The Flute Society of South Australia Inc. PLEASE visit our new website at http://saflutesociety.org/ From the President Dear Flute Society Members, March, 2015 Founder Professor David Cubbin Patron Alison Rosser Vice Patrons Associate Professor Elizabeth Koch OAM Robert Brown South Australian Flute News Print Post Pub. No. 100002101 ABN: 96 991 331 922 Contents President’s Report 1 New Member 2 Coming Events 2-5 Concerts 5-7 Notes and News 7-11 Scholarship 5, 11 Articles 11-14 CD Review 15 Flute Society Info 16 fantastic flute activities. First, on behalf of the SA Flute Society Committee, I would like to extend a big thank you to our outgoing President, Karen Fletcher, for the fantastic contribution she has made in leading the Flute Society over the last three years. She has done an outstanding job and certainly leaves big shoes to fill. Luckily, the Flute Society will not be losing Karen’s services entirely, as she will continue on as a committee member. I would also like to thank outgoing committee member Helen Seppelt for many years of wonderful service. I would like to extend a warm welcome to our new committee member Amy Johansen. We are really looking forward to working with you. Thank you to last year’s committee for all the time and effort they put into planning, organising and running events to ensure we had a year full of interesting and diverse flute related activities. It has been a pleasure working with such dedicated committee members who all give so much of their time to arrange the year’s events. For those who do not know me, I have been a committee member since 2008, assisting with events, working on event brochures, and helping out with the layout and design of the newsletter. I am grateful for this opportunity to work together with the committee to continue to provide a wide range of flute activities for players of all ages and levels. The first event for the year will be the Tutti Flutti Flute Performance Afternoon. Don’t miss this fabulous opportunity to gain performance practice in a relaxed and supportive environment. For more information and to apply to perform, please find the flyer inside this newsletter or go to our website. The Adult Amateurs Flute Ensemble afternoon will be held on June 14. We are grateful to have Alison Rosser again this year to direct this fun and inspirational event. Please find the brochure included in this newsletter or on our website. The Carolyn White Memorial Scholarship will be on June 21. The set work is Purcell’s Air and Hornpipe. Please take advantage of this wonderful opportunity to perform, listen to your peers’ performance, and get feedback. Peter Bartels will be directing the Flute Fun Day this year. Come and join us on this exciting occasion for a fun-filled afternoon full of flute playing activities. Other upcoming events include a Flute Teachers’ Evening and a second Tutti Flutti Flute Performance Afternoon. Please keep your eye out for the details in future newsletters. The Adelaide Eisteddfod Flute Division will be held from August 7-10. Please check the website for the syllabus and application information. The Australian Flute Festival will be held from October 2 to 5. Guest flautists include Lorna McGhee (Pittsburgh Symphony Orchestra) and Sébastian Jacot (Berlin Philharmonic Orchestra). You can read more about the Australian Flute Festival inside this newsletter or on the website. All the best for another fun year of fluting activities and I look forward to seeing you at some of our events this year! Masako Kondo Follow the Flute Society on Facebook. Like our page at https://www.facebook .com/flutesocietyofsa. Playing. Sharing. Inspiring. Happy New Year! I hope you all had a wonderful festive season and a restful break and are feeling refreshed and ready for another year of
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SA FLUTE NEWS Page 1
The Flute Society of South Australia Inc. PLEASE visit our new website at http://saflutesociety.org/
From the President Dear Flute Society Members,
March, 2015
Founder Professor David
Cubbin
Patron Alison Rosser
Vice Patrons Associate Professor
Elizabeth Koch OAM Robert Brown
South Australian Flute News Print Post Pub. No. 100002101 ABN: 96 991 331 922
Contents
President’s Report 1
New Member 2
Coming Events 2-5
Concerts 5-7
Notes and News 7-11
Scholarship 5, 11
Articles 11-14
CD Review 15
Flute Society Info 16
fantastic flute activities.
First, on behalf of the SA Flute SocietyCommittee, I would like to extend a big thank you to our outgoing President, Karen Fletcher, for the fantastic contribution she has made in leading the Flute Society over the last three years. She has done an outstanding job and certainly leaves big shoes to fill. Luckily, the Flute Society will not be losing Karen’s services entirely, as she will continue on as a committee member. I would also like to thank outgoing committee member Helen Seppelt for many years of wonderful service. I would like to extend a warm welcome to our new committee member Amy Johansen. We are really looking forward to working with you.
Thank you to last year’s committee for allthe time and effort they put into planning, organising and running events to ensure we had a year full of interesting and diverse flute related activities. It has been a pleasure working with such dedicated committee members who all give so much of their time to arrange the year’s events.
For those who do not know me, I havebeen a committee member since 2008, assisting with events, working on event brochures, and helping out with the layout and design of the newsletter. I am grateful for this opportunity to work together with the committee to continue to provide a wide range of flute activities for players of all ages and levels.
The first event for the year will be the Tutti
Flutti Flute Performance Afternoon. Don’t miss this fabulous opportunity to gain performance practice in a relaxed and supportive environment. For more information and to apply to perform, please find the flyer inside this newsletter or go to our website.
The Adult Amateurs Flute Ensembleafternoon will be held on June 14. We are grateful to have Alison Rosser again this year to direct this fun and inspirational event. Please find the brochure included in this newsletter or on our website.
The Carolyn White Memorial Scholarshipwill be on June 21. The set work is Purcell’s Air and Hornpipe. Please take advantage of this wonderful opportunity to perform, listen to your peers’ performance, and get feedback.
Peter Bartels will be directing the FluteFun Day this year. Come and join us on this exciting occasion for a fun-filled afternoon full of flute playing activities.
Other upcoming events include a FluteTeachers’ Evening and a second Tutti Flutti Flute Performance Afternoon. Please keep your eye out for the details in future newsletters.
The Adelaide Eisteddfod Flute Divisionwill be held from August 7-10. Please check the website for the syllabus and application information.
The Australian Flute Festival will be heldfrom October 2 to 5. Guest flautists include Lorna McGhee (Pittsburgh Symphony Orchestra) and Sébastian Jacot (Berlin Philharmonic Orchestra). You can read more about the Australian Flute Festival inside this newsletter or on the website.
All the best for another fun year of flutingactivities and I look forward to seeing you at some of our events this year!
Masako Kondo
Follow the Flute Society on Facebook.
Like our page at https://www.facebook.com/flutesocietyofsa.
Playing. Sharing. Inspiring.
Happy New Year! I hopeyou all had a wonderful festive season and a restful break and are feeling refreshed and ready for another year of
SA FLUTE NEWS Page 2
THE COMMITTEE HAS PLANNED SOME EXCITING EVENTS FOR 2015!!
Here are some of them. Stay tuned for more announcements!
TUTTI FLUTTI - FLUTE PERFORMANCE AFTERNOON When: Sunday, May 17, 3-5 pm.
Booking in for performers from 2-45 pm. Where: Unley Uniting Church, 187 Unley Road, Unley Director: Linda Pirie
Free admission! Come along for a relaxed afternoon of flute performances. A scrumptious afternoon tea will be provided.
See the information page and application inserted in South Australian Flute News or download from http://saflutesociety.org/. Second Tutti Flutti – Performance Afternoon for 2015 will be on Sunday, September 13.
Booking in from 1-45 pm. Where: Unley Uniting Church, 187 Unley Road, Unley Director: Alison Rosser Enquiries: Amy Johansen, 0413-873-130
See the brochure inserted in South Australian Flute News or download from http://saflutesociety.org/. CAROLYN WHITE MEMORIAL SCHOLARSHIP 2015
When: Sunday, June 21, 2-30 pm
(Please note the date has been changed) Venue: Unley Uniting Church, 187 Unley Road,
Unley Adjudicator: Julia Grenfell
The Carolyn White Memorial Scholarship is for young flautists aged fifteen years or under on January 1, 2015. 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: Air and Hornpipe: Purcell, arr. Revell (Boosey and Hawkes/Rudall Carte) 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 11 Enquiries: Ph. 8333-0665
See brochure and entry form inside South Australian Flute News or download from http://saflutesociety.org/.
COMING EVENTS WELCOME
TO OUR NEW MEMBERS
Meg Alexander
We hope you enjoy being part of the Flute Society and look forward to seeing you at our events.
Please visit our website!
NEW BABY
Congratulations to Baoshan Wu
on the arrival of Esmond on November 30.
HAPPY 100th BIRTHDAY
Honorary Life Member Sid Lellmann turns 100 on February
20. We congratulate Sid on reaching this milestone and wish him all the best for a wonderful
day.
Sid Lellmann with a model of the
Cutty Sark that he made
MEMBERSHIP RENEWAL NOTICES
These were posted in mid October and again in late January. Members who are using direct bank transfer for payment are welcome to e-mail a PDF of the renewal form to [email protected]. Please renew your membership promptly. If you are using a cheque or postal order please post your membership renewal to the Membership Secretary, PO Box 3208, Norwood, SA 5067.
Julia Grenfell
SA FLUTE NEWS Page 3
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LIBRARY
The Flute Society Library is housed in Elizabeth Koch’s room (LG 14) at the Elder Conservatorium 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.
BUY AND SELL
FOR SALE: Student Flute, Yamaha F100ASII, good
condition, recently serviced. Contact: Jennifer Brohier,
When: Sunday, August 9 Where: St Andrew’s School, Smith Street, Walkerville Legendary Flute Fun Day Maestro Peter Bartels will be returning to direct another day of fun and excitement for young flautists. Peter is brimming with new ideas!! So, note the date and stay tuned for further news…!
ADELAIDE EISTEDDFOD FLUTE AND WOODWIND DIVISIONS 2015
When: Flute, August 7, 8 and 10; Woodwind, August 9 Venue: Rosefield Uniting Church, 2 Carlton Street, Highgate Adjudicators: Peter Bartels (flute); Josie Hawkes (woodwind)
The Adelaide Eisteddfod celebrates 60 years in 2015!! Entries for the 2015 Adelaide Eisteddfod will be on-line. In your web browser open http://www.stardom.com.au/. ‘Stardom Performing Arts Competitions’ (GENI’s new website) will appear. Log in with your GENI username and password or register for an account so you can log in. Once you have logged in, click on ‘Create New Entry’. Look for ‘Adelaide Eisteddfod’ under ‘Select Competition, then ‘Select Sections’ will open. The + and ‒ signs allow you to select ‘Program Rules’ and Discipline Schedule’ where you will find detailed syllabus information and can place your entries. Visit the Adelaide Eisteddfod website at http://www.sacomment.com/aes.htm for more information. Entries will close on April 10 at 5 pm. No late entries will be accepted.
Please look for the new 6 Years and Under Flute Solo section. Also check out the 8 Years and Under Flute Solo and 10 Years and Under Folk Tune section. Flute Duets: please decide which partner is going to submit the entry, and remember to give your partner’s name (also in the Flute Trio or Quartet section). Check out the Orchestral Excerpts section. The opportunity to present orchestral excerpts is now only available in the AMEB syllabuses at Licentiate level. A list of suggested repertoire books has been provided or you may use excerpts provided for an audition. Previous First prize winners may enter this section again. The Diploma
COMING EVENTS
Peter Bartels
SA FLUTE NEWS Page 4 COMING EVENTS Level 18 Years and Over Flute Solo provides an opportunity for Certificate of Performance candidates to perform their pieces. Candidates preparing for other advanced exams are welcome here too. Also look for the Australian Music section, the Flute Concerto section, Adelaide Eisteddfod Concerto and the Eisteddfod Ensemble Event. Please note that different concerti must be played for the Flute Concerto section and Adelaide Eisteddfod Concerto.
SUMMARY OF SECTIONS IN THE ADELAIDE EISTEDDFOD FOR 2015
Flute Solo 6 Years and Under Flute Solo 8 Years and Under Flute Solo 10 Years and Under Flute Solo 10 Years and Under, Folk tune Flute Solo 12 Years and Under Flute Solo 14 Years and Under Flute Solo 16 Years and Under Flute Solo 18 Years and Under Diploma Level, 18 Years and Over Flute Solo
(Set pieces come from the AMEB Grade Books, Series 3) Set piece
Grade 2 Flute Solo Prière from L’ètoile du nord: Meyerbeer Grade 3 Flute Solo Giga from Sonate, Opus 4, No 2: Albinoni Grade 4 Flute Solo Allegro from Sonata, Opus 2, No 5: Marcello Grade 5 Flute Solo Spiritoso from Sonata TMV 41a:3: Telemann Grade 6 Flute Solo Vivace from Sonata, Opus 13, No 6: Chédeville Grade 7 and 8 Flute Solo Open Flute Solo Flute Solo own choice of work(s) by any Australian composer French Flute Solo Complete Flute Sonata or Suite Wind Recital (for entry into the SA Final of Young Virtuoso 2015) Flute Concerto Adelaide Eisteddfod Concerto Piccolo Solo Flute Study Unaccompanied Flute Solo Orchestral Excerpts Flute Duet, Grade 4 and Under Flute Duet, Grades 5 and 6 Flute Duet, Grade 7 and Above Flute Trio or Quartet, 15 Years and Under Eisteddfod Ensemble Event
WHY ENTER THE 2015 ADELAIDE EISTEDDFOD? Performance experience Irrespective of students’ aims in music the experience of performing in public is vital. This builds confidence, and above all, the chance to experience the enjoyment and excitement of performing.
SA FLUTE NEWS Page 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 Program
Monday, March 16 Saturday, March 21
The Iridescent Flute, Australian music for flute and piano. Neil Fisenden (flute), David Wickham (piano). Includes Flute Sonatas by Raymond Hanson and Geoffrey Allen.
Monday, May 4 Saturday, May 9
Sonorous Sonatas, music for low flutes and piano. Peter Sheridan (low flutes) and friends. Includes music by Gary Shocker and Andrew Downes.
The theme music used for the Flute Society Program is Rimsky-Korsakov’s Flight of the Bumblebee, played by Sir James Galway, flute, with Hiro Fujikake, synthesizer.
EISTEDDFODS AND SCHOLARSHIPS The 19th Balaklava Eisteddfod will be held on Friday, July 31 (Instrumental Ensembles, Bands), Saturday, August 1 (Instrumental and Piano) and Sunday, August 2 (Finale Concert). Entries will be open from March 24, visit http://www.balaklavaeisteddfod.org.au/, e-mail [email protected]. Entries close on May 11.
The Mount Gambier Eisteddfod is part of the ongoing work of Backstage Incorporated. Enquiries, Secretary, Backstage Inc., PO Box 1711, Mount Gambier, SA 5290, Ph./fax 8725-5905, e-mail [email protected], or visit http://www.backstageinc.org.au/default.asp for further information. Entries will be via GENI, visit https://geni.gaia.com.au/ and look for ‘Mt Gambier Eisteddfod’ under ‘Participating Eisteddfods’. The Music Division runs from August 12-14, and includes wind and recorder sections, and an instrumental groups section. Entries close on July 5.
The Music Teachers’ Association of SA Inc. 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.
COMING EVENTS Exams Every competitor receives the assessment of an accomplished and independent adjudicator. Try out and improve your programs for exams such as AMEB, ABRSM or Trinity Guildhall, and Secondary and Tertiary Level Assessments.
Audition Skills Many aspiring professionals fail to show their best at auditions and miss study or job opportunities. The answer is practice and the conditions at the Eisteddfod competitions are ideal for this purpose.
Performance Opportunities The finals of the advanced competitions are held in prestigious venues. Several musical organisations look for their soloists at the Eisteddfod competitions.
Valuable Prizes and Recognition Prizes include certificates, vouchers, medallions, cash and a major scholarship. All are evidence of achievements to enhance CVs.
SA FLUTE NEWS Page 6
DATES FOR YOUR DIARY CONCERTS Send your concert details to the Editor for inclusion in this section. Whispered Shadows. Anne Norman: Shakuhachi (Japanese bamboo flute) with guest Ryszard Pusz, percussion. A slow unfolding of spell-binding music: zen flute meditations, improvisations, poems and original compositions.
Where: The Chapel, Migration Museum, 82 Kintore Avenue, Adelaide
RECITALS AUSTRALIA Wednesday Lunch Hour Concerts 2015
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.
Date Music by
Wednesday, May 13, 2015, 12-10 pm Natalie Zwar, flute; Leigh Harrold, piano
JS Bach, Barber, Jolivet
Elder Hall Lunch Hour Concert Series 2015 When: 1-10 pm Admission: $10
See www.elderhall.adelaide.edu.au for more information.
Date
Friday, May 22 Elder Conservatorium Wind Orchestra, conducted by Robert Hower
Friday, June 19 Elder Conservatorium Symphony Orchestra, conducted by Keith Crellin OAM
Elder Perspectives 2015, Intimate Concerts at Elder Hall
Admission: $25/$18. See www.elderhall.adelaide.edu.au for more information.
CONCERTS
SA FLUTE NEWS Page 7
Date Music by Sunday, April 26 3-00 pm
Ensemble Galante (Tim Nott, flute)
Music by Devienne, Beethoven and Haydn
Friday, August 14 7-30 pm
Elysium Ensemble (Greg Dikmans, flute)
Mozart Flute Quartets
Sunday, August 23 3-00 pm
Kegelstatt Ensemble (Alexandra Castle, flute)
Music by Holst, Debussy, Liebermann, Crumb
Saturday, November 28 6-30 pm
Trio Avium (Ros Bandt and Ruth Wilkinson, recorders)
Music by Couperin, Hotteterre, Bornehi, Biber, Monteclair and Ros Bandt
Mitcham Orchestra When: Sunday, May 17, 2-00 pm Where: Mitcham Uniting Church, 103a Princes Road, Mitcham Conductor: Mike Kenny. Admission: $12, Family $20 (2 Adults, 2 Children), at the door.
Adelaide Eisteddfod 60th Anniversary ConcertWhen: Sunday, September 13, 2 pm Where: St John’s Church, Halifax Street, Adelaide
NOTES AND NEWS AMEB PRIZES FOR 2014 Congratulations to Kaya Nicholls, who received a Prize for Eighth Grade Flute. Her teacher is Cassandra Boath. Congratulations to Ernastina Lippett, who received a Prize for Certificate of Performance. Her teacher is Linda Pirie.
YEAR 12 MERITS FOR 2014 Congratulations to Emily Squires for obtaining a merit in Solo Performance.
ABRSM NEWS Exam statistics. Over 650,000 exams are taken in 93 countries each year and every graded music exam is marked to the same criteria by our panel of highly qualified and skilled examiners.
ABRSM assessments are held in designated exam centres in Australia during specified periods of the year. Please contact local representative Anastasia Chan for more information, e-mail [email protected], Ph. 8234-5952, mobile 04-2328-2589.
Next last dates of entry: Theory of Music – Friday, February13; Practical – Friday, March 6.
Concerts
SA FLUTE NEWS Page 8
Flutes & Flutists1/2
Cristy Cox1/4
Notes and News AUSTRALIAN FLUTE FESTIVAL
Dates: October 3-5, 2015, ANU School of Music, Canberra
Theme: Finding your voiceProfessional Learning Day: Friday, October 2Junior Day: Saturday, October 3Patron: Margaret CrawfordCo-ordinator: Lyndie Leviston,
Wm S HaynesResonaMANCKEAZUMI AmadeusAltusEASTMAN VERNE Q POWELLHaynes ClassicBURKARTAbell
SA FLUTE NEWS Page 8
Flutes & Flutists1/2
Cristy Cox1/4
Notes and NewsAUSTRALIAN FLUTE FESTIVAL
Dates: October 3-5, 2015, ANU School of Music, Canberra
Theme: Finding your voice Professional Learning Day: Friday, October 2 Junior Day: Saturday, October 3 Patron: Margaret Crawford Co-ordinator: Lyndie Leviston,
This isn’t a complete list so please visit http://www.australianflutefestival.com/artists.html for more information about the guest artists.
Scottish-born Lorna McGhee is Principal Flute with the Pittsburgh Symphony Orchestra and has performed as guest Principal with Chicago Symphony, Minnesota Orchestra, London Symphony Orchestra, London Philharmonic Orchestra, Academy of St-Martin-in-the-Fields and Chamber Orchestra of Europe. Before emigrating to North America in 1998, she was Co-Principal Flute of the BBC Symphony Orchestra. As a soloist, Lorna has given concerto performances with the London Symphony Orchestra, Scottish Chamber Orchestra and BBC Scottish Symphony Orchestra in the UK; Manitoba Chamber Orchestra, Toronto Philharmonia Orchestra and Victoria Symphony Orchestra in Canada; and the Nashville Chamber Orchestra and Oregon Bach Festival Orchestra in the United States.
Born in Geneva, Sébastian Jacot started playing the flute at age eight. He studied with Isabelle Giraud and at age fifteen he was accepted into the Conservatoire Supérieur de Musique de Genève in Prof. Jacques Zoon’s class. There he studied until 2010 when he obtained his Master of Pedagogy and Master of Specialized Interpretation, both with Distinction. From 2006 to 2008, Mr Jacot was Assistant Principal Flute under Maestro Edo de Waart at the Hong Kong Philharmonic Orchestra. Since 2008 he has served as Principal Flautist at the Saito Kinen Festival under Maestro Seiji Osawa and is now Solo Flautist at the Contrechamps Ensemble in Geneva.
Thies Roorda studied at the Royal Conservatory in The Hague with Paul Verhey and in the United States with the renowned Geoffrey Gilbert. He is Emeritus Flautist of the Dutch Radio Philharmonic Orchestra and in demand as a chamber musician, exploring both different instrumental combinations and contrasting musical styles. He has a particular interest in composers from around the turn of the 20th century, including Reger, Busoni, Dohnanyi, Widor and Casella. His various recordings of works by these composers have received critical acclaim.
Swiss-Canadian flautist and Miyazawa Artist Michel Bellavance has appeared in Europe with the Lisbon Gulbenkian Foundation Orchestra, the Geneva Chamber Orchestra, the Paris Camerata Academica Orchestra, and in Latin America with the National Symphony Orchestra of Peru, the State Orchestra of Bahía Blanca, the State Orchestra of San Juan, Orchestra Philharmonic of Mendoza, the State Symphony Orchestra of Bahia, the Maracaibo Symphony Orchestra, the Ensemble Ad Hoc, in concertos by Nielsen, Ibert, Reinecke, Bernstein, Kabalevski, Liebermann, Mozart, Verhey, Bach, Hue and Vivaldi.
Ludwig Böhm was born in Munich, where he studied English, French and Spanish at the University and was a teacher from 1981 to 1983. Inspired by a great exhibition in the Munich Municipal Museum in 1981 on the occasion of the 100th anniversary of the death of his great great grandfather Theobald Böhm (1794–1881, flautist, composer, flute-maker, inventor of the Böhm flute), he dedicated his life from that time on to keeping the memory of Theobald Böhm alive. As a result of more than 30 years of research, he published in 2012 all 88 compositions and arrangements of Theobald Böhm together with Dr Raymond Meylan and in 2013 twenty books and four translations from and about him. He travelled to flute festivals in Japan, Australia, USA, Netherlands, Spain, Germany, Italy, Croatia, Luxembourg, Slovenia, China and Great Britain and presented a slide lecture about Theobald Böhm. He is President of the Theobald Böhm Archiv, founded in 1980, of the Theobald Böhm Society, founded in 1990 and of the Theobald Böhm Foundation, founded in 2014. In 2006 and 2011, he
Lorna McGhee
Sébastian Jacot
Thies Roorda
SA FLUTE NEWS Page 10
Notes and News
Michel Bellavance
Abigail Burrows
Gareth McLearnon
Rosamund Plummer playing the Ryūteki
organised in Munich the 1st and 2nd International Theobald Böhm Competition for Flute and Alto Flute; the 3rd will take place in 2016.
Abigail Burrows grew up in Milton Keynes (UK) and was a scholar at the Purcell School of Music. She continued her musical education at the Royal College of Music with Susan Milan and studied privately with Michael Cox and Robert Winn. She was performing regularly from an early age and was invited to play for HRH Prince of Wales in a private concert at St James’ Palace when she was 12 and made her concerto debut at London’s Royal Festival Hall aged 14. Abbie leads a varied freelance career working as a soloist, orchestral player, workshop leader and teacher. She is currently the flute player on the UK tour of hit musical Wicked. A passionate teacher, Abbie is currently teaching the flute at the Royal Academy of Music Junior Department and runs the junior course at Flute School London. She has been a guest artist at various Flute Days across the UK and Germany and is a keen supporter of Children’s Flute Charity Flutewise, teaching and assisting on their courses and events across the UK, Slovenia and Croatia. Abbie will direct the Junior Day at the Australian Flute Festival.
Gareth McLearnon will conduct the Australian Flute Festival Flute Choir. An internationally renowned and multi-award-winning flautist Gareth McLearnon left his native Belfast in 1999 to attend the Guildhall School of Music and Drama. While still a second year undergraduate student, Gareth was invited to record a track for the CD Songs for Alexander with the world famous flautist Sir James Galway and harpist Marisa Robles. After graduation, Gareth was awarded the prestigious Ian Fleming Award from the Musicians Benevolent Fund and a Countess of Munster Musical Trust Award. He was awarded a Principal Flute position in Southbank Sinfonia for their 2005 season. Gareth is in demand as a soloist, recording artist, orchestral, chamber and pit musician. He has given hundreds of performances across four continents, and has led masterclasses and education events for well over two thousand young flute players, both as a featured artist and through his work with the Children's Flute Playing Charity, Flutewise. He is married to Abigail Burrows.
Rosamund Plummer began her studies at the Sydney Conservatorium High School as a student of Peter Richardson and Margaret Crawford. In 1978 she was appointed Principal Piccolo with the Elizabethan Melbourne Orchestra and a year later, Associate Principal Flute. During her time in Melbourne, she took a year’s leave to study in London with Peter Lloyd and William Bennett. As winner of the Sixth Australian Flute Competition in 1986, she travelled to New York to perform in masterclasses with James Galway and Louis Moyse. That same year she was appointed Principal Piccolo of the Sydney Symphony Orchestra. In 1999 she studied with Walfrid Kujala, Principal Piccolo of the Chicago Symphony Orchestra. As the first recipient of Columbia University’s Global Wind Artist Residency, in 2014, Rosamund spent three months in Tokyo learning to play the Ryuteki, a medieval Japanese flute. The Ryūteki (literally ‘dragon flute’) is a Japanese transverse flute made of bamboo. It has seven holes, a length of 40 centimeters, and the bore is 1.3 centimeters. It is used in Gagaku, the Shinto classical music associated with Japan’s Imperial Court. Unlike the western flute, the holes are not covered by the fingertips; the fleshy part of the finger is used. This allows for better control of ‘half-holing’ techniques and chromatic notes, by simply raising the finger slightly above the hole.
COMPETITIONS FOR 2015 Open Flute Competition Young Artist Competition Composition Competition
Visit http://www.australianflutefestival.com/competitions.html for information about the repertoire, rules and registration forms.
SA FLUTE NEWS Page 11 Notes and News
Ludwig Böhm is a great great grandson of Theobald Böhm, inventor of the Böhm flute. He is President of the Theobald Böhm Archiv, the Theobald Böhm Society and founded the Theobald Böhm Foundation. Ludwig is compiling a list of flautists who play the original Böhm system flute with open G sharp key. If you play an open G sharp Böhm Flute (or know of a flautist who does) please send an e-mail to Ludwig at [email protected].
In 1981, five letters of Theobald Böhm to Wilhelm Popp appeared in Sweden by the aid of my research ad in a music journal, which are today in the Munich Municipal Archives, Estate Theobald Böhm I. In his letter of 5th February 1865, Theobald Böhm discussed in detail the open and closed G sharp key (original in German). The paper enclosed with that letter contains the short version of Theobald Böhm’s article on the G sharp key. Soon after, he wrote a little more detailed version which still exists as rough copy (Bayerische Staatsbibliothek, Munich) and fair copy (Library of Congress, Washington) and which he himself translated into English (Bayerische Staatsbibliothek, Munich) and into French (Stadtarchiv, Munich). Nothing was published, but the matter was treated once more in his book ‘The Flute and Flute-Playing in Acoustical, Technical and Artistic Aspects’, Munich 1871, translated and annotated by Dayton C. Miller, Cleveland 1922, p. 62–71.
1) Letter from Theobald Böhm toWilhelm Popp Munich, 5th February 1865
Dear Sir,
You were right to recommend a flute from me and not from Lot in Paris, because my completely logical key system was only made worse in acoustical and mechanical respect by the first flautist Dorus in Paris who made a so-called improvement by a closed G sharp key. After long consideration, I have made a simple open G sharp key, because all keys of my flute from E1 upwards correspond to the natural movement of the fingers as they are closed and opened by the fingers. Dorus thought to make the new flute more accessible to players on the old flute by making a closed G sharp key as they were accustomed, but he didn’t consider that he thus got more disadvantages than advantages. Lot had made this for him combining the G sharp key with the A key. So you get G by pressing down the ring finger of the left hand, as on the old flute, and to get G sharp you have to press up the G sharp key with the little finger, as on the old flute. However the consequence was that both tones, G and G sharp, are produced as on the old flute, whereas in my system, the G is made by closing the G sharp key with the little finger and the G sharp is made by lifting this finger. I made it so after long consideration and everybody, who thinks the matter over, has to agree with me.
DAVID CUBBIN MEMORIAL FUND FOR 2015 Grants are available to assist young Australian flautists attend a Flute Festival or Flute Event during 2015. Please send a letter requesting financial assistance to David Cubbin Memorial Fund, C/- Robert Brown, PO Box 3228, Norwood, SA 5067 by Monday, May 4, 2015. Please include your contact information - postal address, telephone number, e-mail address. Applicants are required to provide a supporting letter from their teacher.
Ludwig Böhm
The photos are from Ludwig Böhm’s ‘Catalogue of the still
existing Flutes of Theobald Böhm’.
1. Closed G sharp key, conicalflute of old construction of Theobald Böhm (Munich,
Deutsches Museum 2009-150)
ARTICLES THEOBALD BÖHM’S COMMENT ON THE CLOSED G SHARP KEY by Ludwig Böhm
SA FLUTE NEWS Page 12
Dorus himself had to confess that he had made a foolish mistake when I explained the matter to him and I also made a foolish mistake for Dorus’ sake, because I didn’t immediately at this time explain publicly the inappropriateness of the closed G sharp. As Dorus was already the first flautist in Paris, of course all his pupils adopted the flute as he played it. But many accustomed themselves later to the open G sharp and even De Vroye told me, when I explained the matter to him last year, that he was sorry not to be able to make another change, because he would of course have to study thoroughly once more for some time. But as De Vroye now doubtlessly intends to sell flutes with closed G sharp in Germany, because he gets more commission from Lot than from me, I’ll most probably explain the matter publicly in the near future. Up to now, I haven’t considered it worthwhile, because in Germany, England, Russia and almost everywhere with the exception of France, all flute players only play according to my system. On the paper enclosed, you will find an explanation of the advantages and disadvantages and you will doubtlessly accept the correctness of my explanations.
Yours sincerely, Th. Boehm.
2) Article by Theobald Böhm (version inWashington): Remarks on the alteration made in Paris on the key-system of the so-called ‘Boehm Flute’. The requirements of a good flute are first the acoustic perfection in tone and tuning, ease in playing and simplicity of the key-mechanism. Whether and in how far these requirements can be better obtained by an open or closed G sharp key is a question which will be certainly of interest for all who play or want to learn to play the Boehm flute.
1. The acoustics of the instrumentBy the combination of a closed G sharp key with the open A key, the ninth or A hole can never be opened alone and as the eighth or G sharp hole is placed too far down on the flute to be able to serve the high E3 as sound hole, the development of this tone is disturbed in so far that its embouchure is less sure and delicate than on my flutes with open G sharp key. The difference can be seen at once in staccato pianissimo and in slurring deep tones with E3, for example G sharp2 and A2 with E3.
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2. Open G sharp key,conical ring-keyed flute of
Theobald Böhm (Frankfurt am Main,
private collection 83125)
3. Open G sharp key,cylindrical flute no. 30 of Theobald Böhm (Munich,
Deutsches Museum 2009-156)
4. Open G sharp key,cylindrical flute of
Theobald Böhm, 1854 system (Frankfurt am
Main, private collection 85068)
2. The ease in playingThe playing is made more difficult by the combination of keys described above for two reasons. As the key, which has to close the G sharp key airtight, needs a strong spring, the consequence is that in comparison with the open G sharp key, the third finger of the left hand needs more than the double force in order to overcome not only the spring of the A key but also the strong spring of the G sharp key. Therefore, playing is not only made more difficult, but also beautiful trills on G sharp with A, A flat with B and D sharp3 with E3 become nearly impossible without great muscular strength and much practice. Besides, the little finger of the left hand has always to do movements which are contrary to those of the fingers of the right hand, whenever G sharp or A flat changes with notes which are played with the finger of the right hand; nobody will deny that the same movements made simultaneously by the fingers of both hands are easier to be made than contrary movements, and that consequently the playing is made more difficult by the closed G sharp key. It may be objected here that the G sharp or A flat and consequently also the little finger of the left hand are not used at all in several keys. This is true, indeed! But as a good flute player has to be able today to play in all keys well and correctly, and as the G sharp or A flat is used in 16 keys among 24, the little finger of the left hand has to be trained as well as all the others.
3. Simplicity of the key mechanismThe difficulty to keep the key mechanism in order is increased by frequent use according to its complexity. The two combinations in my key system, that is the key combination with F sharp and B flat, are therefore only justified by the impossibility to close 11 holes with 9 fingers. But as the little finger of the left hand is only designated for the treatment of the G sharp key, there was no necessity to make a third complicated key combination, which is in every respect only detrimental with regard to acoustics, ease in playing and simplicity of key mechanism. Even the objection ‘that the study of the new flute is made easier by the closed G sharp key for players of the old flute’ is based only on deception, because a thorough study of the new flute cannot be made without long continued slow practice. And the experience with my pupils, who changed without prejudice from the old to
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5. Open G sharp key,cylindrical flute of Böhm &
Mendler, thinned wood with raised tone hole
chimneys (Washington, Library of Congress,
Miller 306)
6. Closed G sharp key,cylindrical flute of Böhm & Mendler, modified Dorus
G sharp key without additional tone hole. The
G sharp key is open in repose. (Frankfurt am Main, private collection
86590)
ARTICLESLibrary of Congress, Washington, Miller Collection), and in 1864, Martin Heindl (Boston Symphony Orchestra) came to America and achieved great triumphs with Böhm’s silver flute no. 19. Theobald Böhm writes in his letter sent in May 1870 to his friend Walter S. Broadwood, ‘Since my former pupil Heindl travelled through the United States, I have had more orders than I can execute from America; and though I offered to procure flutes from my friend Lot, at Paris, people prefer to wait for those made by myself’ (in Böhm, Theobald: ‘On the Construction of Flutes and the latest Improvements’, Munich 1847, ed. Walter S. Broadwood, London 1882, p. 58). Nearly all flutes from the workshop of Theobald Böhm (1828–1839), Böhm & Greve (1839–1846), Theobald Böhm (1847–1861) and Böhm & Mendler (1862–1888) have open G sharp key. Only in very few cases, if expressively desired by the customer, Theobald Böhm made a closed G sharp key, reluctantly and against his conviction. According to his workshop ledger, from 1847–1859, he made 128 flutes with open and only 2 flutes (no. 3 and 22) with closed G sharp. Nearly all laterflutes have open G sharp, too. Today, most flautists play closed G sharp key with the exception of Russia (Solum, John: ‘Notes on a Recital Tour to the Soviet Union’, in Newsletter of the National Flute Association, New York, January 1984, p. 24–25; Wye, Trevor: ‘The Flute, the Hammer and the Sickle’, in ‘Pan’, London, March 1985, p. 19), but there are a number of eminent flute players who play the Böhm flute in its original form with open G sharp key, such as, for example, William Bennett, London and Denis Bouriakov, New York. The flautist Konrad Hünteler describes his change from the open to the closed G sharp key and he rejects the closed G sharp key decidedly. According to Lawrence/Schultz, numerous flute makers such as, for example, Lamberson, Powell and Selmer, recognize the superiority of the open G sharp key, but they only make few flutes with open G sharp because of the small demand. Dayton C. Miller writes in his commentary that after careful examination of all different forms of the G sharp key, he changed to the open G sharp key and he recommends to all beginners to start with it. The flautist Oliver Minzloff, who lives in Basel, who also changed to the open G sharp key, reports of a test with eight flute
the new flute, has proved often enough that the treatment of the open G sharp key with all the others is not only learned simultaneously but also quite imperceptibly. Even for older flute players some weeks of diligent practice are enough to regain the former execution in playing and several excellent artists, who changed from closed to open G sharp key on my advice, soon were convinced by the many and great advantages of the latter and thanked me for that. The fact that there are in Paris and other places great artists on flutes with closed G sharp key only proves that difficulties can be overcome by talent and diligence; this alone doesn’t prove that these artists would not have achieved an even greater execution with less trouble with the open G sharp key. Before I conceived my key system, I had myself examined, tried and thoroughly thought over all parts of the key mechanism for a long period, because it was my intention to choose the best everywhere. And therefore, I would still today observe every rational critic of my system with pleasure and I would gladly execute suggestions of real improvements.
3) RemarksTheobald Böhm quotes in his letter two reasons why he didn’t take position against the closed G sharp key earlier. First, he highly esteemed Louis Dorus, successor of Jean Louis Tulou at the Paris Conservatory, who adopted the Böhm flute already in 1837 as one of the first and who in 1838 changed from open to closed G sharp by the aid of Louis Lot (Welch, Christopher: ‘History of the Boehm Flute’, London 3rd ed. 1896, p. 58). Theobald Böhm dedicated to him his opus 24 in 1845, the French translation of his book ‘On the Construction of Flutes and the latest Improvements’ in 1848, and his opus 35 in 1857, and in his letter to his pupil Sebastian Ott from 3rd February 1869, he called him the first flautist of the world (in Library of Congress, Washington, Miller Collection). Secondly, he didn’t consider it necessary to comment publicly on the closed G sharp key, because with the exception of France, almost everywhere people played open G sharp. This was also true for America. On 29th November 1854, Böhm’s silver flute no. 85 was sent to the flautist Philipp Ernst in New York (Böhm, Theobald: Workshop Ledger. Munich 1847–1859, 1876–1879, in
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SA FLUTE NEWS Page 14 beginners. The four who began with the
open G sharp key could already play well after six months, whereas the four who began with the closed G sharp key were still having difficulties even after one and a half years with the contrary movement of the G sharp finger. As further disadvantages of the closed G sharp key, he mentions that out of 40 tones, the little finger is only moved 5 times and therefore remains untrained (with open G sharp key, it is moved 22 times), that the E3 becomes too high and that the E-mechanism causes new problems. The flute maker Gerhard Sachs particularly indicates the acoustical disadvantages of the closed G sharp key. Besides the detrimental E-mechanism, the chimney of the additional tone hole widens the tube and makes the tone deeper. By the additional G sharp hole, the D3 frequently becomes too high and the colour of the tone of the closed G sharp is different from the tones B, A or G. David Wimberly reports in his letter to the editor that Jack Moore and he made about 80 flutes with open G sharp key, that they had sold them mostly in the United States and that numerous flautists had confirmed him that after a time of about three months of learning the new system, they experienced the open G sharp key as clearly more comfortable and more logical than the closed G sharp key. According to David Wimberly, the closed G sharp key is inferior acoustically to the open G sharp key in all three octaves. The pads and fastenings are less durable. Wimberly describes in his article the new model of the so-called ‘Murray flute’, which was made by him and Jack Moore in 1985, and which has, besides an open G sharp key, and some more peculiarities, also an open D sharp key.
Literature Boehm, Th. / Miller, D. C., The Flute and Flute Playing, 1922, p. 71. Böhm, Ludwig: Theobald Böhms Stellungnahme zur geschlossenen Gis-Klappe, in Japan Flutists Association newsletter, Tokyo 20 February 1984, p. 17–19. Das Musikinstrument, Frankfurt am Main April 1984, p. 54–57.Fomrhi Quarterly, Oxford April 1984, p. 44–47. The Washington Flute Scene, Washington Juni/July 1984, p. 3–6. Glareana, Zürich July 1984, p. 16–19. Tibia, Celle October 1984, p. 206–209. The Flutist Quarterly, New York November 1984, p.
8–9. Flöte aktuell, Frankfurt am Main February 1987, p. 22 (shortened). Newsletter of the Australian Flute Association, Sydney February 1987, p. 5–6; May 1987, p. 6–7; August 1987, p. 6–7. South Australian Flute News, Adelaide February 1987, p. 22–25.The Flute, Sydney November 1987, p. 12–14. Pan, London December 1987, p. 19–22. Huilisti, Tampere December 1989, p. 14–19. Journal Traversières, Lyon March 1990, p. 16–19. New Zealand Flute Society News, Christchurch September 1990, p. 29–34. Böhm, Ludwig: Festschrift zum 200. Geburtstag von Theobald Böhm. Munich 1994, p. 38–40. South Australian Flute News, Adelaide July 1994, p. 20–22. The Flute, Sydney November 1994, p. 42–44. Traversières Magazine, Paris January 2007, p. 58–60. Fluit, Amsterdam January 2007, p. 31–37. Japan Flutists Association, Tokyo June 2011, p. 37–41. Cooper, Albert: Gadget Page [Open or closed G sharp flute?], in Pan, December 1983, p. 6 Giannini, Tula: An Old Key for a New Flute. The Boehm Flute with closed G sharp: Historical Perspectives. in The Flutist Quarterly, New York October 1984, p. 15–20. Hünteler, Konrad: Die geschlossene Gis-Klappe, in Busch-Salmen, G. / Krause-Pichler, A.: Handbuch Querflöte. Instrument, Lehrwerke, Aufführungspraxis, Musik, Ausbildung, Beruf. Kassel 1999, p. 40–41. Lawrence, Eleanor: Re-evaluating the G sharp Key: An Introduction, in The Flutist Quarterly, New York October 1984, p. 6–7, 10–12. Lawrence, E. / Schultz, P.: Facts and Figures on Open G sharp Flutes, in The Flutist Quarterly, New York October 1984, p. 23. Minzloff, Oliver: In Commemoration of Theobald Boehm’s 190th Anniversary, April 9, 1794. Open G sharp? Gee Whiz!, in The Flutist Quarterly, New York October 1984, p. 21–22. Flöte aktuell, Frankfurt am Main February 1987, p. 19–22. Pailthorpe, Daniel: Why I play Open G sharp, in Pan, London December 1997, p. 14–16. Sachs, Gerhard: Offenes gis – geschlossenes gis auf der Böhmflöte. Akustische Betrachtungen, in Flöte aktuell, Frankfurt am Main February 1987, p. 19. Ventzke, Karl: Die Gis-Klappe bei der Boehmflöte, in Instrumentenbau-Zeitschrift, Siegburg April 1960, p. 205–206. Vogt, Linda: Bygone Flute Systems and the Flutists who played them in Australia, in Flute Australia, Sydney May 1996, p. 6–8. Wimberly, David: Letter to the Editor, in The Flutist Quarterly, New York March 1985, p. 3. Wimberly, David: Alexander Murray: Vision Quest, in The Flutist Quarterly, New York June 1985, p. 48–51. ♫
7. Closed G sharp key,cylindrical flute of Böhm & Mendler, Böhm G sharp key without additional
tone hole. The G sharp key is closed in repose. Macauley flute with gold
plates (Washington, Library of Congress, Miller
161)
8. Closed G sharp key,cylindrical flute of Böhm &
Mendler, with additional tone hole on the reverse side
(Stuttgart, private collection)
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CD REVIEW by Robert Brown Sonorous Sonatas. Peter Sheridan, low flutes; Jessica Lair, alto flute; Lisa-Maree Amos, alto flute; Andrew Macleod, piccolo; Katherine Day, piano; Jane Hammond, piano Released July 2014. Move Records MD 3375. Website: http://www.move.com.au/disc/peter-sheridan-sonorous-sonatas Tracks: Music for a Lost Planet (2009), Gary Schocker; Owis Sfutel (2012), Taran Carter; Elegia, Jelle Hogenhuis; Sonata, Opus 99 (2008), Andrew Downes; Forest Over Sea (2013), Carolyn Morris; A Clumsy Gigue (2011), No 6 from Clumsy Dances, Houston Dunleavy
Peter Sheridan is an American flautist who lives in Melbourne. He has released a number of CDs on the Move label of performances given on the various lower flutes, alto, bass, contrabass and subcontrabass. Peter’s latest CD, Sonorous Sonatas, features some recently composed extended compositions for the lower flutes. His vision was to ‘bring the larger, lower sounding flutes to the centre stage’ and showcase their ‘ability to create colourful sonic shapes in one of the most traditional Western musical forms: the Sonata’. Peter’s passion to promote the lower flutes has resulted in over seventy works being commissioned for them. Listening to this CD it is evident why Peter Sheridan is now regarded as one of the foremost performers on the lower flutes. These are exciting, interesting and musical performances. Do buy and listen to this CD. ♫
Flute Tree1/2
Sonorous Sonatas
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