Witish - The British Flute Society

((( Witish - Flute )))

PAN The Journal of the

British Flute Society

President James Galway

Committee: Christopher Hyde-Smith Chairman John Francis Secretary Tony Bingham Treasurer Margaret I'ether Membership Secretary Lorna Lewis Journal Editor Trevor Wye Assistant Editor Ian Christie Publicity Officer Malcolm Pollock Education Representative Russell Parry Flute Clubs Representative Albert Cooper Flute Industry Representative William Bennett Flute Concms Representatiwe Simon Hunt Librarian Susan Bmce 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 610 per annum Student Membership or under 21 L5 per annum Commercial and Industrial Membership L25 per annum School Membership L20 per annum

Advertisement Manager: Frances Moon, Percival Moon & Son Ltd, 5th floor, 80 Fleet Street, London EC4Y IPN. Tel: 01-353-5555/3913/2665/0530

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 Editorial 2

Letters to the Editor 3

Fifth Italian Flute Festival 1983 AIberr Cooper and Stephen Preston 4

Jean-Pierre Rampal Masterclass Simon Hunt 6

A Letter and A Memory Joan Simpkin 7 Gadget Page Albert Cooper 9

Not So Quick Quiz 9

Flute Review 10

Theobald Bohm Ludwig Bohm 12

Teaching the flute in schools and after: the importance of a relaxed embouchure John Francis 18

Pipeline 20

Music Reviews Trevor Wye and Kate Lukas 22

Music from the heart John T u r w 24 Flute and Guitar Roy Brewer 25

Record Reviews Tom Norden and Trevor Wye 26

The Forgotten Flute Madeau Stewart 27

Circular Breathing and flute Zdenek Bruderhans 28

' Concert notice Aki Znoue 30

BFS London Flute Day 30

BFS Flute Extravaganza 30

T o publicise Pan Ian Christie 31 BFS Flute Club News Russell Parry 32

Here comes the fifes: Derek Greer 33

Pan Diary 35

Secolid Wind Hubert Thomas 35

Book Review Christopher Hyde-Smith 39 Backpage 40

Editorial 'Tell me,' said the poet, 'where is fancy bred?' And he

tossed up, as it were, between the heart and the head, never mentioning the fingers. But Shakespeare was no flute player, and would not have shared that particular delight that filled us all at the Guildhall on April 15th, when the sun shone and from the embankment London looked like a Caneletto print. And coming back, with a tirea but happy teenager in tow, I thought, next time . . . next time I'll wear a funny hat, or a tee shirt labelled Greet Me, or Yr Humble Servant, Editor. Because there we all were, some 250 of us; and only afterwards the letters came - your comments, queries, anecdotes and ai- ticles. Such a postbag proclaims the BFS alive and very well and growing fast (twice as many of us as there were a month or so ago.)

In touch with you, Pan becomes more properly your journal; by you, with you, for, from and about you; our sorting house, our meeting point, our information centre. Read on. We have as many tales to tell and talents as we have members. On the subject of flutes, the particular knowledge or experience of one interests us all. Say hello next time, but in the meantime, write.

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

Readers! Pictures offlutes - of all shapes and sizes - are welcome in Pan: photograph them where you find them and please send copies to The Editor, 30 Grove Road, Stratford- on-Avon, CV37 6PB.

Panegyric Tell us, where is fancy bred? In a parabolic head. Knowing flautists never live By bread alone, the deities Have given us - that none may fail - The Boehm system, Cooper scale. Hope springs, and things are not as bad As when Pan was a little lad.

Where is Fancy? Is it art Generated by a part Other than the heart or head? Never let the rumour spread That we are heartless, who, by rote, Carry heaven in a note.

Spring comes. Where the common lot Place their fancy matters not. Pan flies ever in pursuit Through centuries of lovely flute. For this pleasure, praise the day Timid Syrinx got away.

L.L.

old, rare & unusual

& other instruments

AT THE SIGN OF THE SERPENT

11 POND STREET LONDON NW3 2PN

TEL:- 01 794 1596

CATALOGUE of old Boehm System Flutes

available on request

Letters to the Editor

Sir, I read with interest the article by R. T., Glos, on their

Afghan hound and was wondering if you or any readers had any suggestions on how to deal with my cat. The problem is that every time I start playing my flute he makes a run for the nearest exit.

What really distresses me is that he only does it when I play and never when my pupils play. Perhaps I've got bad breath and it's his way of telling me. (I must change my toothpaste.)

I've tried closing the door but he always gets out just in time.

I could always force him to listen to all of J.G.'s L.P.'s without a break. (That should test his stamina.) On the other hand I could always s t f the little b u r and place him on top of the piano, then he'd have no choice.

Anyway, no doubt I'll think of some way of making him appreciate my playing.

Here's wishing every success to Pan and in particular to BFS.

kave Greenhalgh, Bury, Lancs Sir,

This picture was taken as Ginger - lover of high piccolo sounds - leapt up for a better appreciation of the music. Leapt is not quite the right word - climbed

Madam, Whilst appreciating the idealism of Malcolm Pollock

in his article on flute teaching in schools (PAN Vol 1 no. 1) with regard to teachers teaching instruments other

would be better and the apparent smile is partly a grimace.

Clare Tristram, Ramsbottom, Bury

Do you think these two animals should meet? ED.

I was amused to hear recently that one of our colleges of music in London has, because of cuts in higher education, cut its 'peri' course completely though still retain- ing the examination.

I invite Mr. Pollock to sit in on Entrance Auditions with me. He will soon discover that candidates who have been badly taught are seldom pupils of trombonists or saxophonists; no, they have been badly taught by flute playing specialists. '

Trevor Wpe, R.N.C.M. Manchester Sir,

1 would welcome an article in your journal on the benefits of playing an 'open G sharp' flute. May I also warn players that converting a 'closed G sharp' flute to open, if it is an 'in line' model, is not fool-proof. Keys can become jammed as a result.

Clive Conway, Oxford Sir,

I am at present compiling a discography of the flute (and piccolo) on 78 rpm records. I would be pleased to receive any relevant information, and would like to hear from anyone with a similar interest. Christopher Steward 14 Park Hill Road Harborne Birmingham l7

3

than their speciality, I cannot agree with him that '. . . the demand for woodwind teachers is a serious problem.' The serious problem would seem to be the lack of real courses at either colleges of music or at training colleges to suit the needs of potential employers. These establishments appear to be unaware of the needs of L.E.A.s or of the problems of the job in hand.

Teachers training colleges appear to spend an inor- dinate amount of time teaching the History of Education and the Psychology of Teaching. Worse, they send out students who have no real knowledge of the basics of at least two other allied woodwind instruments.

Colleges of music have a different approach based on the concept that if you can do it, you must be able to teach it. You must, therefore, also be capable of teaching how to teach it.

The principal BUMBLEPHONE player of the L.S.O. may also be an expert in central heating installa- tion but that doesn't qualify him to teach knitting. But you will find him teaching the bumblephone and teaching teachers to teach the bumblephone. He is an ex- ecutant; he may or may not be good at teaching or at teaching teachers, but nobody bothers to find out. They assume hemust be better at teaching than an experienced teacher like M. Pollock.

At the R.N.C.M., a start has been made in recent years in what we believe is the right direction. Every flute player, whether an intending L.S.O. principai or not, is given the ground rules of two other woodwind instruments. Repertoire, methods, instruments, reeds, salaries and even income tax are all discussed. In my view, it still isn't enough, but we do intend to do more next year.

V Festival del Flauto 31 Marzo - 4 Aprile 1983

This was my second visit to the Italian annual festival of the flute. ~ a s t year the theme was contemporary music, this year baroque music. The festival is always held over the Easter weekend and is attracting increasing numbers of Italian players, mainly flute professors and students entered for the competition from the various music conservatories. I would estimate in total over 100 flautists attended.

This 5th National Festival of the Flute was held as always in Belveglio, a small village about 20 kilometfes outside Asti, and what better place for a "Seminario di Musica Barocca per Flauto" than the Castello di Belveglio. This old 8th century castle made an ideal setting for the lectures, concerts, and competitions.

The festivallseminar is all organised by Marlaena Kessick who is professor of flute at Milan conservatory, and is well known throughout Italy as a composer and soloist. She founded, conducts, and arranges music for the Italian flute orchestra which is of a very high standard. When not busy in Milan, Marlaena lives with her family in Belveglio Castle.

The seminar opened with a lecture on baroque music given by Luciano Sgrizzi the noted Harpsichord player. Both he and Renato Maioli were the accompanists for the recitals and competitions.

Throughout the festival a series of recitals were given by Marlaena Kessick, Mario Ancillotti, Vincenzo Caroli, and Giulio Giannelli Viscardi in which music of the period was played on modern flutes.

Of course no baroque flute seminar would be complete without a lecture and demonstration from Stephen

Preston on his collection of antique flutes. They were all very interested in what he had to say, and hear his exper- tise on these old instruments.

Albert Cooper

With four days of concerts in Belveglio and surroun- ding villages, the annual Festival Nazionale del Flauto brings the sound of flutes to a part of the Italian coun- tryside where usually the most common sounds are bark- ing dogs and crowing cocks. The hills are covered with small vineyards producing wine mostly for local consumption. Perhaps that's why everything seems so quiet and sleepy around there.

Wel!, that peace was rudely shattered by the arrival of the 16 young flute players, participants in the competition which forms part of the Festival. Fortunately they were the only guests at the hotel as some of the sound made by simultaneous rabid practising of many instruments are quite horrific. The competition itself was won by three players who clearly deserved to win, each of them receiving a unanimous vote. The lucky 1st prize winner was awarded a Cooper headjoint.

Apart from giving my seminar on various aspects of 18th and 19th century flute technique and judging the competition I didn't have a great deal to do, which left me in the perilous position of having plenty of time to enjoy the local wine and food. One of the great attrac- tions of the Festival is the hotel in the village of Mombercelli, where everybody puts up. The hotel is run by a family who produce most of their own food and make one of the best local wines, making it almost impossible not to indulge to the point of drastically enlarging the "diaphragm". Not a slimmers paradise but a great place to have a good time.

Stephen Preston

Murlaerru Kessilr and Alherr Cooper czr Belveglio

4

Margery Elliott sent us this photograph of a life size statue in Meersburg, South Germany.

Overseas Members! In reply to queries: your subscription includes air mail postage of Pan. Ed.

Congratulations to Richard Davis of the Royal Northern College of Music, Manchester, who is one ofthe six Finalists in the Y O U N G A R T I S T S Competition at the Annual Convention of the National Flute Association of America. Richard will perform at the finals in Philadelphia in mid A ugust.

Congratulations to one of our younger members, Kirsten Spratt, and to her teacher, Clare Southworth. Kirsten has written to tell us of her Associated Board Scholarship, awarded as a result of the competitive auditions held in April at the Royal Academy. Very well done. ED.

The Secretary enrols new members. Thank you, Trevor Wye, for photographs of the Masterclass by Jean-Pierre Rampal.-ED.

Report of Jean-Pierre terested me that he seemed to think he plays faster as he get older, whilst the reverse might be the case.

Rampal Masterclass In the first class, given in the Music Hall of the Guildhall School (by kind permission of the principal,

SIMON HUNT John Hosier), M . '&mpal'; voice did not always reach the back of the hall, but later on he seemed to have ad-

T h e British Flute Society was very pleased to welcome justed to this. I felt that he might have gone into more the celebrated French flautist Jean-Pierre Rampal to the Guildhall School of Music and Drama at the Barbican on Friday 15th April to give two master classes. T h e chairman, Christopher Hyde-Smith made a short welcome speech before the start of this the first event in the history of the Society.

It was surely appropriate that the senior international flute soloist, who has inspired so many flautists by his playing and teaching, should give his first class in England for the Society. Until recently the master-class a regular part of instrumental training on the continent, has not been general practice in Britain. I understand that M . Rampal will only teach in classes (he takes the class of the Paris Conservatoire) and it is obvious that he enjoys it.

His style is warm and informal, sometimes humourous, whilst being instructive. He seemed to establish a rapport with the students and to try to put them at their ease. It is obvious that he likes to conduct! T h e occasional reminiscence was of great interest, for example his mention of the 1st performance of the Poulenc Sonata with the composer at the piano. It in-

detail with some of the students, but this, presumably was the way of working he considered appropriate, given the time available.

T h e standard of playing was generally high, by students from several of the colleges, although the number of applications to play was not as great as had been expected. The rarely heard Freischiitz Variations were particularly welcome as a change from more standard fare. They were presented by Miss Rachel Brown. M. Rampal, as always, gave many demonstrations on his gold Haynes flute, without trying to outshine or upstage his pupils, yet with his customary charm and polish.

T h e response by members of the Society to its first event was excellent, about 250 members attending, many of them having travelled long distances. We look forward to many more events in the annals of the BFS.

I would like to thank George Derbyshire and members of the staff of the Guildhall School of Music for their co- operation, and Kate Hill for her invaluable help on the day.

Simon Hunt sits on the BFS committee as Librarian. Ed.

A Letter and A Memory JOAN SIMPKIN

Joan Simpkin writes . . . 'As you ask members to put pen to paper, I wondered, in view of the Jean-Pierre Rampal visit, whether the enclosed jotting would amuse you.'

In 1953 my friend and I went to the Salzburg Festival and stayed in a beautiful little hotel about 2 miles outside the town, where the guests (about 12 in all) took their meals round one large oval table, so everybody introduced themselves and the conversation eventually flowed.

We were seated next to a young Frenchman, who, when he heard my friend's name, Marjorie Clementi, asked if she came from Manchester and had she recently given a piano recital there. It transpired that he was a lecturer in French literature at the University and had attended that recital.

He then asked me if I was also a musician and when I told him that I played the flute his eyes lit up and he said, 'Have you heard, or heard of, Jean-Pierre Rampal?'

M y eyes then lit up and I said, 'Oh yes, he's one of my idols', to which he replied, 'Well, he's my best friend.'

From then on our journeys into Salzburg were assured and we had some very fast rides in his Renault 750!

We are delighted to have this recollection and invite other nostalgic anecdotes from readers who would share them with Pan, 30 Grove Road, Stratford-on-Avon CV37 6PB. Ed.

Flute Music I n Cr~t~ca l ly R e v l s e d Authent~c Ed~t~ons

BACH. J. S.. Part~la ~n A rn~nor BWV 101 3 for Flute Solo BA 4401 E l 30

BACH, J. S.: Sontas ~n E minor BWV 1034, E rnalor BWV 1035 for Flute & BclSonatas In B mlnor BWV 1030. A major BWV 1032 for Flute & obbl Harps~chord BA 4402 E 6 60

BACH. J. S.: Sonata ~n C major BWV 1033 for F l ~ t e & BclSonatas In E flat major BWV 1031, G mlnor BWV 1020 for Flute & obbl Harps~chord BA 441 B E5 60

DEVIENNE, F.: SIX Duets Op 7512 for 2 Flutes BA 6807 E 3 30

TELEMANN. G. Ph: Sonata In D major for Flute V ~ o l ~ n & Contlnuo BA 68 10 E 4 62

TELEMANN, G. Ph: Sonata In B mlnor for Flute, V~o l~n . 'Cello & Contlnuo BA 681 1 E 5 28

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Jean-Pierre Rampal gives a lesson to Clare Southworth

Jean-Pierre Rampal Masterclass '83. Katey Thomas, Rachel Brown, Jennifer Stinton, These people played at the Guildhall School of Music, Christopher Freebury, Marion Ackrill, Julian Cawdrey,

London on April 15th: Michael Cox, Clare Southworth, Sam Coles.

7

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Gadget Page I have owned a Yamaha open-holed flute for four years

now and wondered if you could tell me the advantages of having the open-holed system as compared to the closed hole one. S. L. Thurlow, 7 Ray Avenue, Dovercourt, Harwich, Essex.

Really this is a question for a player to answer as I only blow a flute, not play one. My reply is based mainly on what players have told me over the years.

ThP advantage of the open holed system enables one to close the key and leave the open hole open to give a quarter tone of sorts, this practise along with the gradual opening of the open hole for a glissando effect is an essential part of playing contemporary music. There are also some special fingerings as well as regular fingerings using this technique where the player can alter the pitch or quality of sound as desired.

Some players prefer the feel of the open cup, some do not. Some say it forces a good hand position, some say what's the use of a good hand position. T o give of one's best you must be fully relaxed without any strain however slight.

Bushes or doughnuts in the G sharp hole in the line, give assistance to high E with a less dulling effect on low and middle A. This dulling effect is very noticeable on the covered svstem.

T o answer this question properly we should quote the disadvantages. Anybody with very small fingers may have difficulty in covering the open holes. their size does vary slightly between makers; the smallest I think are best for playing in general, the larger size does give some high notes a wild feel; this could be due to increased bore area or too much venting. Some say the venting is uneven; nobody complains about this in the low or middle octaves. I have always thought the most uneven part was between high E flat and high G sharp when each of these notes has a different degree of left hand venting; high F sharp being the most difficult on account of the excessive venting at the A sharp hole while the F natural is too good.

When descending quickly to the foot notes the open hole player tends to miss them more often.

If you want the best of both worlds play open holes on the right hand and covered on the left with a split E, this system with carefully chosen hole diameters does make the venting more even, and I would have thought helped even up the tonal qualities and attack between high. E flat and high G sharp. These flutes are beginning to appear; only last month I was shown a new gold one of this system.

I do not think all open holed systems sound better than covered ones or vice versa. For me a good sound depends much more on the way a flute covers, the headjoint design, and other factors than on the design of only 5 cups; after all on the open hole system there are still 8 or 9 covered keys; the 5 open cups represent less than half the total.

Kate Lukas who plays the open holed system and teaches at the Guildhall School of Music once made the remark to me "I explain the advantages and disadvantages of each system to my students, I never recommend either; they must make up their own mind." I have never met the world famous teacher Marcel Moyse; I am told he plays the covered system and takes a similar point of view.

Albert Cooper

Albert Cooper represents the Flute industry on the BFS Committee. Write to Gadget Page, 30 Grove Road, Slratford-on-Avon CV37 6PB, with queries about mechanics. ED.

Not so Quick Quiz

1. Who went to the theatre on February 27th 1668 and heard wind music 'so sweet it made me really sick, just as I have formerly been when in love with my wife . . .'

2. What was his resolution? 3. In which of Dickens' novels does a schoolmaster

take a flute from his pocket to play at home in his digs?

4. Who, furious at being overheard, told Sir James Melville, in 1564, that she played the virginals only when solitary, 'to shun melancholy'?

5. Which published Flute Tutor in the early 19th century urged the pupil to learn the flute rather than the violin, since 'if a person arrive at a state of mediocri- ty only, on the German flute, he is sure to please, but on the violin he must spend a great deal of time and labour very hard . . .'?

6. Which family of French cabinet makers were distinguished throughout the seventeenth and eigh- teenth centuries for their making, playing and com- posing for woodwind instruments?

7. Why was it customary for the 19th century piano teacher to accompany his young lady pupils on the flute if he gave a lesson i deux in the drawing room?

8. In which of D. H. Lawrence's novels is the hero a fluteplayer?

9. Which king took his flute to the front line? 10. 'Item for Guillem for flutes in a case: 70s'. This was

stumped up by Henry 7 in April, 1492. How much is the sum worth now?

Answers on page 23.

The British Flute Society would like to extend a warm welcome to the Founder and Honorary Life President of the National Flute Association of America, Mark Thomas, who has become a member of the B.F.S.

9

Flute Review UNDER TEST: BOOSEY & HAWKES' EMPEROR 561 CONCERT FLUTE.

T H E PANEL: CO-ORDINATOR: TREVOR WYE CONSTRUCTION: ALBERT COOPER WITH OPI- NIONS FROM SEBASTIAN BELL, KATE LUCAS and ROGER ROSTRON

MARKET RESEARCH: ANN RADZINOWICZ

Trevor Wye writes: 'Our job is to test, evaluate, apd offer opinions on flutes submitted by Manufacturers or Retailers. Naturally, comparisons are made with flutes in the same price range. T o ensure fair play, Ann's job is to see whether the flutes submitted are similar in quality to those offered in retail shops and to check whether any 'discount' price is available.

Emperor 561 flute: specification: pitch 440Hz. Seamless nickel silver tube, heavily silver plated throughout. Scale: improved COOPER. Stainless steel springs, nylon loaded adjustment screws, high quality skin pads, Cooper pattern head, in choice of square or round luxury pochette case with cleaning rod. 'E' mechanism optional. Price: f209.00 incl. V.A.T. with 'E' Mech. f221.00 incl. V.A.T. Teachers: less 10%

Reviewer 'A' Plus points: good lower register - good quality pads

- feels nice and works well - excellent touch pieces on foot joint - point screws in mechanism (wear can be taken out when necessary) - adjustment screws throughout (useful in a beginners flute since a teacher can make adjustments quickly without using more than a screwdriver) - cork assembly on head, light and strong.

Minus points: general roughness of finish. Ugly "half sucked toffee" appearance of key arms - clumsily applied felt buffers - bits of polishing mop stuck under the rolled rim of the tone holes. Tone holes not flat. Springing could be of a better design but feels good.

Conclusion: considerable improvement on its predecessors but further improvement possible. I feel that the mechanism could become noisy with use and that its general clumsiness is unfortunate. The scale is manageable. A good flute for a beginner.

Reviewer 'B' An excellent well fitting case housed the flute which

seemed a little heavier than usual. I assume it was tuned to A=442 which did alter the middle register when pull- ed out. The basic sound was good but it didn't respond as well in fast articulated passagework. I prefer this to the YAMAHA which produces a brighter, harder sound. A reasonable flute for the price.

Reviewer 'C' On the whole, a reasonable flute for a beginner. The

embouchure hole is designed for a clear sound with some flexibility of tone colour. It is a headjoint I would buy separately to improve the playing of someone who

10

could not afford a new flute, EXCEPT that it is too long from embouchure hole to the open end. And the propor- tions are awkwardly short from the embouchure hole to the crown. Why not use the same measurements as most other flutemakers around the world?

The flute plays well in tune. However, the appearance and workmanship in the assembly of the mechanism was very disappointing and may lead to trouble in the future. The tail pieces on the keys are not perpendicular (at right angles) to the keys. The felt used is of a poor quality and not finished well, though the flute was working well then I tried it.

A strong point was the use of plastic washers to keep the pacis in place - acoustically a good design, nearly flat, and very smooth.

I would recommend it for a beginner, but for the price asked, comparing it with the sturdier Japanese flutes, I would wish for a higher mechanical standard.

Conclusion: Considerable improvement on it's predecessors but further improvement possible.

I feel that the mechanism could become noisy with use as the adjusting scews have no buffer between the tip of the screw and the clutch plate, and that its general clumsiness is unfortunate.

Albert Cooper

The Emperor flute has much in its favour, I would

mubic bp Y ~ I T H qmob Congratulations, too, to Keith Amos, whose original music is outstanding.

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BACH J S: MENUET AND BADlNERlE E 1.30 BEETHOVEN: SONATA in Bb E 3.75 CHERUBINI: AVE MARlA for Flute,

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FLAXEN HAIR E1.50 FAURE: PAVANE E 1.80 GLUCK: DANCE OF THE BLESSED

SPIRITS f 1.80 JACOB G: AUBADE for 2 Flutes and

Clarinet f 2.60 MASSENET: MEDITATION FROM

THAIS E 1.60 MOZART: CONCERTO IN D, K 3 1 4 E 3.00 SATIE: THREE GYMNOPEDIES for Flute

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certainly put it top in the student range. The tuning and sound are good, the particular instrument I examined had a good attack and was strong throughout the three octaves.

The pad washers were the plastic variety, although not seen on high quality gold and silver instruments I have always liked them providing they can be removed and replaced easily. Their smooth slightly domed surface on the covered hole system for me is a definite plus; some metal pad washers plus a card washer and thickish screw with screwdriver slot is not the ideal protruding shape for escaping or passing air to encounter, particularly for those who like a close key rise. I feel they had some beneficial influence on the sound produced.

I would criticise two things. The flute is not propor- tioned as I like it. T o fall in line with most other manufacturers I prefer to see a longer centre joint and a shorter headjoint, although the cork end of the headjoint could be a bit longer, it was inclined to look stubby. All this is good for headjoint interchange.

The cup arms could look more stylish and uniform, this would greatly enhance the general appearance and appeal.

The footjoint touch pieces and low C roller I thought were very comfortable and had a smooth feel.

A Summine UD bv the Co-ordinator " A ,

Well, they all agree on one thing: its a reasonable flute for a reasonable price.

The first point-which should be corrected is adapting the standard body length which enables other heads to be used. There seem to be some gremlins at work in the finishing stages and the keywork seems not to be finished well enough before plating. The scale was agreed to be good. Toneholes not flat seems to be a general problem with factory made flutes but does make padding so much easier and more reliable when its right.

The flute submitted for testing worked well, and covered well; others tried at random, one of which was off the shelf in Boosey & Hawkes Regent St showroom "was sloppy with pads not properly covering the holes". VERDICT: A good flute for a beginner but do test it first and if trouble develops, ask for it to be put right. Also shop around for cheaper prices.

The B.F.S. would like to thank The Boosey and Hawkes Group for kindly allowing the Testing Panel to test a flute on behalf of its members.

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On the traces of my great-great-grandfather Theobald Bohm (flute. maker, flautist, composer, 1794-1881) My research and publications:

LUDWIG BOHM

First step: Genealogical tree My family research began l l years ago, in 1970, when

my father organized a family reunion in Munich. I sear- ched for the addresses of all descendants of Theobald Bohm, and after the reunion I decided to bring the genealogical tree of the family up to date from the year 1936. In 1971, the first product of my family research was finished, a genealogical tree of the direct ascendants and all the descendants of Theobald Bohm.

It goes back to the year 1498 and comprises 15 generations. Theobald Bohm is in the tenth generation, and I am in the fourteenth generation. Today there are about 250 descendants of Theobald Bohm including spouses, and about 100 addresses in West-Germany, Belgium, Austria, Portugal, Namibia, South Africa, Canada, U.S.A., Hawaii, Venezuela, Chile and Australia.

Second step: Family chronicle In the following 7 years I was busy with studying

English, French, and Spanish at the University of Wiirz- burg. After another family reunion in 1978, I heard of the existence of an unpublished family chronicle written by my uncle Karl Bohm, who died in 1944. I got a copy, added an index, completed the dates of birth, marriage, and death and had it newly typed. Volume 1 comprises the direct ascendants, 50 pages about Theobald Bohm, and all his descendants. This volume of 230 pages was sent to all relatives in 1979. Volume 2 deals with the lateral ascendants and has another 320 pages.

1) Published in: -Flutter Tongue. Sydney September 1981, p.8f (ex-

tract). -Glareana. Ziirich October 1981, p. 11-17. -Newsletter of the National Flute Association. New

York November 1981, p. 14-17. -0sterreichische Blasmusik. Horbranz December

1981, p. 3 (extract). -Mens I Melodie. Utrecht May 1982, p. 218-230

(enlarged; in Dutch). -Newsletter of the Japan Flautist Association. Tokyo

November 1982, (in Japanese).

On the cover of both volumes is the coat of arms of the Bohm family from the year 1543. The name is written with the German umlaut "6". Theobald Bahm wrote his name both with "0" and with "oe", the latter because of

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his many contacts with Great Britain, France, and the United States. But 6 of his 8 children kept the spelling with the umlaut "6". I also prefer to write Theobald Bohm's name with the umlaut "on, according to the family tradition of nearly 500 years.

Third step: M y private editions of works by and about Theobald Bohm

Reading the 50 pages about Theobald Bohm's life in the family chronicle, I was fascinated by the versatility of my great-great-grandfather. Very soon, I had agreed with my father to organize a great family celebration on the occasion of the 100th anniversary of his death in November 1981. For preparation, I sent private reprints of Theobald Bohm's books of 1847 and 1871, as well as two biographies by Marie Bohm and Karl V. Schafhautl, to all his descendents in March and December 1980.

Fourth step: M y publications of works by and about Theobald Bohm.

I sent my Theobald Bohm editions also to several libraries and flautists, and because of the great interest that I found there, I decided in December 1980 to offer them to some music publishers. I soon came to an agree- ment with a renowned music publisher near Munich.

The collection of all writings by and about Theobald Bdhm was no easy task, as they are scattered to the four winds. So I made an inquiry of 600 libraries and 600 musical instrument collections and published notes in

various music journals. In addition to this, in 198111982 I wrote more than 900 letters to libraries, musical instrument collections and flautists, holding material by and about Theobald Bohm. On 7 January 1982 I also could give a short report on my research in the Bavarian televi- sion. Particularly successful were two research trips which took me in August 1981 to the State Library in Berlinlwest, the New York Public Library and the Library of Congress, Washington, and in August 1982 to the British Library, London, Library of Congress, Washington, National Diet Library, Tokyo and Na- tional Library, Paris. Besides, I received valuable hints during the Annual Conventions of the National Flute Association, U.S.A., in Detroit, 20-23 August 1981 and of the Japan Flautists Association in Tsumagoi, 27-29 August 1982, which were dedicated entirely or partly to the memory of Theobald Bohm. The richest source was the Library of Congress, Washington, where I found 32 marked Bohm flutes, several letters and articles by Theobald Bohm, about 115 original and new editions of his compositions and most of his handwritten compositions for alto flute, the existence of which was unknown to almost everybody.

The result of my research is my Theobald Bohm complete edition which will be published in early 1983, by the music publisher Hans Schneider, Tutzing: 6 works by Theobald Bohm, 3 biographies and my documentation:

1) Theobald Bohm: Compositions for Flute. Munich, Vien- na, Mainz, Leipzig 1822-1880.

The complete edition comprises 40 works with opus number (Opus 1-37, 45-47; no works with the opus number 38-44 were published) and 37 works without opus number (WOO 1-13: compositions for flute; WOO 14-37 compositions for alto flute), altogether about 1800 pages. 21 compositions can be played with orchestral accompaniment instead of piano.

I was able to find the original editions in the libraries of Munich, West and East Berlin, London, Paris, New York and Washington and my collection of photocopies has grown to nearly 1800 pages.

2)Theobald Bohm: Prospectus of the old flute, the ring keyed flute of 1832 and the cylindrical flute of 1847. Munich 1828-1881.

There are only a few copies left of the 14 flute prospectuses of Theobald Bohm, Bohm & Greve, Bohm & Mendler and his workshop successors Karl Mendler jr. and Ernst Robert Leibl, which I found in the libraries of Munich (4), Washington (4), Base1 (l), and Paris (l), 4 prospectuses are in my own collection.

3) Theobald Bohm: On the construction of flutes and their latest improvements. Mainz 1847

Theobald Bohm's work of 1847 is one of thd classical studies not only of the construction of flute, but also of the construction of all the other keyed wind instruments.

The original is in Munich, along with an English and French version, translated by Theobald Bohm. The handwritten manuscripts of the English version is in the British Library, London. I also found an Italian translation in Florence.

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4) Theobald Bohm: Account book of the flute workshop. Munich 1847-1859

The workshop of Theobald Bohm lasted for 53 years, but there exist only two fragments of his account book, one from the period 1847-1859 (workshop of Theobald Bohm) and one from 1876-1879 (workshop of Bohm & Mendler). This account book gives exact information about each flute that was sold: its type, the date of sell- ing, the price, and the buyer.

A copy of the two fragments is in the Library of Con- gress, Washington.

5) Theobald Bohm: Scheme to determinate the placement of the tone holes on woodwind instruments. Munich 1862, 1867, 1868, 1871

There exist 4 versions of Theobald Bohm's scheme. The schemes of 1862 and 1867 were sent to the world ,

exhibitions in London and Paris. With one exception, all schemes are in my collection.

6) Theobald Bohm: The flute and flute playing in acoustical, technical and artistic aspects. Munich 1871.

This work not only deals with flute construction but also gives valuable hints on flute playing.

The handwritten manuscript is in the Library of Con- gress, Washington, and the original edition is in my collection. Dayton C. Miller published an annotated English translation in 190811922.

7) Karl v. Schafhautl: Theobald Bohm. A strange life of an artist. Leipzig 1882. Karl v. Schafhautl was a friend of Theobald Bohm for 54 years and he lived in the same house with Theobald Bohm for the last 37 years. He made an important con- tribution to the acoustical improvements of the flute. His biography is flavoured with many literal quotations and many humorous anecdotes. Although there are a few small errors, this work can be regarded as one of the best sources of information on Theobald Bohm's life.

The biography was serialized in 1882 in a magazine, and a separate print is in my collection. An English translation by Emil Reich was published in the third edition of Christopher Welch's book: History of the Boehm flute. London 1896.

8) Marie Bohm: In memory of Theobald Bohm, royal Bavarian court musician. Munich 1898

Theobald Bohm's only daughter, Marie Bohm, wrote a short biography of her father, which is particularly charming to read. Her book is relieved of all scientific details and is full of anecdotes. For example she reports that Theobald Bohm was a very sportive man and that when he was 87 he still used to tell, full of enthusiasm, how skating was one of his hobbies, how one afternoon he tried to jump over three hats, and how he fell down inumerable times but succeeded at last.

The original is in my possession. I also found an unpublished English translation by Dayton C. Miller in the Library of Congress, Washington.

9) Karl Bohm: Theobald Bohm. Extract of the family chronicle. Munich 1944

Karl Bohm, the writer of the family chronicle, sometimes did some writing for his grandfather Theobald Bohm. He lived in the flat above Theobald Bohm, who used to knock at the ceiling with a broomstick when he needed his grandson's help. The biography is strictly chronological, very clear and very easy to.understand. It also deals with the less well-known activities of Theobald Bohm in the areas of improving the piano and the fabrication of steel.

A carbon-copy of the original is in my collection.

10) L.udwig Bohm: Theobald and his flute. A documentation. Munich 1981

The first part of my documentation contains general information about Theobald Bohm: Photographs

I collected 48 photographs: 12 portraits of Theobald Bohm, a portait of his flute teacher Johann Nepomuk Kapeller, of his friend Karl v. Schaflautl, and his workshop companions Rudolph Greve and Karl Mendler, 4 types of his flute, brandmarks on his flutes, some autographs, front pages of some of his writings and compositions, the two theatres where he performed as first flautist, the house where he was born, the commemorative plate, the Bljhmstrake, the commemorative tablet, the Theobald Bohm exhibition, and the festive concert on the occasion of the 100th anniversry of his death in the CuvilliCs-Theatre in Munich.

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The flute maker Theobald Bohm made his first flute when he was 16

years old. 18 years later, in 1828, he opened his own flute workshop. In 1832 he invented his ring-keyed flute, in 1847 his cylindrical flute. In 1834 and 1835 he won silver medals at the Industry Exhibitions in Munich, in 1850 he won a silver medal at the Industry Exhibition in Leipzig, in 1851 he won a gold medal at the Exhibition in London (Hector Berlioz was on the jury), and 1854 he won a medal at the exhibition in Munich and 1855 another gold medal at the World Ex- hibition in Paris, where he was honoured by Prince Joseph Napoleon. His flutes were the best in the world and they were sold to the best flautists all over the world.

Up to now, I have been able to find 125 flutes marked by Theobald Bohm, Bohm & Greve, or B6hm & Mendler. Four flutes are in the possession of descendants of Theobald Bbhm. I would be very grateful for hints on further flutes with Theobald Bohm's mark.

The flautist Theobald Bohm's flute teacher was Johann Nepomuk

Kapeller, who told him after two years in 1812 that he could not teach him anything more. From 18 12-1818 he was first flautist at the Royal Isarthor-Theatre, from 1818-1848 he was a member of the Royal Court Or- chestra, from 1830 on as first flautist. According to a contemporary music encyclopedia he was one of the first flautists of Germany (Mendel-Reissmann; Musikalisches Konversationslexikon Vol. 1. Berlin 1880, (p. 68). Bet-

ween 1822 and 1831, he undertook extended journeys that brought him to Vienna, Prag, Dresden, Berlin, Leipzig, Ziirich, Geneva, Venice, Strasbourg, London, and Paris, as well as other cities.

I have made a list of about 40 concerts and collected about 20 concert reports and 10 concert programmes. One report is of a concert of the Philharmonic Society of London on 9 May 1831, where Theobald Bbhm played his op. 16, Grande Polonaise: "Mr. Bohm is a very superior flautist with an excellent tone and his composition was comparatively speaking, highly respectable. His style differs from that of Nicholson and Drouet, in- asmuch as he rather strives to touch the heart than to astonish." (The Harmonicon, London, June 1831, p.153).

The composer In 1818 Theobald B6hm studied composition with

Joseph Graetz and instrumentation with Joseph Hart- mann Stuntz. His list of compositions amounts to 77. The popularity of his compositions can be seen not only by the enthusiastic concert reports and the appreciations in music encyclopedia as masterpieces (Gustav Schilling: Universallexikon der Tonkunst. Vol. 1. Stuttgart 1835, p. 698), but also by the great number of more than 130 new editions published in Western Germany, France, Great Britain, the U.S.A., and Japan. Besides, about 13 recordings with compositions by Theobald Bohm are available.

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The flute teacher Theobald Bbhm had more than 100 flute pupils accor-

ding to a letter to Walter S. Broadwood dated 19 April 1866. His most famous pupils in Europe were Moritz Furstenau (Dresden), Hans Heindl (Vienna), Karl Krtiger (Stuttgart), and Rudolph Tillmetz (Munich). His most famous American pupils were Edward Heindl (Boston Symphony Orchestra), Car1 Wehner (New York Philharmonic Orchestra), and Eugene Weiner (New York).

The technician In addition to his flute constructions, Theobald BBhm

made patented inventions of the construction of pianos, the fabrication of steel, the burning of gases in blast- furnaces, and the construction of locomotive chimneys.

Letters and writings by and about Theobald Bohm The next 9 parts of my Theobald Bbhm documentation comprise letters and writing by and about Theobald Bbhm. I found: -about 75 letters by Theobald B6hm -about 40 articles and notes by Theobald BBhm -about 185 articles and notes about Theobald Bbhm -about 50 encyclopedias where Theobald BBhm is dealt

with in a more or less detailed way.

Commemorative Celebrations on the occasion of the 100th anniversary of Theobald Bohm's death

As far as I know, Theobald Bbhm celebrations were

held or will be held in ~ e r l i n , Ann Arbor (Michigan), In- terlochen (Michigan), Detroit, Monroe (Lousiana), Zurich, Manchester, Den Haag, Munich, New York, Sydney and TsumagoiIJapan.

In Munich, Manfred Hermann Schmid from the Museum of Musical Instruments in the Munich Municipal Museum organized a Theobald Bohm exhibition (25 November 1981 - 29 March 1982). I organized a festive concert in the Old Renaissance Theatre (Cuvilliks-Theatre, 27 November 1981), during which the most beautiful compositions of Theobald BBhm (Opus 4, 16,21,22,31,47, WOO 27-29) were performed by the most famous flautists (Andrhs Adorjirn, William Bennett, Ursula Burkhard, Michel Debost, Irena Grafknauer, Aurele Nicolet, ' ,Qute; Barton Weber, piano). I also organized together with my brother Rudolf a family celebration of the descendants of Theobold BBhm in the Hotel Bayerischer Hof.

At the beginning of the family celebration, a wreath was placed on Theobald Bbhm's grave. Then followed a visit of the exhibition, a short flute concert, and the performance of a TV film of Theobald Bbhm.

Nearly a hundred years ago, in 1894, a great family celebration was organized by my great-grandfather, Lud- wig BShm, the eldest son of Theobald Bohm, on the occasion of his 100th birthday. Christopher Welch was the guest of honour. It seems that the name Ludwig BBhm obliges me to keep up the family tradition, the memory of Theobald BBhm, and the contact with flautists all over the world.

We are delighted to have William Bennett's Figures of Pan (and on pages 27 6 38) to grace this issue. Do any other readers push a decorative pen? The Editor's effort appears on page 39. Cartoons and characrers to Pan, 30 Grove Road, bra fjord-on-Avon CV37 6PB.

Teaching the Flute in Schools and After: the Importance of a Relaxed

JOHN FRANCIS, F.R.c.M., F.G.S.M.

The advent of the recorder has had a far reaching effect on the pattern of instrumental playing in schools and consequently in the country at large. It can be learned by the very young. It is inexpensive and very por- table. It is fairly easy to get quick results and has i h - mense value in introducing actuaI'musica1 performance, individually and in groups, to children. Children who make music themselves never forget the pleasure and enhance their capacity to enjoy life.

The majority of children who learn the recorder in school give it up when they leave and forget the playing part. The minority who have a capacity above average tend to carry on. Most often there comes a time when they want to learn an instrument they can play in a modern orchestra. What is the obvious choice? The flute, because this has an affinity with the recorder. The scale is produced in a similar way, and if the fingering is different, it can soon be learned by someone with recorder playing experience. Only the tone is different. It is not self producing as on the recorder. Each player has to learn how to produce his own tone, with endless possibilities for individual variation - which is excellent - but also with equal possibilities for a wrong approach to the fundamentals of tone production, or more often, no method at all, which is not excellent.

I was flute professor at both the Royal College of Music and the Guildhall of Music for many years, and it is no exaggeration to say that nine out of ten new students who came to me had to start their tone production right from the beginning. This was not just another case like each singing teacher having a different method diametrically opposed to the last. Wind teaching is not so difficult as that. We are dealing with lips that are seen, not internal organs that are invisible. As a result of dealing with this problem, I have evolved a system for teaching what I call the relaxed embouchure, which hardly ever fails. I wish it were possible to describe this adequately in writing, but find this too difficult and a written description is only too easily misinterpreted.

I ask a new student, 'And what made you take up the flute?'

'Oh! I used to play the recorder at school and wanted to learn a modern orchestral instrument and thought the flute would be the easiest.'

'I see. And who taught you?' 'A Mr. Smith used to come to the school.' 'Did he play the flute? 'Oh no! He was a clarinettist.' 'And what did he tell you to do to produce a nice

tone?' 'He told me to smile and tighten the corners of my

mouth.'

In my opinion no more fatal instruction can be given to a budding flautist.

With a new student I sometimes find a feeling of op- position, because changing the embouchure can be a traumatic experience, but the student has only to hear the sound of others who have mastered the system and see how they do it for doubt to turn to enthusiastic co- operation.

Some players manage to make quite a good sound in what I cbnsider the wrong way - but this is only one of those dangerous culs-de-sac one meets in the 'Pilgrim's Progress', and later the player runs into ever increasing difficulties, most often connected with intonation.

What right have I to assert all this? Forty five years of teaching does not necessarily confer this, though it is a help. Every teacher of piano or stringed instruments knows there are fundamental principles in teaching these instruments, with endless small variations, but all based on certain essentials, and so it is with the flute, but pro- pogation and recognition of these methods seems slow to come. I do not claim to have invented the relaxed embouchure. I think I am right in saying it emanated from France under Taffanel. I wish I had known about it when I started to learn the flute. I should have been spared much fruitless work, worry and frustration, going down endless wrong turnings until I eventually found what I think is the best way to produce a good tone with the minimum of effort.

In my opinion the situation with regard to the flute is improving all the time. When I was a student, if one had a good tone one was considered lucky and said to have a good embouchure (implying it was something one was born with), much as people say of a singer that they have a good voice. There seemed not to be any idea that a good embouchure was something that could be acquired. However, (even then) unknown to me there was the beginning of ,a revolution in tone production - and the teaching of it.,A system which has slowly progressed over the years, until it is safe to say that we have, in Great Britain, some of the best flautists in the world. I think I am right in saying that this came from France, though the main transfer of it came from a flautist in this country. His name was Joseph Lindgard and he was a distinguished orchestral player. I daresay many flautists have never heard of him, but he had a great influence on flute playing in this country. His most eminent pupil is Geoffrey Gilbert who has had a great influence on flute teaching here but is now mostly in the U.S.A.

While Geoffrey Gilbert was studying in the North, I was trying to find out how the excellent flautists I heard on the Radio from Paris and Brussels managed to produce such a beautiful sound. It took me a very long time and much painful experiment. I was just about there when I had the good fortune to meet Marcel Moyse who accepted me as a pupil and told me I had 'got it right'. So I arrived at the same basic method as Geoffrey Gilbert but by a different route. Now it would be impossible to explain in writing how it works. I can only say it in- volves having as relaxed an embouchure as possible with the lower lip spread along the lip-plate. This way one can play all day without any fatigue except to the arms holding up the flute. After all being relaxed is generally

accepted as essential in any kind of physical activity. When Geoffrey and I met in London, we were friend-

ly rivals with, I think, considerable mutual respect. I cer- tianly sent him pupils from time to time, when I thought they needed a change, and he asked me to take charge of his pupils whilst. he made an extensive tour of the U.S.S.R.

T o show that this method of tone production can be passed on at second (or even third) hand, I might mention that when James Galway came to study with me at the Royal College of Music he had been taught in Belfast by the wife of an old friend of mine - Mrs Muriel Dawn - who had been a pupil of Geoffrey's. There were no

time as a student, there seemed to be no cogent method of embouchure teaching, there is now a well formulated well thought out method. There may be other methods - just as good but I have not encountered them yet. I am not suggesting that everybody ,has to play exactly alike, only that there are certain basic principles, but with endless minor variations, which in my opinion give the best results. At this point the personality of the player takes over and he - as it were - speaks with his own voice through his instrument, so no two players have exactly the same tone.

With regard to teaching the flute in schools by non flute players, this seems to be an almost insoluble problem. It is a matter of money and the availability of suitable teachers. PePaps if the Music Colleges could be persuaded to give a performer on one wood-wind instrument, really expert teaching from a professor on one or two of the other wood-wind it would help, and save pupils from having disastrous instructions. It would be a move in the right direction. I wonder if a kind of com- posite wood-wind diploma could be evolved? It is worth a thought.

embouchure problems at all. I have tried to do the same through my ex-pupils - such as Susan Milan and Graham Mayger (flute professor at the Royal College of Music) and at third hand through their pupils. Geoffrey Gilbert is doing the same through his ex-pupils such as William Bennett, Peter Lloyd, Martin Parry and Trevor Wye, but to name a few. More recently there are, fortunately, many others who have acquired this skill by other routes.

The main conclusion of all this is that, whereas in my

These pictures illustrate the relaxed embouc ,hure in students and established players.

19

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Pipeline Dear Auntie Crotchet . . . Got a problem? Want a point of view? Write to Auntie Crotchet, c10 Pan 30 Grove Road, Stratford-on-Avon CV37 6PB.

I am 16 years old and a member of your society. I have been playing the flute for five and a half years and passed my grade 8 (Associated Board) with distinction just over a year ago. I need performing experience and should like to know of any competitions or competitive festivals, preferably near Newbury, Berkshire, in the next few months which would be suitable, or have a class suitable for me. Will the Society itself be having competitions for different sections of its membership in the future perhaps?

Auntie Crotchet says: for information about festivals, write to the British Federation of Music Festivals, at Festivals House, 198 Park Lane, Macclesfield, Cheshire SKI1 6UD. You might also browse through copies of Music Teacher for any competitive festivals advertised there, and keep an eye on the notice boards at the Colleges of Music. Local Radio sponsor competitions and you might get in touch with local broadcasting in your area, as well as your local education authority, who might, in common with other L.E.A.s, be staging a s u n g musician of the year in your locality.

A BFS competition? Now there's an idea.

I am adult, a teacher in a school, and have rented accommodation. I have great problems with practise. There doesn't seem a time when someone doesn't complain. Can you help me? Auntie Crotchet says: You don't say whether you live in a bedsitter, flat or house. You could do something sensible in a house, such as double glazing the practice room, or injec- ting cavity insulation into the walls - with your landlord's permission of course. Ifyou're in a room or flat you'll have to come to an arrangement with your neighbours. If they know when to expect the glad sounds, they can make arrangements to be out, or at least know the sounds will cease ar the hour appointed. And don 't let it rest until you play so well they're queuing up at the keyhole.

Can you please give me some information - I'm a member of B.F.S. A friend, who has been obliged to give up playing her flute has offered to sell me her instrument. Can you suggest an independent person who would, for a fee, give us a written valuation? I do not want to take the instrument too far, but London is O.K.

P.S. A. Crotchet! It's not clear which is your address!

Auntie Crotchet says: Watch our ads! Go to see, or write to, a woodwind retailer, check the replacement price, new, of a similar model, and then calculate the concession appropriate for age, wear and tear, and general condition. Unless handmade in wood or metal of great intrinsic value, the retail catalogue would help you bearing in mind that

flutes drop anything up to one third of their replacement value when second hand. A retailer might gladly help you come to a decision - again - scan the ads in Pan. Make sure that the estimated value is the second hand sale price and not any sum a dealer m k h t offer you before he sells it for profit. Ultimately, the value of the flute is how much

J you want it. P.S. You were right, dear reader, to send your letter to the

Editor, who passed it on to me, the kindly soul. I am inor- dinately shy.

I am continually amused and amazed at the things children say. This week a child was putting her flute together and seemed to have some difficulty,

'Your footjoint's s t i r I said. She nodded. 'And sore as well. I stepped into the drain

and banged my leg against the wall.' The next child was having problems with her right

hand. 'Curl your fingers over', I said, 'like spiders' legs.'

'I saw 5 spider in a pet shop,' he said at once. 'It was E15 and guaranteed poisonous.'

The last was a lady who asked me to teach her son. 'He does need some lessons', she said. 'He loves it, but he hasn't got the hang of it yet. He's still taking breath in through his mouth. Shouldn't you breathe through your nose?'

I ask you. Auntie Crotchet says: Don't ask me, carry on the conversation. you learn all the time.

I have a flute, which I bought with my own money from the Post Office. My little sister likes to try to play it. She takes it from my room when I'm out and tries to blow it. I'm afraid she'll drop it or something. Mummy says I'm being selfish. Do you? Auntie Crotchet says: No, hide the flute. Keep it out of sight or lock it up. Give your little sister a toy trumpet and I dare say Mummy will find her a better alternative soon enough.

Music Reviews TREVOR WYE and KATE LUCAS i u t e Lessons by Simon Hunt (Book one) Pan Educational Music £2.25 This is in fact a reduction of 'Learning to play the Flute' method by the same author. A good idea, as the cost (and the interesting, but unnecessary information contained in the preface) was rather prohibitive of the earlier, and longer book. The print is clear, the presentation of the information is excellent and the cover will resist tear stains. The introduction, though not inaccurate, has a slightly muddled air about it as does the dotty table of fingerings on page 5.

Once the instruction gets under way, there is more me~hod to the system which is sprinkled with sensible advice. There are plenty of recognisable tunes in duet form. It would be suitable for group instruction.

(T.W.)

Favourite Music from the Opera. arr. as flute duets by Simon Hunt and Graville Walker Pan ed. Music £2.25 Nice tunes, nicely arranged and good edition but with no uniformity of print. On pages 2-7 the notes seem rather small at which point a different engraver was hired. Good value though a comparison with Mozart Duets (U.E.) which follows, is inevitable - 16 pages.

(T.W.)

Mozart Operatic Highlights for 2 flutes arr. Gerhard Braun. 61 pages. (U. E. £3.95) Lots of lovely Mozart well arranged and again with several sacked engravers during preparation. Perhaps its the page turns. More likely a reproduction of earlier editions to save money, which it does, and at £3.95 who can complain. A very substantial and useful book going cheap. (T.W.)

Sonatas for 2 flutes by De. Fesch, Locatelli? and Groneman Broeckmans & Van Poppel Kalmus After this reviewer's previous remarks, it was a pleasure to see this edition; I could not fault it in any way. The printing, depth of blackness, neatness of print, presentation and cover leave me full of admiration. Other publishers ~ please note. The music? That's . good ~ too. The price is not known but should be around £2.50. It's a very cheap lesson for publishers on printing and presentation. (T.W.)

Adagio for vln. (Sonata - Bach) arr. W. Bennett. Alry Publications, around £3.00 A lovely tune which makes a splendid encore item. A great piece. The edition is home spun and at $4.00 is expensive in the.U.K. for a garden shed production. But the piece is good. . . (T. W.)

Pink Panther Suite H. Mancini arr. for flute choir, Amy Rice Young Alry Publications P.O. Box 24494, Denver, Co. 8022, USA

This will certainly appeal to the young flute choir. It's complete with score (all home-spun printing - see above) and parts for 2 piccolos, 8 flutes, alto and bass flutes, bass and drums. 3 'Pink Panther' pieces are included. (T.W.)

Suite in D Major 2 flutes and cont. Marais U.E. No. 16739 £8.70 A suite of 12 dance movements. These can be played in any sensible order, or a few left out. A clear, unfussy edition with separate gambalbassoon part. (T.W.)

Three Fantasias. Op. 38. Solo flute Kuhlau A really useful publication for those who practice alone a lot as each piece sounds complete. These are useful practise fodder though once again, the print seems to my age- ing eyes, to be particularly small. Yes, pages turns and all the rest of it, but halfway through page 8 both my eyes and my lip, gave out. Its still nice to have these available. The usual smart U.E. cover. V.W.)

Three Dances Woodwind Ensemble. Schubert Chester £2.40 I thought I might have got the price wrong, but no, for this includes 2 set of parts - seventeen in all - and a score. How do they do it? You might easily pay the same price for a single sheet of whistling-kettle music from Italy. The large print of the music can easily be seen by more than 2 players so further sets of parts for larger ensembles is unnecessary. The parts are easy and can be played by very nearly any combination of ,flutes, clarinets, oboes and bassoons. The publishers must have consulted the conductors of school wind ensembles to have come up with this one. Needless to say, the music is good. Well done, Chester. (T.W.)

Sonatina. F1 & Piano. Keith Amos Ramsden Music £4.50 A lightweight, approachable and easy Sonatina both technically and on the ear. Strong on rhythm. Printed on superior double sided photocopy with stiff cover and spiral bound, which I thought was a little expensive.

(T.W.)

Music for Group Instruction for flute. A. Bonsel 3 volumes Broeckmans, Van Poppel Kalmus (price not known) Well, the ghastly things that have gone on in the past three years to increase 'productivity' in peripatetic teachers (like sacking some to increase the workload of others) has created a real need for a group instruction method. I'm not sure that these books provide the answer though they are a very real attempt to get to grips with the problem. All instructions are in both Dutch and English though titles of tunes only the Dutch (you might wish to know that Altijd is Kortjatje Ziek is "Twinkle, twinkle". T o see too much of a foreign language can create a barrier to learning in young people.

There is much in this method which is good. The printing isn't marvellous; they should study their own edition of the duets praised above! (T.W.)

Sonata for Two Flutes Escher Op. 8. A good duet from the little known (in this country anyway) Rudolf Escher. Written 1944. Easy on the ear.

(T.W.)

Trio F1. oboe and piano Thomas Pitfield Piper Publications £5.40 This is a re-issue, or reprint of the earlier Augener edition. If you don't know it you should. Its good virile music with excellent piano writing (and sympathetic to flute and oboe too). The Elegiac nocturne is especially memorable. (T.W.)

Compact Concerto. Flute and orchestra Gordon Dale fl & piano D.00 Score and 28 parts £15.30 A simple, listen-with-mother, easier than it sounds, short concerto complete with score and instructions on how to perform it when half the players are away with chicken pox. Bouncy rhythms, easy-to-play parts all add up to a piece which is preferable to the Mozart concerto movements that one often hears young players cock up at school concerts. (T:W .)

Concierto Pastoral Fl, and orch. Rodrigo. fl. and piano reduction. Schort 11489 This reviewer isn't a Rodrigo fan; he find the repetition of every musical point slightly tedious. Those who do will welcome the appearance of this edition. The production is excellent with clear type and smart cover. Yes, there are impossible page turns but that is but a teeny problem compared with learning to play it. I'm sure most people will want it for its sensuous slow movement and to see whether the other movements are as hard as they sound on J.G.'s excellent recording. By golly when you've staggered through it, you can only take your hat - and toupee - off to him and hope that no composer ever writes a really difficult piece for you which you are then obliged to perform. (T.W.)

The French Flutists propose . . . is a series of pieces, some new, some old and published by Billaudot (via Kalmus) The series is too numerous to review individually but to mention a few gems:-

Doppler's Fantasie on Hungarian Motifs is a welcome visitor at £4.40. Genin's Fantasie on La Traviata for flute and piano at £3.70 will please the 19th century fans as will Demmerseman's Le Tremolo at &.l0 for fl. and piano. Most welcome was the re-appearance of Donjons delicious Eight Studies at £2.80. J. M. Castandelle's flute quartet for 4 flutes is another good piece: In addition to these propositions by eminent French flute players, there is another series called I1 Flauto Buffo in which appears Doppler's Duettino Americain for fl. and vln. (or 2 flts) and piano £3.25 and a fine Grande Sonate Concertante by the excellent Moscheles (£8.20). In programme building, it is difficult to find good works from the early 19th century; this is one. Incidentally Rampal has made a charming recording of it. In the 'Collection

Pierre Paubon', appears some more goodies; Blavets Third Book of Sonatas in 3 volumes (about £4.50) per vol. for 2 sonatas. In a further series - there is a group of pieces for flute and guitar. These are mostly, but not all, arrangements of music by Albinoni, Corelli, Lully and the indispensible Giuliani and include some original compositions.

All very impressive from one publisher. Aren't we lucky to have so much excellent music to choose from? T o fully appreciate this series write to U.M.P. for a catalogue. (T.W.)

THE EDITORS INVITE MUSIC FOR REVIEW:

Scores by post to: 4 Abbots Barton Walk,

Canterbury, Kent C T l 3AX

PUFFED OUT? P U T AWAY YOUR

FLUTE WRITE AN ARTICLE

FOR PAN

Answers to the Not so Quick Qiuz: 1. Samual Pepps 2. T o practise daily and make his wife do the same. 3. David Copperfield 4. Elizabeth I 5. Thomas Wragg: Improved Flute Preceptor 6. The Hotteterre family 7. So that his hands could be heard to be properly oc-

cupied. 8. Aaron's Rod 9. Frederick the Great

10. I shudder to think. A labourer earned about f l an- nually.

Also Received Michael Dawney Claustrophobia, for solo flute. Op. 24. Free, from the composer, 5, Queens Road, Parkstone, Poole BHI4 9HF (S.A.E. +16p stamp) G. Miluccio Nostalgie. Flute and piano LeducLZ. 60 Prelude and Fugue. Op. 78. Flute, viola and hp., or keyboard Piper £4.80 Thomas Pitfreld Sonatina. Flute and piano Piper (or& 0. U.P. £3.40) Keith Amos Heliotrope. Flute and alto saxophone Ramsden Music £2.75 The following were received from Broeckmans and Van Poppel, Amsterdam. (Kalmus). Telemann Sonata in F. (Bruggen) F1. and continub Sonata in D minor. (Bruggen) F1. and continuo Loeillet Sonata in C Minor. Flute and continuo Loeillet Sonata X F. Major, Flute and continuo Locatelli Sonata I1 D Major, Flute and continuo Hasse Sonata D. Minor Flute and continuo Marcello and. Focking 2 Sonatas. Flute and continuo Faure Piece. Flute and piano Blavet Concerto in A Minor (Vester) Abel Sonata in G. Harpsichord and flute Giordani Flute Quartet in D. El. vln. vla. cello De Fesch Trio Sonata Op. 7. 2 flutes and continuo C. P. E. Bach Trio Sonata in G. Fl. vln. and continuo Gyrowetz Quartet in G minor. F1. and string trio W. F. Bach Sonata flute, vln and continuo Vivaldi Sonata in F Tr. rec, and continuo Campagnoli Duet in D. fl. and vln. Telemann Six Duets 2 flts Drouet Two airs 2 flts Devienne Six Duettinos 2 flts (in 2 books) Corrette Sonata 1 2 flts. Bodino Sonata E. min. 2 flts Vermeulen 98 Little Melodic Studies for solo flute Mac Gillavry 20 easy studies flute Korevaar 2 Impressions flute solo Flothuis Aubade flute solo Flothuis Cadenzas for Mozart fl. and Hp. concerto Blavet Gigue and Rondo solo flute Poulenc Mouvements Perpetuels F1. and guitar Chester £1.60 Degenne Simplement F1. & Piano U.M.P. £1.45 P. Cam Three Bagatelles fl (or clart) and piano Cramer Pink Panther Suite W. Popp Fantasie Brillante on I1 Trovatore Southern Music Co. about £5 Faure Pavane flute and piano Southern Music Co. about £2.50 Mozart Andante in C fl and piano Southern Music Co. about £1.80 Sarasate Romanza Andaluza fl and guitar Southern Music Co. about £4.00 Favourite Music from the Opera 2 flutes (Vol 2) Pan Educational Music £2.25 John Reynolds Airs and Dances fl. and clarinet Pan Educational Music W. 75

J. S. Bach(?) Trio Sonata in D minor 2 flts and cont. JE No. 15969 £7.20

MUSIC FROM THE HEART A fanciful tribute from a lifelong disciple of the English School (Cocuswood, Murchie, Morris) on acquiring a delightfully artistic flautist daughter-in-law of the AmericanlFrench Style (Silverlgold; Kincaid, Pellerite, Mariano). The central message - all will agree - is timeless.

TRIBUTE: JOHN TURNER T o Sally, whose Pellerite pouting The long tradition of English fluting's flouting; Who, siren-like, lures from his patriotic principles Her father-by-marriage, one of Murchie's disciples. Kincaid the master from recent shades avers Her tone is quite the equal of Barrere's; Barrere himself, from long celestial tranquility, Readily concedes the point and commends her facility Of execution.

Platinum, silver, gold? Cocuswood or rose? Shadowy flights of flautists the ancient predilections pose: But Baker to Barrere, from Nicholson to Gilbert, Present and past, the great ones all assert The same solution:

Metal or wood? Boehm's keys and rings? Music's beauty's not based on mechanical things. When from her silver flute her siren calls she flings What matters most of all is . . . Sally sings!

What a lovely way to welcome a new member of the family. Do other readers celebrate domestic events with such elegance? Contributions, please, to Pan, 30 Grove Road, Stratford-on-Avon, CV37 6PB. ED.

Calling all Helpers. Help! Could you fetch, carry, aid and assist us with the Lon-

don Day, or other B.F.S. meetings, and events when we really do need extra hands? If you have some time to spare, Tony Bingham, 11 Pond Street, London NW3, will be very glad to hear from you.

The National Flute Association of America holds its 1 lth Annual Convention at the Bellevue Stratford Hotel August 18-21 1983 in Philadelphia, Pennsylvania. Write to Myrna Brown, at 805 Laguna Drive, Denton, Texas 76201 for all details and registration forms.

Apologies to David Butt, Oliver Bannister, Robin Chapman and Robert Dawes whose names were wrongly represented in the British Orchestral List, Pan Vol. 1 No. 1.

Superb material for the average beginner.

Ideally paced and superbly constructed.

Popular tunes like - THE SAINTS; SUMMERTIME; CREENSLEEVES; PINK PANTHER

used as an integral part of the teaching process.

Encourages recognisable musical achievements from the earliest stages.

"Fun" books with a serious purpose.

Two Books: each £1.75

Pick up a copy at your local music shop or write to Chester Music for more details

ClfSlERMISK: J b. W ChesterIEdition Wilhelm Hansen London Ltd. 7-9 Eagle Court, London EC l M 5QD Telephone: 01-253 6947

Flute and Guitar ROY BREWER

Having just completed a book on the guitar for Oxford University Press I have had to investigate, among other things, the available repertoire for the guitar 'with other instruments'. This led to a surprise: the amount of music written or arranged for flute and guitar, and to a personal investigation of some of it. With a guitarist friend we soon put together a small repertoire which includes such pieces as the Ibert Entr'acte (Leduc, Paris 1954) and the Poulenc Mouvements Pqetuels nicely arranged for flute and guitar by Arthur Levering (Chester Music; 1982), together with some earlier works for this combination, such as the Duettino by the guitar composer Giuliani, and a few other 19th century works, as well as arrangements of sonatas by Handel and Loellet.

My main reason for writing about this is to draw attention to both the accessiblity and the attractiveness of the flute and guitar duo. The guitar's qualities are particularly sympathetic to the flute's tone, and, compared with the piano, encourages accuracy, delicacy and rhythmic vitality. (I have often been 'saved' by a pianist in a sticky phrase, but would never get away with it when playing with the less assertive guitar!)

A good deal of music for recorder and guitar was written in the 50s and 60s when the recorder was virtually the standard 'school' instrument. (Now it is the guitar!) Much of this is, for the guitarist, rather elementary and boring stuff, created, one suspects, to provide the

recorder players with an accompaniment rather than any higher musical aim. Nevertheless there is, among this sector of the repertoire, some attractive arrangements of Baroque music and a few modern pieces.

The practical advantage for the flute player who wishes to play with a guitar is, of course, the present popularity of the latter instrument. Guitar societies are almost everywhere to be found and, though playing stan- dards may vary, there are usually amateurs who welcome the opportunity for extending their playing ac- tivies with some accompaniment, and discovering the less familiar music for their instrument found in duos and arrangements.

In the Guitar Music Catalogue, compiled in 1981 by Robin J. Pearson there are no fewer than 79 pieces or collections for flute and guitar and, since then to my certain knowledge, many have been added. They range in

'difficulty from all four of the Bach flute sonatas to cheer- ful 'easy' pieces: the scope is immense, both musically and technically.

On the whole, in what we have so far played together, my friend and I have been encouraged to 'fill out' some of the guitar writing to avoid the less interesting and occasionally inappropriate balancing of the respective parts. The flute gets most of the fun! Additionally we have found it possible quickly to make our own arrangements from works for flute and piano from the piano parts. The guitar uses the treble clef and, with some knowledge of guitar technique, it is sometimes possible to read the treble stave of the piano part and add some of the lower strings of the guitar to it in order to

maintain some harmonic sense in the accompaniment. Of course I do not expect many readers of Pan to be

unaware that flutes and guitars ace compatible, or that there is a wide range of music available for them to play together. What might be less well-known is the sheer availability of players of both instruments who, with a little patience and a few enquiries, could disinter a lot of this music from the catalogues and play it. The danger with flute players, especially amateurs, as with guitarists, is that they become isolated by their instruments from the pleasures and profits of performing music outside their respective, somewhat enclosed, 'worlds'.

Pianists (if I may say so) are sometimes rather touchy about accompaniment insofar as their technique, if equal to the more advanced repertoire of flute and piano, tends to require, let us say, careful balancing and modification for the role of the accompaninist. I played the Rampal arrangement of the Cesar Franck violin sonata with a pianist who said (with justification!) 'That's not a flute piece - it's a damn big piano sonata with flute accompaniment!'

The guitarist is, as a rule, a gentler creature and, due to the essentially amateur qualities which composers for flute and guitar have kept in focus, it would indeed be surprising if even less technically advanced players could not find something of interest and musical reward in this sector of the repertoire.

R O ~ Brewer sent this article in response to our appeal for material published in the last issue. We are delighted to have it and invite all contributions to The Editor, Pan, 30 Grove Road Stratford-on-Avon, CV37 6PB.

Record Reviews TOM NORDEN and TREVOR WYE Berkeley: Flute Concerto with LPO. Conducted by the composer Sonatina for flute and piano Sonata Op. 97 for flute and piano James Gaiway flute, Phillip Moll, piano RCA RS 9011

Although the Sonatina wasn't originally written for flute, all flute players must now claim it as their own. Having oft-times been murdered by Associated Board Candidates, it was doubly refreshing to hear such a polished and whigging recording.

The Sonata is on the next Associated Board list, so perhaps this record will serve as the perfect model for young performers.

A lovely record.

Also received:- Saint Saens Symphony No 2 Sawyers Four Poems for flute and strings SRRE 131 (Rare Recorded Editions) Godard: Impressions de Campagne, Op 123 (Rare Recorded Editions 162)

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The Forgotten Flute MADEAU STEWART

There is something odd, puzzling and mysterious about the history of the flute family. All historians draw our attention to the facts that compound this mystery, and then leave them aside, as though they were unim- portant, or perhaps because they might confuse a story that is already distressingly complex. I cannot solve the mystery. I can only offer a few observations that may galvanise further research. But first of all I need to define what I mean by flute.

The flute is a hollow tube. Apart from certain trumpets, for which the technique of producing sound is in any case different, it is the only wind instrument without a mouthpiece. There are two principle forms of flute: the vertical and the transverse.

The vertical flute is open at both ends. Rim blown,

without finger holes, it produces the harmonic series in all its beautiful, lawful progression. Skilhl blowing technique and the use of continuous or rotary breathing can bind and "bend" the notes with exquisite subtlety. This is the flute of the greatest antiquity. Already known in the 4th millenium BC, it was played in ancient Sumer and throughout the centuries of the Egyptian Kingdoms. In what appears to be an unbroken tradition it is still played in the middle east, the Balkans, Africa (north and south), as well as in South America. The Japanese shaku hachi, introduced from China in the 10th century, is a vertical flute. A characteristic of this flute is its narrow bore and, often, considerable length. I know of no piccolo verticals. The timbre in the lower register has a serene, hypnotic quality and, not surprisingly, this flute is used in the music of the ecstatic rituals of the Dervishes in Turkey. An instrument which was effortlessly perfect from the start, its basic configuration has remained unaltered, although a number of holes had already been added when the Egyptians played it in ensembles with the harp, proving irrehtably that they had more than adequate knowledge of the physics of sound, a system of tuning and harmonic music.

The other form of flute is a tube which is stopped at one end and blown through a hole pierced in the side. This transverse or cross flute has always had at least one finger hole. It is both less well documented than the vertical and less ancient. From the beginning it offered an acoustic conundrum, the relationship between the stopped end, finger and blow holes posing awful problems. Certain notes were feeble or out of tune, the sound was often weak in the lower register or shrieky in the upper. And yet it was this, problematical tube, at first un- suitable for refined music, which was adopted by Europe. Why? This is a mystery. The theoreticians had to be called in to battle with the acoustical problems, and because they could not immediately resolve them all, interest in the cross flute waxed and waned and every so often it seemed as though the instrument might glide in- to oblivion. The early repertoire, with its limited number of works of outstanding quality, is evidence of something unsatisfactory about the cross flute.

By what route the cross flute was introduced into Europe in the 10th or l lth centuries, or whether it was already present and ready for adoption, no longer seems important. What we need to find out is if early Europe knew anything of the vertical flute, and whether it was used for composed music. If so, why was it abandoned in favour of the cross flute? Or was its repertoire transfer- red to the recorder?

Most, if not all, European instruments have today come to the end of their technical development, and performances on them have surpassed what once seemed humanly possible. The flute is an exception. If the vertical flute, with its few open holes, were adopted, a new timbre and expressive range would be available, produced partly by subtler forms of fingering and articulation. With rotary breathing, interesting coups de souffle can be used in the place of tongueing.

T o experiment with a vertical flute there is not need to buy one. A rolled up piece of stiff paper will do. You will have to invent your own music - but why not try!

Oxford Flute Music Joachim Andersen (1847-1909) Alun Hoddinott ed. John S O I U ~ Italian Suite Five Songs for flute (or treble recorder) and guitar.

In four movements: Cadenza; Passamezzo;

without Words Condoliera, Duration 16 minutes and Tarantella E 5.95

for flute and piano f 3.60

arl W.H. Parry and Jane Parker

Four lutes or More Book 2 Seven 19th-century pieces for flute ensemble. These pieces (by Beethoven, Weber, Miiller, Fischer, Wolf, Andersen, and Wesley) are arranged for four flutes, with one piece for five flutes. Playing score f 2.35

Four Flutes or More Book 1, Oxford six pieces by classical composers arranged by W.H. Parry and Jane Parker, i s on sale (£1.95).

Press Music Department

Circular Breathing and Flute ZDENEKBRUDERHANS

The technique of "circular breathing" means the abili- ty in inhale whilst blowing out. The already well established name - circular breathing - might seem to be somewhat misleading - suggesting, for example, the air intake by some other way than by nose or mouth. As the breathing itself is not changed in the physical1 physiological sense, it should be perhaps more properly called "auletic breathing", according to the aulos players in ancient Greece who were applying this technique some twenty five centuries ago.

This technique has been known for centuries both to certain professions - such as glass blowers, or to some double reed instrumentalists - Chinese oboeists, Malay- sian seru-nai players, and the already mentioned aulos players. The application of this technique on flute playing is, however, a relatively recent event.

The Czech flautist Antonin Mach was, to my knowledge, the first person among flautists who had mastered it in the fifties. He shocked the panel, including J. P. Rampal, at the 1959 Prague Spring Festival International Competition of Wind Instruments, when he performed Bach's Allemande from BWV 1013 without an obvious interruption. Mach explained to me

the principles of this technique (he himself had learned it from glass blowers) and after a few months I was able to sustain a pianissimo note. In the sixties I demonstrated it to a couple of flautists, among others to A. Nicolet and P. Birkelund, at M. Moyse Masterclass in Boswill. I resumed my work in 1975, some ten years after Mach's tragic death. In 1976 I employed it for the first time when performing the Flight of the Bumble-Bee, and Moto Perpetuo by Paganini in 1977. Adelaide Festivals, classes in U.S. and Australia, 1979 Dallas Flute Conven- tion, New York Carnegie Recital Hall and London Wigmore Hall debuts were the venues which followed.

There are substantial differences in the application of circular breathing technique as used on the flute, compared with the otherldouble reedlinstruments: 1. All double reed instruments have lesser air consump-

tion than the flute. 2. There is a liplcheeks support in form of a metal plate1

Seru-nai, Chinese oboelor leather bandlauloslfor double reed players.

3. The double reed player can make quite a big reser- voir by his expanded cheeks before blocking his throat passage with the uvula and simultaneous breathing in through his nose, and pushing air into the instrument by cheekslfacial muscles which con- tract.

On the contrary, the flautist who must constantly control the embouchure with some of his faciallneck muscles, cannot relax temporally some of these

muscleslby blowing up the cheekslif he wishes to maintain unchanged qualities of sound, colours and dynamics throughout the whole compass of the flute.

It is therefore obvious that he must look for another air reservoirlreleasing device, whilst breathing through his nose. The throat is the logical place for such a storage, as the expansion of the throat by the back of the tongue and by some larynx and pharynx muscles does not interfere with the muscles which control the embouchure. It is also obvious, that the flautist cannot sustain unchanged qualities of any tonguing whilst breathing in, as the tongue is already involved in the throat expansion.

Learning the application of circular breathing on the flute is very dificult, and any flautist must possess certain abilities, before starting this demanding work: 1. He must have a perfectly focused sound1i.e. he must

not waste air in sound production/. 2. He must learn breathing in very quickly/some three

tenths of a second/, as the throat space is rather limited, and the air consumption, particularly in the low register or forte dynamics, is quite a big one.

IS T H E A P P L I C A T I O N O F C I R C U L A R BREATHING TECHNIQUE ON FLUTE PLAY- ING JUSTIFIED MUSICALLY?

Music has two sources: vocal communication of a man, and physical movement. Vocal communication is

always articulated - which means, there is an alterna- tion of sound and silence. It is not advisable, therefore, to employ this technique in order to "get help" in long phrases. Even Allemande from BWV 1013, although an uninterrupted chain of semiquavers, is based on an in- tegration of three linear lines and harmony which all require "breathing" at times, and thus allow the flautist to take a breath.

But, on the other hand, movement - more precisely, fast continuous movement - is fascinating for a man, and in its musical expression (i.e. an uninterrupted chain of equal fast notes) the application of circular breathing is fully justified musically.

Mastering this technique opens new exciting pro- spects to both performers and composers.

Zdenek Bruderhans, Grand Prix winner at the 1959 Prague International Competition of Wind Instruments, former principal flautist of the Prague Radio Symphony, is presently Reader in Music at the Elder Conservatorium and Associate Dean of the Music Faculty of the University of Adelaide, South Australia. He toured in I3 European countries, U.S., U. K., Asia and Australia. His 10 records, including GLPs, were released by Supraphon, Philips, Col- umbia Nippon and E.M.I.

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Concert Notice KATHERINE KEMPLER by AKI INOUE

I was delighted to have a chance to hear and review this concert by my friend and contemporary, the American flautist, Katherine Kempler, who made her debut in London (Wigmore Hall) 20th February. Her elegant appearance immediately enchanted the whole audience, which was very regrettably not so large. She started the concert with Loeillet's Sonata in A minor with guitar accompaniment on this occasion. It was beautifully ornamented and proved her tone rich and, brilliant especially in low and middle registers. She kept this sonorous sound until the end of the programme, 'Chant de Linos', by A: Jolivet, which was en- thusiastically performed with her splendid technique and with the perfect support of Clifford Benson, the pianist.

Like some other American women flautists she's got a special skill to draw and move the audience with her expressive way of flute-playing, as well as with her elaborate choreography. It was a little pity that her high notes sounded slightly thinner, although she was quite well in tune. Perhaps her instrument should be to blame, I suppose but not her.

Sonatina for flute and guitar by Mario Castelnuovo- Tedesco is not so often heard, but that lovely performance of this Sonatina's second movement, 'Tempo di Siciliana' fascinated everybody in that concert hall.

This review, by the Japanese flautist Aki Znoue, is our first Concert Notice in Pan, and we would welcome reviews by other members who put pen to paper after a performance of note. ED.

BFS London Flute Day Sunday 9th October, 1983

A Day of Flute Stars! Don't miss it! TABLE O F EVENTS

9.30 Registration 10.00110.30 Youne Artists Platform: Michael Cox 10.30 Talk: ~ r c i e s t r a l Playing: Gareth Morris. Find

out what its about from the Master! 11.30 Coffee. 12.00 Emile Biessen: Recital of Contemporary Dutch

and French music. (Principal flute of the Radio Philharmonic Orchestra, Hilversum).

1.00 Lunch. 2.15 Solo Master Class: Distinguished Swiss flute

player, Peter-Lukas Graf. Pupil: Clare Southworth.

3.45 Tea. 4.15 Lisa Besnociuk: Recital of Music for 2 traversos

and continuo. 5.30 Young Artist Platform: Wissam Boustany.

~ec i ta l : Peter-Lukas Graf. $.% Finish.

Cost: £9.00 B.F.S. members only. Full details of tickets on the separate sheet in this issue of Pan.

30

BFS Flute Extravaganza November 516 1983 at Royal Northern College of Music, Manchester. Saturday 5th 12.00 Arrival, registration and rece~tion. 12.30 ~unch . ' 2.00 'The Contemporary Flute' recital by Sebastian

Bell. 4.00. Tea. 4.30 Jack Moore, the distinguished American flute

maker, and Albert Cooper the world famous British flute maker in a Discussion Panel on flute making. Chairman, Trevor Wye.

6.30 Supper 7.30 Orchestral Concert: R.N.C.M. Sinfonia.

Soloists: David Haslam, flute; Stephen Preston, ' classical flute with Sebastian Bell.

Later Bar Extension. Bawdy songs and Victorian ballads sung by the Queen's Singers.

Sunday 6th 9.30 Illustrated Lecture "Paul Taffanel" given by

Edward Blakeman 11.30 Coffee. 11.45 Fritz S~iegl : "Nothing to do with flutes!" 12.45 ~unch." 2.00 'One Plus' a multiple flute concert of music for

from one to several flutes with continuo. 3.15 Tea. 3.45 Discussion Panel: Orchestral Playing and

Repertoire. With Roger Rostron, Principal Flute, Halle Orchestra, Colin Chambers, Prin- cipal Flute, Royal Liverpool Philharmonic Or- chestra. Chairman: Trevor Wye.

5.30 Short rehearsal and Concert of music for massed flutes. Bring yours!

6.30 Buffet Supper - Cabaret - Bar.

The weekend is timed to allow arrival on Saturday without rising at dawn, and finishes in time for those who go back to London by train.

Cost £9.00 to B.F.S. members only for the complete two days meals and accommodation extra. Meals: Saturday Lunch: £2.50

Saturday Supper: £1.75 Sunday Lunch: £2.50 Sunday Buffet Supper: £2.00

Space does not permit a full menu but Saturday Lunch 1s:- Chicken drumsticks

Assorted quickies Hot sausage rolls Coleslaw, Rice and Potato salads Assorted sweets Coffee and mints

V.A.T. not included.

This is a special menu for B.F.S. members, meals must be booked and paid for in advance.

Concert tickets for the separate events will be on sale after 6th October. The total cost of concert tickets will be about £15.00.

Information on Manchester Hotels and Guest Houses is available on request, S.A.E. please.

For address see flyer in this issue.

THANKS! The Committee of the British Flute Society wish to thank all the artists who are so generously giving their services for the London Flute Day and

To Publicise Pan IAN CHRISTIE

Well, it all seems to have started off very well, but can we keep it that way? I'm sure that with all the flautists there are in the British Isles (and abroad), and with all the interest there is in the flute, that we will have a very prestigious and successful society in the years to come. But why in the years to come? Why not immediately? Why not indeed! How can we do this?

Well, one way is to stimulate more interest in the flute and gain more members by getting other flautists we know to join. It's surprising how many just seem to sit on their ixixixixix at home practising double tonguing, Taffanel-Gaubert scales or, even worse, Vivian Scale Ex- ercises. (And what's wrong with these, Ian! Ed). We will have to awaken them by telling them of the Society and, more tothe point, using it. The Editor is always asking

for articles, letters, adverts, dates for the diary or queries to Auntie Crotchet. (Does anyone have any idea who Auntie is - and why?)

It's up to us all to publicise the Society. You know Fluteplayers that I don't. Hopefully everyone will share in this task. Active help is wht we need. So, if you call at your local music shop and they haven't a poster up about the society, tell me and I'll send them one. If they don't have any membership forms I'm sure Margaret Pether would send them a few. Local Radio is another good source of members. I have sent a letter to every Radio station in the British Isles, but if you know someone who can get us a plug - do so.

If you need any help or information just drop me a line, or ring, and I'll do all I can to help. If anyone has any other ideas on how they could help publicise the Society we would love to hear them. (In view of the prestigious nature of the Society I think that ladies parading down Oxford Street, topless, with B.F.S. tat- toed on the bosoms is a very nice idea, but one that we would decline).

Active interest not passive resistance - we're FLUTEPLAYERS.

Ian Christie is our committee member in charge of publicity and has achieved an absolutely mammoth task to date. Anyone needing to contact him should write to him at 33 Linksway, Congleton, Cheshire, or telephone Gongleton 77647. ED.

PAN MARKET PLACE Take advantage of our special offer for classified advertisements at under half price.

All you have to do is fill in the coupon below and send it to us, with a cheque or postal order payable to P. Moon & Son. (If you wish to place a longer advertisement, or to include a box number, please see ordinary advertising rates at the top of this page). Members' lineage ads for the private sale of instruments are free (please give membership no.).

Write only one word in each box, please.

t 1x1 0 CHARGE

Remember to include your telephone number or address within the advertisement. Maximum of 1 2 words allowed.

Anything written below this line will not be published. Please place my advertisement in Pan Magazine on the next available date.

Name (Block Capitals) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Address . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Signed.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Date.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Send to: Classified Advertisement Dept., British Flute Society, P. Moon & Son Limited, 80 Fleet

Street, London EC4Y 1 PN

Musicians need to see music to appraise the content and musical value before committing

. themselves to purchase. This collection of first lines is our attempt to solve this problem. We

hope it will stimulate all musical tastes.

. . . . . . . . . . . . . . Solos as studies for the'flute (Francis) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Briccialdi 24Technical Studies Prill Sonatina . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Arnold Sonata . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Bach 3 Duos for flutes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Berbiguier 4 Icelandic Folksongs . . . . . . . . . . . . . . . . . . . . . . . . . . Bjornsson Nocturne (Silver/Francis Series) . . . . . . . . . . . . . . . . . . Borodin Albumblatt (S/F Series) . . . . . . . . . . . . . . . . . . . . . . . . . . Busoni

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Etude (S/F Series) Cramer . . . . . . . . . . . . . . Dance of the Blessed Spirits (S/F Series) Gluck

Tambourin (S/F Series) . . . . . . . . . . . . . . . . . . . . . . . . . . . . Hasse . . . . . . . . . . . . . . . . . . . . . . . . . Haydn

La Flauta Espanola . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Kleyn Song without words (S/F Series) . . . . . . . . . . . . . . Mendelssohn

Andante Sostenuto, O p 85/4 Allegro Vivace, O p 102/5 Presto, O p 102/3

. . . . . . . . . . . . . Please send S.A.E. for your own copy to: Andante (The Magic Flute) (S/F Series) Mozart . . . . . . . . . . . . Alfred Lengnick & Co~npany Ltd.. Canzonetta (Don Giovanni) (S/F Series) .Mozart . . Purley Oaks Studios 421a Brighton Road. The Flight of the Bumble Bee (S/FSeries) .Rimsky-Korsakov

South Croydon. Surrey CR2 6YR Sonata. Op31 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Wallbank

BFS Flute Club News RUSSELL PARRY

The news of flute clubs is indeed cheering. Members of the BFS in many parts of the country are seeking contact with other enthusiasts to start clubs, and several clubs which were operating in isolation are now beginning to exchange ideas and material.

Several clubs are linked with the local education authorities andlor individual schools but some are operating in a splendidly independent manner. Of the former there are groups in Southampton (contact Robin Soldam, 87 Avenue Rd. S 0 2 IAW). Bury (contact Clare Tristram, 7 Wildwood Close, Holcombe Brook, Ramsbottom, Bury BLO 9SF). Doncaster Derby (contact Chris Freebury, 69 Avon St. Alvaston, Derby DE2 8TL). Leicester (contact Russell Parry, Leicestershire School - of Music, LE^ OJJ). Hertfordshire (contact Malcolm Pollock. 1 Kinas Rd. Hitchin, ~ e r t s ) . ' Cheshire & Wycombe High School (contact Ian Christie, 33 Linksway, Congleton).

Independent groups have met in:- Edinburgh (contact Sheila Cochrane, 16 Lansdowne Crescent, 1st Floor EH12 5EH). Bramhall, Cheshire (contact David Greenhalgh, 22 West Drive, Seedfield, Bury, Lancs). Reading (contact Janet Way, 9 Windrush Way, Berks RG2 2NQ). Harrogate area (contact Mr. Humphries, c10 Rudall Carte & Co. Ltd., Deansbrook Rd, Edgware HA8 9BB).

There is also considerable interest in forming clubs In.- .... Hampstead NW3 (contact Lyn McLaren, 1 Netherhall Gardens NW3 5RN). Thornton Heath, Surrey (contact Carolyn Kelly, 59 Melfort Rd, Thornton Heath). Worcester (contact Mr. M. Bowley, 29 Fern Rd., Com- er Gardens, Worcester). Rochester (contact M. Pether, 82 Seagull Road, Strood, Rochester, Kent ME2 2RH). WellslBristollBath (contact Mrs. Juliet Keeling, Rose Cottage, Water Street, East Harptree, Bristol BS18 6AD). Harrow (contact Mrs Jean Thomas, 156 The Ridgeway, North Harrow, Middlesex).

Northern Ireland is, of course, traditionally well stock- ed with flute bands and readers will be interested to hear of the Scottish Amateur Flute Band Association (contact the secretary, Mr. S. Houston, 13 Boreland Drive, Glasgow, G13 3DF).

May I start the ball rolling with a request for some original music specifically written for a group of about 20 flutes, possibly with the addition of piccolos and alto flutes? T o be of use, individual parts should vary in difficulty, but all have some interest. Such a challenge was not beyond composers of previous generations, so how about it, contemporaries! I can guarantee a performance of a suitable piece, and perhaps the B.F.S. would be prepared to commission it.

Watch Pan Diary for Flute Club events: write to Pan, 30 Grove Road, Stratford-on-Avon CV37 6PB with news of your meetings: RusseN Parry, of 21 St. Philip's Road, Leicester LE5 5TR represents Flute Clubs on the BFS committee and would be glad to hear from you. ED.

Here comes the Fifes DEREK GREER

Whalin' and Lundherin', Blargin' and Dundherin', ' Here comes the drums; Wailin' and weepin', sobbin' and cheepin', Here comes the Fifes . . .

C

So wrote the Ulster poet Brian McAlister many years ago, in an attempt to convey in words the frenetic sights and sounds of an Orange Order band procession. His description of 'blargin' drums' and 'weepin' fifes', however unfortunately remains even today as the commonly accepted impression of the Ulster flute band. It is certainly true that, many such boisterous outfits still exist "parading the streets to exhibit their political affiliation in musical terms". But beyond this mundane level is a network of fully equipped concert flute bands, producing a brand of music which is iepeated and admired among flute players throughout the world. Many of these superior bands began their existence marching with fifes behind the swirling banners of the Orange Order. All seem to have had one thing in common - they began with people in similar circumstances joining together to make music, as a means of improving their personal entertainment and that of the community. It must be borne in mind that much of this development took place between 60 and 100 years ago, before mass entertainment became the order of the day. People were driven to make their own music, motivated by the fact that live performance was really the only medium available.

So it was, for example, that a group of shipyard workers joined together to form the Ravenhill Temperance Flute Band, whilst former members of the 26th Belfast Company of the Boys Brigade became the Argyle band. Similar stories could be told all over the Province concerning the beginnings of flute band in city, town and country.

A most interesting (and possibly apocryphal) story sur- rounds the origin of fhe Ballymena Young Conquerors Flute Band in 1886, and how they assumed such an unusual name. Apparently it seems that a group of fifers were on the march rendering the loyal tunes of Ulster * when they were set upon by people dedicated to a different politic. It appears that they acquitted themselves well in the ensuing struggle, and eventually continued

, with the parade. At this time the band had neither name nor organisation, and so as they approached the end of the march a voice on the street exclaimed 'Here come the conquerors!' The name was duly adopted and remains to this day.

It seems likely that inspiration for the styie and organisation of many bands came from the fife and drum corps of the British Army. In fact anyone listening to the present band of the Coldstream or Scot Guards would gain an accurate impression of what most early Ulster flute bands sounded like. These bands of course, contain only a number of Bb fifes with an F bass accompaniment. (I use the old naming system here as almost all

flute bandsmen do - properly it would be Ab and Eb flutes.) Before 1900 sets of Boehm system flutes were unheard of, bands being equipped with inferior 'simple system' instruments. The marching season was a short one in Ulster and bands found themselves with nothing to do in the cold winter months. It was a natural extension that bands should wish to play all year around, as well as attempting a repertoire beyond that of marching tunes. A major turning point came when Eb (Db) and Bb (Ab) bass flutes were added to give bands a wider and more adventurous range. By the early part of this century the standard had improved radically and the bigger and better bands were considering a change to full sets of ebonite Boehm system instruments. In 1907 John Mur- die, conductor of the "Argyle", along with other interested parties invited bands to join together and form an association. Thus an organisation was formed which eventually became the North of Ireland Bands Associa- tion, an "umbrella body" containing the Flute Band, Brass Band, Military Band, and Accordion Band Leagues. From this time on the movement really ac- celerated in terms of growth, with Championship Con- tests being organised and music of increasing complexity being made available. First class musicians were engaged as band conductors, and a grading introduced to allow bands of a similar standard to compete fairly. Five Con- test sections were introduced - Melody, Junior Second Grade, Junior First Grade, Intermediate and Senior. Melody bands were obviously restricted to march tunes, but the other sections contained full range bands which tackled music of increasing difficulty. For example Junior 2nd grade bands would render a march such as "The Red Cloak", while those in the Junior First might attempt a simple overture, perhaps Kelar Bela's "Lustpiel". Weber's overture "Peter Schmoll - might be a suitable Intermediate selection, and Beethoven's "Leonora No. 3" overture the choice for the more difficult Senior Section. These yearly Championships have regularly attracted top names from the world of music to act as adjudicators, such as Harry Mortimer, Roy Newsome, and Eric Ball.

In 191 1 the Ulster Amateur band travelled to Belle Vue, Manchester, to take part in the Great Britain Championship for flute bands. No one gave them any chance, but in fact they stormed through the contest to take every prize available and returned to Belfast trium- phant. It was this same band that travelled to London in 1932, and under their conductor William Blythe recorded several discs of marches for Decca. The culmination of their weekend was an historic Sunday evening performance at the famous London Palladium. One of the most interesting aspects of flute band history is that unlike brass bands, instrumentation has rarely remained unchanged for long. The quest for improvement was of prime importance, an aspiration which led to the development of "double bass" flutes around 1920. These were termed "double F" (Eb) and "double Eb" (Db), and were constructed in metal material, usually with a coiled head. A full sized contesting band of this period would have been made up of Bb flutes (Solo, lst, 2nd and 3rd)) F flutes (solo and lst), Eb flutes, Bb bass, F bass, and Eb bass (plus percussion). Bands usually

33

varied in number from 20 to 35 players. In the mid 1960's it became increasingly clear that

these specially manufactured flutes were about to become obsolete. The cost of production for firms such as Boosey and Hawkes was becoming prohibitive, and a radical re-think became necessary. Some bandsmen had heard a combination of orchestral flutes with added "G trebles", and were most impressed by the tonal qualities of the instruments. In 1965 it was again the Ulster Amateur Band which broke new ground by becoming the first band to be equipped with concert system flutes. G treble flutes took over from the old Bb flutes, whilst concert flutes fulfilled the role previously taken by the F and Eb instruments. Alto G and C Bass came in as replacements for Bb, F, and Eb bass. The texture of sound achieved by the modern ensemble can be imagin- ed with the aid of a quick comparison between flute and brass - G trebles equivalent to Cornets, concert flutes assuming the part of tenor horns and saxhorns, Alto flutes somewhere between euphonium and trombone, C Bass at the bottom end with tuba, etc. Nowadays almost every contesting band uses the concert system, with perhaps the only exception being the 1981 Intermediate Champions Ballymana Young Conquerors, still playing on a 1932 Boosey and Hawkes ebonite set.

The present day sees the flute band in an important position in Irish musical life, but perhaps not as strong as it once was. Other entertainments and interests of the eighties have radically reduced the number of concert bands~by almost half of what existed in the twenties and thirties. Senior, Intermediate, and Junior contesting grades now contain about 25 bands each season. But on the whole those bands which remain have become larger in numbers and the standard of playing is improving all the time. Some of the larger Senior bands, such as Ballyclare Victoria and C.L.B. Newtownards, now have well over 40 players. The repertoire of these outfits has widened considerably to include folk, classical, light, pop music, and even occasionally a bit of jazz.

One of the greatest problems facing flute bands has always been the difficulty in gaining a widespread accep- tance outside Northern Ireland. There seems to be a general unwillinginess to recognise and promote the flute band, an attitude which is mostly held by those unaware of the marvellous sound a good band can achieve. And this despite the knowledge that James Galway, arguably the best flautist in the world, had his early training and playing in Belfast flute bands. The present principal flute in the Ulster Orchestra is Colin Fleming, former player with Ballyclare Victoria and son of the band's conductor. Such reputations within, for example, brass band circles would be used to the full as promotion, but is seems that flute bands are unable to capitalise. Perhaps is has something to do with being confined in a parochial setting? It is to be hoped that the activities of the British Flute Society will do something to redress the imbalance which has so impeded the progress of the flute band.

In this article I have tried to briefly introduce some aspects of the history and current activities of the Flute Band League. Obviously it is impossible in a piece of this size to convey a fully detailed account of over 100

years of history. There is enough material for a large book, waiting for someone who wishes to tell the full story.

T o those of you who have never heard a good flute band playing worthwhile music, I encourage you to try and listen to one as soon as possible. It is my belief that if flute players in Britain could hear our bands at their best they would take steps to set up similar organisations. The encouragement and coaching of young players is the key concept in the Irish flute band tradition. For a country of only 1% million people there is a staggering number of flautists, albeit of varying degrees of com- petence. The flute playing potential of young people has yet to be fully "tapped" in England, and only will be when the musical parameters expand to allow both flute and brass bands to develop. The Flute Band League in Northern Ireland will always be willing to help in any

' way it can in order to further this development. The Irish writer Oliver Goldsmith, like so many of his

countrymen, was a fine amateur flute player. The music historian O'Neill, in "Irish Minstrels and Musicians" tells us that "he partook of the free hospitalities of the monks of the monasteries, slept in straw in humble barns, and when he reached a village would pull out his flute and strike up a lively air, to which the rustics would respond with dances". It is this fine tradition of flute playing in the island of Ireland which has helped to produce the impressive flute bands of today. Perhaps the time will come soon when this experience will cross the Irish Sea, and do much to increase the popularity of this excellent instrument in Great Britain.

Derek Greer promises us photographs to illustrate this and future articles, and practical advice relating to the organisation and repertoire of Flute Bands, and we very greatly appreciate this-ED.

Thankyou to Nigel Wardfor designing the B.F.S. logo and the cover frame of Pan. We are, and we feel that aN future B.F.S. members always will, be most appreciative of this elegant identity in print.-ED.

Members Advertisements

This service is free to members without commercial interest. FOR SALE: Mateki 162 Handmade Silver flute. Open holes, very well in tune and beautifully made. Very regretted sale. f 2000 o.n.0. Tel lan Christie Congleton 77647. May be played in Lon- don.

FOR SALE: Djalma Julliot Flute, silver plated, closed holes. E 3 5 0 o.n.0. Tel: Jane Charles, Worcester 60273.

WANTED: Any flute making or repairing tools. Tel: lan Christie, Congleton 77647 . WANTED: Any flute quartet music or anything suitable for flute band. Tel: lan Christie, Congleton 77647.

Pan Diary Second Wind Promoters, Artists and Societies are invited t o send details of concerts or other events of interest to Flute Players to:

Pan Diary 4 Abbots Barton Walk Canterbury CT1 3AX

FLUTE BAND FROM SCRATCH Sunday 2 3 October 2-4 p.m. at Mary Ward Cen- tre, 4 2 Queens Square, London WC2. Admission f 2.00 at door (E l .50 if pre-booked) All levels welcome - special beginners parts included in the mad and maniacal arrangements by Lyn McLarin for up to 1 0 0 flutes. Some nice normal music as well. Further details tel: 01 -794 1 709.

Little Benslow Hills, Hitchin, headquarters of Rural Music Schools Association. Frequent wind chamber music courses wi th tutors including Kerry ,Camden, Bernard Parris, Trevor Wye, Gor- don Heard, etc. Also chamber orchestra and wind chamber music summer school, this year August 23-29. Details from the Secretary, RMSA, Benslow Lane. Hitchin.

Purcell Room: November 7 at 7.30. Clare Southworthr- flute. Works for flute and piano.

Louise Carslake, Baroque Flute, will be giving 3 recitals in the Midlands wi th the ensemble "Music's Recreation".

July 21st - A lunchtime recital for the War- wick Arts week.

July 22nd - The Birmingham and Midlands In- stitute, Margaret Street, at 8 p.m. .

. July 23rd - Hall's Croft, Stratford-upon-Avon at 8 p.m.

The programme will include music by Blavet, . Couperin, and J. S. Bach. For more information tel. Claverdon (092684) 2239.

October 9th: BFS London Flute Day at the Guildhall School of Music

November 516 BFS Flute Extravaganza at the Royal Northern College of Music, Manchester

THIS SERVICE IS FREE

HUBERT THOMAS

I was about 6 or 7 years of age (1920) when I first became involved in amateur music. My father was a church organist, pianist and flautist, self taught.

How strange that he started me off on a violin! At the time I never questioned it but recently some 60 years later I have often wondered. about it. Was it because he could foresee the growth in popularity of an instrument, only two or three of which are required in an orchestra? Perhaps it was because my elder brother, Evan, was attracted to the violin, but whatever the reason two violins, music and stands appeared and I suppose I made reasonable progress for my age. I recollect playing duets by Pleyel with Evan on 1st violin and father on piano, and winning a magnificent prize of sixpence ( 2 % ~ ) on St. David's Day at Trefelin Primary School, Port Talbot.

My father was practically a chain smoker, and even smoked when demonstrating on the violin. Once when practising on my own I found the going so hard I stuck a tube of paper in my mouth, but there was no magical im- petus! I never became a smoker!

Evan progressed well and soon went for lessons to an accomplished violinst, but my enthusiasm waned so I was switched to piano. Some progress was made, Dad and I played piano duets from the "Curwen" series and I even played marches for school assembly.

Round about 1924 my father came to a great decision. After years on the simple System he purchased a Boehm flute, also a secondhand Boehm piccolo - both Old Philharmonic Pitch.

At this period I was a great boy with "Meccano", building models with 2 or 3 speed gearboxes and dif- ferential gears etc so I was fascinated with the sheer mechanics of this new flute. For the first time I expressed a desire to learn an instrument instead of being persuaded. (Perhaps in his wisdom, this is what father might have been waiting for). He said I could use his piccolo and see how I progressed; so I played piccolo before flute!

In those days, in musical Wales, there were few flautists, no peripatetics, no school or youth orchestras.

Fortunately an ex-army bandsman started up a small orchestra, a Mr Rolf, caretaker of Port Talbot Secondary School to which I "graduated" a year later. This must have been a very unbalanced band! I recalled violins, violas, cello, cornet and myself on piccolo! We gave several concerts, once at an army camp at Porthcawl in a great marquee tent, the worst acoustic "building" I've ever performed in! Once we all went by train to Swansea for an audition to perform "on the wireless" as radio was then called. I was quite put off by an engineer placing me and piccolo twelve yards from the orchestra to preserve the sound balance!

My father was now satisfied that I would continue, so he purchased a flute. In 1925 one could not simply walk into a Port Talbot music shop to purchase a flute! Lon-

99 ST. MARTIN'S LANE LONDON WC2

Tel: 01-240 1612

FLUTE DEPARTMENT

Recommended Our Retail Price Price

YFL-211s Silver plated. E mechanism, covered hole ( f 2 2 1 ) f 1 9 9 YFL-261s Silver plated, open hole ( f 248) f 2 2 0 YFL-311 Silver head, E mechanism, covered hole (E 369) f 3 3 0 YFL-361 Silver head, open hole (€383) E 345 YFL-381 Silver head, open hole. In line ( f 3 8 5 ) E 3 4 6 YFL-381H Silver head, open hole. In line WIB foot-joint (€460) E410 YFL-411 Silver head, body and foot, E mechanism, covered hole (€667) f 599 YFL-481 Silver head, body and foot, open hole. In line (€681) E610 YFL-481H Silver head, body and foot, open hole. In line B foot joint (€752) £675 YFL-611 Silver head, body and keys. E mechanism, covered hole (E 2039) £ 1800

(U.S.A.! 2SP Silver plated, covered hole. E mechanism (€236) f 195 2SH Silver head. E mechanism, covered hole (€357) E 299 2 s Silver head, body and foot, E mechanism, covered hole (E 533) f 4 6 0 2CS As model 25 with gold springs. E mechanism ( f 576) f 4 9 0 5SS Solid silver, gold springs. E mechanism (€1126) £875 3SS Solid silver, open hole, off set ( € 1069) f 825 KG Solid silver, gold mouthpiece (€1681) E 1200

PlCCOLOS YPC - 3 2 Yamaha ABS Resin body (E 196) £175 YPC - 6 2 Yamaha Grenadilla body (E 344) £310 YPC-81 Yamaha Grenadilla head and body (E 670) f 599 CP- 7 Gemeinhardt plastic, conical bore, silver plated keys (€285) f 2 4 0 C Gemeinhardt silver plated (€251) f 21 5 CSH Gemeinhardt silver head (€321) f 275 CS Gemeinhardt solid silver (E 4381 f 3 7 0

We also stock Emerson & Armstrong flutes

LARGE SELECTION OF FLUTE MUSIC IN STOCK

PART EXCHANGE INSTRUMENTS BOUGHT FOR CASH RENTAL SCHEME EASY PAYMENT SCHEME - DISCOUNTS FOR TEACHERS AND M.U. MEMBERS

BARCLAY CARD - ACCESS - AMEX - DINERS

don shops were approached by post and in due course flutes arrived on approval. I chose a Rudall-Carte in cocus wood no. 1438, Old Philharmonic pitch. It cost 13 guineas!

I suppose that would have been two week's wages, but Dad also earned a bit extra with teaching short hand and book keeping at evening classes and at home.

This was a lovely flute and I still use it. There was never any shortage of good music at home - flute and piano, flute duets and trios - with and without piano accompaniment and flute, violin and piano. My sister Winnie, older than Evan and I, was, and still is, an accomplished pianist so father could be released from the piano to play flute.

I joined Dad as second flute in a larger orchestra which rehearsed at St. Agnes school room under the baton of Mr Gwilym Thomas (no relative!) His father was Afan Thomas from Cwmavon, no mean performer and composer. We had clarinet and oboe but nothing as exotic as bassoon!

My father had little time for music teaching apart from his children but he did teach three men, to my knowledge and memory, to play the flute. One was Per- cy Stevens a steel worker, another was Josiah Thomas, a coalminer and the third Mr. H . 0. Ffoulkes, a mathematician at University College, Swansea.

Percy made something "on the side" playing for silent films at the "New Theatre", Port Talbot and one day he suggested to Dad that it would be an experience for Hubert to have a go with him for the best part of a week.

It certainly was an experience! I was only eleven years old and without Percy alongside I could never have managed the quick switches from one piece to another to suit the mood of the film. It was rather "seamy", we sat on beer crates which of course were not empty!

It is very amusing to tell people in 1983 - "I once played for the silent films, you know!"

Josiah emigrated to the coal mining area of Scranton, Pennsylvania and became an orchestral flautist of distinction. He made several trips to Eisteddfodau in South wales (this before Atlantic flights). His son was Thomas Llynfi Thomas, a celebrated baritone singer, who sustained his inrerest in Welsh folk music in spite of leaving his native Maesteg at age 12. He has recorded "Songs of Wales" on the "Daffodil" series. More ardent Welsh folk than myself have told me his diction is far superior to many native singers!

Mr Ffoulkes (from North Wales!) became an excellent amateur and was the first person father and I had met who purchased one of the new-fangled Rudall-Carte metal flutes. I recollect him having a conscience at spen- ding as much as £30 for his instrument.

My secondary school life now started (1925) which I found difficult intellectually! As a normal .boy I had other distracting interests apart from music such as model trains, cycling, swimming, hill walking and photography. My flute playing was confined to chamber music at home. Low pitch became universal but Rudall Carte undertook a conversion by supplying a new tube and fitting the old keyword to it. This cost f 10!

By 1932 I was at University (Swansea) taking an Engineering Degree Course. Here again there was no

outlet for an instrumentalist, but there was a boost to our "at home" music. As a loyal accountant to the Margam Estate (pre strip-mill steelworks days) he was offered part of the "Cottage Hospital" which was being con- verted into two houses. The lounge used to be a ward; it was large with a very high ceiling and was therefore excellent from an acoustic point of view. It took some heating though, in winter. Mother was a bit of a devil - she would carry a shovel of burning coal from the dining room fire to start the lounge fire! Other musical friends were invited frequently but our main "performances" were Kahlau Duets and Kummer Trios.

I think it was 1932 when I was persuaded to compete in the National Welsh Eisteddford at Caernarvon. Would you believe this - only two competitors entered. We had to play "Andante" by Haydn. The other fellow beat me by 5 marks but I can honestly say I once came second in the Eisteddford!

My college days finished in 1935, still slump years in South Wales and I considered myself lucky to be taken by B.T.H. Co. Ltd. at Rugby, at £2.50 per week. My various lodgings during the next three years averaged 27 shillings (£1.35) per week. this included all meals and laundry and substantial sandwiches for my extensive week end cycling excursions.

The three years at Rugby were very rich musically. No homework nor examinations to "swot" for, and plenty of flute playing. There was only one flautist in Rugby Orchestral Society, a Mr Marsh, so I was "in". We rehearsed and gave concerts at the Temple Speech Room of Rugby School, with Mr C. L. Salmons of the school staff conducting. Also I joined Coventry New Or- chestra conducted by the appropriately named Mr Ma- jor as M.D. This orchestra gave frequent concerts, joined by solo celebraties such as Joan Coxom, Betty Hum- by, Heddle Nash.

There were two operatic societies; my experience in the "pit" was far pleasanter than in the silent film theatre!

One day I had the unique experience of meeting Prof. Dayton C. Miller of Case School of Applied Science, Cleveland, Ohio. When he returned to America he kindly posted me several large photographs of his famous collection of flutes.

Thanks to Hitler, 1939 started a period of low ebb in amateur music activities, and I had periods of lodging in Nottingham, Liverpool, Burnley and Manchester while working for Ministry of Aircraft Production. While at

-Liverpool I met a girl cyclist at Merseyside Youth Hostel in North Wales and by 1941 we were married. (We celebrated our Ruby Wedding in 1981).

In the Trafford Park industrial area of Manchester a Home Guard Light Orchestra was set up in 1942 and I just happened to be on the spot! I was sole flute in this until its demise, soon after hostilies ceased. We played a large number of concerts and the grand finale was to combine with an operatic society to perform "Merrie England" out of doors in Longford Park, Stretford. It never rained ori us - how about that for Manchester weather?!

In 1945 I became a Technical College lecturer and had to burn a lot of "midnight oil" preparing notes etc, but

found leisure to play in various amateur orchestras. I set- tled down in the Manchester area and have had a very full musical existence up to the present day. In the Man- chester "Beethoven Society" Orchestra we had the privilege, for a few years, of being directed by Maurice Handford. Another amateur orchestra, Gordin Philhar- monic, under Mr J. Crosdale bought me in touch with several excellent flautists, some became professionals. This orchestra is still able to attract an audience of 3000 to the Free Trade Hall.

There have been numerous Rehearsal Orchestra weekends and Oratorios. I recollect giving Miss Ida Car- roll Principal of the then Northern School of Music, a lift home from Buxton after a "Messiah". She had played Double Bass and when I asked if she had played it in "Messiah" often she said "Third time this week my dear!"

Musical shows have been a great joy to me, but there was a great difficulty, I had to lecture on two evening classes per week, sometimes three. Fortunately I met a flautist who was an insurance agent, also involved in evening work. Between us we shared out a week, but never played together except at rehearsals!

By the time I attained age 60 I had had enough of Technical Teaching so retired. Surprisingly, I was offered part time flute teaching which escalated to three days a week. How glad I was that a few years earlier I had had a series of refresher lessons from Tony Walker.

Although I had to retire from peripatetic teaching at 65 I still teach voluntarily at a juniorschool. The change over from teaching applied science was such a fresh phase in my life I almost felt re-created - in other words a period of "second wind!"

Next year I shall be 70; how glad am I that I persisted with my early start as a flautist despite the distractions of study, other hobbies, the barren war years and the evening classes of post war years.

My four children have all turned out very musical, one college trained oboeist who spent 8 years in New Zealand as a peripatetic , (or itinerant musicians as they call them over there) a boy and girl amateur flautist, the later having replaced me in the Beethoven Society, and a recorder plus classical guitar player.

A tolerant and understanding wife has made all this possible. She did not have my childhood good fortune, but took to the Yamaha I purchased as a teaching instrument. She is now proficient enough for us to enjoy duet playing - even on caravan holidays when the weather is bad!

Readers! May we, for future issues, have other musical memories from amateurs for whom flute playing has been a life-long interest? ED.

STOP PRESS Nigel James of All Flutes Plus has negotiated a 10% reduction for BFS members with the British Reserve In- surance Company on instrumental insurance cover. All details, including valuation and immediate cover, from Nigel James, 5 Dorset Street, W l H 3FE. Tel: 01-935 3339.

Backpage

What do you think?

Readers, Backpage is yours for any comments on our previous issue. Grumbles, information and accolades please to PAN, Backpage, 30 Grove Road, Stratford-on-Avon, Warwickshire CV37 6PB.

Whereas elsewhere in Pan all articles are infact, lack of space may necessitate selection from more copious comments. -ED.

from Patricia Moore, AGSM, ARCM

Dear Auntie Crotchet: What a ridiculous name! T o me, its association with 'crotchety' gives it an aura of ill temper which I hope was not intended.

Why should you presume that someone wanting to play duets will have a reasonable standard? Most beginners love playing with other people. If your correspondent needs some straightforward flute duets to start on, I recommend the two volumes of duets edited by Himie Voxman and published by Novello, which start from a modest level of technique and include quite a lot of short pieces in the first book.

Auditions: I find the instruction 'Don't worry about your interpretation, you'll be taught that at College" ob- jectionable. What does Trevor Wye expect teachers outside music colleges to do? And who is he to say that only the privileged few who have the opportunity to teach the privileged few should offer anything more than 'technique, tone and articulation'?

Many thanks for the note about the British Music In- formation Centre, which I had never heard of. As a result of a brief first visit I shall be able to obtain photocopies of an unpublished quartet by Arnold Cooke.

Book Review CHRISTOPHER HYDE-SMITH

The Flute, by our President, James Galway, has re- , cently been published, adding our instrument to the

wind section of Yehudi Menuhin's Music Guides; already available are Leon Goossen's and Edwin Rox- burgh's Oboe and Jack Brymer's Clarinet; promised in future are Bassoon by William Waterhouse and Horn by Barry Tuckwell.

As one would expect from Jimmy every page of the book is entertaining and the whole volume exudes his love of the flute, flute playing, his repertoire and performing, indeed, his enthusiasm for life.

The book is divided into four parts; 1) the flute, 2) playing, practising and developing technique, 3) lessons, 4) on being a flute player. Each part has several chapters and these are subdivided into headings.

Part one consists of a short history of the development of the flute and recorder, most informatively and engag- ingly told, showing why in the end the flute eclipsed the recorder as a concert instrument and even finding a pro- phesy of this by the composer Thomas Morley almost two centuries before it occurred. The penultimate chapter of this part (the final words being on flute care and maintenance) Jimmy had the excellent idea of asking Albert Cooper - maker of two of Jimmy's gold flutes - to write a chapter which he calls 'My work on flutes'. This is a fascinating essay with no fence sitting and no holding back; he tells us about his experiments with measurements and materials, concluding with the type of flute he considers best - a design which I personally have never seen!

Part two is by far the longest, taking over one third of the book. Here Jimmy shows amazing openness, honesty and zest as well as his obvious understanding of the subject; he is never dogmatic, but tells us how and why he , does things. Quite rightly, in my view, he encourages us to listen to the great performers, singers, pianists, and string players. He particularly admires those that can change their tone colour. He says on performing, 'You are the actor now': or to succeed as a player. . . 'there is no such thing as a holiday. I practise the flute every day of my life, at home, on tour, in transit if necessary. But I want to be really good at it. If you want to be really good you will do likewise.' He points out, 'what staccato does not mean is short': but it is equivalent to the french word detach6 - separate, a point that is ignored by some

+ players to this day. On the subject of articulation there is a constructive chapter but triple and flutter tonguing are not mentioned. There is sound advice for the beginner - how to aim the air and to keep the tone even. Jimmy feels Bh should be the first note to be tried after 'a clear healthy sound' has been made on the headjoint alone. Unusually he advises the student to procede downwards chromatically, then upwards.

Page 92 is a fingering chart, with instructions 'Black keys: closed, white keys: open, shaded keys: optional.' The chart actually shows, Black keys: open, white keys: fingers off. Therefore closed standing keys are wrongly

shown on the chart. Curiously such options as open G# , split E or any other fingering system or additional key, use of harmonics or alternative fingerings are not mentioned by Jimmy.

Part three discusses musical approach to Baroque music, Bach tempi, decoration and some major flute solos, unaccompanied, with orchestral and piano accompaniment, and also what to look for in an ideal accom- panist. The final part suggests ways to launch oneself as a flute player in orchestras, chamber music, jazz etc, assuring us we must get a kick out of playing. These are given extra point by some of Jimmy's own experiences with conductors, commissioning works and the transcriptions he has chosen to play.

I can say that this is the most readable and enjoyable book on the Flute I have seen. Jimmy's printed words reflect the sparkling personality that has made him the household name he is in every type of home; he so enjoys what he does, or in this case what he writes that the pleasure is immediately infectiously caught by the listener, viewer or reader.

D'N l-

,l 1 /-

A LINE

- L.L

Supporr from members of the Internationa/ Summer School 1982 - a / / doing what comes narura/ly. Pholograph: Trcvor W'ye

40

You have a flute -

-

Graham Lyons' new book entitled CONTENTS

do you have a pen?

useful flute S O ~ O S

Write an article for

Sarabande Corelli

Hornpipe PurceH

Papageno's Song Mozart

PAN

At last: really useful album for flute arr. Lyons Arietta Greig * Playing standard: pre-Grade 3 t o Grade 5

'New attractive pieces - from Purcell t o the 2 0 t h Boree Richard Jones

century Rondo from Suite in B Minor Bach * Skilfully arranged and adapted Andante Semplice Lyons * Piano accompaniments that don't plod - they really

enhance the music, yet are simply written. Allemande Beethoven

* *Extra f lute parts available separately Morning from the Peer Gynt Suite * Each piece has advice on interpretation and practice Grieg * Music that is enjoyable t o play and t o listen to. Menuet Bach

". . . by far the best I have seen. 1 wish they had been around Set Free Lyons years ago. " Tony Arnopp, experienced teacher and principal woodwind Each book (piano score and part)

player, BBC Radio Orchestra. costs f 2.95.

Every selection in these books has been written, arranged or Each additional part costs E 1.20

edited by Graham Lyons, best known for the 'Mixed Bag', 'Set Postage packing is 6 0 ~ for any Two' and 'Take up the Flute' series. quantity bought directly.

Available from music shops (distributor: Music Sales Ltd) or directly from:

Useful Music (Woodwind) Ltd. 1 9 Battledean Rd, London N5 1 UX. Tel: 01 - 3 5 9 327 1

Pan is distributed free to all members of the society. We offer a first-class service to advertisers in every field connected with the flute, such as instrument manufacturers, music and record publishers, and repairers.

Display advertising rates on application. Small ads-strictly remittance with order, please; 15p per word (minimum 1 0 words). Box numbers f l extra. Cheques made payable to P. Moon & Son Ltd. (client AIC). Please send to Frances Moon at the address below. Members' lineage ads for the private sale of instruments are free (please enclose your membership number).

Final copy date for the November issue is September 15. Please send to: Frances Moon, PAN Advertisement Manager, P. Moon & Son Ltd., 8 0 Fleet St., London EC4Y 1PN (Tel: 01-353 5555/3913/0530/2665).

Small 'Ads. Replies to Box Numbers should be sent to the Advertisement Manager for forwarding [address, please see above)

For Sale FOR SALE: Muramatsu flute, plateau model. Unused. Fine instrument E 1,200 o.n.0. Tel: Maidstone 79961.

FOR SALE: Rudall Carte joint flute and piccolo case with outer cover included. Only 3 months old and as new €30. Tel: Stevenage (0438) 59881.

FOR SALE: Rudall Carte Coronet with Flutemakers Guild head, all sterling silver, good condition. E 500. Tel: 083785 330 (after 6).

MURAMATSU solid silver 'E' mechanism, f850. Monnig bass flute, E 800. Tel: Ramsbottom 51 90.

FOR SALE: Pearl Flute. Solid silver head, body and foot; silver plated keys; E mechanism. Excellent condition. €520. Tel: 021 -449 0503.

FOR SALE: Almeida flute headjoint. Silver. Greatly jmproved - especially low register. €400. Reiner Piccolo headjoint. Wood. Especially good top register. Also fits most Pho Hammig wood piccolos. f 300. James Piccolo headjoint. Silver tube, wood lip piece. E 150. Please ring Andrew Lane: 02 1-449 0672.

I Reproductions of Renaissance and Baroque Flutes

John Underhill a

Musical Instrument Maker

U 5, Wellington Square, Cheltenham GL50 4JU 0242 24880

7

FOR SALE: Welsh Harp, immaculate, f 150. Lewis, 30 Grove Road, Stratford-on-Avon.

Recordings Now available: M. Moyse recital record E 10.55. T. Bohm 'Com- positions for flute', live digital double album performed by Ador- jhn, Bennet, Burkhard, Debost, Grafenauer, Nicolet. Superb recording at special price of f 13.95, from All Flutes Plus, 5 Dorset St, Wl. Tel: 01-935 3339. -.

PROFESSIONAL WOODWIND REPAIRS by experienced repairer. E. D. Kettlewell, 56 Leabrooks Road, Somercotes, Derby.

phone 0773 603276. 14 mins. Junc. 28 M.1.l

VACANCY: We are a large private teaching practice in Nottingham with a very secure future. We are looking for a person in their twenties who can teach at least two of the following subjects to diplomalevel; Flute/ Saxophone/Piano/Theory/ Recorder.

An interest in Jazz/Rock would be useful. The successful candidate will wish to make a career in teaching, whilst continuing to develop as a performing musician. Write with full C.V. to Jeremy Shaw, 193 Wollaton Street, Nottingham NG5 ICE. Interviews in late Julv.

The Metropolitan Workshops Woodwind Repairs by John Coppen Unit A7, Enfield Road,

"A first class professional service" off Kingsland Road, London N I 5AZ Tel: 0 1-249 4320

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Witish - The British Flute Society

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Transcript of Witish - The British Flute Society