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

T H E O F F I C I A L M AG A Z I N E O F
Sound Anatomy
The Essence of Robert Aitken
Remembering Katherine Hoover
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 WINTER
2019 Table of Contents The Flutist Quarterly Volume 44, No. 2

DEPARTMENTS
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
FEATURES
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.

18
The National Flute Association
70 E. Lake Street, #200
Chicago, IL 60601
founded November 18, 1972, in Elkhart, Indiana
THIS MAGAZINE IS PUBLISHED QUARTERLY BY THE NATIONAL
FLUTE ASSOCIATION, INC., A NONPROFIT ORGANIZATION. THE
STATEMENTS OF WRITERS AND ADVERTISERS ARE NOT NECESSAR-
ILY THOSE OF THE NATIONAL FLUTE ASSOCIATION, INC., WHICH
RESERVES THE RIGHT TO REFUSE TO PRINT ANY ADVERTISEMENT.
46 46
ISSN 8756-8667 © 2018 NATIONAL FLUTE ASSOCIATION, INC.

WINTER 2019 THE FLUTIST QUARTERLY 5

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 BOARD OF DIRECTORS
Eva Amsler (2017–2020)
Professor of Flute
Florida State University
eamsler@fsu.edu
Cristina Ballatori (2016–2019)
Flute Professor
OFFICERS University of Wisconsin–Whitewater
Founder cristinaballatori@gmail.com
Honorary Life President
Jason Blank (2018–2021)
Mark Thomas
Owner, Bernhard Hammig
mark@markthomasflutist.com
gotflute@me.com
President of the Board Lisa Bost-Sandberg (2018–2021)
Joanna Bassett (2018–2020) Instructor of Flute
Second Flute and Piccolo University of North Dakota
Rochester Philharmonic Orchestra lisa@lisabost.com
BassettNFA@gmail.com
Mary Kay Fink (2016–2019)
Vice President of the Board Piccolo
Penny Zent (2018–2020) Cleveland Orchestra
Station Manager KAMU-FM Retired Flute Professor
Texas A&M University Cleveland Institute of Music
Principal Flutist Mkfink@att.net
Brazos Valley Symphony
p-zent@tamu.edu Jennifer Grim (2017–2019)
Flute Professor
Secretary University of Nevada, Las Vegas
Naomi Seidman (2018–2019) Zéphyros Winds
Assistant Professor of Flute jennifer.grim@unlv.edu
Penn State University
Sarah Hollandsworth (2017–2020)
nks11@psu.edu
Director of Sales and Marketing
Treasurer JL Smith & Co./Flute World
Maury Wilkinson
(2017–2021)
 shollandsworth@jlsmithco.com
Accountant Stephanie Jutt (2017–2020)
Freelance Flutist Professor Emerita
mwilkinson@pobox.com University of Wisconsin–Madison School of Music
stephaniejutt@gmail.com
Assistant Secretary
Nicole Molumby (2018–2019) Caen Thomason-Redus (2018–2021)
Flute Professor Senior Director of Community and Learning
Boise State University Detroit Symphony Orchestra
nicolemolumby@boisestate.edu caentr@gmail.com

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 EDITORIAL ADVISORY BOARD Linda Pereksta
Francesca Arnone Associate Professor of Flute
Flute Faculty, Patel Conservatory at the Straz Center for the Arts University of Wisconsin–Oshkosh
Tampa, Florida Oshkosh, Wisconsin

John Bailey Nina Perlove

Professor of Flute, University of Nebraska Executive Director, American Classical Music Hall of Fame
Lincoln, Nebraska “Internet Flutist,” realfluteproject.com
Adjunct Instructor of Flute, Northern Kentucky University
Michelle Cheramy Cincinnati, Ohio
Associate Professor of Music
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
Zart Dombourian-Eby
Principal Piccolo, Seattle Symphony Michael Stoune
Seattle, Washington Professor Emeritus
School of Music, Texas Tech University
Leonard Garrison Lubbock, Texas
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
Ellen Huntington New York, New York
Flutist, Lyrebird Ensemble
Flute Instructor, Loyola University, Chicago Michael Treister, MD
Mount Prospect, Illinois Orthopaedic and Hand Surgeon, Amateur Flutist
Chicago, Illinois
Ruth Lekander, MOT, OTR/L, CHT
Certified Hand Therapist, Flutist Susan Waller
Burnsville, Minnesota Flutist, Teacher, Coach
San Ramon, California
Amy Likar
Flute, Piccolo, Brooks de Wetter-Smith
and Alexander Technique James Gordon Hanes Distinguished Professor of Flute
Oakland, California University of North Carolina–Chapel Hill

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Gaubert, Ginastera,
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 From the
President
CAMARADERIE
Welcome to a new year with the National Flute Association!
O
n November 1, we gave thanks to
those who volunteered in the past
year and greeted new competi-
tion coordinators, committee chairs, ap-
pointees, and board members. I give spe-
cial appreciation to President Kyle Dzapo
for skillfully guiding the NFA through
the past two years and leaving us poised
for an exciting year ahead! Her focus has
been on you, our members: increasing the
number of new student members through
the student membership discount and
adding many new member benefits. It was
a privilege to join Kyle’s weekly meetings
with Executive Director Kelly Jocius and
to witness their thoughtful planning and
energy for every new opportunity.
I appreciate the wisdom and sense of
humor Diane Boyd Schultz brought to
our board meetings, and Molly Barth
added creative and intelligent perspec-
tive to our discussions. I learned so much
about our dedicated commercial mem-
bers from Elizabeth Watson, who served
on the board as well as the Commercial
Members Committee.
Tabatha Easley is moving from her
role as secretary extraordinaire to the
newly created position of Committees
Liaison. She will help committees work
on collaborative projects, and if you are
eager to join a committee, Tabatha is your
contact.
Thank you to committee chairs Ali Ryer-
son, Lisa Bost-Sandberg, and Jeffery Zook
and competition coordinators Whitney
Farris O’Neal, Morgann E. Davis, Billy
Kerr, and Jeremy Benson for your amazing
talents and dedication!
Kathy Melago did a beautiful job coor-
dinating our exhibitors’ showcases and
concert. Jeanie Pierce kept the website list
of flute events current, and Patricia Surman
managed the jobs listings. Thanks to NFA
Library Liaison Christine Harper, as our
library borrowing has increased substan-
tially in recent years. Viviana Guzman’s
distinctive PR brought local attention to
our conventions every year, and Tammy
Phillips was our Florida connection for
this year. To Rebecca Cauthron, let me
simply say “Youth Flute Days Forever!”
Joanna Bassett
Our most visible volunteers each year
are the program chair and assistant pro-
gram chair, and we can never give them
enough kudos. To Francesca Arnone and
Kristen Stoner, your Orlando Convention
was a masterpiece! Thank you for devot-
ing two years of your life to flutists and
our mission.
Many of you find creative ways to give
back to others, knowing that someone
else helped you along your path. Perhaps
you sat next to a young student in a flute
choir reading session or played a concert
for older adults in a senior living center.
If you are a seasoned convention-goer,
you have probably introduced yourself to
someone attending her first convention
and offered your convention tips.
There is a word for this generosity of
spirit that we experience at conventions:
camaraderie. It sustains me throughout
the year, and I invite you to join the circle—
we are all in this together!
—Joanna Bassett
WINTER 2019 THE FLUTIST QUARTERLY 13
NFAONLINE.ORG
 From the
Editor
WITHIN YOU AND WITHOUT YOU
O
ne of the Beatles’s many word-
frolicking songs, “Within You and
Without You,” admonishes us all
to recognize both our small places in the
world and the diminutive spaces that
really exist between any given individu-
als. Beyond its love-and-peace message
(not a particularly unusual topic for this
or any group of the era), I always enjoyed
the song because of another element com-
mon in many of this group’s works: the
double-entendres of its lyrics.
I thought of those double meanings
when considering the articles in this issue
of Flutist Quarterly, which take us on a
wildly divergent trip spanning from our
planet’s outer reaches all the way down
into our own little throats—truly a range
within you and without you.
Take Joan Tower—please! Seventy-one
years ago, when she was only 9, her home
town changed from New Rochelle to La
Paz, Bolivia, where she spent years that
proved to be formative on both her world
outlook and her aesthetic output. After
winging past Peru and dipping into that
possibly even more far-out haven, Ben-
nington College in Vermont, she settled
back into New York City—which is, as
any New Yorker will tell you, its own uni-
verse—where the composer proceeded
to collaborate with and influence who
knows how many musicians over the sub-
sequent decades of her life and work. She
continues to do so in this, her 80th year,
and you can read all about it in our cover
article by Lisa Garner Santa.
Robert Aitken is another planetary wan-
derer whose travels began early in life, albe-
it to more modest reaches around the Nova
Scotia area, and then expanded in young
adulthood to both Canadian coasts. But
he got himself to Europe relatively early in
his life journey (although already maturing
as a successful artist), sharing the rarefied
air where Marcel Moyse taught. Before
settling into full-on grownup middle age,
he skipped around some Asian regions
of our planet for six months—Japan,
Vietnam, Sri Lanka, India, Turkey—and
then plunked what he had learned there
into his subsequent works. Today, Aitken
resides back in his Canadian homeland.
The article inside, written by Paul Taub—
whose own travels simply to reach Aitken
could fill another article—describes the
fascinating life and career of this still ac-
tive pedagogue and composer.
Traversing both this country’s east coast
and her beloved Southwest (musically as
well as physically), and now on a journey
none of us would have wished for her just
yet, was composer and flutist Katherine
Hoover, whose sudden death last September
ignited personal and musical memories
of legions of flutists (those she knew and
Anne Welsbacher
many she didn’t) who remembered the
NFA Lifetime Achievement Award recipi-
ent best for her signature piece, “Kokopeli.”
In addition to an obituary within these
pages, you can soon find words and music
online that celebrate the iconic piece that
has been claimed by so many.
Sasha G. Garver (a flutist and singer) and
Adam T. Schwalje (an otolaryngologist)
bring us from the far reaches of our plan-
et (and beyond) into the physical interior
of our own bodies in their article about
the mechanics of a flutist’s ear, nose, and
throat as they relate to practice and perfor-
mance. As part of their research into this
topic, they filmed Garver’s throat in ac-
tion while playing flute. In addition to the
technical information the article offers are
suggestions and guidance for applying its
insights to teaching. As the authors note
in its conclusion, teachers, if they take the
care to understand the physical issues in-
volved, have the distinct opportunity to
catch problems early, before they become
apparent to others—and thus to provide
their flute students gifts that will serve
them well throughout their lives.
And there we are, back in that love-and-
peace place our Beatles so enjoyed singing
about, in the small world we all share, the
world within you and without you.
—Anne Welsbacher
WINTER 2019 THE FLUTIST QUARTERLY 15
NFAONLINE.ORG
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 hungarotonmusic.com.

Announcing the

LITTLE competitions deadline

and repertoire for the

PIPER
FLUTE MUSIC
2019 NFA Convention!
Find more information
about competitions
great music • great prices and required repertoire
in the annual convention section
www.little-piper.com at nfaonline.org.

16 THE FLUTIST QUARTERLY WINTER 2019

NFAONLINE.ORG
OBERLIN
FLUTE
ACADEMY FOR INFORMATION:

JUNE 26-30, 2019 440-775-8044

ahoffman@oberlin.edu
oberlin.edu/summer

TANYA ROSEN-JONES
Lessons, master classes, performance
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students, with instruction by Alexa Still.
18 THE FLUTIST QUARTERLY WINTER 2019
NFAONLINE.ORG
 An Uncommon
Woman:
Year-long celebrations of the artist’s 80th birthday highlight
her vibrant career and lasting works.
C
omposer Joan Tower has been hailed in The New Yorker as
“one of the most successful woman composers of all time.”
Her visceral works, rhythmically vibrant and harmonically
colorful, capture audiences with an immediacy few contemporary
composers possess. Tower was born September 6, 1938, and as she
celebrates her 80th birthday year, we honor her, her contributions
to flute repertoire, and the flutists who commissioned them.
International Beginnings
When Tower was 9, her family moved from her birth town of
New Rochelle, New York, to Bolivia, where they lived from 1947
to 1953. At the insistence of her father, she studied music, spe-
cifically piano. The rhythms of Bolivia and her father’s vocation
as a mineralogist influenced Tower’s compositional landscape.
After two years at Santiago College and a year in Lima, Peru,
Tower returned to the United States in 1954 to pursue a career
in music. She graduated from Vermont’s Bennington College in
1961. After graduation, she returned to New York City and applied
for graduate school at Columbia University.
“I couldn’t get in right away—I wasn’t prepared enough,” she
recalls. “I wasn’t really an academic type, and it took me a while
to figure out that I needed to make music also. My real life was
happening downtown, making music.” She attended the exten-
sion division of Columbia University in 1961 and soon after
received the Master of Music (1964) and Doctorate of Music
(1978) from Columbia University.
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
PHOTO BY CYNTHIA DELCONTE.
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
7
Celebrating the Flute Works
of Composer Joan Tower
through this group, how they did—and did not—know how to
talk to us as players,” Tower recalls. “It was a huge education.
How do you put music on paper, and how does it come out?
How does it come back to you as a real statement or personal
statement? I think that the forming of the Da Capo Players, and
making music as a pianist, was my best education.”
Overwhelmed by the group’s organizational demands, Tower
eventually engaged Spencer to take over the coordination of Da
Capo, telling her she needed out. “Patricia said, ‘Well, I’ll take
care of it, I’ll take care of it!’ Great!” Tower says, “Patricia’s the
lynchpin of that group. She is the last member who has stayed
there since the beginning.”
“Joan Tower has been incredibly influential for me, both for
my own musical thinking and for the Da Capo Chamber Players,”
says Spencer. “She was a founding member of the group, its
pianist for 15 years—and has remained a creative collaborator
ever since, in rehearsals and workshops with composition students
at Bard College and Conservatory.”
Da Capo was determined to embrace new musical vocabu-
laries—which sometimes brought unexpected insights. “At that
time, we were very involved with all of the 12-tone music,” Tower
says. Indeed, one of her earliest works for flute, written for Spencer,
is the 12-tone “Hexachords.” But, she adds, “I pulled away from
it at some point because I didn’t understand it.”
by Lisa Garner Santa
WINTER 2019 THE FLUTIST QUARTERLY 19
NFAONLINE.ORG
 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
PHOTO BY BERNARD MINDRICH

classical music consumers.

Solo
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

20 THE FLUTIST QUARTERLY WINTER 2019

NFAONLINE.ORG
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
1972, featuring guests Pauline Oliveros, Jennifer Higdon, Julia
Wolfe, Tanya Leon, and herself.
Joan Tower cites the music of Beethoven as a significant influ-
ence on her work, particularly his use of motivic development.
Her compositional process involves first considering the medium
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.”
“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
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
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
something I learned from Beethoven.”
Tower is not convinced that music references gender. “Those
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 gender thing is very not there. It’s in our minds. That’s what
we’ve been taught. When I wrote my first orchestra piece, Se-
quoia, I had 64 percussion instruments. People say ‘Wow, you
write like a man.’ I used to get embarrassed by that. ‘Well, you
had such power and such visceral stuff.’ Because that’s what I like
to do. I didn’t like that association at all.”
In 1993, Tower began her relationship with another spirited
woman in the classical music world, Carol Wincenc. Guitarist
Sharon Isbin, who frequently collaborated with Wincenc, was
persistent in commissioning Tower to write a duo for guitar and
flute. Tower responded, “Flute and guitar? Forget it.” Then she
listened to recordings of Wincenc and quickly reconsidered.
Isbin offered to help Tower by giving her a guitar manual.
Tower, as with her aversion to academic classes, had no interest
in a manual and began writing for guitar as she wrote for piano.
She soon realized, “Big mistake. I realized that if you take the
fingers off the frets, there are no pitches there anymore. The first
chord I wrote, Isbin said, ‘Joan, this chord is unplayable. Did you
read the manual I gave you?’ Oh.”
Tower describes the piece she ended up writing as “one of my
most played pieces, not because it’s a great piece—it’s one of my de-
linquents—but because there are so many flute-and-guitar teams.”
Most importantly, her relationship with Wincenc had been es-
tablished, and in 1989 the American Composers Orchestra, with
that relationship in mind, commissioned her to write a concerto
for flute and orchestra.
“I think the gender thing
is very not there. It’s in our
minds. That’s what we’ve
been taught. People say ‘Wow,
you write like a man.’ I used
to get embarrassed by that.”
The Concerto and Beyond
Like most composers and performers, Tower herself is her big-
gest critic. She felt an enormous amount of pressure before the
premiere of the concerto, saying she felt anxious and distorted
and with a perception that nothing was working. Toward the
end of the performance, as she worked her way backstage for the
bows, she says, “I heard this yelling. I said to the woman next to
me, ‘I think there must be a fire in the hall.’ She looked at me and
said, ‘No, Joan, they’re cheering for your piece.’ ”
Wincenc says of Tower, “Her unabashedly natural way as a
human being and as a musician frankly bowled me over—I adored
her from the moment I met her. Finally, I thought to myself, ‘Here
is a woman with whom I resonate, who is completely approach-
able; someone with whom I can explore my deepest and expressive
musicality.’ From that first introduction, I trusted something about
Joan. I felt from her a combination of profundity, wittiness, and
utter freshness. For me it was all-systems-go, and thus the four
works she has written for me shall remain staples in my solo and
chamber music repertoire. For this I am indebted to her.”
As demonstrated by her work in Da Capo Chamber Players,
Tower is a performer as well as a composer and has a perspective
that many who work on one side or the other do not. She says
she has witnessed a dangerous split. Before the 20th century,
WINTER 2019 THE FLUTIST QUARTERLY 21
NFAONLINE.ORG
July 2018 Bang on a Can MassMocca summer festival composers and directors.
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-
ers began to dedicate more and more time to technical skill, and
composers became more academic, performing less and less.
Tower is on a mission to get the two back together again. She
teaches a class at Bard College called Composition for Performers.
“It teaches the performers to think about how the page comes to
be at all,” she says. “It makes them much more empathetic towards
composers, because they (understand) how difficult it is to com-
pose. A lot of those players are now playing new music as a result.”
Tower asked performers to write works for her “big” birth-
days, including Pauline Oliveros and Carol Wincenc. “Carol
was the worst, kicking and screaming and asking, ‘Why do
you do this to me? This is so difficult to put together.’ I said,
‘It’s just a birthday, Carol. It’s not like you’re going to write a
masterpiece, you know.’ I gave her a whole year of torture—
and she came on stage with two Brazilian drummers, because
her dream was to improvise. But then she had to go a little
step further. She had two dancers in body stockings who crept
up on the stage. I mean it was the wildest thing! That’s her
nature, you know. She brought the house down. That was the
best birthday present.”
DeCapa Chamber Players, 1979: Joel Lester, Spencer, Andre Emelianoff, Tower, Laura Flax.
22 THE FLUTIST QUARTERLY WINTER 2019
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Tower with Bard students John Collazo, Wei Zhou, Zongheng Zhang, and Chris Beroes-Haigis.
Made in America
“Rock bands and jazz groups usually maintain a specific set
list, yet orchestras, when they commission a new piece, will
rarely if ever play it more than once,” Schirmer’s Frank Oteri
noted in 2005, pinpointing a common concern in classical
music circles. “The result is a lot of stillborn music.” But in
2004, the Ford Motor Company proposed a solution by form-
ing the “Made in America” grant program, which engaged
more than 60 orchestras and a consortium of performers,
guaranteeing multiple performances.
Joan Tower was one of the grant recipients. The resulting work
was Tower’s Made in America. Her time as a youth in Bolivia
and the challenges of living in a generally poor country affected
this composition in particular. As an American, she says, “I was
proud to have free choices, upward mobility, and the chance to
try to become who I wanted to be. I also enjoy the basic luxuries
that we so often take for granted.”
Compositionally, Tower utilized “America the Beautiful”
as the theme for the work. Alan Cozen of the New York Times
wrote, “Quotations from ‘America the Beautiful’ peek through
these tense sections as affirmations, often gentle ones that the
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
PHOTO BY CYNTHIA DELCONTE.

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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Sound
Anatomy:
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.

L
ike elite athletes, professional musicians push their bodies
in ways that potentially can cause harm—and are some-
times dangerous. One dramatic example of this is the
by Sasha G. Garver and Adam T. Schwalje
Schwalje and Garver with their daughter.
aerophor, invented by flutist Bernard Samuels in 19131. The
aerophor is a foot pump attached to an air hose, which is placed
in the mouth of a wind musician to facilitate long phrasing,
much like circular breathing. Richard Strauss, who was obsessed
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
problems that can affect the music-making of themselves or

26 THE FLUTIST QUARTERLY WINTER 2019

NFAONLINE.ORG
their students, sometimes as a direct result of their art. However,
this review is not intended to replace the advice of a qualified
physician and/or speech language pathologist in the diagnosis or
treatment of any individual.
Embouchure
The embouchure encompasses the movements of the lips, tongue,
teeth, and throat. Exceedingly fine control of the embouchure is
necessary for flute performance. A complex arrangement of
facial muscles supports these fine adjustments. While many
teachers are aware of the orbicularis oris, a circular muscle
surrounding the lips with action like a drawstring, many other
muscles are also important for control of the embouchure. These
muscles can be activated with various teaching strategies, in-
cluding blowing through straws, blowing on bubble machines,
and spitting rice.
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.
Idiopathic facial paralysis, otherwise known as Bell’s palsy,
stems from an insult to the facial nerve, which controls many of
the muscles of the embouchure. While the standard treatment
of antiviral medications plus corticosteroids reduces incomplete
recovery,2 the most common recovery metrics are based on a
standard scoring system for facial function, the House-Brack-
mann scale. The mildest grade of dysfunction in this scale is
marked by slight weakness on close inspection, slight involun-
tary muscle movements on attempts to move the face, complete
closure of the eye with minimal effort, and slight asymmetry
on movement of the mouth. 3 However, this grading scale is not
sensitive enough to quantify dysfunction in the discriminating
embouchure of the expert flutist.
Embouchure dystonia is a subset of the broader classifica-
tion of focal dystonias, which are associated with repetitive fine
muscle movements, but whose etiology lies in the brain, not the
muscles. Dystonias might affect up to one percent of musicians
overall, but embouchure dystonia is much more rare. It is often
marked by lip tremor, which can be specific to register or style.
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
Geste maneuver, whereby novel tactile sensation can decrease the
dystonia. While injection of botulinum toxin (Botox) can work
for other types of dystonia, including spasmodic dysphonia,
results after injection have been unfortunately lackluster for
embouchure dystonia.5
However, some medications might be helpful, and expert re-
training may be beneficial. Rest is usually not beneficial for true
embouchure dystonia, but the player may need to completely
stop playing if there are problems with swallowing or speaking.
Tongue
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 placement of the tongue inside the mouth while playing
the flute can have dramatic effects on the tone quality, pitch, air
control, and articulation of the performer. Because the shape of
the oral cavity and oropharynx affects the pitch and other vibra-
tory characteristics of sound, flute players can learn to manipulate
these vowel shapes to achieve desired musical effects. Previous
work on the singer’s formant and vowel shapes can be helpful in
application to flute playing.6
There is sometimes discussion on online message boards about
the possibility that ankyloglossia, or tongue tie, might affect rap-
id tonguing on the flute. The incidence of tongue tie is variable,
ranging from 0.1 percent to 10.7 percent depending on the source,
in part because of inconsistent definitions.7 However, a common
idea is that true tongue tie leads to deficits in speech or tongue
mobility—or even pain with everyday tongue movements. There
is a treatment for ankyloglossia, which involves cutting through
the membranous attachment, but there is no evidence that this
procedure would improve tonguing on the flute.
WINTER 2019 THE FLUTIST QUARTERLY 27
NFAONLINE.ORG
Temporomandibular Joint
The temporomandibular joint (often referenced as TMJ) allows
the lower jaw to move with respect to the rest of the head. This
joint is located just in front of the ear. When opening the mouth,
the lower jaw moves forward and down. Between the articulating
surfaces, there is a shock-absorbing articular disk. The joints on
each side are capable of independent movement, while the bones
on both sides—those of the head and of the lower jaw—are rigid.
This means that problems on one side often can cause problems
on the other side.
The Temporomandibular Joint. Note the articular disc between the condyle of the man-
dible and the articular tubercle. Opening the jaw causes the condyle to move down and
forward (to the left in this image).
Wind playing is associated with temporomandibular disorders
(or TMD).8 Moreover, performance on other instruments not
typically associated with movements of the jaw, such as piano
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.
Pharynx
The pharynx encompasses the back of the throat and extends
from the back of the nose to the esophagus. For air to move
through the mouth without also moving through the nose, a
seal must be created between the soft palate and the back and
sides of the throat. Velopharyngeal insufficiency is the lack of
normal closure between the soft palate and pharyngeal walls.
This can be caused by many things, including prior surgery
(like adenoidectomy), tumor, paralysis, neuromuscular disor-
ders, or other causes.
The image at right is from a video of an MRI of Sarah Willis playing horn; note the closure
between the soft palate and the back of the throat while playing. (See video at FQ Plus.)
28 THE FLUTIST QUARTERLY WINTER 2019
NFAONLINE.ORG
Because of the high pressures involved in playing a musical
instrument, which can involve up to 30 times more pressure
than speaking, flute players might not have any complaints
other than nasal snorting or air leaking during playing. This
is also described as “stress incompetence.” Sometimes, enough
air leaks out the nose to move a pinwheel placed under the
nose, and performance can dramatically improve with use of
a swimming nose clip.
This condition can be diagnosed more precisely by putting a
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.
Larynx
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
vocal folds are to prevent food from entering the airway during
swallowing by closing the glottis and to facilitate communica-
tion via phonation by vibrating as air flows past. The false vocal
folds are above the true folds and are not involved in phonation.
Movements of the larynx are designed for these goals, but the
larynx is also very active during wind performance.
THE VIDEO OF THE MRI PICTURED AT LEFT WAS CREATED BY BIOMEDIZINISCHE NMR FORSCHUNGS (CREATIVE COMMONS BY-SA 4.0).
Vocal cords, as seen from above.
The maximal opening of the glottis is achieved during inspi-
ration. During exhalation, the glottis is partially closed, either
somewhat, in a paramedian position, or more fully, during
exhalation against resistance. Some suggest that the glottis is also
often active during articulation, even when the expert player is not
intentionally producing a glottic stop. Our work also shows activ-
ity during other elements of performance such as production of
vibrato or dynamics. The use of the larynx while playing has led
some clinicians to classify wind players as professional voice users.
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
Noise exposure is a hot topic in the music education world, espe-
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 AEROPHOR PHOTO ABOVE ORIGINALLY APPEARED IN “HOW THE AEROPHOR AIDS PLAYERS OF BRASS AND WOOD WINDS” IN THE

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
APRIL 4, 1914 , EDITION OF THE MUSIC TRADES. IT WAS USED IN A BLOGSPOT AT RENEWABLEMUSIC.BLOGSPOT.COM.

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

WINTER 2019 THE FLUTIST QUARTERLY 29

NFAONLINE.ORG
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–
Boulder. She studied with Alexa Still, Bradley Garner, Randy
Bowman, and Jack Wellbaum.
Adam Schwalje MD, DMA, is a resident physician in the Depart-
ment of Otolaryngology, Head and Neck Surgery at the University
of Iowa. He studied bassoon performance at the University of
Cincinnati and the University of Colorado–Boulder.
ENDNOTES
1
Hamilton Holt, “The Aerophor.” The Independent (September 1914), 334.
2
Gagyor Ildiko, Vishnu B. Madhok, Fergus Daly, Dhruvashree Somasundara,
Michael Sullivan, Fiona Gammie, and Frank Sullivan, “Antiviral treatment for
Bell’s palsy (idiopathic facial paralysis),” Cochrane Database Syst Rev (11):
CD001869, 2015.
3
J.W. House and D. E. Brackmann, “Facial nerve grading system.” Otolaryngology
Head Neck Surgery 93 (2):146−47.
4
Steven J. Frucht, “Embouchure dystonia: a video guide to diagnosis and eval-
uation.” Journal of Clinical Movement Disorders 3:10.
5
Steven J. Frucht, Stanley Fahn, Paul E. Greene, Christopher O’Brien, Michael
Gelb, Daniel D. Truong, John Welsh, Stewart Factor, and Blair Ford. “The natural
history of embouchure dystonia.” Movement Disorders Journal 16 (5):899−906.
30 THE FLUTIST QUARTERLY WINTER 2019
NFAONLINE.ORG
Find it at FQ Plus
Visit FQ Plus in the Publications section at nfaonline.org
for links to interactive resources referenced in this
article, including the authors’ new footage of flute
performance from inside the larynx, an MRI of a
person playing a horn, and an article containing a video
guide to evaluating embouchure dystonia.
6
Rober Mather, “Your Throat, Sinus, and Mouth Resonances: Friends or Foes?”
The Flutist’s Handbook: A Pedagogy Anthology (Santa Clarita: National Flute
Association, 1998), 75−79; Robert Dick, “The Linguistic-Articulation Connec-
tion,” Flute Talk (November 1987), 29−31.
7
Valerie G. Suter and Michale Boorstein, “Ankyloglossia: facts and myths in
diagnosis and treatment,” J Periodontol 80 (8):1204−19.
8
M. M. Attallah, Corine M. Visscher, Maurita K. van Selms, and Frank Lobbezoo,
“Is there an association between temporomandibular disorders and playing a
musical instrument? A review of literature,” Journal of Oral Rehabilitation 41
(7):532−41.
9
Attallah et al, ibid. Anke Steinmetz, Paul H. Ridder, Gotz Methfessel, and Bur-
khard Muche, “Professional musicians with craniomandibular dysfunctions
treated with oral splints.” Cranio 27 (4):221−30.
10
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
(2):142−46.
11
M. Chasin and J. Chong, “An In Situ Ear Protection Program for Musicians,”
Hearing Instrument 42 (12):26−28.
12
Susan L. Phillips and Sandra Mace, “Sound Level Measurements in Music
Practice Rooms.” Music Performance Research 2:36−47.
13
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.
14
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.
ADDITIONAL RESOURCES
Frucht, Steven J., https://clinicalmovementdisorders.biomedcentral.com/
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
M U S I C C O M P A N Y

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.

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

32 THE FLUTIST QUARTERLY WINTER 2019

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 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.
CARICATURE COURTESY JANET KIRKCONNELL.

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).

WINTER 2019 THE FLUTIST QUARTERLY 33

NFAONLINE.ORG
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.”
—PT
get a degree in composition. Fiori was very supportive and
welcomed him back to the flute world, and Bob supported
himself with a dizzying amount of freelance work while get-
ting his degree (in composition!) at the University of Toronto
with John Weinzweig.
Bob received a Canada Council grant and spent a year in
Europe (1964–65) studying with Gazzeloni, Graf, Rampal, and
others. He became principal flutist of the Toronto Symphony
under Seiji Ozawa in 1965 and stayed in that position for six
seasons. He became a student of Marcel Moyse, along with his
teacher Nick Fiori, driving to Vermont for lessons and becoming
a regular at the Marlboro Music Festival.
All the time he was incredibly busy as a soloist and chamber
musician around Canada. He related that several times he flew
to Montréal twice in one day to fulfill rehearsal and concert
commitments there and in Toronto, and once played the Ibert
Concerto in a Boise, Idaho, matinee concert and made it back to
34 THE FLUTIST QUARTERLY WINTER 2019
NFAONLINE.ORG
Toronto the same night to the second half of the Toronto Sym-
phony’s evening concert. During one two-year period in the late
’60s, Bob flew more than 200 flights—and has the records in his
archives to prove it.
Bob worked with Stravinsky at the CBC Radio Symphony;
with Glenn Gould, Oscar Shumsky, and Leonard Rose at the
Stratford International Festival; and with Moyse in Vermont
at the Marlboro Festival. He also composed, studied electronic
music, taught at the University of Toronto, attended many mu-
sic festivals across Canada, and received invitations from all
over Europe (he took more than 30 trips to Iceland alone) and
eventually throughout Asia as well.
Maturing Artist
After six frenetic years, Bob decided to leave the Toronto Sym-
phony in 1970 to pursue the rest of his career full time—but
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.

Collaborator
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.

WINTER 2019 THE FLUTIST QUARTERLY 35

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

fredonia.edu/summermusic

~ amherstearlymusic.org
... we hope you'll join us!
Across the Miles
News about flute club and flute choir activities throughout the United States
The Pikes Peak Flute Choir (Colorado Springs) began the 2018–
2019 season with its fall concert November 18, “An Afternoon
with the BBC,” featuring music by composers from the British
Isles and other countries connected to the BBC media entity.
Music ranged from the old (Gilbert and Sullivan) to the new
(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
also featured. The Select Choir, an auditioned group composed
of members from the main choir, performed “Mars” from Gus-
tav Holst’s The Planets. To support new flute choir music, the
Pikes Peak Flute Choir will award a student at a Colorado uni-
versity, college, or community college with a $200 scholarship
through the Collegiate Composition Competition; the winning
piece will be performed at the spring 2019 concert. Visit thepike-
speakflutechoir.com or find the choir in Facebook.
Members and officers of the Central Ohio Flute Association
The Central Ohio Flute Association’s 36th Annual Flute Festi-
val will be held at Ohio State University in Columbus April 6.
Featured guest artist Aaron Goldman, principal flutist of the
National Symphony, will present a masterclass and recital for all
participants. In addition, the finals of the four divisions of the
Central Ohio Flute Association competition will be held. Last
year’s winners will perform in Goldman’s masterclass. The fes-
tival is supported by exhibitors from across the country and
attended by flutists from the region. A flute choir showcase and
lectures and clinics will be part of the full day of events. The
Ohio State University Flute Troupe presented a concert at the
university on Tuesday, October 16. Pieces by Nancy Galbraith,
Kelly Via, Gary Schocker, Ervin Monroe, Jean Sibelius, and Paul
Gilson were presented. Visit org.osu.edu/cofa.
For its 2018–2019 fall series opener, Flutissimo! Flute Choir
(northeast Texas) presented “Techno!” featuring music about
technology, from “Fireworks” by Daniel Dorff (named for an in-
vention dating to ninth-century China) to the world premiere
of Alexander Abbott’s nod to the 2016 New Horizon mission to
38 THE FLUTIST QUARTERLY WINTER 2019
NFAONLINE.ORG
by Kathy Farmer
Pluto, “Let’s Go! Say ‘Hello’ to Pluto!” Also included was Leroy
Anderson’s “The Typewriter” referencing the 1843 invention
with Steve Moore typing on an old black manual typewriter. For
the holidays, Flutissimo! headed to local libraries, malls, and a
train station to wish travelers a Merry Christmas. Visit flutissi-
moflutechoir.com.
MagicFlutes Flute Orchestra (California Bay Area) presented its
annual winter concert in November 2018. The program featured
music by G. F. Handel, Pyotr Tchaikovsky, Kirk Vogel, Victor
Herbert, and others—including Nancy Nourse’s Candy Cane
Suite, featuring six piccolos. MagicFlutes is directed by Pamela
Ravenelle. Visit magicflutes.org.
Tucson Flute Club presented its fall concert in late October
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 tucsonfluteclub.org.
The flute choirs of Desert Echoes Flute Project (Mesa, Arizo-
na) traveled through time from the 17th to the 21st centuries
with its fall 2018 “Transcriptions” concert celebrating classical
music. The program was a sampler of music from the histo-
ry of European classical music, starting with works by Mi-
chael Praetorius, Georg Philippe Telemann, and J. S Bach and
moving forward in time with pieces by Wolfgang Amadeus
Mozart, Gustav Holst, and Nikolay Rimsky-Korsakov. All but
one work was composed for orchestra, concert band, or string
ensemble and transcribed for flute choir; Vincenzo Sorrenti-
no’s “Sfavillante” was written for flutes. The project’s combined
flute choirs performed Joseph Haydn’s Finale from the Fare-
well Symphony. The December concert joined the worldwide
celebration of Leonard Bernstein’s 100th birthday with a per-
formance of his Overture to Candide. The program included
traditional holiday music, including Kelly Via’s French Nativity
Suite and Phyllis Avidan Louke’s arrangement of “There Is No
Rose” by Z. Randall Stroope. The rest of the program included a
new version of “God Rest Ye Merry Gentlemen” by Michael T.
Turner, “Pat-a-Carol” by Judy Nishimura, and Valerie Coleman’s
distinctively rhythmic arrangement of “Jingle Bells.” The clos-
ing piece was a mash-up by James-Michael Sellers of Christmas
SPOTLIGHT
Flutissimo! Flute Choir
L
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
the director. Marco Jerez became our director in the fall 2009.
He helped our group grow to about 25 people and took us to
the National Flute Association Annual Convention—first in 2011,
to Charlotte, North Carolina, and again to Chicago in 2014.
Felix Torres became our conductor in 2014. Now, in his fifth
year with us, we have grown to more than 30 performers, and
in 2017 he took us to the NFA Annual Convention in Minneapolis
for our third national performance.
The National Flute Association’s August event is the world’s
largest flute festival. Being selected to perform at the NFA
Annual Convention is a highly regarded achievement that solidifies
our place in the flute-playing world. In addition, for 11 years in
a row, our conductors have taken us to the Texas Flute Society
Festival—the world’s second largest annual flute gathering, held
in Denton, Texas, every May. Flutissimo! has won Outstanding
Amateur Ensemble at this event.
In 2014, we performed our first commissioned piece, writ-
ten by low flutist Chris Potter: “Tres Ratitas Ciegas,” a Mexican-
Desert Echoes Flute Club
carols and the theme from Star Wars! The Desert Echoes Flute
Project also sponsored a High School Regional Etude Day
for flutists in January, with masterclasses, clinics, and mock
auditions to help students prepare for the Regional/All-State
auditions. More concerts are scheduled in March and May, and
members are looking forward to being involved in the first
Mesa Community College Summer Flute Project June 17–22
featuring guest artists April Clayton,Viviana Cumplido-Wilson,
and Brian Gordon. Visit defproject.org/mccsummerflute-
project.html, instagram.com/def_project, and youtube.com/
DEFproject.
Flutissimo! Flute Choir
style version of “Three Blind Mice.” Composers from all over the
U.S., Peru, England, and Scotland have sent us compositions.
Alexander Abbott, from Scotland, the composer of our recently
performed “Let’s Go! Say ‘Hello’ to Pluto!” not only writes for
us but in 2011 came to Texas to conduct two of his pieces.
Flutissimo! Flute Choir has become known for our creative
programming. This year, for example, we did “Techno!” using
music of different technologies, including the above-referenced
work by Abbott. (See the main body of Across the Miles for
more about this concert.) We have performed circus music
(“Send in the Clowns!”), Halloween-themed concerts (“Haunt-
ed!”), and programs around film scores (“A Night at the Movies:
Flutissimo! Licensed to Thrill.”)
Now more than 20 years old, Flutissimo! Flute Choir looks for-
ward to its next decade of growth and creative programming—
perhaps in the future to be heard at a convention near you.
—Janice Spooner
The Madison Flute Club presented October 2018 concerts by the
Adult Flute Choir, Chamber Ensemble, and Youth Flute Choir
with music themed around “Myth & Legend.” December con-
certs—“Salon Nights” and a small ensemble interim—were also
held under the guidance of Coartistic Directors Danielle Breisach
and Berlinda Lopez and Intern Conductor Anna Fisher-Roberts.
Upcoming concerts include the annual Chinese Orphans Benefit
hosted by Linda Mintener in March and a collaboration with the
Madison Classical Guitar Society in April. The Wisconsin Flute
Festival will welcome guest artist Bonita Boyd on April 6 in Mad-
ison. Visit wisconsinflutefestival.org.
WINTER 2019 THE FLUTIST QUARTERLY 39
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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 kathyfarmer@mindspring.com.
 From the
New Music Advisory Committee
NEW MUSIC FOR YOUR COMMUNITY
Truly interactive music-making brought audiences and performers
closer together at an annual new music gathering.
by Sarah Brady
“Take care of your community, and your
community takes care of you.” —P O
I
n spring 2018, the Boston Conser-
vatory was the venue for the annual
New Music Gathering. Like the Nation-
al Flute Association’s annual convention,
this roaming event brings together a
large gathering of people who have one
thing in common. For the NFA, obviously
it is our love of a single instrument that
joins us together, but for the New Music
Gathering, it is our love of new music
that connects us.
In the opening ceremonies of this gath-
ering, we had the opportunity to perform
music as a community, an experience
made possible by a musical app created
by composer Ryan Carter (who was com-
missioned by the NFA for the 2014 High
School Soloist Competition). This app,
easily downloaded, turned a cell phone
into an instrument that changed textures
when moved and emitted a work of sub-
tle electronic sounds, with calm, sooth-
ing bells that appeared and disappeared
throughout the composition: community
music making at its best—and in, per-
haps, its newest technological form.
In 2016, I premiered *12*, a work for
ensemble and audience participation by
Eun Young Lee. In this 12-movement
piece, four of the movements were ac-
companied by a series of percussive mo-
tifs triggered by 12 smartphone-wielding
audience members. The phones’ app was
created by Eran Egozy (inventor of the
game “Guitar Hero”) in collaboration
auline liveros
with Lee, who has long been interested
in audience participation. Scorpio, a solo
alto flute movement, was accompanied
by three audience members performing
sounds of gongs, bells, and woodblock
sounds from their phones.
The volunteer smartphone players were
given a single run-through, and during the
premiere I was so impressed and touched
by their musicality, awareness of breath,
and reactions to the density of sound that
I came away with a new appreciation of
what it could be like to have a real musical
dialogue with your audience.
The idea of using an even larger com-
munity has been embraced by flutist and
new music artist-entrepreneur Claire
Chase and composer Marcos Balter in
the latter’s work Pan (2017). This piece is
a 90-minute musical drama for solo flute
and an ensemble made up of community
performers of all ages, backgrounds, and
physical abilities.
The community performers play a vari-
ety of percussion instruments throughout
the piece as the soloist becomes conduc-
tor, muse, and instigator. Although this is
a much larger-scale project, with theatre
rehearsals, community rehearsals, and a
huge amount of organization, it never-
theless offers a perfectly beautiful concept
of the modern Pan creating a new artistic
and musical fellowship.
In 1998, Salvatore Sciarrino composed Il
cerchio tagliato dei suoni (“cutting the circle
Sarah Brady
of sound”), which uses four flute soloists
along with 100 “migranti” or moving flut-
ists. This hour-long work is for flutists of
all abilities and ages who learn a few simple
contemporary techniques such as tongue
stops, aeolian wind sounds, and fluttered
wind sounds. Musically, it is a meditation
on some of the quietest timbres possible
on the flute, and visually it is a stimulating
piece with the “migranti” moving about
the performance space. (For an account
of a 2012 performance of this work in the
Guggenheim Museum in New York City,
see “A Moving Experience” in FQ Plus in
the Publications section of nfaonline.org.)
If you are looking for open instrumen-
tation pieces that will help you or your
audience hear music in a whole new di-
mension, the late Pauline Oliveros, cre-
ator of the Deep Listening Institute, was
the epitome of collaborative music-mak-
ing. Her works blur the lines between
performer and audience. Why not begin
your next concert with the “Tuning Medi-
tation” to get everyone involved musically,
spiritually, and vocally?
These types of contemporary pieces help
us reach out to a larger community of per-
formers and offer chances to collaborate
meaningfully with our audiences. With
the development of technology and apps,
everyone can participate in a musical per-
formance. Making music with your com-
munity is taking care of your community.
Sarah Brady is chair of the NFA New Music
Advisory Committee and associate professor
of flute at the Boston Conservatory at
Berklee, where she is the director of the
Contemporary Classical Music Program.
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Notes from
Around the World
Conventions, festivals, competitions, and other global flute activities
Lady Jeanne Galway works with a student during the 2018 festival.
The year 2019 marks the 30th anniversary of the Galway Flute
Festival, founded by Sir James Galway with his wife Lady Jeanne
Galway. The annual summer festival, which takes place in We-
ggis, Switzerland, draws participants from around the world
and features masterclasses, guest artists, exhibits, concerts, and
awards. This year’s festival will be held July 19–28.
The 2018 festival met July 20–29 and included students from
30 countries, ranging in age from 10 to 70. Each day began with
warm-ups, led by Sir James, focusing on tone production and
technique. The day continued with masterclasses given by Sir
James and Lady Galway, workshops by guest artists on solo rep-
ertoire, technique, orchestral excerpts, chamber music, piccolo,
contemporary techniques, and more.
“It is without doubt an indescribable and breathtaking feel-
ing to stand next to Sir James Galway, to listen to his beautiful
flute sound, and to experience live how he sings with his flute,”
said festival student Valerie Henning, who visited from Germa-
ny. Henning admired Galway’s “unlimited willingness to share
his mastery and experience with the highest pedagogic skills and
humor and his guidance and mentorship for all of his students.”
Concerts were held each evening, with Sir James and Lady Gal-
way performing in the Opening Gala Concert. Throughout the
week, concerts featured performances by Silvia Careddu (Italy),
Michael Cox (U.K.), Adriana Ferreira (Portugal), Shenqhi He
(China), Stefan Keller (Switzerland), Francesco Loi (Italy), Nicola
Mazzanti (Italy), Kersten McCall (Netherlands), Marina Piccini-
ni (U.S.), and Julie Stewart-Lafin (Scotland). The closing night’s
Grand Finale Concert featured the Festival Flute Choir, directed
by Sir James, and the Low Flute Choir, directed by Chris Potter.
In addition to classes and concerts, the festival featured a
Feldenkrais session with Niall O’Riordan, a lecture with Victor
Candia, and exhibits by flutemakers and flute shops including
Adams European Flute Centre, Eva Kingma Flutes, Fluter Scoot-
er, Just Flutes, Lafin Headjoints, Musikpunkt, Nagahara Flutes,
Verne Q. Powell Flutes, and Wm. S. Haynes Co.
“The festival truly feels like one big flute family,” said Mack-
enzie Miller of the United States. “It has an encouraging and
non-competitive atmosphere. Guest artists and clinicians are
42 THE FLUTIST QUARTERLY WINTER 2019
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by Christine Erlander Beard
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 galwayfluteacademy.com.
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
jury led by Christina Fassbender
from Germany, pedagogue at the
Universität der Künste in Berlin, and
including jurors András Adorján
from Denmark, Philippe Bernold
from France, Sylvia Careddu from It-
aly, Barthold Kuijken from Belgium,
and Czech flutists Jan Ostrý and Jiří
Válek. Results of the preliminary
round will be published no later than
January 20 and can be found along
with the competition schedule at fes-
tival.cz/en/competition.
The Fondation des Etata-Unis is accepting applications for
its annual Jarriet Woolley Scholarship. Eligible candidates are
graduate and post-graduate musicians (composition, vocal
and instrumental performance) of exceptional talent who wish
to pursue advanced artistic studies in Paris during the upcom-
ing academic year. The deadline for all application materials is
January 31 of the current academic year. Visit feusa.org/harri-
et-hale-woolley-scholarship.
The Zodiac Trio is proud to announce the inaugural Zodiac In-
ternational Music Competition, which aims to discover excep-
tional musical talent, both in performance and composition,
from across the globe and bring it to the stage of the Zodiac Mu-
sic Academy & Festival in the south of France. The competition
invites artists of any age from all parts of the world to participate
via video submission (or score submission for composers). The
winning soloist will receive a cash prize and roundtrip airfare
and accommodations to give a solo and chamber music recit-
al on the French Riviera in July. The winning composer will be
offered a commission to write for the Zodiac Trio, the festival’s
founder, or its individual members, as well as a cash prize. The
work will be premiered in the south of France during the festival
and performed again at the DiMenna Center for Classical Music
in New York in fall 2019 (exact date TBA). The application dead-
line is February 15, 2019. Visit zodiaccompetition.com.
 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 juliemaiselflute.com.

The Sixth Flautiada International Competition for Flute will
be held April 27–30 at the Jan Levoslav Bella Conservatory in
Banská, Bystrica, Slovakia. Dedicated to the memory of Profes-
sor Vladislav Brunner, an important pedagogue who taught at
the conservatory, the competition is open to all young flutists
under the age of 26. Applications are due no later than February
25. Visit flautiada.sk.
The International Anton Rubinstein Competition for Flute will
take place April 13–14 at the Mendelssohn-Remise in Berlin.
Flutists of all nationalities and ages are invited to take part in
the competition, which will take place in two rounds and from
which the jury will decide the winners. The first round will be
completed via video link on YouTube, and submissions are due
no later than March 9. The final round will take place onsite in
Berlin. Visit rubinstein-akademie.de/en/cmp/6227/.
The Cluj International Music Competition will be held July
7–14 at Babes-Bolyai University in Cluj-Napoca, Romania. The
competition is open to flute and clarinet players of all nationalities
born no earlier than July 7, 1984. Applications are due March
25, and prizes include 15,000€ worth of cash awards plus instru-
ments and accessories. Visit notesandties.ro/agenda.
The European Flute Council announces its Flute Ensembles
Across Europe international event to be held in Poznan, Poland,
April 5–7. The event will include concerts for participants as well
as those showcasing guest artists, workshops and lectures, spe-
cial events focusing on low flutes, and vendors and exhibitions.
Visit flautists.eu/feae2019.
Mark your calendars for the 14th Adams Flute Festival, sched-
uled for April 12–14 at the Adams European Flute Centre in
WINTER 2019 THE FLUTIST QUARTERLY 43
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Ittervoort, The Netherlands. The finals of the Dutch Internation-
al Flute Competition will be held on April 12 during the festival.
Visit facebook.com/FluteCentre or fluitconcours.nl (select Stu-
dents and Young Talent).
The Iran Flute Society announces its Fifth Tehran Flute Com-
petition, which will take place at the University of Tehran April
13–20. Registration for this competition, which occurs every
four years, opens on January 21. Contestants must not be older
than age 30 at the time of the competition. Prizes include per-
formance opportunities in Iran for all prize winners and a CD
recording for the first prize winner. Contact Azin Movahed at
movahed@ut.ac.ir or visit iranflutesociety.org.
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 age limit for competitors is 35; candidates may not have
reached their 36th birthday by the opening day of competi-
tion. Application deadline is May 31. Visit hfenglish.jamu.cz/
leos-janacek-international-competition.
The IV Toronto Latin American Flute Festival (TLAFF) will take
place from May 6-11 in Toronto, Ontario, Canada. Events include
masterclasses, artist recitals, clinic sessions, private lessons, and a
festival flute choir. Competitions for all levels of flutists are also an
integral part of TLAFF, including 3 categories of solo competitions
for youth flutists, a professional chamber music competition with
no age limit, and the TLAFF International Concerto Competition
for flutists up to age 31. For more information, visit www.tlaff.ca or
the Canadian Flute Society website as it is updated.
44 THE FLUTIST QUARTERLY WINTER 2019
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The XI Festival Internacional de Flautas de Costa Rica is tenta-
tively scheduled for July 1–6 in the capitol city of San José, Costa
Rica. Visit facebook.com/FlautasCostaRica.
The 8th bi-annual Australian Flute Festival will take place at
the Sydney Conservatorium of Music Sydney July 6–8, (with a
“professional learning day” preceding the conference on July
5). The invited guest artists include Denis Bouriakov, Wissam
Boustany, Ian Clarke, Marina Piccinini, and Matthias Ziegler.
Visit australianflutefestival.com.
The Canadian Flute Association is making tentative plans to
hold its Third Canadian Flute Convention this summer. Neither
firm dates nor a location have been announced at this time. Visit
canadaflute.wordpress.com.
The International Piccolo Festival announces its guest artist
lineup for its Sixth annual festival, to be held in July in Grado,
Italy. The roster will feature Patricia Morris, former piccoloist
at the BBC Symphony Orchestra (UK); Rena Urso, professor at
the Bob Cole Conservatory of Music (U.S.); Marta Rossi, pic-
coloist at the Roma Opera House (IT); and Nicola Mazzanti,
piccoloist at the Maggio Musicale Fiorentino Orchestra (IT).
Exact dates of the festival have not yet been announced. Search
Facebook or visit internationalpiccolofestival.com.
Send information about international flute events and high-res-
olution images, if available, to Christine Erlander Beard, Notes
from around the World editor, cbeard@unomaha.edu.
CORRECTIONS
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.
Visit nfaonline.org
 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
personality.
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 nfaonline.org

WINTER 2019 THE FLUTIST QUARTERLY 45
NFAONLINE.ORG
Passing Tones
In memoriam

Katherine Hoover: 1937–2018

K
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.”
PHOTO BY BRIAN COVINGTON

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

46 THE FLUTIST QUARTERLY WINTER 2019

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 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
remained there for 15 years.
Hoover turned seriously to composing in the 1970s, find-
ing pockets of time while caring for her young son Norman
Schwab. She became involved with women’s arts organizations
and worked to bring visibility to the work of women composers.
In the late 1970s, she organized the first three of the Women’s
Inter-Art Center’s festivals of women’s music, which produced
works by 55 women composers.
In 1990, Hoover launched her own publishing company,
Papagena Press, presenting “Kokopeli” as its inaugural piece.
“It meant she didn’t have to go hat in hand to the big houses
to get a new work in front of people,” said Schwab in the New
York Times obituary.
Hoover drew inspiration from many sources for her pieces,
including The Medieval Suite (inspired by Barbara Tuchman’s
book A Distant Mirror), which was a winner in the NFA’s 1987
Newly Published Music Competition. Noted works for other in-
struments include the tone poem Eleni: A Greek Tragedy, Op. 36;
Two Sketches, commissioned by the Bay Area Women’s Philhar-
monic; her Clarinet Concerto for Eddie Daniels; the Quintet Da
Pacem for piano and strings, commissioned by the New Jersey
Chamber Music Society; and her Double Concerto for two solo
violins and orchestra.
Other major works include Three for Eight, a joint commis-
sion of the New York and Long Island flute clubs; Canyon Echoes
for flute and guitar; “Winter Spirits” for solo flute, premiered in
Philadelphia by Mimi Stillman; and Mountain and Mesa for flute
and piano, premiered by Stillman at the 2009 NFA Convention
and performed again by that flutist at Hoover’s 75th birthday
tribute concert in 2013.
“My relationship with the piece deepened through making the
first recording,” said Stillman of the work she often performed.
“Working with Katherine on her music was always fascinating
and enriching, and I feel very fortunate to have known her both
PHOTO BY BRIAN COVINGTON
Katherine Hoover prided herself on her training as a flutist.
Other major awards were the National Endowment Composers
Fellowship in 1979 and, in 1994, the American Academy of Arts
and Letters Award in Composition.
“With no fanfare she went about her life with a mastery that
I’m only just beginning to grasp,” said flute technician and dealer
Anne Pollack, who worked with Hoover for three decades. “Her
sense of justice guided her as an artist as much as her aesthetic,
which lived deeply with her mysterious and magnificent muse.”
“Most of us know Katherine as a composer and a flutist,” said
pianist and frequent NFA convention collaborator Dianne Frazer.
“The Katherine I really knew was a friend to all, an advocate for
cultural diversity, a champion for the underdog, a teacher of all
subjects, a student for betterment, and a lover of family. But I was
one of the lucky recipients of her best trait. She was a listener. I will
miss our many one-on-one moments, just the two of us, sharing,
being, discovering, communing. Listening.”
Hoover’s essay on the topic of listening was published in the
September 2018 issue of Flute Talk Magazine, edited by peda-
gogue and soloist Patricia George. “Just after the issue had been
delivered, I called to tell her about the many compliments I had
received on her writing,” said George. “She was touched. I miss
her, but know that she will live on as we flutists continue to play
her music.”
“It truly takes strength and conviction to make your living
as a composer,” said soloist Laurel Zucker. “And that’s what
Katherine did.”
Hoover is survived by Goodwin, Norman Schwab, daugh-
ter-in-law Maria Schwab, and grandchildren Linda, John, and
Luisa. The family asks that those wanting to honor Hoover’s
memory donate to a favorite musical organization and keep
making music.
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 nfaonline.org
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.

WINTER 2019 THE FLUTIST QUARTERLY 47

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Jack Moore: 1929–2018

J
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”

TOP PHOTO COURTESY TOM LACY; MIDDLE AND BOTTOM PHOTOS COURTESY MARILYN MOORE
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.

48 THE FLUTIST QUARTERLY WINTER 2019

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 “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
PHOTO COURTESY MARILYN MOORE

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
Jackson, of Bloomington, and Thomas and Andrea Moore,
Mitchell, Benton, and Beck, of Denver; and two sisters, Beulah
Stewart and Jeanette Moore, of Elkhart. Memorials may be given
to the Jack and Marilyn Moore Graduate Flute Fellowship,
Jack Moore, right, with William Bennett.
Indiana University Foundation, Showalter House, P. O. Box
500, Bloomington, IN 47402 or Central Christian Church, 418
W Franklin St, Elkhart, IN 46516.

G.S. Sachdev: 1935–2018

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

WINTER 2019 THE FLUTIST QUARTERLY 49

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Peter Standaart: 1948–2018

N
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
Symphony.
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. fundme.com and search for BlackledgeMusic); Jagadguru
PHOTO COURTESY ERIN VIVERO

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

50 THE FLUTIST QUARTERLY WINTER 2019

NFAONLINE.ORG
 Francile Bilyeu: 1942–2018

F
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
PHOTO COURTESY VIRGINIA COMMONWEALTH UNIVERSITY

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

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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

SPONSORS Joanna Bassett
Claudia H. Brill
Partner ($10,000–$19,999) Andrew D. Callimahos*
Wm S. Haynes Co. Beth Chandler & Jim Cahill*
—Presenting Sponsor Mary Kay Fink
Noreen B. Friedman
Benefactor ($5,000–$9,999) Leonard L. Garrison*
Brannen Brothers Aaron Goldman*
Flutemakers, Inc. Susan S. Goodfellow
Jennifer Grim*
Advocate ($2,500–$4,999) Matthew Johnston
Straubinger Flutes, Inc. Marie Jureit-Beamish
Eva K. Kingma
BENEFACTOR Sherry & Walfrid Kujala
($5,000–$9,999) Gay Landstrom*
Carol Dale
Betty Bang Mather*
ADVOCATE Townes Osborn Miller*
($2,500–$4,999) Edith K. Nishimura
Matthew Pineda* Kathryn A. Prinz*
Angeleita S. Floyd* Deborah L. Ragsdale
Katherine Borst Jones* Mark Shrode*
Bruce Price* Mary T. Stolper*
Patti and Paul Smith Paul Taub
Linda Toote*
PATRON
Martha Uhey
($1,000–$2,499)
Alice Kogan Weinreb*
Anonymous*
Maury Wilkinson
Eleanor D. and Dan C.
Penny Zent
Armstrong*
Laura Benning*
Sue Blessing DONOR
Patrick & Shirley Campbell ($100–$249)
Foundation* Robert Aitken*
Gerald V. Carey* Cheryl Albright*
Zart Dombourian-Eby Rebecca Tryon Andres*
Kyle Dzapo* Francesca Arnone*
Joel Horn*
Deborah Rebeck Ash*
Marjorie Koharski
Verna B. Balch
Marti Lewis
Karl Barton*
Gail E. Looney*
Teresa Beaman*
Peter Middleton*
Jean-Louis Beaumadier
George S. Pope Janet Becker*
Christine E. Potter
Beth Behning
John Willoughby
Judith Bentley
Jacob Bruner
CONTRIBUTOR
($500–$999) Lillian Burkart
Joni Beetem* Jimmy Carmenate
Leone Buyse* Nancy C. Clew
Steven Finley Jenny Smith Cline*
Flutistry Boston Shelley Collins*
Alexandra Hawley Diane Couzens
Kelly Jocius* Linda Crisafulli*
Peter Katz* Richard L. Dalton*
Christopher Krueger Brooks de Wetter-Smith*
Martin Melicharek III Sanja deGarmo
Lois E. Schaefer Judy Diez d’Aux
Nancy Schneeloch-Bingham
Kathryn Dorrough*
Diane Boyd Schultz*
Colleen Dougherty
Laurie Sokoloff*
Darlene Dugan
Sydnee Stein*
Brian Dunbar
Nancy E. Toff*
Nancy M. Vinson* Claire Durand-Racamato*
Tabatha Easley*
SUPPORTER William J. Egnatoff*
($250–$499) Ellen Ramsey Flutes*
Frances Lapp Averitt* Emanuel Flutes LLC
Jackie Flowers* Connie & John Wachala* Ann Droste
Cynthia J. Folio* Susan Waller* Sophie Dufeutrelle
Carmen Freeman* Elizabeth Watson* Romina Echalar
Mariana Stratta Gariazzo Anne Welsbacher* Mary H. Emberley
Marianne Gedigian* Jean Ohlsson West Arthur J. Ephross
Susan Greenberg Anne Wharton Lisa Ann Fahlstrom
Penny Griffy* Carol Wincenc* Jill Felber
Lindsay Hager Alan Zaring* Flute Asylum
Courtenay Hardy* Laurel Zucker Julie Darling Frederick
Linda Hartig* Donna Lynn Gambino
John C. Heiss FRIEND Patricia Gambino*
Jill Heyboer* ($1–$99) Patricia George
Sarah L. Jackson Patti Adams Alvin Gibson
Gay Kahkonen Alison Addie Debbie Gilbert
Trudy Kane
Alexandra Aguirre Diane Gold-Toulson
Robert Katayama* Lori Akins Maximilian Goolsbey
Linda Kirkpatrick Adrienne Albert Lynne Green
Karl F. (Fritz) Kraber Eva Amsler Adrianne Greenbaum
Beth Kruper Francesca Anderson Karrie Griffiths
Joanne Lazzaro Claudia Anderson Gaile Griffore
Dorothy Tutt Lee Nancy Andrew Eileen Grycky
Harold Leinbach Marines Aviles Ann Gullion
Marlee Lindon Federico Baez Christine Gustafson
David Love*
John R. Bailey Timothy Hagen*
Danny Mattingly*
Laurie Baker Flavio Hamaoka
Thomas Mease*
Lindsay Baker* Patrice K. Hambelton*
Christopher B. Merritt
Jessica Banks Patricia Harper*
Catherine Miller
Mike Barbour Sally Ann Hart*
Linda Mintener*
Molly Alicia Barth Wilda M. Heiss*
Donna Moore
Diane Barton-Brown* Delia Helpingstine
Mary Beth Norris
Vicki Bell Kate Henry
Lisa Norton
Jennifer Bendelstein Ellen Hinkle
Nancy Nourse*
Laura Paarmann* Sandra Benke* Elizabeth Hodnett
Pamela Perkins-Dwyer* Patricia Bennett Jacqueline Hofto*
Irene Pruzan Laurie Benson Sarah Hollandsworth*
Judith A. Ranheim Gail Blackburn Judith von Hopf
Doris Underwood Reinhardt Kay K. Borkowski* Dawn Hoppe*
Aprell Robinson* Lisa Bost-Sandberg Wenxuan Hu
Steven Della Rocca* Wissam Boustany Ching-ya Huang*
Wendy H. Rolfe Margaret P. Bowles Al Hunter Jr.
Ginger (Virginia) Erika Boysen E. Morgan Jenkins
Rombach-Adams Sarah Brady Rose V. Johnson*
Geri Rotella Rotter Danielle R. Breisach Rebecca R. Johnson
Sue Rudholm Morgan M. Bresett-Brown Adah Toland Jones
Sandra Saathoff Ruth L. Brooks* Rhoddy (Rod) Jones
Naomi Seidman Catherine Bull Suzanne Bunker Jordheim
Helen Ann Shanley* Regan Burnham Stephanie Jutt
Angela Allen Sherzer* Jeanine Cariri Wendy Kaegy*
Mary DeLano Sholkovitz Ben Carlee Ellen Kaner
Sign of the Silver Birch Michelle Cheramy* Jonathan Keeble
Music* Rosa Chi Melissa Keeling
Debra Silvert Marilyn J. Chohaney Katherine Kemler
Patricia Spencer Deborah Coble Amalie C. Kempton*
Alexa Still* Carly Cohen Hannah Kim
Mimi Stillman Sheryl Cohen Wes Kimata
Cynthia R. Tate* Steven Couch Janice S. King
Rae P. Terpenning* Michael Cox* Allison Kobayashi
Judith & Mark Thomas Linda Cykert* Darla Korrey
Leslie Timmons* Susan M. Davis Wendy Webb Kumer
Phiroze Titina William R. Davis, Jr. Beth Kupsco
Joel Toste Karen B. Demsey* Phillip La Gro*
Keith Underwood Kendall Dinwiddie Kris Lamb
Peggy Vagts Christopher R. Dranchek Michelle LaPorte*

52 THE FLUTIST QUARTERLY WINTER 2019

NFAONLINE.ORG
Lindsay Leach-Sparks
Barbara Leibundguth
Harvey Leikind
Paul A. Scott
Phil Smallwood
Bryan Morgan Smith
NFA Endowment
James P. Leiter Lucille Snell
John Solum*
Wm. S. Haynes Co. Challenge
Jane Lenoir
Cecilia Leskowicz* Dianne Spitalny* In celebration of “125 Years of Exquisite Flutemaking,” the
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
Victoria Lupinek Antonina Styczen
Vicky Suarez
Annual Conventions. In addition, the Wm. S. Haynes Co. has
Myra Malamut
Cynthia Man* Patrice-Celeste Sweriduk joined with the NFA to sponsor a matching challenge to raise
Mancke GmbH Sue Swilley* an additional $125,000 in member donations to the NFA
Leslie Seid Margolis Natalie Syring General Endowment Fund by 2022. The General Endowment
Ann Jacqueline Martelle* Margit Tagliaferri
Catherine W. Tetreault* Fund enables the NFA to provide compelling new music
Megan McCafferty
Carolyn McCarty* Kevin Thomas commissions for the flute family, historical recordings
Katherine H. McClure* Caen Thomason-Redus and special publications for the flute, and funding
Barbara Thrasher of diverse scholarships and competitions.
Julie McDonald
David Tickton
Lorna McGhee
Henri Tournier
Karen McGill*
Olivia McKenna
Megan Trach*
Ariel Traver
$125,000
Audrey McPherson
Michael Treister
Corinne McVee
Katelynn Turney-Rudisill
Dorli McWayne
David Valderrama
Wendy Mehne
James Lee Vatter*
Kathy Melago
Mary V. Miller*
Janice Misurell-Mitchell
Rebecca J. Vega
Elizabeth Vergili
Susan Voges
$104,695.15
Caleb Mitchum Albert Vreeland
Ruth Ann Modic Nancy Wakkuri*
Nicole Molumby Carolyn Ward
Miriam Duell Moore Cornelia W. Watts
Christine Fish Moulton Kristin Webb
Muramatsu America
Robin Myers
Kristin Weinhoffer
Sarah Weisbrod $75,000
Patricia Nagle Arnie Wernick
Virginia Nanzetta Stephanie A. Wheeler
Merryl D. Newler Joyce A. Wilson
T. Richard Nichols Frederic Work*
Barbara J. Nicoletti David Wright*
Mary Ann Normark*
$50,000
Trevor Wye
Joyce Oakes Annette Zastrow
Julia Omarzu Yinzi Zhou
Deborah Sinacore Parker*
Marcy Parykaza *Donors to the NFA Endowment
Ann C. Pearce Wm. S Haynes Co. Challenge
Lydia Perry
The NFA ENDOWMENT FUND
$25,000
Cathy Pescevich Kreplin*
Mary Peterson is supported by the David Hart Fund,
Rolfe Pitts* the Frances Blaisdell Fund, the Myrna
Mary Planten-Krell* Brown Fund, and the Wm. S. Haynes
Amy Porter* Co. Challenge, among additional
Ronald Prechel sources. As of November 21, 2018,
Peggy Preusch the NFA Endowment stands at
Linda M. Prior* $1,836,691.79. Thank you!
Margaret Jane Radin*
Catherine Ramirez*
LEGACY CIRCLE/ $0
PLANNED GIFTS
Eugenio Ranevsky The NFA Legacy Circle honors indi-
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:
Brendan Victor Ryan
Sankyo Flutes For attributions for gifts made in honor
$104,695.15 (84%)
Lisa Schroeder or memory of someone, please visit
Virginia Schulze-Johnson* nfaonline.org/Giving/Contributors.aspx Amount to raise by 10.31.2022:
$20,304.85 (16%)
WINTER 2019 THE FLUTIST QUARTERLY 53
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Reviews Reviews of flute-related recordings,
books, and other items of interest
Books
Back to Basics
Anja Thomann, tran.
Spencer
©2017 Edition Walhall
Back to Basics: A Practice Book
for the Baroque Flute is a flexi-
ble practice book with an overt-
ly broad mission and scope. It
offers basic warm-up exercises;
reprints scale and arpeggio pat-
terns from Quantz, Corrette,
and Lusse; provides simple tone
and articulation development
exercises; gives a brief overview
of ornaments; and offers a spartan fingering chart. The book is
structured in a flexible way in which the practitioner is encour-
aged to choose starting points, key signatures, and articulations.
The Flutist’s Handbook
Robert Stallman
©2018 Carl Fischer
Robert Stallman might be the
most prolific flutist-publisher in
history. His works, which span
from much-beloved editions
and arrangements to pedagog-
ical methods, claim shelf space
in most flutists’ libraries. His
latest publication is both an in-
teresting collection and a win-
dow into Stallman’s own world
as a flutist and teacher.
Two sections comprise the entire book: articulation exer-
cises and vocalises transcribed into all keys. He opens with
the articulation exercises because, as he says in the preface, “a
clean attack is essential to producing a beautiful tone.” He also
enumerates the benefits of activating the embouchure muscles
and air stream for better playing throughout the day. The first
half of the book (whose subtitle is The Art of Staying in Shape)
is filled with these articulation exercises, all printed with a
range of tempi and labeled as being for either single tongu-
ing, double tonguing, or both (three specific triple-tonguing
exercises close this first half of the book). The sequences are
familiar enough, and he admits to adapting them from Bach,
Schubert, Dora, and others, but no citations are included be-
fore or after any exercise. They are all meant to be played at
both piano and forte dynamics.
The second half of the book is given to short melodies that
also are not attributed to anyone, but some may sound vaguely
54 THE FLUTIST QUARTERLY WINTER 2019
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Musical samples are printed clearly, and instructions are direct.
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
this outright, leading us directly to the source of most of these ex-
ercises: “Solfeggi Pour La Flute Traversiere avec l’enseignment Par
Monsr. Quantz.” Quantz provides melodies, scales, and arpeggios
beautifully written and appropriately chosen for every key. The
manuscript has been neatly written, and it is a pleasure to play.
Another important source for Thomann’s book is Quantz’s fa-
mous treaty on playing the Baroque flute. In it, one can find ex-
tensive and clear guidance for ornamentation and articulation.
Thomann’s other sources (i.e., Corrette and Lusse) also offer
wonderful guidance on how to play the Baroque flute.
Thomann’s modern approach to teaching the basics might
come across as simplistic, but it opens a window for discoveries
through research and practice from its own sources.
—Danilo Mezzadri
familiar. Strict instructions are given for tempi (always on the
slow side, for breath support), and the performer is advised not
to use any vibrato until the last note of each melody. Like the
24 articulation exercises, all 15 melodies are transcribed into all
12 keys, and while they are generally stepwise in the beginning,
they soon develop into wide-ranging exercises with challenging
leaps throughout. They are indeed a good study in use of air and
flexibility of embouchure.
I like this book. Both the articulation sequences and the mel-
odies are musically satisfying, and the idea of beginning with
articulation is intriguing. As I have been testing the book, it has
certainly made for some rough-sounding starts to my morn-
ings, but by the time I move on to the vocalises, I do sound and
feel stronger and more efficient in my playing. Stallman writes
that this book is meant for players of all levels, but I cannot
imagine being able to assign this book to a pre-college student
or adult hobbyist. For college students through to profession-
als, the exercises here offer a rigorous workout routine, though
some supplements might be called for.
What is missing in The Flutist’s Handbook is a printed course
of study—or any instructive writing at all beyond the preface. I
wonder how many exercises in each of the two sections I should
do, and what I should assign my students.
Perhaps Stallman would find this question pedantic and tell
me to discover this for myself, and that is reasonably easy to do
through trial and error in my own practice. But if I use these with
my college students, I think basic guidelines would help to keep
them from doing too much or too little when I can’t be there
to monitor their daily progress. Besides, what a treat it would
be to benefit from Robert Stallman’s teaching! We get a sense
of this from his preface and the mere writing and ordering of
these exercises, but I would appreciate a guiding hand as well,
and I imagine the result would also be a more consistent path
to success for those of us using his handbook. I also would like
to see some judicious pedagogical narrative and clear credits to
original composers in a future edition.
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
each of the pieces by Porter. The printed
collection includes the first 11 of Gaubert’s
pieces for flute and piano. The CD presents
his last five and most mature works—the
three sonatas, the Ballade and the Sona-
tine—taken directly from the DVD’s live
performances by Porter and Carey.
What makes this joint effort so distinct
is that it coordinates historical/theoretical
context, performance guidelines, printed
music, and actual performances under the
same roof, albeit with mixed results. The
central component of this three-part series
is the two-DVD set. Each of the works pre-
sented has been released previously by oth-
er publishers, generally as separate entities,
but not in such an integrated package.
The plan behind the DVDs is notewor-
thy. Penelope Fischer (whose doctoral
dissertation is devoted to Gaubert’s life
and contributions as a flutist, teacher,
conductor, and editor) suggests how each
work fits into Gaubert’s career, identifies
each dedicatee (e.g., a flutist colleague in
the opera orchestra), and offers a very
brief description of compositional struc-
ture, supplemented by views of pages
of the early French editions. Following
Fischer’s overview, Porter gives a few very
general guidelines on ways to approach
each piece. What follows, then, is a live
performance, as if in concert, with Porter
and Carey, her magnificent collaborator.
Porter’s playing, of course, is beautiful-
ly controlled and thoughtfully prepared.
Her performance of quintessentially
French music is clearly delivered with a
strong American accent. A French flutist
would have interpreted these works quite
differently. Listening to old recordings
of Gaubert’s performances, one hears his
But I can certainly recommend The Flutist’s Handbook: The Art
of Staying in Shape to anyone who is looking for a new way to
practice and is willing to experiment with what works for her.
— Nicole Riner
The Gaubert Cycle Ballade:
Philippe Gaubert, ed. Philippe Gaubert
Porter, Carey, Fischer Amy Porter
©2017 Equilibrium ©2018 Naxos
Recordings
preferences toward an elasticity of nuance
typical of that French tradition, which is
so foreign to American sensitivities. Nev-
ertheless, Porter’s playing is relaxed, ex-
tremely confident, clean, technically pure,
and tonally beautiful. In her remarks,
Porter emphasizes the importance of
changing colors according to the musical
context, certainly essential to the French
aesthetic and important to bring to light.
The execution of the DVD plan is
somewhat less than ideal because its in-
tended audience and purpose are unclear
and seem to overreach. If the DVDs’ main
audience is young flutists looking for in-
spiration, then Porter’s performances
certainly stand on their own, and simply
producing a two-CD set of all the works
would have sufficed. On the other hand,
if the main thrust of the video was to be
a performance guide, then Porter’s sug-
gestions could have benefited by offering
considerably more depth.
By apparently attempting to connect
with all audiences—music historians,
music lovers, less experienced flutists—
the video falls short. The young players
who will benefit by Porter’s very super-
ficial performance guidelines will not be
especially interested in Fischer’s remarks
about what keys are explored in the rep-
etitions of the theme or, indeed, whether
the work is in sonata form or a kind of
modified rondo. Each viewer will take
Treasures
Philippe Gaubert,
ed. Porter
©2018 Carl Fischer
from it what is sought, yet perhaps each
will yearn for more.
To confound the confusion, the 10-min-
ute segment of out-takes at the end of the
second DVD detracts significantly from
the impact of what precedes it. Who cares
if Porter had difficulty pronouncing the
name of a particular teacher? Does a video
need to include humorous/embarrassing
moments to be successful? Is it necessary to
show that the presenters are really just like
everyone else—mispronouncing names,
stumbling over cue cards, etc. Perhaps so—
if the bottom line is not about Gaubert.
The DVD set could have been stron-
ger if it had presented more of Gaubert’s
life, to help build a clearer view of why
he composed as he did. There is mention
of his musical influences and wide-rang-
ing career, but knowing more about this
would have given the viewer a keener in-
sight into who he really was. Why was he
looking backward, stylistically, in his lat-
er works, given how French composition
had changed so much by the mid-1930s?
His harmonic language was identifiably
his own; certain melodic and rhythmic
figures are consistent throughout his ca-
reer as a composer. Focusing more on
similar issues might have given even more
levels of understanding to the perfor-
mances that followed. Those final 10 min-
utes would have been better served using
the remaining disc time to address some
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of these gaps. In these ways, the DVD pro-
duction was a missed opportunity.
Philippe Gaubert: Treasures for Flute
and Piano provides the printed music
of the first 11 of Gaubert’s compositions
for these instruments in a single volume,
which is much appreciated. Comparing
the new edition with the fragments of the
early French editions shown in the DVDs,
one is struck by noticeable changes in
dynamics and articulation and even the
elimination of the few metronomic indi-
cations in the old editions. The original
editions sometimes indicated they were
applicable to “flute or violin” or even harp.
It would have been a nice touch to have
that bit of history included in the new
edition. Curiously, at the end of Porter’s
performance guideline for Divertissement
Grec, she remarks, “Enjoy playing this
piece alone or with a friend!” Alone? Her
edition of the work is for flute and piano.
(What she probably refers to is the French
edition that was shown in the DVD,
scored for two flutes and piano.)
Treasures has a wonderful portrait on
its high-gloss cover—of Porter. Why not
Gaubert? The very informative forward
to the collection was prepared by Porter
and Fischer and is followed by a full page
entitled, “About Amy Porter.” The last
paragraph is about Penelope Fischer, not
Porter. At the very least, Fischer deserves
her own heading!
Despite its shortcomings, the set of
DVDs, the CD drawn from the DVD
performances, and the new collection
serve to bring more attention to a body
of music that has remained somewhat
obscure. There are wonderful gems
in the printed edition that deserve a
place on recital programs, either as core
works or as delightful encores. Each has
grace and elegance. Gaubert’s warmth
of expression, his skill as a composer,
and his passion for the lyricism of the
flute are evident throughout. Porter’s
dynamic performances certainly should
inspire many to explore this charming
repertoire.
—Brooks de Wetter-Smith

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

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

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

56 THE FLUTIST QUARTERLY WINTER 2019

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CDs
lines overlapping in and out of sync with Hennings’s guitar.
Movements are short and to-the-point minimalist, sometimes
using only one- or two-note motifs. The form of the second
movement reminds us of Telemann’s Canonic Sonatas. The
use of harmonics—both flute and guitar—and muted guitar
and flute bends adds to the aboriginal atmosphere.
In contrast to previous tracks, the lyrical Shining River (2007)
by Shafer Mahoney is in a more traditional style with rich har-
monies. Elegantly played and pictorial, it evokes at times still
water, steady flow, and then unstoppable, increasing current.
Continuous flute lines are punctuated with droplets of guitar.
Chen Yi’s Three Bagatelles from China West (2014) show
Barth’s control and agility, while Henning impresses with energy
and vigor, particularly in the tension of the Dou Duo movement.
Flute soars freestyle above the guitar ostinato, then settles below.
There are flying and floating trilled melodic phrases on flute, off-
Living Music
Alice Dade
©2018 Naxos
Living Music says everything
essential about itself in its
very name: Its five composi-
tions—most of which have
never been recorded before
now—are all written by living
composers. More than that,
this recording is no dry recitation of notes and rhythms; Alice K.
Dade and her companions (violinists Scott Yoo and Erik Arvin-
der, violist Maurycy Banaszek, cellist Jonah Kim, double bassist
Susan Cahill, and pianists Noam Elkies and John Novacek) bring
the music to vibrant, glorious life.
The CD opens with Aaron Jay Kernis’ Air (1995) for flute and
string quartet. There is great tenderness in this piece, which owes
a debt to Copland with its open harmony and simple melodic
lines. The playing is stellar—Dade’s tone is sweet, clear, and col-
orful, and, in gorgeous moments between flute and violin, the
instrumentalists’ timbre and texture allow a blend so pure that
the listener simply falls into the sound. The currencies of conflict
in the piece are rhythm and texture, which keep things moving.
Michael Fine’s “Skipping Stones” (2013) is meant to evoke the
simplicity of childhood, and it’s easy to hear that in the music as the
players whirl from section to section, just as if a child were wander-
ing, her attention caught in any given moment by something new.
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Salt Lake City, Utah Dallas, Texas
August 1–4, 2019 August 6–9, 2020
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Convention Center
set with sometimes rhythmically stubborn complaints from the
guitar. Sinuous bending phrases, slides, octave displacements,
and note trails create an intriguing palette, such as Shakuha-
chi-like grace and technique in the flute.
Sonata (2015) by Jesse Jones is true to form and composition-
ally the most traditional work on the CD despite being the most
recently composed. There are hints of Hindemith as well as quick
shifting between tonal and percussive effects for both instru-
ments. The pointillistic Scherzoso splashes about, while Lento
relaxes with legato, limpid tone.
This collection of five compositions includes excellent liner
notes—and, according to the CD jacket, “Duo Damiana is fo-
cused on broadening the cutting-edge body of repertoire for
flute and guitar.”
Indeed it is.
—Craig Johnson and Thomas Godfrey
One of the best compositions on the CD is Noam Elkies’ E
Sonata (1996), originally composed for Baroque flutist Na’ama
Lion. The Baroque influence in the first movement is clear, as
flute and piano interact in ways that are very familiar to those
who have played the Bach flute sonatas. Modernness comes in
through the harmony, but it’s impossible to claim that harmonic
experimentation makes something less like Bach! The second
movement is daring and hilarious. The flute plays E. Dade
plays low E, high E, middle E, flutter-tongued E, E at different
dynamics…but always E. The third movement treads the line
between Baroque music and jazz and does it well—it’s hard
not to dance!
Jennifer Margaret Barker’s Na Tri Peathraichean (2000) and
Dan Coleman’s Pavanes and Symmetries (2000) round out the
recording. The Barker is meant to evoke ideas of three high-
land peaks with all their wild beauty, and Coleman’s work is
texturally one of the most interesting, including all manner of
rhythmic ostinato and gorgeous dissonance.
Dade’s playing is lovely throughout. Her strength, by far, is
that wonderful tone—flexible, light, and full of color, emotion,
and control. Still, don’t believe for one minute that her playing
is not world-class in every way. She has clean, crisp articulation,
and the listener gets the sense that no moment of her playing is
beneath her notice. She is sensitive enough to lead sometimes
and follow others, and the sense of collaboration with her fellow
players makes listening to Living Music a joy and a journey, full
of whimsy, melancholy and delight.
—Jessica Dunnavant
Washington, D.C. 50th Anniversary
August 12–15, 2021 Chicago, Illinois
Marriott Wardman August 11–14, 2022
Park Hilton Chicago
WINTER 2019 THE FLUTIST QUARTERLY 57
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CDs
La Solitude À Deux
Matteo Gemolo
©2018 Outhere Music France
The 12 Telemann fanta-
sies for solo flute and the
myriad duos he wrote for
two treble instruments of-
ten seem to be consigned
to students. Telemann is a
good starting point for in-
teraction with Baroque music; frequently, upon meeting a new
student, when I ask what Baroque music they’ve played, the dis-
missive answer is, “Oh, sure. I think I played some Telemann in
middle school.” I often think this is a sad state of affairs, because
Telemann’s music is both impossibly deep and incredibly clear.
He may not be as showy as Handel or as emotionally overwhelm-
ing as Bach, but his music is the music of a master.
La Solitude à Deux: Duos and Fantasias, featuring Matteo
Gemolo playing traverso and violinist Patrizio Germone, pro-
vides a glimpse into the catalog of works flutists and violinists
have from Telemann. As its title indicates, its program consists of
two solo flute Fantasias, two Fantasias for solo violin, and three
sonatas for two flutes or violins, all without bass.
Gemolo and Germone play this music extraordinarily well. All
the hallmarks of historically informed performance are there:
tasteful use of flattement (finger vibrato) over vibrato produced via
the airstream, improvised ornaments that show both creativity and
an understanding of the harmonic structure of each work, and more
subtle aspects of performance practice, such as varied note lengths,
space between the notes of wide intervals, and bits of inégal.
Gemolo begins the recording with “Fantasia in B Minor.” His
tone is pure and perfect, full of color and expression. He seems
to take the “fantasy” nature of the piece to heart, both here and in
the later Fantasia No. 1 in A Major. His interpretation is playfully
whimsical, and his ornaments are creatively virtuosic. Likewise,
Germone’s playing is expressive and compelling, and his execu-
tion of the music is clear and clean.
Throughout the recording, the players’ ensemble is strong.
They match note lengths and phrase shapes and, best of all, their
pitch is nearly perfect, which is quite a feat on reproduction
instruments. There are many moments in the duos where the
flute and violin blend so seamlessly that they sound a little like a
chamber organ!
Both players are expressive, and they use that expressiveness
to highlight the structural beauty of the music they’ve chosen.
Telemann’s cleverness is exposed in their playing, and the lis-
tener never misses the continuo that is not there; these works are
harmonically complete and structurally sound, and we can only
hope that Gemolo and Germone follow this wonderful record-
ing with another.
—Jessica Dunnavant

Music
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

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Music
Concerto in E Minor,
TWV 52:e1
Georg Philipp Telemann,
arr. Dombourian-Eby
©2018 Theodore Presser
Company
I first learned of this piece, adapted
by Zart Dombourian-Eby with pi-
ano reduction by Valerie Shields,
when Dombourian-Eby per-
formed it with chamber orches-
tra at the 2002 NFA Convention.
I loved the work so much that I
looked for a version of it with flute, piccolo, and piano reduction.
My search led me to a company that sells recorder music, and the
version I found, published by Moeck Verlag, is for sopranino re-
corder (which can be played on piccolo) and transverse flute (which
can be played on C flute).
I am thrilled with this new edition, which reflects the fact
that Dombourian-Eby is a piccolo specialist and knows the
idiosyncrasies of the instrument. In this Presser volume,
Dombourian-Eby gives the piccolo part the lower voice in
some areas, differing from the Moeck edition. She also has
added much-needed articulation. (The piano reductions are
very similar in both volumes.)
I highly recommend this new, piccolo-focused edition.
—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.
Etude five focuses on the 16th-eighth-
16th rhythmic pattern and slurring in
two note groups. The focus of etude six
is on trills.
The seventh etude focuses on playing
smoothly and reading in compound me-
ters. The eighth is my favorite, because it
is very dance-like. Number nine focuses
on 16th notes, playing smoothly with
slurred notes, and getting the correct
notes with accidentals.
Etude 10 focuses on odd meter time
signatures with the use of 5/4 and 7/8
and with groupings of notes into sextu-
plets and octuplets. The focus of etude 11
is on playing 16th notes correctly with
wide intervals at a fast speed. This is not
an easy task.
If you are looking for something differ-
ent than the Andersen etudes, Schocker’s
would be a good choice. If you are a teacher
and would like a break from teaching the
Andersen etudes, this would provide vari-
ety in your musical life. As the title implies,
these etudes are for advanced players.
—Ronda Benson Ford
Extreme Sports One-Sided
Gary Schocker Conversations
©2018 Theodore Presser Gary Schocker
©2018 Falls House
One-Sided Conversations
Gary Schocker’s One-Sided Conversations
includes three movements titled Have
a Nice Day, And Then She Said..., and
Coffee Shoptalk. Throughout the piece,
one flutist plays the motive and then the
other flutist plays the motive. This is the
one-sided part of the conversation.
At some points, the two flutes play the
same motive with the same rhythm. But
they play in harmony with each other,
as if two people are talking at the same
time.
The metric changes and accidentals
could be difficult for some high school
students. Schocker does explore the range
of the flute from middle C to high C.
Schocker features the word “coffee” in
the titles of at least three pieces that I
know of. I think he must enjoy coffee as
much as I enjoyed the piece.
—Ronda Benson Ford
Odd Bedfellows
Gary Schocker
©2018 Theodore Presser
Odd Bedfellows
The movements in this delightful work
for flute and tuba (or bassoon) are At the
Hippo Watering Hole, Among the Pine
Barrens, In and Out the Window, and Un-
der the Big Top. It is always nice to have
new repertoire for this instrumentation.
(As one would expect, the bassoon/tuba
part is mostly accompanimental, and the
flute contains the melody.)
The second movement highlights the
bassoon’s tenor range, which includes
the notes middle C and above. The third
movement highlights the bass range of the
bassoon, an easier range for a bassoonist
to play in. Because of some awkward fin-
gerings, the fourth movement is difficult
on bassoon.
I highly recommend this piece. Audienc-
es will especially love the last movement,
which is reminiscent of a circus march.
—Ronda Benson Ford

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Music
Duettino on American
National Songs, op. 37
Franz Doppler, ed. Jutt
©2017 International Music
This recent release of an old fa-
vorite certainly won’t disappoint
Doppler fans. Written for flute,
violin, and piano, Duettino is
reminiscent of his other duos, in-
cluding the popular Andante and
Rondo, op. 25. Full of mirthful
bravura, this piece is fun to play
and sure to please audiences.
Duettino is a through-composed medley of tunes from the
Gilbert and Sullivan
Arias
Arr. David Overton
©2017 Southern Music Company
David Overton’s arrangement
of Gilbert and Sullivan Arias for
flute and piano was written for
Sir James Galway’s publication,
Golden Flute Series, a three-vol-
ume set of Gilbert and Sullivan
arias in various (flute-centric)
instrumental arrangements.
(This volume features arrange-
ments for flute and piano; the
other two are for two flutes and piano and for flute choir.) Early
in his illustrious career, Galway played Gilbert and Sullivan arias
with the Sadler’s Wells Opera orchestra and subsequently devel-
oped a fondness for these charming arias. He asked Overton, his
esteemed colleague, to arrange them for these three books.
Une flûte itinérante
(with CD)
Jacques Lesburguères
©2017 Editions Lemoine
Une flûte itinérante is a collection
of short solos with electronic
accompaniment provided as
a CD by the publisher. The
contents are “Devil’s Dance,”
“Marine,” “Fleur de Jasmin,”
“African Jingle,” “Rue Mont-
martre,” and “Noel au Balkan.”
The accompanying CD has two
versions of each song, one with
a flutist playing the solo line as demonstration and one with
accompaniment only to be used in live performances. (At least,
I think that is the purpose.)
60 THE FLUTIST QUARTERLY WINTER 2019
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U.S.: “Hail Columbia,” “The Star-Spangled Banner,” “Boatman
Dance,” and a grand finale fanfare of “Yankee Doodle.”
This edition, edited by Stephanie Jutt and Carmit Zori, is near-
ly identical to a typeset edition by Johann André that is available
at imslp.org. It varies slightly in its dynamic markings and offers
some clarity in articulations and beaming within the beat. While
the older edition lacks consistency in its indication of the medley’s
song titles, the Jutt/Zori edition includes the titles in all parts.
This edition is clear, easy to read, and available in the U.S.
through various retailors. It bears mention that an optional sec-
ond flute part is available in András Adjorán’s edition of this
work, which was published by Gérard Billaudot (Paris, 1980).
The availability of this part allows the option of two flutes and
piano or the original instrumentation of flute, violin, and piano.
—Julie Koidin
This volume includes four arias from The Mikado (“A Wand’ring
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
of Sparkling Eyes” and “When a Merry Maiden Marries”), and one
aria from The Pirates of Penzance (“Poor Wand’ring One”). These
pleasing, catchy, humorous melodies make an excellent choice for a
lighter segment of a flute program. A student could create her own
group of arias from the given seven in the book or could also play
one alone, even as an encore. The flute tessitura is mainly first and
second octaves, and flutists ranging from advanced intermediate
student to professional could program these arias.
There are many clearly marked tempo changes, dynamic inflec-
tions, varied articulations, and suggested metronome speeds. The
print is extremely clear with well-considered page turns. The piano
part has varied textures and is not overly difficult. It features devices
such as rolled chords for a ballad or folk-like effect, bouncy shorter
notes conveying a dance mood, and long, expressively slurred lines.
I highly recommend this new arrangement for flute and piano
by David Overton.
—Andrea Kapell Loewy
Whenever I receive an item to review, as a teacher and as a
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
recital? In sum, to whom am I recommending this work?
This is a puzzle I have not yet worked out with Une flûte
itinérante. The recorded accompaniments are wonderfully rhyth-
mical and straightforward, making them easy starting pieces for
those interested in delving into the world of flute and fixed me-
dia pieces. Cues for important moments in the CD are written
into the flute part.
The solos are generally playable by high school students
(perhaps grades 10 and up), with a couple of exceptions: the
opening material to “Devil’s Dance” is very free and therefore
more challenging to coordinate with the recording, and “Noel
au Balkan” is written in mixed meter (8/8, 7/8, 5/8, 3/4, and
2/4), which may be quite difficult for a high school student to
keep accurate and coordinate with the recording, especially
considering the fast tempo. So most of the book would be a
Music
real treat for a high school student, both in terms of the exoti-
cism of these charming tunes and the opportunity to perform
with electronic background. But these two solos might be ne-
glected by many because they require a higher level of skill
than the rest.
Now to the music itself. The solos are charming, albeit a
bit simplistic. Jacques Lesburguères takes a rather superficial
approach to altering harmonies and employing non-Western
sounds in the accompaniment CD. In this regard, he is following
in the tradition of those 19th- and early 20th-century composers
who sprinkled their otherwise very French music with exotic
elements to evoke faraway lands their audience members would
most likely never visit.
The electronic sounds on the accompanying CD are generally
of low quality and remind one of the keyboard sounds in pop
Serenity
Eugene Magalif
©2017 Forton Music
Composer, pianist, and organ-
ist Eugene Magalif first gained
recognition for his pop songs
and music for children in his
home country of Belarus. Since
relocating to the United States
in 1990, Magalif has composed
numerous works ranging from
symphonic suites and cantatas
to concertos and has featured
the flute in more than a dozen
of them. Composed in 2012–2013, Magalif ’s “Serenity” for flute,
clarinet, and piano or harp was published in 2017. While the orig-
inal version is presumably for flute and piano, several instrumen-
tations of this charming work exist; additional versions featuring
the flute include arrangements for flute paired with harp, orchestra
Four Joplin Rags
Scott Joplin,
arr. Gilliland
©2017 Theodore Presser
David Gilliland’s arrangement
of Scott Joplin works (“The
Easy Winner,” “The Entertainer,”
“Palm Leaf Rag,” and “The
Cascades”) is a delightful ad-
dition to the repertoire for
two flutes and piano. It is sure
to be a recital crowd pleaser,
since Joplin’s compositional
style creates such a wonderful
sense of humor and fun.
The parts are very easy to read with excellent dynamic, tempo,
music I recall from the 1980s. Sounds meant to be sitar, gongs,
etc., are unrealistic and lack depth.
Still, I do find this collection intriguing. I cannot imagine any
of these being performed on a serious recital, but as a bit of variety
on a casual studio recital for junior high and high school students,
it would be a novelty. And the mere act of practicing regularly with
the CD could certainly strengthen a student’s sense of pulse and
rhythm, particularly if that student is not also participating in
a regular ensemble at school. I could see using this book with
young high school students in my studio who need a break from
the standard repertoire or an extra set of stimuli to be inspired to
practice. I’m not sure if that is the composer’s intention, but this
would be my recommendation, if you are looking for something
different for your teaching library.
— Nicole Riner
and piano, cello and harp, cello and piano, and viola and harp.
Self-described as “a combination of classical and pop-music”
in style, Magalif ’s influences are apparent in his ballad-like ap-
proach to “Serenity.” After introducing the sentimental main
melody in the flute, this serene and smooth main theme repeats
and develops in a conversation between the two instruments.
Short phrases, rhythmic clarity, a moderate tempo, and minimal
accidentals make this work an excellent first foray into chamber
music for students. While the flute part ranges from A1 to B3,
the majority of the flute and clarinet writing falls within the mid-
dle register of the instruments.
Both the score and parts are easy to read, and dynamics and ac-
cidentals are clearly notated. While no program information is pro-
vided, the edition is thoughtfully laid out to avoid page turns within
the parts, and the two-page parts are printed in a single booklet.
Approximately four minutes in length, this work would make
an excellent light and lyrical addition to a recital program. While
appropriate for high school flutists, “Serenity” could be enjoyed
by more advanced performers as well.
—Shelley Martinson
articulation, and other expressive markings. The tessitura is
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-
listically appropriate articulated patterns. Special effects such
as an indication for use of a wide vibrato in the flute parts, sfz
and other expressive markings, and varied dynamics at repeats
are all clearly marked.
The flute performance level is advanced intermediate through
professional. The tempi are quick, and the extensive use of syn-
copation would be a challenge for the younger age group but
would be possible with concentrated practice, preferably with a
coach. One of these rags could be performed as an encore, or the
entire set could be performed as a suite.
I really cannot wait to try out this new arrangement with my
college flute students. It looks as if the movements will be a lot of
fun and a welcome new addition to our repertoire.
—Andrea Kapell Loewy
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Music
7 European Salon Pieces
Wilhelm Popp, ed.
Weinzierl and Wächter
©2017 Schott
According to Wikipedia, nation-
alism in music emerged early in
the 19th century in connection
with political independence
movements and was character-
ized by an emphasis on nation-
al musical elements such as the
use of folk songs, folk dances, or
folk rhythms; or the adoption of
nationalist subjects for operas, symphonic poems, or other forms
Romantic Hits
Arr. Weinzierl
and Wächter
©2017 Bärenreiter-Verlag
I recommend this very attrac-
tively printed volume of flute
duets arranged by Elisabeth
Weinzierl and Edmund Wachter,
two well-known German flutists
and pedagogues who perform
together as the Munich Flute
Duo. These pleasing 19 short
duets were taken from melodies
and arias of the Romantic era, a
period considered the flute’s golden age. In the preface, the editors
state, “We have remained as faithful as possible to the musical texts
of the originals, in some cases transposing them to accommodate
the range of the Böhm flute commonly in use today.”
Madama Butterfly Suite
Giacomo Puccini,
arr. Louke
©2017 Falls House Press
Phyllis Avidon Louke has done
a wonderful job with this new
arrangement for flute quartet
or flute choir of the vocal parts
of Madama Butterfly by Gioco-
mo Puccini. This arrangement
was commissioned by and ded-
icated to Mara Goosman and
the Butterfly Headjoint Com-
pany—the latter particularly
apt given the name of the opera.
The suite’s three sections are “Entrance of Butterfly,” “Un bel
di veremo (One Fine Day We’ll See),” and “Humming Chorus.”
The arrangement allows convenient flexibility of ensemble in-
strumentation. One performance model is for flute quartet with
62 THE FLUTIST QUARTERLY WINTER 2019
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of music. This edition features works by Wilhelm Popp that are
clearly linked to different European countries, and its editors spe-
cifically chose pieces that are easily playable. The passages are all
idiomatic on the flute, because Popp was a flutist and he knew how
to write for the flute.
“Hungarian Dance” reminds me of Schubert’s famous Six
moments musicaux. I also especially enjoyed playing “Spanish
Dance.”
These absolutely delightful pieces can be played by an inter-
mediate-level high school student. The countries represented
include Serbia, Italy, Spain, Sweden, Russia, Hungary, and Ger-
many. This collection would be a great choice for programming
a concert needing to represent several countries that can be
learned quickly. I highly recommend it.
—Ronda Benson Ford
The composers of the duets are the esteemed flutists and com-
poser-arrangers of the 19th century: Tulou, Barge, Kaspar, Gari-
boldi, Galli, and Kohler. These duets were already arranged for
two flutes by the above composers; the two contemporary editors
have made them more playable and appropriate for our contem-
porary flute.
I found the duets to be very well suited for advanced interme-
diate flute students. There is a variety of melodic ideas and styles
because the works are taken from both arias and well-known
melodies of instrumental works. Pieces include Schubert’s aria,
“Das Fischermadchen” and arrangements of Mendelssohn’s
“Song without Words,” op. 102/6, and Beethoven’s “Ode to Joy”
from the Symphony No. 9.
This book of wonderfully constructed flute duets would make
an excellent addition to the lesson and recital repertoire of the
intermediate flute student and would serve to help the develop-
ing instrumentalist with ensemble issues such as pith, tonality,
dynamics, and rhythmic consistency.
—Andrea Kapell Loewy
one player on a part, in which case bass flute or alto flute could
be played instead of flute 4. Another performance option is a
full flute choir with doubled parts. In this latter case, the larger
instruments of the flute family could be added for extra sonority.
The individual parts and score are extremely well laid out with
clear print, rehearsal letters and measure numbers, expressive
dynamics, and articulation markings. Each movement is also
given a general metronome tempo marking.
This arrangement would be ideal for many levels of flute choir
performers. Younger players could even perform the suite: The
technique required is not that hard, yet the students would
have plenty to work on in terms of tonal ensemble, intonation,
and rhythm. Advanced students and professional choirs could
also perform this suite in recital as a very attractive and color-
ful character piece.
The dynamic, articulation, and tempo markings are very specif-
ic, and the composition provides excellent melodic and harmonic
material for work toward a truly accomplished performance.
I recommend Louke’s Madama Butterfly Suite very highly.
—Andrea Kapell Loewy
Music
Klezmer Flute Duets
Michael Lösch
©2017 Universal Edition
Michael Lösch’s Klezmer Du-
ets is a varied collection of the
highly energetic and the deeply
introspective, spanning across
centuries with arrangements of
traditional tunes as well as five
of his own Klezmer-inspired
compositions. Lösch has also
notated suggested ornaments
in his arrangements.
Traditional Klezmer songs in this collection include “Mazel
Bühne Frei! Duos 1
Ed. Fereshteh Rahbari
©2017 Universal Edition
As someone who primarily
teaches pre-college flute stu-
dents, I consider myself a con-
noisseur of duet books, and I
own and use a variety of them
on a regular basis. Many of those
volumes include the same music
with small variations. It’s com-
forting to have many versions of
good repertoire, but more than
once, I have found myself paw-
ing through the duet bin at a festival, hoping to find something
that is new to me and challenging in a fun way for my students,
with extra bonus points if the page turns aren’t terrible.
Universal’s new volume of duets, Bühne Frei! (Curtain Up!),
meets every one of those qualifications. Subtitled 25 Easy to
Middle-grade Duets from the Last Four Centuries, this book
contains lesser-known works by well-known composers, in-
Waltz of the Wolves
Wil Offermans
©2015 Musikverlag Zimmerman
In “Waltz of the Wolves,” Wil
Offermans has written a clever
and humorous duet appropriate
for advanced students looking
to begin exploring the world of
extended techniques. Timbral
trills and a “howl” (in which
the performer covers the em-
bouchure hole with the mouth
and howls into the headjoint)
imitate wintry winds and the
wolves outside, respectively, and are easy to execute. This piece
Tov,” “Oyfn Veg Shteyt a Boym,” “Klezmeron,” and “L’Chaim.”
In total, there are 13 duets, all of which engage both flutists
equally. They would prove somewhat technically challeng-
ing—and quite rhythmically challenging—for advanced high
school or early college students, but they are also entirely
enjoyable to play as a professional. Harmonies are generally
tight, with a lot of the parts written in thirds and fourths to
each other, and the overall range of the book spans from C1
to G3. Everything lays well under the fingers and has been
intelligently arranged for two C flutes.
These duets may not make it onto many recital programs,
but as gig music, challenging sight-reading material in lessons,
or just for the pure pleasure of playing with another, Michael
Lösch’s Klezmer Duets is a lovely volume to have on the shelf.
—Nicole Riner
cluding Boismortier, Devienne, Berbiguier, and Köhler along
with works by Bartok, Haydn, Handel, and Rossini. The book
is organized both geographically and chronologically; French
music from Boismortier through Blavet to Berbiguier precedes
music from Germanic composers. I find this organization to be
useful when teaching students about why exactly Blavet, who
wrote so much lovely music of his own devising, would arrange
parts of a Rameau opera for two flutes. The Bartok duos in this
edition are arrangements from his duos for violins, and they pro-
vide a wonderful contrast of texture and sonority to the largely
tonal and traditionally structured works from earlier times.
Physically, Curtain Up! is a beautiful book with a glossy, col-
orful cover and thick, smooth paper within. The scores are large,
evenly spaced, and therefore easy to read, and there is not one
place in the book where it is necessary to turn the page in the
middle of a section.
I read these duets with several of my students, ranging in
age from a 14-year-old high school freshman to an under-
graduate music minor and an adult who simply likes to study
flute. They all enjoyed reading from it and asked me to make
sure to bring it back!
—Jessica Dunnavant
was commissioned by the Netherlands Flute Academy for its
founding faculty, Suzanne Wolff and Emily Beynon.
Parts are evenly traded so that both flutists play everything
that has been written, from the slinky waltz melody at the top of
the staff to the “oompah” part written into the low register. The
range spans from low C to third octave A. There is some very
manageable mixed meter (6/8 to 4/4, maintaining the eighth
note) and one tempo change in the middle. Offermans employs
good tone painting in both his melodic writing and his use of
minimal extended techniques, and the howling sound is sure to
get a chuckle out of an audience.
A sight-readable treat for a professional recital or a fun
challenge for a pre-college student, “Waltz of the Wolves” is
utterly charming, and I highly recommend it as an addition to
your library.
— Nicole Riner
WINTER 2019 THE FLUTIST QUARTERLY 63
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ITEMS RECEIVED
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
Woodwired
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

64 THE FLUTIST QUARTERLY WINTER 2019

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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

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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
Lemoine
Zimmermann ©2018 Theodore Presser
Treasures
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
ESSENTIAL GUIDES for SCHOOL
and ORCHESTRAL AUDITIONS

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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

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WHAT HAS BEING A FLUTIST MEANT TO YOU?
W
hat does it mean to be a mu-
sician? Is it just about practic-
ing, studying the scores, and
performing to an audience in the dark? Is
it a selfish act of focusing on ourselves and
our music? No, and what a lonely life that
would be if that were the case. As flutists
in all stages of our musical lives, we know
that being a musician is also about com-
munity. Friendships. Collaborations. It’s
about making magic and connecting to
others through our gifts.
Musicians are family. No matter where
we are in life and in the world, when we
meet another musician, we instantly feel
a kinship to them. We rejoice that they
speak our language. We feel a little hap-
pier and much less alone. The same goes
with being a flutist. Have you ever discov-
ered that someone used to play the flute
and instantly cracked a smile? There is a
joy in being a flutist, and a large part of
that is belonging to a community that un-
derstands what being a flutist is all about.
68 THE FLUTIST QUARTERLY WINTER 2019
NFAONLINE.ORG
From the
Development Committee Chair
Those are some of the many reasons
that the NFA is an invaluable organi-
zation to us all. Whether we attend the
conventions or access the NFA’s wealth
of resources online from home, we all be-
long to this incredible community of flut-
ists worldwide that provides the support,
knowledge, encouragement, and camara-
derie we so desperately need to thrive as
musicians and human beings. The NFA
is our home base, and we know that we’ll
always belong here.
As the holiday season approaches, I
encourage you to think back on your
memories of being a flutist and an NFA
member. What has being a flutist meant
to you? What value has the NFA added to
your life?
If you’re like me and so many of my flutist
friends, I know that you’ll have fond mem-
ories of belonging to the NFA. And if that
is the case for you, I also encourage you to
give back to the NFA through your time, tal-
ent, and treasure. Volunteering a few hours a
week or at the convention can make a differ-
ence, and donating what you can—whether
that’s $10 or $1,000—will help to keep the
NFA thriving for years to come.
If you’re interested in volunteering or
lending us your expertise, please contact
our Committees Liaison, Tabatha Easley,
at tpeters@vcu.edu.
If you would like to make a donation
to help us expand our programming and
educational opportunities, please donate
online at nfaonline.org or contact me di-
rectly at marceladefaria@gmail.com. Gifts
of all sizes really make a difference—imag-
ine what we could accomplish if every NFA
member made a contribution! Our collec-
tive impact would be transformative.
Thanks for being part of our wonder-
ful NFA family, and please consider giving
back to the community that has given so
much to you. That’s part of what being a
musician is all about.
—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

To Celebrate our Fifty Years,
we offer a very special hand
engraved Maesta 14k Gold
50th Anniversary Model.
Maesta
Let it Play Your Heart.
Grammy Award winning artist Rhonda Larson has enchanted
audiences around the globe with her World Fusion compositions.
An innovative performer, in demand teacher, author and prolific
recording artist, Maesta Gold has been her constant companion.
Find your muse in Maesta and let the world hear your heart sing.
pearlflutes.com

Rebecca Johnson
47th Annual National Flute Association Convention
Salt Lake City, Utah
August 1-4, 2019
W
e are in the midst of the plan-
ning process for next year’s
convention in Salt Lake City,
Utah. The mountains are gorgeous, the
city is clean, and the air is fresh. You’ll
have this refreshing experience each day
when you walk across the street from
your hotel to the Salt Palace Convention
Center, where we will celebrate and make
music for our annual four-day event. Be-
fore the site visit for the convention, ev-
eryone who knew the city told us that it
was a fantastic setting for a convention,
but it was difficult to fully appreciate the
beauty until we were on the ground and
could feel the mountains nearby.
Our theme for this year, “Transform-
ing Artistry,” is meant to celebrate art-
istry in all of its forms. We each channel
our creative energy in different ways,
bringing our inspired spirit to music
and the flute. We hope our program will
appreciate the skill and beauty found
in high-level performance, honor the
legacy of artistry passed to us from our
teachers, and revitalize the connections
among us all as collaborators, artists,
and musicians.
70 THE FLUTIST QUARTERLY WINTER 2019
NFAONLINE.ORG
From the
2019 Convention Program Chair
For this year’s Lifetime Achievement
Awards, we will honor Susan Milan and
Emerson DeFord. Milan was the first
female principal flutist of a major or-
chestra and is currently teaching at the
Royal Northern College of Music in
Manchester, England. She has been in-
fluential for many years, both through
her numerous recordings and years of
inspiring teaching. Emerson DeFord is
a flute industry pioneer who influenced
many of today’s artisan flute makers. We
look forward to tribute events in honor
of both recipients as well as the annual
gala awards dinner.
This year’s convention will include 17
competitions, including the NFA’s origi-
nal Low Flutes Competition. This is also
a year for the Jazz Flute Big Band and
Jazz Masterclass competitions, the Myr-
na Brown International Soloist Compe-
tition, and the Piccolo Orchestral Audi-
tion and Masterclass Competition.
Annual competitions—such as the
Orchestral Audition and Masterclass
Competition, the Young Artist Com-
petition, the High School Soloist Com-
petition, and auditioned flute choirs
for all levels—are open and ready for
your applications. Flute choir conduc-
tors will include John Bailey, Cassandra
Eisenreich, Nicole Molumby, Phyllis
Louke, and Richard Prior.
Masterclass teachers for the winners
of the Masterclass Performers Com-
petition will be Lifetime Achievement
Award recipient Susan Milan and new
professor at Juilliard’s Tianjin campus
Gergely Ittéz. We hope eligible members
will enter these competitions and learn
from the preparation process.
We feel honored to have the opportu-
nity to create this exciting event and plan
to have amazing programming for each
of you, no matter where your interests
lie. Make your plans to join us in Salt
Lake City for beautiful vistas and inspi-
rational music making.
—Rebecca Johnson
2019 Program Chair
rebecca.johnson.nfa@gmail.com
—Kate Henry
2019 Assistant Program Chair
kate.henry.nfa@gmail.com
SOUND YOUR BEST.

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

NFA OFFICE 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 lbfluteman@verizon.net mgariazzo@tamu.edu lsokoloff@comcast.net dunnell@nwmissouri.edu
312-332-6682
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) jraposo@iue.edu carlosfeller@yahoo.com
Kelly Jocius jborja@uwlax.edu marceladefaria@gmail.com
Orchestral Audition
kjocius@nfaonline.org Special Publications
Gala Awards Dinner Chair Masterclass
Endowment John Bailey (2019)
Wendy Mehne (2020) Martha Long (2021)
Convention Director Zart Dombourian-Eby (2020) jbailey1@unl.edu
wmehne@aol.com marthaclong@gmail.com
Kris Mayo ebydombourian@aol.com
kmayo@nfaonline.org World Music Piccolo Artist
Local Arrangements Chair Jessica Valiente (2019)
50th Anniversary Zachariah Galatis (2019)
Sally Humphreys
Marketing and Catherine Miller jessicalynnevaliente@ zach.galatis@gmail.com
sallyhumphreys@me.com
Development Associate cmiller829@gmail.com gmail.com
Kate Blair Professional Flute Choir
Myrna Brown Dine-Around
kblair@nfaonline.org Finance Youth Engagement Shauna Thompson (2019)
Coordinator
Maury Wilkinson (2021) Timothy Hagen (2022) shauna.thompson@tcu.edu
Elizabeth Robinson (2020)
Membership Manager robinsonflute@gmail.com mwilkinson@pobox.com tim@timothyhagen.com
Victoria Pampe Young Artist
vpampe@nfaonline.org Myrna Brown International Flute Clubs COMPETITION Daniel Velasco (2022)
Scholarship Coordinator Kelly Sulick (2021) COORDINATORS danielvelascoaf@gmail.com
Publications Director Erika Boysen (2021) ksulick@gmail.com General Coordinator
Anne Welsbacher Pamela Youngblood (2019) ARCHIVES
erikaboysen@gmail.com
661-313-8274 Historical Flutes pyoungblood@twu.edu AND LIBRARY
awelsbacher@nfaonline.org Program Book Bios Editor Barbara Hopkins (2021) Archivist/Historian
hopkins@barbarahopkins.com Baroque Flute Artist Nancy Toff
Lisa Van Dusen
Publications and Online Leela Breithaupt (2021) nancy.toff@oup.com
lvandusen1@gmail.com
Advertising Representative International Liaison leela.breithaupt@gmail.com
NFA Librarian
Glenn Karaban Stage Manager Carla Rees (2019)
Michelle Monroe-Menjugas
Karaban Media Services, Inc. Paula Gudmundson crees@nfaonline.org Collegiate Flute Choir
NFA Music Library
212-840-0660 gudmu020@d.umn.edu Deanna Little (2020)
monroem@u.library.
advertising@nfaonline.org Jazz deanna.little@mtsu.edu arizona.edu
Volunteer Coordinators Sarpay Özçağatay (2021)
Web Consultant Townes Osborn Miller sharpeyemusicpro@ Convention Performers NFA Library Liaison
Brian Covington Margaret Haik gmail.com Jennie Oh Brown (2022) Brian Luce (2022)
brian@covingtondesign.com volunteercoordinator@ jen.brown420@gmail.com brian@brianluce.com
nfaonline.org Low Flutes
CONVENTION   Paige Dashner Long (2022) C.R.E.A.T.E. Project OTHER
Program Chair 2020 Program Chair contraflute@gmail.com Michelle Stanley (2022) APPOINTMENTS
Rebecca Johnson Jennifer Grim michelle.battystanley@ Committees Liaison
rebecca.johnson.nfa@ nfapc2020@gmail.com Membership gmail.com Tabatha Easley (2022)
gmail.com Katherine Isbill Emeneth (2019) tapeters@vcu.edu
2020 Assistant
katherine@emeneth.com Flute Choir Composition
Program Chair Flute Events Reporter
Assistant Program Chair Debbie Gilbert (2019)
Vanessa Fourla Emlyn Johnson (2022)
Kate Henry New Music Advisory jdgilbert99@gmail.com
nfaapc2020@gmail.com emlynjohnson@gmail.com
kate.henry.nfa@gmail.com Sarah Brady (2022)
sbrady@ Graduate Research
COMMITTEE CHAIRS Instrument Notice
Opening Flute Orchestra bostonconservatory.edu Julie Hobbs (2021)
Adult Flutist and Amateur Coordinator
Coordinator julie.hobbs@uky.edu
Resources Ashley Shank (2020)
Kathy Farmer Nominating
Barbra Fairman (2020) ashleyshankflute@gmail.com
kathyfarmer@mindspring.com Penny Zent (2020) High School Flute Choir
iloveaparade2@aol.com
p-zent@tamu.edu Dan Parasky (2019)
Jobs Editor
Equipment Manager Archives and Oral History dan.parasky@gmail.com
Julee Kim Walker (2022)
Kimberlee Goodman Meg Griffith (2021) Past President’s Council
jobs@nfaonline.org
equipmentmanager@ meggriffith777@gmail.com Katherine Borst Jones (2019) High School Soloist
nfaonline.org kborstjones@gmail.com John Lane (2019) Legal Advisors to the Board
Career and Artistic flutejpl@gmail.com Linda Mintener
Exhibitors Concert and Development Pedagogy lmintener@aol.com
Showcase Coordinator Shelley Martinson (2020) Cassandra Eisenreich (2021) Jazz Artist
Danielle Breisach (2022) shelley.martinson@ cassandra.eisenreich@ Ernesto Fernandez (2019) Karen Wolfgang-Swanson
danielle.breisach@gmail.com swosu.edu gmail.com efernandezmusic@gmail.com kwolfgangswanson@gmail.com

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)
maria.f.guglielmina@gmail.com p-zent@tamu.edu angela@musicstrong.com dominiquejazz@yahoo.com lishlindsey@gmail.com

72 THE FLUTIST QUARTERLY WINTER 2019

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

G I ST R ATION
RE PEN!
NOW O

19-28 JULY 2019

WEGGIS, SWITZERLAND

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
Receipt of The Flutist Quarterly is a benefit of membership in the National Flute
Association, Inc. Subscriptions are available to libraries and institutions at a charge
of $75 per year. Personal subscriptions are not available.
ADDRESS CORRECTIONS
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);
vpampe@nfaonline.org. The NFA will be responsible for one missed magazine in the
event an address change crosses in the mail. Missed issues due to bad addresses are
available for purchase through the membership manager.
BACK ISSUES
Members and nonmembers may purchase back issues of The Flutist Quarterly
through the NFA Store at nfaonline.org/NFA-store.
articles (see above) and news about member achievements are encouraged and
may be sent at any time for consideration. Submissions to Across the Miles and
Notes from Around the World should be sent to those departments’ editors at
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.
Please send all editorial submissions except Across the Miles and Notes from
Around the World to:
Anne Welsbacher
661-313-8274
awelsbacher@nfaonline.org
See text in the departments noted above for submission and address information.
Please send all physical items for review consideration to:

EDITORIAL GUIDELINES Attention: Reviews

Please visit nfaonline.org 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 nfaonline.org in the “Publications” sec-
are encouraged; send files or queries to awelsbacher@nfaonline.org. 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 advertising@nfaonline.org
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

76 THE FLUTIST QUARTERLY WINTER 2019

NFAONLINE.ORG
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WINTER 2019 THE FLUTIST QUARTERLY 77

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MURAMATSU
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