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VOLU M E 4 4 , NO.

2 WINTER 2019

t h e
LUTIST q ua r t e r ly

An Uncommon
Woman: Celebrating the Flute Works
of Composer Joan Tower

Sound Anatomy
The Essence of Robert Aitken
Remembering Katherine Hoover

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p o we llflu te s.c o m
2019 Table of Contents The Flutist Quarterly Volume 44, No. 2

13 From the President
15 From the Editor
16 High Notes
38 Across the Miles
41 From the New Music Advisory
Committee 26 32 42
42 Notes from Around the World
45 New Products
18 An Uncommon Woman: Celebrating the Flute Works
46 Passing Tones
of Composer Joan Tower
52 Honor Roll of Donors by Lisa Garner Santa
to the NFA Year-long celebrations of the artist’s 80th birthday highlight her
54 Reviews vibrant career and lasting works.

68 From the Development

Committee Chair 26 Sound Anatomy: Ear, Nose, and Throat Problems
70 From the 2019 Convention of Flutists
Program Chair by Sasha G. Garver and Adam T. Schwalje
The mechanics of wind performance can help flutists avoid injury.
72 NFA Office, Coordinators, An otolaryngologist/musician and a flute teacher/singer offer
Committee Chairs insights into the anatomy of sound.
76 Index of Advertisers
32 The Essence of Robert Aitken
Cover image: Photo by Cynthia DelConte
by Paul Taub
The composer, pedagogue, and international flutist is both
esteemed and prolific—with no end apparent in his varied
schedule. His longtime friend contributes both a full oral
history, available at the Library of Congress, and this profile.

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Michelle Cheramy Cincinnati, Ohio
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Memorial University of Newfoundland, St. John’s Patricia Spencer
Flutist, Da Capo Chamber Players
Wendell Dobbs Professor of Flute
Professor of Flute, Marshall University Bard College and Hofstra University
Huntington, West Virginia New York, New York
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Principal Piccolo, Seattle Symphony Michael Stoune
Seattle, Washington Professor Emeritus
School of Music, Texas Tech University
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Professor of Flute and Associate Director
University of Idaho Lionel Hampton School of Music Paul Taub
Moscow, Idaho Professor of Music, Cornish College of the Arts
Flutist, Executive Director, Seattle Chamber Players
Julie Hobbs Seattle, Washington
Assistant Professor of Flute, University of Kentucky
Lexington, Kentucky Nancy Toff
Music Historian
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Mount Prospect, Illinois Orthopaedic and Hand Surgeon, Amateur Flutist
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Certified Hand Therapist, Flutist Susan Waller
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From the

Joanna Bassett

Welcome to a new year with the National Flute Association!

n November 1, we gave thanks to Tabatha Easley is moving from her Our most visible volunteers each year
those who volunteered in the past role as secretary extraordinaire to the are the program chair and assistant pro-
year and greeted new competi- newly created position of Committees gram chair, and we can never give them
tion coordinators, committee chairs, ap- Liaison. She will help committees work enough kudos. To Francesca Arnone and
pointees, and board members. I give spe- on collaborative projects, and if you are Kristen Stoner, your Orlando Convention
cial appreciation to President Kyle Dzapo eager to join a committee, Tabatha is your was a masterpiece! Thank you for devot-
for skillfully guiding the NFA through contact. ing two years of your life to flutists and
the past two years and leaving us poised Thank you to committee chairs Ali Ryer- our mission.
for an exciting year ahead! Her focus has son, Lisa Bost-Sandberg, and Jeffery Zook Many of you find creative ways to give
been on you, our members: increasing the and competition coordinators Whitney back to others, knowing that someone
number of new student members through Farris O’Neal, Morgann E. Davis, Billy else helped you along your path. Perhaps
the student membership discount and Kerr, and Jeremy Benson for your amazing you sat next to a young student in a flute
adding many new member benefits. It was talents and dedication! choir reading session or played a concert
a privilege to join Kyle’s weekly meetings Kathy Melago did a beautiful job coor- for older adults in a senior living center.
with Executive Director Kelly Jocius and dinating our exhibitors’ showcases and If you are a seasoned convention-goer,
to witness their thoughtful planning and concert. Jeanie Pierce kept the website list you have probably introduced yourself to
energy for every new opportunity. of flute events current, and Patricia Surman someone attending her first convention
I appreciate the wisdom and sense of managed the jobs listings. Thanks to NFA and offered your convention tips.
humor Diane Boyd Schultz brought to Library Liaison Christine Harper, as our There is a word for this generosity of
our board meetings, and Molly Barth library borrowing has increased substan- spirit that we experience at conventions:
added creative and intelligent perspec- tially in recent years. Viviana Guzman’s camaraderie. It sustains me throughout
tive to our discussions. I learned so much distinctive PR brought local attention to the year, and I invite you to join the circle—
about our dedicated commercial mem- our conventions every year, and Tammy we are all in this together!
bers from Elizabeth Watson, who served Phillips was our Florida connection for
on the board as well as the Commercial this year. To Rebecca Cauthron, let me —Joanna Bassett
Members Committee. simply say “Youth Flute Days Forever!”


From the

Anne Welsbacher


ne of the Beatles’s many word- sequent decades of her life and work. She many she didn’t) who remembered the
frolicking songs, “Within You and continues to do so in this, her 80th year, NFA Lifetime Achievement Award recipi-
Without You,” admonishes us all and you can read all about it in our cover ent best for her signature piece, “Kokopeli.”
to recognize both our small places in the article by Lisa Garner Santa. In addition to an obituary within these
world and the diminutive spaces that Robert Aitken is another planetary wan- pages, you can soon find words and music
really exist between any given individu- derer whose travels began early in life, albe- online that celebrate the iconic piece that
als. Beyond its love-and-peace message it to more modest reaches around the Nova has been claimed by so many.
(not a particularly unusual topic for this Scotia area, and then expanded in young Sasha G. Garver (a flutist and singer) and
or any group of the era), I always enjoyed adulthood to both Canadian coasts. But Adam T. Schwalje (an otolaryngologist)
the song because of another element com- he got himself to Europe relatively early in bring us from the far reaches of our plan-
mon in many of this group’s works: the his life journey (although already maturing et (and beyond) into the physical interior
double-entendres of its lyrics. as a successful artist), sharing the rarefied of our own bodies in their article about
I thought of those double meanings air where Marcel Moyse taught. Before the mechanics of a flutist’s ear, nose, and
when considering the articles in this issue settling into full-on grownup middle age, throat as they relate to practice and perfor-
of Flutist Quarterly, which take us on a he skipped around some Asian regions mance. As part of their research into this
wildly divergent trip spanning from our of our planet for six months—Japan, topic, they filmed Garver’s throat in ac-
planet’s outer reaches all the way down Vietnam, Sri Lanka, India, Turkey—and tion while playing flute. In addition to the
into our own little throats—truly a range then plunked what he had learned there technical information the article offers are
within you and without you. into his subsequent works. Today, Aitken suggestions and guidance for applying its
Take Joan Tower—please! Seventy-one resides back in his Canadian homeland. insights to teaching. As the authors note
years ago, when she was only 9, her home The article inside, written by Paul Taub— in its conclusion, teachers, if they take the
town changed from New Rochelle to La whose own travels simply to reach Aitken care to understand the physical issues in-
Paz, Bolivia, where she spent years that could fill another article—describes the volved, have the distinct opportunity to
proved to be formative on both her world fascinating life and career of this still ac- catch problems early, before they become
outlook and her aesthetic output. After tive pedagogue and composer. apparent to others—and thus to provide
winging past Peru and dipping into that Traversing both this country’s east coast their flute students gifts that will serve
possibly even more far-out haven, Ben- and her beloved Southwest (musically as them well throughout their lives.
nington College in Vermont, she settled well as physically), and now on a journey And there we are, back in that love-and-
back into New York City—which is, as none of us would have wished for her just peace place our Beatles so enjoyed singing
any New Yorker will tell you, its own uni- yet, was composer and flutist Katherine about, in the small world we all share, the
verse—where the composer proceeded Hoover, whose sudden death last September world within you and without you.
to collaborate with and influence who ignited personal and musical memories
knows how many musicians over the sub- of legions of flutists (those she knew and —Anne Welsbacher


High Notes
News of the accomplishments of NFA members and the flute world

T he CD The Great Book of Flute Sonatas, compiled and

performed by Gergely Ittzés, is a nominee in the Best
Collection category for the 2019 International Classical Music
Awards. The list of candidates was announced by Luxem-
bourg-based musicologist Rémy Franck on November 23,
2018, following the voting of the international jury.
The seven-volume compilation album, published by Hun-
garoton, comprises classic pieces that most convincingly
demonstrate the rich treasure trove of the flute repertory. Its
goal is to offer a musical lexicon of the most representative
flute music embracing three centuries.
The first album of the series introduces the flute music
of the 17th century. It features compositions by Handel, J.S.
Bach, C.P.E. Bach, and Mozart. The second recording focuses
on Romantic flute and piano sonatas.
The third album features works by French composers, and
the fourth highlights Belgian, Italian, and Dutch Impressionist (Germany), Musica (Italy), Musical Life (Russia), Musik & Theater
composers. The fifth compilation traverses the eastern part of (Switzerland), Opera (Great Britain), Orpheus (Russia), Polskie
Europe in the 20th century. The sixth explores Czech and Radio Chopin (Poland), Radio 100.7 (Luxembourg), ResMusica
American flute sonatas. The last album surveys Western Eu- (France), Rondo Classic (Finland), and Scherzo (Spain).
ropean musical tendencies prevalent in the mid-20th century. The Great Book of Flute Sonatas will compete with eight other
Collaborators with Ittzés on the seven albums are pianists collections in this category. One of the rival records features
József Gábor, Péter Nagy, Anthony Newman, Alex Szilasi, and Claude Debussy’s entire œuvre with renowned artists Martha
Balázs Vitályos. Argerich, Itzhak Perlman, Yehudi Menuhin, Daniel Barenboim,
International Classical Music Awards is the leading inde- Sir Simon Rattle, Philippe Jaroussky, and Roberto Alagna.
pendent prize of the world in the recording industry, in whose The Award Ceremony and Gala concert will take place at the
selection financial and commercial considerations have no KKL in Lucerne, Switzerland, May 10; the Lucerne Symphony
influence. Franck, editor-in-chief of the Luxembourg classical Orchestra, conducted by Lawrence Foster, and some of the
music journal Pizzicato, chairs the international jury. Other award winners will appear on stage.
media and organizations in the jury are Andante (Turkey), The Hungarian government established the Hungarian
Crescendo (Belgium), das Orchester (Germany), Gramofon Record Company in 1951; the company was re-named Hun-
(Hungary), Croatian Radiotelevision (Croatia), MDR Kultur garoton in the 1960s. Visit

Announcing the

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An Uncommon
Woman: 7
Celebrating the Flute Works
of Composer Joan Tower
Year-long celebrations of the artist’s 80th birthday highlight
her vibrant career and lasting works.

omposer Joan Tower has been hailed in The New Yorker as through this group, how they did—and did not—know how to
“one of the most successful woman composers of all time.” talk to us as players,” Tower recalls. “It was a huge education.
Her visceral works, rhythmically vibrant and harmonically How do you put music on paper, and how does it come out?
colorful, capture audiences with an immediacy few contemporary How does it come back to you as a real statement or personal
composers possess. Tower was born September 6, 1938, and as she statement? I think that the forming of the Da Capo Players, and
celebrates her 80th birthday year, we honor her, her contributions making music as a pianist, was my best education.”
to flute repertoire, and the flutists who commissioned them. Overwhelmed by the group’s organizational demands, Tower
eventually engaged Spencer to take over the coordination of Da
International Beginnings Capo, telling her she needed out. “Patricia said, ‘Well, I’ll take
When Tower was 9, her family moved from her birth town of care of it, I’ll take care of it!’ Great!” Tower says, “Patricia’s the
New Rochelle, New York, to Bolivia, where they lived from 1947 lynchpin of that group. She is the last member who has stayed
to 1953. At the insistence of her father, she studied music, spe- there since the beginning.”
cifically piano. The rhythms of Bolivia and her father’s vocation “Joan Tower has been incredibly influential for me, both for
as a mineralogist influenced Tower’s compositional landscape. my own musical thinking and for the Da Capo Chamber Players,”
After two years at Santiago College and a year in Lima, Peru, says Spencer. “She was a founding member of the group, its
Tower returned to the United States in 1954 to pursue a career pianist for 15 years—and has remained a creative collaborator
in music. She graduated from Vermont’s Bennington College in ever since, in rehearsals and workshops with composition students
1961. After graduation, she returned to New York City and applied at Bard College and Conservatory.”
for graduate school at Columbia University. Da Capo was determined to embrace new musical vocabu-
“I couldn’t get in right away—I wasn’t prepared enough,” she laries—which sometimes brought unexpected insights. “At that
recalls. “I wasn’t really an academic type, and it took me a while time, we were very involved with all of the 12-tone music,” Tower
to figure out that I needed to make music also. My real life was says. Indeed, one of her earliest works for flute, written for Spencer,
happening downtown, making music.” She attended the exten- is the 12-tone “Hexachords.” But, she adds, “I pulled away from
sion division of Columbia University in 1961 and soon after it at some point because I didn’t understand it.”
received the Master of Music (1964) and Doctorate of Music
(1978) from Columbia University. by Lisa Garner Santa
While attending Columbia, Tower worked as a piano teacher
at Greenwich House Music School, where she immediately began
work with both students and colleagues. She initiated the
Greenwich House Series of New Music, for which she raised
funds to support guest performers and composers, and eventually,
in 1969, founded (with Patricia Spencer and violinist Joel Lester)
the Da Capo Chamber Players, a group that would later win the

1973 Naumburg competition.

Composing Education
Da Capo Chamber Players was championing new works by living
composers decades before the current flowering of new works
advocacy. “I was getting to know how to deal with other composers


Stefan Wolpe’s “Duo” for flute and piano is “probably the hard-
est piece I have ever learned,” she says. “Pat would take that piece
centimeter by centimeter and learn it. I was right there with her.
It took us about eight months to learn. Mr. Wolpe showed up for
a final rehearsal. He was very kind of rabbinical and he’s, like,
in his 70s and comes tottering up to the stage and he says, ‘You
know, I think it could be a little more rubato.’ Rubato!? I mean
these rhythms are, like, five times six with the septuplet—the
grace note had to be with the piano on the sixth part of the sep-
tuplet. Pat was going to make that work. This guy didn’t have a
clue. That’s when I started to say, ‘Wait a minute, do I really have
to invest in something that I really don’t get?’ ”

Breakaway Outsider
Joan Tower and frequent collaborator Carol Wincenc. Black Topaz (a 1976 chamber work named in appreciation for
her father’s work) was Joan Tower’s breakaway from serialism.
In going against the then-current compositional trends, Tower
Chamber Works knew she was taking a risk.
Breakfast Rhythms I and II (1974) “I learned that your compositional voice comes through the
For clarinet solo, flute, percussion, violin, cello, and piano. risk area because you’re starting to stand alone a little bit,” she
Black Topaz (1976) says. “I just went for broke and said ‘OK, I’m going to fall flat on
For flute, clarinet, trumpet, trombone, piano, and two my face, I don’t care. I’m going to take a risk.’ And the hardest
percussion. part of it was that Charles Wuorinen, a close friend of mine, a
diehard surrealist, was conducting. He hated the piece because
Amazon I (1977) it was way too visceral. It wasn’t serial—the whole audience was
For flute, clarinet, violin, cello, and piano. serial. I was just sitting there alone thinking, ‘I’m alone. All of
these people hate this piece, but I like the piece, I think it’s very
Petroushskates (1980) raw, it makes a statement that isn’t bad—it’s a little bumbly, but I
For flute, clarinet, violin, cello, and piano. am very proud of that.’ ”
Noon Dance (1982) Tower’s status as an outsider wasn’t limited to her anti-serialist
For flute, clarinet, percussion, piano, violin, and cello. stance. She was also working in a field historically directed by men.
Nancy Wright, author of the biography of Clara Schumann,
Snow Dreams (1983) taught at Columbia for a semester. As a student, Tower was re-
For flute and guitar. luctant to register for Wright’s course, but admits, “She changed
my life. She taught on women in music and opened up so many
Island Prelude (1989) doors to me.”
For oboe solo and string quartet/quintet or wind quintet. Soon after, Tower began reading the works of Virginia Woolf
In Memory (String Quartet No. 2) (2002) and other feminist writers. This helped her formulate a perspec-
For string quartet. tive on where she stood within that historical lineage—a lineage
dominated by men.
Incandescent (String Quartet No. 3) (2003) One American woman composer who stood out to her at the
For string quartet. time was Miriam Gideon. Tower recalls, “I went to her and I
said, ‘I want to apply for a Guggenheim, would you write me
A Little Gift (2006) recommendations?’ and she said ‘I’d be honored.’ I got the Gug-
For flute and clarinet. genheim—then she came back to me and said, ‘Now would you
A Gift (2007) write one for me?’ ”
For flute, clarinet, bassoon, horn, and piano. Gideon was 36 years older and was established in her career. A
baffled Tower asked, “Wait, you never got a Guggenheim?”
Rising (2009) Tower began to research the history of the Guggenheim
For flute and string quartet, orchestral arrangement (2017). award and learned that very few women had received it. This
inspired her to take action by creating more opportunities for
Solo with Orchestra Flute Concerto (1989) music by women to be heard and by composing works that
For flute and orchestra. would bring women more directly into the consciousness of

classical music consumers.

Hexachords (1972) Spirited Women
One of her most programmed works is Fanfare for an Uncommon
Valentine Trills (1996)
Woman (1987–1992), a response to Aaron Copland’s Fanfare for
For Marianne (2010) the Common Man (1942). Most recently, Tower hosted a festival


Tower has collaborated on projects to promote new music for most of her artistic life. A 2018 concert premiered her works at Bard College, where she has taught since 1972.

at Bard College, where she has served as a faculty member since Most importantly, her relationship with Wincenc had been es-
1972, featuring guests Pauline Oliveros, Jennifer Higdon, Julia tablished, and in 1989 the American Composers Orchestra, with
Wolfe, Tanya Leon, and herself. that relationship in mind, commissioned her to write a concerto
Joan Tower cites the music of Beethoven as a significant influ- for flute and orchestra.
ence on her work, particularly his use of motivic development.
Her compositional process involves first considering the medium “I think the gender thing
she is writing for and then the length of the work. Outside of that,
she describes her process as being “like listening to a person.” is very not there. It’s in our
“If you really pay attention to a person, you start to understand
where they’re coming from and what they’re trying to do,” she minds. That’s what we’ve
says. “I try to listen very carefully to what the piece is trying to be
rather than imposing something like a structure on it. That’s my been taught. People say ‘Wow,
philosophy. It’s like writing a novel. You really have to pay atten-
tion to the characters, the action, and where is it headed. That’s you write like a man.’ I used
something I learned from Beethoven.”
Tower is not convinced that music references gender. “Those to get embarrassed by that.”
are just manmade perceptions,” she says. “If you listen to a piece
of Debussy, you’d say this is written by a woman, right? I think The Concerto and Beyond
the gender thing is very not there. It’s in our minds. That’s what Like most composers and performers, Tower herself is her big-
we’ve been taught. When I wrote my first orchestra piece, Se- gest critic. She felt an enormous amount of pressure before the
quoia, I had 64 percussion instruments. People say ‘Wow, you premiere of the concerto, saying she felt anxious and distorted
write like a man.’ I used to get embarrassed by that. ‘Well, you and with a perception that nothing was working. Toward the
had such power and such visceral stuff.’ Because that’s what I like end of the performance, as she worked her way backstage for the
to do. I didn’t like that association at all.” bows, she says, “I heard this yelling. I said to the woman next to
In 1993, Tower began her relationship with another spirited me, ‘I think there must be a fire in the hall.’ She looked at me and
woman in the classical music world, Carol Wincenc. Guitarist said, ‘No, Joan, they’re cheering for your piece.’ ”
Sharon Isbin, who frequently collaborated with Wincenc, was Wincenc says of Tower, “Her unabashedly natural way as a
persistent in commissioning Tower to write a duo for guitar and human being and as a musician frankly bowled me over—I adored
flute. Tower responded, “Flute and guitar? Forget it.” Then she her from the moment I met her. Finally, I thought to myself, ‘Here
listened to recordings of Wincenc and quickly reconsidered. is a woman with whom I resonate, who is completely approach-
Isbin offered to help Tower by giving her a guitar manual. able; someone with whom I can explore my deepest and expressive
Tower, as with her aversion to academic classes, had no interest musicality.’ From that first introduction, I trusted something about
in a manual and began writing for guitar as she wrote for piano. Joan. I felt from her a combination of profundity, wittiness, and
She soon realized, “Big mistake. I realized that if you take the utter freshness. For me it was all-systems-go, and thus the four
fingers off the frets, there are no pitches there anymore. The first works she has written for me shall remain staples in my solo and
chord I wrote, Isbin said, ‘Joan, this chord is unplayable. Did you chamber music repertoire. For this I am indebted to her.”
read the manual I gave you?’ Oh.” As demonstrated by her work in Da Capo Chamber Players,
Tower describes the piece she ended up writing as “one of my Tower is a performer as well as a composer and has a perspective
most played pieces, not because it’s a great piece—it’s one of my de- that many who work on one side or the other do not. She says
linquents—but because there are so many flute-and-guitar teams.” she has witnessed a dangerous split. Before the 20th century,
July 2018 Bang on a Can MassMocca summer festival composers and directors. Tower with Bard students John Collazo, Wei Zhou, Zongheng Zhang, and Chris Beroes-Haigis.

Tower has collaborated and mentored throughout her career, from

initiating a new music series while still a student herself to founding
an award-winning ensemble to teaching composition to flutists.
composers and performers were interchangeable. Then, perform- Made in America
ers began to dedicate more and more time to technical skill, and “Rock bands and jazz groups usually maintain a specific set
composers became more academic, performing less and less. list, yet orchestras, when they commission a new piece, will
Tower is on a mission to get the two back together again. She rarely if ever play it more than once,” Schirmer’s Frank Oteri
teaches a class at Bard College called Composition for Performers. noted in 2005, pinpointing a common concern in classical
“It teaches the performers to think about how the page comes to music circles. “The result is a lot of stillborn music.” But in
be at all,” she says. “It makes them much more empathetic towards 2004, the Ford Motor Company proposed a solution by form-
composers, because they (understand) how difficult it is to com- ing the “Made in America” grant program, which engaged
pose. A lot of those players are now playing new music as a result.” more than 60 orchestras and a consortium of performers,
Tower asked performers to write works for her “big” birth- guaranteeing multiple performances.
days, including Pauline Oliveros and Carol Wincenc. “Carol Joan Tower was one of the grant recipients. The resulting work
was the worst, kicking and screaming and asking, ‘Why do was Tower’s Made in America. Her time as a youth in Bolivia
you do this to me? This is so difficult to put together.’ I said, and the challenges of living in a generally poor country affected
‘It’s just a birthday, Carol. It’s not like you’re going to write a this composition in particular. As an American, she says, “I was
masterpiece, you know.’ I gave her a whole year of torture— proud to have free choices, upward mobility, and the chance to
and she came on stage with two Brazilian drummers, because try to become who I wanted to be. I also enjoy the basic luxuries
her dream was to improvise. But then she had to go a little that we so often take for granted.”
step further. She had two dancers in body stockings who crept Compositionally, Tower utilized “America the Beautiful”
up on the stage. I mean it was the wildest thing! That’s her as the theme for the work. Alan Cozen of the New York Times
nature, you know. She brought the house down. That was the wrote, “Quotations from ‘America the Beautiful’ peek through
best birthday present.” these tense sections as affirmations, often gentle ones that the
DeCapa Chamber Players, 1979: Joel Lester, Spencer, Andre Emelianoff, Tower, Laura Flax. country’s ideals will prevail. Yet the work ends ambiguously with
the future in question.”
Tower now admits, “Perhaps it was my unconscious reacting
to the challenge of, how do we keep America beautiful?”
That was in 2004, shortly after the start of the war on Iraq.
Tower recalls, “I didn’t come clean on that piece because at the
time the project was so big and it was so highly promoted. I was
disappointed with what was going on in this country. It’s actu-
ally kind of my little political way of saying, ‘We’re not doing a
good job.’”

Rising Up
The practice of creating consortiums has now become a standard
way of supporting the creation of new music, particularly in the
flute world. “I can’t give flutists very much advice because they’re


so great at dealing with composers in general,” says Tower. “Their
whole culture is about commissioning the composer.”
Intentionally or not, Joan Tower’s Rising for flute and string
quartet also communicates the idea of rising above social or
political discord. Wincenc premiered the work in 2009 with the
Juilliard String Quartet. Compositionally, Tower contrasts slow
but continuously rising pitch and energy levels in the flute part
with a countering dissent or sustained level of activity in the
other musical voices.
Rising received a timely resurgence in fall 2017 against the
backdrop of an American political divide. An expanded ver-
sion of the piece for flute and string orchestra was premiered
by the Texas Tech University Symphonic Orchestra, conducted
by Philip Mann, on a program titled “Love Rising.”
“The uncommon power and beauty of Tower’s Rising was
a superlative match with its dedicatee, Carol Wincenc,” says
Mann. “Rarely have I encountered such a profoundly and en-
ergetically moving response from an audience in hearing the
new or unfamiliar. The experience of the work’s premiere had
a poignancy and urgency that not only advanced its reception
but also, in timely fashion, reminded us of the ability of music
to connect us, bridge our myriad divides, and simply elevate
those who hear it.”

Happy Birthday, Joan

At the age of 80, Joan Tower continues to be active as a composer

and as a teacher at Bard College Conservatory of Music. In this

2018–19 season, concerts of her works are being offered world-
wide in fanfares of recognition of her contributions.

Lisa Garner Santa is a member of the NFA’s Archives and Oral

History Committee and professor of flute at Texas Tech University. Birthday celebrations for Joan Tower will run throughout the 2018–2019 season.
© 2018 Drelinger. All Rights Reserved

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Ear, Nose, and Throat
Problems of Flutists

The mechanics of wind performance can help flutists avoid injury.

An otolaryngologist/musician and a flute teacher/singer offer
insights into the anatomy of sound.

ike elite athletes, professional musicians push their bodies aerophor, invented by flutist Bernard Samuels in 19131. The
in ways that potentially can cause harm—and are some- aerophor is a foot pump attached to an air hose, which is placed
times dangerous. One dramatic example of this is the in the mouth of a wind musician to facilitate long phrasing,
much like circular breathing. Richard Strauss, who was obsessed
by Sasha G. Garver and Adam T. Schwalje with ways wind players could play uninterrupted, wrote some
of his longer passages with this device in mind.
The aerophor is just one example of an attempt to use tech-
nology to extend the limits of human performance. There are,
unfortunately, many examples of performers who push their
limits past the tolerances of the human body. This can sometimes
result in serious injury.
Detailed descriptions of the mechanics of wind performance
are necessary to help understand, avoid, and treat these inju-
ries, and to help facilitate optimal performance. Here, we offer
a broad overview of previous work on the functional anatomy
of wind musician performance along with medical correlates.
We also share new footage of flute performance from inside the
larynx. (See “Find it at FQ Plus.”)
Music performers and teachers should be aware of all the
Schwalje and Garver with their daughter.
problems that can affect the music-making of themselves or


their students, sometimes as a direct result of their art. However, muscles. Dystonias might affect up to one percent of musicians
this review is not intended to replace the advice of a qualified overall, but embouchure dystonia is much more rare. It is often
physician and/or speech language pathologist in the diagnosis or marked by lip tremor, which can be specific to register or style.
treatment of any individual. There are several subtypes, and illustrative video examples of
each are available online.4
One maneuver that can help, usually temporarily, is the so-called
The embouchure encompasses the movements of the lips, tongue, Geste maneuver, whereby novel tactile sensation can decrease the
teeth, and throat. Exceedingly fine control of the embouchure is dystonia. While injection of botulinum toxin (Botox) can work
necessary for flute performance. A complex arrangement of for other types of dystonia, including spasmodic dysphonia,
facial muscles supports these fine adjustments. While many results after injection have been unfortunately lackluster for
teachers are aware of the orbicularis oris, a circular muscle embouchure dystonia.5
surrounding the lips with action like a drawstring, many other
However, some medications might be helpful, and expert re-
muscles are also important for control of the embouchure. These training may be beneficial. Rest is usually not beneficial for true
muscles can be activated with various teaching strategies, in- embouchure dystonia, but the player may need to completely
cluding blowing through straws, blowing on bubble machines, stop playing if there are problems with swallowing or speaking.
and spitting rice.
The tongue is both complex, involving eight separate muscles on
each side, and large, extending far beyond what is easily visible
in the mouth. These attributes allow the tongue to be one of the
most flexible muscles in the human body, with responsibilities
that range from the oral phase of swallowing to speech pro-
duction to immunity. Anchoring the tongue to the floor of the
mouth is a membranous attachment, the lingual frenulum.

The lingual frenulum is a normal attachment between the underside of the tongue and the
floor of the mouth. (In this drawing, the third line down on the right indicates this muscle.)

The myriad muscles of facial expression. Note the circular orbicularis oris circling the
mouth; this is just one of many muscles that contribute to fine control of the embouchure. The placement of the tongue inside the mouth while playing
the flute can have dramatic effects on the tone quality, pitch, air
Idiopathic facial paralysis, otherwise known as Bell’s palsy, control, and articulation of the performer. Because the shape of
stems from an insult to the facial nerve, which controls many of the oral cavity and oropharynx affects the pitch and other vibra-
the muscles of the embouchure. While the standard treatment tory characteristics of sound, flute players can learn to manipulate
of antiviral medications plus corticosteroids reduces incomplete these vowel shapes to achieve desired musical effects. Previous
recovery,2 the most common recovery metrics are based on a work on the singer’s formant and vowel shapes can be helpful in
standard scoring system for facial function, the House-Brack- application to flute playing.6
mann scale. The mildest grade of dysfunction in this scale is
There is sometimes discussion on online message boards about
marked by slight weakness on close inspection, slight involun- the possibility that ankyloglossia, or tongue tie, might affect rap-
tary muscle movements on attempts to move the face, complete id tonguing on the flute. The incidence of tongue tie is variable,
closure of the eye with minimal effort, and slight asymmetry ranging from 0.1 percent to 10.7 percent depending on the source,
on movement of the mouth. 3 However, this grading scale is not in part because of inconsistent definitions.7 However, a common
sensitive enough to quantify dysfunction in the discriminating idea is that true tongue tie leads to deficits in speech or tongue
embouchure of the expert flutist. mobility—or even pain with everyday tongue movements. There
Embouchure dystonia is a subset of the broader classifica- is a treatment for ankyloglossia, which involves cutting through
tion of focal dystonias, which are associated with repetitive fine the membranous attachment, but there is no evidence that this
muscle movements, but whose etiology lies in the brain, not the procedure would improve tonguing on the flute.


Temporomandibular Joint Because of the high pressures involved in playing a musical
The temporomandibular joint (often referenced as TMJ) allows instrument, which can involve up to 30 times more pressure
the lower jaw to move with respect to the rest of the head. This than speaking, flute players might not have any complaints
joint is located just in front of the ear. When opening the mouth, other than nasal snorting or air leaking during playing. This
the lower jaw moves forward and down. Between the articulating is also described as “stress incompetence.” Sometimes, enough
surfaces, there is a shock-absorbing articular disk. The joints on air leaks out the nose to move a pinwheel placed under the
each side are capable of independent movement, while the bones nose, and performance can dramatically improve with use of
on both sides—those of the head and of the lower jaw—are rigid. a swimming nose clip.
This means that problems on one side often can cause problems This condition can be diagnosed more precisely by putting a
on the other side. small camera down the nose during playing, though this doesn’t
necessarily pinpoint the cause of the incompetence. A recent ar-
ticle highlighted the role of injection pharyngoplasty for musi-
cians specifically; there are also other more invasive surgical in-
terventions.10 Interestingly, expert wind players can create music
with significantly less pressure than the novice or intermediate
player, so there may be a role for expert re-training in the treat-
ment of velopharyngeal insufficiency as well.

The larynx is located in what is commonly known as the voice-
box. It is centered on the glottis, which is the space between the
true vocal folds, which can open and close. The functions of the
The Temporomandibular Joint. Note the articular disc between the condyle of the man- vocal folds are to prevent food from entering the airway during
dible and the articular tubercle. Opening the jaw causes the condyle to move down and swallowing by closing the glottis and to facilitate communica-
forward (to the left in this image).
tion via phonation by vibrating as air flows past. The false vocal
Wind playing is associated with temporomandibular disorders folds are above the true folds and are not involved in phonation.
(or TMD).8 Moreover, performance on other instruments not Movements of the larynx are designed for these goals, but the
typically associated with movements of the jaw, such as piano larynx is also very active during wind performance.
and violin, has also been associated with increased use of chew-
ing muscles and TMD.9 Pain during playing is not normal, and
pain in the TMJ, the area in front of the ear, or in the chewing
muscles can indicate TMD. This disorder also can be associat-

ed with limitation of jaw movements and clicking, cracking,
or popping of the joint. Treatment options are, as always, best
discussed with a physician but often include rest, soft diet, and
anti-inflammatory medications. Vocal cords, as seen from above.

Pharynx The maximal opening of the glottis is achieved during inspi-
The pharynx encompasses the back of the throat and extends ration. During exhalation, the glottis is partially closed, either
from the back of the nose to the esophagus. For air to move somewhat, in a paramedian position, or more fully, during
through the mouth without also moving through the nose, a exhalation against resistance. Some suggest that the glottis is also
seal must be created between the soft palate and the back and often active during articulation, even when the expert player is not
sides of the throat. Velopharyngeal insufficiency is the lack of intentionally producing a glottic stop. Our work also shows activ-
normal closure between the soft palate and pharyngeal walls. ity during other elements of performance such as production of
This can be caused by many things, including prior surgery vibrato or dynamics. The use of the larynx while playing has led
(like adenoidectomy), tumor, paralysis, neuromuscular disor- some clinicians to classify wind players as professional voice users.
ders, or other causes.
Skin Reaction
Flutist’s Chin, which looks like acne, is a reaction to the nickel,
chromium, or wood found in flutes. It is a type of contact der-
matitis, similar to the reaction that can accompany exposure to
poison ivy or poison oak.
Nickel is one of the most frequent culprits. Changing lip plate
material can help, as can stickers, stamps, or a commercially
available lip plate patch.

Hearing Loss
The image at right is from a video of an MRI of Sarah Willis playing horn; note the closure
Noise exposure is a hot topic in the music education world, espe-
between the soft palate and the back of the throat while playing. (See video at FQ Plus.) cially given recent changes to the National Association of Schools


This early 20th-century invention is one example of ways musicians have historically pushed their bodies to potentialy dangerous levels to try to better facilitate playing.

of Music’s guidelines on tracking and educating music students on

The prevalence of “hidden hearing

the risks of noise exposure. The standard that is most frequent-

ly used in the United States is based on Occupational Safety and
Health Administration guidelines for industrial steady-state noise,
loss,” a phenomenon in musicians
involving difficulty understanding

which mandate hearing conservation measures if sound exposure

averages more than 85dB-A over an eight-hour time frame.
It is unclear whether or not music organizations should be speech in noise, has not yet been
lumped in with these standards; there are different OSHA guide-
lines for impulsive noise, which can in theory be more damaging studied and remains one of the
to hearing health, but these standards are not frequently applied
to musicians. There can be other standards set by union rules
looming questions in the field.
or other guidelines, and these vary significantly by organization
and by country. otherwise normal hearing have difficulty understanding speech
Sound conservation measures can include time restrictions, in noise even when they have normal audiograms, a phenome-
ear protection, or sound barriers. However, there is no set way non called “hidden hearing loss.” Its prevalence in musicians has
to measure an individual’s sound exposure in music ensembles not yet been studied and remains one of the looming questions
or practice rooms. For comparison, the peak sound level mea- in the field.
sured in an orchestra was 126dB at the shoulder of a piccolo
player,11 while the average sound level in a brass practice room Conclusion
was 95.2 dB-A.12 Flute players and teachers have a great responsibility to guide
The effect of these sound levels on musicians is still an open themselves and their students gently through the study of a mu-
question. While some studies emphasize the risks inherent in sician’s craft. Flute teachers and medical professionals can—and
different positions in the orchestra (e.g., higher risk for trum- should—form very important partnerships.
pet),13 larger population studies have found a link between being Often problems arise in the practice room and can first be no-
a professional musician—including rock or pop musicians—and ticed in the teaching environment before they become apparent
hearing loss and tinnitus.14 Most of these studies have used au- to others. The care that one takes when understanding the bases
diograms to quantify the extent of hearing loss, which almost for some of the more common problems in wind players can pay
certainly does not tell the whole story. Many individuals with great dividends.


Sasha Garver, DMA, teaches at the Preucil School in Iowa City
and has a Skype studio in California. Former chair of music at
Northern New Mexico College, Garver studied flute and voice
at the University of Cincinnati and the University of Colorado–
Find it at FQ Plus
Boulder. She studied with Alexa Still, Bradley Garner, Randy
Visit FQ Plus in the Publications section at
Bowman, and Jack Wellbaum.
for links to interactive resources referenced in this
Adam Schwalje MD, DMA, is a resident physician in the Depart- article, including the authors’ new footage of flute
ment of Otolaryngology, Head and Neck Surgery at the University performance from inside the larynx, an MRI of a
of Iowa. He studied bassoon performance at the University of person playing a horn, and an article containing a video
Cincinnati and the University of Colorado–Boulder. guide to evaluating embouchure dystonia.

Rober Mather, “Your Throat, Sinus, and Mouth Resonances: Friends or Foes?”
Hamilton Holt, “The Aerophor.” The Independent (September 1914), 334. The Flutist’s Handbook: A Pedagogy Anthology (Santa Clarita: National Flute
Association, 1998), 75−79; Robert Dick, “The Linguistic-Articulation Connec-
Gagyor Ildiko, Vishnu B. Madhok, Fergus Daly, Dhruvashree Somasundara, tion,” Flute Talk (November 1987), 29−31.
Michael Sullivan, Fiona Gammie, and Frank Sullivan, “Antiviral treatment for
Bell’s palsy (idiopathic facial paralysis),” Cochrane Database Syst Rev (11): 7
Valerie G. Suter and Michale Boorstein, “Ankyloglossia: facts and myths in
CD001869, 2015. diagnosis and treatment,” J Periodontol 80 (8):1204−19.

J.W. House and D. E. Brackmann, “Facial nerve grading system.” Otolaryngology 8
M. M. Attallah, Corine M. Visscher, Maurita K. van Selms, and Frank Lobbezoo,
Head Neck Surgery 93 (2):146−47. “Is there an association between temporomandibular disorders and playing a
musical instrument? A review of literature,” Journal of Oral Rehabilitation 41
Steven J. Frucht, “Embouchure dystonia: a video guide to diagnosis and eval- (7):532−41.
uation.” Journal of Clinical Movement Disorders 3:10.
Attallah et al, ibid. Anke Steinmetz, Paul H. Ridder, Gotz Methfessel, and Bur-
Steven J. Frucht, Stanley Fahn, Paul E. Greene, Christopher O’Brien, Michael khard Muche, “Professional musicians with craniomandibular dysfunctions
Gelb, Daniel D. Truong, John Welsh, Stewart Factor, and Blair Ford. “The natural treated with oral splints.” Cranio 27 (4):221−30.
history of embouchure dystonia.” Movement Disorders Journal 16 (5):899−906.
Mausumi N. Syamal and Paul C. Bryson. “Injection Pharyngoplasty with
Autologous Fat as Treatment for Stress Velopharyngeal Insufficiency in Brass
and Woodwind Musicians.” JAMA Otolaryngology − Head & Neck Surgery 143

M. Chasin and J. Chong, “An In Situ Ear Protection Program for Musicians,”
Hearing Instrument 42 (12):26−28.

Susan L. Phillips and Sandra Mace, “Sound Level Measurements in Music
Practice Rooms.” Music Performance Research 2:36−47.

Jesper H. Schmidt, Ellen R. Pedersen, Helene M. Paarup, Jakob Chris-
tensen-Dalsgaard, Ture Andersen, Torben Poulsen, and Jesper Baelum, “Hearing
loss in relation to sound exposure of professional symphony orchestra musi-
cians, “ Ear and Hearing 35 (4):448−60.

Tania Schink, Gunter Kreutz, Veronika Busch, Iris Pigeot, and Wolfgang Ahrens,
“Incidence and relative risk of hearing disorders in professional musicians,” Oc-
cupational & Environmental Medicine 71 (7):472−76; Carl Stormer, Einar Laukli,
Erik H. Hoydal, and Niels C. Stenklev, “Hearing loss and tinnitus in rock musi-
cians: A Norwegian survey.” Noise & Health 17 (79):411−21.

Frucht, Steven J.,
articles/10.1186/s40734-016-0035-x#MOESM (See also FQ Plus.)

Christine Harrison, The Athletic Musician: A Guide to Playing Without Pain

(Lanham, MD: Scarecrow Press, 1999).

Janet Horvath, Playing Less Hurt: An Injury Prevention Guide for Musicians
(Milwaukee: Hal Leonard, 2010).

Robert T. Sataloff, Alice G. Brandfonbrener, and Richard J. Lederman (eds.), Perform-

ing Arts Medicine, 3rd Edition (Narberth, PA: Science & Medicine, Inc., 2010).


Carolyn Nussbaum

Dozens of makers.
Hundreds of instruments.
Twenty thousand music titles.
Your one-stop flute shop.
All the accessories you could want.
t h e e s s e n c e o f

Robert Aitken
The composer, pedagogue, and international flutist is both
esteemed and prolific—with no end apparent in his varied schedule.
His longtime friend contributes both a full oral history, available at the
Library of Congress, and this profile.

ere it only for Robert Aitken’s But the recordings are only the most Seiji Ozawa for six years in his 20s, Aitken
more than 60 recordings, rang- obvious documentation of Aitken as an has been internationally prominent as a
ing from the complete concerti artist and individual. Two years ago, I set composer, educator, conductor, advocate
of C.P.E. Bach to all the flute solos and out to discover the “essence” of Robert for new music (by both the world’s great-
flute chamber music of Toru Takemitsu, Aitken and his 60-year career through the est living composers and young, emerg-
there would be no question that his im- NFA Archives and Oral History Com- ing composers), director of a major and
pact on the world of music is significant mittee’s continuing project chronicling long-lived new music series, founder of
and meaningful. The recordings reveal significant flutists, including all recipi- important music programs in different
not only the singular musical voice of ents of the NFA’s Lifetime Achievement parts of Canada, and—speaking of Can-
the flutist, composer, and conductor, but Award, which Aitken received in 2003. ada—international artist who happens to
also the wide-ranging interests of a man My long-time friendship with Bob be Canadian.
whose musical journeys have taken him helped guide my approach to our in- Naturally, with the interview venue so
from chant to Bach to the music of the terviews, conducted in November 2016 close to his hometown of Kentville, we
most creative and influential composers in the UNESCO World Heritage Site of started off by talking about his childhood,
of the 20th and 21st centuries. Lunenburg, Nova Scotia (close to his where his first flute teacher was actually
hometown of Kentville) and in May not a flutist at all —there weren’t any flut-
2018 at his current home in Toronto. ists for miles around! Latvian immigrant
by Paul Taub The full oral history is now housed in
the Library of Congress, available to all.
violinist Janis Kalejs, a teacher at Acadia
University in nearby Wolfville, recog-
Here is a distillation of 10-plus hours of nized Bob’s talent and gave him musical
talking together at the kitchen table at a coaching as a child. In addition to the
mid-19th-century house in Lunenburg. lessons, the young Aitken played in the
university orchestra and also in the Kent-
Early Days ville Fireman’s Band.
Robert Aitken has had—and continues to The Aitken family moved often during
have—a career quite different from that their son’s early childhood. During a short
of most top flute soloists. In addition to a time living in Pennsylvania, Bob had his
rich life as a touring soloist and chamber first flute teacher, Ray Kauffman, who
musician that followed his early career in played in the Harrisburg Symphony. The
the Vancouver Symphony and as princi- Aitkens lived not far from where John
pal flutist in the Toronto Symphony under Wummer had his summer home, and Bob


has fond memories of going to Wummer’s
house and listening to him play duos,
trios, and quartets with his wife Mildred
Hunt Wummer and his teacher.
But the family soon moved back to
Nova Scotia and, once again, Bob was
without a teacher. However, Kauffman
had set him up with Berbiguier etudes
and Bach sonatas, and Bob had lots to
study and learn on his own. The family
finally relocated to Toronto and, at age
15, Bob had his first major flute teacher,
Nick Fiori, then principal of the Toronto
Symphony Orchestra.
As a teenager, Bob started playing extra
with the orchestra and, at 19, won the audi-
tion for principal flutist in Vancouver—the
youngest player in a professional sym-
phony anywhere in Canada. Bob actually
turned down an offer from Julius Baker to
attend Juilliard and study with him, opting
instead for the Vancouver job.

Early Career
Bob stayed very close to Fiori through
those days. When he decided to leave
Vancouver—despite the hiking, golfing,
and invaluable musical experience, Bob
couldn’t see himself staying in that job,
away from his family, for his entire ca- Clockwise from top left: young Aitken with sister Carol in Nova Scotia; caricature of Janis and Felicita Kalejs, well-known
reer—he returned to school in Toronto to Latvian immigrant musicians; the Kentville Nova Scotia Fireman band (Aitken stands in the first row at left).


Bob Aitken: Composer, Performer, Teacher

Robert Aitken considers himself equally a generative

artist, an interpretive artist, and a teacher.

“Michael Schulman once interviewed Heinz Holliger and

myself and asked what it was like to be a composer and
a performer. And I said it’s very difficult for me, because
performing is an extrovert activity, and composing is an
introvert activity. And if I’m doing both at the same time,
I just get torn apart. When I was composing pieces, if I
came down from breakfast, my family would see a zombie
there. I was so internalized, just thinking internally, that it
was very hard for me to be both.

“Heinz Holliger said exactly the opposite. He says, ‘No!’

He says, ‘It’s just natural.’ He said, traditionally, a musician
was a composer, a conductor, a performer, and a teacher.
And Mozart earned his living from teaching.”


get a degree in composition. Fiori was very supportive and Toronto the same night to the second half of the Toronto Sym-
welcomed him back to the flute world, and Bob supported phony’s evening concert. During one two-year period in the late
himself with a dizzying amount of freelance work while get- ’60s, Bob flew more than 200 flights—and has the records in his
ting his degree (in composition!) at the University of Toronto archives to prove it.
with John Weinzweig. Bob worked with Stravinsky at the CBC Radio Symphony;
Bob received a Canada Council grant and spent a year in with Glenn Gould, Oscar Shumsky, and Leonard Rose at the
Europe (1964–65) studying with Gazzeloni, Graf, Rampal, and Stratford International Festival; and with Moyse in Vermont
others. He became principal flutist of the Toronto Symphony at the Marlboro Festival. He also composed, studied electronic
under Seiji Ozawa in 1965 and stayed in that position for six music, taught at the University of Toronto, attended many mu-
seasons. He became a student of Marcel Moyse, along with his sic festivals across Canada, and received invitations from all
teacher Nick Fiori, driving to Vermont for lessons and becoming over Europe (he took more than 30 trips to Iceland alone) and
a regular at the Marlboro Music Festival. eventually throughout Asia as well.
All the time he was incredibly busy as a soloist and chamber
musician around Canada. He related that several times he flew Maturing Artist
to Montréal twice in one day to fulfill rehearsal and concert After six frenetic years, Bob decided to leave the Toronto Sym-
commitments there and in Toronto, and once played the Ibert phony in 1970 to pursue the rest of his career full time—but
Concerto in a Boise, Idaho, matinee concert and made it back to not until he came back from a six-month trip around the world,
a trip undertaken to “clear my head, to clear everything.” He
traveled by bus and train—“like a hippie with money”—to Ja-
pan, Vietnam, Sri Lanka, India, and Turkey.
The trip had a profound influence on Bob as a person and
particularly as a composer. His early works were especially
influenced by the sounds and music he heard on this trip. His
early solos, Icicle and Plainsong, are widely played. His cat-
alogue includes music for flute and orchestra, wind quintet,
mixed ensemble, and flute orchestra—the latter, Solemsis and
Tsunami, commissioned by the NFA. His body of compositions
would fill an article unto itself.
As a teacher, Bob was profoundly influenced by Moyse. (See
sidebar for an account of his initial meeting with the master
pedagogue.) And, in his own professorship at the Hochshule in
Freiberg, at the Banff Centre for the Arts in Alberta and Music at
Shawnigan in British Columbia, and in hundreds of masterclasses
given all over the world from Iceland to Korea to Slovenia to
Seattle, Bob has profoundly influenced many others.
With Harry Brant, Toronto, 2002, in preparation for the premiere Ghosts and Gargoyles.


Aitken’s friendship with Toru Takemitsu dated to the early 1970s. The signed copies of
sheet music by Takemitsu and Elliott Carter are from Aitken’s personal library.

Much of our conversation had to do with the many significant
composers and performers with whom Bob had close relation-
ships, from Elliott Carter to Toru Takemitsu, Seiji Ozawa to
Glenn Gould, Pierre Boulez to Henry Brant to Heinz Holliger.
Of course, Bob was close to a large array of Canadian artists,
from harpsichordist Greta Kraus to R. Murray Schafer.
Together with soprano Mary Morrison and Bob’s wife Marion,
he founded the Lyric Arts Trio early in his career. The trio com-
missioned dozens of Canadian composers among the hundreds
of composers whose works he championed through the 48-year-
old series, New Music Concerts, that he cofounded in Toronto
with composer Norma Beecroft in 1971.
Aitken met Takemitsu in the early 1970s. Starting with his
playing and recording of the early Takemitsu duos for two flutes
and a memorable performance of November Steps with the
Toronto Symphony, Bob received many invitations to Japan for
concerts and festivals. Among his dozens of recordings, one of
the highlights is the double CD of all of Takemitsu’s solo and
chamber music with flute. Takemitsu, Bob related, was an excel-
lent cook, a world traveler, and a generous host. Bob treasured
him greatly as an inspiration and as a friend.
Bob met and played with Glenn Gould in his early profession-
al days in Toronto. At the Stratford International Festival, they
Below: proof sheets from one of Elliott Carter’s six visits to Toronto.


Marcel Moyse in 1983

rehearsed and performed—together with the “best players” from

all over Canada—the fourth and fifth Brandenburg concerti and
the entire Musical Offering. Aitken told me that although Gould
loved to rehearse in fine detail, when it came to the performance,
“Just forget it! One for one, it was every man for himself!”
One of Bob’s longtime friends and colleagues is the great Ca-
nadian composer R. Murray Schafer. Bob premiered the 1984
Schafer Flute Concerto with the Montréal Symphony under
Charles Dutoit. It was a bit of a fluke that he was even hired;
Montréal had a fine principal flutist at that time in Tim Hutchins,
and it was in an era in which solo flutists—especially Canadian
ones—were rarely engaged by major orchestras.
Schafer had previously written music for Aitken, including a
very early Sonatina for flute and harpsichord. But the Concer-
Meeting Marcel to was a major piece, its premiere a major event. Aitken calls it
“certainly the most successful concerto of our time, without any
Robert Aitken met Marcel Moyse in Vermont during doubt.” He said that although it sounds brilliant and difficult, “it’s
his early days with the Toronto Symphony. Though it not, because it’s idiomatic; it is written very well for the flute.”
took him two years to figure out how best to learn from Aitken has performed the Schafer 18 times throughout Canada,
Moyse, the great French flutist became a primary influ- in European cities, and at the 2003 NFA Convention in Las Ve-
ence, and they remained very close. gas, the year of his Lifetime Achievement Award.
Lesser-known but equally important as a mentor and friend
“He wasn’t terribly civil. He didn’t say ‘How nice to meet was harpsichordist Greta Kraus. Viennese-born and a school-
you,’ anything like that. He just said, simply, ‘Now, what mate of Rudolf Serkin, Kraus began her career as a pianist but
music you play?’ early on became a harpsichordist. For quite a few years, Aitken
met with her once a week and “we would play the whole after-
“And, me being very proud of myself at that time, with noon, playing Bach Sonatas and all the Baroque repertoire.”
that good job in Vancouver and being quite young, said They started performing with just a concert here, a concert
proudly, ‘Oh, all music! All music!’ ‘Like what?’ And so there, but then began offering a regular series that sold out each
then I said, ‘Like, Bach, and Mozart…’ time. When other career demands necessitated an end to this
collaboration, Aitken passed his role on to his flutist daughter
He just sat there with the pipe in his mouth, and lis- Dianne Aitken, who continued the Thursday afternoon tradition
tened, and I went on, ‘Prokofiev, Hindemith…’ He didn’t and the family relationship.
answer. He just puffed away on his pipe, nothing com- Toronto’s New Music Concert series is a testament to Aitken’s
ing out of it, of course, as usual. ability to create and sustain an important cultural institution
which, since its founding in 1971, has presented nearly 400 con-
“Eventually, I ran out of composers, and then he started certs, commissioned more than 130 Canadian and international
in. He said, ‘Do you play Lindpaintner?’ I said, ‘No.’ ‘Do works, and performed 700 Canadian and world premieres.
you play Toulou?’ ‘No.’ ‘You play Demerssman?’ ‘No.’
‘You play Böhm?’ ‘No.’ Into the Future
Robert Aitken turned 79 in August and is as busy as ever. The
“He rhymed off about 20 composers that I had barely most recent premiere of his music was in summer 2017 in Nova
heard of, and then he says, ‘What you mean you play Scotia, a work entitled “Lunenburg (Shadows VII)” for flute, so-
all music?’ And he walked away. prano, and string quartet. And there is a new solo flute piece on
its way.
“That’s the way he often dealt with people who were His last formal teaching job, in Freiberg, ended after 14 years
too proud of themselves. Very often, he would just tear because of a mandatory age-65 retirement, but his current an-
them apart, and then build them up again. But some nual flute classes take place in Nova Scotia and Italy. He plays
people, of course, couldn’t take it, and that’s where the concerts in Myanmar in November and is putting the final
bad stories came from. touches on the 49th New Music Concert season.
I look forward to welcoming him to Seattle in March 2019 to
“Basically, he was a very generous man, and he would work with the Seattle Modern Orchestra and the Seattle Flute
teach you forever. He’d teach all day long and keep on Society as a composer, flutist, conductor, and teacher—and to
going into the nights, and I think that’s how most of his continuing our long friendship.
students learned that same habit. Just keep on going,
going, going, going, and… Very generous teaching.” Paul Taub is a Seattle flutist who recently retired from Cornish
College of the Arts after 39 years on the faculty. He has served
—PT two terms on the board of directors of the NFA and is president
of the Seattle Flute Society.
July 14-21, 2o19 ~New London, CT
Study Baroque flute with
Na'ama Lion and Wendy Rolfe
Master class~Baroque orchestra~Chamber ensembles

Middle School Band Camp grades 6–8 June 30—July 6

High School Band Camp grades 9–12 June 30—July 6
Solo Vocal Camp grades 9–12 June 30—July 6
String Camp grades 7–12 July 14—20

Festival details and registration online:

... we hope you'll join us!
Across the Miles
News about flute club and flute choir activities throughout the United States
by Kathy Farmer

The Pikes Peak Flute Choir (Colorado Springs) began the 2018– Pluto, “Let’s Go! Say ‘Hello’ to Pluto!” Also included was Leroy
2019 season with its fall concert November 18, “An Afternoon Anderson’s “The Typewriter” referencing the 1843 invention
with the BBC,” featuring music by composers from the British with Steve Moore typing on an old black manual typewriter. For
Isles and other countries connected to the BBC media entity. the holidays, Flutissimo! headed to local libraries, malls, and a
Music ranged from the old (Gilbert and Sullivan) to the new train station to wish travelers a Merry Christmas. Visit flutissi-
(McLearnon’s “Single Yellow Line”) to the folk song-ish (Korb’s
“Beckett’s Whisper” and McMichael’s “Children of the Wind”).
Surprise songs from the BBC’s better-known properties were MagicFlutes Flute Orchestra (California Bay Area) presented its
also featured. The Select Choir, an auditioned group composed annual winter concert in November 2018. The program featured
of members from the main choir, performed “Mars” from Gus- music by G. F. Handel, Pyotr Tchaikovsky, Kirk Vogel, Victor
tav Holst’s The Planets. To support new flute choir music, the Herbert, and others—including Nancy Nourse’s Candy Cane
Pikes Peak Flute Choir will award a student at a Colorado uni- Suite, featuring six piccolos. MagicFlutes is directed by Pamela
versity, college, or community college with a $200 scholarship Ravenelle. Visit
through the Collegiate Composition Competition; the winning
piece will be performed at the spring 2019 concert. Visit thepike- Tucson Flute Club presented its fall concert in late October or find the choir in Facebook. 2018; musical director Juan Montoya, in Tucson to complete his
DMA in orchestral conducting, rehearsed with the group and
conducted the concert. The program included “Renaissance for a
New Millennium” by Ricky Lombardo, an arrangement of Sam-
uel Barber’s “Adagio for Strings,” and “Songs of the Ocean” by
Ryohei Hirose, as well as old favorites—Christopher Caliendo’s
“La Milonga” and the Finale from the William Tell Overture by
Giacomo Rossini. Holiday gigs included a performance at Tuc-
son Botanical Gardens’ Luminaria Nights, entertainment for a
local P.E.O. chapter’s holiday luncheon, a holiday program for
a United Methodist Women group, and a performance at the
“greening” of St. Philip’s Episcopal Church. The beginning of
2019 marked the one-year countdown to Tucson Flute Club’s
50th Anniversary celebration in 2020. Visit

Members and officers of the Central Ohio Flute Association The flute choirs of Desert Echoes Flute Project (Mesa, Arizo-
na) traveled through time from the 17th to the 21st centuries
The Central Ohio Flute Association’s 36th Annual Flute Festi- with its fall 2018 “Transcriptions” concert celebrating classical
val will be held at Ohio State University in Columbus April 6. music. The program was a sampler of music from the histo-
Featured guest artist Aaron Goldman, principal flutist of the ry of European classical music, starting with works by Mi-
National Symphony, will present a masterclass and recital for all chael Praetorius, Georg Philippe Telemann, and J. S Bach and
participants. In addition, the finals of the four divisions of the moving forward in time with pieces by Wolfgang Amadeus
Central Ohio Flute Association competition will be held. Last Mozart, Gustav Holst, and Nikolay Rimsky-Korsakov. All but
year’s winners will perform in Goldman’s masterclass. The fes- one work was composed for orchestra, concert band, or string
tival is supported by exhibitors from across the country and ensemble and transcribed for flute choir; Vincenzo Sorrenti-
attended by flutists from the region. A flute choir showcase and no’s “Sfavillante” was written for flutes. The project’s combined
lectures and clinics will be part of the full day of events. The flute choirs performed Joseph Haydn’s Finale from the Fare-
Ohio State University Flute Troupe presented a concert at the well Symphony. The December concert joined the worldwide
university on Tuesday, October 16. Pieces by Nancy Galbraith, celebration of Leonard Bernstein’s 100th birthday with a per-
Kelly Via, Gary Schocker, Ervin Monroe, Jean Sibelius, and Paul formance of his Overture to Candide. The program included
Gilson were presented. Visit traditional holiday music, including Kelly Via’s French Nativity
Suite and Phyllis Avidan Louke’s arrangement of “There Is No
For its 2018–2019 fall series opener, Flutissimo! Flute Choir Rose” by Z. Randall Stroope. The rest of the program included a
(northeast Texas) presented “Techno!” featuring music about new version of “God Rest Ye Merry Gentlemen” by Michael T.
technology, from “Fireworks” by Daniel Dorff (named for an in- Turner, “Pat-a-Carol” by Judy Nishimura, and Valerie Coleman’s
vention dating to ninth-century China) to the world premiere distinctively rhythmic arrangement of “Jingle Bells.” The clos-
of Alexander Abbott’s nod to the 2016 New Horizon mission to ing piece was a mash-up by James-Michael Sellers of Christmas


Flutissimo! Flute Choir

ocated in northeast Texas, Flutissimo! Flute Choir began
(under the name of Mid-Cities Flute Choir) in 1997 with
eight members. Three of those members—Kathleen Holley,
Janice Spooner, and Cheryl Stewart—still perform with the
group. In three years, our numbers had doubled to 16 (including
two playing alto flute), we had an actual conductor, and our
name had changed to what it is today.
Our first conductor was George Virgili, former band director
at Richland High School, now deceased. Our second conductor
was Mark Chandler, currently the fine arts director of the
Hurst-Euless-Bedford Independent School District.
Flutissimo! grew to about 20 people when Tom Connelly,
music teacher at the Tarrant County College south campus, was Flutissimo! Flute Choir
the director. Marco Jerez became our director in the fall 2009.
He helped our group grow to about 25 people and took us to style version of “Three Blind Mice.” Composers from all over the
the National Flute Association Annual Convention—first in 2011, U.S., Peru, England, and Scotland have sent us compositions.
to Charlotte, North Carolina, and again to Chicago in 2014. Alexander Abbott, from Scotland, the composer of our recently
Felix Torres became our conductor in 2014. Now, in his fifth performed “Let’s Go! Say ‘Hello’ to Pluto!” not only writes for
year with us, we have grown to more than 30 performers, and us but in 2011 came to Texas to conduct two of his pieces.
in 2017 he took us to the NFA Annual Convention in Minneapolis Flutissimo! Flute Choir has become known for our creative
for our third national performance. programming. This year, for example, we did “Techno!” using
The National Flute Association’s August event is the world’s music of different technologies, including the above-referenced
largest flute festival. Being selected to perform at the NFA work by Abbott. (See the main body of Across the Miles for
Annual Convention is a highly regarded achievement that solidifies more about this concert.) We have performed circus music
our place in the flute-playing world. In addition, for 11 years in (“Send in the Clowns!”), Halloween-themed concerts (“Haunt-
a row, our conductors have taken us to the Texas Flute Society ed!”), and programs around film scores (“A Night at the Movies:
Festival—the world’s second largest annual flute gathering, held Flutissimo! Licensed to Thrill.”)
in Denton, Texas, every May. Flutissimo! has won Outstanding Now more than 20 years old, Flutissimo! Flute Choir looks for-
Amateur Ensemble at this event. ward to its next decade of growth and creative programming—
In 2014, we performed our first commissioned piece, writ- perhaps in the future to be heard at a convention near you.
ten by low flutist Chris Potter: “Tres Ratitas Ciegas,” a Mexican- —Janice Spooner

Desert Echoes Flute Club

carols and the theme from Star Wars! The Desert Echoes Flute The Madison Flute Club presented October 2018 concerts by the
Project also sponsored a High School Regional Etude Day Adult Flute Choir, Chamber Ensemble, and Youth Flute Choir
for flutists in January, with masterclasses, clinics, and mock with music themed around “Myth & Legend.” December con-
auditions to help students prepare for the Regional/All-State certs—“Salon Nights” and a small ensemble interim—were also
auditions. More concerts are scheduled in March and May, and held under the guidance of Coartistic Directors Danielle Breisach
members are looking forward to being involved in the first and Berlinda Lopez and Intern Conductor Anna Fisher-Roberts.
Mesa Community College Summer Flute Project June 17–22 Upcoming concerts include the annual Chinese Orphans Benefit
featuring guest artists April Clayton,Viviana Cumplido-Wilson, hosted by Linda Mintener in March and a collaboration with the
and Brian Gordon. Visit Madison Classical Guitar Society in April. The Wisconsin Flute
project.html,, and Festival will welcome guest artist Bonita Boyd on April 6 in Mad-
DEFproject. ison. Visit


Flute Choir of Atlanta

The Flute Choir of Atlanta opened its 2018–2019 season with

a joint concert with the Big Chicken Barbershop Chorus. Since
most of the audience had never heard a flute choir, the Flute Choir
of Atlanta presented a musical smorgasbord including Handel’s
“Arrival of the Queen of Sheba,” the theme from Schindler’s List
arranged by Ray-Michel Kauffman, Zen Confrey’s “Dizzy Fingers,”
“Railroaded” by Nicole Chamberlin, and “Molly on the Shore” by
Percy Grainger arranged by Thomas Graf. On October 28, the
choir played a concert titled “Fun with Flutes” that included “Fu-
neral March of a Marionette” by Gounod, Catherine McMichael’s
new “Celtic Offering,” “Sir Roger de Coverley” by Frank Bridge,
and “A Night on Bald Mountain” arranged by Shaul-Ben-Meir.

Send information about flute club activities, and high-resolution im-

ages if available, to Kathy Farmer at
From the
New Music Advisory Committee


Truly interactive music-making brought audiences and performers Sarah Brady

closer together at an annual new music gathering.

by Sarah Brady

“Take care of your community, and your of sound”), which uses four flute soloists
along with 100 “migranti” or moving flut-
community takes care of you.” —P O auline liveros
ists. This hour-long work is for flutists of
all abilities and ages who learn a few simple
contemporary techniques such as tongue

n spring 2018, the Boston Conser- with Lee, who has long been interested stops, aeolian wind sounds, and fluttered
vatory was the venue for the annual in audience participation. Scorpio, a solo wind sounds. Musically, it is a meditation
New Music Gathering. Like the Nation- alto flute movement, was accompanied on some of the quietest timbres possible
al Flute Association’s annual convention, by three audience members performing on the flute, and visually it is a stimulating
this roaming event brings together a sounds of gongs, bells, and woodblock piece with the “migranti” moving about
large gathering of people who have one sounds from their phones. the performance space. (For an account
thing in common. For the NFA, obviously The volunteer smartphone players were of a 2012 performance of this work in the
it is our love of a single instrument that given a single run-through, and during the Guggenheim Museum in New York City,
joins us together, but for the New Music premiere I was so impressed and touched see “A Moving Experience” in FQ Plus in
Gathering, it is our love of new music by their musicality, awareness of breath, the Publications section of
that connects us. and reactions to the density of sound that If you are looking for open instrumen-
In the opening ceremonies of this gath- I came away with a new appreciation of tation pieces that will help you or your
ering, we had the opportunity to perform what it could be like to have a real musical audience hear music in a whole new di-
music as a community, an experience dialogue with your audience. mension, the late Pauline Oliveros, cre-
made possible by a musical app created The idea of using an even larger com- ator of the Deep Listening Institute, was
by composer Ryan Carter (who was com- munity has been embraced by flutist and the epitome of collaborative music-mak-
missioned by the NFA for the 2014 High new music artist-entrepreneur Claire ing. Her works blur the lines between
School Soloist Competition). This app, Chase and composer Marcos Balter in performer and audience. Why not begin
easily downloaded, turned a cell phone the latter’s work Pan (2017). This piece is your next concert with the “Tuning Medi-
into an instrument that changed textures a 90-minute musical drama for solo flute tation” to get everyone involved musically,
when moved and emitted a work of sub- and an ensemble made up of community spiritually, and vocally?
tle electronic sounds, with calm, sooth- performers of all ages, backgrounds, and These types of contemporary pieces help
ing bells that appeared and disappeared physical abilities. us reach out to a larger community of per-
throughout the composition: community The community performers play a vari- formers and offer chances to collaborate
music making at its best—and in, per- ety of percussion instruments throughout meaningfully with our audiences. With
haps, its newest technological form. the piece as the soloist becomes conduc- the development of technology and apps,
In 2016, I premiered *12*, a work for tor, muse, and instigator. Although this is everyone can participate in a musical per-
ensemble and audience participation by a much larger-scale project, with theatre formance. Making music with your com-
Eun Young Lee. In this 12-movement rehearsals, community rehearsals, and a munity is taking care of your community.
piece, four of the movements were ac- huge amount of organization, it never-
companied by a series of percussive mo- theless offers a perfectly beautiful concept Sarah Brady is chair of the NFA New Music
tifs triggered by 12 smartphone-wielding of the modern Pan creating a new artistic Advisory Committee and associate professor
audience members. The phones’ app was and musical fellowship. of flute at the Boston Conservatory at
created by Eran Egozy (inventor of the In 1998, Salvatore Sciarrino composed Il Berklee, where she is the director of the
game “Guitar Hero”) in collaboration cerchio tagliato dei suoni (“cutting the circle Contemporary Classical Music Program.


Notes from
Around the World by Christine Erlander Beard
Conventions, festivals, competitions, and other global flute activities
approachable and eager to answer any questions you have for
them. Lady Jeanne and Sir James get to know everyone and make
sure their students feel included and welcomed. At the festival’s
conclusion, I felt inspired and a little bit closer to becoming the
best flute player that I can possibly be.”
For more information about the 30th Annual Galway Flute
Festival, visit

The 71st Annual Prague Spring In-

ternational Music Competition will
be held for flute and oboe May 7–15
in Prague. The application deadline
is December 1, 2018, with the flute
Lady Jeanne Galway works with a student during the 2018 festival. jury led by Christina Fassbender
The year 2019 marks the 30th anniversary of the Galway Flute from Germany, pedagogue at the
Festival, founded by Sir James Galway with his wife Lady Jeanne Universität der Künste in Berlin, and
Galway. The annual summer festival, which takes place in We- including jurors András Adorján
ggis, Switzerland, draws participants from around the world from Denmark, Philippe Bernold
and features masterclasses, guest artists, exhibits, concerts, and from France, Sylvia Careddu from It-
awards. This year’s festival will be held July 19–28. aly, Barthold Kuijken from Belgium,
The 2018 festival met July 20–29 and included students from and Czech flutists Jan Ostrý and Jiří
30 countries, ranging in age from 10 to 70. Each day began with Válek. Results of the preliminary
warm-ups, led by Sir James, focusing on tone production and round will be published no later than
technique. The day continued with masterclasses given by Sir January 20 and can be found along
James and Lady Galway, workshops by guest artists on solo rep- with the competition schedule at fes-
ertoire, technique, orchestral excerpts, chamber music, piccolo,
contemporary techniques, and more.
“It is without doubt an indescribable and breathtaking feel- The Fondation des Etata-Unis is accepting applications for
ing to stand next to Sir James Galway, to listen to his beautiful its annual Jarriet Woolley Scholarship. Eligible candidates are
flute sound, and to experience live how he sings with his flute,” graduate and post-graduate musicians (composition, vocal
said festival student Valerie Henning, who visited from Germa- and instrumental performance) of exceptional talent who wish
ny. Henning admired Galway’s “unlimited willingness to share to pursue advanced artistic studies in Paris during the upcom-
his mastery and experience with the highest pedagogic skills and ing academic year. The deadline for all application materials is
humor and his guidance and mentorship for all of his students.” January 31 of the current academic year. Visit
Concerts were held each evening, with Sir James and Lady Gal- et-hale-woolley-scholarship.
way performing in the Opening Gala Concert. Throughout the
week, concerts featured performances by Silvia Careddu (Italy), The Zodiac Trio is proud to announce the inaugural Zodiac In-
Michael Cox (U.K.), Adriana Ferreira (Portugal), Shenqhi He ternational Music Competition, which aims to discover excep-
(China), Stefan Keller (Switzerland), Francesco Loi (Italy), Nicola tional musical talent, both in performance and composition,
Mazzanti (Italy), Kersten McCall (Netherlands), Marina Piccini- from across the globe and bring it to the stage of the Zodiac Mu-
ni (U.S.), and Julie Stewart-Lafin (Scotland). The closing night’s sic Academy & Festival in the south of France. The competition
Grand Finale Concert featured the Festival Flute Choir, directed invites artists of any age from all parts of the world to participate
by Sir James, and the Low Flute Choir, directed by Chris Potter. via video submission (or score submission for composers). The
In addition to classes and concerts, the festival featured a winning soloist will receive a cash prize and roundtrip airfare
Feldenkrais session with Niall O’Riordan, a lecture with Victor and accommodations to give a solo and chamber music recit-
Candia, and exhibits by flutemakers and flute shops including al on the French Riviera in July. The winning composer will be
Adams European Flute Centre, Eva Kingma Flutes, Fluter Scoot- offered a commission to write for the Zodiac Trio, the festival’s
er, Just Flutes, Lafin Headjoints, Musikpunkt, Nagahara Flutes, founder, or its individual members, as well as a cash prize. The
Verne Q. Powell Flutes, and Wm. S. Haynes Co. work will be premiered in the south of France during the festival
“The festival truly feels like one big flute family,” said Mack- and performed again at the DiMenna Center for Classical Music
enzie Miller of the United States. “It has an encouraging and in New York in fall 2019 (exact date TBA). The application dead-
non-competitive atmosphere. Guest artists and clinicians are line is February 15, 2019. Visit
In Focus
Flute Festival in Dublin
by Julie Martin Maisel
The weekend of August 31 to September 2, 2018, saw flutists from
around Ireland, the U.K., and abroad descend upon Dublin’s Royal
Irish Academy of Music for a three-day festival. Flutists of all ages
and abilities participated in flute choir reading sessions, a flute
choir competition, masterclasses, performance health sessions,
concerts, and exhibits featuring flutes and music. The festival, Jazz flutist Brian Dunning.
which was first held in Belfast, was inaugurated in 2014 by Glen
Houston as the Big Flute Challenge. Houston and his volunteers
again organized the event in its Dublin venue.
Flute choir competition winner Ballymena Flutes was awarded
a Trevor James alto flute, presented by Sarah Dowdall and John
Seabrook. Masterclass teachers included William Bennett, Paul Ed-
mund-Davies, William Dowdall (contemporary techniques), Brian
Dunning (jazz improvisation), and Tom Doorley (traditional Irish
flute). Stephen Clark led warm-up classes and Patricia Morris led
Feldenkrais classes. The festival’s featured artists performed in
evening concerts: William Bennett, Paul Edmund-Davies, Stephen
Clark, Joshua Batty, William Dowdall, Riona O’Duinnin, Tom Door-
ley, and Brian Dunning.
The opening concert brought together student, amateur, and William Bennett with students.
professional players to form the National Flute Orchestra of Ire-
land. Stephen Cairns conducted a program featuring the Overture from the Ashes” by Tarek Younis, and Brian Dunning playing his
to William Tell by Rossini, arranged by Mark Douglas; Bizet/Borne’s own arrangement of “You’re Wha? You’re Wha?” The evening
Carmen Fantasy with soloist Stephen Clark; An Tra Mor, a com- concluded with the first movement of Boismortier’s Concerto No.
missioned work by Irish composer Derek Ball; Lauridsen’s Magnes 3 for five flutes.
Mysterium, arranged by Clark; and Cimarosa’s Concerto for Two It was a very special weekend for flute players of the Republic
Flutes performed by Bennett and Dowdall. The concert ended with of Ireland, Northern Ireland, the U.K., and further afield (such as
Bonnie at Morn, a piece for traditional Irish flute solo, performed myself from the U.S.) to be able to come together in Dublin and be
by Ton Doorley and written by Mel Orriss in an arrangement for united in music and flute playing. Ireland has a very rich musical
flute quartet, with Bennett, Dowdall, Clark, and O’Duinnin, and heritage, and it is wonderful to see flutists share their love of music
flute orchestra. and playing.
The Gala concert featured Bennett playing the second and third
movements of the Sonata by Mel Bonis, Edmund-Davies playing Julie Martin Maisel is a lecturer in flute at the Dublin Institute
Rabboni’s Sonatas Nos. 13 and 14, O’Duinnin performing Georges of Technology’s Conservatory of Music and Drama. She recent-
Hue’s Fantasie, Batty performing Martin’s Ballade, Dowdall play- ly released her debut CD, Flute Music of Luigi Zaninelli. Visit
ing Eamonn O’Gallchobhair’s Rose Ceoil, Clark performing “Rising

The Sixth Flautiada International Competition for Flute will The Cluj International Music Competition will be held July
be held April 27–30 at the Jan Levoslav Bella Conservatory in 7–14 at Babes-Bolyai University in Cluj-Napoca, Romania. The
Banská, Bystrica, Slovakia. Dedicated to the memory of Profes- competition is open to flute and clarinet players of all nationalities
sor Vladislav Brunner, an important pedagogue who taught at born no earlier than July 7, 1984. Applications are due March
the conservatory, the competition is open to all young flutists 25, and prizes include 15,000€ worth of cash awards plus instru-
under the age of 26. Applications are due no later than February ments and accessories. Visit
25. Visit
The European Flute Council announces its Flute Ensembles
The International Anton Rubinstein Competition for Flute will Across Europe international event to be held in Poznan, Poland,
take place April 13–14 at the Mendelssohn-Remise in Berlin. April 5–7. The event will include concerts for participants as well
Flutists of all nationalities and ages are invited to take part in as those showcasing guest artists, workshops and lectures, spe-
the competition, which will take place in two rounds and from cial events focusing on low flutes, and vendors and exhibitions.
which the jury will decide the winners. The first round will be Visit
completed via video link on YouTube, and submissions are due
no later than March 9. The final round will take place onsite in Mark your calendars for the 14th Adams Flute Festival, sched-
Berlin. Visit uled for April 12–14 at the Adams European Flute Centre in
Ittervoort, The Netherlands. The finals of the Dutch Internation- The XI Festival Internacional de Flautas de Costa Rica is tenta-
al Flute Competition will be held on April 12 during the festival. tively scheduled for July 1–6 in the capitol city of San José, Costa
Visit or (select Stu- Rica. Visit
dents and Young Talent).
The 8th bi-annual Australian Flute Festival will take place at
The Iran Flute Society announces its Fifth Tehran Flute Com- the Sydney Conservatorium of Music Sydney July 6–8, (with a
petition, which will take place at the University of Tehran April “professional learning day” preceding the conference on July
13–20. Registration for this competition, which occurs every 5). The invited guest artists include Denis Bouriakov, Wissam
four years, opens on January 21. Contestants must not be older Boustany, Ian Clarke, Marina Piccinini, and Matthias Ziegler.
than age 30 at the time of the competition. Prizes include per- Visit
formance opportunities in Iran for all prize winners and a CD
recording for the first prize winner. Contact Azin Movahed at The Canadian Flute Association is making tentative plans to or visit hold its Third Canadian Flute Convention this summer. Neither
firm dates nor a location have been announced at this time. Visit
The Leoš Janáček International Competition in Brno, Czech
Republic, will feature the flute and clarinet September 24–29.
(The rotating competition includes flute every five years.) The International Piccolo Festival announces its guest artist
The age limit for competitors is 35; candidates may not have lineup for its Sixth annual festival, to be held in July in Grado,
reached their 36th birthday by the opening day of competi- Italy. The roster will feature Patricia Morris, former piccoloist
tion. Application deadline is May 31. Visit at the BBC Symphony Orchestra (UK); Rena Urso, professor at
leos-janacek-international-competition. the Bob Cole Conservatory of Music (U.S.); Marta Rossi, pic-
coloist at the Roma Opera House (IT); and Nicola Mazzanti,
The IV Toronto Latin American Flute Festival (TLAFF) will take piccoloist at the Maggio Musicale Fiorentino Orchestra (IT).
place from May 6-11 in Toronto, Ontario, Canada. Events include Exact dates of the festival have not yet been announced. Search
masterclasses, artist recitals, clinic sessions, private lessons, and a Facebook or visit
festival flute choir. Competitions for all levels of flutists are also an
integral part of TLAFF, including 3 categories of solo competitions Send information about international flute events and high-res-
for youth flutists, a professional chamber music competition with olution images, if available, to Christine Erlander Beard, Notes
no age limit, and the TLAFF International Concerto Competition from around the World editor,
for flutists up to age 31. For more information, visit or
the Canadian Flute Society website as it is updated.

In a review of Franz & Karl Doppler:
Complete Works that appeared in the fall
2018 issue of The Flutist Quarterly, Claudi
Arimony was identified as being Spanish.
He is Catalan.

In an obituary for Lloyd Gowen in the

fall 2018 issue of The Flutist Quarterly,
Gary Gray was identified as a former
clarinetist with the San Francisco
Symphony. Gray was that orchestra’s
former second flutist.

Always available:
the complete collection
of all issues of
The Flutist Quarterly,
dating back more
than 40 years to the
publication’s beginnings
in 1976.


New Products
Elizabeth Vercoe has released Butterfly Effects and Other Works, featuring pieces
written by the flutist. The CD contains four pieces of music, each with its own
The seven-movement title work employs evocative melodies reminiscent of a
butterfly in flight. The mood of each movement, set by the interplay of harp and
flute (piccolo, bass, alto, or concert flute), is at times somber and reflective and
at other times bluesy and brilliant. Vercoe experiments with various techniques,
creating sometimes soaring melodies and trills and at other times primal, per-
cussive sounds such as beatboxing and key slaps.
This is my letter to the World is composed of six songs inspired by the poetry
of Emily Dickinson. Written for mezzo-soprano, flute, and piano, Vercoe builds
on Dickinson’s words with music that enhances the mood of the poetry. For
example, in “Snow,” a rain stick spills slowly, recreating the sound of the falling
snow, and in “A Spider Sewed at Night,” the soft piano and use of finger cym-
bals evoke the quiet yet complex and introspective tone of Dickinson’s famous
writing style.
The CD’s third piece, “Elegy,” is a short, dramatic piece for viola and piano that is alternately forceful and quietly introspective.
The music becomes increasingly tonal as the viola eloquently asserts its voice in a short cadenza and pairs with the piano to
express various reactions to loss, moving from anger to sorrow and, at last, to resignation.
The final work, Herstory I, sets to music the poetry of women writers, this time with piano, soprano, and vibraphone. Here
Vercoe draws on the texts of four contemporary female poets: Anne Sexton, Adrienne Rich, Sylvia Plath, and Pam White. The
work was recorded for broadcast at the WGBH-FM studios in Allston, Massachusetts.

47th Annual

National Flute Association Salt Lake City

Convention August 1-4, 2019

Come join us for the 47th Annual National Flute Association Convention
August 1–4, 2019, at the Salt Palace Convention Center in Salt Lake City, Utah.

For more information, visit

Passing Tones
In memoriam

Katherine Hoover: 1937–2018

atherine Hoover, composer, flutist, and NFA Lifetime
Achievement Award recipient, died September 21, 2018,
in Manhattan, following a stroke. She was 80.
“Katherine Hoover was a major figure in the flute and compo-
sition world,” said Bonita Boyd, soloist and longtime professor at
the Eastman School of Music. “We were all fortunate to enjoy her
powerful and creative presence—and blessed to have the body of
beautiful and expressive music for the flute left to us.”
Flutist and composer Valerie Coleman said of Hoover, “What
many folks don’t know is that she prided herself on her training
as a flutist and really enjoyed teaching the repertoire. Her gift
for storytelling went well beyond the music, and I relished every
moment spent with her. To Katherine! A true friend, true flutist,
and pathfinder.”
Pedagogue and performer Nina Perlove said, “Katherine was
a master storyteller, an old soul, connected to the past through
the modes and melodies of ancient times. Her music resonates
with a primal evocation of mythological archetypes, reimagining
these core elements into a new language—her language—that
transcends time and place.”
“Katherine was the whole package,” said flutist and interdis-
ciplinary artist Zara Lawler, Hoover’s close friend and mentee.
“She was an artist: The world provided her with inspiration,
Katherine Hoover at the 2016 Lifetime Achievement Awards gala dinner.
and she gave back profoundly beautiful and meaningful music.
She was an entrepreneur: She founded her own publishing Hoover also was a poet. Her collection, “This Way About,” was
company and organized concerts and recordings of her published in 2015 by I Universe as an Editor’s Choice book.
works—not leaving it up to other people to decide how her Of Hoover’s “Kokopeli,” Lawler said, “Katherine’s most famous
music got out into the world. She was also a trailblazer, forging piece is truly an iconic work for the instrument. It beautifully
a path for herself as a composer at a time when it was very rare tells the story of the great Hopi hero, conjures the atmosphere of
for women to do so.” the American Southwest, and seems to capture the spirit of the
Hoover wrote extensively for the flute and also wrote for other flute itself. I have been struck, since Katherine’s death, by how
instruments, orchestra, and chamber groups. Her best-known many people writing about her on Facebook have called it their
work, “Kokopeli” for solo flute (1990), written during a trip to ‘signature’ piece. How many other contemporary composers can
the Southwest and inspired by Native American legends, arts, claim that kind of admiration?”
and cultures, sold more than 13,000 copies, was a winner in
the NFA’s 1991 Newly Published Music Competition, and has “Katherine was a master storyteller,
been performed worldwide. Her flute concerto Four Winds
was premiered by Mark Sparks at the 2015 NFA Convention an old soul, connected to the past
in Washington, D.C., to a standing ovation and has since been
performed by Boyd at the Masterwork Festival and Amy Porter through the modes and melodies
with the Michigan Philharmonic. Ten of her works have re-
ceived NFA Newly Published Music Competition awards.
of ancient times. Her music
More than 60 performances of her orchestral pieces have been
presented. Her works have been played by Julius Baker, Carol
transcends time and place.”

Wincenc, and Eugenia Zukerman, and by chamber groups in- Katherine Lacy Hoover was born December 2, 1937, in Elkins,
cluding the New Jersey Chamber Music Society, and Dorian and West Virginia, and grew up in Philadelphia. Her father, Samuel,
Sylvan Quintets, among many others. In March 2013, the New was a chemist. Her mother, Katherine (Lacy) Hoover, was an
York Flute Club sponsored a celebration concert of her work. In editor and artist. Though she grew up in a non-musical home,
March 2011, the Michigan Philharmonic premiered her Turner she discovered music at an early age and studied both flute and
Impressions to a full house and standing ovation. piano before college.


Her parents discouraged her from seeking a music major, so
she began undergraduate studies at the University of Rochester in
1955 but transferred to the Eastman School of Music two years
later. In 1959, she received a bachelor’s degree in music theory
and a performance certificate in flute, studying primarily with
Joseph Mariano.
From the beginning, she faced an industry dominated by men.
“I was the only female in class, with six guys, all grad students,”
she said in a 2013 New York Flute Club newsletter article by Lawler
that was cited in an obituary in the New York Times. “I was an
undergrad, and I just sat there, and they never bothered to look
at my work, and that’s the way it was.”
Hoover studied with William Kincaid for two years before
moving to New York, where she taught at Juilliard’s Preparatory
Division and, in years to follow, performed at leading halls in
New York. She also taught at the Third Street Music School,
where she encountered her first positive experience as a composer.
In 1969, she began teaching theory at the Manhattan School of
Music, where she also earned a master’s degree in 1974; she Katherine Hoover prided herself on her training as a flutist.
remained there for 15 years.
Hoover turned seriously to composing in the 1970s, find- Other major awards were the National Endowment Composers
ing pockets of time while caring for her young son Norman Fellowship in 1979 and, in 1994, the American Academy of Arts
Schwab. She became involved with women’s arts organizations and Letters Award in Composition.
and worked to bring visibility to the work of women composers. “With no fanfare she went about her life with a mastery that
In the late 1970s, she organized the first three of the Women’s I’m only just beginning to grasp,” said flute technician and dealer
Inter-Art Center’s festivals of women’s music, which produced Anne Pollack, who worked with Hoover for three decades. “Her
works by 55 women composers. sense of justice guided her as an artist as much as her aesthetic,
In 1990, Hoover launched her own publishing company, which lived deeply with her mysterious and magnificent muse.”
Papagena Press, presenting “Kokopeli” as its inaugural piece. “Most of us know Katherine as a composer and a flutist,” said
“It meant she didn’t have to go hat in hand to the big houses pianist and frequent NFA convention collaborator Dianne Frazer.
to get a new work in front of people,” said Schwab in the New “The Katherine I really knew was a friend to all, an advocate for
York Times obituary. cultural diversity, a champion for the underdog, a teacher of all
Hoover drew inspiration from many sources for her pieces, subjects, a student for betterment, and a lover of family. But I was
including The Medieval Suite (inspired by Barbara Tuchman’s one of the lucky recipients of her best trait. She was a listener. I will
book A Distant Mirror), which was a winner in the NFA’s 1987 miss our many one-on-one moments, just the two of us, sharing,
Newly Published Music Competition. Noted works for other in- being, discovering, communing. Listening.”
struments include the tone poem Eleni: A Greek Tragedy, Op. 36; Hoover’s essay on the topic of listening was published in the
Two Sketches, commissioned by the Bay Area Women’s Philhar- September 2018 issue of Flute Talk Magazine, edited by peda-
monic; her Clarinet Concerto for Eddie Daniels; the Quintet Da gogue and soloist Patricia George. “Just after the issue had been
Pacem for piano and strings, commissioned by the New Jersey delivered, I called to tell her about the many compliments I had
Chamber Music Society; and her Double Concerto for two solo received on her writing,” said George. “She was touched. I miss
violins and orchestra. her, but know that she will live on as we flutists continue to play
Other major works include Three for Eight, a joint commis- her music.”
sion of the New York and Long Island flute clubs; Canyon Echoes “It truly takes strength and conviction to make your living
for flute and guitar; “Winter Spirits” for solo flute, premiered in as a composer,” said soloist Laurel Zucker. “And that’s what
Philadelphia by Mimi Stillman; and Mountain and Mesa for flute Katherine did.”
and piano, premiered by Stillman at the 2009 NFA Convention Hoover is survived by Goodwin, Norman Schwab, daugh-
and performed again by that flutist at Hoover’s 75th birthday ter-in-law Maria Schwab, and grandchildren Linda, John, and
tribute concert in 2013. Luisa. The family asks that those wanting to honor Hoover’s
“My relationship with the piece deepened through making the memory donate to a favorite musical organization and keep
first recording,” said Stillman of the work she often performed. making music.
“Working with Katherine on her music was always fascinating
and enriching, and I feel very fortunate to have known her both
Find it at FQ Plus

professionally and personally.” Hoover gave Stillman her large

collection of flute music, which Stillman has donated to the
Curtis Institute of Music library. Visit FQ Plus in the Publications section at
Hoover’s first marriage, to John Schwab, ended in divorce in for selected videos of flutists performing Katherine
the 1970s. She married Richard Goodwin in 1985.
Hoover’s “Kokopeli.”
Hoover received the NFA Lifetime Achievement Award in 2016.


Jack Moore: 1929–2018

ack Benton Moore, 88, of Bloomington, Indiana, died August
27, 2018, after an extended illness. A respected flutemaker,
Moore was a life member of the NFA and long active in the
organization, serving as president of the Flute Industry Council
(the precursor to the Commercial Members committee).
“Jack Moore was skilled in every branch of flutemaking,” said
innovative flutemaker and pedagogue-performer Alexander
Murray, a recipient of the NFA Lifetime Achievement Award.
“He belongs with the most prestigious of flutemakers: Theobald
Böhm the most celebrated and Albert Cooper the best-known of
the 20th-century makers.”
“Jack Moore was a wonderful flutemaker, always paying close
attention to the minutest detail in the construction of his in-
struments,” said flutist-piccoloist, teacher, and NFA Lifetime
Achievement Award recipient Walfrid Kujala. “I remember being
thrilled when I learned that he had agreed to construct Alexander
Murray-system flutes on special order. Whoever the present
owners are should consider themselves very fortunate indeed.”
Moore was born September 12, 1929, in Baugo Township, In-
diana, to Clifford (Sam) and Helen Davis Moore. Following high
school graduation in 1947, he served in the U.S. Army in Korea
and then attended Indiana University of South Bend. Moore mar-
ried Marilyn Richardson on June 22, 1958, in Lafayette, Indiana.
Moore worked at W.T. Armstrong for 25 years before begin-
ning his own cottage industry, Jack Moore Flutes, in 1973. He
hand-crafted precious-metal flutes for professional players from
around the world. Jack Moore in his workshop.

A Trail of Goodness
Jack was a most amazingly skilful, imaginative, hardworking,
kind, and generous man who helped all sorts of people in the
flute world. He could make a wonderful head joint—I have
owned two or three—and he supported many creative flut-
ists by joining in with their ideas.
He made a few flutes for me with weird intonation alter-
ations and developed strange mechanical things to make
them practical. He made me a piccolo—called “The Cigar”

because it had a double taper—just because I had the mad
idea of making a compromise between the cylinder piccolo
with the tapered head and the traditional piccolo with the
tapered body. He did this by making an instrument with Jack Moore, holding his NFA Lifetime Achievment Award, with Marilyn and sons
a completely new bore tapered at both ends. And he just Tom (back) and Scott.
joined in by making it absolutely for free!
He also pursued another idea of Theobald Böhm’s: to make a
flute with a very hard and thin tube and very little metal on the
main line strap. He described it as the “Jack Moore lean model.”
Both these creations are in my possession and are perfectly
usable, professional instruments. And what is more, they were
made for no charge!
Beyond his flutemaking skills, he and his wife Marilyn were
very hospitable. I had a great time staying with them at their
lovely lakeside house.
We have all been very privileged to have known this ideal-
istic man who leaves a trail of goodness behind. We shall miss
him enormously.
—William Bennett Jack Moore and Albert Cooper.


“I have very fond memories of Jack Moore from the NFA trip
to the U.S.S.R. in the late 1980s,” said NFA member Paul Taub. “I
was already playing one of his headjoints. It was my first intro-
duction to the art of fine, one-man-shop flutemaking, and I have
always been very grateful to his artistry and appreciative of his
company on that memorable trip.”
Moore had been a 65-year member of Central Christian
Church in Elkhart, where he worked with young people in Boy
Scouts, church school, and other groups. He played racquetball
at the YMCA until he was into his 70s.
“I once commented on his huge forearms and asked if he had
played sports,” said NFA Lifetime Achievement Award recipient
and flutist, composer, flute designer, and pedagogue Robert
Dick. “Jack told me he had played quite a bit of baseball when
he was younger and was an outfielder. I said something along the
lines of ‘you must have been a real power hitter,’ and he smiled
and quietly added, ‘yup.’ We’ll miss Jack for his quiet modesty,
his willingness to explore and try new flute designs, and the high
level of his craft. Above all, though, I’ll miss one of the most honest
and plainspoken friends I’ve ever had.”
Said flutemaker Tom Lacy, “He was my mentor, my very close
friend, a great innovative flutemaker, and a friend to all that met

him. He was the best guy I know.”

Moore is survived by his wife Marilyn; two sons and their
families: Scot and Ann Moore, Megan, Katie, Matthew, and Jack Moore, right, with William Bennett.
Jackson, of Bloomington, and Thomas and Andrea Moore,
Mitchell, Benton, and Beck, of Denver; and two sisters, Beulah Indiana University Foundation, Showalter House, P. O. Box
Stewart and Jeanette Moore, of Elkhart. Memorials may be given 500, Bloomington, IN 47402 or Central Christian Church, 418
to the Jack and Marilyn Moore Graduate Flute Fellowship, W Franklin St, Elkhart, IN 46516.

G.S. Sachdev: 1935–2018

aster classical Indian musician G.S. Sachdev died June In 1968, Sachdev married Saroj, a vocal music and kath-
24, 2018, from complications of non-Hodgkins Lym- ak dance student. They had a son, Amar. In 1970, Sachdev
phoma at his home in San Rafael, California. Sachdev moved to California after his playing came to the attention of
was renowned for his skill as a player of the bansuri flute. He was an American writer, who promoted a radio fundraising cam-
a leading performer and teacher in the San Francisco Bay Area, paign to fly him to San Francisco, where he had been offered
where he lived since his arrival from India in 1970. a position at the newly formed Ali Akbar College of Music.
Gurbachan Singh Sachdev was born April 24, 1935, in Lyallpur, Once Sachdev had established his U.S. career, he sent for his
Punjab, India. His father, Sardar Kartar Singh Sachdev, a Sikh, was wife and son to join him in San Francisco, where they lived
a property registrar and later a building contractor. His mother, until his death.
Amar Kaur, a Hindu, had hope to play classical music but was pre- Sachdev taught at the Ali Akbar College of Music until 1976,
vented from doing so because women were not allowed to study when he opened his Bansuri School of Music in Berkeley. He
music. She encouraged her son’s musical efforts. produced many recordings of his performances, most notably
Sachdev received a BA from Gandhi Memorial National “Romantic Ragas,” “Live in Concert,” “Full Moon,” and “Classical
College in Ambala Cantt in 1954, and subsequently studied North Indian Ragas.”
with Vijay Raghav Rao in Delhi for 12 years. He and his teach- Sachdev received wider acclaim in the U.S. following a 1975
er traveled to Bombay, where Sachdev found work in the film concert in Colorado, accompanied by tabla virtuoso Zakir
industry playing sound tracks and songs for movies while Hussain, and soon after, he left college teaching to tour full
continuing to practice long hours. Despite his industry suc- time. He also launched a series of radio broadcasts called
cess, he later left his job to devote himself full time to Hindu “Music of India Master Class.” He performed worldwide and,
classical music and devotional song forms. He studied with in 2011, founded the Sivananda Classical Indian Music Fes-
sitar player Ravi Shankar, who offered him a teaching posi- tival in the Bahamas. Sachdev’s recordings can be heard at
tion at his music school in Mumbai.


Peter Standaart: 1948–2018

oted flutist and pedagogue Peter Standaart died Septem-
ber 16, 2018, after a long battle with cancer. He was 70.
“Peter was an incredible flutist, teacher, and col-
league, but I believe his knack of bringing together diversity
is what made him an extraordinary human being and friend,”
said Erin Vivero, professional flutist and former student of
Standaart’s. “He could merge both ends of the spectrum of
opinion into beautiful harmony, and his sincerity in finding
the good in everyone and everything was addictive. People
wanted to be around him because he made whoever he was
with feel complete and at peace, even if they came to him in
musical or personal turmoil.”
Standaart was born July 10, 1948, in Richmond, Virginia, and
grew up in Asheville, North Carolina. He was of Dutch descent
and came from a musical family; his father was a renowned or-
gan builder and his mother was an organist.
He was educated at Duke University, the North Carolina
School for the Arts, and Yale University. His principal teachers
were Charles Delaney, Emil Medicus, and Thomas Nyfenger. He
joined the flute faculty of Wesleyan University in 1975 and con-
tinued to teach flute until shortly before his death.
Standaart’s knowledge of the flute literature was encyclo-
pedic, and his influence as a pedagogue and a champion of
music for the flute was enormous. He performed many times
with the Wesleyan Orchestra, playing works such as Nielsen’s
Concerto, Poem by Griffes (conducted by Roger Solie), Mo-
zart’s Concert for flute and harp (with harpist Sally Perreten Peter Standaart
and conductor Melvin Strauss), and, most recently, Honeg-
ger’s Concerto da Camera for Flute, English Horn, and String
Orchestra (with Libby Van Cleve playing English horn and
“His sincerity in finding the good
conducted by Nadya Potemkina). in everyone and everything was
Standaart premiered many new works for flute, including
compositions by his Wesleyan colleagues. He also performed addictive. People wanted to be
contemporary works of extraordinary difficulty by Pierre
Boulez and Henry Brant; Brant said that Peter Standaart was around him because he made who-
the finest flutist he had ever heard. In 1981, he was one of
four finalists for the piccolo position of the San Francisco
ever he was with feel complete and
Standaart was deeply involved in the Middletown community
at peace, even if they came to him
and with many community organizations throughout Connecti- in musical or personal turmoil.”
cut. In addition to his appearances at Wesleyan, he frequently
performed at churches and libraries in New Haven. Vivero noted that, perhaps beyond all else, Standaart’s
He also spent years in the orchestra pit at Goodspeed Opera. ability to connect with people’s hearts—with and without
During rehearsals there, actor Tom Hulce was so taken with the flute—remains his greatest legacy. “He left an enormous
Standaart’s hyena-like laugh that he later adapted it for his lead shimmering space in all who knew him and a powerful call to
role in the film Amadeus. creative expression in all forms.”
In recent years, Standaart was a member of the trios Burning A memorial service was held October 27, 2018, at the Wes-
Bush Baroque and High Voltage Baroque. He was a founding leyan Memorial Chapel in Middletown. In lieu of flowers,
member of the Connecticut Flute Orchestra and cofounder of honorary donations can be made to BlackledgeMusic, Inc.,
“Flutes in the Woods,” a Middletown performance series for 48 White Birch Road, East Hampton, CT 06424 (or visit go-
regional flutists. and search for BlackledgeMusic); Jagadguru

Standaart had a deep spiritual perspective that combined el- Kripaluji Yog, USA, 38 Highland Street, Rocky Hill, CT 06067
ements of Christianity, Buddhism, Hinduism, astrology, and jin (or visit, select the “charity” tab, and click on “Do-
shin jyutsu. In recent years, he was a devotee of Swami Mukun- nate Now” at the bottom of the page); or Middlesex Hospital
dananda. He was also associated with the Radical Faeries. As long Cancer Center Integrative Medicine Program, c/o Office of
as his health permitted, he was an avid outdoorsman, swimming, Development, 28 Crescent Street, Middletown, CT 06457 (or
sailing, and camping locally and abroad. visit


Francile Bilyeu: 1942–2018

rancile Bilyeu, longtime flute professor at the Virginia
Commonwealth University Department of Music, died
July 29, 2018.
Bilyeu was born December 26, 1942, in Kansas. She attended
Kansas State University and the Eastman School of Music in

Rochester, N.Y. She earned her master’s in music from the Uni-
versity of Tulsa, where she met her late husband, Landon A.
Bilyeu, who died in 2011. The couple was married for 46 years.
Francile Bilyeau.
Bilyeu joined the Virginia Commonwealth University faculty
in 1984 and taught for 34 years until her retirement in 2008. Bilyeu is survived by daughters Lana Bilyeu (Margaret Col-
At a memorial service held August 4, about 30 former students, lins) and Janice Delong (Henry); grandchildren Alan (Catherine
colleagues, and friends gathered and performed together. In a Pelletier) and Marina Chavez, Fuller and Joanna Collins-Bilyeu,
published obituary, the university’s interim department chair and Madeline and Moira Delong; great-grandson Landon; sister
Terry Austin noted that Bilyeu’s popularity as a teacher had Janice James; sister-in-law Karen Bilyeu Smith; and brothers-in-
drawn a large following, bringing to the school more flutists law Dennis, Jerry, and Ron Bilyeu. In lieu of flowers, memorial
than players of any other instrument. He said that while Bilyeu’s contributions may be made in her memory to Good Shepherd
first love was teaching, she continued to play into her 70s. Episcopal Church or a charity of your choice.

Are you looking to make a difference?

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Honor Roll of Donors to the National Flute Association
The National Flute Association extends its heartfelt thanks to the following individuals and organizations whose generous
contributions help to sustain its operations, programs (such as cultural outreach, special commissions, publications/recordings,
and flute choir), and endowments. The list reflects donations received from November 1, 2017, to November 1, 2018.

CONVENTION Cristina Ballatori* Ann Fairbanks Julia K. Vasquez Mia M. Dreese

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Lindsay Leach-Sparks
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NFA Endowment
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Judith T. Levine Stacey Steele
Jody Stein
Wm. S. Haynes Co. has made a $125,000, 10-year commitment
Brenda (Bonnie) Levy*
Rita Linard Wendy Stern to the National Flute Association for the years 2013–2022.
Teresa Lind Sioux Stoeckle* The intent of this donation is to help the NFA present fine
Caitlyn Lucy Cynthia C. Stokes* international flutists to attend and perform at the NFA
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Raven Bear Flutes viduals who help to ensure the future
Gwyn Roberts of the NFA through planned gifts.
Jan Robison It is with deep appreciation that we
Rosene Rohrer recognize these members:
Gabriel Rosado Linda and Harry Fegley
David Ross Leonard Garrison
Toby Rotman
Cynthia Rugolo
Katherine Borst Jones
Carol Kniebusch Noe
Amount donated by members to date:
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Sankyo Flutes For attributions for gifts made in honor
$104,695.15 (84%)
Lisa Schroeder or memory of someone, please visit
Virginia Schulze-Johnson* Amount to raise by 10.31.2022:
$20,304.85 (16%)
Reviews Reviews of flute-related recordings,
books, and other items of interest

Back to Basics Musical samples are printed clearly, and instructions are direct.
Anja Thomann, tran. Throughout this book, one becomes aware of Quantz’s un-
surpassed legacy as a pedagogue for this particular instrument.
Indeed, Thomann’s artistically chosen small musical quotes state
©2017 Edition Walhall this outright, leading us directly to the source of most of these ex-
Back to Basics: A Practice Book ercises: “Solfeggi Pour La Flute Traversiere avec l’enseignment Par
for the Baroque Flute is a flexi- Monsr. Quantz.” Quantz provides melodies, scales, and arpeggios
ble practice book with an overt- beautifully written and appropriately chosen for every key. The
ly broad mission and scope. It manuscript has been neatly written, and it is a pleasure to play.
offers basic warm-up exercises; Another important source for Thomann’s book is Quantz’s fa-
reprints scale and arpeggio pat- mous treaty on playing the Baroque flute. In it, one can find ex-
terns from Quantz, Corrette, tensive and clear guidance for ornamentation and articulation.
and Lusse; provides simple tone Thomann’s other sources (i.e., Corrette and Lusse) also offer
and articulation development wonderful guidance on how to play the Baroque flute.
exercises; gives a brief overview Thomann’s modern approach to teaching the basics might
of ornaments; and offers a spartan fingering chart. The book is come across as simplistic, but it opens a window for discoveries
structured in a flexible way in which the practitioner is encour- through research and practice from its own sources.
aged to choose starting points, key signatures, and articulations. —Danilo Mezzadri

The Flutist’s Handbook familiar. Strict instructions are given for tempi (always on the
Robert Stallman slow side, for breath support), and the performer is advised not
to use any vibrato until the last note of each melody. Like the
©2018 Carl Fischer
24 articulation exercises, all 15 melodies are transcribed into all
Robert Stallman might be the 12 keys, and while they are generally stepwise in the beginning,
most prolific flutist-publisher in they soon develop into wide-ranging exercises with challenging
history. His works, which span leaps throughout. They are indeed a good study in use of air and
from much-beloved editions flexibility of embouchure.
and arrangements to pedagog- I like this book. Both the articulation sequences and the mel-
ical methods, claim shelf space odies are musically satisfying, and the idea of beginning with
in most flutists’ libraries. His articulation is intriguing. As I have been testing the book, it has
latest publication is both an in- certainly made for some rough-sounding starts to my morn-
teresting collection and a win- ings, but by the time I move on to the vocalises, I do sound and
dow into Stallman’s own world feel stronger and more efficient in my playing. Stallman writes
as a flutist and teacher. that this book is meant for players of all levels, but I cannot
Two sections comprise the entire book: articulation exer- imagine being able to assign this book to a pre-college student
cises and vocalises transcribed into all keys. He opens with or adult hobbyist. For college students through to profession-
the articulation exercises because, as he says in the preface, “a als, the exercises here offer a rigorous workout routine, though
clean attack is essential to producing a beautiful tone.” He also some supplements might be called for.
enumerates the benefits of activating the embouchure muscles What is missing in The Flutist’s Handbook is a printed course
and air stream for better playing throughout the day. The first of study—or any instructive writing at all beyond the preface. I
half of the book (whose subtitle is The Art of Staying in Shape) wonder how many exercises in each of the two sections I should
is filled with these articulation exercises, all printed with a do, and what I should assign my students.
range of tempi and labeled as being for either single tongu- Perhaps Stallman would find this question pedantic and tell
ing, double tonguing, or both (three specific triple-tonguing me to discover this for myself, and that is reasonably easy to do
exercises close this first half of the book). The sequences are through trial and error in my own practice. But if I use these with
familiar enough, and he admits to adapting them from Bach, my college students, I think basic guidelines would help to keep
Schubert, Dora, and others, but no citations are included be- them from doing too much or too little when I can’t be there
fore or after any exercise. They are all meant to be played at to monitor their daily progress. Besides, what a treat it would
both piano and forte dynamics. be to benefit from Robert Stallman’s teaching! We get a sense
The second half of the book is given to short melodies that of this from his preface and the mere writing and ordering of
also are not attributed to anyone, but some may sound vaguely these exercises, but I would appreciate a guiding hand as well,


and I imagine the result would also be a more consistent path But I can certainly recommend The Flutist’s Handbook: The Art
to success for those of us using his handbook. I also would like of Staying in Shape to anyone who is looking for a new way to
to see some judicious pedagogical narrative and clear credits to practice and is willing to experiment with what works for her.
original composers in a future edition. — Nicole Riner

Mixed Media
Amy Porter, in close collaboration with
Penelope Fischer and pianist Tim Carey,
has once again taken on a major project,
a multi-faceted exploration of the rep-
ertoire for flute and piano by Philippe
Gaubert—16 compositions in all. The
project consists of a two-DVD set, a newly
published collection, and a CD. The DVDs
blend historical notes and theoretical dis-
cussions offered by Fischer with brief per-
formance guides and live performances of The Gaubert Cycle Ballade:
each of the pieces by Porter. The printed Philippe Gaubert, ed. Philippe Gaubert
collection includes the first 11 of Gaubert’s
Porter, Carey, Fischer Amy Porter
pieces for flute and piano. The CD presents Treasures
his last five and most mature works—the ©2017 Equilibrium ©2018 Naxos
Philippe Gaubert,
three sonatas, the Ballade and the Sona- Recordings
ed. Porter
tine—taken directly from the DVD’s live
performances by Porter and Carey. ©2018 Carl Fischer
What makes this joint effort so distinct preferences toward an elasticity of nuance from it what is sought, yet perhaps each
is that it coordinates historical/theoretical typical of that French tradition, which is will yearn for more.
context, performance guidelines, printed so foreign to American sensitivities. Nev- To confound the confusion, the 10-min-
music, and actual performances under the ertheless, Porter’s playing is relaxed, ex- ute segment of out-takes at the end of the
same roof, albeit with mixed results. The tremely confident, clean, technically pure, second DVD detracts significantly from
central component of this three-part series and tonally beautiful. In her remarks, the impact of what precedes it. Who cares
is the two-DVD set. Each of the works pre- Porter emphasizes the importance of if Porter had difficulty pronouncing the
sented has been released previously by oth- changing colors according to the musical name of a particular teacher? Does a video
er publishers, generally as separate entities, context, certainly essential to the French need to include humorous/embarrassing
but not in such an integrated package. aesthetic and important to bring to light. moments to be successful? Is it necessary to
The plan behind the DVDs is notewor- The execution of the DVD plan is show that the presenters are really just like
thy. Penelope Fischer (whose doctoral somewhat less than ideal because its in- everyone else—mispronouncing names,
dissertation is devoted to Gaubert’s life tended audience and purpose are unclear stumbling over cue cards, etc. Perhaps so—
and contributions as a flutist, teacher, and seem to overreach. If the DVDs’ main if the bottom line is not about Gaubert.
conductor, and editor) suggests how each audience is young flutists looking for in- The DVD set could have been stron-
work fits into Gaubert’s career, identifies spiration, then Porter’s performances ger if it had presented more of Gaubert’s
each dedicatee (e.g., a flutist colleague in certainly stand on their own, and simply life, to help build a clearer view of why
the opera orchestra), and offers a very producing a two-CD set of all the works he composed as he did. There is mention
brief description of compositional struc- would have sufficed. On the other hand, of his musical influences and wide-rang-
ture, supplemented by views of pages if the main thrust of the video was to be ing career, but knowing more about this
of the early French editions. Following a performance guide, then Porter’s sug- would have given the viewer a keener in-
Fischer’s overview, Porter gives a few very gestions could have benefited by offering sight into who he really was. Why was he
general guidelines on ways to approach considerably more depth. looking backward, stylistically, in his lat-
each piece. What follows, then, is a live By apparently attempting to connect er works, given how French composition
performance, as if in concert, with Porter with all audiences—music historians, had changed so much by the mid-1930s?
and Carey, her magnificent collaborator. music lovers, less experienced flutists— His harmonic language was identifiably
Porter’s playing, of course, is beautiful- the video falls short. The young players his own; certain melodic and rhythmic
ly controlled and thoughtfully prepared. who will benefit by Porter’s very super- figures are consistent throughout his ca-
Her performance of quintessentially ficial performance guidelines will not be reer as a composer. Focusing more on
French music is clearly delivered with a especially interested in Fischer’s remarks similar issues might have given even more
strong American accent. A French flutist about what keys are explored in the rep- levels of understanding to the perfor-
would have interpreted these works quite etitions of the theme or, indeed, whether mances that followed. Those final 10 min-
differently. Listening to old recordings the work is in sonata form or a kind of utes would have been better served using
of Gaubert’s performances, one hears his modified rondo. Each viewer will take the remaining disc time to address some
of these gaps. In these ways, the DVD pro- edition. Curiously, at the end of Porter’s Despite its shortcomings, the set of
duction was a missed opportunity. performance guideline for Divertissement DVDs, the CD drawn from the DVD
Philippe Gaubert: Treasures for Flute Grec, she remarks, “Enjoy playing this performances, and the new collection
and Piano provides the printed music piece alone or with a friend!” Alone? Her serve to bring more attention to a body
of the first 11 of Gaubert’s compositions edition of the work is for flute and piano. of music that has remained somewhat
for these instruments in a single volume, (What she probably refers to is the French obscure. There are wonderful gems
which is much appreciated. Comparing edition that was shown in the DVD, in the printed edition that deserve a
the new edition with the fragments of the scored for two flutes and piano.) place on recital programs, either as core
early French editions shown in the DVDs, Treasures has a wonderful portrait on works or as delightful encores. Each has
one is struck by noticeable changes in its high-gloss cover—of Porter. Why not grace and elegance. Gaubert’s warmth
dynamics and articulation and even the Gaubert? The very informative forward of expression, his skill as a composer,
elimination of the few metronomic indi- to the collection was prepared by Porter and his passion for the lyricism of the
cations in the old editions. The original and Fischer and is followed by a full page flute are evident throughout. Porter’s
editions sometimes indicated they were entitled, “About Amy Porter.” The last dynamic performances certainly should
applicable to “flute or violin” or even harp. paragraph is about Penelope Fischer, not inspire many to explore this charming
It would have been a nice touch to have Porter. At the very least, Fischer deserves repertoire.
that bit of history included in the new her own heading! —Brooks de Wetter-Smith

Convergent Winds motives and harmonic progressions! However, rather than find-
Alexa Still ing them stale after a few tracks, listening to this recording as a
whole engenders an appreciation for Hindemith’s creativity and
©2018 Naxos
talent. Likewise, each performance is gorgeous, a benchmark for
The music of Paul Hindemith, interpretation of these pieces showcasing control, expression,
a man who set out intention- and skill.
ally to increase the serious Still’s version of the Hindemith Flute Sonata is warm and rich,
sonata repertoire for wind in- full of nuance and a matter-of-factness that assures the listener
struments, is sometimes over- that she, too, has heard many high school students play this piece
looked in favor of his flashier badly—and she would like for us to listen and reconsider! Her
brethren. This is a shame, interpretation seems to be a blend of control and flexibility, espe-
because his oeuvre reveals a strong compositional voice, full cially in the second movement, which showcases Still’s gorgeous
of texture, harmonic variety, and a multitude of opportunities sound and wide dynamic range.
for expressive playing. This new recording featuring woodwind Howsmon’s collaborative piano playing throughout this re-
and keyboard faculty from the Oberlin Conservatory—Alexa cording is strong and canny. He seamlessly switches between
Still, Robert Walters (oboe and English horn), Richard Hawkins supporting and primary melodic roles, and his performance
(clarinet), George Sakakeeny (bassoon), and James Howsmon adds tremendously to the texture of each work.
(piano)—presents six works by Hindemith for solo woodwind Hearing each of these sonatas in a row is revelatory. The depth
and piano: the sonatas for flute, oboe, English horn, clarinet, and and creativity of Hindemith’s voice as a composer pairs perfectly
bassoon; and “Echo,” a short work for flute and piano. with the depth and creativity of these performers as they inter-
The similarities among these compositions are immediately pret his work.
apparent—Hindemith certainly seems to have had some favorite —Jessica Dunnavant

Castillos de Viento Hebert Vazquez, is indicative of the others to follow, in that

Molly Alicia Barth Duo Damiana plays with precision in producing a variety of
textures, effects, and intricate layers that are always balanced
©2018 innova
with detailed nuance. Tight guitar tremolos and flutter tongu-
Duo Damiana—Molly Ali- ing in the flute part present a quiet intensity to the piece from
cia Barth and guitarist Dieter the beginning. Agitated, repetitive phrases hold the work to-
Hennings—impresses with gether, and the rhythmic line is made up of interplay between
clarity and integration of en- the instruments—a charanga-like flute, medieval hocket, ex-
semble in castillos de viento. plosive phrase bursts, and quietly intense guitar tremolos.
At just under an hour, the en- The rhythmic style is similar to that of Salvador Torre, for
tire CD could be heard in one whom the piece is written.
sitting. The order of the works allows them to complement one Michael Fiday’s Five Haiku (2013) has a primitive feel that
another, and hearing each follow another is most satisfying. begins with percussive effects on the guitar. Barth punctu-
The first selection, El jardín del pasaje púrpura (1995) by ates with spurts of wind and breath that later become delicate


lines overlapping in and out of sync with Hennings’s guitar. set with sometimes rhythmically stubborn complaints from the
Movements are short and to-the-point minimalist, sometimes guitar. Sinuous bending phrases, slides, octave displacements,
using only one- or two-note motifs. The form of the second and note trails create an intriguing palette, such as Shakuha-
movement reminds us of Telemann’s Canonic Sonatas. The chi-like grace and technique in the flute.
use of harmonics—both flute and guitar—and muted guitar Sonata (2015) by Jesse Jones is true to form and composition-
and flute bends adds to the aboriginal atmosphere. ally the most traditional work on the CD despite being the most
In contrast to previous tracks, the lyrical Shining River (2007) recently composed. There are hints of Hindemith as well as quick
by Shafer Mahoney is in a more traditional style with rich har- shifting between tonal and percussive effects for both instru-
monies. Elegantly played and pictorial, it evokes at times still ments. The pointillistic Scherzoso splashes about, while Lento
water, steady flow, and then unstoppable, increasing current. relaxes with legato, limpid tone.
Continuous flute lines are punctuated with droplets of guitar. This collection of five compositions includes excellent liner
Chen Yi’s Three Bagatelles from China West (2014) show notes—and, according to the CD jacket, “Duo Damiana is fo-
Barth’s control and agility, while Henning impresses with energy cused on broadening the cutting-edge body of repertoire for
and vigor, particularly in the tension of the Dou Duo movement. flute and guitar.”
Flute soars freestyle above the guitar ostinato, then settles below. Indeed it is.
There are flying and floating trilled melodic phrases on flute, off- —Craig Johnson and Thomas Godfrey

Living Music One of the best compositions on the CD is Noam Elkies’ E

Alice Dade Sonata (1996), originally composed for Baroque flutist Na’ama
Lion. The Baroque influence in the first movement is clear, as
©2018 Naxos
flute and piano interact in ways that are very familiar to those
Living Music says everything who have played the Bach flute sonatas. Modernness comes in
essential about itself in its through the harmony, but it’s impossible to claim that harmonic
very name: Its five composi- experimentation makes something less like Bach! The second
tions—most of which have movement is daring and hilarious. The flute plays E. Dade
never been recorded before plays low E, high E, middle E, flutter-tongued E, E at different
now—are all written by living dynamics…but always E. The third movement treads the line
composers. More than that, between Baroque music and jazz and does it well—it’s hard
this recording is no dry recitation of notes and rhythms; Alice K. not to dance!
Dade and her companions (violinists Scott Yoo and Erik Arvin- Jennifer Margaret Barker’s Na Tri Peathraichean (2000) and
der, violist Maurycy Banaszek, cellist Jonah Kim, double bassist Dan Coleman’s Pavanes and Symmetries (2000) round out the
Susan Cahill, and pianists Noam Elkies and John Novacek) bring recording. The Barker is meant to evoke ideas of three high-
the music to vibrant, glorious life. land peaks with all their wild beauty, and Coleman’s work is
The CD opens with Aaron Jay Kernis’ Air (1995) for flute and texturally one of the most interesting, including all manner of
string quartet. There is great tenderness in this piece, which owes rhythmic ostinato and gorgeous dissonance.
a debt to Copland with its open harmony and simple melodic Dade’s playing is lovely throughout. Her strength, by far, is
lines. The playing is stellar—Dade’s tone is sweet, clear, and col- that wonderful tone—flexible, light, and full of color, emotion,
orful, and, in gorgeous moments between flute and violin, the and control. Still, don’t believe for one minute that her playing
instrumentalists’ timbre and texture allow a blend so pure that is not world-class in every way. She has clean, crisp articulation,
the listener simply falls into the sound. The currencies of conflict and the listener gets the sense that no moment of her playing is
in the piece are rhythm and texture, which keep things moving. beneath her notice. She is sensitive enough to lead sometimes
Michael Fine’s “Skipping Stones” (2013) is meant to evoke the and follow others, and the sense of collaboration with her fellow
simplicity of childhood, and it’s easy to hear that in the music as the players makes listening to Living Music a joy and a journey, full
players whirl from section to section, just as if a child were wander- of whimsy, melancholy and delight.
ing, her attention caught in any given moment by something new. —Jessica Dunnavant

Save the Date: NFA Annual Convention

Salt Lake City, Utah Dallas, Texas Washington, D.C. 50th Anniversary
August 1–4, 2019 August 6–9, 2020 August 12–15, 2021 Chicago, Illinois
Salt Palace Hyatt Regency Dallas Marriott Wardman August 11–14, 2022
Convention Center Park Hilton Chicago


La Solitude À Deux tasteful use of flattement (finger vibrato) over vibrato produced via
Matteo Gemolo the airstream, improvised ornaments that show both creativity and
an understanding of the harmonic structure of each work, and more
©2018 Outhere Music France
subtle aspects of performance practice, such as varied note lengths,
The 12 Telemann fanta- space between the notes of wide intervals, and bits of inégal.
sies for solo flute and the Gemolo begins the recording with “Fantasia in B Minor.” His
myriad duos he wrote for tone is pure and perfect, full of color and expression. He seems
two treble instruments of- to take the “fantasy” nature of the piece to heart, both here and in
ten seem to be consigned the later Fantasia No. 1 in A Major. His interpretation is playfully
to students. Telemann is a whimsical, and his ornaments are creatively virtuosic. Likewise,
good starting point for in- Germone’s playing is expressive and compelling, and his execu-
teraction with Baroque music; frequently, upon meeting a new tion of the music is clear and clean.
student, when I ask what Baroque music they’ve played, the dis- Throughout the recording, the players’ ensemble is strong.
missive answer is, “Oh, sure. I think I played some Telemann in They match note lengths and phrase shapes and, best of all, their
middle school.” I often think this is a sad state of affairs, because pitch is nearly perfect, which is quite a feat on reproduction
Telemann’s music is both impossibly deep and incredibly clear. instruments. There are many moments in the duos where the
He may not be as showy as Handel or as emotionally overwhelm- flute and violin blend so seamlessly that they sound a little like a
ing as Bach, but his music is the music of a master. chamber organ!
La Solitude à Deux: Duos and Fantasias, featuring Matteo Both players are expressive, and they use that expressiveness
Gemolo playing traverso and violinist Patrizio Germone, pro- to highlight the structural beauty of the music they’ve chosen.
vides a glimpse into the catalog of works flutists and violinists Telemann’s cleverness is exposed in their playing, and the lis-
have from Telemann. As its title indicates, its program consists of tener never misses the continuo that is not there; these works are
two solo flute Fantasias, two Fantasias for solo violin, and three harmonically complete and structurally sound, and we can only
sonatas for two flutes or violins, all without bass. hope that Gemolo and Germone follow this wonderful record-
Gemolo and Germone play this music extraordinarily well. All ing with another.
the hallmarks of historically informed performance are there: —Jessica Dunnavant

Concerto into a joyful run in the piano part, while the flute maintains a
Eldin Burton charming, almost nursery rhyme-like melody with impressive
embellishments. Developmental material in the middle fea-
©1976, 2018 Carl Fischer
tures an exchange not unlike the second movement (fanfare)
Nearly 20 years after publishing of Rodrigo’s Fantasia para un gentilhombre, in which the flute
his beloved Sonatine, Eldin Bur- punctuates the piano’s melodic material with bursts of brilliant
ton wrote this Concerto for Flute technical passages.
and Piano, which he dedicated The second movement is a theme and variations. But although
to John Wummer, then-princi- this sounds like a terrible idea, it’s really not. The humble theme
pal flutist of the New York Phil- is introduced in the piano, and the flute’s first entrance is the first
harmonic. The first edition was variation (there are a total of five, plus a coda). Each variation takes
printed (also by Carl Fischer) on a charming new character and is sprinkled with just enough
in 1964. There is virtually no virtuosic passage work to sound as if this could be a satisfying final
historical information printed movement. But the third movement is also satisfying as a simple,
about this piece and no com- fast, and elegant tarantella with a bonus, modified cha-cha func-
mercial recording available, but what a treat to once again have tioning as a brief “B” section.
access to this incredible work. Every moment of Burton’s long-lost Concerto is terrifically fun
Those familiar with the Sonatine will recognize Burton’s har- to play and incredibly pleasing to the ear. One can only imagine
monic language as neo-Romantic with the occasional Impres- that, if Burton’s personality is on display in his work, he was an
sionistic influence. The concerto is three movements long, and energetic, bright, and happy person. It isn’t clear if the piece was
the difficulty level is a bit beyond the Sonatine, making this a ever conceived as a concerto with orchestra; there are no orches-
worthy adventure for advanced undergraduates or graduate tral parts currently available, and the piano part in this edition
students. It is also certainly both musically developed and daz- looks entirely playable (though challenging, as is the flute part).
zling enough to engage a professional player, as well; indeed, As a recital piece, the Concerto is most definitely worth adding
I’ve had it on my stand since I received it for review, it was so to your collection and programming on your next recital. Carl
irresistible to me! Fischer has done the flute community a great service in un-
The first movement, Allegro moderato transitioning to Alle- earthing this treasure.
gro con brio, opens with a majestic statement and then breaks —Nicole Riner


Concerto in E Minor, looked for a version of it with flute, piccolo, and piano reduction.
TWV 52:e1 My search led me to a company that sells recorder music, and the
Georg Philipp Telemann, version I found, published by Moeck Verlag, is for sopranino re-
corder (which can be played on piccolo) and transverse flute (which
arr. Dombourian-Eby
can be played on C flute).
©2018 Theodore Presser I am thrilled with this new edition, which reflects the fact
Company that Dombourian-Eby is a piccolo specialist and knows the
I first learned of this piece, adapted idiosyncrasies of the instrument. In this Presser volume,
by Zart Dombourian-Eby with pi- Dombourian-Eby gives the piccolo part the lower voice in
ano reduction by Valerie Shields, some areas, differing from the Moeck edition. She also has
when Dombourian-Eby per- added much-needed articulation. (The piano reductions are
formed it with chamber orches- very similar in both volumes.)
tra at the 2002 NFA Convention. I highly recommend this new, piccolo-focused edition.
I loved the work so much that I —Ronda Benson Ford

Extreme Sports
In Extreme Sports 11 Virtuoso Etudes, the
first etude provides good work on helping
students identify which chords they are
playing. The second one has a difficult B
section with lots of sextuplets. The third
has an even more difficult B section, with
12 notes required in one beat of music.
This etude reminds me of music written
during the Baroque period.
There are two big challenges in etude
number four: remembering the acci-
dentals throughout the entire measure
and playing the wide leaps accurately. Extreme Sports One-Sided Odd Bedfellows
Etude five focuses on the 16th-eighth- Gary Schocker Conversations Gary Schocker
16th rhythmic pattern and slurring in ©2018 Theodore Presser Gary Schocker ©2018 Theodore Presser
two note groups. The focus of etude six ©2018 Falls House
is on trills.
The seventh etude focuses on playing One-Sided Conversations Odd Bedfellows
smoothly and reading in compound me- Gary Schocker’s One-Sided Conversations The movements in this delightful work
ters. The eighth is my favorite, because it includes three movements titled Have for flute and tuba (or bassoon) are At the
is very dance-like. Number nine focuses a Nice Day, And Then She Said..., and Hippo Watering Hole, Among the Pine
on 16th notes, playing smoothly with Coffee Shoptalk. Throughout the piece, Barrens, In and Out the Window, and Un-
slurred notes, and getting the correct one flutist plays the motive and then the der the Big Top. It is always nice to have
notes with accidentals. other flutist plays the motive. This is the new repertoire for this instrumentation.
Etude 10 focuses on odd meter time one-sided part of the conversation. (As one would expect, the bassoon/tuba
signatures with the use of 5/4 and 7/8 At some points, the two flutes play the part is mostly accompanimental, and the
and with groupings of notes into sextu- same motive with the same rhythm. But flute contains the melody.)
plets and octuplets. The focus of etude 11 they play in harmony with each other, The second movement highlights the
is on playing 16th notes correctly with as if two people are talking at the same bassoon’s tenor range, which includes
wide intervals at a fast speed. This is not time. the notes middle C and above. The third
an easy task. The metric changes and accidentals movement highlights the bass range of the
If you are looking for something differ- could be difficult for some high school bassoon, an easier range for a bassoonist
ent than the Andersen etudes, Schocker’s students. Schocker does explore the range to play in. Because of some awkward fin-
would be a good choice. If you are a teacher of the flute from middle C to high C. gerings, the fourth movement is difficult
and would like a break from teaching the Schocker features the word “coffee” in on bassoon.
Andersen etudes, this would provide vari- the titles of at least three pieces that I I highly recommend this piece. Audienc-
ety in your musical life. As the title implies, know of. I think he must enjoy coffee as es will especially love the last movement,
these etudes are for advanced players. much as I enjoyed the piece. which is reminiscent of a circus march.
—Ronda Benson Ford —Ronda Benson Ford —Ronda Benson Ford


Duettino on American U.S.: “Hail Columbia,” “The Star-Spangled Banner,” “Boatman
National Songs, op. 37 Dance,” and a grand finale fanfare of “Yankee Doodle.”
This edition, edited by Stephanie Jutt and Carmit Zori, is near-
Franz Doppler, ed. Jutt
ly identical to a typeset edition by Johann André that is available
©2017 International Music at It varies slightly in its dynamic markings and offers
This recent release of an old fa- some clarity in articulations and beaming within the beat. While
vorite certainly won’t disappoint the older edition lacks consistency in its indication of the medley’s
Doppler fans. Written for flute, song titles, the Jutt/Zori edition includes the titles in all parts.
violin, and piano, Duettino is This edition is clear, easy to read, and available in the U.S.
reminiscent of his other duos, in- through various retailors. It bears mention that an optional sec-
cluding the popular Andante and ond flute part is available in András Adjorán’s edition of this
Rondo, op. 25. Full of mirthful work, which was published by Gérard Billaudot (Paris, 1980).
bravura, this piece is fun to play The availability of this part allows the option of two flutes and
and sure to please audiences. piano or the original instrumentation of flute, violin, and piano.
Duettino is a through-composed medley of tunes from the —Julie Koidin

Gilbert and Sullivan This volume includes four arias from The Mikado (“A Wand’ring
Arias Minstrel,” “Flowers that Bloom in the Spring,” “On a Tree by a River,”
and “Sun Whose Rays”), two arias from The Gondoliers (“Take a Pair
Arr. David Overton
of Sparkling Eyes” and “When a Merry Maiden Marries”), and one
©2017 Southern Music Company aria from The Pirates of Penzance (“Poor Wand’ring One”). These
David Overton’s arrangement pleasing, catchy, humorous melodies make an excellent choice for a
of Gilbert and Sullivan Arias for lighter segment of a flute program. A student could create her own
flute and piano was written for group of arias from the given seven in the book or could also play
Sir James Galway’s publication, one alone, even as an encore. The flute tessitura is mainly first and
Golden Flute Series, a three-vol- second octaves, and flutists ranging from advanced intermediate
ume set of Gilbert and Sullivan student to professional could program these arias.
arias in various (flute-centric) There are many clearly marked tempo changes, dynamic inflec-
instrumental arrangements. tions, varied articulations, and suggested metronome speeds. The
(This volume features arrange- print is extremely clear with well-considered page turns. The piano
ments for flute and piano; the part has varied textures and is not overly difficult. It features devices
other two are for two flutes and piano and for flute choir.) Early such as rolled chords for a ballad or folk-like effect, bouncy shorter
in his illustrious career, Galway played Gilbert and Sullivan arias notes conveying a dance mood, and long, expressively slurred lines.
with the Sadler’s Wells Opera orchestra and subsequently devel- I highly recommend this new arrangement for flute and piano
oped a fondness for these charming arias. He asked Overton, his by David Overton.
esteemed colleague, to arrange them for these three books. —Andrea Kapell Loewy

Une flûte itinérante Whenever I receive an item to review, as a teacher and as a

(with CD) performer, I try to place its usefulness; is the score appropriate
for students, and if so, at what level? Could I perform this on a
Jacques Lesburguères
recital? In sum, to whom am I recommending this work?
©2017 Editions Lemoine This is a puzzle I have not yet worked out with Une flûte
Une flûte itinérante is a collection itinérante. The recorded accompaniments are wonderfully rhyth-
of short solos with electronic mical and straightforward, making them easy starting pieces for
accompaniment provided as those interested in delving into the world of flute and fixed me-
a CD by the publisher. The dia pieces. Cues for important moments in the CD are written
contents are “Devil’s Dance,” into the flute part.
“Marine,” “Fleur de Jasmin,” The solos are generally playable by high school students
“African Jingle,” “Rue Mont- (perhaps grades 10 and up), with a couple of exceptions: the
martre,” and “Noel au Balkan.” opening material to “Devil’s Dance” is very free and therefore
The accompanying CD has two more challenging to coordinate with the recording, and “Noel
versions of each song, one with au Balkan” is written in mixed meter (8/8, 7/8, 5/8, 3/4, and
a flutist playing the solo line as demonstration and one with 2/4), which may be quite difficult for a high school student to
accompaniment only to be used in live performances. (At least, keep accurate and coordinate with the recording, especially
I think that is the purpose.) considering the fast tempo. So most of the book would be a


real treat for a high school student, both in terms of the exoti- music I recall from the 1980s. Sounds meant to be sitar, gongs,
cism of these charming tunes and the opportunity to perform etc., are unrealistic and lack depth.
with electronic background. But these two solos might be ne- Still, I do find this collection intriguing. I cannot imagine any
glected by many because they require a higher level of skill of these being performed on a serious recital, but as a bit of variety
than the rest. on a casual studio recital for junior high and high school students,
Now to the music itself. The solos are charming, albeit a it would be a novelty. And the mere act of practicing regularly with
bit simplistic. Jacques Lesburguères takes a rather superficial the CD could certainly strengthen a student’s sense of pulse and
approach to altering harmonies and employing non-Western rhythm, particularly if that student is not also participating in
sounds in the accompaniment CD. In this regard, he is following a regular ensemble at school. I could see using this book with
in the tradition of those 19th- and early 20th-century composers young high school students in my studio who need a break from
who sprinkled their otherwise very French music with exotic the standard repertoire or an extra set of stimuli to be inspired to
elements to evoke faraway lands their audience members would practice. I’m not sure if that is the composer’s intention, but this
most likely never visit. would be my recommendation, if you are looking for something
The electronic sounds on the accompanying CD are generally different for your teaching library.
of low quality and remind one of the keyboard sounds in pop — Nicole Riner

Serenity and piano, cello and harp, cello and piano, and viola and harp.
Eugene Magalif Self-described as “a combination of classical and pop-music”
in style, Magalif ’s influences are apparent in his ballad-like ap-
©2017 Forton Music
proach to “Serenity.” After introducing the sentimental main
Composer, pianist, and organ- melody in the flute, this serene and smooth main theme repeats
ist Eugene Magalif first gained and develops in a conversation between the two instruments.
recognition for his pop songs Short phrases, rhythmic clarity, a moderate tempo, and minimal
and music for children in his accidentals make this work an excellent first foray into chamber
home country of Belarus. Since music for students. While the flute part ranges from A1 to B3,
relocating to the United States the majority of the flute and clarinet writing falls within the mid-
in 1990, Magalif has composed dle register of the instruments.
numerous works ranging from Both the score and parts are easy to read, and dynamics and ac-
symphonic suites and cantatas cidentals are clearly notated. While no program information is pro-
to concertos and has featured vided, the edition is thoughtfully laid out to avoid page turns within
the flute in more than a dozen the parts, and the two-page parts are printed in a single booklet.
of them. Composed in 2012–2013, Magalif ’s “Serenity” for flute, Approximately four minutes in length, this work would make
clarinet, and piano or harp was published in 2017. While the orig- an excellent light and lyrical addition to a recital program. While
inal version is presumably for flute and piano, several instrumen- appropriate for high school flutists, “Serenity” could be enjoyed
tations of this charming work exist; additional versions featuring by more advanced performers as well.
the flute include arrangements for flute paired with harp, orchestra —Shelley Martinson

Four Joplin Rags articulation, and other expressive markings. The tessitura is
Scott Joplin, low to upper-middle range for the flutes. The piano part is very
playable with passages mainly in the low to mid range with sty-
arr. Gilliland
listically appropriate articulated patterns. Special effects such
©2017 Theodore Presser as an indication for use of a wide vibrato in the flute parts, sfz
David Gilliland’s arrangement and other expressive markings, and varied dynamics at repeats
of Scott Joplin works (“The are all clearly marked.
Easy Winner,” “The Entertainer,” The flute performance level is advanced intermediate through
“Palm Leaf Rag,” and “The professional. The tempi are quick, and the extensive use of syn-
Cascades”) is a delightful ad- copation would be a challenge for the younger age group but
dition to the repertoire for would be possible with concentrated practice, preferably with a
two flutes and piano. It is sure coach. One of these rags could be performed as an encore, or the
to be a recital crowd pleaser, entire set could be performed as a suite.
since Joplin’s compositional I really cannot wait to try out this new arrangement with my
style creates such a wonderful college flute students. It looks as if the movements will be a lot of
sense of humor and fun. fun and a welcome new addition to our repertoire.
The parts are very easy to read with excellent dynamic, tempo, —Andrea Kapell Loewy


7 European Salon Pieces of music. This edition features works by Wilhelm Popp that are
Wilhelm Popp, ed. clearly linked to different European countries, and its editors spe-
cifically chose pieces that are easily playable. The passages are all
Weinzierl and Wächter
idiomatic on the flute, because Popp was a flutist and he knew how
©2017 Schott to write for the flute.
According to Wikipedia, nation- “Hungarian Dance” reminds me of Schubert’s famous Six
alism in music emerged early in moments musicaux. I also especially enjoyed playing “Spanish
the 19th century in connection Dance.”
with political independence These absolutely delightful pieces can be played by an inter-
movements and was character- mediate-level high school student. The countries represented
ized by an emphasis on nation- include Serbia, Italy, Spain, Sweden, Russia, Hungary, and Ger-
al musical elements such as the many. This collection would be a great choice for programming
use of folk songs, folk dances, or a concert needing to represent several countries that can be
folk rhythms; or the adoption of learned quickly. I highly recommend it.
nationalist subjects for operas, symphonic poems, or other forms —Ronda Benson Ford

Romantic Hits The composers of the duets are the esteemed flutists and com-
Arr. Weinzierl poser-arrangers of the 19th century: Tulou, Barge, Kaspar, Gari-
boldi, Galli, and Kohler. These duets were already arranged for
and Wächter
two flutes by the above composers; the two contemporary editors
©2017 Bärenreiter-Verlag have made them more playable and appropriate for our contem-
I recommend this very attrac- porary flute.
tively printed volume of flute I found the duets to be very well suited for advanced interme-
duets arranged by Elisabeth diate flute students. There is a variety of melodic ideas and styles
Weinzierl and Edmund Wachter, because the works are taken from both arias and well-known
two well-known German flutists melodies of instrumental works. Pieces include Schubert’s aria,
and pedagogues who perform “Das Fischermadchen” and arrangements of Mendelssohn’s
together as the Munich Flute “Song without Words,” op. 102/6, and Beethoven’s “Ode to Joy”
Duo. These pleasing 19 short from the Symphony No. 9.
duets were taken from melodies This book of wonderfully constructed flute duets would make
and arias of the Romantic era, a an excellent addition to the lesson and recital repertoire of the
period considered the flute’s golden age. In the preface, the editors intermediate flute student and would serve to help the develop-
state, “We have remained as faithful as possible to the musical texts ing instrumentalist with ensemble issues such as pith, tonality,
of the originals, in some cases transposing them to accommodate dynamics, and rhythmic consistency.
the range of the Böhm flute commonly in use today.” —Andrea Kapell Loewy

Madama Butterfly Suite one player on a part, in which case bass flute or alto flute could
Giacomo Puccini, be played instead of flute 4. Another performance option is a
full flute choir with doubled parts. In this latter case, the larger
arr. Louke
instruments of the flute family could be added for extra sonority.
©2017 Falls House Press The individual parts and score are extremely well laid out with
Phyllis Avidon Louke has done clear print, rehearsal letters and measure numbers, expressive
a wonderful job with this new dynamics, and articulation markings. Each movement is also
arrangement for flute quartet given a general metronome tempo marking.
or flute choir of the vocal parts This arrangement would be ideal for many levels of flute choir
of Madama Butterfly by Gioco- performers. Younger players could even perform the suite: The
mo Puccini. This arrangement technique required is not that hard, yet the students would
was commissioned by and ded- have plenty to work on in terms of tonal ensemble, intonation,
icated to Mara Goosman and and rhythm. Advanced students and professional choirs could
the Butterfly Headjoint Com- also perform this suite in recital as a very attractive and color-
pany—the latter particularly ful character piece.
apt given the name of the opera. The dynamic, articulation, and tempo markings are very specif-
The suite’s three sections are “Entrance of Butterfly,” “Un bel ic, and the composition provides excellent melodic and harmonic
di veremo (One Fine Day We’ll See),” and “Humming Chorus.” material for work toward a truly accomplished performance.
The arrangement allows convenient flexibility of ensemble in- I recommend Louke’s Madama Butterfly Suite very highly.
strumentation. One performance model is for flute quartet with —Andrea Kapell Loewy


Klezmer Flute Duets Tov,” “Oyfn Veg Shteyt a Boym,” “Klezmeron,” and “L’Chaim.”
Michael Lösch In total, there are 13 duets, all of which engage both flutists
equally. They would prove somewhat technically challeng-
©2017 Universal Edition
ing—and quite rhythmically challenging—for advanced high
Michael Lösch’s Klezmer Du- school or early college students, but they are also entirely
ets is a varied collection of the enjoyable to play as a professional. Harmonies are generally
highly energetic and the deeply tight, with a lot of the parts written in thirds and fourths to
introspective, spanning across each other, and the overall range of the book spans from C1
centuries with arrangements of to G3. Everything lays well under the fingers and has been
traditional tunes as well as five intelligently arranged for two C flutes.
of his own Klezmer-inspired These duets may not make it onto many recital programs,
compositions. Lösch has also but as gig music, challenging sight-reading material in lessons,
notated suggested ornaments or just for the pure pleasure of playing with another, Michael
in his arrangements. Lösch’s Klezmer Duets is a lovely volume to have on the shelf.
Traditional Klezmer songs in this collection include “Mazel —Nicole Riner

Bühne Frei! Duos 1 cluding Boismortier, Devienne, Berbiguier, and Köhler along
Ed. Fereshteh Rahbari with works by Bartok, Haydn, Handel, and Rossini. The book
is organized both geographically and chronologically; French
©2017 Universal Edition
music from Boismortier through Blavet to Berbiguier precedes
As someone who primarily music from Germanic composers. I find this organization to be
teaches pre-college flute stu- useful when teaching students about why exactly Blavet, who
dents, I consider myself a con- wrote so much lovely music of his own devising, would arrange
noisseur of duet books, and I parts of a Rameau opera for two flutes. The Bartok duos in this
own and use a variety of them edition are arrangements from his duos for violins, and they pro-
on a regular basis. Many of those vide a wonderful contrast of texture and sonority to the largely
volumes include the same music tonal and traditionally structured works from earlier times.
with small variations. It’s com- Physically, Curtain Up! is a beautiful book with a glossy, col-
forting to have many versions of orful cover and thick, smooth paper within. The scores are large,
good repertoire, but more than evenly spaced, and therefore easy to read, and there is not one
once, I have found myself paw- place in the book where it is necessary to turn the page in the
ing through the duet bin at a festival, hoping to find something middle of a section.
that is new to me and challenging in a fun way for my students, I read these duets with several of my students, ranging in
with extra bonus points if the page turns aren’t terrible. age from a 14-year-old high school freshman to an under-
Universal’s new volume of duets, Bühne Frei! (Curtain Up!), graduate music minor and an adult who simply likes to study
meets every one of those qualifications. Subtitled 25 Easy to flute. They all enjoyed reading from it and asked me to make
Middle-grade Duets from the Last Four Centuries, this book sure to bring it back!
contains lesser-known works by well-known composers, in- —Jessica Dunnavant

Waltz of the Wolves was commissioned by the Netherlands Flute Academy for its
Wil Offermans founding faculty, Suzanne Wolff and Emily Beynon.
Parts are evenly traded so that both flutists play everything
©2015 Musikverlag Zimmerman
that has been written, from the slinky waltz melody at the top of
In “Waltz of the Wolves,” Wil the staff to the “oompah” part written into the low register. The
Offermans has written a clever range spans from low C to third octave A. There is some very
and humorous duet appropriate manageable mixed meter (6/8 to 4/4, maintaining the eighth
for advanced students looking note) and one tempo change in the middle. Offermans employs
to begin exploring the world of good tone painting in both his melodic writing and his use of
extended techniques. Timbral minimal extended techniques, and the howling sound is sure to
trills and a “howl” (in which get a chuckle out of an audience.
the performer covers the em- A sight-readable treat for a professional recital or a fun
bouchure hole with the mouth challenge for a pre-college student, “Waltz of the Wolves” is
and howls into the headjoint) utterly charming, and I highly recommend it as an addition to
imitate wintry winds and the your library.
wolves outside, respectively, and are easy to execute. This piece — Nicole Riner
October 1, 2017–September 30, 2018
Books Canyon Shadows Western Europe Portraits
The Breathing Book Joanne Lazzaro Gergely Ittzés Demarre McGill
Amy Likar ©2018 Kokopelli ©2017, ©2018 Hungaroton ©2017 Cedille
©2018 Mountain Peak Music
Cartridge: Black Heron Franz & Karl Doppler: Progressions
Flute Secrets and the Spoonbill The Complete Flute Music, Iwona Glinka
Trevor Wye John Savage Vol. 1–5 ©2017 Sarton
©2017 Novello ©2015 PJCE Claudi Arimany
©2017 Capriccio Remembrances
Paco Varoch
Mastering the Flute with Castillos de Viento
I Close My Eyes ©2018 Paco Varoch
William Bennett Molly Alicia Barth
Roderick Seed, in Order to See
©2018 innova Returning to Heights Unseen
forward Bennett Sara Hahn
©2018 Navona Lindsay Goodman
©2018 Indiana University Press Convergent Winds ©2018 Parma
Alexa Still Idyll
Planning to Play in Tune ©2018 Oberlin Rough Wind/Smooth Wind
James Dutton
Kathy Blocki Leonard Garrison
©2018 Mike Purton
©2018 Blocki Flute Method Costas ©2018 Albany
Duo Beija-Flor In the Loop
The Shoemaker’s Dream ©2018 Round Records Salute Our Soldiers
Kathryn Blocki Rachel Smith, Eroica Wind
©2018 UTA Records
©2016 Block Flute Method Del Caribe, Soy! Ensemble
Néstor Torres Inner Chambers: Royal Court ©2015 primafacie
The Virtuosic Flutist, ©2017 Naxos Music of Louis XIV
Book One Sarpelecupene
Leela Breithaupt
Nina Assimakopoulos (The Feathered Serpent)
Earthly Baroque ©2018 Naxos
©2017 Vayo Press Ion Bogdan Ştefănescu
Suzanne Stumpf, Musicians
La Solitude À Deux ©2017 Essfor
of the Old Post Road
CDs ©2017 Centaur Matteo Gemolo Shelter from the Storm
A Lassie’s Love ©2018 Outhere Music France Catherine Ramirez
Jennifer Margaret Barker, Encantamiento: Music of ©2017 Albany
Vocali3e Daniel Catán Living Music
©2017 Visual Images Media Salpy Kerkonian Alice Dade Silent Wish
©2011 Albany ©2018 Naxos Bill McBirnie
American Canvas ©2018 Bill McBirnie
Mimi Stillman Epigrams One Minute
©2018 innova Danilo Mezzadri Iwona Glinka Suite Florentine
©2017 Blue Griffin ©2017 Sarton Widor: Complete Works
American Premieres for Woodwinds
Michael Daugherty: Thies Roorda
Cosmos Trio Food Foragers
Dreamachine ©2017 Naxos
©2017 MSR Classics Mark Lotz
Amy Porter
©2018 Unit Records
©2018 Naxos Supersonyq
Ballade: Philippe Gaubert
Melissa Keeling
Amy Porter The Great Book of Flute Mozart Flute Quartets ©2018 Melissa Keeling
©2018 Naxos Sonatas Sami Junnonen
Vol. 1: The 18th Century Syzygy
©2018 Resonus
Beta Quartet Vol. 2: Romantic Sonatas Alexa Still
Trotter, Arkoudis, Cassetta, Vol. 3: French Music Passages ©2018 Oberlin
Schwartz Vol. 4: Impressionism Julie Thornton
©2017 Beta Quartet Vol. 5: Soviet & Hungarian ©2018 Albany Three-Nine Line: Flute Music
Works of Nicole Chamberlain
Bridges Vol. 6: Czech & American Poet as Muse Matthews, Angelo,
The Jamie Baum Septet+ Works Joanna White Chamberlain
©2018 Sunnyside Vol. 7: The 20th Century ©2017 Centaur ©2018 MSR Classics


Twenty Shades of Music Chester Flute Anthology Double Espresso! An encore Glamour a la…
Ion Bogdan Ştefănescu Trevor Wye Carter Pann Yuri Povolotsky
©2017 UNMB ©2017 Chester ©2018 Theodore Presser ©2017 Forton

Unfinished Earth Classical Music for Children: Duettino on American Jazz Suite
Douglas Knehans 26 Easy Pieces National Songs, op. 37 Peter Senchuk
©2018 Ablaze Ed. Gerda Koppelkamm- Franz Doppler, ed. Jutt ©2017 Forest Glade
Martini ©2017 International Music
Vento Appassionato ©2014 Schott Klezmer Flute Duets
Molly Alicia Barth Extreme Sports Michael Lösch
Coffee Nerves Gary Schocker ©2017 Universal Edition
©2018 Albany
Gary Schocker ©2018 Theodore Presser
©1993, ©2018 Theodore The Lake
The White Labyrinth: Harvey
Presser Fantasiestücke Nicole Buetti
Sollberger at Eighty
Robert Schumann, arr. Sparks ©2017 Forton
IWO Flute Quartet Concerto
©2018 Albany ©2018 Theodore Presser
Eldin Burton Lift Ev’ry Voice and Sing
©1976, 2018 Carl Fischer Fantasy J. Rosamond Johnson,
Music Debra Kaye arr. Simpson-Curenton
Al ver mis horas de fiebre Concerto in E Minor, ©2018 Theodore Presser
©2017 New Music Press
Martín Kutnowski TWV 52:e1
©2017 Gérard Billaudot Georg Philipp Telemann, Fantasy, op. 79 Musetta Steps Out
arr. Dombourian-Eby Gabriel Fauré, ed. Kraber Daniel Dorff
American Suite in A Major, ©2018 Theodore Presser ©2017 International Music ©2014, 2018 Theodore Presser
op. 98
Antonín Dvořák, arr. Stallman Contrafusion! A Fusion of Festivities Melodies for Robert
©2018 Carl Fischer Musical Styles Traditional, arr. Thorne Carter Pann
Paige Dashner Long ©2016 Sempre ©2018 Presser
Angelus! Prière aux Anges ©2018 Falls House
Gardiens Firebird–Selections Methodical Sonatas, Vol. II
Franz Liszt, arr. Long Court Dances Georg Philipp Telemann
Stravinsky, ed. Kyle MacLeod
©2017, 2018 Falls House Amanda Harberg ©2017 G. Henle Verlag
©2017 Schott
©2018 Presser
Ballabile di Concerto, op. 15 The Flute Audition Miami Flute Suite
Crow’s Nest Miguel del Aguila
Giulio Briccialdi, arr. Dunkel Ed. Wiese
Mark Vinci ©2016 Peermusic III
©2018 International Music ©2017 Universal Edition
©2014 MV Music
Birds of Paradise Moorside Suite
Cute Flute Collection
Franck Douvin Gustav Holst, arr. Rainford
Dieter Ammann Ludovico Einaudi
©2017 Éditions Combre ©2017 Forton
©2018 Bärenreiter-Verlag, ©2017 Chester
Kassel Multi-Gammes
Bühne Frie! (Curtain Up!) The Flutist’s Handbook: Michel Pellegrino
Duos 1 Dakota Summer: Scenes The Art of Staying in Shape ©2017 Éditions Henry
Arr. Rahbari from the Prairie Robert Stallman Lemoine
©2017 Universal Edition Jonathan D. Campbell ©2018 Carl Fischer
©2018 Falls House Musiques traditionnelles
The Carnival of the Animals 4 pièces pour flûte et clarinette des Alpes
Camille Saint-Saëns, adapted Danse de la Chèvre Baba, Combier, Malaussena, Traditional, arr. Michel
Seubel and Beck Arthur Honegger Matalon Pellegrino
©2017 Bäenreiter ©2017 Éditions Salabert ©2018 Éditions Henry ©2018 Éditions Henry
Lemoine Lemoine
Carnival of Venice Del Caribe, Soy!
Ed. Sir James Galway Tania León Giantess Odd Bedfellows
©2017 Southern ©2014 Iroko Carter Pann Gary Schocker
©2018 Theodore Presser ©2018 Theodore Presser
Cavatina from Rossini’s Dialogues II
The Barber of Seville Florent Motsch Gilbert and Sullivan Arias One Ann Arbor Morn
Anton Diabelli, ed. Dunkel ©2018 Éditions Henry Arr. David Overton Jonathan Cohen
©2017 International Music Lemoine ©2017 Southern ©2018 Falls House


One-Sided Conversations 7 European Salon Pieces Telemann for Two, Volume I, Two Pieces
Gary Schocker Wilhelm Popp Fantasias 1–6 Robert Russell Bennett,
©2018 Falls House ©2017 Schott Georg Philipp Telemann, ed. Somers and Somers
arr. Sparrow and Zook ©2007, 2017 Maurice River
Play Jazz Flute Now! Snowstorm ©2018 Theodore Presser Press
Stephanie Wagner Franck Douvin
©2014 Schott ©2017 Éditions Combre 10 Pièces Latino Américaines Two Pieces: Vol. I
Sergio Arriagada Louis Moreau Gottschalk,
Rêverie Russe Sonata in B Minor ©2016 Éditions Henry arr. Webster
Ernesto Cavallini, Amanda Maier, ed. Wincenc, Lemoine ©2017 International Music
ed. Jutt and Kay Wagorn
©2017 International Music ©2017 Lauren Keiser Music Three Pieces Two Pieces: Vol. II
Publishing Cécile Chaminade, Louis Moreau Gottschalk,
Romance ed. Bastable arr. Webster
Eugene Magalif Sonata No. 9 ©2017 International Music ©2017 International Music
©2017 Southern Gary Schocker
©2018 Theodore Presser TINGsha Bom t-Bom t-Bom Une Flûte Itinérante
Sechs Salonstücke
Mark Vinci Jacques Lesburguères
Ernesto Köhler Sonata No. 3
©2014 MV Music ©2017 Éditions Henry
©1892 ©2015 Musikverlag Gary Schocker
Zimmermann ©2018 Theodore Presser
Philippe Gaubert, ed. Porter Universal Accompaniments
Sechs Vortragsstücke, op. 84 A String of Thoughts
Ernesto Köhler Tilmann Dehnhard ©2018 Carl Fischer Carol Wincenc, ed. Wagorn
©1901 ©2015 Musikverlag ©2017 Universal Edition ©2017 Lauren Keiser Music
Zimmermann 2 pièces
Suite Sergio Arriagada Waltz of the Wolves
Serenade & Valse Charles-Marie Widor, ©2018 Éditions Henry Wil Offerman
Marie Dare ed. Galway Lemoine ©2015 Musikverlag
©2017 Schott ©2017 Southern Music Zimmermann
Twenty Little Etudes, op. 132
Serenity A Tangled View Giuseppe Gariboldi, When I See You
Eugene Magalif Peter Senchuk ed. Kraber Mark Vinci
©2017 Forton ©2003 Forest Glade Music ©2017 International Music ©2006 MV Music

Jeanne Baxtresser


Orchestral Excerpts for Flute Orchestral Excerpts for flute (with spoken commentary)
Great Flute Duos Jeanne Baxtresser—A Collection of My Favorites
from the Orchestral Repertoire Chamber Music for Flute
Flower Duet from Lakmé Jeanne Baxtresser Debut Solo Recording, Montreal 1977

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

Please visit my website or follow me on Facebook

for details. I look forward to seeing you! and

San Francisco

all things flute: west coast style

1500 Grant Avenue
San Francisco

Detroit, MI | | Charlotte, NC

From the
Development Committee Chair

Marcela DeFaria Casaubon


hat does it mean to be a mu- Those are some of the many reasons week or at the convention can make a differ-
sician? Is it just about practic- that the NFA is an invaluable organi- ence, and donating what you can—whether
ing, studying the scores, and zation to us all. Whether we attend the that’s $10 or $1,000—will help to keep the
performing to an audience in the dark? Is conventions or access the NFA’s wealth NFA thriving for years to come.
it a selfish act of focusing on ourselves and of resources online from home, we all be- If you’re interested in volunteering or
our music? No, and what a lonely life that long to this incredible community of flut- lending us your expertise, please contact
would be if that were the case. As flutists ists worldwide that provides the support, our Committees Liaison, Tabatha Easley,
in all stages of our musical lives, we know knowledge, encouragement, and camara- at
that being a musician is also about com- derie we so desperately need to thrive as If you would like to make a donation
munity. Friendships. Collaborations. It’s musicians and human beings. The NFA to help us expand our programming and
about making magic and connecting to is our home base, and we know that we’ll educational opportunities, please donate
others through our gifts. always belong here. online at or contact me di-
Musicians are family. No matter where As the holiday season approaches, I rectly at Gifts
we are in life and in the world, when we encourage you to think back on your of all sizes really make a difference—imag-
meet another musician, we instantly feel memories of being a flutist and an NFA ine what we could accomplish if every NFA
a kinship to them. We rejoice that they member. What has being a flutist meant member made a contribution! Our collec-
speak our language. We feel a little hap- to you? What value has the NFA added to tive impact would be transformative.
pier and much less alone. The same goes your life? Thanks for being part of our wonder-
with being a flutist. Have you ever discov- If you’re like me and so many of my flutist ful NFA family, and please consider giving
ered that someone used to play the flute friends, I know that you’ll have fond mem- back to the community that has given so
and instantly cracked a smile? There is a ories of belonging to the NFA. And if that much to you. That’s part of what being a
joy in being a flutist, and a large part of is the case for you, I also encourage you to musician is all about.
that is belonging to a community that un- give back to the NFA through your time, tal-
derstands what being a flutist is all about. ent, and treasure. Volunteering a few hours a —Marcela DeFaria Casaubon, M.M.


“I am so fortunate to have found such a
beautiful ‘Pearl-of-a-flute’ which has been
my magic wand for my entire adult life!
It doesn’t play by itself, but when I breathe
life into it, it plays my heart!”
-Rhonda Larson

Let it Play Your Heart.
Grammy Award winning artist Rhonda Larson has enchanted
audiences around the globe with her World Fusion compositions.
To Celebrate our Fifty Years,
An innovative performer, in demand teacher, author and prolific
we offer a very special hand recording artist, Maesta Gold has been her constant companion.
engraved Maesta 14k Gold Find your muse in Maesta and let the world hear your heart sing.
50th Anniversary Model.
From the
2019 Convention Program Chair

Rebecca Johnson

47th Annual National Flute Association Convention

Salt Lake City, Utah
August 1-4, 2019

e are in the midst of the plan- For this year’s Lifetime Achievement for all levels—are open and ready for
ning process for next year’s Awards, we will honor Susan Milan and your applications. Flute choir conduc-
convention in Salt Lake City, Emerson DeFord. Milan was the first tors will include John Bailey, Cassandra
Utah. The mountains are gorgeous, the female principal flutist of a major or- Eisenreich, Nicole Molumby, Phyllis
city is clean, and the air is fresh. You’ll chestra and is currently teaching at the Louke, and Richard Prior.
have this refreshing experience each day Royal Northern College of Music in Masterclass teachers for the winners
when you walk across the street from Manchester, England. She has been in- of the Masterclass Performers Com-
your hotel to the Salt Palace Convention fluential for many years, both through petition will be Lifetime Achievement
Center, where we will celebrate and make her numerous recordings and years of Award recipient Susan Milan and new
music for our annual four-day event. Be- inspiring teaching. Emerson DeFord is professor at Juilliard’s Tianjin campus
fore the site visit for the convention, ev- a flute industry pioneer who influenced Gergely Ittéz. We hope eligible members
eryone who knew the city told us that it many of today’s artisan flute makers. We will enter these competitions and learn
was a fantastic setting for a convention, look forward to tribute events in honor from the preparation process.
but it was difficult to fully appreciate the of both recipients as well as the annual We feel honored to have the opportu-
beauty until we were on the ground and gala awards dinner. nity to create this exciting event and plan
could feel the mountains nearby. This year’s convention will include 17 to have amazing programming for each
Our theme for this year, “Transform- competitions, including the NFA’s origi- of you, no matter where your interests
ing Artistry,” is meant to celebrate art- nal Low Flutes Competition. This is also lie. Make your plans to join us in Salt
istry in all of its forms. We each channel a year for the Jazz Flute Big Band and Lake City for beautiful vistas and inspi-
our creative energy in different ways, Jazz Masterclass competitions, the Myr- rational music making.
bringing our inspired spirit to music na Brown International Soloist Compe-
and the flute. We hope our program will tition, and the Piccolo Orchestral Audi- —Rebecca Johnson
appreciate the skill and beauty found tion and Masterclass Competition. 2019 Program Chair
in high-level performance, honor the Annual competitions—such as the
legacy of artistry passed to us from our Orchestral Audition and Masterclass
teachers, and revitalize the connections Competition, the Young Artist Com- —Kate Henry
among us all as collaborators, artists, petition, the High School Soloist Com- 2019 Assistant Program Chair
and musicians. petition, and auditioned flute choirs


NFA Office, Coordinators, Committee Chairs
Please check the NFA website for any changes and updates to addresses, phone numbers, and e-mail addresses:

NFA OFFICE Flute Choirs Coordinator Cultural Outreach Piccolo Masterclass Performers
70 E. Lake St., #200 Darrin Thaves (2021) Mariana Gariazzo (2021) Laurie Sokoloff (2022) Rebecca Dunnell (2021)
Chicago, IL 60601
fax: 312-332-6684 Frances Blaisdell Convention Development Research Newly Published Music
Scholarship Coordinator Marcela DeFaria Casaubon Julie Hobbs (2021) Carlos Feller (2021)
Executive Director Jonathan Borja (2020) (2019)
Kelly Jocius
Orchestral Audition Special Publications
Gala Awards Dinner Chair Masterclass
Endowment John Bailey (2019)
Wendy Mehne (2020) Martha Long (2021)
Convention Director Zart Dombourian-Eby (2020)
Kris Mayo World Music Piccolo Artist
Local Arrangements Chair Jessica Valiente (2019)
50th Anniversary Zachariah Galatis (2019)
Sally Humphreys
Marketing and Catherine Miller jessicalynnevaliente@
Development Associate
Kate Blair Professional Flute Choir
Myrna Brown Dine-Around Finance Youth Engagement Shauna Thompson (2019)
Maury Wilkinson (2021) Timothy Hagen (2022)
Elizabeth Robinson (2020)
Membership Manager
Victoria Pampe Young Artist Myrna Brown International Flute Clubs COMPETITION Daniel Velasco (2022)
Scholarship Coordinator Kelly Sulick (2021) COORDINATORS
Publications Director Erika Boysen (2021) General Coordinator
Anne Welsbacher Pamela Youngblood (2019) ARCHIVES
661-313-8274 Historical Flutes AND LIBRARY Program Book Bios Editor Barbara Hopkins (2021) Archivist/Historian Baroque Flute Artist Nancy Toff
Lisa Van Dusen
Publications and Online Leela Breithaupt (2021)
Advertising Representative International Liaison
NFA Librarian
Glenn Karaban Stage Manager Carla Rees (2019)
Michelle Monroe-Menjugas
Karaban Media Services, Inc. Paula Gudmundson Collegiate Flute Choir
NFA Music Library
212-840-0660 Deanna Little (2020)
monroem@u.library. Jazz
Volunteer Coordinators Sarpay Özçağatay (2021)
Web Consultant Townes Osborn Miller sharpeyemusicpro@ Convention Performers NFA Library Liaison
Brian Covington Margaret Haik Jennie Oh Brown (2022) Brian Luce (2022) volunteercoordinator@ Low Flutes
CONVENTION   Paige Dashner Long (2022) C.R.E.A.T.E. Project OTHER
Program Chair 2020 Program Chair Michelle Stanley (2022) APPOINTMENTS
Rebecca Johnson Jennifer Grim michelle.battystanley@ Committees Liaison
rebecca.johnson.nfa@ Membership Tabatha Easley (2022) Katherine Isbill Emeneth (2019)
2020 Assistant Flute Choir Composition
Program Chair Flute Events Reporter
Assistant Program Chair Debbie Gilbert (2019)
Vanessa Fourla Emlyn Johnson (2022)
Kate Henry New Music Advisory Sarah Brady (2022)
sbrady@ Graduate Research
COMMITTEE CHAIRS Instrument Notice
Opening Flute Orchestra Julie Hobbs (2021)
Adult Flutist and Amateur Coordinator
Resources Ashley Shank (2020)
Kathy Farmer Nominating
Barbra Fairman (2020) Penny Zent (2020) High School Flute Choir Dan Parasky (2019)
Jobs Editor
Equipment Manager Archives and Oral History
Julee Kim Walker (2022)
Kimberlee Goodman Meg Griffith (2021) Past President’s Council
equipmentmanager@ Katherine Borst Jones (2019) High School Soloist John Lane (2019) Legal Advisors to the Board
Career and Artistic Linda Mintener
Exhibitors Concert and Development Pedagogy
Showcase Coordinator Shelley Martinson (2020) Cassandra Eisenreich (2021) Jazz Artist
Danielle Breisach (2022) shelley.martinson@ cassandra.eisenreich@ Ernesto Fernandez (2019) Karen Wolfgang-Swanson

Maria Guglielmina (2018) Commercial Members Performance Health Care Jazz Flute Big Band Public Relations Coordinator
Assistant Coordinator Penny Zent (2020) Angela McCuiston (2022) Dominique Gagne (2022) Lish Lindsey (2022)


Wm. S. Haynes Co. is
proud to be a major
supporter of the Galway
Flute Festival!
Happy 30th


19-28 JULY 2019


Join us & celebrate 30 years

with Galway Alumni & friends
Held in the beautiful lakeside town of Weggis, Switzerland
this 10 day Festival offers flutists of all abilities the chance to
participate in a wonderfully supportive environment with the
Master and other world renowned artists. Find out more and
sign up for updates at
SUBSCRIPTIONS articles (see above) and news about member achievements are encouraged and
Receipt of The Flutist Quarterly is a benefit of membership in the National Flute may be sent at any time for consideration. Submissions to Across the Miles and
Association, Inc. Subscriptions are available to libraries and institutions at a charge Notes from Around the World should be sent to those departments’ editors at
of $75 per year. Personal subscriptions are not available. least one week prior to deadline dates to be considered for inclusion. Send mate-
rials to time-sensitive departments for the fall issue by June 1; the winter issue by
September 1; the spring issue by December 1; and the summer issue by March 1.
Bulk-rate mail is not forwarded. Send address corrections to Membership
Services, 70 E. Lake St., #200, Chicago, IL 60601; 312-332-6682; 312-332-6684 (fax); Please send all editorial submissions except Across the Miles and Notes from The NFA will be responsible for one missed magazine in the Around the World to:
event an address change crosses in the mail. Missed issues due to bad addresses are Anne Welsbacher
available for purchase through the membership manager. 661-313-8274
BACK ISSUES See text in the departments noted above for submission and address information.
Members and nonmembers may purchase back issues of The Flutist Quarterly
through the NFA Store at Please send all physical items for review consideration to:


Please visit to find complete writers guidelines in the Flutist Quar- National Flute Association
terly section under the Publications tab. If unable to go online, please contact 70 E. Lake St. #200
the editor. Queries via e-mail or phone prior to submission are encouraged Chicago, IL 60601
and welcome at any time. The Flutist Quarterly retains all copyright on articles
published in the magazine; however, upon request, authors may retain copyright. No submissions will be returned.
By submitting work, author agrees to allow the work to be included in the print
and online versions of The Flutist Quarterly in perpetuity. ADVERTISING GUIDELINES
For review consideration: E-submissions of sheet music PDFs and audio files Guidelines, deadlines, and fees are available at in the “Publications” sec-
are encouraged; send files or queries to Mail phys- tion, or contact Glenn Karaban at the address below. The following dates are deadlines
ical CDs, sheet music, and books to the NFA office at the address noted below. for The Flutist Quarterly: fall issue, August 1; winter issue, November 1; spring issue,
Posted quarterly deadlines (see below) pertain only to time-sensitive department February 1; summer issue, May 1.
submissions, not feature articles, which are reviewed throughout the year. Accepted
manuscripts will, when appropriate, go through a review process. Authors might Please send advertising submissions and queries to:
be asked to revise manuscripts during this procedure. The editor reserves the right
to edit all articles for style, content, or space requirements. The Flutist Quarterly Glenn Karaban
budget does not include honorariums for authors. Karaban Media Services, Inc.
Editorial deadlines for The Flutist Quarterly apply to time-sensitive departments 212-840-0660
providing news of interest about flutist activities and products. Unsolicited feature
Index of Advertisers
Abell Flutes.............................................................................................................................................................................................................. 30
Amherst Early Music................................................................................................................................................................................................................. 37
Baxtresser, Jeanne . ................................................................................................................................................................................................. 66
BFS........................................................................................................................................................................................................................... 40
Brannen Brothers Flutemakers, Inc. . ...................................................................................................................................................................... 79
Brevard Music Center.............................................................................................................................................................................................. 37
Bulgheroni USA........................................................................................................................................................................................................ 12
Burkart Flutes and Piccolos........................................................................................................................................................................................ 3
Carolyn Nussbaum Music......................................................................................................................................................................................... 31
Classical Collection, Inc............................................................................................................................................................................................ 51
Crystal Records......................................................................................................................................................................................................... 24
Drelinger Headjoint Co............................................................................................................................................................................................. 23
Eastman School of Music........................................................................................................................................................................................... 6
Fluit.......................................................................................................................................................................................................................... 74
Flute Specialists, Inc. ............................................................................................................................................................................................... 14
Flute World Company, Inc........................................................................................................................................................................................ 67
Flutistry Boston........................................................................................................................................................................................................ 71
Fredonia Summer Music Festival............................................................................................................................................................................. 37
Galway Flute Festival................................................................................................................................................................................................ 73
Gemeinhardt............................................................................................................................................................................................................ 77
Geoghegan Company............................................................................................................................................................................................... 17
Guzman, Viviana........................................................................................................................................................................................................ 2
Keefe Piccolos ......................................................................................................................................................................................................... 51
Kemler, Katherine..................................................................................................................................................................................................... 10
Little Piper (see also Piper Piccolos)................................................................................................................................................................... 16, 40
Miyazawa (see also Sankyo)................................................................................................................................................................................. 9, 11
Muramatsu America................................................................................................................................................................................................ 80
My Music Staff........................................................................................................................................................................................................... 6
Nagahara Flutes......................................................................................................................................................................................................... 7
NFA..........................................................................................................................................................................................................16, 44, 45, 51
Northbridge Flute Academy..................................................................................................................................................................................... 75
Oberlin Flute Academy............................................................................................................................................................................................ 17
Ogura Flute Works................................................................................................................................................................................................... 44
Pearl Flutes.............................................................................................................................................................................................................. 69
Piper Piccolos (see also Little Piper)......................................................................................................................................................................... 40
Sankyo......................................................................................................................................................................................................................................... 11
Schmitt Music............................................................................................................................................................................................................ 8
Simon Polak Early Flute............................................................................................................................................................................................ 24
Suzuki....................................................................................................................................................................................................................... 51
Verne Q. Powell Flutes............................................................................................................................................................................................... 4
Wm. S. Haynes Co.................................................................................................................................................................................................... 78
Yamaha Corporation of America ............................................................................................................................................................................. 25


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