March 2014 - The Flute Society of South Australia Inc.

South Australian
SA FLUTE NEWS Flute News
Page 1
Print Post Pub. No. 100002101
Playing. Sharing. Inspiring.
Dear Members,
Patron
Alison Rosser
Happy New Year!
Vice Patrons
Associate Professor
Elizabeth Koch OAM
Robert Brown
Follow the Flute
Society on Facebook.
Like our page at
https://www.facebook
.com/flutesocietyofsa.
President’s Report
1
New Honorary Life
2
Coming Events
2-5
Concerts
5-6
Notes and News
6
Scholarship
6
Recent Events
7
Concert Reviews
Articles
CD Review
Flute Society Info
I hope you have all had
a restful break and are ready for another
year filled with many fluting activities.
I would like to thank last year’s committee
for their time, and the energy they give
planning, organising and running events to
ensure a year of diverse activities to cater
to all levels of players. I would especially
like to thank outgoing committee member
Margaret Coventry for the many years of
wonderful service she has contributed
including a couple of terms as President.
We will still look forward to catching up
with Margaret at our events, maybe even
with ukulele in hand at another Fabulous
Flute and Fife Fun Day! I would also like
to extend a warm welcome to our new
committee members Naomi Robinson
and Baoshan Wu.
We are looking
forward to having you work with us.
It’s a boy! Congratulations to committee
member Cristy Wilkins, and Adrian, on
the arrival of their son, Joseph Charles
Cox.
Contents
7-9
10-14
15
16
ABN: 96 991 331 922
The Flute Society of South Australia Inc.
PLEASE visit our new website at http://saflutesociety.org/
From the President
Founder
Professor David
Cubbin
Member
March, 2014
Did
you know Flute Society members
have had the option to receive South
Australian Flute News by post or by email since 2006? If you would like to be
added to the email list, please contact
Robert Brown at [email protected].
Our first event for the year will be the
TUTTI FLUTTI FLUTE PERFORMANCE
AFTERNOON. This afternoon provides
the perfect opportunity to perform in a
warm and supportive environment, which
is the best way to gain some performance
experience! It will be held on Sunday May
18 at Unley Uniting Church, corner of
Unley Road and Edmund Avenue at 3 pm.
For more information and to apply to
perform, please find the flyer inside of the
newsletter or on our website and send
your entries into Linda Pirie.
On June 21 at 12-00 noon we are
CAROLYN
WHITE
holding
the
MEMORIAL SCHOLARSHIP in the
Performing Arts Centre at Seymour
We are very pleased to
College.
announce that this year’s adjudicator is
the Principal Flautist in the Adelaide
Symphony Orchestra, Geoffrey Collins.
The brochures advertising the Adelaide
Eisteddfod are now being circulated. All
entries will be online once again this year
via GENI, an Eisteddfod Management
system. Entries will close at the end of
Term One on Friday April 11.
We are currently working on securing
dates and venues for a number of other
events including an ADULT AMATEURS
ENSEMBLE
AFTERNOON,
the
FABULOUS FLUTE AND FIFE FUN
DAY (not to be missed by the younger
Adelaide fluting community!), a FLUTE
TEACHER’S EVENING and a second
TUTTI FLUTTI FLUTE PERFORMANCE
AFTERNOON in September.
The DAVID CUBBIN MEMORIAL
PRIZE will also be held in September and
the set work will be Courante from J.S.
Bach’s Partita.
This year is shaping up to be a busy one
once again and we are looking forward to
catching up with you at some of our
events throughout the year.
Until then, happy fluting!
Karen Fletcher
SA FLUTE NEWS
☆NEW HONORARY LIFE
MEMBER ☆
Congratulations to
Past President Margaret
Coventry, who was made
an Honorary Life Member
at the Annual General
Meeting on November 24.
☆NEW BABY☆
COMING EVENTS
TUTTI FLUTTI – FLUTE PERFORMANCE AFTERNOON
When:
Sunday, May 18, 3-5 pm.
Booking in for performers from 2-45 pm.
Where:
Unley Uniting Church, 187 Unley Road, Unley
Free admission! Come along for a relaxed afternoon of flute performances.
A scrumptious afternoon tea will be provided.
See the information page and application inserted in South Australian Flute News or
download from www.saflutesociety.asn.au.
CAROLYN WHITE MEMORIAL SCHOLARSHIP 2014
When:
Venue:
Congratulations to Cristy
Wilkins and Adrian on the
arrival of baby Joseph
Charles Cox on January
18.
vMEMBERSHIP RENEWAL
NOTICESv
These were posted in mid
October and again in late
January.
To continue your
Flute Society membership,
please send your membership
renewal to the Membership
Secretary, The Flute Society
of SA Inc., PO Box 3208,
Norwood, SA 5067. This will
be the last issue of South
Australian Flute News to be
sent to non-financial members.
v LIBRARYv
The Flute Society Library is housed
in Elizabeth Koch’s room (LG 14) at
the Elder School of Music. There is a
large selection of sheet music, flute
ensemble music (duets, trios,
quartets and quintets), magazines,
books and cassettes. Elizabeth may
be contacted during office hours on
8313-5343
or
e-mail
[email protected] to
arrange a time for borrowing.
Page 2
Adjudicator:
Saturday, June 21, 12noon
Performing Arts Centre, Seymour College
546 Portrush Road, Glen Osmond
Geoffrey Collins
The Carolyn White Memorial Scholarship is for young flautists aged fifteen years or
under on January 1, 2014. It provides them with the opportunity to prepare and
perform works and to compete for cash prizes which may be used for tuition
expenses or towards the cost of a new instrument or new music.
Entrants are required to perform the following on a C Concert Flute:
a) Set Piece: Largo and Allegro: Locatelli, arr. Weretka, no repeats, AMEB Flute
Fourth Grade Book, Series 3 (AMEB)
b) Own choice piece, time limit is 6 minutes
The Carolyn White Memorial Scholarship will consist of two prizes:
First Prize
$250
Second Prize
$100
Closing date: Thursday, June 12
Enquiries:
Ph. 8333-0665
See brochure and entry form inside South Australian Flute News or download from
www.saflutesociety.asn.au.
ADELAIDE EISTEDDFOD FLUTE AND WOODWIND
DIVISIONS 2014
When:
Venue:
Adjudicators:
August 8-11
Rosefield Uniting Church, 2 Carlton Street, Highgate
to include Julia Grenfell, Lisa Gill (flute), Anna Lester
(woodwind)
Enquiries for Flute and Woodwind Divisions to the Convenor, Robert Brown, Ph.
8431-0452, e-mail [email protected].
Entries for the 2014 Adelaide Eisteddfod will again be electronic. GENI (Gaia
Eisteddfod Navigator Interface) will be used. GENI is being used by many
Eisteddfod Societies in Australia.
To enter the Adelaide Eisteddfod, visit
http://www.sacomment.com/aes.htm, look for the link to GENI, and then look for
‘Adelaide Eisteddfod’ under ‘Participating Eisteddfods’. Most of the answers about
what to do are dealt with under ‘Top Questions?’ and ‘More Information’. It is
envisaged that access to the Adelaide Eisteddfod via GENI will begin in early
February 2014. A brochure with more information is enclosed with South Australian
Flute News.
Entries will close on April 11. No late entries will be accepted.
Page 3
SA FLUTE NEWS
Please look for the following new section: Flute Solo 8 Years and Under. Please
check out Flute Solo 10 Years and Under, Folk Tune: we would like more entries in
this section, which was new last year. Flute Duets: please decide which partner is
going to submit the entry, and remember to include your partner’s name (also in the
Flute Trio or Quartet section). In 2013, several duet partners entered separately
and this wasn’t discovered until after the programme had gone on the Adelaide
Eisteddfod website! The Orchestral Excerpts section has been revised so it is now
open (no grade levels) and a list of suggested repertoire books has been provided;
previous first prize winners may enter this section again. If you have been sent
orchestral excerpts for an audition you may use them. Also look for the Australian
Music section, the new Flute Concerto section, Adelaide Eisteddfod Concerto,
Woodwind Ensembles section in the Woodwind Division, and the Eisteddfod
Ensemble Event. Please note that different concerti must be played for the Flute
Concerto section and Adelaide Eisteddfod Concerto.
The MBS Young Performer has been renamed Young Virtuosi. It is only
possible to participate in this event by entering the String and Wind Recital at the
Adelaide Eisteddfod. This year the First Prize is $300. The SA Final will be held in
September (the Instrumental Prize is $300 courtesy of Size Music). The National
Final will also be held in Adelaide in November, with the Prize being a $5,000
Travelling Scholarship. Last year there were few entries for the String and Wind
Recital. The sponsor says that if the number of entries increases the First Prize will
be increased too! So, let’s have lots of entries this year … and you could end up
winning the $5,000 Travelling Scholarship!
vBUY AND SELLv
FOR SALE:
Sonare SF-705 Flute,
silver head, body and foot, Powell
Signature head joint (Boston), French
pointed arm key work, silver plated keys,
open hole, split E, offset G, five years old,
in good condition and regularly serviced,
$2,750.
Contact Sophia, mobile 0403-191-783.
vYOU TUBEv
Performance experience
Carnegie Hall Masterclass with
Emmanuel
Pahud,
http://www.youtube.com/watch?v=C
m7UfC8swis
Exams
Sir James Galway teaches and
demonstrates
scale
studies:
http://www.youtube.com/watch?v=oD
crDxATfos
WHY ENTER THE 2014 ADELAIDE EISTEDDFOD?
Irrespective of students’ aims in music the experience of performing in public is
vital. This builds confidence, and above all, the chance to experience the
enjoyment and excitement of performing.
Every competitor receives the assessment of an accomplished and independent
adjudicator. Try out and improve your programs for exams such as AMEB, ABRSM
or Trinity Guildhall, and Secondary and Tertiary Level Assessments.
Audition Skills
Many aspiring professionals fail to show their best at auditions and miss study or
Sir James Galway on Importance of
practice,
http://www.youtube.com/watch?v=hp
SNYViSCcw
Size 1/3
SA FLUTE NEWS
Page 4
job opportunities. The answer is practice and the conditions at the Eisteddfod
competitions are ideal for this purpose.
Performance Opportunities
The finals of the advanced competitions are held in prestigious venues.
musical organisations look for their soloists at the Eisteddfod competitions.
Several
Valuable Prizes and Recognition
Prizes include certificates, vouchers, medallions, cash and a major scholarship. All
are evidence of achievements to enhance CVs.
FLUTE SOCIETY EVENTS BEING PLANNED FOR 2014
The Committee is planning the following events:
FLUTE AND FIFE FUN DAY
ADULT AMATEURS FLUTE AFTERNOON
FLUTE TEACHERS’ EVENING
Stay tuned for more news!
The DAVID CUBBIN MEMORIAL PRIZE
for flautists aged 16 to 30 years, will be held later in the year.
More news in the next issue.
THE FLUTE SOCIETY PROGRAM ON 5MBS presented by Robert Brown
The Flute Society Program is broadcast on Monday evenings at 7 pm and repeated on the
following Saturday at 5 pm. 5MBS is located at 99.9 on the FM Band.
Dates
Monday, February 10
Saturday, February 15
Monday, April 14
Saturday, April 19
Monday, June 2
Saturday, June 7
Monday, July 28
Saturday, August 2
Program
A selection of tracks from Flute Vocalise and The Expressive Voice of the
Flute, new CDs featuring Kenneth Smith, flute, and Paul Rhodes, piano
Duo Merindah, Teresa Rabe, flute, Minh Le Hoang, guitar, including music
by Vivaldi and Schubert
Chamber Music for Flute and Strings, including Arnolds Sturms’ Suite
Modale for Flute and String Quintet and Friedrich Kuhlau’s Flute Quintet
No 1 in D Major, Opus 51
The Dancing Flute. The flute music of Geoff Eales, performed by Andy
Findon, flute, and Geoff Eales, piano
The theme music used for the Flute Society Program is Rimsky-Korsakov’s Flight of the Bumblebee,
played by Sir James Galway, flute, with Hiro Fujikake, synthesizer.
EISTEDDFODS AND SCHOLARSHIPS
The 18th Balaklava Eisteddfod will be held on Friday, August 1 (Choirs,
Instrumental Ensembles, Bands), Saturday, August 2 (Instrumental and Piano) and
Sunday, August 3 (Finale Concert). Entries will be open from March 25 via GENI,
visit https://geni.gaia.com.au/ and look for ‘Balaklava Eisteddfod’ under ‘Participating
Eisteddfods’, or manual entry form. Website, http://www.balaklavaeisteddfod.org.au/,
e-mail [email protected]. Entries close on May 5.
The Mount Gambier Eisteddfod is part of the ongoing work of Backstage
Incorporated. Enquiries, Secretary, Backstage Inc., PO Box 1711, Mount Gambier,
SA 5290, Ph./fax 8725-5905, e-mail [email protected], or visit
http://www.backstageinc.org.au/default.asp for further information. Entries will be via
Page 5
SA FLUTE NEWS
GENI, visit https://geni.gaia.com.au/ and look for ‘Mt Gambier Eisteddfod’ under
‘Participating Eisteddfods’. The Music Division runs from August 11-16, and includes
wind and recorder sections, and an instrumental groups section. Entries close on
July 4.
The Music Teachers’ Association of SA offers scholarships and
performance days to the students of its members.
Visit the website at
www.mtasa.com.au and look for ‘competitions’ and ‘events calendar’ to obtain more
information.
DATES FOR YOUR DIARY
CONCERTS Send your concert details to the Editor for inclusion in this section.
RECITALS AU S T RA LIA Wednesday Lunch Hour Concerts 2014
Where:
Pilgrim Church, 12 Flinders Street, Adelaide
When:
12-10 pm and 1-10 pm
Admission:
Adults: $5, Concession: $4. Tickets at the door.
Enquiries:
Recitals Australia, Ph. 8266-4936.
See http://www.recitalsaustralia.org.au/ for more information.
Wednesday, May 14
12-10 pm
Wednesday, May 21
1-10 pm
Wednesday, June 11
12-10 pm
Wednesday, June 18
1-10 pm,
Jordan Paterson, flute/piano
Jessica Archbold, flute
Scott Gunn and Sophie
Barritt, flute duo, piano
Arbor Wind Quintet
Music by Grieg, Mendelssohn, Quantz and
Clarke
Taktakishvili Sonata
Music by Doppler
Music by Ibert
Elder Hall Lunch Hour Concert Series 2014
When:
1-10 pm
Admission:
$10
See www.elderhall.adelaide.edu.au for more information.
Date
Friday, March 7
Friday, March 28
Friday, May 9
Friday, May 30
Music by
Genevieve Lacey, recorders; Palestrina, Bach, Chick Korea, traditional
James Crabb, accordion
Scottish tunes
Ben Opie, oboe; Peter De Saint-Saëns, Koechlin, Ravel
Jager, piano
Lovely on the Water, Celia Mozart, Finzi, Vaughan Williams, Bax
Craig, oboe, with Artaria
Elder Conservatorium Wind Ensemble, conducted by Robert Hower
Perspectives, Intimate Concerts at Elder Hall
Admission:
$25/$18.
See www.elderhall.adelaide.edu.au for more information.
Date
Saturday, March 8
7-30 pm
Sunday, May 11
Shadow Box
Genevieve Lacey, recorders;
James Crabb, accordion
Divertimenti
Music by
Bach, Sammartini and Ortiz
SA FLUTE NEWS
3-00 pm
Sunday, May 25
3-00 pm
Saturday, July 5
6-30 pm
Saturday, October 11
7-00 pm
Greg Dikmans, flute, with Elysium
Ensemble
Evolution and Revolution: England
Alexandra Castle, flute, with
Kegelstatt Ensemble
Darkness and Light
Tim Nott, flute, with Ensemble
Galante
Between Heaven and Earth
Jayne Varnish and Sam Yates,
recorders, with Adelaide Baroque
Page 6
Haydn’s six divertimenti
Grainger, Holst, Arnold, Britten, Bliss,
Walton
Mozart, Beethoven, C.P.E. Bach,
Beethoven, Mozart/Hummel
Chamber music by Handel
Mitcham Orchestra
When:
Where:
Conductor:
Admission:
Sunday, May 18, 2-00 pm
Mitcham Uniting Church, 103a Princes Road, Mitcham
Mike Kenny
$12, Family $20 (2 Adults, 2 Children), at the door
NOTES AND NEWS
AMEB PRIZES FOR 2013
Congratulations to Sophie Eckel, who received a Prize for Seventh Grade Flute. Her
teacher is Sue Rodger.
YEAR 12 MERITS FOR 2013
Congratulations to Madeleine Stewart for obtaining a merit in Musicianship.
Congratulations to Bethany Jones for obtaining a merit in Solo Performance.
DAVID CUBBIN MEMORIAL FUND FOR 2014
Grants are available to assist young Australian flautists attend a Flute Festival or
Flute Event during 2014. Please send a letter requesting financial assistance to
David Cubbin Memorial Fund, C/- Robert Brown, PO Box 3228, Norwood, SA 5067
by Monday, May 5, 2014. Please include your contact information - postal address,
telephone number, e-mail address. Applicants are required to provide a supporting
letter from their teacher.
Flute clearance at wholesale prices
Exclusive
Piano Group 1/3
Pearl flute solid silver head/body and B foot gold lip P795RBECODA was $7195 now $4199
Pearl flute Elegante sterling silver head open hole P795RBECDFwas $4195 now $2431
Pearl flute sterling silver headjoint P665E1R was $1595 now $922
Pearl flute 525 P525E1R was $1130 now $651
Pearl flute P795RBEF was $3895 now $2245
Pearl student flute curved and straight head w/split E P505EUS was $1195 now $688
Pearl student flute silver plate headjoint/body and foot P505E1R was $995 now $573
Pearl piccolo grenadite head and body silver plate keys PFP105E was $1495 now $861
Selmer flute silver plate with split E mechanism was $499 now $409
101 Flinders Street Adelaide SA 5000
Phone 8223 6264
Page 7
SA FLUTE NEWS
AUSTRALIAN FLUTE FESTIVAL
Held:
October 4-7, 2013,
ANU School of Music, Canberra
Patron:
Margaret Crawford
Director:
David Leviston
Co-ordinator:
Lyndie Leviston
Artistic Directors: Virginia Taylor and Vernon Hill
Junior Day:
Shaun Barlow
Website: http://www.australianflutefestival.com
2013 COMPETITION RESULTS
FLUTE COMPETITION
First Prize: Kiran Phatak
Second Prize: Timothy Hagen
YOUNG ARTIST COMPETITION
First Prize: Brian Kim
Second Prize: Nikolai Song
ORCHESTRAL EXCERPTS
COMPETITION
First Prize: Kiran Phatak
Second Prize: Anna Cooper
COMPOSITION COMPETITION
First Prize: Jessica Lee
Second Prize: Alex Manton
Next AUSTRALIAN FLUTE FESTIVAL
dates, October 3-6, 2015.
RECENT EVENTS
CONCERT REVIEW
vYOUTUBEv
by Samantha Hennessy
Royal Concertgebouw Orchestra,
November 26, 2013
Hamer Hall, Victorian Arts Centre
Their
String section has been
described as ‘velvety’, the Brass,
‘golden’ and the Woodwinds as
‘distinctly personal’; this orchestra was
quite simply sublime. Often billed as
‘The World’s Best Orchestra’, the
Royal Concertgebouw is known for
their unique sound. They are made up
of 120 musicians from some 20
countries and their concert hall is world
famous, boasting superior acoustic
properties.
Acclaimed for their
interpretation of Mahler’s works, their
programming is based on both
traditional repertoire and on celebrating
contemporary works.
Emily
Beynon on
Breathing,
http://www.youtube.com/watch?v=joS
qdY_8-ug
Emily
Beynon
on
Vibrato,
http://www.youtube.com/watch?v=Ug
RpkoIuGbw
Emily Beynon on Harmonics,
http://www.youtube.com/watch?v=qP
XNSRnxJhQ
Emily Beynon on Practice Tools,
http://www.youtube.com/watch?v=k2L
p_2zLCgA
Emily Beynon live in De Klassieken
(Gluck/Poulenc),
http://www.youtube.com/watch?v=NY
RVWlFagis
On the final leg of a world tour
celebrating their 125th Anniversary,
The Concertgebouw performed in
Perth, Brisbane, Melbourne and
ABRSM
1/2
THE ASSOCIATED BOARD OF
THE ROYAL SCHOOLS OF MUSIC
24 Portland Place, London, W1B, 1LU, United Kingdom
www.abrsm.org
Since 1889, we have provided music teachers and their students with exams and
assessments that nurture and evaluate an individual’s performance and progress.
As the world’s leading specialist in music assessment, our consistent and rigorous
approach carries recognised international authority.
ABRSM offer:
 Graded music exams and diplomas
 Practical Musicianship exams
 Professional Development Programme
 CT ABRSM Plus
For more information please contact
The local representative - South Australia
Ms Anastasia Chan
Email: [email protected]
Tel: 08 8234 5952 / 0423 282 589
CONCERT REVIEW SA FLUTE NEWS
Sydney, and were directed by their Chief
Conductor since 2004, Mariss Jansons.
On the program was Taming of the
vYOUTUBEv
The incredible flautist John
Amadio plays Witches
Dance,
http://www.youtube.com/wat
ch?v=5dQmQibW4q0
René Le Roy plays
Honegger’s Danse de la
Chevre,
http://www.youtube.com/wat
ch?v=ZwaNaZK7jRQ
Marcel Moyse plays Ibert’s
Flute
Concerto,
http://www.youtube.com/wat
ch?v=CYcWGz4bFBQ
Shrew Overture by Wagenaar, followed
by Stravinsky’s Firebird Suite and finally,
Tchaikovsky's Fifth Symphony. The little
known Taming of the Shrew Overture was
a perfect introduction; this late Romantic
Dutch work was taken at a lightning pace
and showcased the vitality and clarity of
the String section with vibrant interjections
from the virtuosic Woodwinds.
The
Firebird Suite was so perfectly balanced
and sheer, I was literally on the edge of
my seat, trying to work out who was
playing when - the entries all bleeding into
one magical soundscape.
In the second half, desperate to get up
close and personal to the players, I stole
an ‘empty’ seat on the side of the stage,
right on top of the Brass section and in
direct eye-line with the Winds. This was
fascinating, as I could observe the players
breathing and felt like I was almost sitting
amongst them. I was interested to note
the unorthodox positioning of the
Woodwinds - the Bassoons and Clarinets
switched positions, presumably a better
balance consideration?
The opening
entry of the Clarinets in Tchaikovsky’s
Fifth Symphony was so effusive; both
Clarinets sounded like one, and I was
again struck by the orchestra’s superior
blend and demonstrative use of technical
virtuosity, style and most impressively,
their restraint. Effective, efficient, exciting
and the best Christmas present I’ll ever
receive!
On their website, a portion of their home
page reads as follows: ‘Despite its size,
the orchestra actually functions more like
a chamber orchestra in terms of the
sensitivity with which its members listen
to, and work in tandem with, one another.
Indeed, this requires both a high individual
calibre and a great sense of mutual trust
and confidence’. Indeed!!
With one more concert to go in
Melbourne and another series of concerts
to follow in Sydney, the orchestra
members all congratulated each other
onstage
with
warm
handshakes,
embraces and genuine respect, almost as
if their tour had ended. Just another day
at the office for such a slick outfit presumably Armani. ♫
Page 8
EMILY BEYNON MASTERCLASS
by Samantha Hennessy
Principal Flute, Royal Concertgebouw Orchestra
November 27, 2013
Australian National Academy of Music, South
Melbourne
Participants:
Kiran Phatak, with
Katie Yap, viola,
and Melina van
Leeuwen, harp
Jennifer Timmins
Kiran Phatak
Anna Cooper
Debussy: Sonata for flute,
viola and harp
Schubert: Introduction,
Theme and Variations for
flute and piano
Nielsen: Concerto for flute
Hindemith: Sonata for flute
and piano
Following up on a magnificent concert
the previous night, Emily Beynon’s
Masterclass was a perfect chance to
hear a wonderful artist up close and
personal.
With only around 20
observers, the intimate setting at ANAM
provided an ideal venue for three hours
of intense scrutiny and insightful
observations.
Emily’s manner was both friendly and
intensely challenging, as she pushed
the performers to stretch their wings and
take more liberties with expression, but
always within the boundaries of pulse.
She cross-examined their reasoning for
phrasing, breathing, style and historical
significance and explored the relevance
of tonality and meter to phrasing and
colour.
Interestingly,
she
was
unimpressed with an always robust and
full tone and asked much more of the
performers in terms of executing the
lower end of the dynamic spectrum,
encouraging them to work from the
minimum dynamic upward, rather than
using a healthy upper-end dynamic, as
a mid-range point from which to expand.
Emily demonstrated several alternate
fingerings in extreme registers, to avoid
compromising sound quality in the
attempt to correct pitch. Emily also
advocated working from the score and
examining the historical context of works
Page 9
SA FLUTE NEWS
and
how
dynamic/articulation
markings can differ from one
composer or genre, to another.
Whilst all players were of an
incredibly high standard and very
well prepared, Emily’s observations
showed that music, like any other
fine art, is always a work in
progress.
Fascinating stuff!
EMILY BEYNON
Emily Beynon was born in Swansea,
South Wales in 1969. She began her
flute studies as a junior at the Royal
College of Music with Margaret
Ogonovsky. She went on to study with
William Bennett at the Royal Academy
of Music and then Alain Marion in
Paris. In 2002 Emily was made a
Fellow of the Royal Academy of Music.
Before
joining
the
Royal
CONCERT REVIEW
Concertgebouw Orchestra in 1995, she
was a member of the Glyndebourne
Touring Opera and the BBC National
Orchestra of Wales.
In addition to
playing in the orchestra, one of Emily’s
passions is teaching. She taught at the
Royal Conservatoire in The Hague for
eleven years, at the Conservatorium van
Amsterdam for two years and teaches at
the Netherlands Flute Academy (Neflac),
which she founded with Suzanne Wolff in
2009. Neflac organises courses and
concerts for young talented Dutch
flautists
and
young
international
professionals, where inspiration and
motivation are at least as important as
supporting and developing participants’
flute playing. Emily Beynon is regularly
invited to give solo performances and
masterclasses throughout the world and
very much enjoys playing chamber
music. ♫
Emily Beynon
Flutes & Flutists
1/2
AU T H O R I S E D D I S T R I B U T O R O F
AZUMI
Abell
Altus
Amadeus
BURKART
MANCKE
EASTMAN
Resona Wm S Haynes
Haynes Classic VERNE Q POWELL
FLUTES AND FLUTISTS PTY LTD 140 Sailors Bay Road, Northbridge, NSW 2063 Australia ABN 14 130 753 641
Phone: +61 2 8006 5345 s Mobile: +61 418 477 204 s Email: [email protected] s www.flutesandflutists.com
ARTICLES
SA FLUTE NEWS
WHAT CHOICE FOR YOUR
FLUTE ENSEMBLE REPERTOIRE?
BUT TEACHER, I WANT TO PLAY
SOME SONGS BY LADY GAGA!
by Inga Karika, M.Mus, Rīga, Latvia
by Inga Karika
(JVLMA,
http://www.youtube.com/watch?v=htHkPvXz5fo#t
=18, e-mail [email protected])
Hello!
I would like to share my thoughts and
vYOUTUBE v
Marcel
Moyse
plays
Debussy’s
Syrinx,
http://www.youtube.com/watc
h?v=R2ZE6VN_ZG0
Sir James Galway and Uri
Shoham perform Domenico
Cimarosa’s Concerto for two
flutes,
http://www.youtube.com/watc
h?v=rDNyAaYx6Noandfeatur
e=youtu.be
Jean-Pierre Rampal plays
Mozart’s G Major Flute
Concerto with the Sydney
Symphony
Orchestra,
http://www.youtube.com/watc
h?v=71CugOCzcrQ
Page 10
experiences with regard to teaching
repertoire
choices
for
flute
ensembles. At my school in Rīga, I
have had the pleasure of teaching a
flute ensemble for quite a few years.
I have noticed, however, that at
present in the Latvian school music
system that there is an increasing
tendency for the preparation of
‘popular’ music arrangements, music
from the movies and even jazz
arrangements, not to mention the
simple arrangement of ‘pleasant’
melodies that might come from the
folk or popular genre.
And yes ... the young students like
this very much and they don’t shy
away from practising ... because it is
‘Fun and Easy’!
Nevertheless, in my opinion, there
is a noticeable deficit of the study of
more serious music from the classical
(we call it academic) repertoire. It is
really becoming a rare occasion
these days to go to a school’s
concert and to hear the music of J.S.
Bach, J. Haydn, A. Vivaldi, etc. in
arrangements for music ensembles.
I am of the opinion that the learning
of such ‘classical’ repertoire requires
the development of a better defined
technical ability on one’s instrument,
which is most certainly a vital
requirement
for
any individual
member of a performing flute
ensemble.
The performance of
music by W.A. Mozart, A. Vivaldi and
other great composers is also, more
often than not, an inseparable
component in the development of the
student’s overall musicianship and
sensibility to musical taste and style.
♫
Its more than a certainty that you, too,
have had that recurring discussion with
the flute student who would rather play
some popular melodies that they have
encountered in their daily lives (away
from you – ‘that’ flute teacher), you
know, pop tunes, rock, even Indy rock,
movie music, etc., mostly because it is
currently getting popular media ‘air’
time.
And there is no doubt that offering
the choice of working on such ‘now
generation’
music
is
a
great
motivation-to-practice factor for the
young whippersnapper who might
otherwise be disinclined. For these
young people it is perhaps much more
interesting than trying to get in touch
with that ‘fuddy-duddy’ old music such
as Baroque menuets and gavottes ...
music from a different time and a
different place and with which it might
be difficult to identify in our very own
21st century.
And we, as teachers, often have to
go to great effort so as to mentally
teleport our young charges back to the
18th century ... Oh, for Pedagogy’s
Sake!
It is evident, then, that the choice of
repertoire and the wishes / desires of
the pupil are a most important factor in
lesson planning.
But to what degree should this be
encouraged? Are the desires of the
pupil-client a deciding element in your
teaching
strategy
and
in
the
maintenance of your Studio?
What do you think?
Inbox me! ♫
Go ahead ...
Page 11
SOUTH AUSTRALIAN
FLUTE NEWS TURNS 35
by Robert Brown
While thumbing through some back
issues of South Australian Flute News
recently I realised that the first
newsletter that I edited was issued in
March 1979: that was 35 years ago!!!
I have updated what I wrote for the
April 2000 issue when South Australian
Flute News was turning 21.
The Flute Society of South Australia
was founded by David Cubbin in July
1972. Alison Rosser was the first
Secretary, and began the practice of
issuing a one or two page newsletter
containing details of coming events
several times each year.
Her
successors, Julie Wilson, elected in
1974, Rae Stratfold, elected in 1975,
and Brian Hannaford, elected in 1977,
continued to produce the newsletter.
These newsletters were issued on A4
or foolscap sheets, either single or
double sided, depending on the
contents.
SA FLUTE NEWS
ARTICLES
I was elected Secretary in February
1979, and inherited the task of editing
the newsletter. Brian Hannaford had
used the office facilities at the
Metropolitan Milk Board in Hutt Street,
of which he was then Chairman, to
produce the newsletter. At the time of
my election, I had no access to printing
equipment, so the committee agreed to
buy some sort of printing machine. The
next two months were spent looking at
the merits of spirit versus ink
duplicators. Fordigraph allowed me to
use a spirit duplicator at their premises
at Fullarton Road, Kent Town to print
the March 1979 issue of the
‘Newsletter’. The committee decided to
buy a Gestetner ink duplicator and my
mother, Rosemary Brown, kindly typed
the newsletter, slaving over stencils and
occasionally dabbing on blobs of pink
correcting fluid when things weren’t
quite the way they should be! I then
experienced the delights of printing the
newsletter pages and the stencils
covered in black ink! Once the printing
was completed, and the newsletter
Winston Exclusi
1/4
vely
Flutes
1/4
New
Norwood store
now open!
Exclusively Flutes
SERVICES
MINOR from $50
INTERMEDIATE from $100
MAJOR from $180
FULL REPAD from $250
A range of quality,
fully refurbished
∙ Competitive rental or purchase prices
∙ Accessories & sheet music with teacher benefits,
delivery options & convenient online ordering
∙ Service & repairs
BRAND NEW!!
Gemeinhardt Flutes
for sale at
unbeatable prices!!
second hand ßutes
For Sale
HIRING
available at $60
per term
Straight and curved
head joints available
45 The Parade, Norwood • 87 Winston Ave, Daw Park
Open 7 days • www.winstonmusic.com.au
Contact; Cristy Wilkins
0410 717 280
[email protected]
ARTICLES
SA FLUTE NEWS
collated and folded, the Treasurer, Edith
Gogolin, addressed the envelopes and
took the newsletter to the Post Office.
At this time, the newsletter was issued
every month from February through to
November. The scope of the newsletter
was gradually expanded to include the
President’s report and items of general
interest to members, including articles
about flute playing.
The committee
decided to give the ‘Newsletter’ a name,
and at Elizabeth Koch’s suggestion, it
became South Australian Flute News in
May 1979. Edith Gogolin retired at the
end of 1979, and I took over the task of
hand addressing the envelopes.
I arranged for South Australian Flute
News to be registered as a publication,
category B, which provides lower
postage
rates.
The addressed
envelopes must be sorted into postcode
sequence and have the required
information printed on the front. The
June 1979 issue was the first to be
posted as a registered publication. From
July 1981 the publication number SBH
1946 had to be included. Eventually
registered publications became Print
Post, and the number PP531629/00017
was allocated and first used in June
1994. Nothing is ever static and in
February 2013 yet another number was
allocated: 100002101!
The first ads
appeared in the April 1980 issue.
October 1980 saw the first appearance
of a yellow cover and a treble clef flute
logo. A rubber stamp was used to put
this on the front page. The logo was
designed by Claire Edwards, who was
the winner of a competition to design a
logo for the Flute Society; there were five
entries. Claire won a record voucher. In
1981, Greg Raven kindly offered to set
up a database at the Angle Park
Computing Centre (part of the Parks
Community Centre complex), and
supplied mailing labels and later the
Flute Teachers List print out. In July
1982, at Greg Raven’s suggestion, State
Print began printing South Australian
Flute News at the Parks Community
Centre, with their first printed issue
coming out in time for the Flute Society’s
10th birthday celebration (two issues in
1981 were typed and printed at Pilgrim
Church when my mother was away).
With the arrival of printing the typed
Page 12
pages had to be cut up and then pasted into
position using art cement. It was a relief to
say goodbye to the inky stencils! When
larger or fancy letters or numerals were
needed this was done using Letraset, which
involves using plastic letter sheets with the
attached letters rubbed off onto the paper
underneath. This requires patience as it can
easily go wrong!
In these days before
access to scanning a white dot screen was
used to prepare photos for printing. The
white dot screen was placed on the
photocopier with the photo on top. The
photocopied result was similar to a scanned
photo. This worked very well at the time.
With the printing and increasing availability
of photocopiers, the Gestetner ink duplicator
was no longer being used. Eventually, it was
given to the St Vincent de Paul Society. In
1983, the number of issues per year was
reduced from ten to six. Marianne Broug’s
cover design first appeared on the May 1986
issue. Greg Raven moved to Radio Rentals’
head office at Prospect in the late 1980s to
manage their mainframe computer. From
there, he continued to look after the mailing
and Flute Teachers List databases.
In 1990 I bought my first computer and with
Greg Raven’s assistance, took over
management of the databases and printed
the mailing labels. By 1992 the typewriter
had been phased out and the computer used
to prepare the newsletter for printing, which
eliminated the manual cutting and pasting.
State Print scanned the photos for me.
Since then it has become possible to scan
photos and other items at home, and to use
digital photos, and paste these items into the
newsletter. In 1998, the number of issues
per year was reduced from six to four. The
State Government sold State Print (by then
called Sprint) to Endeavour Print Document
Service in mid 1999. The September 1999
issue was the last to be printed by Sprint at
their Marden branch (the Parks branch was
closed in the mid 1990s). The February
2000 issue was the first printed by
Endeavour Print Document Service at
Netley, and featured a blue cover with the
first appearance of Imogen Henning’s cover
design. Imogen received a James Galway
CD after winning a cover design competition
held in 1999. The map of South Australia
from her cover design also became the Flute
Society’s logo. Endeavour Print Document
Service was eventually sold to Salmat, and
relocated to their Mile End plant: they
eventually moved to Torrensville. Salmat
was taken over by Fuji Xerox in mid 2013.
Page 13
Annie Zerbo proposed an A4 page
format in early 2006 for South Australian
Flute News to replace the A5 size pages
and offered a new layout for it as well.
The March 2006 issue was the first to
use Annie’s ‘blue’ design. Since 2006,
Annie Zerbo, Michal Rosiak and Masako
Kondo
have
successively
been
responsible for doing the layout work for
South Australian Flute News.
Linda Pirie suggested it was time to
consider a new logo design and in early
2013 the committee discussed some
ideas and concepts.
Graphic artist
Simone Linehan was asked to design a
new logo and look for the Flute Society.
These were finalised in August 2013,
with the new banner launched at Tutti
Flutti on September 22, 2013 and the
new ‘red’ look South Australian Flute
News issued for the first time in October
2013.
Masako Kondo updated the
overall appearance of South Australian
Flute News to embrace the new logo and
look.
I would like to thank everyone who has
been involved in some way with South
Australian Flute News over the last 35
years, including the contributors of
information,
reports,
articles
and
advertising, my mother for doing the
typing in the days of stencils and pasting
up, Greg Raven for his help with
establishing the electronic databases,
Annie Zerbo, Michal Rosiak and Masako
Kondo for doing the layout work, the
helpful people from the printing industry,
and Australia Post for ensuring that
South Australian Flute News continues to
be delivered four times each year to the
members of the Flute Society of South
Australia.
The modern Flute Society movement in
Australia began in 1969 with the
formation of the Victorian Flute Guild,
and by the early 1970s Flute Societies
and Guilds had been established in each
capital city, along with some regional
Flute Societies.
Most of these
organisations published a newsletter. In
2014, only the Queensland Flute Guild,
Flute Society of NSW, Victorian Flute
Guild and Flute Society of SA are still
active. The Queensland Flute Guild,
Victorian Flute Guild and Flute Society of
SA are still publishing newsletters: the
SA FLUTE NEWS
Flute Society of NSW has an enewsletter.
Happy 35th birthday South Australian
Flute News!! May there be many more
issues. ♫
SA Flute News covers
April 1979, first issue using ink duplicator (can
you find the typo?)
February 2000, first issue with Imogen
Henning’s cover design
November 1980, with treble clef logo
July 1982, first issue printed by State Print
March 2006, first issue with Annie
Zerbo’s design
May 1986, first issue with Marianne Broug’s
cover design
September 2013, launch of new banner
at Tutti Flutti
SA FLUTE NEWS
THE EMBOUCHURE
by Owen Fisenden
Reprinted with thanks from W.A.
Flute Notes, February 1980.
vJOKESv
A flautist was hiking in the
mountains, and he came upon
a shepherd who was tending a
large herd of sheep that were
grazing in the alpine meadow.
The flautist took a fancy to the
sheep, and asked the
shepherd, ‘If I can guess how
many sheep you have, can I
have one?’ The shepherd
thought this was an odd
request, but thought that there
was little chance that the man
would guess the exact number
of sheep, so he said, ‘Sure’.
The flautist guessed, ‘You have
287 sheep’, to the shepherd’s
astonishment, since this was
exactly how many sheep he
had. The flautist got all excited
and asked, ‘Can I pick out my
sheep now?’, and the shepherd
grudgingly
gave
his
permission.
The flautist
selected his sheep, bent over,
and swung the sheep over his
shoulders, to carry home with
him. The shepherd then got an
idea and asked, ‘If I guess what
your occupation is, can I have
my sheep back?’ The flautist
was a bit surprised by this, but
figured it was unlikely that the
shepherd would be able to
guess his occupation, and went
along with the deal. The
shepherd then guessed,
‘You’re a flautist, aren’t you?’
The flautist was very surprised
and asked, ‘How did you
know’?
The shepherd
responded, ‘Put the dog down
and we’ll talk about it’.
The Embouchure (pronounced OMboo-shure with the accent on the first
syllable) is a confusing word
because it refers to two things. It is
the name for the mouthpiece of a
wind instrument, and it is also the
word used for the formation or
position of the mouth or lips when
playing a wind instrument.
In
the
second
sense,
the
embouchure is an important factor in
tone production. The flautist’s lips
have the function of shaping the
airstream, determining the size of the
airstream, and of aiming the
airstream at the back wall of the
embouchure hole of the flute.
The SHAPE of the airstream will
affect the clarity and the quality of
the sound.
The SIZE of the airstream is the
fundamental means of controlling the
dynamic (whether the sound is loud
or soft).
The ANGLE of the airstream is used
primarily to control the colour of the
sound. The breath angled down
makes for a darker, harsher sound,
and angled up makes for a lighter,
gentler sound.
Try altering the SHAPE, the SIZE,
and the ANGLE of the airstream as
you play in front of a mirror, and
listen to the effect of each on your
tone quality. The ability to vary each
is an important asset to every flautist.
♫
Page 14
FINGERS
(From the April 2000 issue)
Hardly move the fingers from the keys
when playing. Playing is smoother and
more even, and fingers strike the keys
with more equal pressure. Try to play
so that the fingers feel like feathers on
the keys. ♫
HINTS ON PERFORMING
IN HOT WEATHER
by J.J. Quantz
(From On Playing the Flute, 1752,
translated by Edward R. Reilly. Faber.)
In warm weather it may also happen
that he [the flute player] perspires
about the mouth, and the flute in
consequence does not remain lying
securely at the proper place, but slips
downwards, so that the mouth-hole is
too much covered, and the tone, if not
lacking altogether, is at least too weak.
Quickly to remedy this last evil, let the
flautist wipe his mouth and the flute
clean, then touch his hair or wig and
rub the fine powder clinging to his
finger upon his mouth. In this way the
pores are stopped, and he can
continue
playing
without
great
hindrance. ♫
Page 15
SA FLUTE NEWS
CD REVIEW by Robert Brown
The Dancing Flute. The flute music of Geoff Eales, 13 new compositions for flute and piano.
Nimbus Alliance NJ 6216.
Andy Findon (flute), Geoff Eales (piano). Recorded July 25-27, 2012.
Websites: www.andyfindon.co.uk, www.geoffeales.com
YouTube: www.youtube.com/watch?v=b49KAnqJyCE, 12 minute demonstration of The Dancing Flute.
Tracks: Eternal Dance, Song for my Mother, In the Pocket, Remembrance, Elf Dance, Lochria’s Rhumba (alto flute), In the
Eyes of a Child (penny whistle), Farewell Patagonia, The Sad Little Geisha Girl, Force 11 (piccolo), Ice Maiden (bass flute),
Pan Dance, The Last Kiss.
Published by Astute Music Limited.
Geoff Eales is a Welsh jazz pianist and composer and Andy Findon is a well-known UK
multi-instrumentalist and studio musician. Following periods of working together Geoff
Eales was inspired to compose the works on this CD for Andy Findon. He wrote in
November 2012: ‘This album is a paean to the life-enhancing qualities of the dance. Eternal
Dance, Elf Dance, Pan Dance and Force 11 are predominantly upbeat affairs, the
juxtaposition of contrasting meters an important feature of each piece. Farewell Patagonia
is unashamedly a tango from start to finish, the Latin flavor also pervading the slow burn of
Lochria’s Rhumba and Ice Maiden. We enter into the world of the intimate waltz in
Remembrance, In the Eyes of a Child and The Last Kiss. By contrast, it is jazz syncopation
and Irish dance rhythms that drive the music forward in In The Pocket. Song For My Mother
is a tribute to my own mother and The Sad Little Geisha Girl was inspired by Arthur
Golden’s novel, Memoirs Of A Geisha’.
These compositions fuse popular and classical styles and provide a great display for both
performers, contrasting virtuosity with expressiveness. Andy Findon demonstrates his
versatility by performing on flute, penny whistle, piccolo, alto and bass flutes. An exciting
and relaxing CD that showcases some wonderful new additions to the flute’s repertoire. Do
buy this CD and also check out the sheet music. ♫
Flute Tree
1/2
The Dancing Flute
SA FLUTE NEWS
Page 16
The Flute Society of South Australia Inc.
PO Box 3208, Norwood SA 5067
General enquiries – 0411 353 627
Membership enquiries – Ph. (08) 8431 0452
We’re on the Web! See us at:
http://saflutesociety.org/
About The Flute Society of South Australia Inc.
The Flute Society of South Australia is a non-profit
organization that aims to foster and encourage the enjoyment
of flute playing at all levels.
The Flute Society of South Australia Inc. was founded in
July 1972 at the instigation of the late Prof. David
Cubbin.
The Society's role includes promoting local and interstate
artists, encouraging young players and forging links out into
the community.
Its members represent a wide cross-section of the
community – teachers, students, amateur flautists,
professional musicians and people from all walks of life,
all sharing the same interest – playing, talking about and
listening to the flute.
Regular activities include workshops, concerts, fun days,
masterclasses and recitals.
Newsletter Contributions
Membership Fees
Adult
$45
Student, Pensioner, Country,
Unemployed, Associate
$30
Life Membership
$675
Download a membership form from our website.
May 2014 issue deadline – Friday, April 4
Please post to:
The Editor
South Australian Flute News
PO Box 3208, Norwood, SA 5067
(08) 8431-0452, or email to [email protected]
Attach as a Word.doc or JPEG file or send as body text; maximum
length is 500 words. Please send separate Word and JPEG files.
Advertising rates for South Australian Flute News
Half page, $150; third page, $100; quarter page; $75.
Buy and Sell - Members free; Non-members, $15
E-mail Database and Newsletter via email
The Flute Society is building up a database of member’s e-mail addresses so that flute related news and information can be
sent to members from time to time.
Sometimes information and news becomes out-of-date before it can be published in South Australian Flute News.
If you have an e-mail address or would like to receive South Australian Flute News electronically please e-mail the details to
Robert Brown at [email protected].
THE FLUTE SOCIETY OF SA
[email protected]
PRESIDENT
Karen Fletcher – 8333 0665
[email protected]
VICE-PRESIDENT
Linda Pirie – 8342 1237
[email protected]
SECRETARY
Samantha Hennessy – 0411 353 627
[email protected]
TREASURER
Cara Seppelt – 8267 4319
[email protected]
PUBLIC OFFICER/MEMBERSHIP
SECRETARY/EDITOR
Robert Brown – Ph/Fax 8431 0452
[email protected]
Newsletter Design and Layout
Masako Kondo – 8271 2740
[email protected]
COMMITTEE MEMBERS
Elizabeth Koch OAM – 8313 5343 /
0409 282 927
[email protected]
Naomi Robinson – 0404 369 634
[email protected]
Helen Seppelt – 0428 102 502
[email protected]
Cristy Wilkins – 0410 717 280
[email protected]
Scott Gunn – 7225 0210,
[email protected]
Baoshan Wu – 0413 036 988
[email protected]
--------------------------------------------------------SCHOLARSHIP COMMITTEE
Helen Seppelt, Elizabeth Koch OAM and
Samantha Hennessy
--------------------------------------------------------WEBMASTER
Helen Seppelt – 0428 102 502
[email protected]