July 2009

SA FLUTE NEWS
Page 16
The Flute Society of South Australia Inc.
South Australian Flute News
osiak
Print Post Pub. No. PP531629/00017
PO Box 3208, Norwood SA 5067
(08) 8267-4319
Membership Enquires – Ph. (08) 8431 0452
The Flute Society of South Australia Inc.
Founder
Professor David Cubbin
We’re on the Web! See us at:
www.saflutesociety.asn.au
Patron
Alison Rosser
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.
Adult
Vice Patrons
Associate Professor
Elizabeth Koch OAM
Robert Brown
Newsletter Contributions
Membership Fees
July 2009 issue deadline – Friday, October 16
$40
Student, Pensioner, Country,
Unemployed, Associate
$25
Life Membership
$600
Download a membership form from our website.
Please post to:
The Editor
South Australian Flute News
PO Box 3208, Norwood, SA 5067
(08) 8431-0452, or email to [email protected]
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Sometimes information and news becomes out-of-date before it can be published in South Australian Flute News.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].
VICE-PRESIDENT
Karen Fletcher – 8333-0665
[email protected]
SECRETARY
Cara Seppelt – 8267-4319
[email protected]
TREASURER
Sylvia Beare – 8276-2750
[email protected]
PUBLIC OFFICER/MEMBERSHIP
SECRETARY/EDITOR
Robert Brown – 8431-452
[email protected]
Michal Rosiak – 8358-303
[email protected]
Newsletter Design and Layout
Masako Kondo – 8271-2740
[email protected]
Pauline Michelson – 8278-1756
[email protected]
COMMITTEE MEMBERS
Elizabeth Koch OAM – 8303 5343
[email protected]
Ann-Marie Oates – 8326-531
[email protected]
Lisa Gill – 8270-7971
[email protected]
Cristy Wilkins – 0410-717 -280
[email protected]
Contents
President’s Report
1
Coming Events
2-5
New Members
2
Recent Events
7-9
Other Events/Concerts 6,7
Articles
Flute Society Info
10-14
16
www.saflutesociety.asn.au
From the President
Dear Members,
It’s interesting how things go in waves.
I would now like to take this opportunity
When I look back at last year’s activities I
think we were riding the crest of the wave
and somehow this year we’ve slipped
into the trough for a while. Whereas last
year we had fourteen entries for the
Carolyn White Scholarship, close to an
all time record, this year with only three
entries we had to cancel the event.
Perhaps it is a reflection of the times, the
much flaunted Global Financial Crisis –
who knows?! I hope next year we can
ride the crest again and encourage more
of our young players to participate.
to thank Michal Rosiak for his wonderful
contribution to the Flute Society
committee, in particular his work in the
design and layout of this newsletter over
the past couple of years. Michal is soon
to move interstate and though we are
sad to let him go we wish him all the
best with his new endeavours.
In May we enjoyed a very pleasant
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PRESIDENT
Margaret Coventry – 8232-2884
[email protected]
ABN: 96 991 331 922
July, 2009
evening of duets and trios with many
students and others joining in for what
effectively was an impromptu concert of
a very high standard. Many thanks to
all those who performed on the night as
well as Elizabeth Koch for organising
the event. We are always seeking new
ideas for our events and welcome any
suggestions from any of you for future
activities. Our aim as always is to
reach out to as broad an audience as
possible.
Perhaps the next important event on the
calendar is the Flute Eisteddfod in
August. This year we hear there have
been an excellent number of entries,
which is good news for the future of flute
playing in Adelaide. We wish all
competitors well in their upcoming
performances.
Finally, I hope you have all registered
for the Australian Flute Festival, which
is not far away now. If not, there is still
time,
so
go
online
to
http://www.australianflutefestival.com
and read all about it.
With best wishes,
Margaret Coventry
SA FLUTE NEWS
WELCOME TO OUR
NEW MEMBERS
Myriam Bultsma
and
Madeleine
Stewart.
We hope you enjoy
being part of the Flute
Society and we look
forward to seeing you
at our events.
Please visit our
website!
Page 2
COMING FLUTE EVENTS
ADELAIDE EISTEDFFOD FLUTE DIVISION
Date:
August 7, 8 & 9
Venue:
Rosefield Uniting Church, 2 Carlton Street, Highgate
Admission:
$5
Enquiries:
Robert Brown, Ph. 8431-0452.
Adjudicator:
Karen Lonsdale
Please note that Competitors are required to fill in and bring with them completed
APRA/AMCOS Forms 1 and 2 for each section they have entered. Visit the website
at http://www.adam.com.au/sgarie/eisteddfod_g.htm to print these forms.
For each section entered competitors are asked to clearly write their name and
the names of the works and their composers on a sheet of paper ready to hand
in to the booking-in person. This doesn’t apply to Sections F611, F612, F620
and W401.
See page 3 for more information☞
THE AUSTRALIAN FLUTE FESTIVAL
Karen Lonsdale
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 83035343 or e-mail
[email protected]
du.au to arrange a time for
borrowing.
When:
Friday, October 2, Professional Learning Day
When:
Saturday, October 3 to Monday, October 5, Australian Flute Festival
Venue:
Elder Conservatorium of Music, University of Adelaide
AUSTRALIAN FLUTE FESTIVAL COMMITTEE
Artistic Director:
Director:
Director/Co-Ordinator:
Website:
Elizabeth Koch, OAM, [email protected]
David Leviston, [email protected]
Lyndie Leviston, [email protected], mobile 0424 504 104
PO Box 190, Northbridge, NSW 1560.
http://www.australianflutefestival.com
See pages 4-5 for more information☞
Page 15
SA FLUTE NEWS
SA FLUTE NEWS
Page 14
Page 3
SA FLUTE NEWS
Articles
EISTEDDFOD PROGRAM
James Galway has collaborated with many popular
performers, including Cleo Laine, Henry Mancini
and The Chieftains. James Galway has recorded
over sixty albums and sold over 30 million albums
worldwide.
In addition to the standard classical repertoire he
also performs arrangements of classical, popular
and folk music.
James Galway includes
contemporary music in his programs. He has
commissioned flute works from composers such
as David Amram, Malcolm Arnold, William Bolcom,
John Corigliano, Dave Heath, Lowell Liebermann,
Joaquín Rodrigo, Lorin Maazel and Thea
Musgrave. James Galway is married to American
flautist Jeanne Cinnante. They live in Meggen,
Switzerland, a village near Lucerne, and often tour
together, playing duets and giving masterclasses
for flautists of all levels.
Music
is
an outburst of
the soul.
Delius
Sir James Galway is Patron of the British Flute
Society and President of Flutewise, a charitable
organisation that supports young flute players, run
by Liz Goodwin. In 2003 he formed the Music
Education Consortium together with Julian Lloyd
Webber, Evelyn Glennie and the late Michael
Kamen to pressure the British Government into
providing better music education in schools.
James Galway is Principal Guest Conductor of the
London Mozart Players. He performed with the
Academy Award-winning ensemble that recorded
the soundtracks for Peter Jackson’s Lord of the
Rings film trilogy, with music composed by Howard
Shore. James Galway was made an OBE in 1977
and was knighted in 2001. In June 2008, Sir
James Galway was inducted into the Hollywood
Bowl Hall of Fame along with Liza Minnelli and
B.B. King. He was the featured soloist for the New
York Philharmonic Orchestra’s Gala Opening Night
for its 2008/2009 season. Sir James Galway will
be awarded the National Flute Association’s 2009
Lifetime Achievement Award in August at the 37th
NFA Convention in New York. Ɖ
MORE EXCUSES FOR NOT
PRACTISING!
I have to go out every night.
I was playing my PS2!
I forgot!
I was too busy protecting my flute!
I was sick every day, well, not really every
day!
My room was too messy!
I was too busy looking at my flute report!
Someone smashed my bedroom window,
then the cat came in and ate my flute!
These excuses have all been used!
Teachers – send in more excuses!
MUSIC DOWNLOAD SITES
FRIDAY AUGUST 7
BOOKING IN COMMENCES, 11-30 am
Section F612, Complete Flute Sonata or Suite, 12 noon
Section F620, 18 Years and Over Flute Solo, 2-30 pm
Afternoon Tea, 3-10 pm
Section F618, Unaccompanied Flute Solo, 3-30 pm
Section F619, Orchestral Excerpts, Grades 6 to 8, 3-45 pm
Section F608, Grade 5 Flute Solo, 4-10 pm
Section F615, Piccolo Solo, 5-45 pm
Dinner Break, 6-25 pm
Booking In commences for Evening Session, 6-30 pm
Section F606, Flute Solo 16 Years and Under, 7-00 pm
Section F607, Flute Solo 18 Years and Under, 8-10 pm
Section F610, Grade 7 & 8 Flute Solo, 8-55 pm
FINISH circa 9-45 pm
SATURDAY AUGUST 8
Booking In commences, 8-30 am
Section F601, Flute Solo 10 Years and Under, 9-00 am
Section F602, Flute Solo 12 Years and Under, 9-45 am
Morning Tea, 11-00 am
Section F600, Grade 2 Flute Solo, 11-15 am
Woodwind Division, Sections W426 and W431 from 11-40 am
Lunch, 12-30 pm
Section F603, Grade 3 Flute Solo, 1-00 pm
Section F613, Flute Duet, Grade 4 and Under, 1-55 pm
Section F614, Flute Duet, Grade 5 and Over, 2-25 pm
Section F617, Flute Study, Grades 5 to 8 Level, 3-05 pm
Afternoon Tea, 3-20 pm
Section F604, Flute Solo 14 Years and Under, 3-35 pm
Section F605, Grade 4 Flute Solo, 4-50 pm
Section F609, Grade 6 Flute Solo, 5-50 pm
Dinner Break, 6-50 pm
Section F611, Open Flute Solo, 7-15 pm
Finish circa 8-20 pm
SUNDAY AUGUST 9
Section W401, Woodwind, Brass or Percussion Concerto, 1-30 pm
Brass Division, 2-10 pm to 5-35 pm
Woodwind Division, 6-05 pm to 8-50 pm
SATURDAY, AUGUST 22
Adjudicators: Peter Webb OAM and Lynette Rayner
Sections M639 and S339, 25 Years and Under Wind and String Recitals, 1-00 pm
Venue:
Salvation Army Citadel, 55 George Street, Norwood
Check out these sites – much of this is free!
www.8notes.com
www.virtualsheetmusic.com
www.free-scores.com/index_uk.php3
www.rowy.net/sheet_music.html
www.anthonymaydwell.com/Free%20Scores/free_scores.htm
www.classical-scores.com/free/index.php
MONDAY, SEPTEMBER 21
Special Award Winners’ Concert, 7-30 pm
Venue:
Rosefield Uniting Church, 2 Carlton Street, Highgate
Admission:
Adult, $8; Members/Seniors/Students, $6; Children under 16 free
WEDDINGۤ
Congratulations
to Janine Rosser on her
marriage to David Hemer
on Saturday, May 16.
Janine is the daughter of
our Patron, Alison Rosser.
We send them our best
wishes for a happy future
together.
SA FLUTE NEWS
Page 4
COMING EVENTS
THE AUSTRALIAN FLUTE FESTIVAL
When:
When:
Venue:
Jean Ferrandis
Friday, October 2, Professional Learning Day
Saturday, October 3 to Monday, October 5, Australian Flute Festival
Elder Conservatorium of Music, University of Adelaide
AUSTRALIAN FLUTE FESTIVAL COMMITTEE
Artistic Director:
Elizabeth Koch, OAM, [email protected]
Director:
David Leviston, [email protected]
Director/Co-ordinator: Lyndie Leviston, [email protected],
Ph. (02) 8006-5345, mobile 0424-504-104
Post:
Website:
140 Sailors Bay Road, Northbridge, NSW 2063.
http://www.australianflutefestival.com
It has been twenty-one years since Adelaide has hosted a Flute Festival or
Convention, so to have a stellar cast of outstanding flautists from Australia and
beyond is going to be very special and exciting.
David and Lyndie Leviston and I are putting the final polish on the program
which is available on the website along with all details about the Festival.
Repertoire will include premieres of new works, Australian music, solo pieces,
chamber music and traditional repertoire such as sonatas by Poulenc,
Hindemith, J.S. Bach, Schulhoff, Beethoven, Schumann, Franck, Vivaldi and
Widor to name but a few.
Uwe Grodd
Last weekend Sally Walker, one of the featured Australian artists, flew to Adelaide to
rehearse a Vivaldi Sonata for flute, bassoon and harpsichord. How dedicated! I have
to say that we have been so impressed by the sheer enthusiasm of all of our artists
from Australia, New Zealand, USA and France.
The complete set of twelve Telemann Fantasias is on the program. The Fantasias will
be sprinkled throughout the weekend program and it should be fascinating to hear
such a variety of interpretations from all of the different artists. In addition there will
much new repertoire, including pieces played on low flutes by specialist Peter
Sheridan from Melbourne.
Tara-Helen O’Connor
Uwe Grodd, Jean Ferrandis and Tara-Helen O’Connor have all chosen wonderful
repertoire for their individual recitals and will share the Gala concert on the Sunday
evening.
Are there any Junior Players out there? If so, read below, and also have a look at the
Junior program on the website – it will be mind boggling – as we have come to expect
from director of the Junior program, Peter Bartels.
I hope to see you at the Elder Conservatorium of Music, University of Adelaide,
October 3 -5. Of course if you are a teacher, please attend the Professional Learning
Day on Friday, October 2, where high profile teachers such as Margaret Crawford
and Peter Bartels will be presenters.
Elizabeth Koch OAM
All the best,
Elizabeth Koch OAM
Artistic Director, Australian Flute Festival 2009
Page 13
SA FLUTE NEWS
Theobald Böhm (1794-1881), inventor of the
Böhm System flute that we all know and play,
began his first experiments in flute key-work
design in 1829, 180 years ago.
Aged 10 James Galway won three solo sections in
an Irish Flute Championship contest. By the time
he was 12 he knew that he wanted his career to be
in music.
German composer Felix Mendelssohn was
born 200 years ago on February 3, 1809.
Orchestral flautists enjoy playing his five
Symphonies, the Hebrides Overture and the
Music for the Midsummer Night’s Dream. Polish
composer Frédéric Chopin died 160 years on
October 17, 1849. His only composition for flute
is Variations on a Theme by Rossini. French
composer Francis Poulenc was born 110 years
ago on January 7, 1899. His Flute Sonata is
well-known.
Australian composer Peter
Sculthorpe turned 80 on April 29, 2009. His
works for Flute and Piano include Sea Chant,
Left Bank Waltz and Songs of Sea and Sky. Ɖ
While a student at Mountcollyer Secondary Modern
School, James Galway met Muriel and Douglas
Dawn. They made sure the promising youngster
had every opportunity to realise his goals. Muriel
Dawn, a flautist with the British Broadcasting
Corporation’s
Northern
Ireland
Symphony
Orchestra, taught him the basic skills involved in
playing the flute. Douglas Dawn found him a job
as a piano tuner’s apprentice and found
opportunities for him to perform with Belfast
orchestras. Douglas Dawn helped persuade the
Belfast Education Committee to award James
Galway a prestigious scholarship to study at the
Royal College of Music in London, where, aged 16,
he began three years of study with John Francis.
th
SIR JAMES GALWAY’S 70 BIRTHDAY
Sir James
Galway
Renowned Irish flautist Sir James Galway will
celebrate his 70th birthday on December 8. He
continues to tour, teach, record and collaborate
with many people throughout the world. James
Galway
was
born
in
a
working-class
neighborhood of Belfast, Northern Ireland in
1939. He developed an interest in all things
musical at a very early age. His father, a
shipyard riveter, also named James, was a flautist
and accordion player, while his mother, Ethel, a
textile mill worker, was a self-taught piano player.
The young James tried out the harmonica, violin,
and penny whistle before settling on the flute,
which quickly became his favourite instrument.
He took flute lessons from both his father and
grandfather and learned how to read music from
Billy Dunwoody at the local Onward Flute Band.
James Galway then studied at the Guildhall School
of Music with Geoffrey Gilbert. Further study
followed at the Paris Conservatoire with Gaston
Crunelle and Jean-Pierre Rampal and also
privately with Marcel Moyse. He then spent 15
years as an orchestral flautist. His first job was
with the Wind Band of the Royal Shakespeare
Theatre at Stratford-upon-Avon. He then moved
on to the Sadler’s Wells Opera Orchestra, where
he played both the flute and piccolo. His next job
was with the Royal Opera House Orchestra as a
flautist and piccolo player. James Galway then
joined the London Symphony Orchestra, serving as
the Principal Flautist for the 1966-67 season before
accepting the same position with the Royal
Philharmonic Orchestra. He remained with the
Royal Philharmonic for two seasons, resigning in
1969 to become the Principal Solo Flautist of the
Berlin Philharmonic Orchestra under Herbert von
Karajan.
In the summer of 1975, with the encouragement of
Concert Artist Manager, Michael Emmerson,
James Galway left the Berlin Philharmonic
Orchestra to pursue what became a very
successful solo and recording career. He was
billed as ‘The Man with the Golden Flute’. James
Galway appeared in more than 120 concerts during
the next year, including solo performances with
four of the major orchestras in London. Securing a
recording contract with RCA, he recorded his first
four albums and also taught for a semester at the
Eastman School of Music in Rochester, New York.
In 1978 his recording of Annie’s Song reached the
top of the pop charts.
SA FLUTE NEWS
Page 12
Page 5
SA FLUTE NEWS
FLUTE FESTIVAL AND FRENCH CHEESE by Sally Walker
Regarding the right pinky, this should be curved and not
flat. Try to use the ball of this finger for key contact.
Experiment with the foot-joint position (try turning it in
and out) until you find a place where you can
comfortably slide the pinky across from the E flat (D
sharp) key to the low C and C sharp keys. Also try the
old pro’s trick – rub a finger along the crease of your
nose and then rub the grease on the E flat, low C and C
sharp keys to make them more slippery, which
facilitates the sliding of the pinky.
To develop the concept of slow and close finger motion,
pretend that your flute feels very sticky, as though
someone has poured treacle all over it! There will be a
feeling of ‘delay’ before you are able to lift your fingers.
Another idea is to place pieces of blue tac or rolled up
sticky tape balls in the key centres and feel the finger
‘delay’ that these cause. If you can’t feel the key just
under your finger it is too far away – watch in the mirror
or ask someone to watch how far your fingers travel.
For trilling, you don’t even need to fully open the moving
key(s). I like to think of ‘hanging ten’ on a surfboard; the
finger continually maintains contact with the key(s)
during the trill.Ɖ
A YEAR OF ANNIVERSARIES
by Robert Brown
Here are a few of the many musical anniversaries
happening during 2009.
It is the 250th the anniversary of Françoise Devienne’s
birth.
The French flute and bassoon player and
composer was born on January 31, 1759, in Joinville,
France, the youngest of the fourteen children of a
saddle-maker. He received his first musical training as
a choirboy in his hometown and composed a Mass with
wind instrument accompaniments at the age of 10.
Devienne studied the flute with Félix Rault and in 1780
he joined the household of Cardinal de Rohan. He was
a bassoonist in the orchestra of the Théâtre de
Monsieur from 1788 and appointed a Sergeant in the
Musique de la Garde Nationale in 1793, with the duty of
teaching the children of his colleagues in its Free
School of Music. After the Revolutionary period, the
Free School became the National Institute of Music,
later chartered as the Paris Conservatoire in 1795,
when Devienne was appointed an administrator and
Flute Professor. The prodigy Joseph Guillou was one
of Devienne’s pupils.
Devienne was engaged as
Principal Bassoonist at the Paris Opéra in 1796. On the
reform of the Conservatoire in 1802 his Professorship
ceased. Like many other musicians, Devienne joined
the freemasons, and played in the ‘Concerts de la Loge
Olympique’ Orchestra.
Devienne wrote Méthode de Flûte Thérorique et
Pratique in 1793, which was reprinted several times,
and edited the monthly Journal d’Harmonie. A
prolific composer, Devienne wrote several Sinfonias
for wind instruments, 13 Flute Concertos, Flute
Sonatas, 24 Flute Solos, 84 Flute Duets, 6 Flute
Trios, Quartets and Trios for different ensembles, 4
Bassoon Concertos and 6 Bassoon Sonatas.
Devienne wrote 6 operas, including Les Visitandines
(1792), which was performed over 200 times.
Largely because of overwork, Devienne was
committed to the Charenton Lunatic Asylum and
died there on September 5, 1803, aged 44.
I have just come back from a day trip to lovely Adelaide to have a provisional
rehearsal of Vivaldi’s A Minor Sonata RV 86 with harpsichordist Glenys March and
bassoonist Mark Gaydon, which we will be performing at the Flute Festival. I was
reminded of what a friendly atmosphere Adelaide has, and flew in early especially
to visit the ever-enticing Central Markets, which I re-discovered like a homing
pigeon. I then did what any self-respecting flute player would do: spend an
exorbitant amount of money on old French cheeses...! I later placed a petit chèvre
on both my chamber musician’s stands at the beginning of the rehearsal to bribe
them to agree with my tempi (MAY be a little on the brisk side... so some leverage
was not in vain). After the uplifting harmonies and some decidedly dangerous
technical passages, I flew back to Sydney with a heavier bag, a smile and a
promise to myself to leave my credit card at home when visiting the markets during
the Festival. Should I be late for my recital, you know where I will be!
Sally Walker
CALLING ALL YOUNG SOUTH AUSTRALIAN FLUTE PLAYERS!
There is something very special on the horizon for young flute players and it’s
taking place at the Elder Conservatorium of Music in Adelaide from October 3-5.
It’s the JUNIOR PROGRAM OF THE AUSTRALIAN FLUTE FESTIVAL!!
In years gone by I have been warmly welcomed as a guest for the Flute Society of
South Australia’s FLUTE FUN DAYS. This year your special day has been
incorporated into the magnificent Australian Flute Festival and I will be back to run
the proceedings.
Françoise
Devienne
The JUNIOR PROGRAM will take place on Saturday, October 3 with a rehearsal
for the Closing Concert on each of the following two days.
The program is open to players between 10-16 years old with a playing standard
between grade 3-6 AMEB level or equivalent.
The 250th anniversary of George Frideric Handel’s
death is being celebrated in 2009. He died on April
14, 1759 in London, aged 74 years. He was given a
state funeral and was buried in the Poet’s Corner of
Westminster Abbey. Over 3,000 people attended
his funeral. Handel is famous for the Water Music,
Royal Fireworks Music, The Messiah, Zadok the
Priest and many other works. His compositions for
flute include Trio Sonatas for two flutes and continuo
and the Flute Sonatas (Bärenreiter publishes Eleven
Sonatas for Flute and Figured Bass).
Peter Sheridan
Once you have fulfilled your Junior Program commitments you may wish to attend
other sessions from the Main Festival Program providing you have a
parent/guardian with you.
As a participant in the Junior Program you will certainly be busy. The Festival’s
international guests – Jean Ferrandis (France), Uwe Grodd (New Zealand) and
Tara Helen O’Conner (USA) – need a special welcome and we’ll be doing just that
with our performance at the Opening Concert!
We also have a spectacular role to play in kicking off the Closing Concert where we
will be performing one of the coolest pieces on the planet. Of course the content of
these performances needs to remain secret for maximum impact.
Margaret Crawford
Along the way we will be sorting out how to play our shiny silver tubes in tune.
We’ll discover weird and wacky sounds to make on your flute and have a brief, but
incredibly interesting look at the history of the flute and famous flautists. We will
visit the Trade Stalls and to keep our energy levels high we will feast on Liz’s
Luscious Lamingtons On The Lawn for afternoon tea!
George Frideric
Handel
So best thing to do now is jump on the website and have a look at what’s on offer.
If you have any questions about the program you can email me at
[email protected] or call 0417-381-813.
Looking forward to seeing you all in October!
Peter Bartels
Junior Program Co-ordinator, Australian Flute Festival
Peter Bartels
SA FLUTE NEWS
Page 6
OTHER EVENTS
The South Australian Flute Ensemble is looking for new members.
When:
Mondays at 7-45 pm
Where:
Mitcham Community Centre, corner Belair Road and Grange Road,
Lower Mitcham.
2009 Dates:
July 13 and 27, July 13 and 27, August 10 and 24, September 7 and
21, October 12 and 26, November 9 and 23, December 7. .
Playing standard: Grade 4 minimum ( low C up to top G ).
Contact:
Caroline Weatherstone on 0401-176-230.
The Flute Society Program on 5MBS – presented by Robert Brown
The Flute Society Program is broadcast on Monday evenings at 7 pm. 5MBS is
located at 99.9 on the FM Band.
Monday, August 10, Music for Unaccompanied Flute, including Michael Nyman’s
Yamamoto Perpetuo for Solo Flute played by Andy Findon.
Monday, October 12, Music for Flute Quartet, selected movements from Flute
Quartets, Opus 145 by Ferdinand Ries, played by John Herrick Littlefield, flute, Aaron
Boyd, violin, Ah Ling Neu, viola, Yari Bond, ‘cello.
Monday, December 14, Music for the Christmas Season, including Elizabeth Koch
and Suzanne Handel playing Christmas classics, the Cambridge Buskers taking us on
a musical ride and much more!
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.
Brass & Woodwind Specialists
Shop 2, 84 Glen Osmond Rd, Parkside
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SA FLUTE NEWS
Articles
SOUTH AUSTRALIAN FLUTE ENSEMBLE
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83733370
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EFFICENT FINGER MOVEMENTS
by Robert Brown
While watching an experienced flautist performing it
should become evident that the fingers remain very
close to the keys and that they don’t seem to move
very quickly. Of course, there are exceptions – some
players do have high-flying fingers – one wonders how
much better their technique would be if those fingers
stayed down near the keys? It is technique – or finger
proficiency – that will be considered in this article.
The flute maker sets the keys so they will rise about 3
mm when fully open. Placed any closer to the flute
tube, the keys would interrupt the vibrating air escaping
from the flute tube via the tone holes and upset the
flute’s sound. Rest the flute on your left shoulder and
close all of the keys. Now relax your fingers and the
keys will open, lifting the fingers. When the keys have
opened to their full extent the fingers will stop lifting. In
theory this is as far as your fingers need to travel for
playing the flute. Before doing any playing this is a
good way to get the feel of just how close to the keys
the fingers can be to help develop an efficient
technique. Think of the fingers pushing the keys down
to close them and then relaxing so they are lifted when
the keys open.
We use nine digits to play the flute; connections in the
keys allow these nine digits to operate sixteen holes
(using a C foot-joint and no extra tone holes for B-C#
trills, etc.). Apart from the left 1st finger, which needs
to move from the first joint, all of these digits should
move from the knuckle. The first and second joints
should remain bent so the fingers are curved and the
finger-tips are able to be positioned next to the keys.
Straightening the first and second joints will result in
the fingers lifting some distance from the flute and then
the fingers will come down energetically and crash onto
the keys, making an audible noise. For most flute
playing it is desirable to avoid key noise, which is
achieved by not slapping the keys with the fingers.
When raising a finger, don’t treat the key as a
launching pad! The finger will end up in orbit! Think relax each finger and let the keys gently lift them.
Watch in a mirror to see if your fingers remain close to
the keys or lift up high while you play and whether they
are inclined to slap the keys.
Key slaps (usually called key clicks) have been used by
some modern composers. French-American composer
Edgar Varèse (1885-1965) was the first to ask for key
clicks when he wrote Density 21.5 in 1936 for the
inauguration of French flautist Georges Barrère’s
platinum flute (21.5 being the density of platinum).
Density 21.5 and Debussy’s Syrinx (composed in 1913)
are considered to be landmarks in twentieth century
composition for unaccompanied flute.
How you place your hands and fingers initially is
essential for the establishment of good finger technique.
Place the left hand first. The left thumb should be at a
right angle to the flute tube - the base of the thumbnail
should be located opposite the thumb keys. This means
that the tip of the left thumb will almost be touching the
longitudinal axle just above. If you have a double-jointed
thumb you may need to bend it slightly so the section
behind the nail is sitting flat on the thumb-keys. With the
correct thumb placement, the left 1st finger should be
wrapping around the flute tube almost adjacent to the
first key on top of the flute. The flute rests on the base of
this finger. The left hand fingers should be placed at
about 45° to the keys. What I refer to as the ball of the
finger, located between the finger tip and pad, should be
used to depress the key.
Most flutes made today have a concave groove placed in
the thumb-keys. This allows the player to switch from the
B flat to B natural keys by rotating the thumb sideways
about 2 mm across the keys. This action requires some
practice but a quick facility can be attained. Remember
there is more than one way to play B flat on the flute: the
right hand (long) B flat and thumb B flat being the most
commonly used fingerings. Use thumb B flat for key
signatures up to five flats, and the right hand B flat for six
and seven flats and key signatures with sharps. Just to
the left of the right 1st finger is the B flat lever; this is an
alternative to the right hand B flat. One example of its
use is for the following note sequence: G, A, B flat, B
natural. By holding down the B flat lever and releasing it
for the B natural, it is possible to play this note sequence
rapidly. This isn’t possible with the right hand B flat,
which would turn the G into an F. Some players prefer to
use the B flat lever and avoid the right hand B flat.
Now for the right hand. Set the left hand in place first
and hold up the flute. Place the right hand at your side
and make it feel very floppy. Tuck under the right thumb
and place the fingers in the key centres. The daps in the
key centres are there to guide your fingers. An openhole flute makes central finger placement essential. Now
place the right thumb, which should have turned on its
side. The thumb tip should be touching the inside of the
tube somewhere between the 1st and 2nd fingers. To
support the flute, push in slightly with your left 1st finger
and away with your right thumb. In the playing position
you should feel the flute pushing against your chin. Don’t
overdo this or you will end with a sore thumb, finger and
chin. The action of pushing forward with your right thumb
and in with your left 1st finger turns the flute into a lever,
with the left 1st finger acting as the fulcrum.
SA FLUTE NEWS
Page 10
Articles
ZIMBABWE
Of course it is well known that Zimbabwe suffers
under the most cruel and violent dictatorship. While I
was there, the new Prime Minister was sworn in ...
but right from day one, it seems that the double
crossing and arrests were resumed as normal. But
thankfully there are various dimensions to the reality
of Zimbabwe – apart from the political mess,
economic collapse and cholera, it is the most
beautiful country and the people I met are very warm.
The concerts Jeanette and I gave in Harare and
Bulawayo were received most enthusiastically. They
actually have a very long tradition of classical music
there, and I was DELIGHTED to see so many
schoolchildren at my concerts; we also gave a little
performance and workshop at the Hellenic School in
Harare. I actually have two Zimbabwian students,
and it was nice to spend time with their families.
BOTSWANA
We also gave two concerts in Gaborone ... and I was
absolutely charmed by the warm and appreciative
audience there. They have less classical music
there, compared to Zimbabwe, but they were SO
appreciative.
The second day we were there,
Jeanette and I gave a full day of classes for the flute
students of Muru-a-Pula School which has a thriving
little music department. Many of the students joined
us in the concert that evening and got the chance to
perform in front of a large audience. The whole trip
to Botswana was actually put together by an exstudent of mine, Lauren Turner, who also coached
the flute choir and played in the concert. Lauren’s
parents live in Botswana now, having left Zimbabwe
a few years ago. Lauren and I are now working on
buying three flutes and a saxophone for the students
of the school ... it feels so good to be leaving a strong
energy behind, long after the concerts fade into
distant memories
SA FLUTE NEWS
CONCERTS
FLUTE TOUR TO ZIMBABWE AND BOTSWANA
by Wissam Boustany
My trip to Zimbabwe and Botswana with Zimbabwian
pianist Jeanette Micklem was an absolutely lovely
experience (this was my third visit to Zimbabwe). It is
probably very different to what you might think it was
like – it was a very civilized, comfortable, rewarding
and charming experience for me!! I often find that the
media presents a very filtered and contorted view of
many places ... the reality is often so much more rich
and diverse.
Page 7
Send your concert dates to the Editor for inclusion in this section. Students doing endof-year recitals, please send your concert information by October 16.
One very important aspect of this tour (for me) was that I
was able to perform my first ever composition for solo flute!
I was absolutely delighted and overwhelmed with the
audiences’ reaction to my piece!
This was totally
unexpected!
The tour program, under the heading
Nightlight, included Ian Clarke: Orange Dawn, Samuel
Zyman: Sonata, Jules Mouquet: La Flûte de Pan, Brett
Dean: Demons and César Franck: Sonata in A Major.
The tour was sponsored by the British Council in both
countries, who worked closely with Maitisong in Botswana,
as well as Music Clebs (Harare) and the Bulawayo
Academy of Music. In April and May 2009 there will be two
fundraising concerts taking place in London, supporting the
Academy in Bulawayo ... I am looking forward to playing
my bit in these. Ɖ
[Editor’s note: Wissam Boustany was elected Chairman of
the British Flute Society on May 17.]
Recitals Australia Wednesday Lunch Hour Concerts 2009
Pilgrim Church, 12 Flinders Street, Adelaide, at 12-10 pm and 1-10 pm. 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 Friday Lunch Hour Concert Series, 1-10 pm. Admission: $7.
See www.adelaide.edu.au/events/concert/lunch/ for more information.
Sunday, October 18, Mitcham Orchestra,
Colonel Light Gardens Uniting Church, 560 Goodwood Road, Daw Park (corner Aver
Avenue), 2-00 pm. Admission: $10.
RECENT EVENTS
ANYONE FOR DUETS OR TRIOS?
by Lucy May
Held: Wednesday, May 13, 7-30 pm to 9 pm
Bishop Hall, Elder Conservatorium, North
Terrace, Adelaide
Wissam Boustany
On Wednesday May 13 a group of flautists,
both students and teachers, gathered in
Bishop Hall for a night of duets, trios and
ensemble music. Elizabeth Koch explained
that the aim of ‘Anyone for Duets or Trios?’
was to introduce and demonstrate a number
of flute works that are available for flautists,
from beginners to the advanced. Everyone
was given a booklet with short excerpts from
all the pieces that were to be played
throughout the night. There was an eclectic
range of music, from Lovebirds for Two
Flutes by American composer Gary
Schocker, to an arrangement of Hedwig’s
Theme from the Harry Potter movies by
John Williams, the well-known film score
composer.
Playing chamber music is
important because it develops a number of
crucial abilities, such as listening skills and
being able to determine whether the
balance of your ensemble is accurate.
Lucy May and Christine Royle
A few of Elizabeth Koch’s students had
prepared some duets, and all who were in
attendance were encouraged to get up and
sight-read some music - it certainly was an
occasion for some team work! By the end
of the night everyone had heard an
abundance of music and were inspired to
play ensemble music in the future. Ɖ
Large Ensemble
SA FLUTE NEWS
Page 8
RECENT EVENTS
FLUTE AND CLARINET RECITAL AND
MASTERCLASS
Page 9
SA FLUTE NEWS
RECENT EVENTS
Vibrato
If it is noticeable to the listener it may have
too much amplitude or be too broad; aim
to make the sound ‘vibrant’ and keep the
air in motion.
DAVID CUBBIN MEMORIAL FUND
The following have been awarded grants from the David Cubbin Memorial Fund
for 2009:
Held: Friday May 15,
Elder Hall, North Terrace, Adelaide
Report by Mandy-Jane Hutchinson
Visiting artists from Rice University’s Shepherd
School of Music, Houston, USA, Leone Buyse,
flute and Michael Webster, clarinet, presented
the Elder Hall Lunch Hour Concert with pianist
Leigh Harrold. Following this was a combined
Flute and Clarinet Masterclass. Four students
from the Conservatorium played solo and
accompanied works, Lydia Sharrad (Copland
Duo), Melanie Walters (Nielson Concerto),
Anna Cooper (Mozart Concerto in G) and
Dani-Marie Breen (Arnold Fantasy). Leone
Buyse focussed on several aspects of
technique and musical interpretation, some of
which may be summarised as follows:
TECHNIQUE
The sound of
the cornet,
flute, harp,
sackbut,
psaltery,
dulcimer, and
all kinds of
musick.
Daniel iii. 5.
Breathing
‘Be a diva’ when taking a breath.
The act of inhalation is energising.
Articulation
Thinking of ‘tu-du’ may clarify an anacrusis.
Think of the air rather than the tongue,
especially for repeated articulations.
Intonation
Think of pitching the leading note as high as
possible.
High notes
Think of ‘up and out’ and smooth air.
To help get a high ‘D’ imagine an almond
between the lip and the upper teeth.
INTERPRETATION
What makes the piece difficult?
For example: Intervals that might sound
‘empty’, eg 4ths and 5ths.
How do we make a piece less ‘empty’?
Make the note before taking a breath more
resonant.
Make the inner mouth cavity more open.
LOOK FOR
PIANO
DIALOGUE
WITH
THE
Phrasing
Practise triplets in 4’s: this might make you
think of the air direction.
To assist with attending the Australian Flute Festival 2009 ($83 each).
Jennifer Hankin, 16. Central Coast, NSW.
Rounak Zoeb, secondary student, 14. Kalamunda, WA.
Max Winters, secondary student. Helensburgh, NSW.
Lina Andonovska, recent graduate from ANU. Rose Bay, NSW.
Tara Dickinson, 4th Year student at University of Queensland. Strathpine, QLD.
Aaron Rothemund, 1st year student at Newcastle Conservatorium. The Junction, NSW.
To assist with attending Banff Arts Summer Class Flute Masterclasses, Canada, June 2009 ($100).
Elisse Kleiner, tertiary student. East Brighton, Victoria.
DAVID CUBBIN MEMORIAL FUND 2010
Grants are available to assist young Australian flautists attend a Flute Festival or Flute Event during
2010. Please send a letter requesting financial assistance to David Cubbin Memorial Fund, C/Robert Brown, PO Box 3228, Norwood, SA 5067 by Tuesday, April 6. Please include your contact
information - postal address, telephone number, e-mail address. Applicants are required to provide
a supporting letter from their teacher.
Determine the style of the piece, eg
Classical, and make it transparent.
BUY AND SELL
To add interest to a piece, especially
longer ones, look for:
Dynamic contrasts: ‘stretch’ the dynamics.
Favourite sections.
The atmosphere at the Class was
welcoming and Leone was specific and
encouraging with her advice. Her input
was very much appreciated and we hope
to see her again in the future. Ɖ
Brannen Headjoint for Sale.
Sterling silver tubing with 14K gold lip-plate and riser.
Modern Cut embouchure hole.
Condition as new, hardly been played.
Beautiful, rich tone. $3,200.
Call Julia Grenfell, 0421-570-653.
LIMERICK
There was a Young Lady of Bute,
Who played on a silver-gilt flute;
She played several jigs, to her uncle’s white pigs,
That amusing Young Lady of Bute.
Adelaide Flautists with Leone Buyse
(centre) and Michael Webster (right)