July 2013 - The Flute Society of South Australia Inc.

South Australian Flute News
osiak
Print Post Pub. No. 100002101
Founder
Professor David Cubbin
Patron
Alison Rosser
President’s Report
1
New Members
2
Concerts
Notes and News
2-5
5
5-6
Scholarship
6
Recent Events
7
Articles
From the President Welcome to our July issue of Flute News!
Congratulations to the six performers who
took part in the Carolyn White Memorial
Scholarship on Saturday June 15 at
Rosefield Uniting Church, Highgate. The
winner of the First Prize was Maria
Zhdanovich, Grace Lund was the Second
Prize winner and Emily Squires was
awarded an Honourable Mention. I would
like to extend a warm thank you to Josie
Hawkes who adjudicated the competition.
Josie encouraged the competitors to keep
exploring and extending their dynamic and
colour range, to keep striving to create the
most musical performance to captivate the
audience.
The Adelaide Eisteddfod is the next event
in our fluting calendar and it will be held on
August 9, 10 and 12 at Rosefield Uniting
Church, Highgate. The programmes for the
various Divisions in the 2013 Adelaide
Eisteddfod can be found on the Adelaide
Eisteddfod website at
http://www.sacomment.com/aes.htm. We
are looking forward to having Teresa Rabe
here from Canberra, to adjudicate the
Eisteddfod this year.
Contents
8-14
CD Review
15
Flute Society Info
16
ABN: 96 991 331 922
The Flute Society of South Australia Inc.
PLEASE visit our new website at http://saflutesociety.org/
Dear Flute Society Members, Vice Patrons
Associate Professor
Elizabeth Koch OAM
Robert Brown
Coming Events
July, 2013
As if she won’t be busy enough at the
Eisteddfod, Teresa is also going to be the
very special guest at our Flute and Fife
Fun Day which will be held on Sunday
August 11. This event is aimed at our
younger members; so we hope you will all
come along and wear your bright funky
clothes and see what is involved with ‘A
Walk on the Wild Side’ and ‘Colours of the
Wind’… it’s bound to be lots of fun!! Don’t
forget about the spectacular afternoon tea
which has become a necessary part of the
afternoon!
prepare for the end of year exams. This
will once again be held at Unley Uniting
Church. If you would like to perform at
this concert, look for the brochure inside
this edition to register.
There are a couple more events in the
planning stages, an Adult Amateur
Afternoon and a second Flute Teachers
Evening, so keep an eye out for details as
they are revealed!
Details for our events, brochures and
application forms can be found inside this
newsletter or on our website
http://saflutesociety.org/.
There are only a few months until the
next Australian Flute Festival will be upon
us … it is going to be held from October
4-7 at the Australian National University,
School of Music in Canberra. Have you
checked out the program yet?? It is
looking amazing and will take some
serious planning to decide which classes,
talks and performances to attend … I am
getting the feeling it would be useful to
divide oneself into portions to soak it all
up!!
Closer to home, it is great to see that
Adelaide is hosting the Australasian
Double Reed Society National
Conference at the University of Adelaide
from September 13-15. With an
impressive line-up of guest artists there
are two public concerts which would be
wonderful to attend to support our fellow
wind players! For more information visit
adrs.org.au.
I’ll look forward to seeing you at an event
soon!
Best wishes,
We will hold our second Tutti Flutti
afternoon for the year on Sunday
September 22, offering another
performance practice opportunity to
Karen Fletcher ☆WELCOME TO
OUR NEW MEMBERS☆
Andrew Scott
Emilia Bovingdon
Marissa Kha
Alyshia Vu
Amy Beecham
Grace Lund
Caitlin Gilsenan-Reed
Baoshan Wu
Samuel Soetratma
We hope you enjoy being part of the
Flute Society and look forward to
seeing you at our events.
Please visit our website!
vNEW BABYv
SA FLUTE NEWS
COMING EVENTS
Page 2
AUSTRALIAN FLUTE FESTIVAL
When:
October 4-7, 2013, ANU School of Music, Canberra
Director:
David Leviston
Director/Co-ordinator: Lyndie Leviston,
e-mail
[email protected]
Ph.
(02) 8006-5345, mobile 0424-504-104
Post:
140 Sailors Bay Road, Northbridge, NSW 2063.
Website:
http://www.australianflutefestival.com
START SAVING NOW AND PLAN TO ATTEND THIS EXCITING EVENT!
Earlybird period, June 1 to July 31
Regular period, August 1 to October 3
Please visit the website for information about all the guest artists, festival
programme, competition details (entries close on June 28 for the Flute,
Young Artists and Orchestral Excerpts Competitions and June 1 for the
Composition Competition), recitals, masterclasses, Professional Learning
Day, Junior Day, private lessons and accommodation.
Congratulations to Natalie Zwar on
the birth of Callum on May 6.
v BIRTHDAYv
Happy Birthday to our Honorary Life
Member, Brenda McMurtrie, who
turns 90 on August 20.
Fabulous Flute and Fife Fun Day
When:
Sunday, August 11
Venue:
Unley Uniting Church, 187 Unley Road, Unley
Guest Director: Teresa Rabe
Download the brochure from http://saflutesociety.org/.
TUTTI FLUTTI – FLUTE PERFORMANCE AFTERNOON
When:
Where:
Brenda McMurtrie
v QUEEN’S BIRTHDAY
HONOURSv
Congratulations to flautist Minyon
Pfeiffer for being awarded an OAM
for ‘service to the community of
Mount Barker’.
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.
Sunday, September 22, 2-4 pm.
Booking in for performers from 1-45 pm.
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 sheet and application form inserted in South Australian
Flute News or download from http://saflutesociety.org/.
ADELAIDE EISTEDDFOD FLUTE AND WOODWIND DIVISIONS 2013
When:
Venue:
Admission:
Adjudicators:
August 9-12
Rosefield Uniting Church, 2 Carlton Street, Highgate
$7
Teresa Rabe (flute), Josie Hawkes (woodwind)
Direct enquiries for the Flute and Woodwind Divisions to the Convenor,
Robert Brown, Ph. 8431-0452, e-mail [email protected].
INFORMATION FOR COMPETITORS by Robert Brown, Convenor
We are looking forward to the visit of Teresa Rabe, our adjudicator from Canberra.
Please arrive early enough on the day to book in and to warm up without having to
rush. If you need an accompanist ask your teacher for assistance or visit the
Accompanists’ Guild of SA website at http://accompanist.org.au/the-register-of-
Page 3
SA FLUTE NEWS
COMING EVENTS (Cont’d)
accompanists/ to access the Register of Accompanists. Book your accompanist
sooner rather than later so you have time to rehearse and to avoid the last minute
rush!
There is no printed Programme Book this year. Visit the Adelaide Eisteddfod
Society’s website at http://www.sacomment.com/aes.htm to download PDF files
that contain the programme for each Division. All competitors were sent an e-mail
that asked them to look for these PDF files. A printed programme for the
audience will be available during the Flute and Woodwind Divisions for $1.
To speed up booking in, could each competitor please clearly write on a sheet of
paper his/her name, the names of works being performed, and their composers,
ready to hand in to the booking in person? Please note that Competitors are also
required to fill in and bring with them completed APRA/AMCOS Forms 1 and 2 for
each section they have entered. Visit http://www.sacomment.com/aes.htm to
download these forms. Competitors are required to bring a legible piano score
copy of their own choice music for the Adjudicator – don’t forget to bring it with
you! I provide piano scores for the set pieces and Flute Music by French
Composers. Please don’t bring photocopies of these publications with you (this
wastes paper)!
Backing CDs may be used. Competitors are responsible for providing their own
playback equipment and CDs. The playback equipment used should be of good
quality and set up before the section starts.
2013 EISTEDDFOD PROGRAMME
FRIDAY AUGUST 9th
1-15 pm
1-40 pm
2-00 pm
2-20 pm
3-40 pm
3-55 pm
4-05 pm
5-00 pm
5-25 pm
6-30 pm
7-00 pm
8-00 pm
9-00 pm
booking in commences
Section F620
Section F621/W441
Section F622
Afternoon Tea
Section F619
Section F618
Section F617
Section F607
Dinner break
Section F606
Section F608
Finish
18 Years and Over Flute Solo
Flute/Woodwind Solo by any Australian composer
French Flute Solo
Orchestral Excerpts, Grades 6 to 8
Unaccompanied Flute Solo
Flute Study, Grades 5 to 8 Level
Flute Solo, 18 Years and Under
Flute Solo, 16 Years and Under
Grade 5 Flute Solo
SATURDAY AUGUST 11th
8-30 am
9-00 am
9-35 am
9-45 am
10-40 am
11-20 am
11-35 am
12-00 noon
1-10 pm
1-40 pm
3-10 pm
3-35 pm
4-10 pm
booking in commences
Section F601
Flute Solo, 10 Years and Under
Section F601
Flute Solo, 10 Years and Under, Folk Song
Section F602
Flute Solo, 12 Years and Under
Section F600
Grade 2 Flute Solo
Morning Tea
Section F603
Grade 3 Flute Solo
Section F604
Flute Solo, 14 Years and Under
Lunch
Section F605
Grade 4 Flute Solo
Section F613
Flute Duet, Grade 4 and Under
Section F614
Flute Duet, Grades 5 and 6
Afternoon Tea
Teresa Rabe
OVERSEAS NOTES compiled by Masako Kondo
Wolfgang Schulz, Principal Flute of
the Vienna Philharmonic Orchestra,
passed away on March 28, aged 67.
German flautist and conductor, Kurt
Redel, passed away on February 12,
aged 94.
French composer Henri Dutilleux
died on May 22, aged 97. He is
remembered for his contributions to
the flute’s repertoire.
Yamaha Corporation was renamed
Yamaha Music Japan Co. Ltd. in
April.
Overseas Flute Events
Accadimia Musicale Chigiana
July 15-27
Sienna, Italy
with Patrick Gallois
www.chigiana.it.
James Galway Flute Festival
July 26-August 4
Weggis, Switzerland
www.jamesgalway.com
Academie Internationale d’Ete de
Nice, France
July 15-August 12
SA FLUTE NEWS
Page 4
with Philippe Bernold, Davide
Formisano, Maxence Larrieu,
Claude Lefebvre, Vincent Lucas,
Philippe Pierlot,
www.hexagone.net/music/academy
_nice.htm
COMING EVENTS (Cont’d)
The 28th William Bennett
International Flute Summer
School
SUNDAY AUGUST 11th
July 22-August 5
Sale Marasino, Italy
with William Bennett, Lorna
McGhee, Denis Bouriakov,
www.williambennettflute.com
Academie Internationale de
Musique 2013 (Festival Pablo
Casals)
August 1-14
Prades, France
with Félix Renggli
www.prades-festival-casals.com
4-20 pm
4-55 pm
5-15 pm
Section F614
Section F616
Finish
2-00 pm
2-30 pm to 6-45 pm
Flute Duet, Grade 7 and Above
Flute Trio or Quartet, 15 years and Under
Open Age Brass Solo
WOODWIND DIVISION
Visit http://www.sacomment.com/aes.htm for the programme details.
MONDAY AUGUST 12th
2-40 pm
3-00 pm
4-50 pm
5-05 pm
5-20 pm
6-20 pm
7-00 pm
8-25 pm
10-20 pm
booking in commences
Section F612
Complete Flute Sonata or Suite
Afternoon Tea
Section F615
Piccolo Solo
Section F609
Grade 6 Flute Solo
Dinner break
Section F610
Grade 7 and 8 Flute Solo
Section F611
Open Flute Solo
Finish
Internationale Sommerakademie
August 12-24
Salzburg, Austria
http://www.uni-mozarteum.at/de/
Competition
47th International Flute
Competition
September 6-15
Budapest, Hungary
http://filharmoniabp.hu/en/47th_inter
national_music_competition
ADELAIDE EISTEDDFOD CONCERTO
Adjudicators:
Venue:
Heat
When
Admission
Final
When
Admission
Julienne Webb and Peter Webb OAM
Salvation Army Citadel, 55 George Street, Norwood
Wednesday, August 21, 6-00 pm
$7; Members and children under 12 free
Thursday, August 29, 7-00 pm
Adult $10; Senior/Fulltime student $8; Children under 12 free
One flautist has entered.
ADELAIDE EISTEDDFOD SPECIAL AWARD WINNERS’ CONCERT
When
Where
Admission
Monday, September 9, 7-30 pm
Salvation Army Citadel, 55 George Street, Norwood
Adult, $10; Seniors/Students, $8; Children under 16 free
MBS YOUNG PERFORMER 2013, SA FINAL
When
Where
Admission
Sunday, September 15, 2-30 pm
St John’s Anglican Church, 379 Halifax Street, Adelaide
Adult $10, 5MBS Member/Student $5
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, August 12
Saturday, August 17
Program
Piccolo Polkas, Peter Verhoyen and friends perform music from or
inspired by the early 1900s, the golden age of the piccolo.
Page 5
SA FLUTE NEWS
COMING EVENTS (Cont’d)
Monday, October 14
Saturday, October 19
Monday, December 9
Saturday, December 15
William Bennett and friends perform music for flute by Villa-Lobos,
including The Jet Whistle for flute and cello.
Music for the Festive Season, including Elizabeth Koch and Suzanne
Handel playing Christmas classics.
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.
CONCERTS Send your concert details to the Editor for inclusion in this section.
RECITALS Wednesday Lunch Hour Concerts 2013
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.
Elder Hall Lunch Hour Concert Series
When:
1-10 pm.
Admission:
$10.
See www.adelaide.edu.au/events/concert/lunch/ for more information.
Friday, August 16
Friday, September 27
Friday, October 4
Friday October 18
Flute Recital, Megan Sterling, Principal Flute, Hong Kong
Philharmonic Orchestra, with Kristian Chong, piano. Music by
Taffanel, Vine, Saint-Saëns and Lieberman
The Shakespeare Connection, The Adelaide Baroque presents
readings by Shakespeare and music by Purcell, Byrd, Morley and
Johnson; includes recorder players Jayne Varnish and Lynton Rivers
Woodwinds from the Band of the South Australian Police
Elder Conservatorium Wind Ensemble, conducted by Robert Hower
Mitcham Orchestra
When:
Where:
Admission:
Sunday, October 27, 2-00 pm
Mitcham Uniting Church
103a Princes Road, Mitcham
$12
NOTES AND NEWS
Congratulations to Jordan Paterson who recently won First Prize in the American
Protégé International Flute Competition 2013 for his age group. Jordan has been
invited to perform in the winners’ recital at the Weill Recital Hall at Carnegie Hall in
December.
Congratulations to Anna Cooper (former student of Elizabeth Koch) who recently
passed a casual audition for Opera Victoria. Anna is a student at the Australian
National Academy of Music in Melbourne.
Michal Rosiak’s music is available at www.mrflute.com.au. Recent compositions
include Angry Tunes for 4 C flutes (heard at the Australian Flute Festival) and
Swinging Metamorphosis for flute quartet (Piccolo, C flute, alto flute and bass flute).
Jordan Paterson and
Elizabeth Koch
SA FLUTE NEWS
Page 6
NOTES AND NEWS (Cont’ed)
These two compositions were selected for performance at the 26th Pacific
Northwest Regional Conference, held in January at Bellevue, Washington, USA.
These pieces were performed by the IWO Flute Quartet. Pastorale is an
intermediate piece for alto flute and piano.
ABRSM NEWS
NEW PUBLISHING AND PRODUCT DEVELOPMENT DIRECTOR
ABRSM is pleased to announce the appointment of Robin Barry to the new
position of Publishing and Product Development Director with effect from July 1.
Robin will have responsibility for directing the publishing team and developing and
delivering a programme of new ABRSM products. He joined ABRSM as Product
Development Manager in 2004 from Oxford University Press where he worked as
Music Editor. In 2007 he became Editorial Director. Leslie East, ABRSM’s Chief
Executive, said: ‘I am delighted to welcome Robin to this role. The creation of the
post of Publishing and Product Development Director recognises our need to
develop a co-ordinated programme of progressive new digital and print resources
while providing leadership to our dedicated publishing team’.
ABRSM EXAMS
Over 650,000 exams are taken in 90 countries each year and every graded music
exam is marked to the same criteria by our panel of highly qualified and skilled
examiners. In Australia ABRSM assessments are held in designated exam centres
at specified periods of the year.
Next last date of entry:
PRACTICAL –
Friday, 26 July
THEORY OF MUSIC – Friday, September 13
If you would like to receive the FREE package of examination information, current
syllabuses, etc., please contact our SA Representative, Ms Anastasia Nga Fong
Chan, Ph. 8234-5952, e-mail [email protected].
RESULTS FOR DAVID CUBBIN MEMORIAL FUND FOR 2013
There were four applications this year.
Applicants
Simone Maurer from Ormiston,
Queensland
Matthew Ventura, from Cooma,
NSW
Chloe Chung from Cammeray,
NSW
Mikaela Oberg from Belrose,
NSW
Awarded
$110
For
Attending the Australian Flute Festival in October at the ANU
School of Music, Canberra
$110
$150
$150
Attending the Flauti el castello Flute School in Tuscany, Italy,
in July 2013, with Leone Buyse and Sergio Castelli
Attending the Urbino Early Music Course in Urbino, Italy, in
July 2013, with Marcello Gatti
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
RECENT EVENTS
TUTTI FLUTTI – FLUTE
PERFORMANCE
AFTERNOON
by Samantha Hennessy
Held: Sunday, May 5, Unley Uniting
Church
Once again our Tutti Flutti afternoon was
an enjoyable event. Seamlessly hosted
and run by Linda Pirie and our team of
committee members, the afternoon
provided a warm congenial atmosphere
for our young players.
There was a plethora of ages and styles
from the flautists. We enjoyed a
delightful duet between our smallest
player, in combination with her dad on
guitar – a fine example of music making
at its best and no doubt the crowd
favourite. There were a number of
students trialling exam pieces, some new
and interesting Australian pieces from
the new AMEB syllabus and notable
performances from a couple of the
Conservatorium students.
Jamie Cock, our accomplished
associate artist, provided engaging and
supportive accompaniment for all the
players – some of whom were playing
with piano for the first time.
A delicious afternoon tea followed,
giving everyone the chance to catch up
and mull over the nuts and bolts of the
performances.
Many thanks go to Linda and our
committee, who really team up to make
days like this work so well.
SA FLUTE NEWS
CAROLYN WHITE
MEMORIAL SCHOLARSHIP
2013
Held: Saturday, June 15, Rosefield
Uniting Church
Adjudicator:
Josie Hawkes
First Prize:
Maria Zhdanovich
Second Prize: Grace Lund
Hon. Mention: Emily Squires
Set Piece:
Adagio and Allegro:
Marcello, arr. Weretka, no repeats,
AMEB Flute Fourth Grade Book, Series 3
There were 8 entries this year; two
withdrew.
Maria Zhdanovich is a student at
Marryatville High School, where she
plays in the Concert Band, Flute
Ensemble and School Orchestra. Her
flute teacher is Alison Rosser. Maria
also plays in the Adelaide Youth
Sinfonia. At the Adelaide Eisteddfod
Maria has won Second Prize in the 12
years and under flute solo and First Prize
in the Grade 5 flute solo.
Tutti Flutti
Is that what you are playing?
Tuning Up
Grace Lund is home schooled by her
mother, Sharon Lund. Her flute teacher
is Linda Pirie. Grace has attended the
State Music Camp.
Emily Squires goes to Brighton
Secondary School, where she plays in
the School Symphony Orchestra and
School Concert Band. Her flute teacher
is Alan Aungles. At the Adelaide
Eisteddfod Emily has won an Honorary
Mention in the 12 years and under flute
solo, Third Prize in the 14 years and
under flute solo, Second Prize in the
Piccolo Solo and Second Prize in the
Grade 4 and under flute duet (with Erin
Quigley). Flute Duet
Performance action
And of course, thanks to all the spirited
young players who make these days
extraordinary! We hope you enjoyed
your achievements as much as we did?
See you again for the next Tutti Flutti
afternoon in September! Look for the
information sheet inserted in South
Australian Flute News.
2013 Scholarship Winners: Emily Squires, Grace Lund,
Josie Hawkes, Maria Zhdanovich
Flute and Guitar
SA FLUTE NEWS
Page 8
ARTICLES
JIM WALKER by Linda Pirie
hen I first saw the line-up of amazing
flute players on offer for this years’
Australian Flute Festival in Canberra later
this year, there were many luminaries
whose names I recognised. There was one
name, however, that I was unfamiliar with Jim Walker. So I wonderedwho is this
Jim Walker?
Jim Walker
QUOTES
His brother’s name was Jubal; he
was the father of all who play the
harp and flute.
Genesis 4:21
Flute music is love music from the
heart. It must not stop, lest the
pulsing of the heart be broken.
Judith Redman Robbins, in Coyote
Woman
I do not consider myself as having
mastered the flute, but I get a real
kick out of trying.
Sir James Galway
An intellectual snob is someone
who can listen to the ‘William Tell
Overture’ and not think of ‘The
Lone Ranger’.
Dan Rather
I don’t know whether I like it, but it
is what I meant.
Ralph Vaughan Williams on his
Fourth Symphony.
Playing a flute is like writing a book.
You’re telling what’s in your heart.
It’s easier to play if it’s right from
your heart. You get the tone, and
the fingers will follow.
Eddie Cahill
o answer this question I headed for the
one sure-fire place that would answer my
question - Google. At the top of the search
was a result for ‘jimwalkerflute.com’. You
know someone is super-famous when they
have a professional website dedicated
entirely to their career highlights,
performances and recordings.
he biography on this site lists him as the
‘Renaissance Man of the Flute’, stating
that:
‘Few other flutists in history have made
such indelible marks in so many musical
circles. From jazz to pop to classical,
television to film to the concert hall, Jim
Walker has never met a crowd that
didn’t love his powerful, “stand and
deliver” performances’.
is career highlights are impressive. In
1969 he was appointed Associate Principal
Flute in the Pittsburgh Symphony, then in
1977, Principal Flute, Los Angeles
Philharmonic. After reaching what is for
many flautists the pinnacle of their career,
in 1980 he left the Los Angeles
Philharmonic and formed his jazz ensemble
Free Flight. This ensemble was wildly
successful, performing for the Tonight
Show, the Today Show and The Hollywood
Bowl. Jean-Pierre Rampal - the
grandfather of modern classical flautists called ‘Jimmy’ his ‘favourite jazz flute
player’ in the 1990s - quite an accolade
from this legend of the flute.
ecoming well ensconced in the Los
Angeles music scene, Jim was the studio
flute player of choice for countless
recordings, including collaborations with
such luminaries as James Galway, John
Williams, Paul McCartney and Leonard
Bernstein. And as his biography states,
‘His bold, expressive playing can be heard
on hundreds of soundtracks and
commercial recordings’.
o - chances are I have heard him play
on several films I have enjoyed over the
years, including Memoirs of a Geisha, A
Beautiful Mind, Amistad, Ice Age, Seven
Years in Tibet, Titanic, Monsters Inc., A
River Runs Through It, and many more!
e is also a keen educator, teaching for
more than four decades, with many of his
students going on to successful
orchestral careers of their own. He
lectures at the University of Southern
California’s Thornton School of Music
and the Colburn Conservatory of Music.
Additionally he has conducted flute
master classes and clinics in the USA,
Canada, Europe, South America, Korea,
Japan and Russia.
ne impressive aspect that jumps out
from his biography, though, is this
comment:
‘Jim is not interested in simply
training musicians; he inspires each
pupil as a whole person, and students
leave his tutelage feeling empowered,
reaching for the stars’.
his is indeed a rare quality – the ability
to inspire and truly bring out the best in a
student, whatever their needs and
particular abilities.
is discography is equally impressive:
countless recordings with his jazz
ensemble Free Flight, classical
collaborations and solos. This is one
versatile and thoroughly accomplished
musician.
he opportunity to see Jim Walker in
action at the Australian Flute Festival in
October sounds like an opportunity not to
be missed – with a living legend of the
flute in action. This is his first visit to
Australia, and a chance for many of us to
acquaint ourselves with this unique and
accomplished musician and educator.
Jim Walker’s visit to Australia is
sponsored by Burkart flutes. Page 9
LINDA VOGT, A.M: A REAL
INSPIRATION
(28.9.1922 – 2.4.2013)
by Robert Brown
inda Vogt was a true pioneer and a
major inspiration for Australian flautists.
Born into a musical family, she grew up
in Melbourne, where she studied the
flute with Leslie Barklamb. Linda did a
shorthand/typing course at Stott’s
Business College and from 1938
worked as a typist. In 1940, on Leslie
Barklamb’s recommendation, she
became the Melbourne Symphony
Orchestra’s extra flute, even though
she had never studied at a
Conservatorium. Two years later Linda
was invited by Sir Bernard Heinze to
join the ABC Sydney Studio Orchestra
as second flute and piccolo (only the
second woman to play in the wind
section of an ABC orchestra;
Constance Pether being the first).
Linda set out for Sydney on the Spirit of
Progress train. Leslie Barklamb arrived
at the station in time to see her depart
and to pass a piccolo through the open
window, the first she had ever held! At
the Burwood rehearsal studios, Linda
was introduced to the members of the
orchestra, and rehearsals began with
Linda playing flute and piccolo!
Eventually Linda purchased a silver
Haynes flute, and changed from her
Rudall Carte 1867 system flute to the
Böhm system (open G#) while on the
job. In the late 1940s Colin Evans
joined the orchestra as third flute and
piccolo (when the number of flautists
was increased to three). Linda and
Colin married in 1952. Colin retained
his position in the orchestra for 35
years, while Linda left to start a family.
Linda cared for her terminally ill father
and her two children, Peter and
Deirdre.
inda returned to music making in the
mid 1950s, becoming well-known as a
flute soloist for Musica Viva and the
ABC, and as a chamber musician,
playing in groups with Don Andrews,
Carl Pini and Robert Pikler. She also
played for television and film music and
SA FLUTE NEWS
ARTICLES
in backing groups for various performers
and television commercials. In 1958
Jazz saxophonist Charles Munro asked
Linda to help with flute embouchure and
tone production problems; the flute was
becoming a popular jazz instrument.
Linda ended up joining his quintet for six
months. Never having listened to jazz or
having needed to improvise, Linda took
this challenge head on. There was an
agreement that her improvisations would
be annotated, but she soon learned to
improvise and became a good jazz
flautist. She enjoyed the relaxed
approach of the jazz musicians. In
Sydney’s jazz world Linda became
known as ‘Hot Lips’!
rom 1969 onwards Linda became
involved with teaching, holding positions
at the Canberra School of Music
(1969/1970), ABC Training Orchestra,
Pan Pacific Music Camps and the
University of NSW Music Department.
Already an exponent of yoga, Linda
investigated the Alexander technique,
and this approach to posture and
breathing became part of her teaching.
inda was Associate Principal Flute of
the Elizabethan Theatre Trust Sydney
Orchestra in 1973 and 1974, and played
at the opening of the Sydney Opera
House (1973) in Prokoviev’s opera War
and Peace. Linda toured Australia and
South East Asia for Musica Viva with the
Carl Pini Chamber Players in 1973.
Linda also appeared regularly with the
Sinfonia of Sydney, conducted by Carl
Pini and Neville Marriner.
n 1966, Nicola Snekker arranged the
first masterclass given at the Sydney
Conservatorium, presented by JeanPierre Rampal. This prompted Linda
Vogt to encourage a group of
professionals to meet regularly, having
prepared a set piece, and to play in front
of one another. Commencing in October
1967, these sessions were known as the
Flute Night. In 1969, two Australian
flautists, Douglas Whittaker and John
Wion, who were based overseas, were
visiting Australia. Leslie Barklamb
decided to organise a concert in Melba
Hall at the University of Melbourne, and
invited them to perform, along with
Arnost Bourek, David Cubbin, Linda Vogt
and Vernon Hill. To gain admission,
Linda Vogt and Colin Evans
Linda Vogt with an alto flute that
belonged to the celebrated flautist
John Amadio
ARTICLES
SA FLUTE NEWS
Page 10
each audience member had to bring some type of flute,
and the concert culminated with everyone playing their
flutes together. As a result, the Victorian Flute Guild was
established. At Linda’s instigation the Flute Night was
rebadged as the Sydney Flute Society in 1973, becoming
the Flute Society of NSW in 1985. In the early 1970s
flute societies and guilds were also established in the
other Australian states.
PURPOSEFUL PURPOSELESSNESS:
PERFORMING THE MUSIC OF JOHN
CAGE IN HIS CENTENNIAL YEAR
by Melanie Walters
n 1971 Professor James Pellerite from Indiana
I have nothing to say
and I am saying it
and that is poetry
as I need it.
University, USA, visited Sydney and Melbourne. This
encouraged Linda to negotiate a three month placement
for him as Artist-in-Residence at the Sydney
Conservatorium in 1973. Professor Pellerite’s visit
culminated in the First Australian Flute Seminar at Easter
1973, with Professor Pellerite as Musical Director and
Linda as Executive Director: the first flute seminar or
convention held anywhere in the world.
he Australian Flute Convention Advisory and Coordinating Committee (AFCACC) was established in 1975
to oversee the organisation of Australian Flute
Conventions. Linda was the NSW representative. She
organised the Steering Committee that founded the
Australian Flute Association in September 1981 to
replace AFCACC as a national voice for the flute. At
Easter 1983 Linda directed the 5th Australian Flute
Convention at the Sydney Conservatorium, with William
Bennett and Vernon Hill as guest artists. Linda was a
regular presenter at Australian Flute Conventions. She
was a Patron of the Australian Flute Society and was
Patron of the Sydney Flute Festivals held in 2006 and
2007. Linda presented seminars and workshops for flute
societies throughout Australia.
n 1976 Linda founded Zephyr Music Pty. Ltd.,
importers and suppliers of classical and educational
sheet music. In 1984, under her guidance, the Flute
Society of NSW launched its journal, The Flute. In the
Australia Day Honours on January 26, 1989, Linda Vogt
was awarded the Member of the Order of Australia for
her services to music. Linda recorded and promoted
Australia’s flute history, and wrote articles about our flute
heritage, some of which were published in the national
magazine, Flute Australasia. Linda acquired a number of
important and valuable flute collections, which she
presented to Sydney’s Powerhouse Museum on April 14,
1992, for preservation, display and occasional
performances at the museum. Her collection of historical
data has also been given to the Powerhouse Museum.
n 2010 Linda was guest of honour at the premiere of
Constantine Koukias’ Three Pictures for Linda, a work
that was performed by the flute sections of the Sydney
Symphony Orchestra and Australian Opera and Ballet
Orchestra. Commissioned by the Flute Society of NSW,
Three Pictures for Linda ‘acknowledges Linda Vogt’s
lifetime of contribution to the flourishing flute landscape of
Australia’. #012 marked the centenary of the birth of John Cage,
composer, philosopher, poet, painter and mushroom
aficionado. Described by James L. McHard in The Future
of Modern Music as ‘the most unsettling and disruptive
apostle of change in the last half of the 20th Century’,
Cage continues to have a profound influence on
composition and sound art. One of the central tenets of
his music is non-intentionality: Cage did not believe that
communication is the purpose of music, having said that
‘when I consciously wrote something sad, people and
critics were often apt to laugh’ and he believed that ‘the
emotions – love, mirth, the heroic, wonder, tranquillity,
fear, anger, sorrow, disgust – are in the audience’ rather
than coming from the composer or the performers. His
use of chance procedures (indeterminacy) and the
concept of all types of sound being equal – ‘whether I
Winston
1/4
Page 11
SA FLUTE NEWS
make them or not, there are always
sounds to be heard and all of them are
excellent’ – revolutionised how music
was perceived.
uring last year, I was fortunate to
have several opportunities to perform
Cage’s compositions. At the Earin
and Soundstream Festivals , and
Paradise in Spinoza’s Cabinet (a popup art exhibition in a vacant building in
the city), I performed some of Number
Pieces, which are a collection of late
works by Cage named after the
number of performers the piece is
scored for. These pieces use the
composer’s time bracket technique:
for each sound or note, the performer
is given either a fixed time bracket
during which to sustain the sound, or
is given two time brackets – one
during which the sound is to start, and
the other during which the sound
should finish. I also performed in the
John Cage Day presented by the J.M.
Coetzee Centre for Creative Practice
at the University of Adelaide on
September 5 (John Cage’s birthday).
Following Stephen Whittington’s eight
hour performance of ASLSP (As SLow
aS Possible) on the organ, I
participated in a Musicircus – a
concept developed by Cage in 1968
during which any number of different
compositions are performed
simultaneously. This concept stems
from an experience Cage describes in
his autobiographical statement: ‘In
Sevilla on a street corner I noticed the
multiplicity of simultaneous visual and
audible events all going together in one’s
experience and producing enjoyment. It
was the beginning for me of theatre and
circus’. Although a Musicircus may
include works by any composers, this
particular event included performances of
only works by Cage: the Concert for
Piano and Orchestra (with Stephen
Whittington on piano, Peter Handsworth
on clarinet, Christopher Roberts on
Double Bass and myself on piccolo, flute
and alto flute), Suite for Toy Piano
(Stephen Whittington on celesta), Cheap
Imitation (Stephen Whittington, piano),
Aria No. 2 and Aria No.2b (Kate
McFarlane, soprano), Theatre
Pieces/solos with electronics (Al Thumm
and Iran Sanadzadeh on electronics,
Daniel Thorpe on chess board and Jesse
Budel on food preparation), 0’00’ (Margit
Bruenner, drawing [amplified with contact
microphones] and Meredith Lane,
electronics), I-IV (recordings from
lectures given by Cage at Harvard
University) and Williams Mix (tape
composition). The performers were
spread out across the stage and into the
audience at Elder Hall, and were free to
move around during the performance. A
Musicircus is deliberately anarchic; the
chaos and complexity gives the
‘happening’ energy and vitality, and gives
the audience the freedom to focus their
attention to whichever composition(s)
they choose and to create their own
aesthetic meaning.
lex Ross, in The New Yorker on
ARTICLES
John Cage
YOUTUBE
Trevor Wye plays Chopin’s Minute Waltz on a
Bb Radcliff System flute d’amore that once
belonged to John Amadio,
http://www.youtube.com/watch?v=TwriLcg9c
4U
The Landfillharmonic Orchestra in Paraguay,
http://www.youtube.com/watch_popup?v=UJr
SUHK9Luw
Easy way to make a carrot ocarina,
http://www.youtube.com/watch?v=O9QcFDZl
djg
Cindy’s flute changes colour when player
moves,
http://www.youtube.com/watch?v=77MuARh1
65I&NR=1&feature=endscreen
Jason (age 7) plays The Girl from Ipanema,
http://www.youtube.com/watch?v=rhWAeBCty
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ARTICLES
7k&feature=endscreen&NR=1
Greg Patillo plays The Barber of
Seville,
http://www.youtube.com/watch?v=M
R1dBPh49Pc
Debussy’s Syrinx played on the
trumpet by Alison Balsom,
http://www.youtube.com/watch?v=F
W-8vC9Kpfw
The Art of Jean-Pierre Rampal,
Radio-Canada Telecasts 19561966,
http://www.youtube.com/watch?v=c
hwS3vHdUlo
William Bennett plays the Mel Bonos
Flute Sonata,
http://www.youtube.com/watch?v=x
meIpfmxKBQ
James Galway playing Ravel’s
Daphnis et Chloé , 1974, Berlin
Philarmonic Orchestra,
http://www.youtube.com/watch?v=X
dp6hPfGSMY&NR=1&feature=ends
creen
SA FLUTE NEWS
September 4, 2012, described Cage’s
continuing influence as follows: ‘He
remains a palpably vivid presence, still
provoking thought, still spurring
argument, still spreading sublime
mischief’. But despite this, he continues
to be a controversial figure. Daniel Asia,
in ‘The Put On of the Century, or the
Cage Centenary’ in the Huffpost Arts and
Culture blog on January 3, 2013, argues
that there are ‘trickster qualities’ to
Cage’s music, which is boring and not
worthy of the ‘musical pantheon’
occupied by composers like Stravinsky.
However, comparing Cage to composers
such as Stravinsky misses the point.
Cage would not have been interested in
belonging to any ‘musical pantheon’: he
was not aiming to create musical
masterpieces, but to express a musical
philosophy that would open up the ears
and minds of his audience. As a
performer, I have found playing the
music of Cage liberating and
enlightening; it provides a different
perspective on the sounds that can be
produced both on the flute and by nonmusical objects (the Soundstream
Festival Four6 performance involved my
Page 12
beer-bottle-playing debut on national
radio!), a greater appreciation of silence
and a different perspective on musical
time, rhythm and musical development.
The use of indeterminacy is also an
excellent preparation for developing
improvisation skills. For those flautists who
might be interested in performing some of
Cages’ music, there are a large number of
his works which can be performed on the
flute: the part I performed in the Concert for
Piano and Orchestra can also be
performed as a flute solo, Two was
composed for flute and piano, and several
of the other Number Pieces and earlier
chamber works include the flute (or are
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Page 13
SA FLUTE NEWS
FROM NEW ZEALAND TO
SERBIA TO VIENNA
by Elizabeth Koch OAM
was delighted to be invited to be the
international guest at the Hamilton
Flute Festival in New Zealand at the
end of April. The festival was superbly
managed by Kathryn Orbell, who
clearly has a passion for all things
flute, and also has a wonderful set of
organisational skills. I was collected
from the Auckland Airport and driven to
Hamilton (approximately 90 minutes).
It was dark by that stage so I didn’t get
to see the beautiful English looking
countryside until my return journey
during the day a few days later.
fter registration on the first day, I
directed a workshop on ‘Focussing on
Sound – Setting up a Good
Embouchure’ and a masterclass with
some lovely young flautists. I also took
an interactive workshop on ‘How to
Untangle Technical Problems’, after
ARTICLES
which there were two large flute choir
rehearsals and a chamber music
masterclass with a flute quartet playing
Bozza.
he following day began with a
fabulous Skype session with London
guest Robert Bigio. Robert is one of
the world’s authorities on the history of
the flute and historical instruments. We
were treated to some of the most
beautiful slides of flutes that I have
seen, and many of them are in Robert’s
own collection. The Skype session
certainly makes one realise how many
opportunities there are still to take
advantage of! Well done to Kathryn for
planning this.
n the final day I gave a masterclass
where each player can only play in total
(with feedback) for 5 minutes. This was
excellent and made for some very
succinct feedback on my part! I then
gave a recital of Martinu, Gaubert and
Sichler. It was a great weekend and I
thank Kathryn for her hard work in
continuing such a popular festival in
New Zealand.
Belgrade Flute Class
returned to Adelaide for a quick
Australian
FLUTE
FESTIVAL
5-7 TH OCTOBER 2013
AUSTRALIAN NATIONAL UNIVERSITY,
SCHOOL OF MUSIC,
CANBERRA, AUSTRALIA
W W W. AU S T R A L I A N F L U T E F E S T I VA L . C O M
SA FLUTE NEWS
ARTICLES
Elizabeth Koch, Jordan Paterson,
Anouvong Liensavanh, Mandy
Hutchinson
Elizabeth Koch and Mary-Anne
Blades
Page 14
breath before travelling to Belgrade in
Serbia. I had been invited to give a
masterclass at the Belgrade Faculty of
the Arts by the Director and the
wonderfully generous and enthusiastic
flute teacher Professor Ljubisa Jovanovic
and his colleague, Professor Miomir
Simonovic. They have a very strong
woodwind studies area and the 12
flautists who prepared for the four hour
class were all of a very high standard. It
was very impressive. They all had big
sounds and had prepared their work
meticulously. I donated some Australian
flute repertoire to the flute school so I
hope that they enjoy these pieces and
integrate them into their future repertoire.
fter leaving Belgrade I sailed up the
Danube, calling in at Vukovar in Croatia,
Budapest, Bratislava and finally Vienna.
I was fortunate to have contacts in
Vienna. The Lea brothers, Benedict and
Tobias, from Adelaide, are string
members in the Vienna Philharmonic
Orchestra, so I was lucky to sit in every
day on a rehearsal of this amazing
orchestra. The conductor, whilst I was
there, was Sakari Oramo, who
conducted the Mozart Flute and Harp
Concerto with the Adelaide Symphony
Orchestra in Adelaide when Suzanne
Handel and I were soloists in 1995. He
remembered the venue, saying how
beautiful the Adelaide Town Hall is, and
the year, so it was a treat to meet him
again in unexpected circumstances.
During that week I also listened to the
teaching of Karl-Heinz Schulz, who is
one of the Principal Flutes of the Vienna
Philharmonic Orchestra. The trip was
inspirational and I was able to thoroughly
enjoy my long service leave, not only
because of the travelling experiences, but
because I had a wonderful young former
student who replaced me for those weeks
teaching my students – Anouvong
Liensavanh. Anouvong will start his
Doctorate at Stonybrook (USA) this year,
studying with Carol Wincenc at Julliard
School of Music. He has graduated from
Yale with a Masters degree and will now
embark on some more exciting
experiences back in the US. I wish him
well and look forward to the next phase of
his music career.
ecently I caught up with Mary-Anne
Blades, who is Associate Principal Flute
in the West Australian Symphony
Orchestra. Mary-Anne was here from
Perth for a wedding. AU T H O R I S E D D I S T R I B U T O R O F
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Phone: +61 2 8006 5345 s Mobile: +61 418 477 204 s Email: david@flutesandflutists.com s www.flutesandflutists.com
Page 15
SA FLUTE NEWS
CD REVIEW
by Robert Brown
Deep Blue. Solo flute and flute and piano works by Ian Clarke. IC02.
Ian Clarke (flutes), Tim Carey (piano). Recorded 2011/2012.
Website: www.ianclarke.net
Tracks: 1. Deep Blue (flute and piano) 2. Curves: Magical and Woven 3. Curves:
Plaintive 4. Curves: Presto 5. Touching the Ether: Part 1 6. Touching the Ether:
Part 2 and 3 (three flutes and piano) 7. Hatching Aliens: Something Is There! 8.
Hatching Aliens: Blue Alien/Alien Chill Out 9. Hatching Aliens: The Fear
Returns/Battle Tempo (flute and piano) 10. Beverley (solo flute)
British flautist Ian Clarke is becoming well-known as a composer of contemporary
works for the flute. His compositions capture a wide variety of subjects and moods
through the imaginative use of extended techniques. Many younger flautists are
now including Ian Clarke’s compositions in their recital programmes. The release
of Deep Blue on May 13 showcases some recent compositions by Ian Clarke,
performed by the composer with pianist Tim Carey. Soon after its release it
became the first flute CD for many years to enter the Classical Artist Charts.
Brilliant performances; don’t miss this one. ♫
Flute Tree
1/2
Deep Blue
SA FLUTE NEWS
Page 16
The Flute Society of South Australia Inc.
PO Box 3208, Norwood SA 5067
0410 717 280
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,
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