellent food, and inexpensive accommodation. This course fills up quickly, especially the places for performers, so early booking is advisable. Contact: 50 Lansdowne Gardens, Stocltwell, London SW8 2EF UK. Tel: 020 7498 9807. F a : 020

t 7498 1155. Email: Mmichie@msn.com or Michie@wibb.co.uk. Website: www.wibb.co.ulr or

i http://web,tecinfo.com/-pettbarl wibblsweb/

AUGUST 6-14 August (course 2) II'illiam Bennett International Flute Summer Scliool 2002 Frensham IIeights, Farnham, England William Bennett with assistants: Michie Bennett and Ah-Young Song. Piano: Clifford Benson. Student Recital Pianist: CValta L T _ _ : l Y lll-LlL

Cost: Performer: 5335; Participant: 6295; Auditor: $245 ~iccommodation (S nights, S

breakfasts, 8 suppers, 7 lunches): shared room: 6177; single room: 9197 One of the most popular and best attended Summer Schools in a beautiful location, with excellent food, and inexpensive accommodation. This course fills up quickly, especially the places for performers, so early boolung is advisable. Contact: 50 Lansdowne Gardens, Stockwell, London SW8 2EF UK. Tel: 020 7498 9807. Fax: 020 7498 1155. Email: Mmichie@msn.com or Michie@wibb.co.uk. Website: www.wibb.co.uk or http://web.tecinfo.com/-pettbarl wibb1sweb/

10-13 August A Breath of Fresh Air Leighton Park, Reading Special studv of French Music with celebrated Composer in Residence Jean-Michel DAMASE Presented by Anna Noalies with Evelyn Grant and Julie Murray, Flutes; Kathron Sturrock-piano; Gillian Tingay- Harp Website: \nnv.flutecourse.com. Tel: 020 8888 9005. Email: anna@noaltestingay.com

12-18 August Oxford Flute Summer Scliool Worcester College, Oxford

The University of Reading is& 0 School of Education

Mtpp International Summer School 2002 July 20th - 26th 2002

International Centre for Research in Music Education Bulmershe Court

The Mtpp Summer School is an integral part of the Music Teaching in Professional Practice Diploma/Masters programme

delivered internationally by distance learning at the University of Reading. Mtpp can be taken over 2 - 7 years, leading to

Certificate, Diploma and MA qualifications.

Course Director: Nicholas Bannan Course Tutors:

Norman Morris, Fred Seddon, Laurel Pegg, Ron Colyer, Pamela Bowden, Steven Goss, David Baker, Elizabeth Drew, Anthony

Williams

Sessions on: Vocal and Aural development; Improvisation;

Dalcroze Eurhythmics; Music IT; Alexander Technique; Motivation and Assessment in music teaching;

Music Psychology; Performance Practice; Interpretation; Repertoire Development; Study skills; Library resources

- l The Summer School is also open to participant observers who are not registered for Mtpp. Attendance on a daily basis is also

possible by arrangement with the course director.

For further information o r to apply, contact: Mtpp Administrator, The University of Reading,

School of Education, Bulmershe Court, Reading RG6 1HY Tel: +44 (0)118 931 8843 Fax:+44 (0)118 931 8834

E-mail: mtpp@reading.ac.uk Website www.soews.rdg.ac.uk/mtpp

Tutors include: Michel Debost, Peter Lloyd, Anders Ljungar- Chapelon Cost: 6340-S670 (depending on tuition and accommodation options). Bursaries available for 15-24 year olds. Friendly course for players over age 14, catering for all abilities from keen amateur to young professional. Individual lessons, piano accompaniment sessions, concerts, enesembles and masterclasses. Intensive, Seminar and Pre-Audition options available. Details and brochures from Katie Bycroft, 9 Pinehurst, Ilorsham, \Vest Sussex U112 2DL. Tel: 01403 259463. Fax: 01403 240610. Email:

17-24 August Elisabetli Weinzierl and Edmund \I1achter 10th annual sumnler flute class For flutists, flute teachers, students and amateurs Elisabeth Weinzierl (Munich Conservatory) Edmund LViichter (University of Munich) Villa Palagione (near Volterra), Toscana, Italy Level and age not limited Interpretation, style, chamber music, flute choir, technique of fluteplaying, how to practice, how to teach ... Contact: Elisabeth Weinzierl und Edmund Wachter, Magdalenenstrafie 36, D-80638 Miinchen. Tel: +49(0)89 -15 54 92 fas: +49(0)89 -157 54 97. Email: CVeinzierl-Waechter@t- online.de

18-22 ilugust Summer I\'irlds Benslow Music Trust, Hitchin, Ilertfordshire, UI< Janet Myatt, Judith Ilill and visiting tutors Friendly and industrious atmosphere, large and small ensembles with opportunities for solo performance classes, with the benefit and tutors' sltills and lmowledge. Some set repertoire, but please bring pieces you want to work on..\Voodwind, horn and saxophone players from grade 5 with some ensemble playing experience. Resident: $230 Non-Resident: $185 Benslow Music Trust, Ibberson Way, Off Benslow Lane, Hitchin, Hertfordshire SG4 9RB. Tel: 01462 459446. Fax: 01462 440171 Email: info@benslow.org. Website: www.benslow.org.

18-25 August Goran Marcusson, Gitte Sorensen, 'lim Carey (pianist) Bjertorp Sweden Number of performers: 12

Tuition cost for performers: 6.500 SKR (approx. USS650), including room and board Application deadline: 1 May Tel: +46 70 5566 556. Ernail: nordic.flute@zeta.telenordia.se ~-,

19-24 August Flute Summer Conrse For the -

Contemporary Flutist Teacher: IVil Offermans Location: Genes, Les Ardennes, "

Belgium Enrolment fee: 325 euros including all lessons, board and lodging Number of participants: 15 Contact: Studio E - FSC2002, Vroliltstraat 195 D, NL-1091 TX, Amsterdam, llolland Te1.+31(20)668.2478; Fax.+31(20)665.1425; Email: fsc@studio-e.nl. Website. http://www.studio-e.nl

21-29 August In Search of Inspiration \Vissam Boustany Penzance, England The longest running course, Wissam will be returning there again this year. Information and online applications for all the Wissam Boustany courses can be found on the website. ~~v.wissamboustany.com. Email: croucherlisa@hotmail.com. Contact address: 47 Sedlescombe Road, London SW6 - IRE, UR Tel: 020 7385 5569. Fax: 020 7381 9001

24-26 August Conspiracy of Flutes No 8! Bloxham School, Near Oxford A warm and wonderful Bank Holiday feast of flutes and fluting for adults of all levels, beginners to advanced, cautious to super confident. Host: Atarah Ben -Tovim MBE IIon D Mus Course Director: Julie Wright B Ed. Teacher at Trinity College London. Conspiracy, 41 Devon Avenue, Twicltenham TW2 6PN. TeYfax: - 020 S241 7572. Email: julie.flute@virgin.net. Website: www.atarah.tv

-

26 August - 1 September Wind Plus Surntiier School Benslow Music Trust, Ilitchin, Hertfordshire, UI< Colin Bradbury, Caroline Radcliffe, David Ebbage, Martin

1 Lawrence, Martin Gatt Recorder consort, trio sonatas, small and large wind groups and

, mixed chamber ensembles. Enjoyment while improving your ensemble playing, building repertoire and developing technique. Wind players and pianists of grade 6 and above standard welcomed. Informal concert held by participants and

'

tutors.

P A N M A G A Z I N E 43

Hindhead

! l

'Cello course

in association with the Cello Club 5th - 10th August

ALEXANDER BAILLIE WlLLlAM BRUCE Ages: 10 - 18yrs

Abilitv: Grade 5 - Di~loma

-4lBmJ!$@ 7 , : ..j * . -

Hindhead T Hindhead Flute - R sn Summer

also an idult Course fo; teachers . gar

A- -- v

course

Hindhead Discover

music!for5-1~olds 18th - 20th August Discover the instruments, and

have fun with music! A wonderful week-end, of

music-making, with swimming & games, etc.

-- -- - .% -- --.

Glorious country hou! setting Six acre gardens

Heated swimming pool Superb home cooking

Friendly Family atmosphere

. ,*! strings

~ 1 s t - 2 5 t h J u l y ..a 4 t : h * 8 * E,+ - 7#7G? i i l q t r v i ~ c i '6 .v- 11. 1st - 4th August 7 :' ] 'W S-q

ATARAH BEN TOVIM p+- .-;',g+ - ~e > SALLY LISNEY,

Julie Wright : J. c :, - ?,ctrJ"W", c:,~<,* ' S . , > - ,/ <I.

JAMES LISNEY b a yy; Age 10 - 19 - ,

V . 3 / . ; Age: 8 - 13

Ability Beginner - Grade 8 . ' , ) Ability: Grade 4 upwards

A#6;kai 9.. -

Hin head clarinet course

12th - 16th August TONY COE,

ANGELA MALSBURY, Alex Allen - lan Stuart

Ages: 12yrs - Adult, e Ability: Beginner - Diploma &#@,#&kl,$( t"

I Hindhead Piano

weekend JAMES LISNEY

SlMON NICHOLLS Ages: Adult (18 and over) Ability: Grade 7 upwards

Hindhead Children's

Holiday Music 21st - 25th August

Ages: 6-12 Ability: Grade 1-5 All Orchestra Instuments

A wonderful fun weekend of musicmahing, games, swimming, etc

Courses are a blend of master- classes, chamber groups,

workshops, technique classes, discussions, concerts and free time

for practice, swimming (

IINDHEAD MUSIC CENTRE Hindhead Road. Hindhead, Surrey. GU26 6BA

lel u1421r bu4941 Fax 01428 607871 Email info@hindheadmusiccentre.co.ur ww. hi admu

Resident: 9310 Non-Resident: $265 I OCTOBER Benslow Music Trust, Ibberson Way, Off Benslow Lane, Hitchin, Hertfordshire SG4 9RB. Tel: 01462 459446. Fax: 01462 440171. Email: info@benslow.org. Website: www.benslow.org.

SEPTEMBER 30 September - 4 October Jeanne Bmtresser International Flute Master Class 2002 Jeanne Baxtresser (Former Principal Flute, New York Philharmonic; currently

i Professor at Carnegie Mellon University in Pittsburgh) with guest Alberto iUmarza and Pianist Cordula IIaclce Bavarian Music Academy, Hammelburg, Germany Performing participants should be accomplished university/conservatory students and young professionals. All ages and levels are welcome as auditors. Application Deadline: 15 August 2002 Contact: Nancy Gildner, I-lerrngartenstr. 7, D-65185 Wiesbaden, Germany. Email: nancy.gildner@t-online.de. Tel: 00 49-611-379633

4-6 October Hawkwood College, Painswick, Gloucestershire. Flute Weekend Tutors: Emma Williarns (flute) and Richard Shaw (piano). Flautists are invited to spend the weekend exploring and developing their ~laving. The worltshops offer a range df activities: flute '

masterclasses, sessions on flute and piano repertoire, and flute technique classes (breathing, sound, articulation and general facility). Individual lessons available. Composer Cecilia McDowall joins us for a session on her compositions for tlute. The course is suitable for flautists from grade 4 up to diploma level. Contact: Emma Williams. Tel: 07971 2004751020 SS82 5333. Email: emma@emmawilliams.co.ulr. Website: www.emmawilliams.co.uk Or apply to IIawkwood College, Painswiclc Old Road, Stroud, Gloucester GL6 7QW. Tel: 01453 759034. Fas: 01453 764607. Email: info@11awkwoodcollege.co.uk.

Eoety qftort has be02 made to ensure that these details are correct. However, tlle BFS accepts no responsibility jbr m q errors.

relaxed setting and informal

atmosphere of Little Benslow Hills

22 - 26 JULY Master Class

Philippas Davies ' , Free Rec~t

Course Membe

BR'OCHURE ALSO AVAILABLE OF BENSLOW'S YEAR-ROUND PROGRAMME 0

RESIDENTIAL MUSIC COURSES. FOR AMATE MUSICIANS O F ALL AGES & STANDARDS ( 1 E

LITTLE BENSLOW HI NSLOW LANE, HITCHIN, HERTS S G 4 -.-

11462 459446 Email: info@benslow.org

& siting T

NFA MASTERCLASSES

. . . . . . . -. -. . -. -. - IG FOR LiFE .-W -. - - -. - - . - - -- -.

The BFS has generously beeit sent a comprelzeizsive listing of worldwide summer schools by the Natioizal Flute Association kzc. Special thanks go to Grace Petree, NFA Masterclass Reporter, wlzo compilecl tlze list. [faizy reader wmcld like full ii~formation on any qf these courses, please einail tlze editor, o r write enclosing a stampecl adclrcssecl envelope. T l~e BFS accepts no responsibilityjor tlze accuracy of these listings.

The following masterclass listing 1 was compiled by The National

Flute Association, Inc., for its Flutist Quarterly magazine, and is used by permission.

l MARCH 27-April 3; Trevor \\rye; JAPAN

MAY 21-June 8 ; Amy Hamilton;

CANADA

JUNE

, 2-5; Jim Walker; IZENTUCKY 3-S; Mary IZaren Clardy;

l FLORIDA 3-22; Sarasota Music Festival;

FLORIDA 6-8; Patricia George; IDAHO 11-15; Patricia Spencer; NEW

YORK l ,

11-16; Mary Raren Clardy; TEXAS

12-29; Mario Folena; ENGLAND 14-i\~gust 4; Thomas Robertello;

NORTH CAROLINA 15-21; William Bennett, Stephen

Preston; NORTH CAROLINI\ 16-20; Katherine Borst Jones;

OHIO 16-21; Tadeu Coelho; IOWA 22-29; Trevor Wye; NEW

MEXICO 22-July 28; Patricia George;

TENNESSEE 22-August 3; Keith Underwood;

M I N E 23-29; Patricia Harper;

VERA,IONT 23-30; Cincinnati Flute

Symposium; OHIO 23-30; Oberlin Flute; OHIO 23-July 6; Doriot Dwvyer;

hb\SSACHUSETTS 24-28; Ruth Ann McClain;

TENNESSEE .

24-August 2; Jill Felber; CALIFORNIA

JULY 1-5; Ithaca Flute Institute; NEW

YORI{ 1-19: Jonathon Landell:

V E ~ M O N T 2-24; Zdenelt Bruderhans;

CZECH REPUBLIC 5-8; Alexa Still; NEW ZEALAND

6-12; Jan Boland; IOWA 7-12; Robin Fellows;

WISCONSIN 7-13; Susan Royal; NEW YORK 7-14; Louis Moyse; VERMONT 7-19; Mary IZaren Clardy;

BRAZIL 9-13; Ervin Monroe, Jeffery

Zook; MICIIIGAN 9-13; Florida Southern

\Vorlrshop; FLORIDA 14-28; .Mesa Still; ALASKA 14-i\ugust 24; Aria

International; CANADA 15-20; George Pope; OHIO 15-29; Robert Aitken; FRANCE 20-25; Thomas Robertello;

INDIANA 20-27; Jonathan Snowden;

ENGLAND 20-August 3; Julius Baker; NEW .YORK

20-i\ugust 3; Stratford-upon- Avon; ENGLAND

21-26; Chris Norman, Boxwood; Nova Scotia, CANADA

.21-28; Mary Karen Clardy; HAWAII

22-26; Wdfrid IZujala; ILLINOIS

27-August 2; Just Flutes; ENGLAND

27-August 2; Western Connecticut Flute; CONNECTICUT

28-August 3; Trevor Wye; SWITZERLAND

29-Aug.2; Linda Wetherill; NEW YONC

29-Aug.3; i\lexa Still; COLORf\DO

29-Aug.4; Peter Lloyd, Wissam Boustany; SCOTLAND

29-Aug.9; Marina Piccinini; SWITZERLAND

29-Aug.14; William Bennett; ENGLAND

AUGUST 1-7; Mary Karen Clardy;

CALIFORNIA r<

2-10; Northern Calif.Flute Camp; CALIFORNIA

3-8; Julius Balter; CONNECTICUT

5-10; Ransom Wilson; CALIFORNIA

12-18; Oxford Summer School; ENGLAND

16-18; Thornas Robertello; JAPAN

17-24; Edmund Wachter, Elisabeth 1Veinzierl; ITALY

18-25; Goran Marcusson, Gitte Sorensen; SWEDEN

19-24; Patricia George; IDAHO

SEPTEMBER 30-October 4; Jeanne

Baxtresser; GERMANY

L P A N M A G A Z I N E 45

Flute and piano Concerto for Flute, Strings and Percussion (piano reduction) Melinda M'agner . Theodore Presser Company PR 3085 629.75 Comissioned by Paul Lustig Dunlrel and the \Vestchester Philharmonic, this concerto for flute, percussion and strings received its first performance in May 1998, and was awarded the 1999 Pulitzer Prize. This is one piece in a small but significant body of work by this gifted young composer.

Melinda \Vagner was born in Philadelphia, and received degrees in Composition from the Universities of Chicago and Pennsylvania, where her teachers included George Crumb, among whose noted compositions is Vox Balanae, or 'The Voice of the Whale'. ilmong her other compositions are Falling Angels, which was commissioned and played by the Chicago Symphony in 1993, and the 1989 Sextet for flute, clarinet, violin, viola, cello and piano.

This is by no means the first concerto for this combination of woodwind and percussion; Leonard Bernstein's Ilalil and Peter Klatzow's Concerto for Flute and Ivlarimba come to mind at once. Howevel; this is no clone of those respected works.

It is a t once evident that this is a serious and substantial piece of music, even though it is not possible to know accurately what the percussion parts are doing from the piano reduction, except through the occasional cue. The flute opens to a silent orchestra with a scherzando and wide-ranging atonal figure, thereafter scurrying around above sweeping strings and harp. This figure will later 'try' and finally 'succeed' in returning several times before the end of the movement. The episodes that separate these appearances probe every corner of the instrument's expressive capabilities.

The slow movement opens with a warm but melancholy figure, again to silence. The short but economically written

music rises to an intense and expansive c l i m z ~ before falling back to a simple dreamy ending.

The final movement begins, in contrast with the other movements, with the strings and percussion. After 15 bars the flute enters with a chattering semiquaver figure. The intense energy does not relent until the appearance of a cadenza. At the end of this, the characteristic figure from the first movement takes its final bow before self-immolating itself in a cataclysmic burst of energy.

I have quite simply not come across anything quite like this before, and would urge any serious flute player to look at this worlr with a view to performing it. This is a piece that deserves to be heard in this country. Leslie Sheills

Jenny Gould Last Song of a Nightingale Hunt Edition HE65 $5.95

Last Song of a Nightingale

by Jenny Gould

This work, the winning composition of the BFS Composition Competition in 2001, was inspired by the Oscar IVilde story 'The Nightingale and the Rose'. In a nutshell, this tells how a nightingale sacrifices her life by singing through the night with her breast pressed against the thorn of a white rose bush until her heart is pierced, thus creating a red rose for a lovesiclr student to give to his beloved.

The performer is instructed that the piece should have a very fluid, organic feel. This needs to be worked on with the pianist as soon as possible when studying the work as the parts are so interwoven. Flute- players tend to sort out the flute part, sometimes at length, before 'adding' the piano part, which is not really the best way. There is a certain amount of finger work that needs sorting out but it is so much more interesting and satisfying

with both parts and it is an expressive work to perform. Dennis Clnrke

Flute Concerto in G major Dominilc Josef Sltroup BIrenreiter ISlMN M 2061 0027 5 9.5.50 This pleasant and undemanding one-movement concerto was written by Sltroup for his son in the early years of the 19th century. Slrroup (1766-1830) came from a musical family and established himself as a teacher in Osice, making the town a significant provincial musical centre. The style of this piece is very akin to that of I-Iaydn and his contemporaries and it is well-crafted if perhaps not inspired.

Technically, the flute writing is very straightfonvard (apparently the young Skroup made a big in~pression playing the concerto at the age of seven!) and the piano reduction is uncluttered. Curiously, given the date of the work, an alternative part for recorder is included. This would make a good and inexpensive way to introduce students of about Grade 5-6 standard to the Classical stylistic idiom. I<enneth Bell

,I Haydn Sonata in C Ma.jor Hob ,YVI No 4 3 Arr. Doris Geller Zim~nermann ZM 33930 910.76/€14.50 With a dearth of flute repertoire by Ilaydn, it is a rare pleasure to have this transcription of his piano sonata in A flat major. It is not a masterpiece, but is an attractive work which has been idiomatically transcribed and transposed (into C major for a more appropriate range) and is well presented and laid out in both parts.

Unmistakably Haydn, this sonata is an ideal educational work to help familiarise students with the classical style and would suit a player of Grade 7 standard or above. Alternatively, it would make a good opening worlr in a recital. Joanna Todrl

Scott .Joplin arr. Moore and Downing M1eeping \Villow Dr Downing's Solos $2.95 This Joplin rag has been clearly transcribed for flute and piano from a keyboard original. There are some typical rag rhythms and this would be a good tune to play with students who have particularly enjoyed, for example, the Maple Leaf Rag in

M A G A Z I N E

l- - r -- l

its arrangement in All Jazzed Up. The standard is Grade 3-4. The music is reasonably priced, and it is very nice to be able to buy just the piece you want, but I wonder if Dr Downing might consider producing an album of similar standard arrangements? This might be more appealing (and less expensive in the long run) than to buy several single pieces. An album is also a good way to discover new pieces which one might not otherwise pick out. Hnnnnh La*

Ren6 Goepp Five O'Clocli Billaudot G6881B 26.80 This volume contains five miniatures for flute and piano, entitled Irish Coffee, La religieuse, Viennoiserie, A cup of tea and Cakewalk , which gives an idea of the style of the pieces. They are short, picture- drawing tunes, the whole suite lasting under six minutes. The standard is Grade 5-6. There are some bars which contain enharmonic notes (A flat and G sharp) that are very difficult to read, and these sometimes even appear next to each other. I did feel that some parts could be rewritten to make them easier to read. My favourite movement is the third, which has quite a Viennese waltz feel to it. Irish Coffee has a definite Irish feel and the final Caltewalk is a romp to the end, which would certainly finish this suite on a high. tIccnnalz Lnng

. -

Flute (Clarinet) and Piano Leonardo d e Lorenzo Pizzica-Pizzica, o p 3 7 and Saltarello, o p 27 Zimmerlnzu~~~ ZM 34030 514.611€19.50 De Lorenzo (1875-1962) was an enthusiastic writer for flute, and an eminent flautist. IIe contributed more than 300 worlts to the flute repertory, in a range of genres. Zimmermann has published a few of these worlts, including these two short and 'effective' pieces. The edition consists of a separate flute and clarinet part, the version for clarinet being modelled on that of the flute, with only a few differences between respective parts. The preface is printed in each part for easy consultation of editorial intervention.

Pizzica-Pizzica is an exciting piece, and good fun, but is too long for an encore piece, of which genre it belies. IIowever, it is idiomatically written for flute and the many repeated sections could be charming

and buoyant in the hands of a conscientious performer, of a good standard. Saltarello is unfortunately rather too much like a study, and the little variation in note values, metre and ambience requires a good deal from the performer to prevent tedium on behalf of the audience. Alexn?tdra Buckle

Flute, Alto flute, piano Theobald Boehm 5 h a n g e m e ~ ~ t s of Pieces by Rossini, Weher and \'ogler for iUto Flute Zimlne~mlann ZM 33880 518.461824.50

Theobald Bohm

Die Bearbeitungen mit Altflote

:be ~ r r ~ ~ e m w ! s rnlll lilt0 ""W

5 s!t.*e vm15 Pieces by G. ROSS,"\. C.Y. v. WeMr. PbbB mkr

The alto flute first left Boehm's Munich workshop in 1858. This new instrument fulfilled Boehm's long-held ambition to achieve 'a deep, powerful, and at the same time sonorous flute tone that could neither be achieved with the "Fltite d'ilmour" nor by extending the foot joint of the flute in C'. To showcase the qualities of his new instrument Boehm completed arrangements of Rossini's La Pesca and La Serenata from Soirkes musicales, \\reher's Sonatina and Romance from Pi&ces faciles and Vogler's Cantabile from 32 Prkludes pour I'orgue.

This edition by Zimmerman brings these arrangements into one collection, and provides alternative parts for those without access to an alto flute (for violin, clarinet or cor Anglais). This is a rather bizarre decision on the part of Weinzierl and Wachter, as the arrangements were first written to showcase the alto flute, but does mean that the potential for performance is enlarged. The first four (the Rossini and Weber) are arranged for flute, alto flute and piano while the last (the Vogler) is arranged for a combination which can vary from two flutes and one alto, or two altos and one Elute, through any combination of flute, alto, violin, clarinet and

cor Anglais. The most useful part of this collection comes from the provision of the alternative parts, enabling a contrasting sonority.

The piano parts are not too demanding and there is little technical difficulty for the flute. The arrangements convey the ambience of the original Romantic pieces very well. The piano part is edited comprehensively, including several page foldouts to overcome difficult page turns. The pieces themselves are not well known, but they contain pleasant melodies that would lengthen a programme without adding too much strain upon the performers. An interesting preface includes historical notes about Boehm, and the overall impression is of a well- conceived edition, which would be a compelling addition to any recital programme. Alexanclm Bl~ckle

Solo flute \rorlts for Solo Flute .Joseph Lauber Zin1111erman ZlM34020 Trois Morceaus Caracteristiques. Op.47 Prelude et Fugue a d e w voix, Op.49 Partita, Op.51 E101€13.50 Lauher (1864-1952) studied composition with Rheinberger and Massenet among others and taught at the Zurich and Geneva Conservatoires, his students including Frank Martin. Ile wrote music on all scales, from opera to solo instrumental worlts, and I have been very impressed with the sheer compositional craftsmanship of these unaccompanied flute worlrs. All three were written for Lauber's friend, the Danish amateur flautist Paul IIagemann, who studied with Taffanel and Hennebains before making a career as a banker.

The three Morceaux Caracteristiques are Complainte, Aubade and Feus Follets. I found these satisfying to play and very charming - conventional in style but with some imaginative touches. The Prelude et Fugue a deux voix have remarkable stylistic and technical similar'ities with the Alwyn Divertimento. No cornpositional date is given for the Lauber, so I would love to know which came first! (I suspect the Lauber did).

Finally, the four-movement Partita, which begins with an almost Anderson-like Prelude, continues with a neo-classical Sarabanda and Minuetto and ends with a Saltarello which again reminds me of the Al~vyn (this time the Finale alla Gigue).

I am very glad to have discovered this excellent music and look forward to finding an opportunity to programme some of it. Thoroughly recommendable! Kenneth Bell

John W Bratton Rr .rimmy Kennedy an-. Sarah Downing Rr Peter Moore The Teddy Bear's Picnic Dr Downing's Solos GEN2775 s3.95 This well known tune here receives an airing in B flat and E flat major, and regularly reaches the heights of top G. The Trio (in E flat) begins G, G, G flat, G natural and I think this sums up my thoughts on this edition: it would not only be mucl1 easier to read F sharp, it would also be musically correct. This point concerns me as this edition is perhaps intended for children, and it is not good practice to present them with incorrect musical grammar.

The music is nicely presented, with a cute cover depicting aforementioned teddies dutifully picnicking, and looks as if it would appeal to young children of, perhaps Grade 2-3 standard, but in fact it is perhaps Grade 4-5 in difficulty. \Vould children or adults of that standard still want to play this tune? If the answer is yes, then great, this is a clear edition, and will be well received. If not, 1 think this music will be best used by people who want to play concerts for children. Hanimlt k n , g

Educational Flute tutor Boosey Woodwind Method book l Series editor: Chris Morgan Boosey and Hawlies $9.99 Boosey and I-Iawltes are producing a complete new series of tutor books for woodwind and brass, designed to be used for individual and group teaching. They reflect the latest thinking in instrumental tuition, incorporating the best traditional ideas within new and more rounded concepts of holistic musical education. The curriculum framework includes performing, creating, listening and reflecting - too often in the past the emphasis has been on performing only. While the student still learns to understand notation, he or she is also encouraged to develop the 'inner ear', feel rhythm (as opposed to just counting),

P A N M A G A Z I N E 47

make choices, and be inventive.

As well as the usual tunes, and some unusual ones, there are breathing activities, requiring increasing levels of control, and rhythm activities, involving clapping, singing, moving, counting, or two of these at once. Students are told to 'sing the tune in your head' and play from memory, so aural training is an integral part, from the very first lesson. There is some puzzle solving, and opportunities to compose and record. The echo games and call and response activities encourage playing by ear and imagination.

Choices are offered: play this piece with slurs, and then without: which do you prefer? Listen to this on the CD played in two different ways: what is the difference and which do you like better? There are nearly 100 tracks on the accompanying CD, on which you can use the balance control to choose backing track only, performance track, or solo part with backing but no extra instrumental parts. Some pieces can be played as an ensemble with anyone learning from any other Boosey Brass or Woodwind book.

This is an excellent series, representing a real step forward in attitudes to teaching and learning. The presentation is unfussy but detailed, up-to- date but not irritatingly trendy. It is perhaps a pity that all the backing tracks are synthesised; I feel it is important to convey the message to students that traditional instruments are interesting and 'alive' too.

Book 2 will be published very soon (material up to grade 3) and some repertoire books will follow. Alison Uren

Two or more flutes Flute duet Selectecl ancl Ed. Emma Coi~lthard The Best Flute Duet Booli Ever! Chester CH61694 $6.95 This attractive book of duets contains a real mixture of music - from traditional to classical, pop, contemporary and show tunes. The duets vary in difficulty and are a good mixture between the parts; in some, the two share the tunes, in others, the top dominates and the second accompanies. So, this is a good book to play with a student,

3 P A N M A G A Z

and it has a nice range to give them some tunes they know and many new things to introduce them to. (You will find 11bba's Mamma Mia! rubbing shoulders with a Largo and Presto by Locatelli!)

The duets start quite easily with a few of Grade I standard, but soon become more difficult, with quite a few in B flat major, presenting E flat problems (or opportunities, depending on hpw you look at it!) for young students.

My only quibble with this very nice volume is that it says on the back cover that it is for Grades 1-3. There is music of that standard, but there is also much trickier music (easily grades 4 and 5 standard), and the first movement of Koechlin's Sonata for two flutes Op.75 would require at least a good Grade 6 player. This book will last you well beyond Grade 3. Hannah Lane

Flute Duet Scottish Jigs and Reels (Beginner Woodwind Duets Boolc 1 ) Tratl, arr. Mark Goddard Spartan Press SP598 84.99

For the ultimate in flexible duets, bend no further than these arrangements of Scottish Jigs and Reels for any combination of flute(s), oboe(s), clarinet(s) and/or saxophone(s) (B Flat and E Flat), with or without bassoon and with chord symbols for guitarkeyboard. Phew! The music teacher's dream? Well, they are certainly ideal beginner ensemble fodder, with the parts being of 1-3 standard; the top part is more complex, for the more competent players.

The arrangements themselves, however, are only average, although could be profitably used even in single instrument teaching, as the B flat and E flat parts are within the flute's range, so could be helpful in developing an

awareness of keys and transposition. Joanna Todd

Three flutes Faur6 arr. Jan van der Goot Berceuse Spartan Press HYZ 1194 54.99 i1 nice simple arrangement of the Listen with Mother music (that shows my age!), there is the rocking baseline, the moving inner part and the tune, and these three lines move around the three parts one phrase at a tine, giving equal interest to each. The opening is in C major, with the middle section in A flat major, meaning that this is best for a Grade 4+ group. With three copies of the score, so everyone can see what is happening, this is a successful arrangement. Hannah Lang

Four flutes h. Ricky Lombardo The Water is Wide Lombardo Music Publications FT@-005 69.00 This arrangement of this charming folk tune is in A major, moving up to B flat for that showtime rise of excitement at the end. The four flutes move in pairs, two with the melody, and the others with a suitably 'watery' accompaniment during the sirstained notes of the tune. The pairs then swap over so that everyone gets a crack at the tune. This works well, but if I have anything negative to say it is that this does get a little repetitive after a while. Ilowever, this is a good tune and will be enjoyed by players of around Grade 4 standard. Hannalz Lang

Flute Quartet Birdland for piccolo flute, alto and bass flutes o r 4 concert flutes with optional string / electric b:~ss and drums Josef Zawinul arr. Ricky Lombardo Lombardo Music Publications This funky piece has been arranged extremely well for the combination, showing how effective this kind of music can be on flutes. Riclcy Lombardo is himself a flautist and he has given plenty of musical interest to all the parts. I can envisage this work becoming a favourite with many flute choirs and quartets. While it requires playing with immaculate rhythm and careful attention to all the performance markings, none of the parts is very difficult and most average players could manage it successfully. Breiuia Dykes

Flute Quartet My Lord, What a Mornin' Tracl spiritual, a r r Ricliy Idmbarclo Lombartlo Music Publications $9.00 This is a sensitive arrangement of the traditional spiritual; it is short (only 41 bars long) and carefully structured. l'wo flutes begin with the melody, all four join in close harmony in the lower register. Two flutes rise to the middle register, and are joined by the others. As the music rises towards the climax the arrangement expands to use all three octaves, and then contracts and relaxes for the final 8 bars. Four students with beautiful tone at about grade 5 level could perform this very successfully. Alison Uren

Four Flutes (with optional Alto Flute) Scott Joplin, Cl~arles L Johnson, Tom Turpin Four lbgti1nes Zimmermann Fra~lkfi~rt ZM 34040 !213.85/€18.40

E R M A N N .

This collection of rags, edited by Doris Geller, is a lovely addition to the repertoire. The Easy Winners and Peacherine Rag are popular Joplin compositions, but the Cum-Bac Rag, by Johnson, and the Ilarlem Rag, by Turpin, were unlmown to me. They are a breath of fresh air!

With regard to the ensemble, the preface states that the 'alto flute can substitute the missing bass foundation a t least in parts; it would be ideal if such an instrument were available; the alto flute is not absolutely necessary though, because flute quartets alone can well produce a fully adequate ensemble sound.' Yvonne Mcllwaine

Five Flutes Peter Iciitt Snowbreali. Zirllmen~lann Franlcfiirt %M 34240 Price %10.7(,/€14.30

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Piano reductions from Henle - the basis of your success Wolfgang Amadeus Mozart Andante for Flute and Orchestra in C major K. 315 Ed.: Wiese l Piano reduction: Schulze Cadenza: Levin HN 675 E 6,-

Concertos for Flute and Orchestra G major K. 313 HN 673 E 12,- D major K. 314 HN 674 € 12,-

Ed.: Adorjan 1 Piano reduction: Petrenz Cadenzas: Levin

Press HN 673 I would definitely recommend this edition for both teaching and performing - it is unfussy and refreshing. [Pan magazine]

Press UN 673 und 674 .. . In this new edition the music is laid out so the entire exposition can be played without a page turn, and similar care was taken with the piano score. The modest articulations are reminiscent of the Baerenreiter editions of Bach and Mozart. This edition includes two cadenzas by Robert D. Levin in the style of the Mozart, with rehearsal numbers marked in the cadenzas. [Flute Talk]

Antonio Vivaldi Concerto for Flautino (RecorderIFlute) and Orchestra in C major op. 44,l l RV 443 Ed.: Wiese l Piano reduction: Schulze HN 689 € 9,-

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P A N M A G A Z I N E 49

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f i r 5 floten hr. H u t s

This is an unusually hypnotic quintet. The constant rhythm creates a sense of movement, almost a ride on a sleigh over snow-covered lands. The rhythm is certainly the driving force in this quintet, and each part is con~pletely independent. It would be a great piece for students discovering the intricacies of rhythm. I thinlt good grade 6 pupils could effectively perform this most enjoyable piece. Yvonne Mcllwaine

Flute Ensemble Let's Swine

Price810.76/€14.50 The composer of this piece was asked by his students at music camp to write a 'hot' piece of music for them to play. Ile came up with Let's Swing which is great fun, not a t all difficult, and flexible in orchestration. There are four main flute parts, optional piccolo, an alto flute or clarinet part, optional bass flute/cello/bassoon (all parts supplied), and optional piano accompaniment, which I feel it needs. In terms of rhythmic and harmonic interest, the piece is quite repetitive but, if played with energy and style, it would be an entertaining concert item. Alison Uren

Flute and other instruments Flute, Cello and Piano Johannes Brahms (arr. Doris Geller) Six Hungarian Dances Zimmernlann ZiM 33550 E18.46lE24.50 Brahms wrote his Hungarian Dances as piano duets, though they were also published later

for solo performance, some even in orchestral form. They have always been popular, even with tea-shop and seaside ensembles, so it is hardly surprising that for many people they are the first thing to come to mind when thinking of Hungarian Dances. Some are. from genuine Hungarian sources but others are merely 'in the style', rather as Vaughan Williams did with the English follr sox~g.

In the original piano duet' version there is a feeling that the top two hands belong to the senior partner whereas in this arrangement all the musical material has been shared between all the parts, nialting a very effective and musical whole. The dances are musically satisfying and great fun to play. For that reason, and as sure-fire audience pleasers, one cannot afford to be without them. Dennis Clarke.

Flute and windlstrirlg ensemble MTolfgang Amadeus Mozart Adagio K.V. 580a Barenreiter H5667 E5.50 To be found among Mozart's manuscripts preserved in the Mozarteum in Salzburg is a sheet of manuscript with the inscription 'Adagio-Corno Inglese'. There follows 24 bars of beautiful music in four parts, but thereafter only the melody remains, the piece obviously having been left unfinished. The melody appears familiar. It is, in fact, the melody better lrnown as the sublime 'Ave Ven~m Corpus'.

The distinguished early music expert Milan Munclinger has now completed this late chamber worlr, to which Mozart returned in order to provide material for the more famous choral work, just before his death in 1791.

Although the instrumentation of the accompaniment is not specified by Mozart, the range suggests that either winds or strings could have been intended, and of course examples of both appear in other examples of Mozart's chamber music.

Therefore, two versions have been produced, one in C major, scored for cor Anglais, violin, viola and cello (or wind trio of two clarinets and bassoon) and one transposed into G major for oboe or flute, two clarinets and bassoon, or string trio. The second clarinet part of the first version is also playable on the basset horn.

The result is a beautifully produced piece of music and

an opportunity for wind or string players to perform one of the most famous and celebrated pieces of Mozart's choral music, without that nagging guilt which surrounds some modern transcriptions. Play this piece, and enjoy not only the gorgeous music, but also the warm glow of historical correctness. Leslie Slzeills

Flute, Soprano and Organ (piano) Gaetano Donizetti Gratias Agimus Zimmermann ZM 33300 916.92/€22.50 The partnership of flute and soprano has always been a significant one, not least because of the similarity of approach to melodic expression between the two disciplines. Mow often have we told someone, or been told, to 'sing' the phrase?

The possibilities of this potent combination have not been lost on composers of the past, and there is a rich seam of music for soprano with obbligato flute in, for instance, Bach's Passions, the Christmas Oratorio and many of the Cantatas. Opera composers have also used the combination to great effect at emotionally important moments, the telling scene in Lucia di Lammermoor being a prime example.

Donizetti is renowned for the rich variety and significance of his early works, and will be known to flute players for his exquisite sonatas in C, B flat and F, with their operatic overtones. A similar operatic flavour runs through this lovely early piece by the Master of Bergamo, composed in July 1820. There is an agreeable tension between the necessarily flowing lines of the vocal part and the mercurial virtuosity of the flute part.

In this version, edited by Gian-Luca Petrucci, the orchestral part has been reduced for piano or organ by Paola Pisa, and the whole is well presented, as is usual from this publisher. There are some minor discrepancies between the flute part as it appears in the autograph score, and the first written out flute part, but the editor has resolved this by presenting a study part, with both versions clearly marked.

The parts submitted for review are printed on a slightly yellowish paper, but are clear and very easy to read, and the flute part is printed in a fold- out format to obviate panicky turns. This is a delightful and

useful addition to the vocal and instrumental repertoire. Leslie Sheills

Flute and harp Elegie for Flute and Harp (or Piano) Johannes Donjon Zimrnerman Donjon (1839-1912) studied with Tulou and became solo flautist a t the Paris Opera. wrote several pieces for his instrument and this Elegie was originally an unaccompanied etude from Huit Etudes de Salon, very much in the floridly expressive 19th century tradition and inspired by a short poem bp Richepin (which is printed in this new edition).

The harp (or piano) accompaniment was added by a musician called Robert, about whom nothing is known, for publication in 1891, and this new version put the etude even more firmly into the salon music category.

This piece is very agreeable if you (as I do) like the lighter 19th century repertoire and don't expect any profundity, despite the title. Thomas Richter (the editor) has gone to the original sources in the Bibliotheque Nationale to produce an unambiguous version, well printed and presented - I lilre the open-out format to avoid awkward page turns. Kenneth Bell

Flute and guitar Easy Blues Tunes for Flute with Guitar Chord Symbols Terry Cathrine Spartan Press SP 630 94.99 These 15 short pieces are designed to introduce beginners to the blues style. All of them have guitar symbols for simple chords and could be played by performers of Grades 1-2 standard. They are extremely attractive and are thoroughly to be recommended. The final Blues for Two is a duet for two flutes plus guitar. B r d a Dykes

Sextet for flute, oboe, clarinet, horn, bassoon and piano Wlodzimiem Kotorisld PMM Edition 10080 815.20 This one-movement sextet is an intricate work in a quasi- contrapuntal mode, based around a free 12-note pattern. The notation is extremely precise, making for difficult ensemble, especially where there is vertical coincidence of three or more parts, but it is rhythmically more straightforward than similar

50 P A N M A G A Z I N E

spent jotting them down is time well spent! Allowing for differences in interpretation, the performances were good and enjoyable. It did strike me as odd to have a harpsichord and cello accompanying a 'modern' flute!

The playalong CD has no tuning note and the introductory 'cliclr' is inconsistent. Sometimes there is one complete bar, sometimes two, and sometimes incomplete bars. The most awkward is the first movement of the B minor sonata, which is not a t all helpful for students. The other problem was the unmarlted and dramatic ritenutos at the end of each movement.

I was generally pleased with the layout and all round presentation of the boolts in this edition. The leaf motive is an attractive idea and runs consistently through both volumes. It is such a shame that the accompanying CD lets them down. Yvonne Mcllwnine

writing by Boulez or Stoclthausen.

The opening texture is very dense, but it becomes more transparent. The dynamics are mostly below mf, although there is occasional extreme contrast with sudden fs or ffs. Although the piece is difficult from the point of view of ensemble, it is not so demanding technically and I think it could be quite rewarding to play. Brenda Dykes

Flute and CD Flute and CDFlute and Keyboard Johann Sebastian Bach Flute Soilatas Volume 1 and 2 The Paul Edmund-Davies Perfon~ling Edition Kevin ?vlaylle\v Ltd. Catalogue ~ ~ u m b e r s 3611565 and 3611564 respectively

Booli 1 contains the sonatas in E ma.jor BWV 1035, E minor BWV 1034, B minor RWV 1030.

R Graf and R Filz \Vorld Music: Ireland UE 31 554 $7.95

Book 2 contains the E flat major BNV 1031, G minor BWV 1020, A major B\W 1032, and C major BWV 1033. The introduction, written by Paul Edmund-Davies, gives a brief history of these sonatas. He explains the ambiguity of composers for the sonatas B\W 1020, BIW 1031, and B\W 1033, and whether they were originally JS or CPE Bach's compositions.

Edmund-Davies writes, 'we may never Itnow for certain the conlposer of these disputed sonatas, but I am content to include them in the oeuvre of JS ~ a c h because they are excellent and enjoyable pieces, worthy of his genius, and from a period that is not over-endowed with good flute music.

There are two CDs included with each book: a performance by Paul Edmund-Davies accompanied by John Alley on harpsichord and Tim Hugh on cello; and a 'Music Minus One' CD without the solo flute. The lack of track numbers could cause confusion, unless the flautist already ltnows the sonatas. The CD traclts do run in the same order as printed in the books, so a few minutes

Part of a series introducing folk music from Cuba, Israel and Russia, the lrish offering includes a jig, a reel and three songs from popular lrish folklore.

This is a basic introduction to the genre and would be ideal for use alongside class music worlr.

All the pieces have been recorded twice on the accompanying CD, once with the melody, once without; the jig and reel have additional versions at a slower tempo. However, navigating one's way around the CD with no index proved a little tricky and, with no tuning note, intonation could easily be a hit and miss affair with less experienced players.

It would have been useful to have a full piano score instead of just chord symbols. For a truly authentic experience, an explanation of the idiomatic ornamentation used by the performers on the disc would have provided an ideal opportunity for Irish folk novices to try the embellishments for themselves at home. Joaizna Todd

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20th Century Portuguese Music for Flute and Piano Joaquim GalvBo; flute, alto flute, piccolo JoBo Luis Rosa: piano Musidlia M.01.02.005

The opening two traclts of this anthology are by Fernando Lopes-Grapa, whose life spanned almost the entire 20th century, and who became a pupil of Koechlin in Paris in the 1930s. His cello concerto has been popularised by Rostropovich. The Koechlin influence is clearly audible in this Andante and Allegro, which has character, elegance

and imagination. Amilcar Vasques Dias' Eyes

o f the Water of 1997 is more arresting, but inhabits an almost Bartoltian idiom, incorporating some later techniques such as extended glissandi and special articulations and, at times, it is even reminiscent o f the Boulez Sonatina. Eurico Carrapatoso travels back a good deal further, to the world o f Les Sis, in his Tombeau,de Germaine Tailleferre, an unashamed pastiche containing some touching lyricism over a noodling accompaniment, interrupted briefly by some boisterous street-band music. There are definite shades o f Satie in the slow bits.

Joaqulm Galvso, a student of Graca, is represented by a suite of five popular Portuguese tunes, in which we get a little closer to characteristic folklore. It is a little in the manner of Britten, in that the flute tends to do the tune while the piano provides the innovative interest. The alto flute solo has an almost Celtic languor, until the first piccolo track seems to whisk us back to a promenade with Satie. The second piccolo track has charm and an

engagingly Iberian feel, with guitars hard at it here.

With the theme and variations, Senhor Galv2o shows us what he can do with a more extended form, but tonally 1 fear this results in warmed-over Hindemith.

Tiago Cutileiro's For Flute and Piano rounds o f f the collection, and consists of forlorn Scriabinesque meanderings interrupted by studiedly incongruous multiphonics, plus other quite unidentifiable special effects - sort of strangulated wheezings and oppressed notes. It made me think of a shed full of rusting, abandoned steam locomotives in which one of them is trying to struggle back to life. Nothing wrong with that, I suppose, but it was nice when it stopped. Is there a message here?

There is, I hasten to add, some very nice flute-playing on this disc, admirable piano support and one or two very good pieces which reward rehearing. Riclmrd Stagg

Music from the North Lands David Nicholson, flute; Eluned Pierce, harp

DMPOOlCD $12.00 This beautifully played and recorded CD is a delight from start to finish. David Nicholson, Principal Flautist with the Scottish Chamber Orchestra from its formation until last year, and Eluned Pierce, now harpist with the Bournemouth Symphony Orchestra, have worked regularly as a duo and performed at the Northlands Festival (hence the title of the CD) . This festival, centred on Thurso and Wick, has created artistic links between Scandinavian, Icelandic and Scottish composers and, as the liner notes say, this CD includes several pieces by composers who have been inspired by the austere beauty of the land and seascapes of these parts of the world. Indeed, the mood of the disc is well captured in David Nicholson's own atmospheric photography on the cover.

It is good to see Edward McGuire getting the recognition he deserves outside his native Scotland and the CD opens with two hauntingly evocative Folk Memories in Autumn, an Andante and Jig, which are described more as a

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dance remembered than an actual frolic.

David Horne's Three Dirges were written for the Duo to perform a t the 1993 Northlands Festival. I-Ie is the youngest composer represented (born in 1970) but his music has a great maturity of style and some very interesting melodic and rhythmic ideas.

Sir Peter Maxwell Davies' Two Dances from Caroline Mathilde were originally part of a ballet score and are charming in an almost Renaissance way. Now that they have been published they should be a popular addition to the repertoire.

The piece on this CD which people may know from previous hearings is Toru Taltemitsu's three-movement Towards the Sea - hauntingly beautiful music for alto flute and harp.

Finally, a real discovery: the Sonata by Adrian Shaposhnikov written in 1926. Shoposhniltov, from St Petersburg, studied with Glazunov and his compositional style combines the Russian romantic tradition, Impressionism and touches of Neo-Classicism.

This CD can be recommended unhesitatingly to all lovers of fine playing and fine music, much (or perhaps all) of which they may not have heard before. Ke~znetlt Bell

Resolutior~ Contemporary and Classic Duets for Flute and Guitar Nick Cartletlge, flute; Dario Rossetti-Bonell, guitar Chameleon Arts Management 102 C I W CD 211.99 This is a thoroughly enjoyable disc, which is beautifully recorded and enhanced throughout by perfectly balanced performances. I-Iaving never heard the Bartok Roumanian Folk Dances in this arrangement before, I wondered how it would compare with the violin and piano version. I was totally captivated by this performance and particularly liked the change to piccolo for Pe loc, which has a similar effect to the use of harmonics on the violin. The CD continues with four pieces from Mountain Songs by Robert Beaser, in which the flautist produces a limpid, singing tone and both players convey the slightly jazzy style with ease.

In Robert Muczynski's 3 Preludes for solo flute, Nick Cartiledge once again demonstrates a clarity and simplicity of tone not often heard, and at no point is the

listener aware of the technique required to perform these very attractive pieces.

After Romance for flute and guitar by Sor, there is a performance of Concerto in G by Pergolesi. The original orchestral accompaniment of strings and harpsichord continuo has been arranged very convincingly for guitar by Dario Rossetti-Bonell, and his playing is colourf~~l and full. I have never heard the guitar sing so appealingly as in the slow movement. The fast movements are taken at a steady tempo, allowing for total clarity in the accompaniment, and this means that Nick Cartiledge has the time to consider much more musical detail than is often apparent in faster performances.

The CD ends with Resolution by Nick Cartiledge and 3 Ideas Espanolas by Dario Rossetti- Bonell, both of which are full of contrast. The final movement, Canto Montales, provides an exhilarating finish. Brenda Dvkes

Solo flute music (various composers) Elizabetl~ Most, flute EM0501 €18

Performing works for solo flute is by definition a lonely business, without companions, but it is also very liberating in that one does not need to make any adjustments for the sake of good ensemble. Subtleties of tone colour are more apparent and, because it is possible to play really quietly, the dynamic range is increased as the audience's ears adjust to the current datum level. The sound recording quality on this disc is very good and serves Elizabeth Most well, allowing her to exploit the capabilities of the flute.

Jolivet's Asc&ses occupies the first five bands and these Elisabeth Most plays with elegant fluency, but the next piece, Landscape with Birds by Peteris Vaslrs, is probably my favourite on the disc. Vaslts was born in Latvia in1946 and studied in Riga. In this work he uses some extended techniques such as humming

while playing, variable vibrato, and some flutter-tonguing, and there are passages influenced by minimalism, all of which add up to a very atmospheric effect without sounding at all contrived. The flute-playing does it justice.

Dinu Lipatti, better known as a pianist, wrote a fair amount of music and his attractive Introduction and Allegro is here given its 'world premiere recording'. Elena Firsova (born in Leningrad in 1950) is represented by Two Inventions, consisting of an expressive Andante and a lively Allegretto. This is followed by the Swiss John FrBderick Perrenoud's Les Vieux Pres, four varied descriptive pieces.

'A la recherche du son perdu', written for the Polish flute society in 1996 by Zbigniew Bargielslti, is another world premiere recording.

Finally, Yvonne Desportes, the much respected and honoured French composer, is here represented by three pieces under the title 'L'Aulete, and another world premiere recording'.

A truly Pan-European selection of music, well played and recorded. Dennis Clurke

CPE Bach Flute concertos The Feinstein Ensemble; Martin Feinstein, Flute. Blacli Box On this CD, Martin Feinstein has chosen to perform three of the CPE Bach Concerti: the E major w.q.169, A major w.q.168 and the D minor w.q.22. He and his fine string ensemble play on modern instruments; they succeed in an excellent blend of immediacy of sound and a baroque style of phrasing.

The string playing is very impressive; it is fill1 of energy, and has great clarity and uniformity of articulation. Martin Feinstein, as director and solo flautist, gives a well- researched performance with ornamentation gleaned from the keyboard version of the music. He combines a lovely even sound and sense of line with impressive virtuosic passages. A lack of dynamic variety leaves it a little bland but it is a stylistically satisfying performance.

CPE Bach was at the court of Frederick the Great when Quantz was also in residence. He therefore had the need to produce music for his patron and the example of a fine virtuoso player in the person of Quantz. The result is a wonderful use of the instrument, both in beautiful expressive slow movements and virtuosic fast movements. Though guilty of over extended

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use of the material in the pursuit of the new classical form, CPE Bach has given us sollie interesting repertoire. Patricia Morris

A u t r ~ n ~ n Colours 20th Century Belgian Worlts for Flute and Piano Vol 2 Denis-Pierre Gustin - flute. Carmen-Elena Rotaru - piano Ren6 GaillyIOne CD for You Four Belgian composers are represented on this unusual and fascinating CD. First, Joseph Jongen's Sonata for flute and piano, first performed in 1925. Not as well known in Britain as it should be, this piece is full of powerful melody and contrasts of atmosphere and mood. Denis-Pierre Gustin (now Principal flute of the Belgian National Orchestra) and his accompanist Carmen- Ele~ia Rotaru bring out every colour and subtle harmonic change in this exuberant performance. One is aware of Jongen's underlying romanticism, reminiscent of Cesar Franclr, but also of idiosyncratic chromaticism and dissonance. The last movement is truly vivid and exciting.

On the CD, this is followed by Jacques Levis Suite (1924), nine short pieces mainly for piano - though the 8th is for solo flute, and the 9th (MBandres) is for both instruments. This seems to result in a rather strange imbalance overall. The accompanying leaflet is rather confusing; the initial listing of the pieces is correct, but the detailed description later mentions only seven pieces, in the wrong order.

Of much more interest is Eug&ne Goossens' Three Pictures for flute and piano. First is From the Belfry of Bruges, where one can hear the bells chiming over the hazy Flemish landscape. Then comes From Bredon in the Cotswolds.

P A N M A G A Z I N E 53

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than two hundred pages, it is an invaluable addition to the bookshelves of anyone engaged in writing and researching music. The high quality publishing and paper, and the benefit of having a compendium of information in one small, easily transportable book, justify the price. Alexnndra Buckle

=G---s:--x.--T.,.T.,*-..- -7m

an evocation of a summer sunset over an intimate British pastoral scene. Finally there is From a Balcony in Montparnasse, depicting a starry autumn night in Paris with snatches of dance-hall tango and the bells of Notre- Dame in the background. As a complete suite, there is perhaps insufficient contrast of mood between the three pieces, but each would stand well on its own, and the performances here are sensitive and subtle.

The CD ends with a yirtuoso performance of L6on Stelilte's Scherzo Capriccioso, probably written for a competition at the Brussels Conservatoire. All elements of technique are exploited - florid passagework, fast staccato, cantabile melody. This is a very enjoyable, vibrant performance.

My main criticism of the CD is the presentation of the accompanying leaflet. I have already mentioned a problem with the Levis Suite, but there

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is also no track numbering for the various pieces, the comments are printed in a different order from the performances, and Goossens' own descriptions of his music are repeated three times in English - it probably would have been more helpful to . translate these into French and Dutch, along with the rest of the information. Alison Uren

and Writing about Music Trevor I-Ierbert ABRSM Publishing 2001 ISBN: 1 86096 236 X 511.95 Many boolts are written about performing, composing and analysing music, but there are very few on how to research and write about it. Trevor Herbert, a Professor of Music at the Open University, fills this

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hiatus in Music in Words, by addressing the issues encountered when tackling written taslis, from programme notes to dissertations. The dual function of this book, as textbook and reference book, combined with Ilerbert's clear, unhindered writing style, ensure that many readers will find something beneficial within the pages.

I found the most useful sections to be the meticulous account of scholarly conventions, which confuse even the most eminent of musicologists, the introduction and strategic guide to using the Internet, libraries and journals. While this book is particularly suitable to those completing GCSE, A-level, degrees and the Associated Board diplomas, those unfamiliar with the important academic and musical resources available could repeatedly draw on this as a source of aid.

Although this book may seem expensive for little more

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Counterpoint Weal, always true to her word, regales us with firther shock revelations from the Cosmos. Harmony of the Spheres ... I beg your pardon? Can they be Sirius?

B eing, I confess, no stranger to sixths, I lunow, will have you aslung, apparently some people who say that the realm of World Music, 'Mat's a Neapolitan sixth?' 1 do not they exist only inside our minds. We the question I am often wish to comment on this, save to say are all entitled to our views. Did you asked is, 'Do you have to that if you're getting through that lunow that it's difference-tones that

play quarter-tones?' The answer to amount of ice-cream, my dear, you make a minor triad sound troubled or this, of course, is, 'Why, don't you like really ought to be seeing somebody that they make an uncorrected them?' But the truth is that, as in - yech! believe me, I've been there ... dominant seventh sound weird? ancient Greek music (with which we Sixths, as we know, are intimately If you thought a dominant seventh are all intimately conversant), a related to thirds, and thirds provide was made up of three intervals, think minor third splits very neatly into a us with a field day. Choirboys, on the again. It's like a combination lock, pair of three-quarter-tone intervals, whole, need little encouragement in and has six intervals: major third, two which are singable, while anything as making major thirds as wide as a minor thirds, perfect fifth, diminished small as a quarter-tone tends not to London bus. Unfortunately, this fifth and minor seventh. Each interval be. Try listening to Javanese gamelan doesn't stop some people who take a makes its own difference-tone. The singers - those guys really know perverse delight in encouraging them simplest way to harmonise those how to tread in the cracks! further. The paradox is that tempered difference-tones is to flatten the

Let's come down to earth, though, major thirds are wide anyway; seventh-tone. and apply some lateral thinking to trombonists and brass-players (many This matters all the more because our silly old tempered scale. Bach of whom have been choirboys) dominant sevenths have generally didn't invent it - some smart alec in generally tend to make them been found far too useful to be wasted the Renaissance did - but he gives narrower and more natural, to give a on the dominant of the home key - us a nice test of what you can do with more serene effect (hem, hem). Jo Haydn saw to that - and certain a flat submediant in the slow Who is correct? There is no such individuals, like Debussy, delighted in movement of Brandenburg 1. (Bend thing as correct! There are, trust me, spraying them around like cellulose it in any direction you like but up.) strong grounds for making minor graffiti, to the fury of their teachers,

Mentioning the Renaissance and thirds natural (ie. wider than showing they had a genetic pattern tempered). A natural minor third that could be replicated on any note sounds expressively sad; a tempered you like, without resolution

BY one just sounds sad. A cent narrower (disgusting, how dare they?).

Daisy Weal and it just sounds out of tune. About all that leaves us to look at Moving on through space and is the leading-note, or sharp seventh

c time, and before consigning 2001 to of the diatonic scale - not to be l

history, let's give a thought to dear confused with the Leittonwech- Zarathustra (parental guidance selklang, which is rumoured to be a advised). Anyone who has survived low cholesterol version of the the closing B major bars of the R Neapolitan sixth (I don't wish to Strauss tone poem may have come as know that!). What people don't near to losing their marbles as the realise is that a leading-note doesn't poet himself. With a pianissimo just lead to the tonic - it can lead to chord consisting of floor-to-ceiling any cadential note you like, and thirds in the woodwind, the when it coincides with an accented difference-tones are buzzing around beat or appoggiatura it must always like a hive of bees. The thing to lreep be sharpened, for some strange but reminding yourself here is that even compelling psychological reason when it's right it sounds wrong (viz which eludes me. Defying gravity, or

Harledas a chtldprogeiiy, the exrrhnpt of her Nietsche, perhaps). heightening the tension, perhaps? era, three hnles co?~so/ario?i pnw-wzfffler of the Woc ~Mtrsrra/ dr~ Mottne, IIlieafi imnpeac/ml,le

Difference-tones are tricky little Think of those top F sharps in the rerordtt~gs have e m d her rfr//ca/ trrudes, blighters. They can help you play in development of the finale of

m o Golahtt Floppy Dzscs anda G'latmjv Award tune, but if you misinterpret them Beethoven V. Ah! The dominant of Read 117en/, get teal you'll go rapidly ET. There are the dominant!

56 P A N M A G A Z I N E