331942 flute news.indd

Page 1
South Australian
SA FLUTE NEWS Flute News
Print Post Pub. No. 100002101
Playing. Sharing. Inspiring.
Welcome
Vice Patrons
Associate Professor
Elizabeth Koch OAM
Robert Brown
Follow the Flute
Society on Facebook.
Like our page at
https://www.facebook
.com/flutesocietyofsa.
Contents
President’s Report
1
New Member
2
Coming Events
2-5
Concerts
4-5
Notes and News
5-6
Music Review
Flute Society Info
The Flute Society of South Australia Inc.
PLEASE visit our new website at http://saflutesociety.org/
Dear Members,
Patron
Alison Rosser
Articles
ABN: 96 991 331 922
From the President
Founder
Professor David
Cubbin
Scholarship
May, 2014
6
7-14
15
16
to our second edition of South
Australian Flute News for 2014. As I write
this, it is hard to believe that we are
moving at a very fast pace towards the
Term 1 school holidays!
Have you had the chance to visit our
Facebook page yet? We would like to
encourage our members to use our
Facebook page. You could let us know
about a concert which you may be
involved in, or a new business venture
which you would like to promote. We
would love to hear from you and keep in
touch with what is happening.
Perhaps you have discovered on our
Facebook page that Melissa Doecke has
been very busy recording the new AMEB
Series 3 Flute Grade Book pieces,
accompanied by Peter de Jager. The
recordings are available for download from
iTunes and CD Baby as a complete album
or by individual track. This is a fantastic
resource to have access to as we
familiarise ourselves with the large volume
of new repertoire in the new AMEB
Syllabus. Thanks Melissa and thanks
for posting on our page!
Our first Tutti Flutti Performance
Afternoon for the year is approaching and
we hope to see you on Sunday May 18 at
Unley Uniting Church. Send your
application form to Linda Pirie to secure
your place in the program and gain some
valuable performance experience in a
relaxed and friendly environment. You can
also enjoy afternoon tea and catch up with
some fellow musicians. If you need a
brochure, it is available on our website.
The Adult Amateurs Flute Ensemble
Afternoon will be held on Sunday June
15, also at Unley Uniting Church. The
wonderful Alison Rosser will direct this
afternoon of music making. Alison will
also provide an opportunity for you to
discuss any flute playing problems as well
as experience a mini masterclass using
Alexander Technique principles in flute
playing. The afternoon will conclude with
an afternoon tea. You will find the
brochure inside this newsletter.
On Saturday June 21 Geoffrey
Collins will adjudicate the Carolyn White
Memorial Scholarship. The venue this
year is the Seymour College
Performing Arts Centre at Glen
Osmond.
The Flute and Fife Fun Day will be held
on Sunday August 24 at Unley Uniting
Church. We are still in the process of
finalising program details but have
included a flyer to remind you to save the
date for this fun afternoon for our younger
members, age 6-13.
Slightly further afield, the Principal
Flautist of the Metropolitan Opera in New
York, Denis Bouriakov, will be touring
Australia in May with a recital and
masterclass in Sydney on May 26 and
27 and then in Melbourne on May 29
and 30. For more details go to
flutesandflutists.com and look under
events.
Look forward to catching up with you
soon!
Karen Fletcher
SA FLUTE NEWS
WELCOME TO OUR NEW
MEMBERS
Page 2
COMING EVENTS
TUTTI FLUTTI – FLUTE PERFORMANCE AFTERNOON
When:
Bethany Jones
Katherine Samarzi
We hope you enjoy being part of the
Flute Society and look forward to
seeing you at our events. Please visit
our website!
WEDDING BELLS
Congratulations to Helen Seppelt and
Nathan Royle, who were married in
Rome on April 5.
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.
The information sheet and application can be downloaded from
http://saflutesociety.org/.
**Sunday, September 14, 3-5 pm. Note the date for the second Tutti Flutti
afternoon!
ADULT AMATEURS FLUTE ENSEMBLE AFTERNOON
When:
Sunday, June 15, 2-4 pm. Booking in from 1-45 pm.
Where:
Unley Uniting Church, 187 Unley Road, Unley
See the brochure inside South Australian Flute News.
Enquiries:
Ph. 8333-0665
CAROLYN WHITE MEMORIAL SCHOLARSHIP 2014
When:
Venue:
Adjudicator:
IN MEMORIUM
Ian ‘Splash’ Drinkwater, a member of
the Flute Society, died on March 13.
He was a well-known jazz musician.
LIBRARY
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 email [email protected]
to arrange a time for borrowing.
Saturday, June 21, 12 noon
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
Please e-mail [email protected] if you would like copies of the brochure and
entry form or a map showing the location of the Performing Arts Centre at Seymour
College to be e-mailed to you.
Come along and support our young flautists as they compete for these awards.
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)
Page 3
SA FLUTE NEWS
COMING EVENTS
Enquiries for Flute and Woodwind Divisions to the Convenor, Robert Brown, Ph.
8431-0452, e-mail [email protected].
A summary of the session times will be given in the next issue.
The programme for each Division will be placed on the Adelaide Eisteddfod website
in due course (www.sacomment.com/aes).
FLUTE AND FIFE FUN DAY
When:
Sunday, August 24
Venue:
Unley Uniting Church, 187 Unley Road, Unley, 2 pm.
See the flyer inside South Australian Flute News. The brochure will be
included with the next newsletter.
Enquiries:
Ph. 8333-0665
DAVID CUBBIN MEMORIAL PRIZE
When:
Where:
Adjudicator:
Wednesday, September 10
Unley Uniting Church, 187 Unley Road, Unley, 7-30 pm
Geoffrey Collins
The David Cubbin Memorial Prize is open to non-professional flautists aged
between 16 years and 30 years of age as of September 1, 2014. It aims to provide
young flautists with the opportunity to prepare and perform works and to compete
for a substantial prize.
BUY AND SELL
FOR SALE:
Sankyo handcrafted professional flute,
model 801RBEC#, loaded with features,
Britannia silver body, sterling silver keys,
pointed arms, RS1 headjoint, open hole,
offset G, split E, B foot, C# trill, soldered
tone holes, 10 carat white gold springs.
In excellent condition, serviced regularly.
Has a truly magnificent sound. $14,000
o.n.o. (new price $16,000). Contact
Melvyn Schlank, Ph. (08) 8271-6859, email [email protected].
a) Set Piece: Courante from Partita for solo flute, J.S. Bach.
b) Own choice of contrasting work or works, time limit approximately 8-10 minutes.
The David Cubbin Memorial Prize will consist of two prizes:
First Prize
$500
Second Prize
$250
Closing date: September 1
Enquiries:
Ph. 8333-0665
See the brochure and entry form inside South Australian Flute News.
Size 1/3
COMING EVENTS
SA FLUTE NEWS
Page 4
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, June 2
Saturday, June 7
Monday, July 28
Saturday, August 2
Monday, September 22
Saturday, September 27
Program
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
Music for Flute Ensemble, including performances by the Monash
University Flute Ensemble, Fisenden Flute Ensemble, 14 Berlin Flutes and
National Flute Choir
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.
DATES FOR YOUR DIARY
CONCERTS Send your concert details to the Editor for inclusion in this section.
RECITALS 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 21
1-10 pm
Wednesday, June 11
12-10 pm
Wednesday, June 18
1-10 pm,
Jessica Archbold, flute
Taktakishvili Sonata
Scott Gunn and Sophie
Barritt, flute duo, piano
Arbor Wind Quintet
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, May 9
Friday, May 30
Music by
Lovely on the Water, Celia Mozart, Finzi, Vaughan Williams, Bax
Craig, oboe, with Artaria
Elder Conservatorium Wind Ensemble, conducted by Robert Hower
Page 5
SA FLUTE NEWS COMING EVENTS
Perspectives, Intimate Concerts at Elder Hall
Admission:
$25/$18.
See www.elderhall.adelaide.edu.au for more information.
Date
Sunday, May 11
3-00 pm
Sunday, May 25
3-00 pm
Saturday, July 5
6-30 pm
Saturday, October 11
7-00 pm
Music by
Divertimenti
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
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:
Soloists:
Admission:
Sunday, May 18, 2-00 pm
Mitcham Uniting Church, 103a Princes Road, Mitcham
Mike Kenny
Kate Worley, violin; Robert Brown, flute
$12, Family $20 (2 Adults, 2 Children), at the door
Adelaide Eisteddfod Special Award Winners’ Concert
When:
Where:
Admission:
Monday, September 15, 7-30 pm
Salvation Army Citadel, 55 George Street, Norwood
Adult, $10; Seniors/Students, $8; Children under 16 free.
Young Virtuosi 2014, SA Final (previously MBS Young Performer)
When:
Where:
Admission:
Sunday, October 12, 4-00 pm
St John’s Anglican Church, 379 Halifax Street, City
Adult $10, 5MBS Member/Student $5.
NOTES AND NEWS
EISTEDDFODS AND SCHOLARSHIPS
The 18th Balaklava Eisteddfod
When:
Friday, August 1 (Choirs, Instrumental Ensembles, Bands),
Saturday, August 2 (Instrumental and Piano)
Sunday, August 3 (Finale Concert)
Entries:
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
NOTES AND NEWS SA FLUTE NEWS
Page 6
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]
Website:
http://www.backstageinc.org.au/default.asp for further
information
Entries:
Via GENI, visit https://geni.gaia.com.au/ and look for ‘Mt
Gambier Eisteddfod’ under ‘Participating Eisteddfods’.
When:
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.
SOUTH AUSTRALIAN MUSIC CAMP 2014
When:
Monday July 7 to Friday July 11
Where:
St Peter’s College
The Camp offers instrumentalists aged from nine to twenty-three years an opportunity
to play in one of five orchestras or concert bands which cater for a wide range of
ages, standards and levels of experience. The daily routine includes a mixture of
tutorials and rehearsals. State Music Camp culminates with a concert in the
Memorial Hall at St Peter’s College on Friday July 11 at 7-30 pm that showcases the
achievements of the five ensembles. For more information please visit the website,
www.samusiccamp.net.au. Applications close on May 6.
ANNUAL MUSIC SCHOLARSHIP
The Metropolitan Male Choir of SA Inc. invites applications for the Annual Music
Scholarship. Valued at $2,000, the scholarship is open to young musicians with
proven musical ability and a strong desire to continue their musical development. A
second prize of $1,000 may be awarded on the recommendation of the adjudicating
panel. The award is designed to recognise the ability of outstanding young
musicians, to encourage them to pursue their studies and to provide opportunities for
the winners to perform publicly as associate artists with the choir. Applicants must be
aged between 12 and 16 years as at January 1, 2014. The closing date for
applications is Saturday, August 16. Auditions will be held on Saturday, August 30.
Enquiries: Bill Scott, Ph. 8227-0472, e-mail [email protected], or Geoff Sieben,
Ph. 8242-7333, e-mail [email protected], or visit the website at www.mmcsa.org.
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.
Page 7
SA FLUTE NEWS
Q AND A WITH LISA GILL
by Samantha Hennessy
Lisa is a local success story. She is a
former graduate of Brighton High School,
Flinders Street School of Music and the
Elder Conservatorium and proudly
succeeded her teacher, Elizabeth Koch
OAM, in winning the position of Second
Flute with the Adelaide Symphony
Orchestra at the age of 24. Lisa lives in
the Southern suburbs with her husband
(who is also a professional musician) and
two young children.
Q: What do you consider to be your
role/s in the Flute Section and how do
you achieve them?
As a Second Flute player I see my role to
be one of support and an ability to blend.
To be unnoticed should be the ultimate
goal of a second player.
To be supportive to the Principal Flute
you must be confident with entries whilst
ARTICLES
still following any ‘leading’ given by the
Principal Flute. A Second Flute player
should also offer dynamic support. For
example, when playing in octaves the
second player should play at a louder
dynamic for 2 reasons:
1. Low register will naturally be
harder to discern; and
2. Helps to prevent the Principal
Flute from feeling too exposed
(particularly in soft passages).
Being supportive can even be as
simple as counting rests accurately
and not relying on other members of
the section to do this for you.
Lisa Gill
To ‘blend’ is basically a matter of
matching as many parts of your playing
as possible to those aspects of the
other members of the flute section.
You must be flexible in regard to
dynamic, sound quality, vibrato speed,
intonation and articulation in order to
achieve a homogenous sound.
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ARTICLES
QUOTES
If you want to make beautiful
music, you must play the black and
the white notes together. Richard
M. Nixon
SA FLUTE NEWS
To be able to do all these things you must
constantly be listening to your colleagues
and automatically adjusting. Sometimes
requests may be asked of you but for the
most part during orchestral rehearsals
there isn’t the time for continual instructions
so you need to take the initiative and
follow, follow, follow!
listen to both yourself and those players
around you to achieve blend and balance.
At times as a Second Flute player you
simply imitate the Principal Flute in terms
of volume, colour, style of vibrato, etc.
However, at other times it may be more
important to blend with the clarinets so you
would change your sound accordingly.
Q: I’ve always admired your
concentration; how do you remain so
focused for the entire duration of a
concert?
Sometimes, copying is not enough
though. For example, if the Principal Flute
is playing a soft high register passage and
the Second Flute is in unison although an
octave lower, I would play at one dynamic
louder to offer support and prevent the First
Flute from feeling too exposed and
transparent.
I think a big part of it is experience. Over
time you get used to and better at focusing
your mind and ‘getting in the zone’. Also
after experiencing the embarrassment and
frustration of ‘dobbing in’ (playing in the
wrong place) earlier in my career, I now do
everything in my power to prevent it from
happening again!
Adrenaline is also amazingly useful and
powerful. I’ve found on several occasions
if I have felt unwell or extremely tired those
symptoms subside remarkably during a
performance and it therefore becomes
easier to keep your mind focused.
Q: Students often roll their eyes when I
suggest practicing with a metronome why is rhythm so integral in orchestral
playing?
Music is forever; music should
grow and mature with you,
following you right on up until you
die. Paul Simon
Page 8
Rhythm is so important because ensemble
is so important in good orchestral playing.
To be able to play together with the rest of
the section (and even orchestra) you must
be sub-dividing between beats and
‘thinking’ in the same rhythmical way as
your colleagues.
Also, if a conductor is preoccupied with
phrasing or balance for example their beat
may not always be rhythmically clear or
helpful. Metronome practice is critical
towards achieving a musician’s ‘inner
rhythm’ which in turn aids ensemble
playing.
Q: How do you adjust your
volume/colour to balance and blend
with your Principal / other woodwind
colleagues? Does the distance of
interval and position in the chord affect
your choice and why?
Listening is such an important skill in
orchestral playing. You must constantly
Balance and intonation go hand in hand
so yes, it is necessary to adjust your
volume depending on what note you play in
the chord and also how many other players
double that note! For example, a major
third should be played on the low side,
whereas a minor third can be placed
slightly high as would a leading note.
Q: How important is doubling and
having strong Piccolo chops, for a Rank
and File player in todays orchestral
landscape?
Doubling is extremely important as
orchestral jobs (tragically!) seem to be on
the decrease as full-time orchestras are
threatened in today’s world. To be flexible
and competent on both flute and piccolo
can only be an asset when looking for and
holding on to work.
Unfortunately we have no Associate
Principal Woodwind positions in the
Adelaide Symphony Orchestra meaning
that for Principal players to enjoy any
respite, rank and file players must ‘step up’
and have the chops to cover these
positions.
Q: You are a strong Piccoloist (often
playing Principal Piccolo) as well as a
Flautist; how do you manage the switch
between instruments so well?
The fact that I do often play Principal
Piccolo really helps me to make the switch
relatively trouble free. The more often I do
it, the less of a ‘shock’ it is to the chops!
Organisation is important as I need to have
a clear understanding of exactly when this
situation will arise and also a thorough look
Page 9
at the repertoire. If it is a piccolo part
with a lot of high register playing or
some exposed soft passages that
require a lot of control then I will
attempt to begin my piccolo
preparation (by practicing on the
instrument) much sooner.
Q: When do you start your Piccolo
preparation if you know you have
a Principal part to play, or, do you
regularly incorporate Piccolo into
your daily routine? How would
you best advise students to tackle
their Piccolo practice?
Again, my starting point for
preparation depends on the
repertoire. As a general rule I would
start some piccolo practice about 2
to 3 weeks before rehearsals begin
so no, I don’t incorporate piccolo
practice into my daily routine.
I would advise students to
approach piccolo practice in a similar
way to their flute practice but to play
for a shorter length of time.
Embouchure fatigue is more of an
issue with the piccolo as everything
must be smaller and more precise,
therefore working the muscles
harder and in a different way. Also
because of the penetrating nature of
high register piccolo it is kinder to
your ears to do shorter bursts on
piccolo. Because of this it may be
beneficial to practice some of the
‘note learning’ or technically difficult
passages on flute so that the fingers
are still learning the music without
the extra exhaustion to the facial
muscles.
Q: How do you manage your
nerves (if any)?
I do still get nervous but try to put
things in perspective and keep
myself almost ‘open-minded’ when I
worry about a performance. Yes, I
want to play perfectly but I know that
this is rarely achieved and I try to
remember that there are more
important things in my life than a
wrong note in one concert!
Aside from this, confidence is
achieved through good preparation.
SA FLUTE NEWS
ARTICLES
So practice HELPS to make perfect!!
Q: What instruments do you play and
what process did you go through to
choose them? Also, do you favour
one over the other?
I play a Burkart flute and Burkart piccolo,
a matching set! I had the chance to play
a Burkart piccolo belonging to a
colleague about 7 years ago. I was very
impressed and consequently ordered a
new one for myself as my Hammig
piccolo needed updating. I loved my
new piccolo so much that a short time
later I decided to upgrade my Murumatsu
flute to a Burkart flute. After receiving
both instruments I spent some time
playing alternate head joints choosing
the ‘Clarion’ style head joint for my
piccolo and a silver head joint with gold
lip-plate for my flute.
My current aim is to acquire a wooden
flute as I adore the unique sound of
these instruments.
QUOTES
There are two means of refuge from the
miseries of life: music and cats. Albert
Schweitzer
My heart, which is so full to overflowing,
has often been solaced and refreshed by
music when sick and weary. Martin
Luther
Q: Why is good posture important,
long-term for a working musician?
Simply for longevity. As an orchestral
musician you spend long hours in very
static positions so this alone (without the
added stress of holding an instrument in
very unnatural positions) takes its toll on
the body over time.
Tension is even higher during
performances and this is the case with
the body too so any postural problems
are amplified during concerts. To
maintain a long and injury free career,
good posture is absolutely vital!
Music is the voice that tells us that the
human race is greater than it knows.
Napoleon Bonaparte
Correct posture is of course a
contributing factor to excellence in
playing. Because we are always sitting
as orchestral players slouching must
always be avoided so as to increase lung
capacity and allow the body to function
at its best. This is beneficial to general
breathing, quality of sound and
sustainability.
Q: What’s the most exciting thing
about your job?
To be able to experience those ‘magical
moments’ in performances where
ARTICLES
QUOTES
Music is the mediator between
the spiritual and the sensual life.
Ludwig van Beethoven
SA FLUTE NEWS
Page 10
practice is much better during the day so
when I have some time to myself I structure
my day and am quite organized about
getting everything done in the most efficient
way.
everything comes together, when myself
and my colleagues are totally engrossed
in the music and performing well enough
to give the audience (and ourselves!)
goose bumps and really bring the music
to life.
Looking ahead at the orchestra’s
programming also helps and I start
preparation for difficult music as early as
possible because I know that just prior to
the performance I may not have the
practice time available that is required.
I feel incredibly lucky that my passion
has become my career... who wouldn’t
want to be submerged in beautiful
sounds every day at work?
Q: and the worst?
Q: The Adelaide Symphony Orchestra
performs in various locations - primarily
the Festival Theatre and the Adelaide
Town Hall. Which venue do you prefer
and why?
If I had to name a part of the job as the
worst I guess it would be the almost
continuous Friday and Saturday nights
out at work and the dinners, parties,
weddings, etc. missed because of this.
But, I feel that it’s really a small sacrifice
to pay in order to do what I love!
Q: When and how do you fit your
practice in, around work, small
children and a busy schedule?
Basically whenever I can! I have learnt to
make the most of the practice
opportunities I have as they are rare and
precious! I find that the quality of my
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This is an easy one definitely the
Adelaide Town Hall. This venue has a
lovely acoustic and is so enjoyable to play
in. It can really make a positive difference
to the orchestra’s morale and a successful
performance. The Adelaide Festival
Theatre on the other hand, is a LOT of hard
work. It feels as if your sound just
disappears into thin air so you end up overexerting and splitting notes. There is also
an inability to hear your colleagues clearly
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BRAND NEW!!
For Sale
Gemeinhardt Flutes
for sale at
unbeatable prices!!
HIRING
available at $60
per term
Straight and curved
head joints available
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2SHQGD\VrZZZZLQVWRQPXVLFFRPDX
Contact; Cristy Wilkins
0410 717 280
[email protected]
Page 11
which negatively affects balance,
intonation, ensemble, etc whereas,
audibly, the Town Hall is crystal clear.
The Adelaide Symphony Orchestra
really needs their own concert hall with
the Town Hall’s acoustic but with a
greater capacity maybe one day!?
Q: If you weren’t a Flautist, what other
career would you consider?
This is a tricky one for me as the flute
has been a big part of my life for almost
30 years. I’ve never really imagined
myself doing anything else but I guess if I
had to decide on something ... mmm ...
because I am a dog lover, maybe a
career involved in the care and welfare of
animals. ♫
SA FLUTE NEWS
MOZART’S FLUTE
CONCERTOS AND
QUARTETS
by Robert Brown
In August 1777, Wolfgang Amadeus
Mozart (1756-1791), aged 21, resigned his
position as a court musician in Salzburg
because of the stifling environment
imposed by his new employer, Archbishop
Colloredo, whose predecessor was
easygoing and had allowed the Mozart
family time off for touring. Accompanied
by his mother, Anna Maria, he left
Salzburg on September 23 for planned
visits to Augsburg, Mannheim, Paris and
Munich. It was hoped that the young
composer would secure work in one of
these cities.
Continued from page 14
starts near the bottom of the stave,
such as F Major or G Major, and
gradually add another note until you
can comfortably play the whole scale.
As for double tonguing, keep the
articulations even.
Sometimes, rapid tonguing with odd
numbered note groupings is required.
The fourth movement of
Mendelssohn’s Italian Symphony has
rapid notes in groups of five. A
suggested articulation pattern for this
is ‘DGDGD’. This could be classed
as multiple tonguing.
When should one use double, triple
or multiple tonguing? Russell King,
former Principal Flute of the Adelaide
Symphony Orchestra, once asked a
conductor to play a piece of music
either faster so he could double
tongue it or slower so he could single
tongue it. The tempo chosen by the
conductor had placed him in an
articulation ‘no mans’ land’! Comfort
is the key word. If it is comfortable for
you, then that is the articulation to
use. The general public shouldn’t be
able to tell if you’re single, double,
triple or multiple tonguing. They
should just be impressed! ♫
After visiting Munich and Augsburg they
reached Mannheim on October 30.
Mannheim had one of the finest orchestras
of the day and orchestral and chamber
music thrived under the art-loving patron
Prince Karl Theodor. The Prince advised
that there were no appointment available
for Wolfgang. The Mozarts remained in
Mannheim for a time while Wolfgang did
some teaching and playing and enjoyed a
social life with the musicians he met there.
At this time most court musicians played
a wooden flute with a key operated by the
fourth finger of the right hand. The 4keyed flute was used by some players.
Playing accidentals required half holing or
forked fingerings, the tone quality varied
for different notes and intonation was
difficult. When Mozart met the outstanding
flautist Johann Baptist Wendling at
Mannheim and heard him perform he
reached a new understanding of the flute’s
possibilities and potential. Through his
friendship with Wendling, Mozart met
Ferdinand Dejean, a surgeon with the
Dutch East India Company and an
amateur flautist. Dejean commissioned
Mozart to write ‘three short simple
concertos and a couple of quartets for the
flute’ for which he was to receive two
hundred Gulden.
Mozart completed the Quartet in D Major
on December 25, 1777, and then lost
impetus because his interests were
ARTICLES
QUOTES
The aim and final end of all music
should be none other than the
glory of God and the refreshment
of the soul. Johann Sebastian
Bach
YOUTUBE
Flautist Roger Bourdin
accompanies Jacques Dutronc on
Paris s’éveille (Paris Awakens):
http://www.youtube.com/watch?v=
7whXkifG_ms
Mozart in 1777
ARTICLES
Johann Baptist
Wendling
YOUTUBE
Irish March with Wouter
Kellerman:
http://www.youtube.com/watch
?v=o1WPnnvs00I
Flute Bansuri, Binod katuwal
from Nepal:
http://www.youtube.com/watch
?v=O7puBCRI2Bc
SA FLUTE NEWS
diverted by Aloysia Weber, an elder sister
of his future wife, Constanze. He
explained in a letter to his father, Leopold,
that he became ‘quite powerless’ when he
was ‘obliged to write for an instrument
which he cannot bear’. During January,
Mozart worked further on the flute
concertos and quartets. On February 14,
1778 he wrote to his father saying that he
had finished two concertos and three
quartets. In this letter he said ‘my mind
gets easily dulled, as you know, when I’m
supposed to write a lot for an instrument I
can’t stand’. Mozart is also reputed to
have said ‘that the only thing worse than
one flute is two!’ Mozart’s remarks are
belied by the quality of the music that he
composed for Dejean. Eventually, at the
end of his life, Mozart made the flute the
central character in his opera, The Magic
Flute. Aloysia rejected Mozart later that
year and married actor and painter Joseph
Lange.
The Flute Concerto No 1 in G Major is an
original work for flute. Mozart’s Oboe
Concerto in C Major was composed in
early 1777 for the oboist Giuseppe
Ferlendis from Bergamo. Mozart
transposed this work into D Major and
reworked it as a flute concerto. The
Andante in C Major, KV 315 is believed to
be either the only movement that Mozart
completed of the ‘third flute concerto’ or an
alternative second movement for the G
Major Concerto. It has been suggested
that Dejean either didn’t like the original
slow movement of the G Major Concerto
or found it was too difficult to play.
Because Mozart hadn’t fully completed the
commission Dejean sent him 96 Gulden.
The Mozarts left for a six month visit to
Paris on March 14, 1778. The Flute and
Harp Concerto was written in April 1778.
The concerto was commissioned by
Adrien-Louis de Bonnières, Duc de
Guînes, an amateur flautist, for him to
perform with his older daughter, MarieLouise-Philippine, a harpist, who was
taking composition lessons from Mozart.
In a letter to his father Mozart stated that
he thought the Duke played the flute
‘extremely well’ and that Marie played the
harp ‘magnifique’. As a composition
student, however, Mozart found her to be
inept. A concerto for flute and harp was an
unusual combination. Mozart seems to
have composed the concerto with the
abilities of the Duke and his daughter in
Page 12
mind. The Duke never paid the composer
for this work and it is not known if the Duke
and his daughter ever performed it. Mozart
did not have a high opinion of the harp, an
instrument that was still being developed at
the time. He never wrote another piece
that used it. Among other works that
Mozart wrote in Paris are the A Minor
Piano Sonata, KV 310/300d and
Symphony No 31, ‘Paris’, KV 297/300a;
these were performed on June 12 and 18,
1778. The visit to Paris was soured when
Anna Maria Mozart died there on July 3.
While Mozart was in Paris, Leopold was
pursuing opportunities for his son in
Salzburg. Mozart was offered a post as
court organist and concertmaster. The
yearly salary was 450 florins, but Mozart
was reluctant to accept because he didn’t
want to return to the stifling life in Salzburg.
After leaving Paris in September 1778, he
visited Mannheim and Munich, still hoping
to obtain a position outside Salzburg, but
with no success. Mozart finally reached
Salzburg on January 15, 1779 and took up
the post that he had been offered.
Flute Quartet No 4 in A Major, KV 298
was, unlike the other three quartets,
believed to have been written for
recreational purposes and not
commissioned. The low Köchel number is
misleading. It is thought to have been
composed sometime in 1786 or 1787,
possibly for Baron Jacquin’s drawing room
concerts.
Mozart’s Flute Concertos in G Major and
D Major are among the most important
works in the flute’s repertoire. Despite his
negative remarks, Mozart wrote brilliantly
for the flute.
LIST OF MOZART’S
COMPOSITIONS FOR FLUTE
Flute Sonatas, KV 10-15 (composed for
violin or flute)
Four Flute Quartets (flute, violin, viola and
‘cello), D Major, KV 285; G Major, KV 285a;
C Major, KV 285b; A Major, KV 298
Concerto for Flute and Harp, KV 299
Flute Concerto No 1 in G Major, KV 313
Flute Concerto No 2 in D Major, KV 314
Andante in C Major, KV 315
Adagio and Rondo for flute, oboe, viola,
‘cello and glass harmonica, KV 617 ♫
Page 13
MUSINGS ON MOZART
by Scott Gunn
Interpretation can bring with it a
number of difficulties. This is certainly
the case with Mozart’s Concerto in G
Major for Flute and Orchestra, KV 313.
It is for this reason that I decided to
delve into the work when writing my
honours thesis.
In researching Mozart’s only true flute
concerto, I set out with the aim to
examine the varying interpretations of
the work, to inspire the reader to think
carefully about their interpretation, and
to also encourage creativity. To
achieve this, I analysed the work
through the use of printed scores and
studio-recorded performances in order
to have an understanding of the music
both in its notated form and in terms of
performance practice.
Taking multiple editions, ranging in
publication from 1803 to the present
day, I sought to remove any editorial
additions that may have infiltrated the
work, and create my own ‘master’
edition. Shortly after the work was
composed, the original manuscript was
lost and, as a result, alterations and
changes have occurred. While some
of these changes may be simple
editorial errors, others are due to
differing stylistic interpretations
imposed on the music.
In studying the scores, I compared all
later editions to the oldest one sourced,
and marked where any differences lay.
While this is not the ideal situation, a
certain degree of trust must be placed
in the 1803 edition. Being the earliest
available edition, albeit it published 25
years after the work was composed,
and 12 years after Mozart’s death, one
can assume that any discrepancies are
minimal. Although not always
historically accurate, where
discrepancies lay, the most frequently
occurring option across all editions was
taken for my ‘master’ edition, creating a
score agreeable to most published
editions.
My research, however, did not lie in
SA FLUTE NEWS
ARTICLES
the notation alone, but also in the
performance of the music. To
compliment my study of the scores, I
also provided a commentary on three
wildly different recordings of the
concerto. Interpretation of a work
cannot be wholly shown in notation
alone, and so this aspect of the
research set out to further demonstrate
changing interpretations.
The three recordings I selected were
performed by Marcel Moyse, Kathinka
Pasveer and Sandra Miller, dated 1931,
1985 and 1997 respectively. Each
influenced by polar extremes when
compared to the others, the selection
provided for an interesting commentary.
Dating from the late French romantic
school of flute performance, Moyse’s
recording was the most expressive and
virtuosic, yet he also took the most
tempo and rhythmic liberties. With
Karlheinz Stockhausen conducting,
Pasveer provides a radical alternative to
Moyse’s interpretation. Quantz writes
that a cadenza must ‘surprise the
listeners’, and Pasveer’s certainly do.
Teeming with flutter tonguing and
extended techniques, Pasveer provides
for a virtuosic display. And lastly, a
performer ‘devoted to preserving and
performing the repertoire of 17th to 19th
century composers, [using] historic
performance practice techniques’,
Sandra Miller presents a performance
relying more on interplay between
herself and the orchestra, than a display
of dominance.
W. A. Mozart
YOUTUBE
James Moody, Mmm Hmm:
http://www.youtube.com/watch?v=
PZ9swyLBgCM
Mickey Mouse and Friends, The
Band Concert (1935):
http://www.youtube.com/watch?v=I
ErXg5kBXXg&feature=player_emb
edded#at=234
Often, one will hear that music must
be performed as it was intended. This
certainly was my view when starting my
research. However, with the changing
atmosphere of music, coupled with the
steady advance in the mechanics of the
flute, it is becoming increasingly more
challenging to present music in a period
setting. It is much more important to
remember when preparing a work, that
interpretations can be wild and varied;
more than one might expect. This was
certainly demonstrated to me when
comparing the three recordings. If an
idea can be effectively demonstrated,
then the music is at the liberty of the
performer. ♫
The Waterfall, Opus 3 by K. James
Peace, with flautist Thomas Richter
with scenes of beautiful Wiesbaden:
http://www.youtube.com/watch?v=
dq1hP-eWAvk
London Symphony Orchestra
masterclasses, flute and piccolo:
http://www.youtube.com/watch?v=
_5w5TVK5B90
ARTICLES
SA FLUTE NEWS
SINGLE, DOUBLE, TRIPLE
AND MULTIPLE
TONGUING
by Robert Brown
(From April 2001 issue)
YOUTUBE
Mozart Flute Quartets (Rampal,
Stern, Accardo, Rostropovich):
http://www.youtube.com/watch?v=z
QjwS0XhQCM
Funky Flute with Bill McBirnie:
http://www.youtube.com/watch?v=X
LkOr1V-J0g
In the first lesson, most wind instrument
students are taught to say a ‘T’, ‘D’, ‘Too’,
‘Doo’, or something similar by their
teacher, sometimes without being told why
they have to do this! By saying ‘T’, the
tongue goes up until the tip touches the
ridge behind the upper teeth, momentarily
obstructing the flow of the airstream
coming up the windpipe from where it has
been stored in the lungs. This obstruction
causes a sudden build up of air pressure,
and the sudden gust of air that is released
when the tongue comes down gives each
note a good start. This is why we tongue!
It is essential that as little of the tongue as
possible is used for tonguing. Try
pretending to spit out a hair or piece of rice
that is sitting on the tip of your tongue.
You will find that you only use the extreme
tip of your tongue to do this spitting. This
is how much of your tongue should be
used for tonguing, which should be a
gentle, non-aggressive activity.
Remember, when tonguing, your tongue is
behaving like a valve. It shuts off the
airstream and then releases it again.
Eventually, the student is taught to do
double, and later, triple tonguing. Yes,
these do allow us to tongue more rapidly,
but sometimes this is all the student is told.
Double tonguing is used to tongue rapid
notes that are grouped in twos or fours,
while triple tonguing is used for notes that
are grouped in threes. Either articulation
could be used for notes grouped in sixes.
With fewer tongue movements required,
double tonguing is, in theory, the more
rapid of these two articulations. In reality,
we are all endowed with different
metabolisms and the degree of rapidity for
each articulation for each individual will
vary considerably.
To get an idea about how little tongue
movement is required for double and triple
tonguing, try watching a percussionist
doing a roll on a side drum. The sticks
hardly move – the percussionist is seen to
bounce the sticks on the playing surface of
the drum. It helps to think of the tongue
Page 14
action for double and triple tonguing in
this way. The objective of double and
triple tonguing is to use the back stroke
of the tongue to sneak in an extra
articulation. It is this back stroke that
increases the tongue’s rapidity. ‘D’ and
‘G’ are suggested for double and triple
tonguing. Some instruction books
advocate the use of ‘T’ and ‘K’, but the
danger with the ‘K’ is that it can also be
articulated in the throat, which, if used,
will slow down the articulation
considerably. ‘D’ and ‘G’ also provide a
softer, less explosive articulation.
To learn the double tonguing action,
start without the flute, and practice
alternating ‘D’ and ‘G’, making sure that
the back stroke (‘G’) is very close to the
forward stroke (‘D’). Very little tongue
movement should be used for these
alternating articulations. Think of the
drum roll. Now we are ready for the
flute. To strengthen the ‘G’, try it on its
own, playing any of the notes from the
middle part of the stave. Don’t start too
low, because these notes are slower to
respond, and the ‘G’ gives a softer
articulation than the ‘D’. Choose a two
octave scale that starts near the bottom
of the stave, such as F Major or G
Major. Use a ‘DG’ on each note, and
start with, say, just five notes, playing
up and down from the keynote. When
you can do this comfortably, include
another note. Over the next few days,
keep adding an extra note until you can
eventually play the whole scale. Make
sure that the articulation is even, and
doesn’t sound jerky.
For triple tonguing, alternate ‘DGD’
with ‘GDG’. Some books instruct the
student to say ’DGD’, ’DGD’ or ‘TKT’,
‘TKT’. The problem with this pattern is
that two adjacent D’s or T’s are being
re-articulated, which can potentially
slow down triple tonguing. Alternating
‘DGD’ with ‘GDG’ prevents rearticulating the same consonants. Try
saying the articulations without the flute
until they have become a reflex action.
Again, very small tongue movements
should be used. Then, as for double
tonguing, use a two octave scale that
Continue to page 11 Page 15
SA FLUTE NEWS
MUSIC REVIEW by Robert Brown
Wonderful Winds, music publishers
Website: www.wonderfulwinds.com
E-mail: [email protected]
Wonderful Winds specialize in publishing interesting arrangements for woodwind
instruments. It was established by English flautists Mel Orriss and Anna Cooper, who
explain that ‘all our pieces are created by specialist musicians with an expert understanding
of the instruments they write for’. Their catalogue includes studies and music for
ensembles ranging from duets to six or more instruments, with arrangements for flutes,
double and single reed instruments and mixed winds included.
Over the last thirty years, flute ensembles have become very popular. With the added
voices of the now readily available lower flutes, there is a growing demand for new
repertoire. The flute arrangements from Wonderful Winds are intended to ‘inspire and
delight players from beginners to professionals, and their audiences’ and include the piccolo
and lower flutes. The music sent for review includes So Long, Farewell (Sound of Music)
by Rodgers, for flute quintet (piccolo, three flutes, alto flute). This was arranged as an
encore item, and encourages the departure of the performers by cuing when they are to
leave on the parts so they all finish the performance offstage. The performance notes give
hints about how to make the departures more entertaining.
Also sent were arrangements of Dance of the Reed Flutes (Nutcracker) by Tchaikovsky
for three flutes and alto flute and Carol of the Bells (Schedryk) by Leontovych for six flutes:
these will soon ‘inspire and delight’ performers and listeners. Visit the website to find out
more about the ever increasing selection of arrangements and to place an order. ♫
Wonderful Winds
SA FLUTE NEWS
Page 16
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