Winter 2019 - Volume XXII, Issue 2
Making Goals, Inspiring Students
An afternoon with teacher, performer, and scholar, Dr. Kyle Dzapo
By Stephanie Lupo
I
mmediate Past President of the National Flute
Association and Professor of Flute at Bradley
University in Peoria, Dr.
Kyle Dzapo, will offer a recit-
al and masterclass on March
3, 2019. The masterclass will
feature compositions by Joa-
chim Andersen.
In anticipation of the CFC
event, I had the opportunity to
spend an afternoon with Dr.
Dzapo discussing etudes, the
joys of teaching, and her cur-
rent projects. Having studied
with her, I appreciated being
reunited and was encouraged
again by her genuine excite-
ment and passion for music. She models the im-
portance of dedication and hard work to her students
by arriving daily at 7:00 a.m., the opening time of the
Bradley University music building, to practice. After
completing her first practice session of the day, she
makes a cup of tea and begins working on an upcom-
ing talk or editing her next Andersen publication un-
til her first student arrives.
Andersen Scholar
Since completing her doctoral thesis at Northwest-
ern University, Dr. Dzapo has been the leading expert
on Joachim Andersen’s life, etudes, and works for
flute and piano. She has published a book, a CD, and
new editions of his music, and travels world-wide
performing, teaching, and presenting lecture-recitals
featuring his compositions. She has reflected on this
work by saying, “You never know when one project
will lead to another.”
After catching up, we began discuss-
ing her Andersen research, and her en-
thusiasm was immediately apparent. She
has devoted some of her recent practice
to reviewing all 188 etudes. She is work-
ing through them by key signature, rather
than by opus, allowing for a mixture in
levels of difficulty. “They are really
beautiful pieces. They show his mastery
of harmony and his amazing ability, pre-
sumably, to compose so quickly, given
his conducting work, teaching, and full-
time position as solo flutist of the Berlin
Philharmonic.” Dr. Dzapo then played a
recording by Toke Lund Christiansen of the opus 30
etude in F major. In referring to the beauty of the
etude and Mr. Christiansen’s musical delivery, she
said, “You wouldn’t have guessed it was an etude,
would you? I think that is one of the interesting
things. I love for people to think of them as really
good solo pieces.” I was struck by his timing, virtu-
osically progressing through certain passages and
broadening others to bring out the beauty of the
……………………..………Continues on page 12 ...
The Chicago Flute Club is a community of
flutists in the greater Chicago area that fosters
the highest artistic potential of all its members
through teaching, listening, and performing.
Officers and Chairs
2018-2019
President…………………..…….………Jan Frank
Vice President………...…….……Florence Nelson
Secretary……………...…...…Mary Ann Tanquary
Treasurer……………..…….Stefanie Abderhalden
Director 17-19………..…………...Hideko Amano
Director 17-19……………...….……Cate Hummel
Director 17-19………....…...Johanna Beth Sennett
Director 18-20………...……...Lynne Krayer-Luke

A Message from the President

Director 18-20…………...……..Mariana Gariazzo
Program Chair……………...…….Florence Nelson
Voting Program Co-Chair….……..Stephanie Lupo
Voting Pipeline Editor…….….………..Rich Lupo
Pipeline Co-Editor………..…….….Julie Marcotte
Webmaster………………….…….Stephanie Lupo
Archivist…………………..…….Angela Reynolds
Hospitality Chair……….…....Mary Ann Tanquary
Masterclass Chair…………...…….Hideko Amano
Membership Chair……...……Lynne Krayer-Luke
Program Booklet Creator.....……...……Rich Lupo
Publicity Chair……………...Johanna Beth Sennett
Adult Competition Chair…………James Donahue
Student Competition Chair……..Mariana Gariazzo
Co-Chair......Andre Sinico da Cunha
Volunteer Coordinator…….………Hideko Amano
Outreach Committee Chair….....Mariana Gariazzo
Music Industry Relations……..……...Teresa Muir
Bass Flute Chair……………...……..….Rich Lupo
Financial Oversight……………Mariana Gariazzo,
Ellen Huntington, Mary Ann Tanquary

Pipeline is published by the Chicago Flute

Club in September, January, March,
and June each year.
Subscriptions are $20 per year
for Non-Members.

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2 Winter 2019
 Interview with Tim Munro
Australian original flutist makes Chicago home
Text by Julie Marcotte; photos by Joe Mazza
Julie: How does your story begin?
Tim: I grew up in Brisbane, Australia’s third-largest
city. It is a city that most people describe as a place
that you go through, not to, and it was a wonderful
place to grow up. It was very
sleepy, and it’s kind of like Aus-
tralia’s back-woods. My parents
were not musicians, and neither
were my grandparents, nor any of
my uncles or aunts. I didn’t grow
up in a musical family. There is
a point at which I can remember a
cassette shop in a mall called
“Beethoven’s,” where they al-
ways played this incredibly beau-
tiful music. I remember going in
there and thinking it felt like an
oasis. The other thing I re-
member thinking was, “Oh all
these fancy people like classical
music.” For me, I really think that
music was about status in a cer-
tain way; good people, well-
behaved people, and people who
are at a high point in society like
classical music. I was aspirational
even as an eight- year-old, and I liked to think of my-
self as a little bit fancy, I guess.
I pronounced the composer as Beeeeethoven for the
longest time. I didn’t know anybody who listened to
classical music anywhere. I started playing flute at ten,
and I advanced really quickly, so there was an aptitude
for it. I had a lot of talent as a young flute player, in-
cluding technical talent, and I picked things up quickly.
But there was another part of me that was just a very
passionate music-lover. When I was thirteen or four-
teen, my music teacher played a whole lot of experi-
mental music. One of the pieces sounded like a tea-
kettle going off, and one of them had four different
brass bands playing at four different speeds and in four
Pipeline
different keys.
That was music by Charles Ives and by Karlheinz
Stockhausen, composers whom I would later know, but
all I could think then was, “What is this weird music?”
I still remember thinking, “How
does it get put together? How do
you put that music down?” That
was a real jettison of my curiosi-
ty. These days when I look back
at that time, there were two ver-
sions of me: the fastidious flute-
player, who was working really
hard on a beautiful sound and
becoming a good technical play-
er, and then there was the part of
me that wanted to paint on blank
walls with giant, crazy colors.
Those two things have always
been warring parts of my brain. I
wanted to be a lover of cultiva-
tion, attention to detail, and good
technique, and then I also want-
ed to be bowled over and over-
whelmed.
Julie: It sounds like your more
musically relaxed back- ground
allowed you to have those two sides.
Tim: Yes, and my Mum had also inherited an old, beat
up piano, so when I came home from school, I’d im-
provise crazy music on it. Mum never said, “No, that’s
not pretty.” She may not have liked it, but she was al-
ways very open to my improvisation.
Julie: How many siblings did you grow up with?
Tim: It was just my brother and me. When we were
teen- agers, we lived in two adjoining rooms, where we
fought over music every day. Out of my brother’s
room came Bob Dylan and Radiohead, and out of my
room came Beethoven, Monteverdi, and Ligeti. We
would have these knock-down brawls over whose mu-
3
sic was better. My brother would say, “You have to
turn your music up so much louder,” as if somehow
because his music was at a constant dynamic level, it
was inherently superior. He would say, “My music is
all heart, and your music is all head.” My brother is
now a singer-songwriter in Australia, and we could not
be closer together in the music we love. I’ve drifted
closer to his style of music and he loves to hear the
music that I play.
Julie: I think music is emotion and thought.
Tim: Absolutely. All of the music that I like is emotion
and thought in proper alignment. I am always very
skeptical of music that is not touching my emotions,
and I am equally wary of music, or any type of artistic
expression, where it’s not provoking my brain at all. If
there is a center line, I always feel like I am swinging
from one side to the other.
Julie: When did it dawn on you that creating music
could be a profession, and that you wanted it to be your
profession?
Tim: I wanted to be a film-maker. I wanted to be an
actor first, but I had a really bad experience with it, so I
made a whole lot of really terrible short films about
grave-diggers chasing people through cemeteries.
Julie: Which of course is very artistic, but when did
things turn more toward music?
Tim: I did an audition for a conservatory in my home
city. I was given affirmation from the professors there,
who told me I was very talented. I think many musi-
cians go into music because they are good at it. They
are good at music more than they are good at other
things at that age, because they haven’t necessarily had
the time to develop other things as much. I remember
feeling very superior at the end of high school because
I knew that I was going into music. All of my class-
mates were going into Bachelor of Arts or Bachelor of
Science, because they didn’t know exactly what they
wanted to do. They hadn’t had that sort of focus. I also
still remember thinking, “Because there is a university
position for me, there must be a job.” It never occurred
to me that there was a job market for classical music. I
didn’t really know anything about orchestras. I had on-
ly been to my local symphony orchestra a few times,
which soon changed dramatically during my under-
grad days. I lived and breathed symphony concerts,
attending everything I could. It is still my only advice
4 Winter 2019
to a young person thinking about going into music:
Live, breathe, devour music.
Julie: I also think that seeing people perform night af-
ter night kind of desensitizes you to the fear factor of
getting on stage. You begin to think, “Maybe I can do
that too.”
Tim: I never had the sense that people were nervous. I
think there is much more confidence these days in
speaking out about the challenges of getting up on
stage. I really think I saw people as having a halo of
perfection.
Julie: I watched you give a presentation to college stu-
dents in which you described spending hours a day in a
practice room and wondering why you couldn’t
achieve perfection. You went on to explain how you
came to the realization that your weaknesses are what
helps to define you. Can you elaborate on that?
Tim: We beat ourselves up unfairly for so many
things. When I was nineteen, in a practice room, hating
myself, and getting so, so debilitated by anxiety and
stress, the first thing that happened is that I started in-
juring myself. Remember that we say, “We play the
flute”, but we don’t think of play the way a child thinks
of play. But it is! The moment that music be- comes a
profession, we lose some of the joy of it. Trying to re-
capture that joy has become really important for me, as
a player.
Julie: First you have to please your professors as a mu-
sic student, right?
Tim: That’s a very interesting point. When I was an
undergrad, I remember trying to do everything a pro-
fessor said. I would go to one professor and get a list of
things that I was supposed to be doing and things that I
was doing wrong. Then I would go to the next profes-
sor and get a completely different list of things that I
was supposed to be doing and things that I was doing
wrong. It took me way too long to realize that every-
body’s kind of guessing. Everybody is making up their
own list, everybody is their own person. It’s like writ-
ing a book about flute for everybody. It doesn’t exist.
If you write a book about your own path to playing the
flute, that is actually the only true book that you can
write. It’s very different for percussion, because it is
very external. With flute, like other wind instruments,
everything is internal. In terms of the control needed,
the aperture, the angle of the air-stream and things like
that. But we are all kind of guessing. The only way that
you can ever know is to be in that person’s body and to
understand what it feels like. It is essential that there is
guidance, but so much of the work has to be done by
the player. Any teacher who has a one-size-fits-all pol-
icy is the best teacher known to mankind for 8–12% of
their students. The other 90% will suffer. For example,
some flutists work with a
very open embouchure,
and some work in the
German style, which is a
lot more covered and
more committed to a very
specific focus. It is all
very individual.
Julie: Don’t you think we
all dislike our sound in the
practice-room? Is that
why so many of us be-
come full of anxiety, dis-
liking our sound through-
out the hours we have to
spend there?
Tim: I think we have to love our sound in the practice
room. What is the percentage of time that we spend in
the practice room versus the time we spend on the con-
cert stage or in rehears- al? I have to love my sound in
the practice room. Make peace with it. I am thinking
more and more as I get older that air is the focus, not
just sound. Air is the core of what I do. That there is a
consistency and control to what I do. I look to a player
like Mark Sparks. I was able to sit second to him once,
and it was like I was a kite, and it was so easy to catch
the flow of his air. Stefán Höskuldsson has an incredi-
bly focused and beautiful sound. He is such a profes-
sional! But he is not a huge player, whereas Mark
Sparks has a larger aperture and plays with a huge
sound, and not as focused. They are both right. Em-
manuel Pahud is in some ways my true guiding light in
the past few years. There is such an ease, and a com-
fort and a relaxation in his playing. That is a guy who’s
never been told he’s doing something wrong.
Julie: That’s the French way, of course. They take
such pride in what they are doing and there are no
apologies.
Tim: Absolutely. That is a confidence that they have,
Pipeline
whereas Americans take some of the French methods,
and some of the British, and some of the German, and
it’s sort of all over the place. Australia is much more
German in terms of music, because of the German im-
migrants who came and played in our orchestras. Aus-
tralians go to Germany to study predominantly. I am a
weirdo in coming to America to study.
Julie: Did you initially come
to the U.S. in order to study?
Tim: I did. I came initially to
Oberlin to study. Australian
artists feel that they need to
study abroad in order to
prove themselves. Australia
is very isolated, and it’s a
small market. An artist can
very quickly feel that they
have done everything availa-
ble in Australia, so they need
to study abroad in order to be
taken seriously. There is also
a lot more work in other
parts of the world. As a twenty-year-old, I knew I had
to go abroad to study music. I had never been to Ober-
lin, and I had never even met Michel Debost. I needed
to Google where it was located when it was time to
book my flights.
Julie: How did you like working with Debost?
Tim: Debost was very free with me as a student, and I
didn’t want that. I was mad at him because he wouldn’t
tell me what was wrong with my sound, or anything.
It’s tragic to me now, because I think back to so many
of the things that he did as a player and that he taught
me that I use now. There was an ease to his playing,
particularly in his use of air. In my first year, in the
Faun solo, even as an older player, he could play one-
and-a-half times through that excerpt. He was never an
immaculate technician, but he knew how to control his
air, and he used his air to create incredible phrases. It
goes back to that French school. Pahud refers to
Debost as an influence, and the way a player should
use the air to draw people in and paint a picture.
Debost talked a lot about legato fingers and how to put
down some keys to make the transitions between cer-
tain notes more in line.
Julie: Where did you go from Oberlin?
5
Tim: After I finished at Oberlin, my confidence was
very low. I was not playing well, and I had a lot of use
issues. In the last ten years, I’ve had a lot fewer physi-
cal issues because I have a lot more confidence in my
playing. A lot of my issues at the time were to do with
my anxieties about my playing. There was a period of
time where I had days when I could barely produce a
third-register C and C#. I hadn’t been able to find my
own way. I was auditioning for orchestras and getting
nowhere. I went back to Australia not knowing what to
do. After studying awhile with Margaret Crawford,
who is Australia’s grande dame of the flute, I felt free
again. It was like coming full circle. She freed me from
some of the shackles that I felt, and she helped me find
the sound that was right for me. She said that there are
so many colors of sound, not just one. The flute is ca-
pable of so many different things, and she would have
me do an exercise in the low register in which I was to
find eleven different characters, from oboe to clarinet,
to horn, and somewhere in there is a flute sound.
Julie: Do you still do that exercise today?
Tim: I do an exercise where I go from a complete air
sound to as focused a sound as I can, trying to maintain
pitch. The pitch is the main thing in this exercise.
Julie: After all that you went through and discovered, I
think you would make a great teacher. So many teach-
ers end up being a stumbling block to their students.
Tim: I think I am a pretty good teacher, but I find
teaching very stressful. When I teach, I come to the
end of each day feeling like a counselor as much as a
flute teacher. I think every flute teacher should have a
year of counseling training.
Julie: How do you succeed in this business today, be-
cause it is so technical and competitive?
Tim: It’s hard, because to win a job these days, you
have to be at such an incredibly high technical level.
As an undergrad, I spent four to six hours of practice
every day, essentially just building my foundation.
Building a solid foundation is incredibly important. It
is no accident that orchestra players are among the un-
happiest of anyone in the world, although to this day I
have a desire to win an orchestra job. I know all of the
struggles there are to be in an organization like that.
But flute was all of my identity when I was in my
twenties, and wrapped up in that was playing in an or-
chestra. I love the challenge of it. It’s the tuning por-
6 Winter 2019
tion of it—at any moment, there are seventeen differ-
ent things that I am thinking about with regard to tun-
ing. What sort of sound am I doing to blend with the
oboe, or the clarinet? You are always listening, and
there’s rhythm and articulation. There is a wonderful
sense of problem solving. But I know that fundamen-
tally I am just told what to do by the conductor, or that
I have to fight with the rest of the section.
Julie: Do you think of yourself as more of an innova-
tive flutist or a traditional flutist?
Tim: It’s interesting when I think about that now, be-
cause I don’t play as much right now. During the next
twelve months I will be playing 20% of my time. I get
very insecure about these things because so much of
my sense of self-worth is wrapped up in my flute-
playing. My wife tells me that my task is to be the Bill
Nye of classical music. There is a bigger overarching
thing that drives all of the work that I do, and I have
come to realize that I have other skills, but I didn’t be-
lieve that for a long time. I thought that the only thing
that I was qualified to do was what I had done for
15,000 hours. That’s the classical music syndrome. As
musicians, our smarts are transferable. We are problem
-solvers, having learned to look at a piece of music as a
piece of instructions that we have to decode. It’s a se-
ries of algorithms.
Julie: What brought you to Chicago?
Tim: I came to Chicago to join Eighth Blackbird,
which changed my life. I suddenly went from thinking
I would never be a professional flute-player to having a
job in a renowned chamber music group that toured the
country. It enabled me to gain confidence. I was sud-
denly giving masterclasses at places like UC Boulder. I
had to come to accept that I was good at things. I found
freedom in that we were performing all of the time,
working really hard. We started every rehearsal with
thirty minutes of scales and intonation work. We were
always working together on blending and building a
foundation. No matter what piece we were playing, we
could find each other. We developed really quick-fire
reaction skills, where we could find each other when
one person would split off. I remember the joy in expe-
riencing the speed with which everyone would come
together and scoop that person up. That’s what I miss
the most.
….…………..……….….……Continues on page 19 …
 The CFC Thanks These Supporting Members
CONTRIBUTING MEMBERS Kaye Clements
Judith Cook Bentley
Angeleita Floyd
Susan Crandall
Cynthia Fudala
Claudia Cryer
Mariana Gariazzo
Pam Donath
Delia Helpingstine
Michele Gaus Ehning
Lynne Krayer-Luke
Jan Frank
Michael R. Treister
Marion Garver Fredrickson
Scott Vogl
Jessica Garcia-Hankinson
John Wachala
Patricia George
Jennifer Wilhelms
Sue Gillio
Eileen Heise
CORPORATE MEMBERS Barbara Holland
Abell Flute Co. Ellen Huntington
Altus Flutes Victoria Jicha
Anthem Musical Instruments Inc./North Bridge Winds Alyce Johnson
Brannen Brothers Flutemakers, Inc. Betsy Ko
Burkart Flutes and Piccolos Julie Koidin
Eugene S. Gordon Woodwinds, Inc. Sherry Kujala
Flute Asylum Carlyn Lloyd
Flute Specialists, Inc. Julie Marcotte
Flute World Carolyn May
Flutistry Boston Patrick McCray
JL Smith & Co. Scott Metlicka
Keefe Piccolo Company Anita Miller-Rieder
Kobers instrument repair Eugenia Moliner
Levit Flute Company, LLC Sandra Morgan
Miyazawa Teresa Cowin Muir
Performers Music Florence Nelson
Sankyo Jennifer Nelson
Straubinger Flutes, Inc. Susan Phelps
Verne Q. Powell Flutes Caroline Pittman
Windy City Flutes Marcia Rudin
Wm. S. Haynes Co. Thomas Shanahan
Yamaha Corporation of America Debra Silvert
Sue Hofmann Slater
LIFETIME MEMBERS Mary Stolper
Stefanie Abderhalden John Thorne
Hideko Amano Diane Willis
Insung Baik Tom Wilson
Marie Bennett
Sally Bowers HONORARY LIFETIME MEMBERS
Jennie Brown Jeanne Baxtresser
Edward S. Burd Walfrid Kujala
Gerald Carey Donald Peck
Ruth Cavanaugh Mary Louise Poor
Sarah Cifani
Pipeline 7
A Tribute to Jack Moore
12 September 1929—27 August 2018
By Tom Lacy
J ack Moore was very accomplished at everything
he did. This included raising a family, making
custom, handcrafted flutes, playing sports, and
being a good friend to all that knew him. Both of
Jack’s sons are college-educated and very successful in
their chosen careers. Jack’s flute-making skills are leg-
endary, from making the most complex Murray system
mechanisms to just making a flute comfortable to play.
I padded most of his flutes and can say that they were
the easiest flutes to work on of any oth-
er flutes that I’ve had in my hands.
They were beautiful, yet sturdy and
precisely made. Some of the early Mur-
ray system flutes, with their very com-
plicated and precise combinations of
clutches, cams, and kickers, had to be a
nightmare to design. I once asked him
if he ever stayed awake at night think-
ing about how to make the thing work,
and he replied that he actually did! He
would get up and jot down some notes
when an idea came to him.
Jack decided to become an inde-
pendent flute-maker at an opportune
time. There were no Asian imports. In
fact, Elkhart and Boston were the hubs
of flute manufacturing in the United States. When Jack
was designing a flute, he got the scale he was going to
use from William Bennett. According to Jack, WIBB
gave him the specifications for his scale in a men’s
room at O’hare International airport. Tip Lamberson
and Jack were about the only other independents mak-
ing hand-made flutes. They became close friends, trad-
ing ideas and sometimes even flute parts. Tip devel-
oped an organization he named Flute-makers Anony-
mous Reciprocal Trade Society. You can figure out the
acronym for that group. Jack and Tip were the charter
members. Tom Green and I later became associate
members. If anyone of us needed a part or advice or
instruction, they were always there to help out. Jack
had no secrets about his flute-making. He was more
8 Winter 2019
than willing to help almost anyone with their technical
problems- unlike many others.
Jack seldom used dealers to sell flutes. At times in
the 1970’s and 80’s he had a ten-year backlog of or-
ders. He had flutists all over the world playing his
flutes. Often, a flutist from Europe would order a flute
from Jack and decide to personally come over to pick it
up. Jack and Marilyn would put them up at their lake
house, giving them time to get to know their flute and
sample their generous hospitality. Many
long-lasting friendships were made dur-
ing those times.
As a local athlete, Jack had few peers.
He was a stellar athlete at Jimtown High
School. My dad worked with Jack for
many years at the W.T. Armstrong com-
pany. As a young teenager, I would occa-
sionally accompany them to the local
YMCA for a workout. The YMCA was in
downtown Elkhart with a dentist office
across the street from the main entrance.
A large picture window faced the street.
On one occasion, as we were leaving, a
man was sitting in the dentist’s chair with
his mouth wide open. Jack quipped,
“Good thing he’s not a gynecologist!” His subtle, dry
sense of humor was refreshing. He was an incredible
racket-ball player, routinely beating players many
years his junior, when he was in his 60’s.
Jack and Marilyn also supported many charities.
They worked with children in an after-school program
at their local church for many years. Marilyn set up the
Jack and Marilyn Moore Graduate Flute Fellowship at
Indiana University Jacobs School of Music as a sur-
prise to Jack. They moved to Bloomington to be near
their son and enjoyed many musical offerings at IU.
Jack was a modest, unassuming man. He will be
greatly missed by all who knew him. The flute world
will suffer the loss of one of their greatest proponents. I
am a better man for having had him as my friend. ~
Katherine Hoover
A Grateful Remembrance
2 December 1937—21 September 2018

By Cate Hummel

K atherine Hoover’s sudden death this past Sep-

tember has been a huge blow for the flute com-
munity. She has been creating works for flut-
ists for a couple of generations. As a beautiful and mu-
sically sensitive flutist herself, she understood the ca-
pability and potential of our instrument. She has had
new works premiered at the National Flute Association
convention virtually every year for more than twenty
years, starting in the 1990s.
of her music. The standouts for me of her works are
Kokopeli, of course, her other Native American in-
spired works like Winter Dreams, To Greet the Sun,
Canyon Echos (flute and guitar), and the Medieval
Suite, Trio for Flutes and Etudes. She told me many
times that the accidental carries through the measure
but not over the octave in her music. She was a friend
and mentor to many of us. For that I will always be
grateful. She is sorely missed already. ~

I got to know Katherine as a doctoral stu-

dent at Manhattan School of Music in New
York. Her iconic work, Kokopeli, had only re-
cently been published. I was invited to perform
the piece for part of a performance project at
MSM called Sans Baton. Our professor, the
trombonist David Taylor, suggested that I con-
tact Katherine and have her coach me on Ko-
kopeli masterclass-style at one of our perfor-
mances. Not only did she have wonderful in-
sight into interpretative choices, but she also
made specific suggestions for how to solve
technical issues on the flute.

My next significant encounter with Kathe-

rine was when I was writing my dissertation on
Marcel Moyse’s Tone Development Through
Interpretation. She was one of the many peo-
ple I interviewed on how Moyse taught the
melodies in his famous collection. My big-take
away from our discussion was the fundamental
visual problems with how we notate music and
the consequent problems in learning correct
phrasing. She explained that this is one reason
there are no bar lines in Kokopeli. She had
studied with both Moyse as well as William
Kincaid. Some of her later works use bar lines
and beaming in a very flexible and fluid way.
The way she explained these concepts to me
has become a cornerstone of how I treat phras-
ing and interpretation both in my teaching and
playing.

Over the years, I frequently crossed paths

with Katherine at NFA conventions. She al-
ways had a few minutes for me and took an
interest in my projects, including my playing

Pipeline 9
 WELCOME NEW CFC MEMBERS!
Student Members Miguel A Rodriguez
Casandra Schaefer
Michael Barrera Katelyn Shen
Rama Bhagwat Dennis Szczech
Cameron Bilek Linden Wadsworth
Katherine Chen Milena Weide
Caroline Clark Frankie Wild
Chelsea Davis Shreeya Yampati
Claire Harrison Renee Zhuang
Imran Husain DONORS
Emma Johnson Regular Members
Anonymous
Ume Jorgensen Jenny Bendelstein
Jeannie Kim Hyejin Bae, Arlington Heights
Judith Cook Bentley
Annmarie Koziel Amy Dohler, Vernon Hills (In memory of John Bentley)
Aurelia Lawson Kay Kim, Naperville Lyrical Flutes
Rachel Lee Claire Odland, Chicago Carolyn May
Kelly McManus Cindy Walls, Spring, TX Janice Misurell-Mitchell
Aarush Palli Maria Schwartz, Chicago Florence Nelson
Siwon Park Sora Jederan Shpack, Chicago Marcia Rudin
Emily Perucca Andre Sinico, Evanston (In memory of Richard Rudin)
Caroline Reynolds Madeleine Wilmsen, Chicago Sora Jederan Shpack
John Wachala

10 Winter 2019
Members React to “Elements of Performance”
O
ctober 21st marked the CFC’s first event of
the season, featuring interactive sessions and
performances by three Chicago-area teachers
and performers. Seeking a new and unprecedented for-
mat for a review article, the Pipeline staff interviewed
several audience members to share their reactions.
Meret Bitticks’ presentation on the French-style of
articulation was described by CFC member Seymour
Rabens as “very definitive.” He related her lecture to
his own experience: “It explained what I do automati-
cally, without thinking about the process,” Indeed
many of the audience members appreciated this tech-
nical explanation. “As a teacher, I appreciated her dis-
cussion on the various placement and angle possibili-
ties of the headjoint,” said CFC Program Chair Stepha-
nie Lupo. Barbara Vernon concurred, enjoying Bit-
ticks’ “back to basics demonstration.”
Bitticks had the audience try spitting rice. Vernon
approved: “The rice experiment was very helpful with
the visual aspect, highlighting the mechanics of some-
thing we do everyday in our playing.” Still, not every-
one could relate so well. Non-flutist Francine Caston-
gia humorously wondered that “I would think there
would be a better way to teach that without spitting…
gross!” Yet the flutists were certainly intrigued. “I
would have liked to have had a longer discussion about
double tonguing,” said Vernon, but time ran low.
Principal Piccoloist of the Chicago Symphony Or-
chestra, Jennifer Gunn, next gave an impromptu
presentation on the Vivaldi Piccolo Concerto in C with
the CFC’s longtime Program Chair Florence Nelson.
Mike Treister reacted: “Having the various Baroque
ornamentations played so beautifully side-by-side was
highly educational. I particularly liked Wally Kujala's,
which I felt allowed more of the core to show through.
I like ornamentation but often feel that it overpowers
the beauty of the score.” Nelson interviewed Gunn,
examining three different ornamented versions. Steph-
anie Lupo loved the experience, feeling “it helped in
providing a sense for which types of ornamentation
work best for a concerto performance and which would
be preferred in an audition.” Relating music history to
the present, Seymour Rabens pointed out that “It re-
minded me of how jazz players might embellish a sim-
Pipeline
ple melody.” Barbara Vernon shared: “What I enjoyed
best was hearing Jennifer’s performances of the three
different ornamentations/publications of the Largo
movement. This is a standard piccolo piece, but she
brought so much warmth and character to each varia-
tion.” Lupo said, “Jennifer humbly wondered if hear-
ing Vivaldi three times in three ways would be tire-
some. What she didn’t realize was we would have
gladly listened to her play it thirty times and still want-
ed more.” Francine Castongia agreed, “I enjoyed Jen-
nifer most of all. I just wanted her to play the whole
time. She sounded great!”
Shanna Gutierrez took the stage to discuss extended
techniques. Joseph Johnson said that although he has
less experience with them, “Shanna's presentation gave
me confidence in reading the notation as well as exe-
cuting it.” Mike Treister also liked this “very animated
and interesting presentation.” Seymour Rabens felt the
presentation was “helpful in understanding how to in-
terpret the composer's intention,” but opined that “I
cannot understand why a musician would spend so
much money to buy a professional-grade instrument to
produce what I consider to be sound effects.” Humor-
ous and ironic, indeed, though we of course play more
on our expensive flutes than just avant-garde music.
Lastly, Jennifer Gunn performed the world premi-
ere of the Sonata for Piccolo and Piano by James Ste-
phenson. “Wow!” said Mike Treister, “That was beau-
tiful. In addition to the incredible music itself, that is
an amazingly sweet-sounding piccolo and the clear
smoothness of her higher notes and the voicing was
astounding.” Joseph Johnson appreciated the idiomatic
writing for piccolo, “Stephenson commented that so
often the piccolo is used as ‘icing on the cake’ or as an
outline for the sonic environment. He endeavored to
make the piccolo more than that. I think he accom-
plished it. This will become standard repertoire for the
piccolo because it treats the instrument in its own right
and eschews any programmatic themes. The piccolo is
more than just a tweety bird or a glorified fife!”
The entire audience left satisfied. Mike Treister
summed it all up: “What a wonderful opportunity for
flutists of all skill/educational levels to all learn a lot. I
cannot imagine a better flute club get-together.” ~
11
Kyle Dzapo—continued from page 1 ... her stand, she then showed me examples of various
editions and their differing breath-mark placements.
underlying harmonic progressions. After hearing and
This was made possible by the fact that she owns near-
discussing Andersen’s music, we began to play etudes
ly every edition ever published of Andersen’s music.
together, like old times. I loved, once again, feeling her
With a sparkle in her eye, she says, “I never get tired of
energy and hearing her shimmering sound and flawless
teaching these etudes. I find value in so many of them.”
technique.
Professorial Advice for University Students
Andersen Teacher
Dr. Dzapo suggests “starting an academic career
After chatting about her latest research, we
with an awareness that, at any university, you will have
launched into a discussion on the benefits of practicing
only a finite amount of time with your teacher, and that
etudes, in which she stressed working efficiently and
you must make the most of each of those precious
“very quickly ascertaining the music behind the piece.”
hours.” Further emphasizing the reality of the situation,
She also suggests focusing not on the repetitive pat-
she points out that students typically have only thirty,
terns, but on the changes within the etudes. “The most
one-hour lessons per year; therefore, 120 hours consti-
challenging passages are often the crucial moments
tutes a student’s entire applied study in an undergradu-
because they are what propel the etude: the tension that
ate education. As a doctoral student, she remembered
leads to resolution.” Those are the places to spend the
thinking, “I never want Mr. Kujala to have to tell me
most time practicing. She smiled, saying, “The fun of
something again.” Do your best during your practice
these pieces is in mastering them technically so that
each week to master what your teacher has suggested.
you can bring these things out musically.” She advo-
She finds that the most exciting lessons with students
cates practicing section by section, gradually increas-
are the ones in which they are working diligently to-
ing the tempo, and finding the essence of the music.
gether as a team.
I asked about the etudes’ tempo markings, and she
She also pointed out that students have only three
said it is imperative to play fast enough to convey the
summers for masterclasses before heading to graduate
style and impulses of the music: “If we play them too
school, so they should take the best possible advantage
slowly, we have to breathe more often, interrupting the
of these opportunities. Summer masterclasses not only
phrases, and losing the flow." To play at the prescribed
strengthen students as performers, but also provide the
tempo, players must understand the hierarchy of beats.
basis for a lifelong network of colleagues and help stu-
“Notes do not participate in a democracy. They are not
dents find appropriate places and teachers for graduate
equal. Some are clearly more important than others."
school. She makes sure her students “think of the end-
She then mentioned opus 60: “We know the tempo
game from the start,” so that opportunities stay open
markings are incredibly fast. He dedicated these etudes
and they have choices. I remember Dr. Dzapo discuss-
to his brother, and the story, apocryphal or not, has al-
ing graduate school with me at the beginning of my
ways been that Vigo Andersen was the only flutist who
freshman year. She believes “students need to have a
could play them at tempo. Vigo died in January 1895,
sense of working toward a goal and knowing that it
the year opus 60 was published, so we don't know for
will be worth it in the end. I have always thought the
sure that he actually knew these pieces! They may have
glory is in getting to the place beyond what you ever
been Joachim's tribute to Vigo, who, though the young-
thought possible.”
er brother, Joachim always regarded as the better
player.” Upcoming CFC Event
Dr. Dzapo offered a few more tips for playing An- Any student fortunate enough to study with Dr.
dersen’s etudes. She recommends reading Music and Dzapo will come away with a strong love of music,
the Flute by Thomas Nyfenger, who provides a synop- which is why we are so excited to welcome her to the
sis of each opus 15 etude. Also, players must know that Chicago Flute Club as a guest artist. You will leave
inspired to practice and with a newfound appreciation
Andersen did not indicate breath marks; therefore, they
for the flute and for Andersen’s etudes. We look for-
must decide for themselves where to breathe based on ward to sharing this event with you at First UMC of
the harmonic rhythm and phrasing. Pulling music off Park Ridge on March 3, 2019, from 2:00 to 5:00 p.m. ~

12 Winter 2019
CFC’s 2018 Annual Student Competition
By Mariana Gariazzo
T
he Chicago Flute Club held its 2018 Annual
Student Competition at Harper College, in Pal-
atine. “Practice. Persevere. Dream.” was the
motto that guided this year’s contestants to give their
all on Sunday, November 4. Horn Stash Palatine spon-
sored the Elementary and Junior Divisions and provid-
ed an exhibit of beautiful flutes throughout the day at
the registration site.
This is the second year in a row in which the com-
petition was held at Harper College. The Chicago Flute
Club is deeply grateful to Harper College for making
their beautiful facilities available for the competition.
Private teachers in the Chicago area selected only their
best students to enter the Chicago Flute Club Student
Competition 2018. Being selected to participate on this
event is a testament of these students’ preparedness
and aptitude.
It was great to see so many young flutists arrive to
the competition that Sunday in spite of the rain. Due to
daylight savings time, students showed up rested and
eager to play. More than eighty-five students registered
this year to participate in the competition. The Junior
Division reached its registration capacity of forty stu-
dents several days before the registration deadline on
October first. Six brave Elementary Division contest-
ants showed up bright and early in the morning ready
to perform their assigned repertoire. Over the years,
the Senior Division has earned nation-wide prestige,
Pipeline
and participants travel from Illinois, Iowa, Texas, and
Wisconsin in order to attend. The repertoire for all
three divisions was selected to showcase contrasting
styles and performance practices. The fact that a large
number of contestants registered for the event is indic-
ative of a well-selected repertoire for each division.
The schedule was kept right on point by the diligent
work of competition proctors and more than forty par-
ents who volunteered as door guards. Parents’ involve-
ment in the competition is important, as they serve as
role models of community service and provide encour-
agement to all of the contestants. Parent volunteers
were asked to serve for twenty minutes after (and in
some cases before) their own contestants’ assigned
competition time. This created a large pool of volun-
teers who helped run the competition smoothly. The
Chicago Flute Club is grateful to all of the volunteers
for their continuous support and participation.
The continuing success of the Annual Student Com-
petition could not be possible without the dedicated
work and support of flute teachers who diligently pre-
pare and encourage students to try their best at this
event. Judges provide comments on students’ perfor-
mances that are shared with the teachers after the com-
petition. In this way, teachers are able to share quality
feedback with their students in a caring and contextual
way.
………………...…..……Continues on page 20 …
13
14 Winter 2019
Chicago Loop/Downtown
Jenny Bendelstein Chicago (858) 344-8408 jenny@chicagofluteacademy.com

2018-2019 CFC Private Teacher Directory

Franklin Inojosa Chicago (312) 553-5873 finojosa@ccc.edu
Alyce Johnson Chicago (773) 865-4593 johnsonalyce@gmail.com
Chicago Northside
Severin DuSell Chicago (773) 934-1827 severindusell13@gmail.com
Suzanne Hannau Chicago (630) 862-1092 Itoottheflute2@gmail.com
Jalene Huang Chicago (314) 610-2054 jalenehuang@gmail.com
Sandra Rowland Chicago (847) 373-2978 msrowland@gmail.com
Maria Schwartz Chicago (802) 233-8022 schwar4071@gmail.com
Sora Jederan Shpack Chicago (607) 348-7843 shpack12@gmail.com

Additional information available at www.chicagofluteclub.org

Jennifer Wilhelms Chicago (312) 869-4545 jennifer.wilhelms@gmail.com
Madeleine Wilmsen Chicago (314) 808-5309 mwilmsenflute@gmail.com
North Suburbs
Meret Bitticks Evanston (773) 318-9896 mcbitticks@gmail.com
Sandy Grivett Lake Villa (847) 414-9713 sgrivett@aol.com
Laura Hamm Evanston (847) 732-2496 hamm123@comcast.net
Alicia Poot Kelly Highland Park (773) 209-2875 aliciapoot@gmail.com
Jeannie Kim Evanston ppicco84@hotmail.com
Julie Koidin Skokie (847) 933-9360 brazilflute@yahoo.com
Lauren Moldenhauer Highwood (989) 859-8792 www.laurenmoldenhauer.com
Sandra Morgan Evanston (847) 328-2492 sandiemorgan@gmail.com
Andre Sinico Evanston (312) 792-8919 asinico@gmail.com
Northwest Suburbs
James Donahue Wauconda (847) 436-0275 chicagoflutist@gmail.com
Nanci Dunn Karlin Buffalo Grove (847) 370-8186 nanci.karlin@gmail.com
Scott Metlicka Elgin (847) 878-0956 leverbflat@gmail.com
Chicago Westside
Rachel Blumenthal Chicago (773) 852-4612 rachelmblumenthal@gmail.com
West Suburbs
Gregory Blackburn Elmhurst (773) 921-0212 flutezilla2@gmail.com
Annie D'Amico-Vargas Montgomery (630) 333-8951 ExpressiveFluteStudio@gmail.com
Janet Fitchuk Wheaton (630) 690-5478 fitchuk@sbcglobal.net
Jan Frank Naperville (630) 420-0888 janicefrank@yahoo.com
Cynthia Fudala Forest Park (708) 227-0814 cindyfudala@comcast.net
Mariana Gariazzo Naperville (979) 209-9223 mgariazzo@gmail.com
Lisa Goethe-McGinn La Grange Park (708) 227-1350 mcginngoethe@yahoo.com
Cate Hummel Naperville (630) 428-3278 Dr_cate@sbcglobal.net
Kay Kim Naperville (630) 800-5669 nkflute@gmail.com
Carolyn May La Grange (708) 579-3107 carolynmay@sbcglobal.net
Susan Saylor Wheaton (630) 690-9474 jssaylor@comcast.net
Johanna Beth Sennett Darien (630) 642-0239 bethsennett@comcast.net
Anne Sullivan Wheaton (630) 784-1329 anne1sport@gmail.com
Chicago Southside
Irene Claude Chicago (773) 350-7591 irene@claudequartet.com
Susan Levitin Chicago (773) 301-7859 sdlevitin@gmail.com
South Suburbs
John Wachala Northwest IN (219) 922-8185 info@calumetchambermusicians.com
Southwest Suburbs
Jennifer Gosack Darwell Plainfield (815) 715-1976 jmgosack@hotmail.com
Brenna Kozor Homer Glen (708) 301-8175
Outside of Chicago Area
Caroline Clark Houston, TX (832) 963-7730 cindywallsflute@gmail.com
Grace LaRayne Cudahy, WI (414) 732-3109 gracethebass@att.net

Pipeline 15
 Musical Strategies for Coping
with Music Performance Anxiety
By Andre Sinico da Cunha

W hen I was a teacher at the Music School of

Brasilia, Brazil, I began to observe that my
students played better in the classroom than
on stage at the end of the semester. The quality of the
to have a good performance increases anxiety.
Musical tasks are what we play, and it can also give
rise to music performance anxiety. Classical musicians
may experience more MPA than those who play popu-
performance was poor; even so, they had done their lar music. Also, some instrumentalists can be more
best. Later in my masters degree research at the Feder- anxious when they are playing alone, or playing a solo.
al University of Rio Grande do Sul, I knew more about If you are playing chamber music or in an orchestra/
music performance anxiety. But what is that? band, it is often easier than playing a solo or a concer-
Music Performance Anxiety (MPA) is a noticeable to. In an earlier study, I found that flute students in
and insistent, anxious state related to musical perfor- Brazil were more anxious when they were playing a
mance. You have more than likely experienced at least solo piece than chamber music. For them, it was harder
one of the following physiological, behavioral, cogni- to conduct the whole piece alone from beginning to
tive and emotional symp-
toms of anxiety: increased
heart rate, breathlessness,
dry mouth, sweat, nausea,
diarrhea, shaking, bad pos-
ture, technical failure, lack
of concentration, distrac-
tion, negative thoughts, or
fear. Regarding these com-
mon symtoms, we can state
that there are three causes
associated with MPA: one’s
personal characteristics,
musical tasks, and situa-
tions of musical perfor-
mance.
Some personal charac-
teristics can make you feel
more anxious, but there is
end. At the same time, for some of the Brazilian flute
no specific age to experience music performance anxi-
students, playing Baroque music was more stressful
ety. It may occur among music students or professional
than playing music from the Romantic period. In their
musicians as well. As examples, we have the great Ital-
report, the Romantic style seemed to be more musical-
ian tenor Luciano Pavarotti and the British singer Ade-
ly understandable to them. Besides that, the level of
le. Why do these professional musicians have music
music performance anxiety may vary according to the
performance anxiety? Because most of them are afraid
repertoire you intend to play.
of failure or of having their musical performance nega-
tively evaluated by the audience. Then, the expectation Regarding the situations of musical performance,

16 Winter 2019
most of which we will experience in the course of our playing.
profession, these include the individual practice ses- If you play in a recital, you also need to consider
sion, lessons, masterclass, audition, and competition. the length of each piece of music, and the recital as a
The individual practice session is the easiest situation whole. A recital becomes more interesting when we
of musical performance because we are on our own. combine different styles from the periods of western
Any other situation will have an audience that can music history, as well as combining both solo and
make us feel insecure due to the fear of critical judg- chamber music. The sequence of pieces in the program
ment. Perhaps you were anxious when you played in a must be chosen carefully. Avoid playing the program
masterclass for the first time because you had never in chronological order- it is old-fashioned. To get start-
played for that teacher before, and other flute students ed, choose the music that you feel more comfortable
were watching you. Certainly, the more we experience and confident playing, as it will help to diminish the
all situations of musical performance, the less anxious
we will feel.
Indeed, when we are on stage, we don´t want to feel
anxious, but motivated to play the best we can. How-
ever, music performance anxiety can suddenly show
up. So, what can we do to cope with the MPA before
an important situation of musical performance? I will
present two musical strategies that will help you to
cope with music performance anxiety in advance. In
this issue, I will talk about how to choose the
repertoire.
The first musical strategy that will help you to cope
with music performance anxiety is the repertoire
choice. Sometimes the repertoire is chosen by the stu-
dent and teacher. Concerning this choice, both student
and teacher need to be aware of the level of technical
and interpretive skills on the flute, and what is required
to play the chosen repertoire. When I was a teenager, I
listened to the Flute Sonata in B Minor by J. S. Bach
for the first time. I purchased the score in order to fol-
low along while I was listening to the music, and I
tried to play it. Unhappily, I became frustrated because
I couldn’t play as beautifully as the flute player in the
recording. Sometimes, frustration can lead to anxiety.
When it happens we need to take a step back and ask
butterflies in your stomach at the beginning. In my last
ourselves, “Do I have most of the technical and inter-
recital, for example, I played Solo I by the Brazilian
pretive skills to play this music?” If the answer is yes,
composer Marlos Nobre, and then Partita in A Minor,
go ahead!
BWV 1013, by J.S. Bach. Although the works are
When we choose repertoire, some challenges are completely different, I felt more prepared to play Bach
necessary to motivate us to practice the music every after testing the flute on-stage. Last but not least,
single day, and it will let us concentrate during the per- please do not let the music be too challenging right to
formance. If the repertoire seems too easy for you, you the end because you will be too tired to play it!
have two options: play it as amazingly as you can, or
In the next issue, I will present the second musical
find another piece of music. The lack of motivation
strategy to cope with music performance anxiety: plan-
can also cause anxiety because it will cause you to lose
concentration and make mistakes while you are ning the individual practice session. ~

Pipeline 17
I ’m not going to become a
professional musician, so why
practice? Etudes
I’ve always known that if I quit A Column for Students
playing flute and attempt writing
sketch comedy or filming my own
YouTube cooking channel, I will
probably continue to practice or at
least warm-up everyday.
My warm-up is my morning
meditation. I inhale air, engage my
support, and blow a consistent air-
stream across the strike wall. Small
reminders go through my head about
air angle and keeping my soft palate and the back of
my tongue apart. Long tones are kept simple with
some additional challenges like dynamics or tapering.
Throughout this ritual, I am present, or at least attempt
to be.
Practice sessions give my day structure. I try and
practice at least an hour before lunch, putting my mind
at ease as I teach the rest of the afternoon. If I can get
in two or three hours, I’m automatically in a good
mood and feel ahead of the game! By the time I am
home from teaching, my reward is to prepare dinner,
something I approach in a similar way as my warm-up.
I focus on the recipe, and what needs to be ready be-
fore I start working with heat. As I cook, I smell the
garlic and ginger in the olive oil, helping me know
when it is time to add the ground pork.
But Mozart, Chopin, and Satie Made their living in
music
In Mason Currey’s book Daily Rituals: How Artists
Work, the most famous artists broke their work ses-
sions up throughout the day. Satie, for example, moved
to a town outside of Paris and developed a routine of
walking six miles back to the city’s best cafes, eventu-
ally writing at one of them. It’s said that part of his
eventual style of composition came from this walk,
“finding the possibility of variation within repetition.”
It’s almost as if scheduling creative time during
your day promises a good work ethic, contrary to the
belief that artists thrive on spontaneity. Personally,
I’ve struggled my entire life with this. I like my sched-
ule to change, but I am more productive with a routine
or plan in place.
18
But how do you find motivation and disci-
pline to practice if you aren’t preparing for
anything in particular? More specifically, if
you don’t have dreams of making a living in
music, how do you continue? Can you enjoy
playing the flute while most of your day is in
medicine, journalism, or getting a degree in
psychology?
External accountability
Music can be a social hobby. Whether
you are a beginner or advanced, playing with
others can be motivating. Many schools have
community music programs or night divi-
sions for amateur players. If you are reading
this, you are a member of the Chicago Flute Club.
Have you attended concerts and workshops? You most
definitely will meet other flutists who are just like you.
If you live in a town that does not have a flute club,
check out the flute groups on social media. Etude of
the Week holds you accountable to post a video each
week, going through well-known etudes one by one.
There’s even an Etude of the Week: Amateur Edition.
If preparing something so specific is too much
pressure, Hilary Hahn started a hashtag called
“#100daysofpractice.” This is meant to be one hundred
straight days of practice but Hilary has posted reasons
for skipping a day here and there. From a passive In-
stagrammer’s perspective, this is also a way of finding
motivation. Even videos with mistakes in them can
demonstrate what you are trying to fix or improve over
the past week.
Goal-oriented
If you would rather play everyday and avoid post-
ing videos on social media, you may need to set a goal.
Maybe you have a favorite piece that you’ve always
wanted to learn. Schedule several goals leading up to a
due date. For example, if you’ve been dying to learn
the Bach Partita, research which edition to purchase.
Watch videos of it online. Which is your favorite, and
why? When did Bach write this?
Hobbies can be ritualistic, too
Regardless if you are pursuing the flute as a career,
you are still an artist. Develop a routine that works
around your career outside of music and you will find
inspiration. If it worked for Satie, we can at least try. ~
Winter 2019
 RENEW YOUR CFC
MEMBERSHIP ONLINE
Avoid Snail-Mail Delays
chicagofluteclub.org
Miguel Arista sterling silver
head joint #198. Excellent
condition, beautiful sound.
$1400 or best offer.
Sandra Morgan
SandieMorgan@gmail.com
Tim Munro—continued from page 6 ...
Julie: When did you decide to break from the group
and do your own thing?
Tim: For nine years, six strong personalities made eve-
ry decision together: we fought over how we would
lace our shoes, or take a train, or stay in this hotel
room, or play this or that piece. It gets exhausting after
a while. For twenty years I had been writing, and when
I left the group, I started doing more writing, more
speaking, and I found that I enjoyed using other parts
of my brain. One of my great joys now is finding ways
to reinvent the concert experience.
Julie: What is next for you?
Tim: This is the unexpected nature of freelance life: I
was called up last December by the St. Louis Sympho-
ny to do some broadcasting work for them. It has been
a mutually beneficial relationship. They brought me on
in a more significant role to co-host their live radio
broadcast which air each Saturday night on the St.
Louis Public Radio. I write their program notes, curate
their series at the Pulitzer Museum, which is a series
on contemporary music that they have done now for
Pipeline
UPDATE • UPDATE • UPDATE • UPDATE
Have you moved? Do you have a new email address?
Has your phone number changed? Did you change
your name? Let us know!
Send your new and improved information to our
wonderful Membership Chair, Lynne Krayer-Luke:
membership@chicagofluteclub.org.
She will update CFC records and make sure you
don’t miss a single postcard or Pipeline issue.
twelve years, and work on other writing projects for
them. It is a no flute-playing job, but it uses all of my
skills and interests. The challenge for me in the next
year is to find where flute-playing fits in to that. I will
play principal flute in a festival orchestra in Santa Cruz
in the first two weeks of August. For me, it’s the bal-
ance of finding the motivation for each project, and
having a broad spectrum of abilities. I love the ability
of playing a sound, and getting together with a bunch
of friends and reading music. I am also working with
some people to found a chamber orchestra called Big
Shoulders. What young musicians don’t know is that
90% of being a musician is in the planning, and not
playing at all.
Julie: What is the core of Tim Munro’s life?
Tim: Family. My Australian family and my wife, who
is incredibly inspiring to me. Supporting my wife’s
work is very core to who I am. As an artist, it’s two
things. First, I’d like to support and perform music spe-
cifically written by women and people of color. Hav-
ing a variety of different sorts of voices in a room
meets better results. And second, it’s stepping back so
that others can step forward. ~
19
Student Competition—continued from page 13 … 2018 Student Competition Winners

Elementary Division
First Prize: Matthew Leistensnider
Second Prize: Stella Moon
Third Prize: Linden Wadsworth
Honorable Mentions: Katelyn Shen, Dennis Szczech,
Nina Zhan

Junior Division
First Prize: Joanna Choe
Second Prize: Hannah Oyasu
A teacher in the Western Suburbs stated, “I love get- Third Prize: Grace Choi
ting the comments as it provides my student with feed- Honorable Mentions: Rosie Wang, Renee Zhuang
back that reassures what I say over and over again in
lessons. Someone else is telling them the same things I Senior Division
tell them, so they finally believe me!”
First Prize: Holly Venkitaswaran
Internationally renowned judges, specializing in di-
Second Prize: Lydia Walquist
verse aspects of flute playing, were invited to adjudi-
cate this year. The panel of Senior Division judges was Third Prize: Lucy Rubin
comprised of Cristina Ballatori and Eugenia Moliner. Honorable Mentions: Iris Xie, Emily Ruvoli,
The Elementary and Senior Divisions were adjudicated Serlina Ku
by Shanna Gutierrez and Jennifer Gosack Darwell. ~ Congratulations to the winners and all
who participated this year!

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Chicago Flute Club Upcoming Events

Kyle Dzapo Recital and Masterclass

Sunday, March 3, 2019, 2:00 – 5:00,
First United Methodist Church of Park Ridge

2019 Kujala International Piccolo Competition Finals

Saturday, April 6, 2019, 2:00 – 5:00,
First United Methodist Church of Park Ridge

Emma Gerstein Recital and Masterclass

Sunday, May 5, 2019, 2:00 – 5:00,
First United Methodist Church of Park Ridge