PAN - The British Flute Society

PAN The Journal of the

British Flute Society

President James Galway

Committee: Christopher Hyde-Smith Chairman John Francis Secrera ry Tony Bingham Treasrrrer Margaret I'ether Membership Secretary Lorna Lewis Journal Ediror Trevor Wye Assistant Editor Ian Christie Pt~bliciry Officer Malcolm Pollock Educarion Representative Russell Parry Flute Clubs Represenrative Albert Cooper Flute Industry Representative William Bennett Flute Concerts Representative Simon Hunt Librarian Susan Bruce Honorary Legal Adviser and Solicitor

The British Flute Society was formed in January 1983.

from the constitution: 'The objects of the Society shall be to advance the education of the public in the Art and Science of Music and in particular the Art and Science of Flute playing in all its aspects by the presentation of public concerts and recitals and by such other ways as the Society through its Committee shall determine from time to time.'

The Editor warmly welcomes contributions to Pan, and invites manuscripts - typed if possible - by post to 30 Grove Road, Stratford- on-Avon, Warwickshire CV37 6PB.

Views expressed by the contributors are their own and do not necessarily voice any official views of the Society.

Subscription rates to BFS Individual Membership L10 per annum Student Membership or under 21 L5 per annum Commercial and Industrial h4embership L25 per annum School Membership L20 per annum

Advertisement Manager Frances Moon, Percival Moon & Son Ltd, 5th floor, 80 Fleet Street, London EC4Y lPN. Tel: 01-353-555/3913/2665/0530

JOIN BFS, the Society to benefit and bring together all those interested in the Flute. Details from Margaret Pether, 82 Seagull Road, Strood, Rochester, Kent ME2 2RH.

Printed by Novello and Company Limited, Borough Green, Sevenoaks, Kent All copyrights reserved 1983

Index Message from the President 2

Editorial 3

Birthday Ode 3

Letters to the Editor 5

The First Japanese Flute Convention 1982 Albert Cooper 6

Flute Reviews 7

Quick Quiz 7

Paul Taffanel - the father of modern flute playing Edward Blakeman 7

Music Reviews Trevor Wye 10

Why play the Baroque Flute Louise Carslake 12

Record Reviews Tom Nordon, Trevor Wye 13

Pipeline 15

British Orchestral list of Flute Players 16

Appreciations of Edward Walker, Richard Lee, Christopher Taylor

Tony Walker, Edward Watson, Adrian Brert 17

Flute Teaching in Schools Malcolm Pollock 19

A Life Time John Falk 20

Pan Diary 22

Auditions Trevor Wye 23

What can your local flute club offer? Russell Parry 25

Stop Press 25

Message from the President . . . .

JAMES GALWAY

I a m , o f c o u r s e , honoured and d e l i g h t e d t o be i n v i t e d t o s e r v e a s P r e s i d e n t o: The B r i t i s h F l u t e S o c i e t y .

I look forward t o be ing P r e s i d e n t of tl most s u c c e s s f u l F l u t e Soc i e ty i n t h e world.

With v e r y b e s t wishes

That the New Year was eventful was apparent when the dog chewed the burglar alarm and all the children went down with chicken pox. But with the founding of the British Flute Society, 1983 becomes momentous. With 210,000 of us playing the flute it's amazing it hasn't happened sooner. We come in all shapes and sizes: teachers, learners, beginners and virtuosi. 'I'm going to make an orchestra with my sister', a young flute player of eight told me yesterday. 'She plays the piano. And Mummy plays the piano too. But Daddy doesn't play anything. He doesn't even sing. He's got false teeth.' It's a comfortable thought that in an age of the ex- pendable a passion for flutes goes on for ever.

Pan unites us all in a variety of useful and entertaining ways. We will advertise your fluteslmusicl job vacancies: review music and records: list in Pan Diary details of flute recitals you send us: and carry news from Flute Clubs and from the educational scene. We welcome reflections of the amateur no less that pieces by and about people of particular distinction. Got a point of view? Write to the Editor. Got a problem? Write to Pipeline. This issue carries first details of BFS events where hopefully many of us may meet, and soon will say, whatever did we do before the Society? Whatever would we do without Pan?

Cover picture from the collection and with the permission of Tony Bingham.

BIRTHDAY ODE The modest nymph who jumped the gun, Observing Pan was on the run, In saving her virginity Illumines 1983. Pan plucked the reed and blew the flute; A hundred thousand followed suit, And countless little girls and boys Engender a delightful noise, While others of distinguished hue Have cut a golden disc or two, All on account of luckless Pan - Half a goat and half a man - Whose dire frustration and distress Resulted in the B.F.S.

old, rare & unusual FL UTES

& other instruments

AT THE SIGN OF THE SERPENT

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CATALOGUE of old Boehm System Flutes

available on request

6 0 6 yiib Marin Marais . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Les Folies d'Espagne

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C. P. E. Bach.. ................................ Sonata in A Minor

J. A. Stamitz . . . . . . . . . . . . . . . . . . . . . . . . . Capriccio-Sonata in A Major

C. P. Telemann.. . . . . . . . . . . . . . . . . . . . . . . . . Fantasia No. 6 in D Minor

C. Debussy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Syrinx

Here, collected together in one volume, are some of the greatest works ever written for the solo flute. An essential part of any solo flautist's repertoire, these works have been edited by Simon Hunt who has also provided extensive practise notes for each piece. Lists of works for further study

and of recommended recordings are also included.

SUPERB VALUE AT f 2.95

CRA ER Music 99 St. Martin's Lane, London WC2N 4AZ.

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Readers! Do you have pictureslphotographs of Flutes? Old, new, odd or interesting flutes, pipes whistles etc. Such pictures for publication in Pan are invited by post to The Editor, 30 Grove Road, Stratford-on-Avon CV37 6PB. Please send a s.a.e.

THANK YOU to these Firms who have given a contribution of £100 to the Society and are members. We most gratefully record their support.

ALLFLUTESPLUS 5 Dorset Street, London WlH 3FE. VINCENT BACH INTERNATIONAL LTD Unit 5, Oxgate Lane, London NW2 7JN. TONY BINGHAM 11 Pond Street, London NW3 2RN. BOOSEY & HAWKES LTD Sonorous Works, Deansbrook Road, Edgware, Middlesex HA8 9BB. ALBERT COOPER 9 West Road, London SW4 7DL. FENTONE MUSIC LTD., Fleming Road, Earlstrees, Corby, Northants. FLUTEMAKERS GUILD LTD. LONDON 10 Shacklewell Road, London N16 7TA. WM. S. HAYNES CO., INC. 12 Piedmont Street, Boston Mass. 021 16 U.S.A. INTERNATIONAL SUMMER SCHOOL 4 Abbotts Barton Walk, Canterbury C T l 3AX. ALFRED LENGNICK & CO. LTD. Purley Oaks Studios, 421a Brighton Road, South Croydon, Surrey CR2 6YR. BILL LEWINGTON LTD. 144 Shaftesbury Avenue, Lon- don WC2H 8HN. LONDON ARTISTS 73 Baker Street, London WlM IAH. JACK MOORE FLUTES INC. 1218 Brentwood Avenue, Elkhart, IN. 46514 U.S.A. RUDALL CARTE & CO., LTD. Deansbrook Road, Edgware, Middlesex HA8 9BB. UNITED MUSIC PUBLISHERS LTD. 42 Rivington Street, London EC2A 3BN.

AND THANK YOU to Boosey and Hawkes, for their hospitality at their concert room in Edgware where a public meeting was held in May 1982 when it was agreed to form the British Flute Society, and to June Emerson, for most generous- ly giving us space in the Woodwind Catalogue, and to Simon Hunt, for giving news of the BFS in Pan Educational publica- tions, and to the International Summer School, for such en- thusiastic coverage of the development of the BFS to date.

Letters to the Editor Sir,

Until someone comes up with a cure for the common cold, I shall stick to a routine I've worked out that does seem to keep sniflles at bay, and might interest your readers. I never touch white sugar or white bread, but I do eat a great many raw carrots, and I'm convinced this diet is why I have not had a cold during the last twelve months, despite constant contact with sufferers. I find it very difficult to persuade people of the discomforts of flute playing when one has a runny nose, a thick head and breathing difficulties; but if one says one is anxious to av&d on a cold to a baby brotherlelderly aunt with asthma, even martyrs to 'flu show amazing consideration. I pass on the hint, for what it's worth.

Yours etc. W. W. Gwynedd

Sir, As a teacher I come across parents reluctant to buy

their child a flute. Some hire them; some expect the school to provide; some borrow and some ask if the child can have a go on mine before making up hidher mind that helshe will 'take' to it.

I find this awfully embarassing. T o say that the child's success depends on the teacher is too much like sales talk. And when they come without an instrument I feel a bit sensitive about spending their money for them.

But at least then I can advise them on the purchase of a reasonable flute. Far too many children come to me with flutes bought for them without taking any advice except over the counter at the instrumental retail shop. One such child came with a brand new flute which scarcely played a note, the adjustment was so bad. None of these parents would buy a car without a test drive. How can one see they get a fair deal?

Yours etc. H. N. Oxon

Sir, I thought you might like to know of an afghan hound

besotted with the flute. Any other noise, like the telephone or a police car, makes him howl. But when I practise he lies down by the music stand and when people come to play he scratches the door to come in. He doesn't scratch it, actually, he butts the handle with his bead.

My other dogs aren't bothered. Yours etc. R. T. Glos.

Sir, I am interested to know how other flute players

managed to buy their good instruments. Fifteen hundred is ,a lot to raise during college. One of my friends has a loan: another took a factory job: another wrote magazine fiction. I'd be interested to know other people's ways and means.

Your etc. K.A. London

The First Japanese Flute Convention 1982 ALBERT COOPER

When the opportunity came for me to visit the first Japanese flute convention, very conveniently timed for the following weekend after the American flute convention, which was held in Seattle during August, the on- ward journey to Tokyo was not so daunting as starting from London.

I must say the Japanese were most hospitable. There are at least 10 flute manufacturers in Japan and the jn- vitation to visit their workshops to see how they do it were very pressing. As I was only in Japan for a week it was not possible to visit them all, the convention was a 3 day event held at Tsumagoi, and that was a 2 hour bullet train journey from Tokyo.

While in Tokyo a visit to the Muramatsu factory at nearby Tokorozawa was a must for me. It was most interesting to meet the dual flutemaking and playing staff whose dedication to the flute is total. They were pleased to show you everything in a friendly asmosphere, one kept hearing the word quality which is well understood by all. Mr Muramatsu held a reception that evening for -the convention visitors which included such names as Bick Brannen, Phillip Kaplin, Julius Baker, Ludwig Boehm, Jacob Goldman etc.

The Yamaha plant at Hamamatsu is just as interesting and very mechanised, their student flute production has to be seen to be believed. Both management and workers dressed equally in the'ir light blue clothing and caps are like a disciplined army going about their tasks. The smaller hand made flute section seemed more relaxed and made me very welcome in their separate factory, this is where the gold and silver flutes are made. Quite a lot of research is done here, they have a special department for this purpose.

At Tsumagoi the convention was well attended and included recitals, flute ensembles, talks etc. Ludwig Boehm described the life and inventions of his great great grandfather Theobald Boehm using slides, all this was immediately translated into Japanese. Many fine young Japanese players gave recitals, the Tokyo Flute Ensemble under Horishi Hari have a big following. Julius Baker was the guest of honour for the final recital. I was honoured to meet Prof. Yoshida who for many years has done so much for the flute in Japan.

The exhibits by the Japanese makers were very im- pressive, there is great competition between them. As one who has regularly seen their flutes in ever growing numbers at the American conventions over the last 7 years, I can only say the quality in general is always going up. Several American makers have agents in Japan who were displaying American flutes, it would not be fair to give the impression only Japanese flutes were on display, indeed The Flutemakers Guild were displaying through their agent, the only European flutes I saw. The only non Japanese flutemaker not displaying through an agent, but there in person with his own display-stand

was Jacob Goldman the Israeli flutemaker and headjoint specialist.

The "Japan Flutists Association" expect to hold a convention every other year. Tsumogoi is the extensive Yamah Sports and Music centre which is normally only for its employees, an ideal venue for a convention with its concert hall, display area, restaurants, accommodation etc. in a rural setting.

The 10th American convention in Seattle was also well attended and very well organised by the programme chairman Felix Skowronek who is to be complimented.

I understand the Australians are holding a flute convention at Easter 1983, this is an event held every 3 years.

"The 5th Annual Italian Festival of the Flute" is also being held over the Easter period 1983 at the Castello di Belveglio (Asti). The main theme this year is baroque flutes and their music.

Albert Cooper rtpresents the Flute industy on the BFS committee. Write to Gadget Page, PAN, 30 Grove Road, Stratford-on-Avon, with queries about mechancis. ED.

Flutemakers Guild Ltd

Makers of fine

10, Shacklewell Road London N16 7TA

Flute Reviews Paul Taffanel - the As promised, the BFS has assembled a team of experts who will review flutes submitted to the Society.

The reviewing team will include: Roger Rostron Sebastian Bell Albert Cooper Trevor Wye

Each panellist will write an independent report which will be printed together with a summary by Trevor Wye.

We hope to have ready for the next issue, reviews on: a. The new curved-head Sankyo Alto flute. b. A new model from Takumi. c. The new Boosey & Hawkes Emperor 562 and 561

model flutes.

father of modern flute playing EDWARD BLAKEMAN

Helpers needed Do you have time to lend a hand at BFS meetings, on Masterclass days, and these sort of events when we do need extra pairs of hands? All offers received gratefully by Tony Bingham, 11 Pond Street, London NW3.

Portrait of Taffanel in the late 1880's

Quick Quiz 1. Who took his flute to the Quangle Wangle's hat? 2. 'Drop thy pipe, thy happy pipe.' Who said that? 3. Name the solo piece entitled with the density of

platinum. 4. Who wrote Acht Stucke? 5. Why did Frederick the Great stop flute playing? 6. Who said that flautists are 'often fastidious people

and lovers of French music: that the flute is home in A cadia . . . the composer must fit in with its gen- tle nature if he does not want to be branded a bar- barian.' Do you agree?

7. What is a garklein flotlein? 8. Who wrote 6 flute sontas dedicated to. Queen

Charlotte, Queen of England in 1764? 9. How old was the composer?

10 In which of Shakespeare's plays is there a rustic called Flute?

Do not cheat!

Answers on page 19

In September 1896 a letter was posted in New York addressed simply to

Monsieur Taffanel, Flautist, Paris, France.

The young boy who wrote it no doubt had every confidence that it would arrive safely, and he was right! Such was the fame of Paul Taffanel, probably the most renowned flute player and teacher in Europe at that time. Even today we owe much of our style of flute playing and repertoire to this one man who led a great revival in the instrument at the end' of the nineteenth century.

I am at present preparing a biography of Taffanel, with the assistance of his granddaughter Mlle. Jeanne Samaran, and with the support of a research fellowship at the Royal Northern College of Music. My aim here is briefly to describe something of the life and work of this remarkable musician and to appeal for any information - particularly concerning Taffanel's visits to England - that may be known to members of the British Flute Society.

Paul Taffanel was born in Bordeaux on 16 September 1844. The son of a professional musician, he began flute lessons at the age of seven and played in public for the first time shortly before his tenth birthday. In 1858 the family moved to Paris so that Taffanel could have lessons from Louis Dorus, the first flute at the Opera.

When Dorus was appointed Professor at the Conser- vatoire in 1860 Taffanel joined his class and won the coveted 'premier prix' after only a few months of study. He soon became a member of the two main Paris orchestras (the Opera and the Societe des concerts du Con- servatoire) and remained first flute in both of them for many years. He also pursued an international solo career which included appearances in Germany, England and Russia. In 1879 he founded a chamber music society for wind instruments which gave regular concerts in Paris for fifteen years and also toured abroad.

From 1890 Taffanel devoted more time to conducting, eventually becoming 'Premier Chef d'orchestre' at the Societe des Concerts in 1892 and at the Opera in 1893. Also in 1893 he was appointed 'Professor de flfite' at the Conservatoire, on the retirement of Henri Altes. Under Taffanel's direction at the Optra premieres were given of new works by Massenet, Chabrier and Saint-Saens, and new production of operas by Berlioz, Verdi and Wagner. During the Paris Exhibition of 1900 Taffanel was responsible for a series of oficial concerts with the Conservatoire choir and orchestra in the vast Trocadero Palace. From 1901 ill-health forced him progressively to resign most of his musical activities, although he con- tinued to teach at the Conservatoire. He died in Paris on 21 November 1908.

Taffanel's contribution to flute playing cannot be . . - overestimated. Rejecting the mid-nineteenth century tradition of performing showy sets of variations and fantasies composed mainly for virtuoso effect, he revived the long neglected works of Bach, Handel and their contemporaries. At the same time his playing inspired the composition of much new solo and chamber music for the flute. Gounod and Faure are just two of the more significant composers who dedicated works to him. Taf- fanel himself composed a wind quintet and several occas- sional pieces for flute and piano.

According to contemporary reports, Taffanel's playing was marked by an expressiveness of sound and refinement of technique that appeared strikingly new. His was a virtuosity totally at the service of the music. As one critic declared after a concert in Brussels in 1883:

Such flute playing was a revelation. The audience couldn't believe it. Just imagine: flute playing that was intelligent, cultured, and above all musical - something unheard of before.

The pianist Alfred Cortot compared Taffenal to the violinist Sarasate in his control of tone and elegance of style. This flexibility of technique would later be reflected in the sinuous flute line of Debussy's I'Apr2s- midi d'un faune and the brilliance of Ravel's Daphnis et Chlo6. When Taffanel retired from playing, his lifelong friend the composer Saint-Saens paid him this tribute in a letter:

. . . the terribly sad thing is that you will no longer play the flute, and that no one will ever again play it like you.

As a teacher Taffanel was a source of great inspiration and students came to him from all over Europe. A notable English pupil of his around 1890 was Frederick Griffith, who later became a professor at the Royal Academy of Music in London. Taffanel's most famous

Conservatoire pupils Gaubert, Fleury, Barrerre and Moyse - passed on the French tradition which has con- tinued down to the present generation of players. All his pupils spoke of Taffanel's exceptional abilities as a musician and generous qualities as a man. In the words of Louis Fleury:

His classes were quite outstanding. Taffanel had much broader ideas [than Altes] to bring to the Conservatoire, with an infinitely skilful and flexible style of teaching. He left us to take the initiative, helping each one to make the most of himself and imposing no system.

and Georges Barrere: Scales and exercises were assigned, but when Taffanel knew the pupil was conscientious he did not use the recitation perfod in which to listen to technical works, but would spend the entire time teaching an Andersen study in which he led us to find many beautiful things which would other- wise have passed unnoticed, even though we thoroughly mastered the technical difficulties of the study. Every pupil was a musical son . . .

Pa 1t1 Taffaal~el towards the end of his life. Possibly inrended as ill~~strations for the MCthode de flute.

For his part, shortly before his death, Taffanel confided to a colleague that although he had abandoned nearly all his official duties, '. . . as for my classes at the Conser- vatoire, those I will treasure right up to the end'. The Mkthode compltte, completed after Taffanel's death by his favourite pupil Philippe Gaubert, stands as a monument to the technical, and, above all, musical qualities of the French School founded by him. In particular it stresses that the art of flute playing lies foremost in beauty of tone achieved by careful control of the breath and flexibility of the lips.

owurds the !rations for

end of his I the Methc

y intended L.

Taffanel's sliver flute, made by Louis Lot, has remained in the possession of his family, along with a quantity of private papers relating to his life and work. Mention must suffice of two items, carefully preserved by Taf- fanel, which evoke something of the musician and the man. One is a visiting card on which Saint-Saens inscrib- ed the opening bars of his Romance for flute - a piece performed many times by Taffanel. The other is the letter referred to at the beginning of this article. It reads:

Honourable Sir, I am twelve years old and play the flute. I am trying to col- lect old or new postage stamps. I take the liberty to ask you for some from old letters, papers, etc. T h e older the stamps are the better. Any kind from any country, U.S. stamps included will be thankfully received. I have studied the flute for four years. My father is a violinist and teacher. I have heard a great deal about you. I wish I could hear you play. Most respectfully, Noel Paul Bartley.

But the final word must go to Marcel Moyse, now the last remaining pupil of Paul Taffanel. In a letter to Taf- fanel's granddaughter he affirms:

All my life I have loved and admired him; he is and will remain a symbol for all flute players present and to come.

Taffanel'sflute class at the Conservatoire in 1895. Gauberr is seated on Taffanel's right.

9

Music Reviews TREVOR WYE

Publishers are invited to send music for review to Trevor Wye, 4 Abbotts Barton Walk, Canterbury, Kent CT1 3A Y.

Defaye 6 studies - Solo flute Leduc (U.M.P.)&3.90 6 Studies on Intonation, rhythm and other basic mechanics. These are a welcome change from conven- tional 19th century predictable tunes. Musically interesting and somewhat easier than the Bitsch studies, these should appeal to teachers who wish to get away from Gariboldi and Kohlkr. Good 20th century studies at about Grades VII-VIII.

Sichler Un Oiseau en Mai Flute & Piano Leduc (U. M. P.) £3.15 Simple and attractive for both flute and piano with a calm line accompanied by measured chords. About Grade V.

Parker Mary Rose Tom Parker (disc. by Z.M.P.) A repetitive simple pop tune which will appeal like can- dy floss to the young. Piano part has guitar chords. Flute part about Grade 111-IV.

Kincaid & Polin The Advanced Flutist, Vol I1 (A guide to multiple tonguing, vibrato and sensitive fingering) Elkam- Vogel (U.M. P.) A notebook of the teaching of Kincaid, this book is rather a hotch potch of bits from the orch. repertoire and quite a lot of examples from the work of the co-author. Useful to those without a teacher as it contains plenty of advice on 20th century techniques with written instruc- tions in the form of a lesson on performance and style. It does contain some curious statements under the heading "Fingering beyond the normal range: 'The player should by now own a "Concert Model" instrument with open holes and a low B key as further technique will be impossible to play without these". Many U.K. players would dispute this. It goes further to say that "Music above D sharp has been written but is performed by only a few virtuosi. Due to the difficulty in producing these tones, they are not shown here". The reviewer personal- ly knows of school children who can produce high E and F without great difficulty. On how to end notes soft it says "Purse the lips until no sound is emitted. This feels dagger shaped". It doesn't say how to stop it going flat - perhaps dagger is what the listener feels when it is flat.

Geraedts Canzonetta and Sarabande. Flute & piano Donemus The music of Geraedts is well known in teaching circles in Holland and deservedly so as he writes attractively and sympathetically for both solo instrument and piano. Around Grade VI.

10

Kelly Sonatina. Flute and piano Chesler £2.85 A lively, rhythmic and memorable first movement with a punchy piano part. A lyrical slow movement with a virile fugue to finish. This must be an attractive end to a flute recital. Sensibly printed with a blank page to avoid turn-overs, it is altogether a most useful piece. Grade v111 + .

Gabrielsky Grand Quator Concertante for 4 flutes Belwin .Mills £3.50 A delightful addition to the quartet repertoire though not quite as well written as the G Major quartet. Gabrielsky writes with string quartet flavour in mind and one does suddenly find a disconcerting virtuoso passage after grovelling away on Part IV for some time.

Yvar Mikhashoff Dances for Davia (1959) flute & piano Southern Music Co. £6.40 A suite of eight dances written as ballet music. A delightful overture, with whimsical, humourous and attractive dances. Varying in standard from Grade III- VIII.

Faure Sicilienne - flute & guitar Southern Music Co. £3.20 Nicely arranged version which omits from the flute part the dreary passages normally found in flute & piano ver- sions.

uwp Flute Solos

Bonneau, P.: 2 Caprices en forme de valse f 9.20

Bozza, E.: Image £2.85 Bozza, E.: Phorbeia E 2.60 Chaminade, C.: Piece romantique f 0.97 Debussy, C.: Syrinx €0.65 Honegger, A.: Danse de la Chkvre f 2.80 Ibert, J.: Piece E 2.85 Koechlin, C.: 3 Sonatines f 5.75 Lajtha, L.: 2 Pieces, Op. 69 E 4.05 Migot, G.: Le Mariage des oiseaux f 3.75 PaganinilHermann: 24 Caprices f 8.20 Persichetti, V.: Parable f 1.20 Rivier, J.: Oiseaux tendres E 1.85 Thomson, Virgil: Sonata for flute

alone £0.75 Tomasi, H.: Sonatine E 4.75

For a free copy of our Woodwind Catalogue, please apply to:-

United Music Publishers Ltd., 4 2 Rivington Street, London EC2A 3BN Telephone: 0 1 -729 4 7 0 0

Please note our change of address.

Sary Voices for 2 flutes or flute & tape Editions Musicales Transatlantiques £2.60 For circular breathing fans, as the whole piece - dura- tion 2 hrs 25 mins - is to be played with continuous breath. Both parts never move out of the lower octave and hold continuous long tones which change pitch - via glissandi - from one note to another during the space of one or two minutes. The reviewer listened to a half an hour of this and must confess, he had to ter- minate the performance out of sheer boredom. If you like that sort of thing then this is the sort of thing you would like.

Garibaldi 25 Study Caprices Op. 333 Solo Flute U. M. P. £4.00 For those who are weary of the Associated Board Garibaldi, these are a welcome change. Progressively varying standard from Grade IV-VII, they are the usual warm and affectionate style. Well marked with varying rhythms; these could be useful to teachers.

Garibaldi Vingt Etudes Chantantes Op. 88 for flute Brockmans (Kalmus) £2.85 Excellent Garibaldi though more difficult than the previous Op. 333 at about Grades VI-VIII. Very tuneful and with a large variety of rhythms and keys. A useful book.

Eder Vorspiel, Zwischenspiel und Melodie - 3 flutes Doblinger (Kalmus) £2.25 Easy on the ear and based on a 15th century melody. Not difficult, about Grade VI. All three last for only 2.45. 3 playing scores included.

Wanausek 10 miniatures - 4 flutes Doblinger (Kalmus) .&'.25 Good contest pieces in a wide range of styles with plenty of tunes. Some are about Grade IV. Score & 4 parts.

Fentone Golden Flute Series Space doesn't permit a review of each of the items set out below but collectively these are an attractive buy at prices ranging from 70 pence to £1.75, though it must be said that it is a pity they are not arranged in volumes or collections which would result in an even better buy.

All are nicely arranged, clearly set out and with a semi- stiff cover which should resist tea-stains. With the'excep- tion of the Jacob, all are Grade 111-V standard. The Jacob is, as one would expect, well written for flute and clarinets and is a good school concert item. Jacob Aubade flute & 2 clarinets , F.135 Denver Annie's Song flute and piano F.183 BachlGounod Ave Maria flute and piano F. 158 Faure Pavane flute and piano F. 158 Debussy The girl with the Flaxen Hair

fl. & p. F.165 Satie Three Gnossiennes fl. & p. F.143 Satie Three Gymnopedies fl. & p. F. 150 Bach Menuet & Badinerie fl. & p. F.137

Frederick the Great 25 Sonatas in 4 Vols. Belwin Mills £7 per vol. Not the greatest of flute composers by a long way, nevertheless Frederick I1 was a very accomplished amateur composer. These sonatas are full of cliches and can be dull though there are some attractive movements. With embellishments they can provide an interesting historical pointer coupled, say, with one of the masterful C. P. E. Bach sonatas in a recital programme.

Published in a flute and piano format, these sonatas may not appeal to the 'authentic' fans; there is no separate cello continuo but the right hand has been realised for the piano and would have to be thinned out for harpsichord performance. At £1.00 per sonata they are good value and have obviously been made available with economy in mind.

Masterworks for Solo Flute (Ed. Hunt) Cramer Music £2.95 A very useful book of the basic solo repertoire in one volume. Thank goodness for the E minor transposition of the Marias' Les Folies d'Espagne which suits the modern flute better. Phrasings and markings are generally good though there are some curiously long breathless slurs in the 3rd movement of the Bach solo Sonata. Complete with useful performance ,notes and historical prefaces. Sadly, the review copy arrived with some duplicated pages and some pages missing. Very attractive cover and most attractive price.

THE EDITORS INVITE MUSIC FOR REVIEW:

Scores by posr to: 4 Abbotts Barton Walk,

Canterbury, Kent C T I 3AX

Please Note . . . From Roger Wrighr, Cenrre Manager, Brirbh Music Infor- marion Centre, 10 Stratford Place, London WIN 9AE '. . . The Centre holds the largest collection of modern British music in the world - published and unpublished - and a large number of recordings - record and tape - to back up the scores. Needless to say, there is much new flute music here which your members might find of great interest and I wonder if there are any ways of reminding the members of your Society of the Centre's existence when they are looking for new repertoire?'

Also Received Why Play the Baroque Anderson Allegro Militaire Op. 48. 2 flutes and piano Southern Music Co. £9.60 Flute Excerpts Orchestral Repertoire. Book 3 (Bach) Belwin Mills £3.50 Weiner Commentations. Flute & piano. Southern Music Co. £4.00 Guenther First book of Practical Studies for the Flute. Belwin Mills £2.25 Coolidge Point Silver Point - 4 flutes. Southern Music Co. £8.00 Defaye Six Pieces D'Audition. 3 flutes. Leduc £6.10 Drouet Trois Fantasies Tres Faciles Editions Musicales Transatlantiques about 0 . 6 0 each , Andres Petite Suite - 3 flutes U.M.P. £4.00 Defaye Six etudes - 2 flutes U.M.P. £4.30 Theo Loevendie Music' for flute and piano Donemus (Kalmus) £5.85 Barta Sonata for flute & piano Panton (Kalmus) £2.55 Jettel 5 Studies - solo flute Doblinger (Kalmus) D.45 Macha Variations for flute & piano Panron (Kalmus) £2.10 Sagmier Petite Suite Armoricaine for flute & harp or celtic harp Leduc (U.M. P.) £4.30 Defaye Contrastes. Flute & piano Leduc (U. M. P.) £6.15 Boucourechliev Ulysse - Flute and percussion Ed. Musicales Transatlantiques £6.50 Tremblay Le simement des vent Porteurs de l'amour - flute, percussion Ed. Musicales Transatlantiques £3.75 Rippert Sonata No X - Flute and basso continuo Leduc (U.M. P.) £4.80 Geraerdts Four inventions - 2 flutes Donemus J. S. Bach Prelude and Fugue. StringIWind trio Ricordi Berkeley Sonata - Flute and piano Chester W.20 Maconchy Colloquy - Flute and piano Chester £5.20

CLASSIFIED ADVERTISEMENTS This service is free to all our members without commercial interest.

FOR SALE: 1 4 c t gold Muramatsu Flute, with silver keys and E mechanism. C foot, French model (open hole) Muramatsu new scale A = 442. Price without headioint € 3,300, with Mehnert gold head €4.800. Tel: 01 -445 8040 c10 Mochida. FOR SALE: Artley Flute, silver, low B foot, excellent condition (Wilkins Model) f 950. S. Lacroix, 3 Petingo, Newmarket, Suf- folk. Nkt 668753 .

THE SUZUKl FLUTE SCHOOL starts from this May. The Suzuki Method has been applied to flute teaching. Enquiries: tel 56-37688 (British Suzuki Institute).

STOLEN FLUTE: Flute by Louis Lot - Serial No 7086. Open- holes. In brown worn case with blue velvet lining and a "Cadet" label inside. Distinctive feature: A spilt in the seam, at the base of the body, previously resoldered but now reopened. PLEASE RING MICHAEL COX 01-961 6953.

Flute LOUISE CARSLAKE

I have often been asked why I play the baroque flute rather than the modern flute, and I have many times asked myself the same question. The modern Boehm system flute is in so many ways an improvement on the one keyed flutes of the eighteenth century. It is enhar- monically chromatic with an even tone throughout the registers, and it can produce a large sound, brilliant enough to fill a modern concert hall and compete with a full symphony orchestra. Compared to this the baroque flute, with its unequal tuning, uneveness of tone, awkward cross fingering, and its pure intimate sound (which is lost in many unresonant halls) seems a poor relation. In spite of this, interest in the baroque flute seems to be growing constantly and performance standards rising rapidly. I think there are two main reasons for this. The first is that certain expressive tonal characteristics of the one keyed flute were sacrificed to the technical efficiency of the Boehm flute. The second is the modern international style of playing which is often out of touch with the baroque concept of the "affects" (that is, the passions or emotions) and their fundamental importance to the performance of 18th century music.

It is always difficult to discuss "tone" because so much is a matter of taste and context, but acoustically it is true that a conical bore flute produces a sound with more fundamental and fewer high harmonic overtones than a cylindrical flute. Philip Bate discusses this in his book The Flute'. This relatively pure tone of the baroque flute makes it unnecessary to "warm" the sound with a constant vibrato. Vibrato in the 18th century (and 19th century) was considered a very expressive ornament usually made with the finger (i.e. the French "flattement")2 or later with the breath. It should vary in speed, usually beginning slowly and speeding up, and might in- corporate dynamic variety as well. This is a long way from the modern use of vibrato.

One of the first things a player notices when he picks up a baroque flute is that some of the notes speak slowly and are hard to focus. The Fs and the G#S in particular have a very different tone colour from the stronger notes such as D and G. The baroque flute is in D, and the further the key is from two sharps the more veiled the sound becomes. When playing a one keyed flute one begins to understand the practical as well as the abstract importance of key. A piece in F minor sounds very different from one in B minor and can call for considerable agility to master the cross fingering and weak notes. Contemporary composers were very aware of this aspect of the baroque flute and often used it for expressive pur- poses.

The different quality of the notes on the baroque flute affect the whole breathing technique of the player. On the modern flute it is possible to use the same amount of air and shape of air stream for all notes in the same

register. If a baroque flute is played this way many ofthe notes will hardly sound. While the modern technique of using a strong diaphragm support provides security for a loud even sound, it also makes it difficult to change the quality of sound from the diaphragm and most of the colouration has to be done with the throat. Thus the expressive possibilities are limited to a great extent. For baroque flute playing, the diaphragm has to be extreme- ly flexible and the quantity and type of air constantly changing. If this flexibility is used to the full, it opens up a whole new range of expression and colour. With a flexible breathing technique it is then possible to begin to use the large vocabulary of baroque articulations3. The 18th century flute methods speak a great deal about articulation and a good understanding of this is essential to the performance of baroque music.

This brings us back to my opening comments about the modern international style of flute playing. Most flautists today play the same type of instrument (based on the Boehm flute) and in general use a continuous vibrato, and seek to produce a large tone with an em- phasis on the low register. A somewhat aggressive ap- proach to tone and musicality is often used for music of all styles and periods. So many players are trying to play louder, faster, and with more brilliance than their peers, while in fact these capabilities are of hardly any importance in the performance of most old music.

If we look at the type of music written for the flute in the 18th century we find that the flute had certain general associations and colours. For example, in the cantatas of J. S. Bach it is nearly always used for tender or pastoral scenes. In French opera and chamber music the flute is most often specified for languishing or melodious, airs. The modern Boehm style flute was developed to meet the gradually increasing demand for brilliance, volume and velocity; that is, things that are of far less importance to the baroque flautist than tone, colour and the musical affects.

It is my hope that the recent interest in the baroque flute will help to revive these lost traditions of expressive individuality and continue to add to the diversity of performance styles and ideas available to the concert audience.

footnotes:

'Philip Bate, The Fhre, Norton 1969, New York. *see J. Hotteterre, Principles of fhe Flure, Recorder and Oboe, translated by D . Lasocki, Barrie and Rockliff, 1968, for a discussion of the flattement. 'See J. J. Quantz "On Playing the Flute" translated by E. J. Reilly, Faber and Faber 1966, for a discussion of articulation.

Louis Carslake was born in Stratford-upon-Avon and graduated from Trinity College of Music, London, with a Diploma on the modern flute. She then studied Baroque music performance practice with Nikolaus Harnoncourt at the Mozarteum in Salzburg, and Baroque flute with Wilbert Hazelzet in Amsterdam. In 1981 she was awarded her "Aantekening" for Baroque flute performance by the Stedelijk Conservatorium in Arnhem.

Record Reviews TOM NORDEN assisted by TREVOR WYE

Records are invited for review and should be sent to 4 Abbotts Barton Walk, Canterbury, Kent C T l 3AX.

J. S. Bach - Flute Sonatas Stephen Preston - baroque flute; Trevor Pinnock - harpsichord; Jordi Savall - viola da gamba CRD 101415 2 records with insert - Boxed. Cassettes CRDC 401415

These were released in 1975, and received generally favourable reviews at the time. No one seems to have ob- jected to the tediously slow first movement of the B minor sonata; nor to have questioned the sound, which varies considerably over the four sides. Indeed the sound may have been better on earlier copies: the fact that variation occurs not only between sonatas with obbligato harpsichord and those with continuo, but between the obbligato accompanied sonatas on sides one and two, in- dicates that the problem was not one incurred while changing the balance between instruments during recording, and may have crept in at a later stage of production.

Nevertheless, the sound is never good, compared with CRD's more recent issues. Side one has the harpsichord recorded fairly close, but it sounds as though it has a blanket over it. On side two, the, blanket is thrown off and the harpsichord, now positively fizzing, dominates; the flute, sounding its best on this side in terms of naturalness, plays prettily in the background. For the sonatas on side three the issue is complicated by the ac- companist's change of role: to reinforce the demotion to continuo, the blanket returns, and the microphone retreats a few paces. The flute sound varies too: at its best on side two (artificially aided, perhaps, by tape hiss, which is most noticeable on this side); rather woolly in the A minor solo sonata.

Apart from these comments, the sonatas are a land- mark in flute records and there must be many players who have still to listen seriously to the baroque flute; they can do no better than listen to Preston. If unused to the bulges, they may find them irksome but do grow on you. These are, in general, very good performances and particularly charming is the allegro of the C Major Sonata with its delightfully uneven articulation.

Handel - The Complete Flute Sonatas. Trio Sonatas for FlutelRecorderlOboe with Violin and Continuo; L'ECOLE D'ORPHEE Stephen Preston - flute; Phillip Pickett - recorder; David Reichenberg - oboe; John Holloway - violin;

Susan Sheppard - violoncello; Richard Webb - violone; John Toll - harpsichord. CRD 107314 2 Records Cassettes CRDC 407314

The recording here is altogether in another class from that of the Bach sonatas, the instruments all balanced beautifully in a nice, believable acoustic. Some may find the violin a little abrasive, and the oboe rather brash at times on the second record, but the effect is generally life-like. Apart from a small scruff on one of the records, the surfaces were completely free from noise.

What a dilemma a performer must find himself in when asked to record embellishments. The sense of spontaneity can still be there, but the very nature of recordings means that the same ornamentation is repeated in exactly the same way time after time. On the other hand, a performer recognising this, and recording rather plain performances, Is quite likely to be whipped for not doing anything. The collection is of the former kind and on second playing, we did find some slow movements a bit tiresome; it was hard to recognise what was being embellished. This aside, these are excellent performances from every viewpoint. Most young players are weaned on Handel and sadly the sonatas come to mind as 'teaching or 'learning' pieces. This excellent set should serve to dispel that idea.

Von Weber - Flute trio in G Minor Clarinet Quintet in Bb Judith Pearce - flute; Antony Pay - clarinet; The Nash Ensemble Record CRD 1098 Cassette CRDC 4098 This Trio is more lightweight than the concerto-like quartet but is a work well worth hearing and seems to have had more performances during the past five years than in the previous century. A little sharpness in the flute top register was apparent but didn't spoil the warm phrasing. This recording would serve as a good in- troduction to this charming piece. Antony Pay gives an excellent account of the quartet. The balance is perfect between instruments in both works, perfect ambience, and to compliment the recording, a good pressing.

Theobald Bohm - Compositions for flute Andras Adorjan, William Bennett, Ursula Burkhard, Michel Debost, Irena Grafenauer, Aurele Nicolet - flutes; Barton Weber - piano. ORFEO S 018822H Available from: Ludwig Bohm, Asanstr. 6, D-8032 Lochham, Kr. Munich, W. Germany. Price 35DM plus 5DM post to UK.

A recording of the memorial concert on the occasion of the Centenary of Bohm's death held in Munich on 27 November, 1981. This 2 record set is a must for flute enthusiasts as it comes with a double sleeve and plenty of historical notes. Although a bit of patching was done

after the concert, the live performance 'feel' is obvious. Yes, there are a few gremlins, note-wise, but one is not surprised with such virtuoso pieces. The sides are rather shorter than one would expect from 2 records but this is the recording from a live concert. The playing throughout is, as one would expect from Europe's most famous players, superb. The pieces include the Fantasie on a Theme of Schubert Op. 21, Variations on Nel Cor Piu Non Mi Sento, Op. 4 and the Grande Polonaise Op. 16 plus items for flutes and alto flutes. Orfeo is a very welcome label new to this country; if everything they produce is so technically as good as this, new issues from Orfeo will be something to look forward to. Recorded digitally under less than ideal conditions, the sound is life-like. Pressed by Teldec using their Direct Metal Mastering technique, the records are free from any noise or pre-echo and the surfaces of the review copy were perfect.

READERS! For an individual view write to Auntie Crotchet, c10 The Editor, 30 Grove Road, Stratford-on- Avon CV37 6PB.

THREE NAUTICAL SKETCHES for piccolo & harpsichord o r piano by Thomas Pitfield Quodlibet; Meditation o n Tom Bowling & The Keel Reel; P/R001 $ 2 . 2 5 ~ CHAMBER CONCERTO Op. 76 for picc. & strings o r keyboard. Solo & kbd. $2.50; sc.£3. 50; parts 50p ea. (Young Soloist series) SONATINA for flute & piano by Thomas Pit- field; (80th birthday re-publication) £ 3 . 4 0 ~ TRIO for flute, oboe & piano by Thomas Pit- field; (80th birthday re-publication) £ 5 . 4 0 ~ PRELUDE AND FUGUE Op.78 for flute, viola & harp or keyboard by Gordon Dale; written for the Liverpool Harp Trio: $ 4 . 2 0 ~ COMPACT CONCERTO Op. 6 7 for flute and orchestra by Gordon Dale; sc. $5.30; set $10; solo & pf. £3 (Young Soloist series) THE WELL-TEMPERED FLAUTIST a tutor in 2 parts for class or individual lessons by Patricia Waddington; tach part $ 3 . 3 0 ~

Pipeline

Dear Auntie Crotchet . . . Is there any help for exam nerves? Children seem to be

getting worse and worse. I put it down to increased competitive standards generally in schools. With such pressures to pass this and that exam academically I find even my good pupils go to pot in their grade exams. How can I help them? Auntie Crotchet says: Nerves are a fact of life, but I'd teach the children the value of three CS: if one is Compe- tent one can Concentrate and that give you Confidence. Corny, but it works.

I work in a small shop and flute-playing is my hobby. I'd love to play duets with a friend but the trouble is, I don't know what music to ask for. Can you give me some suggestions? Auntie Crotchet says: Presumably you have a reasonable standard? Try the Valentine and Loeillet duets, published by Schotts, 48 Great Marlborough Street, London W1V 2BN; or the W. F. Bach flute duet Nagels Musik-Archiv no. 39 published by Barenreiter, 17-18 Bucklersbury, Hitchin, Herts SG5 IBB, or the Telemann flute duets, also published by Barenreiter. You will find a wealth of easier duets among recorder music in the publishers showrooms, and the best thing is to browse round with a catalogue visiting as many shops as you can.

I find I stand for several hours a day when flute playing and in winter it is very difficult to keep warm. After three hours either teaching or in rehearsal I often can't feel my legs and my fingers go numb. Auntie Crotchet says: Insulate yourself; with several layers of woollen garments if you can't wear thermal underwear. Four thin sweaters are better than one thick one, and can be shed without embarrassment if there's a change in the temperature.

My problem is my feet. Since the beginning of my career I've been on them so much that they've spread a couple of sizes and I have painful hard skin on the soles that give me gip at the end of the day. Auntie Crotchet says: A good chiropodist will work wonders in half an hour: but book a regular six weekly appointment. And keep the fashion footwear strictly for the limelight.

Several schools in my area have school flutes, which are passed around from child to child, with the usual mishaps - dents and bent keys etc. They are often so revoltingly sticky I can't bear to handle them: if it isn't vaseline on the headjoint it's lollipop or lemonade. Do you think this sharing is a good idea? Auntie Crotchet says: It might be worse to have no flute at all. It is - I'm told - medically unlikely to pass foot and mouth disease via a metal lip plate, and it's likely that children, when they get their own flutes, will be less likely to leave their lunch on it when they see how preferable it is to a sticky mess.

. . . Britain's Centre for Professionals . . . Charterhouse carries Britain's largest selection of flutes, headjoints and accessories, from the first student model to the Silver hand-made models.

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British Orchestral list of Flute Players Scottish Opera Orchestra

David Davies principal Ann Dunnford

Scottish Narional Orchestra Richard Chester principal Barbara Gaskill assistant principal Paul Kingsley piccolo

HaNi Orchestra Roger Rostron principal Jonathan Booty assistant principal Ronald Marlowe piccolo

City of Birmingham Symphony Orchestra Margaret Campbell principal Colin Lilley sub principal Andrew Lane piccolo

B B C Symphony Orchestra David &ett 7::'- principal Christine Messiter CO-principal Richard Stagg sub principal Patricia Morris piccolo

B B C Concert Orchestra Jane Pickles principal Robert Davies piccolo

L P 0 Martin Parry principal Celia Chambers second Robin Clapman piccolo

R P 0 Jonathan Snowden principal David Sandeman second Gervase Markham piccolo

The Orchesrra of the Royal Opera House Olivier Bannister Patricia Lynden William Morton Donald Davidson John Bower

B B C Philharmonis (formerly B B C Northern) Alan Lockwood principal Janet Bannerman sub principal Anthony Walker piccolo

Bournemouth Sinfonierra Howard Nelson principal David Eaton sub principal

Royal Liverpool Philharmonic Orchestra Colin Chambers principal Anthony Ovenell 2nd flrrte & CO-principal Myra Bennett piccolo

Philharmonia Orchestra ?????? principal Cecil Cox sub principal Keith Bragg piccolo

London Sinfonierta Sebatian Bell

Orchesrra of S t John Smith Square Judith Pearce

English Chamber Orchestra William Bennett Christopher Nicolls

London Mozart Players Christopher Hyde-Smith

Orchestra of the Welsh Narional Opera Simon.Priestley principal Sarah Newbold 2nd flute &J piccolo

N . Irish Orchestra (name?) Colin Fleming principal Meg Young sub principal Eliza%eth Bennett piccolo

Northern Sinfonia David Haslam

L S O Peter Lloyd principal Richard Taylor Laurie Saunders

English National Opera Elmer Cole Michael Axtell Alan Baker

English Northern Philharmonia Sarah Brooke principal David Moseley Elizabeth Parry piccolo

We invite orchestral f l~tte players to advise us of their positions. We would like to complete our list. ED.

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Appreciation EDWARD WALKER, F.R.C.M.,F.R.A.M. 1909 - 1982

Edward Walker, Edddie to his many friends, who died last October, was born at Stoke-on-Trent into a musical family.

His great-grandfather was an amateur violinist, his grandfather a well-known musical director in the North of England, being conductor at the Alhambra Theatre, Bradford during the 1890's.

Gordon, his father, was a very distinguished flautist as Principal Flute at Covent Garden, and then Principal Flute of the London Symphony Orchestra from 1926 to 1946, before stepping down in favour of Eddie, but himself remaining as second flute.

When Eddie was 13 years old, Gordon offered him the choice of a career between banking or playing the flute. At this time, however, his greatest ambition was to own a pair of roller skates, so his father promised he should have them if he practised the flute, and learnt to play a certain Boehm study within quite a short time. He practised hard, got his roller skates, and, in due course, went to the Royal Academy of Music to study under Daniel Wood in 1924.

After four years there, he joined the then Scottish Or- chestra for a year, afterwards becoming a founder- member of the B.B.C. Symphony Orchestra in 1930 as Principal Piccolo.

Seven years later, he was invited to join the London Symphony Orchestra, again on piccolo, and succeeded his father as Principal Flute in 1946.

During the war Eddie served with the RAF Central Band at Uxbridge.

During this period he was involved in an unfortunate incident. After a sleepless night due to his son yelling his head off all night, he was rather late arriving at the parade ground for the daily roll-call.

He used to cycle from the station to the barracks, but on this particular day, he cycled in, only to find the band lined up on the square, and the roll-call in progress.

Without hesitation, he weaved his way briskly through the ranks on his bicycle, minus his hat incidentally, shouting out "WALKER, PRESENT SIR!" and disap- peared around the corner. Needless to say, so many charges were brought against him, that the C.O. just did not know how to deal with him! After a severe repri- mand, and a solemn promise from Eddie not to Yepeat the episode, he was let off without punishment!

In 1954, after eight years as Principal Flute with the L.S.O. he left, and, with Gordon, formed the "Sinfonia of London", which became an immensely successful film recording orchestra.

He also joined the Philharmonia Orchestra, and was Professor of the Flute at the Royal College of Music from 1949 to 1980.

Very many of his ex-pupils from the College have themselves become well-known in flute-playing circles. Pat Lynden (now CO-principal at Covent Garden); Peter Lloyd (principal in the L.S.O.), Christopher Hyde-

Smith (who has played in most of the major symphony orchestras, and is well-known for his solo and chamber music playing), Roger Rostron (Principal Flute in the Hall6 Orchestra), also Alex Murray, Richard Taylor, Christine Messiter. Many other fine flautists in orchestras today, are a tribute to Eddie's teaching.

From his earliest days, his hobbies were very varied. Steam engines were his first love (after music!).

After a day at school in Stoke, he would spend many happy hours on the footplate of engines shunting up and down the good's yard! Homework was very neglected in those days! On one occasion, he travelled on the footplate of an express, in full tails, between Swansea and Cardiff, whilst the rest of the B.B.C. S.O. were com- fortably seated in the train, unaware of the piccolo player's absence!

He also enjoyed sailing, cricket and golf. Eddie's musical tastes were broad, but his favourite

composers were Bach, Mozart, Schubert, Richard Strauss and Elgar. He was a devotee of the wooden flute, and always played on Rudall-Carte instruments.

Someone recently said to me "No one is ever dead, until they are stopped being talked about".

This is so true, and I, Eddie's many colleagues, pupils and friends, will, I hope, talk about him for many years to come.

As a third generation of "Walker" flautists, I am very proud to be his son.

Tony Walker

RICHARD LEE It was with great sadness that those of us in the Royal

Shakespeare Theatre Wind Ensemble who played with Richard Lee during the sixties and early seventies heard of his untimely death.

In later years we would often remember with admira- tion his fine flute technique: how his fingers would hardly seem to leave the instrument, even in the most demanding of passages, and his pure uncomplicated sound.

Apart from our nightly performances in the theatre we alsp formed a wind quintet and played a great deal of chamber music. In a letter to me just before his death Richard wrote of that time: "I still think of that year - when Geoffrey Browne and David Munrow were there - 1966-7 wasn't it? - as being one of the best years in the band, when we did quite a bit of playing and generally had some fun".

Richard was a private person who had a wry sense of humour. Anecdotes of some of his escapades on stage will be remembered for a long time by all of us who knew him. as will the sound of his beautiful flute and recorder playing which sang out into the auditorium during his years at the Royal Shakespeare Theatre.

Edward Watson

CHRISTOPHER TAYLOR 1929-1982 Geoffrey Gilbert - who had pioneered for the acceptance of the French stvle of flute playing, with tonal con-

The death of Chris Taylor on September 30th has left a void in the hearts of his many friends and in the musical life of London. As a close friend and colleague I observ- ed and shared in his many fine musical achievements as one of England's finest flute players. His versatility and adaptability made him the first call for most of the musical contractors in the highly competitive area of studio recording, where his experience as Principal Flute at the Royal Opera House Covent Garden and the Royal Philharmonic Orchestra, coupled with his interest in the stylised areas Jazz and Baroque music ably qualified him for the immense challenge of studio session recording. Flexibility, accuracy and artistry are e#- pected in this field and Chris always gave so much more than just this, and on the hundreds of sessions which we must have played together on he was a constant inspira- . tion to me and others. His faultless intonation, expansive phrasing coupled with the memorable and irreplacable individuality of his flute sound made him an artist all were proud to work with. His enthusiasm for all aspects of the flute is legend. Chris was certainly one of the in- novators and acceptors of the acoustical superiority of the Cooper Scale through it many stages of development and I know that Albert Cooper acknowledges the important part that Chris played in his own developing flute designs where Chris Taylor's accurate ear and demanding standards acted as a catalyst for Albert's work, particularly in the development of the alto and bass flute. Chris' other love apart from the flute was motor cars and I well remember the sadness he felt when he sold his Aston Martin to pay for his new Cooper bass flute.

Chris was for me the personification of the teaching of

. . U.

cepts which at the time were so alien to the prevalent flute style in England. Chris was probably the first of Geoffrey Gilbert's many pupils to achieve recognition and further the cause for the acceptance of the silver flute and the French style of playing.

The numerous T V and film scores, Opera and Sym- phonic recordings in addition to his solo recordings - Bach Fl'ute Sonatas, Vivaldi Concerti and Telemann Trio Sonatas - are a legacy and example which Chris has given to all of us. As a teacher and Professor at the Royal Academy of Music he was admired and respected by all his students.

The Lourage with which Chris fought the debilitating nature of his illness over the past few years was an example to all his friends, colleagues and family. Not to be defeated and never complaining he worked almost to the end, often driving to recording sessions after an over- night stay in hospital. Most people would have given in much sooner but the will to keep playing the flute and the thought of future work kept Chris going throughout his illness. The inspiration engendered by him in his attitude and dedication to being a professional musician has affected all who knew and worked with him. Chris maintained this positive attitude throughout and he will be remembered as a talented and dedicated musician whose generosity radiated throughout the many aspects of his life - as musician, colleague and friend.

Adrian Brett

The Christopher Taylor Memorial Fund Barclays Bank 20-70-22 Account No. 4144597 60 Putney High Street, London SW15

Flute Teaching in Schools MALCOLM POLLOCK

The past twenty years have seen a dramatic increase in the number of young people learning the flute. There have been many factors involved in this increase, the most important being the enormous expansion of free and subsidised tuition provided by Local Education Authorities and the development by the major distributors of hire schemes where the instrument can be bought or returned after six months.

Most L.E.A.s now have a peripatetic music service which caters for most instruments in school as well as providing county-based activities outside school. The cuts have had an effect, naturally. We still hear horrific stories of drastic cuts in peripatetic services, or their complete destruction. Just as worrying is the growing degree of lobbying for fees to be paid for tuition in school. What effect would this have nationally? There are areas where this already takes place, but politically it is divisive. Fears are constantly expressed as to the danger of music becoming once again a middle-class dominated activity, if only those children whose parents can afford it or wish to afford it are going to receive tuition.

On the other hand, if fees were paid, pupils would be entitled to individual tuition. Opinions are divided as to the relative merits of individual or group tuition. Teachers can see anything from four to twelve pupils an hour, as the "numbers game" becomes even more fran- tic, the L.E.A.s trying desperately to meet the Govern- ment's spending curbs. Lessons in minute practice rooms, often with little of no ventilation, and involving a teacher and five pupils, are depressingly frequent. Music departments in schools are simply not built to house these numbers.

Many teachers prefer the "mini-masterclass" ap- proach to individual tuition, but this is of course largely a matter of personal preference. I am, however, suspicious of teachers who dismiss group tuition outright. There is often much to be gained by the in- teraction of several pupils and their individual problems. What is more important is the amount of time given to each pupil. If you have a group of two beginners for half an hour, they are probably receiving as much tuition as they can take. The problems start when one has to take four pupils in the same space for the same length of time.

Another equally serious problem related to flute teaching is the demand for peripatetic woodwind teachers rather than peripatetic flute teachers. Even more annoy- ing was the recent advertisement by Strathclyde Regional Council for a teacher of brass and woodwind! What is expected of such teachers? Whilst is is possible to learn in theory the basic principles of playing any instrument it is essential even for beginners to have a specialist performer of that instrument teaching them. T o fob critics off with excuses that it doesn't matter for beginners is ridiculous. There are many basic things which flute players do which are not necessarily obvious

to clarinettists or oboists. At the root of the problem are financial restrictions of course. Authorities in theory get "more for their money" if they employ teachers to teach a wide range of instruments, but in my view such an ap- proach is short-sighted.

Pupils in state schools have a fundamental right to music education, a right which is as basic as their right to tuition in English or Mathematics. The subject has just as much bearing on their lives, in fact in many cases considerably more. At the root of the problems facing any instrumental teachers in schools is the lack of flexibility of the traditional curriculum. Why should it not be possible to work flute tuition into the timetable, without pupils having to miss other lessons in order to take advantage of it? Why should pupils be moved around in groups of twenty or thirty all day, sitting behind desks in one room, if many creative subjects simply do not fit into that mould? Because of the restrictions of the traditional timetable, music is too often formed into the "optional extra" category.

I am aware that much of this article has been of a general nature, not specifically related to flute teaching, but the problems discussed will be recognised by any teacher working in a peripatetic music service. Above all else, let us hope that the pioneering work done by many L.E.A.'s over the past 20 years is not destroyed by tem- porary financial restrictions, and that we as teachers are able to work towards a better deal for our pupils in the state education system.

Malcolm Pollock is Head of Music at Sr Angela's RC School, Stevenage. He has 4fi years experience as a peripatetic teacher in Manchester, and represents teachers on the BFS committee.

TEACHERS! If you wish to air a point of view, write to Malcolm Pollock, 1 Kings Road, Hitchin, Herts. ED.

Quick Quiz: Answers 1. The Blue Baboon. 2. A child on a cloud: The Piper by William Blake. 3. Density 21.5: Varese. 4. Hindemith. 5. Because when he was about 60 he lost his teeth. 6. Neilsen. 7. The smallest recorder. 8. Mozart. 9. Eight years old.

10 A Midsummer Night's Dream.

A Life Line JOHN FALK

Although from my earliest childhood music has always been important to me I was a poor executant throughout my schooldays. I think this was partly because I knew I should never be able to compete with my father and my sisters. In fact at around fifteen years old I even abandoned the piano thinking Rugby football much more important. Yet a vague dissatisfaction followed, and I think this is why some two years later at the end of a school term, when I heard a cry "Anyone want to buy a flute?", I readily paid 716 for it. It was a wooden conical flute and I think it had eight keys: I could get no sound from it; but I was to spend the next.month with a German family on the shores of Lake Constance; so I used to sit and ,

blow by the lake, and by the time I returned home I could play nursery-rhyme tunes. But school life again drove the flute underground, and though I sometimes wonder what happened to it I have no memory of ever playing that flute again. Yet it had done for me what I still think is the most important thing for anyone with an urge to play an instrument - it awoke in me a love of the quality of tone of that instrument: and I remain convinced that if one really wants to play music one must love the noise one is trying to make whether or not one gets anywhere near making it. Even so nothing more happened until I was nineteen and embarking on the demanding career of medicine: then one day my mother rang me up and told me to go to Rudall Carte and buy a flute: she was a dominating character, so I dutifully went to 23 Berners Street W.1. and became the owner of a nickel- keyed Boehm system wooden flute, price £25, which seemed to me a huge sum. I found it difficult to leave the thing alone and started treks to Golders Green for lessons. My tutor was uninspiring, and I now realise he taught me far less than he should have for 316 a lesson. Nevertheless I played all I could while at Cambridge, and then for my three years clinical studies in a London Hospital I had digs in an amateur musicians' club in Bedford Square. Those three years were bliss: hard work all day in hospital, but if I wanted to I could play all night in that club and nobody complained: and I got endless enjoyment from chamber music with countless other amateur instrumentalists - all far more accomplished musicians than I was. Yet somehow I was accepted, mainly, I think because in those days flautists were rather rare birds whereas nowadays we are four-a- penny. But alas those days were too good to last. At the end of the three years I duly qualified as a doctor and then for what seemed an eternity I was incarcerated in hospitals doing junior jobs: and in those times you took on a six-month living-in job of 24 hours a day, with ab- solutely no organised free time. Needless to say the flute fell silent. And when, after two years of that, I started general practice in Wiltshire life was no easier: in fact it took World War I1 to give me the chance to blow again. In any war I suppose there are spells of idleness for all servicemen: I certainly welcomed them and could usually find somewhere to play without too great a risk of be-

ing beaten up by exasperated fellow-soldiers. By that time I had parted with my first Rudall Carte flute and my generous father had given me a beautiful thinned Rudall Carte wooden flute with silver keys - thinned head and body too: I was quite unworthy of it but I loved it dearly. I loved the look of it, the feel of it, the smell of it, its grain, the quality of its silver and its Rolls Royce mechanism. But then came the prospect of going overseas and I could not think of taking that instrument into battle, so I got a very third-rate old French flute, having no idea what a life-line it was to become, and set off with it across the oceans in my convoy. It was not long before I was a prisoner in a Japanese P.O.W. camp on Singapore island, and there I was to spend the last three-and a half years of the war. During that time life was often far too hard for blowing a flute-especially during the first six months. But then I began to find time for some practising, and other players began to surface here and there: we formed groups of the most unusual combinations of instruments.

I found myself pleying in bands in camp sing-songs, in the pit-orchestras of unbelievably makeshift theatres (there were some fantastically good productions), and every night for two unforgettable weeks in an orchestra that dared to put on the first movement of Schumann's piano concerto - all the parts written out from memory by a professional pianist (who did the solo on a honky- tonk piano) with saxophones instead of cellos etc. But it was a work I had known intimately from my schooldays (Cortot's recording) and every chord rang true. That was truly an unforgettable fortnight in which every night was a thrill, even though the inevitable sequel was to roll exhausted on to one's mattress, hungry as always. In those days my flute really was my life-line. But sad to say it could not stay the course: the damp atmosphere of Singapore Island meant that the springs rusted and snap- ped; the pads first leaked and then disintegrated; and although for some time I kept it going with strips of rub- ber acting as springs to close or open the keys and with leather or even leaves to mend the leaking pads, it eventually became unplayable. This was sad as by this time the only other flute in the camp was made on the spot by two expert metal-workers from the Royal Engineers; they borrowed my flute, dismantled it, and painstakingly copied every single component, starting with the barrel of a fire-fighting stirrup-pump as the metal tube. It was very heavy but it would blow after a fashion, and was a truly extraordinary achievement in those circumstances. Long before the end of the war I became separated from those two engineers and their flute, but by extraordinary coincidence I have recently heard that they reached home and that the flute is safe somewhere in Cheshire. I feel it should eventually be preserved in the Imperial War Museum.

Eventually, at the end of 1945, I found myself back at home and reunited with my wife and my thinned flute - in fact we were all three rather thinned by that time. My partners allowed me a few weeks holiday during which I tried to play once more, but with little success. And in no time I was engulfed once more in the toils of general practice. Twenty years passed, and my flute remained

dry. Then, one Monday in the mid-1960's during the school Easter holidays, I came home to a quick cup of tea before my evening surgery and flute and piano music wes audible from upstairs: the pianist could have been either of my two early-teenage daughters, but the flute was a surprise. My wife explained; the girls had a school- friend with them (actually her name was Emma Kirkby - ever heard of her?). Quite unreasonably I was envious and angry. Why had medicine denied me this for so long? Worse still, Emma was playing stuff I had played in the Bedford Square days, which seemed to make matters more bitter. Somehow fuming, I got through my evening surgery and returned home and got out my flute: the results were pathetic, but with one daughter on a cello and the other playing the other flute part on the piano we got through one of Haydn's London Trios, while my wife was rendered weak and helpless with laughter.

But Emma had done the trick. From then on while the spuds cooked for our late suppers I summoned up nightly energy for 20-30 minutes practice, and I have played almost daily ever since.

About four years later I reached the age of sixty and left general practice for half-time hospital work. Life began again: I played a lot and had inspiring lessons from Rainer Schuelein, to whom I owe a great debt for his endless patience and encouragement. In 1972 I brav- ed my first music-course and met Wilfred Smith: the following year he started his own series of summer holiday courses for flute and recorder players, and I went nearly every year until he gave them up after 1980. All through the months between the summer flute-courses I played both in chamber groups and in an amateur orchestra in a nearby town: this latter experience was perhaps of the greatest value of all to me, and I truly loved my nine years playing in that orchestra and working for it. Now, well into my seventies, I confess I am tailing off and playing less - it becomes more and more tiring. But the truth remains that the flute has heightened life for me again and again. Thank Heaven I was able to produce 716 at the end of that school term.

A post-script about instruments. Although I always loved my thin wood I began to realise that it was hard work to play, and eventually Schuelein persuaded me to get a Muramatsu. I got on much better with it, but never loved it; although it carried the stamp "Silver" in two places it did not look like the silver of my Rudall Carte, and by comparison its action was poor, I have never cared who borrowed it, whereas I never lend my wood. Then in 1980 on Wilfred Smith's last course I heard of John Webb and his fabulous silver flute heads. I felt sure that that was what my Rudall Carte needed - a John Webb head. He soon fitted one for me and the result is miraculous. My Muramatsu is now very much the spare wheel, and I am simply not interested in exotic instruments made of silver, gold or platinum: I just know they will not be as good as my Webb-Carte combination.

This article is greatly appreciated, and we should like to have other articles from amateurs-whose enthusiasm for the flute had led to matters of such interest. ED.

FLUTE PLAYERS !

Mrs. Margaret Pether 82 Seagull Road

Strood Rochester

Kent ME2 2RH

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Soutlt Easr Arts, Young Musicians Platform 1983 10 March Faversham Music Club (Alexander Centre,

Preston Road): Mladi Ensemble (featuring Helen Duffy, Flute).

8 July New Metropole Arts Centre, The Leas, Folkestone, Kent: Mladi Ensemble

9 July Recital Helen Duffy, Flute, Holy Trinity Church, Broadstairs, Kent.

THIS SERVICE IS FREE

BFS Dares 15 April Masterclass by Jean-Pierre Rampal

Guildhall School of Music, London. Afternoon and evening sessions: ticket per session E3 to Members (for both sessions E5). E7 to non-members (for both sessions E12). All details from Simon Hunt, 40 Portland Road, London W I1 4LG.

3rd September BFS LONDON DAY at the Guildhall School of Music with John Francis, Geoffrey Gilbert and Trevor Wye. Full programme to be arranged.

516 November Flute Extravaganza Royal Northern College of music

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TREVOR WYE

Auditioning for a College of Music or University, can be a harrowing and nerve-racking experience.

Don't expect to find here the answers to your nervous problems, though you will find some helpful hints on preparing yourself which will enable you to see the audition procedures from another point of view and so help your chances of gaining a place.

Firstly, it isn't a bad idea to audition for all the principal Colleges if you feel that it would give you a better chance to see them at first hand and get practice in auditions. However, if you've really got what they are looking for, even your nervousness won't conceal it.

In selecting the one you are most interested in, the following criteria should be your guide:- (a) you choose a particular College because the teacher

you most wish to go to teaches there. @)the course offered is the one most suited to your re-

quirements. Do ask the advice of your teacher, but be warned:

teachers often suffer from a 'Do as I did' syndrome and strongly urge you to apply to the same College they graduated from. Probably your teacher took the advice of his or her teacher and so on.

Courses - and Colleges - change a lot over a decade. Do Iiszen to your teacher, but also ask advice elsewhere. If possible ask college students at Summer Schools and Orchestral Courses what they think of the place they are at. Ask them whether what you've read in the College prospectus is all true. Not, I hasten to add, that Colleges set out to mislead, but the phrase 'Chamber Music Ac- tivities are provided and encouraged' might simply mean that if you care to get together with a couple of spare students and rehearse the odd trio, then it shall have our blessing. Chamber Music should be a part of any course. It should be coached by experts and there should be opportunities for performance. Check what a student does during a year. If it is a performing course, are there am- ple opportunities for performing experience and orchestral repertoire training?*

The Colleges advertise for students and you answer the ad. You are, therefore, suggesting that you are one of the students they are looking for. The onus is on you to go and show them what you are capable of. It's not enough simply to be there and expect the audition panel to find out what you are like. There is little time to do more than listen to you play part of a couple of pieces and give a short interview.

Principally, the panels expects you to have reasonable command of the flute: they then judge your musical potential. So choose your pieces with care to show what you can do.

Everyone these days has Grade V111 with distinction so you've got to set out to show that you are head and shoulders above your contemporaries. Don't worry about your interpretation: you'll be taught that at Col- lege. Show your technique, tone and articulation to the best advantage in pieces which give you a good chance to

show your musicianship. It would be foolish to choose two slow movements, unless you haven't got any technique. Be prepared to play.any other movement from the work. At the same time, don't show what you can't do - leave that to the panel to find out! Try to perform. Panels know you will be nervous and will try to help in any way they can but the responsiblity is yours to declare yourself.

You don't have to dress up too formally, though panels are put off by an untidy or unkept applicant. What gets you in is your potential not a permanent wave or collar and tie.

Be prepared to answer questions about your interest in the flute and music in general. Be prepared also to play something other than the pieces you were asked to play. Several thousands of pounds may be spent on you, and the panel have to be sure they've picked the right person.

After your audition you may, or may not be offered a definite place. You may also be offered a 'reserve' place. The latter means that they've offered places to others who they considered better than you but one, or more, of those may not accept the place offered: later, they may then offer it to you.

The Colleges can't seem to agree on a similar period of time for auditions. Some auditions are held in December and others as late as April.

If you intend to "do the rounds" of College auditions

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and are offered a place at an earlier audition for a College which isn't your first choice, write accepting the place even though you may later, when offered another place at a College which is your first choice, have to write and turn down the previously accepted place. It sounds dishonest. Maybe it is, but as long as the 'system .is blinkered about audition timings, it is better to ride the horse the way he's going. If you turned your first offer down, you don't know if you'll get another! If, at your interview after audition, you are asked where you would go as a first choice, then the answer is where you are sitting. Even if it is not. If offered a place at your interview, you may be asked to assure the College that you will take up the place offered to you. Give that assurance. Yes, it's morally wrong, but more mora'lly wrong in my view to seek such assurance. The Colleges are quite used to this sort of argy-bargy so don't worry your head about it.

It would be doing others harm, however, if you were offered two College places and didn't accept one and write an apologetic refusal to the other as soon aspossible. That way, someone else can be offered your place in good time.

Around 60 flute applicants ask for auditions at each of the major Colleges. Most audition for more than one College. This means that around 180-200 are applying for performing courses for a profession which can ac- commodate about three or four positions in orchestras and maybe ten more in fringe performing activities such as freelancing and occasional playing each year. The

Colleges accept and release about forty flautists each year. If you haven't been offered a place at one of the top half- dozen Colleges, the chances are that you are unlikely to get into the profession as a performer by accepting a place in a less prestigious College or University. To go to a University in order eventually to become a performer is equally unrealistic. Music Colleges are in-the business of turning out performers. Don't go to a Col- lege of bricklaying in order to study knitting.

Post-graduate applicants are usually expected to be beyond the 'basics' stage. A post-graduate Course is offered by many Colleges to help those who are bent on a performing career to learn more repertoire and to polish up their playing. The College graduates are usually auditioned at the same time for the two or three places offered and as a University or training college post-grad, you will be competing against graduates who have had the benefit of four years of expert music college training.

The important thing to do is when around 15 or 16 years old, seek expert advice as to your future chances. Some Colleges offer Advice Auditions for this purpose. In any case, most college professors would be happy to hear you and advise you on your chances and the best course of action you should take. It's a wise person who seeks such advice at an early stage and so avoids bitter disappointment later.

*"Which College"? will be the subject of a further article in this series in a future issue.

What can your own local flute club offer? RUSSELL PARRY

With most of the country's several hundred thousand flute players rarely playing outside their own homes, and many others only hinting at the flute's possibilites in local ensembles, the time for a national germination of flute clubs is ripe. What can they offer?

For TEACHERS; an inspiring outlet for your pupils' playing, both solo and ensemble, and an unparalleled chance to widen their knowledge of repertoire.

For PLAYERS; a chance to play with, and to, other keen flautists, to be inspired by their ideas, to compare instruments and repertoire, something to work for and belong to.

For STUDENTS; an opportunity to share your difficulties, and discover how others have overcome them; to improve your sight reading; to hear new, exciting pieces; to try other flutes; to compare instruments; to find how good you must be to pass your next exam, or get to music college; to discover ways of making your flute work better; to keep playing after leaving school.

For ENTHUSIASTS; a meeting ground! For the RETIRED and UNEMPLOYED; a useful

and interesting night out. For ARRANGERS, COMPOSERS & CONDUC-

TORS; a new challenge! For RETAILERS; at last you can put all those

customers in touch with a group that can really help and encourage.

For ADULT EDUCATIONALISTS; an idea for a new venture.

There is a huge variety of possibilities for individual meetings. Here are some recent events:- (1) A seminar on 20th Century techniques with a visiting lecturerlrecitalists. Members prepared solos from the period, and a large ensemble piece was rehears- ed. This format could be adapted to any musical style or period. (2) An entire club spent an evening playing popular music arranged for flute ensemble. Again, any styles of music could be played. Suitable parts are available in the pieces for all standards of player. There is music for concert flutes alone, but additions of piccolo, alto flute etc, and even percussion can add variety. (3) The members gave a recital of 18th century music. Members volunteered to prepare and perform suitable pieces. (4) Live and recorded recitals were arranged. (5) One club gave a public concert, the members providing solos, duets, quartets and larger ensembles. (6) A youngsters recitallcompetition evening was arranged. (7) A local flutemakerlrepairer gave an illustrated talk. (8) The members invited a well known flautist to hold their own masterclass. (9) In Northern Ireland many flute bands held regular rehearsals to prepare for the Flute Band League competition.

Now, why not use the services of your very own journal to get together a few fellow enthusiasts and launch your own club? Local papers and radio will be only too pleased to publicise a new venture (no charge for news items!). Teachers may be able to make schools available for meetings. Music shops may well be keen to help contact other enthusiasts, and may be able to offer a modest cash guarantee before membership fees start rolling in. The B.F.S. can help put you in touch with visiting lec- turers, recitalists, existing clubs and suitable music sources.

Make the world a better place to live in:- Start form- ing your own flute club today!

Russell Parry is club secretary at the Leicestershire School of Music and represents Flute Clubs on the BFS committee. If you would like to jodform/give news of a Flute Club in your area, write to Russell Parry, 21 St. Phillips Roari, Leicester-ED.

Stop Press Flute Extravaganza: November 5/6th, 1983. Manchester

Plans are being finalised for a Flute Weekend to be held at the Royal Northern College of Music in November. Starting with a Reception on Saturday the 5th at 12 noon, there will be concerts, talks, discussions and a buffet supper with a cabaret to end the pro- ceedings on Sunday evening, the 6th.

All events are being planned to allow travellers to leave Manchester by train on Sunday at 7.15 p.m. All meals can be taken at the College.

The concerts will include a contemporary flute music concert given by Sebastian Bell, an evening concert of concerti given by William Bennett, Stephen Preston and the R.N.C.M. Sinfonia and including concertos for baroque, classical, 1832 Boehm and late 19th century flutes.

Albert Cooper and Jack Moore - whom it is hoped will pay his first visit - will hold a discussion panel on headjoints and flute making in general. Edward Blakeman will give an illustrated talk on the life and work of Paul Taffanel, and contributions have been promised from Fritz Spiegl and other distinguished flautists.

Recordings on cassette will be on sale shortly after each concert or the following day.

An accommodation officer will arrange hotel book- ings.

Full details will be in the next issue of PAN, but advance details will be available by sending a stamped addressed envelope to:-

Flute Extravaganza School of Wind Royal Northern College of Music Oxford Road Manchester England.

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Repairers Shop Windo W

REPAI RS ? Musical Instrument Ceoperative LTD, Brass&Violin Unit 122.31Clerke1lwell Close, London, ECi. 01-250-1164. Specialists.

Woodwind & Chiltern Music. Sewices Apprentice trained.

saxophone repairs, (R. J. Casey) 22 years' experience. keywork alterations 4 King Street, . 24 hour service a speciality.

Tring, Herts. (by appointment). Mouthpiece relaying. Instruments bought & sold.

. Tel: Tring (044282) 66 1 1, 6978

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PAN - The British Flute Society

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