FQWinter2008 PDF

LUTIST
V O L U M E
T H E
X X X I I I
N O
I N T E R
2 0 0 8
Q U A R T E R L Y
African Art
MUSIC
Louis Moyse Remembered
Jazz Flute Joins the NFA Convention
The Inner Flute: Suzanne Tengs Journey
T H E O F F I C I A L M A G A Z I N E O F T H E N AT I O N A L F L U T E A S S O C I AT I O N , I N C
defin ing the art of the handmade flute

[ altusflutes.com |
51 2. 288 .33 51
Table of
CONTENTS
THE FLUTIST QUARTERLY
VOLUME XXXIII, NO. 2
WINTER 2008
DEPARTMENTS
5
9
13
49
52
55
59
16
From the Chair

From the Editor
High Notes
The Inner Flute
Student Spotlight
Across the Miles
From the 2008 Convention
Program Chair
63
NFA News
67
Passing Tones
70
NFA Office, Coordinators,

Committee Chairs
71
New Products
74
Reviews
81
Index of Advertisers
FEATURES
16
New Horizons: The World of African Art Music for Flute

by Wendy Hymes Onovwerosuoke
African art music offers rich programming opportunities, but scores often are
unpublished and can be challenging to find. Insights are offered about some of
Africas foremost composersamong them the authors husband.
28
Commissioned Works from the High School Soloist Competition:

Elizabeth Browns Trillium
by Ronda Benson Ford
Competitors performing Trillium were provided with a fingering system that was devised
by the composer specifically for playing this piece. The works fingering aid was
influenced by shakuhachi music traditions.
36
To Your Health
by Amy Likar, DMA, Ralph Manchester, MD, and Michael Weinstein, MD
At the 2007 NFA convention, a performance health seminar featured physicians
with special skills in performance-related concerns. Earlier, another organization
hosted a conference to develop materials and standards for health promotion in
schools. The two presentations are summarized here.
28
40
Renaissance Man: Louis Moyse (1912-2007)

by John Barcellona with Karen Kevra
A friend, colleague, and one-time musical partner recalls the varied and virtuoso talents
of flutist Louis Moyse, who died July 30, 2007. A former student and musical partner
remembers the man who inspired, taught, and delighted, not only with his music,
but with his life.
Cover: Courtesy Wendy Hymes Onovwerosuoke.
T HE NATIONAL F LUTE A SSOCIATION

26951 RUETHER AVENUE , S UITE H
S ANTA C LARITA , CA 91351
FOUNDED
40
N OVEMBER 18, 1972
IN
E LKHART, I NDIANA
This magazine is published quarterly by the National Flute Association, Inc., a nonprofit
organization. The statements of writers and advertisers are not necessarily those of the NFA,
which reserves the right to refuse to print any advertisement. The NFA does not promote or
endorse any products, companies, or artists referenced in the editorial content of The Flutist
Quarterly. SSN 8756-8667 2007 National Flute Association, Inc.
49
nfaonline.org
Winter 2008 The Flutist Quarterly
OFFICERS
Founder, Honorary Life President
Mark Thomas
824 Charter Pl.
Charlotte, NC 28211-5660
phone/fax: 704-365-0369
msjcthomas@bellsouth.net
Chair of the Board
Patti Adams
2840 Coliseum St.
New Orleans, LA 70115
504-895-5908
pattinola@aol.com
Vice Chair of the Board
Leonard Garrison
Lionel Hampton School of Music
Music Room #206, University of Idaho
Moscow, ID 83844-4015
208-885-6709
fax: 208-885-7254
leonardg@uidaho.edu
Secretary
Lori Akins
5113 Glenaire Dr.
Dublin, OH 43017-9479
614-766-1838
akins.8@osu.edu
Chair of the Finance Committee
Teresa Beaman
Department of Music
CSU, Fresno
2380 E. Keats Ave.
Fresno, CA 93740-8024
559-278-3975
teresab@csufresno.edu
Assistant Secretary
Shelley Collins
Delta State University
Dept. of Music, P.O. Box 3256
Cleveland, MS 38733
662-843-6341
scollins@deltastate.edu
BOARD OF DIRECTORS
Joanna Bassett (20062008)
85 Maywood Ave.
Rochester, NY 14618
585-383-0650
bassogg@rochester.rr.com
Bickford Brannen (20072009)
559 Pearl St.
Reading, MA 01867-1142
781-910-3978
laura-bick@verizon.net
Beth Chandler (20062008)
626 Sunrise Ave.
Harrisonburg, VA 22801
540-574-3772
fax: 540-568-7819
chand2be@jmu.edu
Robert Dick (20072009)
310 Clermont Ave. #3
Brooklyn, NY 11205
347-244-9373
robert@robertdick.net, robertdick.net
Christopher Krueger (20072009)
38 West Pomeroy Lane
Amherst, MA 01002
413-256-4552
krueger@music.umass.edu
Hal Ott (20062008)
Department of Music
Central Washington University
Ellensburg, WA 98926
509-963-1103
fax: 509-963-1239
otth@cwu.edu
From the
A
CHAIR
s I write this from New Orleans,

I am surrounded by an air of
renaissance, renewal, and rejuvenation, not only from my city but also
from within the board of directors of
the National Flute Association.
I am privileged to begin my service to
the NFA as chair of the board and look forward to this year with great anticipation!
I have just arrived home from our very
first fall NFA board meeting, this year in
Indianapolis. This was part of our
restructuring last January in an effort to
have our board meeting more than just
once a year, along with a commitment to
begin strategic planning for the NFA. The
board met November 45. It began with
professional facilitator Michael Kumer,
executive director of the nonprofit
Leadership Institute at Duquesne
University. We began work on a vision
and value statement for the NFA, plus
formulated ideas for beginning the
process of writing a five-year plan.
The board of directors and staff flew in
from all over the U.S. and beyond.
Present at the meeting: board members
Beth Chandler, Joanna Bassett, and
Bickford Brannen; Secretary Lori Akins;
Past Secretary Carol Dale; chair of the
Finance Committee Teresa Beaman; past
president and Development Committee
Chair Kathy Borst Jones; immediate
past Chair Alexa Still; Chair Patti
Adams, staff members CEO Phyllis
Pem-berton, Convention Director
Madeline Neumann, and Membership
Director Maria Stibelman. Those attending the meeting by phone were Vice
Chair Leonard Garrison; board members
Hal Ott, Chris Kreuger, and Robert Dick
and chair of the Endowment Committee
Zart Dombourian-Eby.
A presentation was made to the board
by Music Crossroads, an Indianapolisbased civic organization, as part of a
proposal to move the NFAs headquarters
and a percentage of its conventions to
Indianapolis. The board was impressed
with the scope of the proposal but
understands the enormity of such a
decision. We look forward to thoroughly
examining this proposal from the city
and will be reporting to the membership
throughout our process of investigation.
The newly formed Endowment

Committee presented our new NFA
endowment policies to the board. As our
endowment approaches the $1 million
mark, the committee has worked hard to
formalize the structure of the endowment, ensuring that the NFA endowment
will be a dependable resource for many
generations of flutists to come. The
committees members (DombourianEby, Gwen Powell, Beth Chandler,
Teresa Beaman) and I spent many
hours teleconferencing and, in the
process, learned more about endowment
law than we ever dreamed possible! Many
thanks to those who have helped us
along the way with our education
process, especially the NFAs financial
adviser Bob Lane, Deborah Gaynor, and
pro bono legal counsel Linda Mintener.
Watch the Web site for announcements from our terrific committees,
which are the lifeblood of our organization! New Music Advisorys outgoing
chair Paul Taub and new chair Molly
Barth are lining up composers for next
summers competitions, in addition to
bringing our latest commissioned work,
with composer Martin Bresnick, to life.
The Pedagogy and Advisory committees
have some terrific new initiatives for us
and the EC looks forward to hearing
from all our committees at midwinter.
Please join me in welcoming our new fiveyear committee chairs: Development:
Kathy Borst Jones; Endowment: Zart
Dombourian-Eby; Planned Gifts: Gwen
Powell; Forum: Carol Dale; New Music
Advisory: Molly Barth; Historical Flutes:
Linda Pereksta; Cultural Outreach:
Horace Young; Flute Choirs Coordinator:
Kelly Via; Newly Published Music:
Jennifer Robin Lau; Orchestral Audition
and Masterclass: Jennifer Parker-Harley;
High School Soloist: Ruth Ann McClain;
Baroque Flute Artist: Nancy SchneelochBingham; Flute Research Coordinator:
Michelle Cheramy; Performance Health
Care: Stephen A. Mitchell; Myrna Brown
Society: Eva Amsler; Myrna Brown
International Liaison: Angeleita Floyd.
In October, I visited the NFAs national
Library at the University of Arizona in
Tucson and enjoyed meeting with every-
Patti Adams
one and seeing the stacks! Gwen Powell,

librarians Bob Diaz and Rachel Kaplan,
and assistant professor of flute Brian
Luce, along with many others, have
worked hard to make our collection one
of the best in the world. I encourage you
to use this fabulous resource and stop by
for a visit if you are ever in Tucson.
Another great member resource is our
new Web site forum! This has come to
us courtesy of the generosity of our
outgoing secretary Carol Dale. It is a
great way to meet other flutists and learn!
Plus, you never know whos going to
answer your latest post! Sir James?
On to the next convention! Jonathan
Keeble, our program chair for this
summers Kansas City convention, is
putting together a terrific program. See
his letter in this issue, and check the Web
site often for exciting new details.
In closing, I am happy to announce
that the NFAs Executive Committee has
accepted my invitation to meet in New
Orleans in January for the annual midwinter meeting. It is an opportunity for
me to share the great things happening in
New Orleans; what wondrous things can
result from working together to rejuvenate
and renew, a renaissance in the making!
Patti Adams
nfaonline.org
THE FLUTIST QUARTERLY

Anne Welsbacher, Editor
Christine Cleary, Amy Hamilton, Contributing Editors
Tony Watson, Masterclass Reporter
Victoria Stehl, Art Director
Steve diLauro, Advertising Sales Representative
Editorial Advisory Board
John Bailey
Professor of Flute
University of NebraskaLincoln
Lincoln, Nebraska
Leone Buyse
Joseph and Ida Kirkland Mullen
Professor of Flute
Rice University
Houston, Texas
Zart Dombourian-Eby
Principal Piccolo
Seattle Symphony
Seattle, Washington
Susan Goodfellow
Associate Professor of Flute
University of Utah
Salt Lake City, Utah
Amy Likar
Flute, Piccolo, and Alexander Technique
Oakland, California
Betty Bang Mather
Professor of Flute Emeritus
University of Iowa
Iowa City, Iowa
Roger Mather
Adjunct Professor of Flute (retired)
University of Iowa
Iowa City, Iowa
Jerrold Pritchard
Professor of Music Emeritus
California State UniversitySan Bernardino
San Bernardino, California
Eldred Spell
Professor of Flute
Western Carolina University
Cullowhee, North Carolina
Michael Stoune
Associate Director of Graduate Studies
School of Music
Texas Tech University
Lubbock, Texas
Nancy Toff
Music Historian
New York, New York
Michael Treister, MD
Orthopaedic and Hand Surgeon
Amateur Flutist
Chicago, Illinois
Brooks de Wetter-Smith
James Gordon Hanes
Distinguished Professor of Flute
University of North CarolinaChapel Hill
Chapel Hill, North Carolina
Charles Wyatt
Flutist, Writer
Nashville, Tennessee
Louis A.Carlini
F L U T E R E PA I R T E C H N I C I A N
Straubinger Certified
Authorized Pearl Sales and Service
Instruments Bought and Sold
Reviews Board
Penelope Fischer
Principal Flutist, Ann Arbor Symphony
Member, Detroit Chamber Winds
Ann Arbor, Michigan
Patricia George
Professor, Performer, Masterclass Teacher, Author
Pocatello, Idaho
Ruth Ann McClain
Flutist and Studio Teacher
Memphis, Tennessee
John Wion
Professor of Flute
The Hartt School
West Hartford, Connecticut
201-791-4097
piccolou@netscape.com
New Jersey
By Appointment Only
w w w. f l u t e r e p a i r by l o u . c o m
National Flute Association, Inc, Staff

Phyllis T. Pemberton, Chief Executive Officer
Anne Welsbacher, Publications Director
Madeline Neumann, Convention Director
Maria Stibelman, Membership Director
Brian Covington, Web Design Consultant
The National Flute Association does not promote or
endorse any products, companies, or artists referenced
in the editorial content of The Flutist Quarterly or other
NFA publications.
From the
EDITOR
Life and Death and Music
inter is tough on some

people, myself included,
more for the loss of light
than the frigid temperatures. With this
winter issue of The Flutist Quarterly, I
watch once again, through the window
of editorial distance, the mourning
process of the flute community when its
members fall from life. I edit out the
typos and the extraneous commas in
the Passing Tones department feeling a
bit heretical, somehow; it doesnt seem
as though the commas ought to matter in
these deeply personal pages. But although
I usually do not know the people whose
lives are chronicled here, the department
hurts deeply. Most of the death notices
are sent to me from you, the people who
know and love the departed, making this
an even more intensely personal section
because it is created from the love and
labors of an entire community.
Among the many lives described, too
briefly, in this issue, is that of Wendy
Pender-Cudlip. She is not the most
famous of the people noted in this issue,
which regrettably contains more than
the usual number of listings, including a
feature article about Louis Moyse. But
hers struck me especially because of my
own brief interaction with her. Her
article about how her flute playing and
teaching affected, and was affected by,

her cancer appeared in the spring 2006
issue of The Flutist Quarterly. We
bumped it to the earliest possible issue
to increase the odds that she would live
to see it in print.
I was impressed with the article
because it provided not self pity but
advice and insights on how to incorporate a life-threatening disease into your
daily practice. It addressed how music fit
into her personal needsexcept when it
didnt. For a time, music was too emotional for her to handle, so she set it aside
temporarily. When she did turn back to
it, she chose music with structure
Bach Goldberg VariationsMozart
piano concerti. (I remember my own
long-ago solace in a particular Mozart
concerto that I played on the piano over
and over after receiving news of cancer
within my own family. I dont remember
the piece itself, or anything else I said
or did during those first confusing
days. What I remember is the great
assurances of the ivory keys, the
steady beats that filled up the dreadful
minutes and hours and days, the lack
of a need to think or feel, the structure
of that music.)
Her article also included information
about the cancer that eventually killed
Anne Welsbacher
her. I resisted this portion because this

magazine is about flutes and flutists, not
about ovarian cancer, but she gently and
firmly pressed for inclusion of at least
some resource citations so that others
could be better armed for battle. In
addition to adapting and adjusting her
musical life, Wendy chose to spend her
few remaining days advocating for
others. It was a trait I have often
observed in the National Flute
Association, in both its individual
members and in its policies and priorities, and this characteristic continues
to impress and humble me.
Especially in winter time, I hate
working on the Passing Tones column.
But often it occurs to me, as I come to
know this organization better, that these
pages reflect perhaps best of any pages
between these covers what the NFA is
and has to offer: a community of people
with shared passions, talents, and
when the time does comeloving
support in the last walk of life, where
even music can no longer follow.
Anne Welsbacher
nfaonline.org
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High Notes
News and activities about the accomplishments of National

Flute Association members and the flute world
Susan Hoeppner, Trudy Kane, Gary Schocker, and
Shimizu. The flute ensembles were conducted by coordinator Vanita Jones. The international event is held annually
in memory of Julius Baker on the campus of Western
Connecticut State University in Danbury. Visit
wcsu.edu/summermusic or call 203-837-8614.
Nicola Mazzanti teaching a morning warm-up class at the International

Piccolo Symposium.
he first International Piccolo Symposium (IPS) was held

at the University of Nebraska at Omaha August 24,
2007. The symposium included lectures, workshops, recitals,
solo classes, orchestral excerpt classes, and discussion sessions with Nicola Mazzanti, Lois Herbine, and Christine
Beard. Nancy Nourse and Nicole Esposito also contributed
to the event, and Christi Zuniga was pianist. Two formal
recitals showcased IPS teachers and included two premiere
performances: Mazzanti performing the world premiere of
Melma Calma by Davide Zannoni, the 2007 IPS artistin-residence; and Beard performing the American premiere of
Sonata No. 2 for piccolo and piano by British composer
Matt Smith. The second annual IPS is being planned; visit
piccolosymposium.com.
From left: Ruth Baker, Kerry Walker, Jake Fridkis, Miyuki Urin, Vanita Jones,
Ga Won Han, Linda Mark, and Nobutaka Shimizu.
he 2007 Julius Baker MasterclassesThe Legacy

Continues has announced its annual prize winners. First
place was awarded to Miyuki Urin; second place was awarded
to Ga Won Han; and third place was awarded to Jake Fridkis.
The final concert featured the prize winners as soloists with
Linda Mark on piano and guest performers Nobutaka
Shimizu and Kerry Walker. Guest performers/teachers
during the week included Tadeu Coelho, Bradley Garner,
Faculty and students of SummerFlute 2007 on the steps of Holy Names University.
FA members Amy Likar, Lea Pearson, Stacey Pelinka,

Liisa Ruoho, and Sandra Seefeld hosted the seventh
annual SummerFlute 2007 at Holy Names University in
Oakland, California, July 913, 2007. Flutists and instrumentalists from Finland, Australia, England, the United
States, and Puerto Rico came to Oakland to take part in lessons
and classes in Body Mapping, Alexander Technique, the
Feldenkrais Method, and flute that together teach the musician
how to include whole-body awareness in music making to
promote facility and assist in overcoming discomfort, pain,
and injury that can result from playing a musical instrument.
SummerFlutes faculty kicked off the week with a concert
assisted by Bay Area collaborative pianist Miles Graber and
guests. The daily schedule included an interactive morning
Body Mapping workshop led by Andover Educators, Likar,
and Pearson. Seefeld, Pearson, and Likar hosted masterclasses
allowing participants to apply Body Mapping concepts in their
playing. Afternoons included private lessons in the
Feldenkrais Method, Alexander Technique, flute, and chamber
music opportunities. Class members reconvened at the end
of each afternoon for a Feldenkrais Awareness Through
Movement class led by Pelinka. The class performers played in
two of Ruohos evening masterclasses, which addressed performance practice, musicality, technique, sound, anxiety, and
ways to incorporate the whole body in playing. Likar wrapped
up the week of classes with a presentation on how to incorporate body awareness in music making. The week concluded
with a Finale Concert in which class members performed solo
and chamber music. SummerFlute 2008 will take place July
1418, 2008, in San Rafael, California; visit summerflute.org.
nfaonline.org
13
HIGH NOTES
FA member Polly Meyerding taught

flute and performed for the 25th
Annual Lutheran Summer Music Academy
and Festival at Gustavus Adolphus College
in St. Peter, Minnesota, last summer. More
than 125 high school-age student musicians
from 30 states and three countries spent
four weeks participating in a schedule that
included individual lessons, small ensembles, classes, large ensembles, electives, and
Polly Meyerding
daily recitals. Meyerding maintained a
private studio, coached a small ensemble, led band and
orchestra sectionals, and performed in solo recitals and
played for worship services throughout the summer. The
Academy culminated in a weeklong festival July 1922,
with free evening concerts and more than 40 other free
recitals and music demonstrations.
ormer NFA Chair Alexa

Still, with former colleagues from the University
of Colorado at Boulder,
was a featured performer at
the College Music Societys
International Conference
Angela Rowland, Stephanie Rea,
in July 2007. More than 100
Kimberlee Goodman, and Alexa Still.
convention goers took part
in the conference, which was held in Bangkok and
Ayuthaya, Thailand, July 1622. Still performed Chick
Coreas Trio for Flute, Bassoon, and Piano. Stephanie
Rea, flute professor at Murray State University, performed
her original composition for solo flute, Solace. Angela

Rowland, principal flute of the Macao Orchestra in Hong
Kong, presented a poster session entitled Phrase and
Phrasing with Applications to Flute Performance.
Kimberlee Goodman, flute professor at Otterbein College,
presented a lecture/recital entitled The Commissioned
Works of the National Flute Association and performed
Charles Delaneys ...and the strange unknown flowers
and Michael Colquhouns Charanga.
imi Stillmans 200708 season
includes performances of Lowell
Liebermanns Concerto for Flute and
Orchestra with the Chamber Orchestra
of the Triangle and conductor Lorenzo
Muti in Durham, North Carolina, a solo
appearance with the Ambler Symphony
(Pennsylvania) and conductor Jack
Moore, guest artist appearances for the
Atlanta Flute Club, Las Vegas Flute Club,
Mimi Stillman
Hoff-Barthelson Music School in Scarsdale, New York, at Millersville University in Lancaster,
Pennsylvania, Bands of America and Yamaha Corporation
of America Festival in Indianapolis, and the third season
of her Dolce Suono Chamber Music Concert Series, of
which she is founder and artistic director. The Dolce
Suono season includes five concerts at its new home at
First Unitarian Church in Philadelphia, two suburban
concerts at Haverford and Swarthmore colleges, and educational outreach in the Philadelphia public schools. Visit
dolcesuono.com or mimistillman.org.
The World
of African
Art Music
for Flute
By Wendy Hymes Onovwerosuoke
African art music offers rich programming
opportunities, but scores often are unpublished and can be challenging to find.
Insights are offered about some of
Africas foremost composersamong
them the authors husband.
16
The Flutist Quarterly Winter 2008
nfaonline.org
WALL PLAQUE OF AN OJA FLUTE PLAYER, FROM NIGERIA; WENDY HYMES ONOVWEROSUOKE
New
Horizons:
ecent years have witnessed an increase in the number

of Western classical music performers exploring new
music, especially that from other cultures. Examples
include world-renowned performers such as cellist Yo-Yo
Ma, whose recent albums have included collaborations with
musicians from China, Mongolia, Iran, Turkey (Silk Road
albums released in 2002 and 2005 respectively), and Brazil
(Obrigado Brazil released in 2003), and flutist James Galway,
who has recorded albums of Japanese melodies and Latin
American music. And the NFA continues to challenge todays
upcoming flutists to push the boundaries of traditional
technique by selecting pieces such as Ian Clarkes Zoom
Tube as part of its competitions. The 35th annual convention included events highlighting Venezuelan and Mariachi
music, Mexican composers, ethnic flutes from Japan, China,
Peru, and Ukraine, and Native American traditions.
Though there exist many compositions by African composers, African art music is not often programmed by Western
performers for many reasons, such as the lack of exposure these
compositions have received, difficulty of getting scores (many
pieces are not published), the lack of commercially available
recordings, and the difficulties of obtaining information
about African musical styles. Despite these limitations, the
compositions produced by African art music composers
are rich in diversity and worthy additions to the Western
flute repertoire, and they offer exciting programming possibilities for todays flutists.
African Art Music Defined

J. H. Kwabena Nketia, a noted scholar of African music,
defines art music as music designed for intent listening or
presentation as concert music, music in which expression of
feeling is combined with a high level of craftsmanship and a
sense of beauty. He further defines African art music as
works that manifest these
attributes but which are rooted in
1
the traditions of Africa.
Ademola Adegbite of the Music Department at the
University of If in Nigeria includes an additional component,
stipulating that African art music composers are those
who
2
had training in techniques of western art music. Hence
African art music is a specialized genre that reflects both
Western and African elements, or, as Adegbite further notes,
a type of musical synthesis which is3 cross fertilized by
African and Western musical elements.
WENDY HYMES ONOVWEROSUOKE
The Issue of Identity

African art music composers are faced with a barrage of
obstacles, many of which are the same as those faced by
contemporary composers in Western countries: finding
ones voice or identity, determining ones audience, and
writing music attractive to this audience. There are also
problems of infrastructure, such as finding capable performers
and venues for performance and media to assist in self-promotion. Despite receiving extensive training at home and abroad,
employment for art music composers is in most cases limited
to universities. In the case of most of the compositions written
for flute, the flute was chosen by the composers because they
knew a capable flutist who was available to perform the piece.
These obstacles contribute to the difficulty many African
composers experience of establishing a successful sense of
This wall art hangs in a hotel in Ghana; the instrument is a horn, not a flute.
identity in their work. According to Nketia, an African

school of composition must be a fusion of African and
4
European idioms. If composers write music that solely
expresses Western musical styles and is devoid of intrinsic
African elements, they often find their music is not appreciated
by African audiences. Contemporary styles such as atonality
and 12-tone music are especially difficult with native audiences.
Thus Nketias comment belies his belief that composers
training must encompass both Western music and a selection
of African music relevant to them.
Akin Euba, a prominent Nigerian art music composer, also
writes about the reason certain contemporary Western styles
are not often widely appreciated by African audiences:
In African traditional culture, music is not
conceived in absolute terms but is typically
realized in the context of other arts and of
social events. It would seem, therefore, that
modern composers who seek to communicate with average Africans should take
account of the traditional contextual usages
of music. Music theater and dance theater
are more likely to appeal to average Africans
5
than symphonies and string quartets!
Therefore, finding individual identities proves challenging.
And, like many Western composers, African composers have
often gone through periods, such as Stravinsky did with his
Russian, neo-classical, and 12-tone periods.
African composers show different propensities for learning
about their roots. Nketia writes that he had to learn the
intricacies of the art in my community, largely through
6
social experience, and later through formal training. The
colonialist period in Africas history left behind societies
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NEW HORIZONS: THE WORLD
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whose ideals still reflect those of the former colonizing

empire. Often the effect is one of shunning African traditions
in favor of Western ones. This can be seen amongst composers
as well, particularly when the institutions of higher learning
continue to propagate a more Western than African approach
to music training.7
African Pianisms Influence

African Pianism, a concept first labeled in 1964 by Akin Euba,
a student of Nketia, developed into a movement in the 1960s
and 70s as a compositional technique used by many African
composers to incorporate African traditional elements into
African art music. Its use is widely apparent in the pieces
highlighted in this article. Nketia defines African Pianism as:
a style of piano music which derives its
characteristic idiom from the procedures of
African percussion music as exemplified in
bell patterns, drumming, xylophone and
mbira music. It may use simple or extended
rhythmic motifs or the lyricism of traditional
songs and even those of African popular
music as the basis of its rhythmic phrases.
It is open ended as far as the use of tonal
materials is concerned except that it may
draw on the modal and cadential charac8
teristics of traditional music.
Similar to the technique of Impressionism, which captures
the true character of a scene through the use of rough brush
strokes and unrefined shapes, African Pianism captures the
character of a traditional music scene by using the piano or
other Western instruments as a surrogate for traditional
African instruments. Transcribing African polyrhythms, with
multiple parts that create a layered rhythmic effect, presents
additional challenges for African composers.
This article highlights a sampling of compositions that
offer a representative selection of information about prominent, stylistically diverse African composers.
Visions for Solo Flute by Bongani Ndodana-Breen
Ndodana-Breen (pronounced:
Nn-do-DA-na breen) represents
a younger generation of African
art music composers. He has
composed operas, oratorios,
symphonies, chamber music,
and choral works. Born in 1975
in Queenstown, South Africa,
he studied music at Rhodes
University in Grahamstown,
South Africa, and composition
with Roelof Temmingh at the
Conservatory in Stellenbosch,
South Africa. At age 22,
Bongani Ndodana-Breen
Ndodana-Breen became composer in residence with the Indianapolis Chamber Orchestra.
Ndodana-Breen has also been active as a conductor, and since
2000 has been the artistic director of the new music group
Ensemble Noir in Toronto.
18
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Ndodana-Breens African heritage is seen in the titles of

many of his pieces given in Zulu, his native tongue, and in
his use of traditional folk melodies and complex rhythmic
patterns. At the same time, his music takes on characteristics
in Western music, such as the minimalism of Steve Reich and
the various beat subdivisions common in Varse. A percussive
nature is evident in sudden accented notes that occur on
shifting beats within each subsequent measure.
Visions, the only piece the composer has written for solo
flute, was written while Ndodana-Breen was in Chicago in
March 2000. Part I is marked andantino, with a brief presto
section, while Part II is moderato with a section marked piu
andante. The two parts of Visions dont have cadences per se,
but moments of climax followed by an immediate diffusion
of the built-up tensions. Example 1 shows the climax
achieved in m. 66 of Part I.
Ex. 1 Bongani Ndodana-Breen, Visions Part I, mm. 5967

The other characteristics of Visions include the predominance
of pentatonic scales to build melodic motifs and the underlying harmony. The rhythmic and harmonic qualities show
striking similarities to minimalist music, such as using
changes in rhythmic motifs as a means of sectionalizing the
piece, and slow (even at times static) harmonic rhythm.
The louder extremes of dynamics and drastic changes in
rhythmic texture indicate the moments of climax in Visions.
It is interesting to note the similarity between Visions and a
lot of African music that uses changes in timbre as a means
of sectionalizing a piece. Ndodana-Breen uses changes in the
basic rhythmic units as a means of sectionalizing Visions.
Careful observance of Ndodana-Breens dynamics, because
they are the key to moments of climax, and changes in
rhythmic texture will help the character of ones performance.
Of the title Visions Ndodana-Breen says:
The piece was inspired by what I can
describe as fragments of memoriesa
vision of Africa, the people and places I
once knew and grew up with now clouded
by distance and languid time. I think this is
not nostalgia but an attempt to hold on to
fragmented memory and self. Something I
think that is shared by most strangers to
any strange land. I suppose, the visions of
distant places and people that shadow any
9
migrant.
Of the lyrical melody in m. 21 of Visions Part II (see example
2), Ndodana-Breen says, My melodic ideas try to invoke
Southern African traditional melodiesI usually attempt to
craft melodies with associations to San, Khoi, Xhosa, Zulu,
and Venda songsnot quotation but mimicry
Ex. 2 Bongani Ndodana-Breen, Visions, Part II, lyrical melody

in mm. 2124
WENDY HYMES ONOVWEROSUOKE
On the role of rhythm, Ndodana-Breen wrote [It is] very

important. As an African, rhythm is quite a prominent fea10
ture of my work, it is to me the origins of melody
Republic Suite by J. H. Kwabena Nketia
Ghanaian musicologist, scholar, and composer J. H. Kwabena
Nketia (pronounced: En-keh-TEE-ah) was born in 1921.
Nketia received his first music training at the Presbyterian
Training College in Ghana and then at the University of
London, Trinity College of Music, Columbia University
(where he studied composition with Henry Cowell), Juilliard
School of Music, and Northwestern University. He has taught
at the University of Ghana, Legon, where he is the director
of the International Centre for African Music and Dance
(ICAMD), UCLA, Harvard University, Michigan State
University, and the University of Brisbane, among others.
Awards include the IMC-UNESCO Music Prize for
Distinguished Service to Music.
Though Nketia is better known for his scholarly writings
including his book, Music of Africa, published in 1974, this
elder statesman of African musicology also composed vocal
and instrumental music. His pieces for flute and piano
include Egyanka Ba (After Kakaiku); Four Flute Pieces:
Thoughts of Youth, A Widows Prayer, This is Death, Asuo
Meresen; Gya Me Kwan (Canzona); and Republic Suite; for
chamber ensembles his Cox Lane Sextet For Wind and
Percussion No. 1 and the Ewe-Fon Trilogy; and a Canzona for
flute, oboe, and piano. Many of his oboe pieces such as
C dasuom (Midnight) and violin pieces such as Kwadede (Folk
Song) are also effective when performed on flute.
The 23-minute Republic Suite demonstrates Nketias
extensive knowledge of African musical styles, employing a variety of musical styles from Ghana, the Congo, and the diaspora.
It was premiered at the Republic Day Concert, July 1, 1960, in
11
the Great Hall of the University of Ghana, with Nketia on
piano and Charles Simmons playing flute, for a select audience
that included the new president of Ghana, Kwame Nkrumah.
The U.S. premiere was at the Rockport College Keyboard
Festival at the State University of New York in 1976.
Programatic aspects in Republic Suite commemorate Ghanas
independence from Great Britain and subsequent struggle to
establish an effective government. Because the audience was
composed of Ghanaians, Nketia included a number of tunes
that are common knowledge to most of his countrymen.
Movements 1, 3, 5, and 7 are fast, dancelike and full of exciting
polyrhythmic part writing, while movements 2, 4, and 6 are
slow and lyrical statements. Nketias use of call-and-response
textures, syncopated cross-rhythms of triplets and eighths, and
popular highlife tunes form an exciting combination of African
rhythmic vitality with European-derived harmonies.
The Benin Hornblower depicts a court official of the Oba, or king, blowing a horn
made from an elephants tusk.
Movement 1 portrays conflicts and resolutions in forming

Ghanas first independent government. The independence,
begun in 1957 with Ghana as a member of the Commonwealth,
was not completed until 1960. The country went through
transitions, and rival factions struggled to secure power. This
political infighting is represented by the call-and-response texture of the flute and the piano parts. The alternation between
eighth notes and triplets throughout the movement also lends
to the argumentative quality. Movement 2s theme is based on
the initial phrase of a popular highlife street song, and represents the common peoples joy over independence. Movement
3 portrays a dance style typical of Francophone countries
surrounding Ghana. Movement 4s lyrical theme expresses
the loss of life during violent clashes between the Ashanti
people. Movement 5 represents the unification of Togo; its
rhythmically aggressive dance is based on the music tradition of
the Ewe, a people who lived next to French Togo, and suggests
pre-independence conflict and resolution. Example 3 shows the
prominent bell pattern of much of the Ewe peoples music,
which is heard in the piano mm. 4675:
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Ex. 4 Fred Onovwerosuoke, Ayevwiomo, opening call
Ex. 3 J. H. Kwabena Nketia, Republic Suite, fifth movement,

mm. 4648, bell pattern in piano
Movement 6 is based on an Akan childrens play tune originally
played on the bamboo atenteben flute. Movement 7 is the
composers portrayal of Pan-African resolution to the conflict.
Three Pieces for Flute and Piano by Fred Onovwerosuoke
Fred Onovwerosuoke (pronounced: Oh-noh-well-oh-SUOH-keh),
or Fred-O as people like to call
him, was born in Ghana in 1960
to Nigerian parents. (Fred-O is
my husband.) Onovwerosuoke
has directed choirs all over Africa,
Canada, and the United States,
and is the founder and artistic
director of the St. Louis African
Chorus. Onovwerosuokes compositions reflect transnational
influences owing to his broad
experiences in different cultural
settings: African, European, and
Fred Onovwerosuoke
American. The wide variety of
African cultures whose vocal music he has transcribed and
arranged presents diversity not heard in the compositions of
other African composers.
Onovwerosuoke composed his Three Pieces for Flute and
Piano for me after we met at Principia College, in Elsah,
Illinois. Ayevwiomo, Iroro, and Just Before Dawn reflect myriad
harmonic styles within their programmatic frameworks.
According to Onovwerosuoke, the program
of Ayevwiomo
12
stems from his native Urhobo culture:
Birth, espousal and death often are pivotal
triads in Urhobo metaphysics about life on
earth. Ayevwiomo, literally meaning a mother has put to bed, or a mother has given
birth, celebrates the birth of a child. An elder,
usually of the women folk, inquires about
the arrival, to which the parents respond. If
the response is affirmative, the village breaks
into a seven-day-long dance, accompanied
by the isologu or bass thumb piano, wooden
xylophone, and flute. The seventh day often
calls for reflection, for, on the eighth day the
child must be named, blessed with prayers
and libations, so it can traverse a treacherous
world with care and success.
Onovwerosuoke portrays lifes dual emotional nature (happiness and sadness or joy and reflection) in the various sections of
the piece. The opening call in the flute represents the elders call:
20
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After affirming the birth, the celebration begins in the Allegro

(mm. 1569). The section Slowly with expression (mm.
7078) is the reflective seventh day. This section, in E-flat
minor with modal inflections and grace notes, is similar to a
vocalization and reflects northern African Islamic music. The
celebration returns once again in the Veloce (mm. 79166).
Cross rhythms in the piano part beginning in m.109 are a
prime example of African Pianism techniques, portraying the
layering technique of three native percussion instruments: two
13
isolugus and one wooden or metal gong.
Ex. 5 Fred Onovwerosuoke, Ayevwiomo, cross-rhythms in piano

The piece closes with the return of the opening call, typical of
how most African celebrations end.
Iroro, meaning reflection, draws from the initiation
dances of the Igbe (cult of the River Goddess) priests and
priestesses in Nigeria. To my knowledge, Onovwerosuoke is the
only African composer to have written a piece specifically
employing the alto flute. The piece is in da capo form. The A
section in 6/4 employs three staves in the piano part to portray
many instruments (see example 6).
Ex. 6 Fred Onovwerosuoke, Iroro, opening mm. 16
The basso ostinato and top part of the piano are mostly
xylophones, while large bamboo flutes act as drones in the
middle staff. The Urhobo have no specific name in their
language for flute, but do refer to big and small whistles made
14
of either bamboo, raffia, gourds, or animal horns. The solo
alto flute part is the leading bamboo flute. The modal and
improvisatory nature of the melody portrays the trancelike
state of the ceremony participants and lends to the ritualistic
feel of this section. In the B section, the trancelike state becomes
more animated as the participants earnestly seek answers from
the Goddess of the River. The improvisatory melody in the flute
(mm. 4554) portrays a xylophone solo.
Web Sites and E-mail Addresses

St. Louis African Chorus (SLAC)
africanchorus.org
African Music Publishers

africanchorus.org/Voam/amp.html
The International Consortium for the Music

of Africa & its Diaspora (ICMAD)
http://africanchorus.org/ICMAD/ ICMAD.htm
International Institute
African to American Music (ISAAM)
mswright@isaam.fsnet.co.uk
International Centre for African Music and Dance

(ICAMD) at the University of Ghana,Accra
umich.edu/~iinet/icamd
Ex. 7 Fred Onovwerosuoke, Iroro, improvisatory solo, mm.
4554
Culture Africa Network Project

africa-can.org
Fractured rhythms, offbeat accents in the flute, and outbursts in

the piano portray the element of surprise, the moment when an
answer is received from the goddess, in the retransition at the
end of the B section (mm. 6677).
Ex. 8 Fred Onovwerosuoke, Iroro, retransition, mm. 6677

The A section returns, portraying dissipating excitement and
return to prayerfulness.
Just Before Dawn is a product of the composers American
journey, a result of experiencing new influences and trying
15
to see those new influences from an African perspective.
Using a contemporary harmonic language and some
extended techniques in the flute part such as harmonics and
rolled chords, the piece captures an African forest before
dawn and is a setting of the composers self-composed poem.
Two unbarred improvisatory-sounding cadenzas in the flute
part mirror the night imagery in the poems text, which is
read by a narrator during performance. In the concluding
allegretto section, wide, upward leaping intervals in the flute
and rapid 32nd-note figures in both instruments portray the
joyous birds that have since woken up.
Ex. 9 Fred Onovwerosuoke, Just Before Dawn, Allegretto,

mm. 6078
Onovwerosuoke has recently composed three additional works
for flute including Five African Sketches for Flute, Violin, and
Piano, a 10-minute musical journey through little-heard
African musical styles, based on his travels in 30 African countries studying traditional musics. Onovwerosuokes writing for
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Discographies and Books
FLUTE
Graham, Ronnie. The World of African Music, vols. 1

and 2. London: Pluto Press, 1988 and 1992.
In these extensive discographies, the author includes
historical background on each musician. Volume 1
focuses more on traditional music and volume 2 on
more recent popular music.
Nketia, J. H. Kwabena. The Music of Africa. Chicago:

Norton Press, 1974.
This book includes a useful selected discography that
lists recordings by musical traditions of Africa, music
in community life, and musical instruments.
Cooke, Peter. Music in a Ugandan Court. Early

Music 24, no. 3 (August 1996): 439452.
This article includes suggested listening for Kiganda
traditional music, which is helpful for the Tamusuza.
The Global Music Series, published by Oxford

University Press.
Each of these volumes is written by specialists in the
designated African region. The two African volumes
are Music in East Africa by Gregory Barz and Music in
West Africa by Ruth M. Stone. Each volume also
includes a recording, and discusses specific aspects of
the music on each track.
all three instruments of the trio is equally challenging, but he
creates balance between the excitement of the quick tempos and
the lyrical writing for flute and violin.
In 2007, Onovwerosuoke wrote a new concerto titled
Landscapes of Africa. In this 14-minute concerto, the soloist
alternates between soprano and alto flute along with piccolo.
The orchestral accompaniment calls for at least 10 tympani
and full wind and brass sections. Also in 2007,
Onovwerosuoke composed a work for solo flute, Variations
for Solo Flute, based on a Pende flute melody by Vindu
Bamgambula from the Democratic Republic of Congo. After
stating the lyrical theme, the composer follows with six contrasting variations: Moderato, Allegretto, Pi mosso e rubato,
Agitato, Adagio parlando, and Con moto. This piece does not
contain extended techniques, but it has challenging rhythms
and articulations. Variation III, Pi mosso e rubato, contains
prebeat grace note runs reminiscent of those in the final
movement of Prokofievs Flute Sonata.
quartet, Mu Kkubo EryOmusaalaba, which was featured on

the Kronos Quartets CD Pieces of Africa. He has also received
numerous commissions. Tamusuza has been on the faculty of
Makerere University in Uganda and at Northwestern
University in Illinois, teaching music composition, theory,
and analysis.
Okwanjula KwEndere, meaning introduction of the
flute, is the introductory movement of a larger chamber work
Ekivvulu KyEndere or African Festivity for Flute scored for
flute, viola, harp, marimba, and maracas. The composer
attempts to duplicate the sound of traditional African
16
instruments and musicians. The premiere of this piece was
given at Northwestern University in 1996, while Tamusuza was
studying for his doctorate, by Amanda Baker (flute), Robert
Fisher (viola), Kari Gardner (prepared harp), Rob Gehrke
(maracas), David OFallon, Cameron Britt (prepared marimba), and Christopher Woodruff (conductor). One can perform
Okwanjula KwEndere independently as a solo flute piece.
This movement employs many techniques that simulate the
sound of the native Kiganda (pronounced chi-GAHN-da)
flute, called the endere, including an extensive use of microtones, harmonics, key slaps, breathy sounds, flutter tonguing,
simultaneous singing, and playing and pitch bending.
Despite the use of extended techniques, this piece maintains
a decidedly African sound, showing the musics strong connection with Kiganda traditional music, which draws its roots
from the royal court of Buganda, a central region of Uganda,
whose roots can be traced back 700 years through the reign of
17
36 kings, all great patrons of music. One of the ensembles in
residence was the abalere ba kabaka (the kings flute players)
which uses six different-size endere flutes and swells to 20 or 30
players drawn from surrounding villages for special occasions
two months of the year. The endere has four finger holes and
18
plays a pentatonic scale just over two octaves.
The passages for simultaneous singing and playing are
denoted by an S followed by a line underneath the staff, and
are almost all in a G pentatonic scale (G-A-B-D-C). The first
one is shown in example 10.
Ex. 10 Justinian Tamusuza, Okwanjula KsEndere, mm. 4251

Okwanjula KwEndere by Justinian Tamusuza
Ugandan composer Justinian Tamusuza (pronounced: tah-muSU-za) was born in 1951 in Kibisi, Uganda. Early on he studied
Kigandan traditional music: singing and playing drums and
tube-fiddle, endingidi. He also studied at Queens University in
Belfast, Ireland, and received his doctorate in composition at
Northwestern University.
This dual music background is reflected in the distinct
way he combines traditional African folk elements with
minimalist techniques and polyrhythms. Tamusuza
achieved prominence as a composer with his first string
22
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Tamusuza often prepares Western instruments to achieve

the desired effects. Here, his use of microtones in the score
simulates the scale of the native endere flute, which is not tempered. Extensive passages of key slaps are best done with either
the left hand fourth finger or the right hand fourth finger,
unless this interferes with the desired pitch for the key slap.
This is not always clear in the scores notation. Finding the
fingers that sound most percussive allows the performer to be
as rhythmic as possible. Another helpful technique is popping
ones tongue quickly against the lips to amplify the key clicks.
Other choices must also be made by the performer, such as

singing at pitch or an octave lower, and how to achieve the
breathy tone notated in places by the composer. This can be
achieved by loosening ones embouchure or by changing the
angle of the flute against the lips.
Rhythmic features of the piece also bear the direct imprint
of Kiganda traditional music. The compound duple meter
has many metric intricacies (syncopation, hemiola, crossrhythms), which create variety. The special fingerings
required for microtones on the flute, along with breathy
sounds and key slaps, also provide a variety of timbral
changes. Climaxes and cadences are achieved through
increased rhythmic activity, textural build up, timbral inten19
sity, sustenance, dynamics, and use of high register.
Example 11 shows the upward registeral shifts that build to
the final cadential sequence of the piece.
Suggested Recordings
Featuring Non-Western Flutes
Hewale Sounds, The Hewale Sounds, Human Songs
HS-001, year unknown. (Ghana)
Pops Mohamed, How Far Have We Come, Melt 2000,
1997. Blue Room. (South Africa)
Ravi Shankar Presents: Flute & Sitar Music of India,
Legacy International CD 319, year unknown.
Resting Place of the Mists: New Valiha and Marovany
Music From Madagascar, Shanachie 64075, 1996.
Rumillajta, Live at the Edinburgh Festival,
Sterns Records RUMI912CD, 1991. (Bolivia)
Rumillajta, Atahuallpa, Sterns Records
RUMI931CD, 1993.
Rumillajta, Takiririllasu, Sterns Records
RUMI951CD, 1995.
Rumillajta, Urupampa, Sterns Records
RUMI911CD, 1994.
Ex. 11 Justinian Tamusuza, Okwanjula KwEndere, mm.

363382
Tamusuza relishes the repetitive nature of Kiganda traditional
music and uses it in creative ways within a contemporary
style. Performers must strictly adhere to the rhythmic pulse
to keep the energy inherent in Kiganda traditional music, and
also experiment with fingerings for the microtones, as the
composer does not include these in the score.
Oja Flute Suite by Joshua Uzoigwe
Nigerian composer Joshua Uzoigwe (pronounced: oo-zoiEGG-weh), born in 1946, studied at Kings College in Nigeria
and abroad at the Guildhall School of Music in London and
the University of Belfast. Following Nketias example, he went
back, from 1977 to 1979, to his roots, back to his Igbo villages, to conduct field research of Igbo traditional music as a
new source of inspiration. Uzoigwe was lecturer of music
theory and piano at the University of Ife in Nigeria,
University of Nigeria at Nsukka (19921996), and University
of Uyo in Nigeria (19962005) until his death in 2005.
Uzoigwes music often combines traditional music of the
20
Igbo and Yoruba people of Nigeria. All of his music employs a
wide range of sophisticated compositional techniques.
The first and second movements of the Oja Flute Suite were
written in 1995. The title of the first movement, Ilulu, refers to
the use of proverbs by the Igbo people of Nigeria as a mode of
discourse or communication. Here, the instrument being
imitated is the native Igbo wooden flute, called the oja. Uzoigwe
Rumillajta, Wirococha, Sterns Records

RUMI871CD, 2003.
Rumillajta, Hoja de Coca, Tumi Records
TUMI002, 2001.
Rumillajta, City of Stone, Tumi Records
TUMICD 001, 2000.
Rumillajta, Pachamama, Tumi Records
TUMICD 003, 1992.
Spokes Mashiyane, King Kwela,
Gallo/Celluloid, 2000. (South Africa)
Tebogo, Kwela Tebza, Teal Records
2631, 1996. (South Africa)
Viento de los Andes, Volumes 1 and 2,
V.D.L.A. Records. (Bolivia)
notates this movement without bar lines, indicating pauses in
phrases with short vertical lines.
This African recitative presents a challenge to the Western
flute performer who likely has had no personal experience with
this style of music; to better understand how to perform it,
performers can view Nigerian movies with oja flute per21
formances such as Lion of Africa. This movie shows the
typical declamatory style of an oja performance and the
primary role oja players have in Igbo culture. Here, each
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Compositions for Flute

by African Composers
Quessie Adjahoe (Ghana)
J. H. Kwabena Nketia (Ghana)
Futoa Susu Be Yewom, solo atenteben and pf

Atenteben Highlife No. 1, 3 atenteben
Atenteben Highlife No. 2, 3 atenteben
My Signature Tune, solo atenteben and pf
Agbadza Series No. 1, 3 atenteben and African perc.
Agbadza Trio, 3 atenteben and African perc.
BCfoC Ba (Canzona)*, solo treble instrument

Canzona,* fl, ob, and pf
Cdasuom (Midnight)*, ob and piano
Cox Lane Sextet For Wind and Percussion No. 1,* fl/picc,
cl, tr, xy, timp, snare
Dantuo Mu AwC (Traditional Nnwomkor C Song),*
3fls and pf
Egyanka Ba (After Kakaiku),* fl and pf
Ewe-Fon Trilogy No. 3 Dance of Joy,* fl and pf
Four Flute Pieces,* fl and pf
No. 1 Thoughts of Youth
No. 2 A Widows Prayer
No. 3 This is Death
No. 4 Asuo Meresen
Gya Me Kwan (Canzona),* fl and pf
Kwadede (Folk Song),* vln and pf
Republic Suite,* fl and pf
Sataso Na Agor C WC,* 2 fls and pf
Ephraim Amu (Ghana)

Pipe Trio, 3 atenteben
Pipe Tune no. 1, 4 atenteben
Prelude, atenteben, and pf
Michael Blake (South Africa)

Honey Gathering Song, fl and pf
Akin Euba (Nigeria)

Study in Polyrhythm No. 3,* fl and pf
Stefans Grove (South Africa)

Sonata for Flute and Piano, fl and pf
The Soul Bird: Quatre Tableaux, fl, vc and pf
Hendrik Hofmeyr (South Africa)

The Death of Cleopatra, voice, fl, alto fl, b cl, hn, vibr, hp,
vla, cb
Due Sonetti di Petrarca, voice, fl, vc, and pf
Flute Concerto, fl and orch
Fragment from Prometheus Unbound, voice, fl, cl, hn, mar,
vibr, hp/pf, vln, va, vc
Incantesimo, solo fl
Le Bateau Ivre, voice, fl, hn, vibr, gong, hp, and vc
Marimba, solo fl
Notturno Elegiaco, fl, vc, and pf
Prayer for the Bones, voice, fl, vc, and pf
Hans Huyssen (South Africa)
Fred Onovwerosuoke (Nigeria)

Three Pieces for Flute and Piano*
Ayevwiomo, fl and pf
Iroro (Reminiscence), fl/alto fl and pf
Just Before Dawn, fl, pf, and narrator
Five African Sketches for Flute, Violin, and Piano*
Landscapes of Africa,* a fl/alto fl/picc with full orchestra
Variations for Solo Flute*
Martin Scherzinger
Piece for Flute and Piano, fl and pf
Justinian Tamusuza (Uganda)

Abaafa Luli (They Who Died Then), woodwind quintet
Ekivvulu Ky-Endere (An African Festivity for flute) ,
fl, vla, hp, marimba, maracas Okwanjula Kw-Endere
(Introduction of the Flute) , solo flute
The Cattle Are Going Home, fl, vc, and pf
Ato Turkson (Ghana)

Ashenafi Kebede (Ethiopia)
Three Pieces, fl and pf
Minuet for Flutes & Pipes,* fl or panpipe, shakuhachi,

udachi-bass
Joshua Uzoigwe (Nigeria)

Oja Flute Suite,* fl and pf
Gyimah Labi (Ghana)

Visions I, II, III, IV, V, fl, bass cl, pf
Bongani Ndodana-Breen (South Africa)

Visions, Part I and II,* solo flute
Apologia at Umzimvubu,* fl, vln, vc
24
nfaonline.org
*unpublished or available from the composer

International Opus
University of Ife Press
available from African Music Publishers
available online from Sibelius Music
wrestler travels with his own personal oja player, whose role is
twofold: to energize the wrestler for upcoming matches and to
act as an intermediary between the wrestler and the gods.
Joy Lo-Bamijoko writes about oja performance that It
must be remembered that the players of oja perform for
dance and drama, not for concert. The musician not only
22
incites with his music, but is incited by it. Bearing this in
mind, the flute performer is free to interpret the given
phrases of motives as felt, and to pause at will in between
each one. Strive to capture the kind of energy inherent in
improvisatory music.
The second movement, Ogbe Nkwa, is based on the dance
of the Ogbe, a clan of the Igbo tribe. The A section of this
movement (shown in example 12) is in A-B-A form and
combines pentatonic harmonies, gentle cross-rhythms, and
sweeping melodic lines. The B section, which modulates
down by half step to a B pentatonic scale, is more rhythmic
in nature.
Uzoigwe adds accidentals in the flute part to give the melodic

line a sense of direction. This was done by outlining tonal centers that have only a vague relationship to those of traditional
23
music. Another reason Uzoigwe does this is to avoid obvious
tonal implications. The syncopated rhythmic patterns in the
piano part and quick tempo lend to the playful mood of this
piece. The flute part uses additive rhythms, changing the
grouping of the eighth notes, especially in the middle section.
In todays increasingly global society, performers looking for
new repertoire with multicultural appeal will find new possibilities in African art music. Repertoire that encourages teachers
and students to expand rhythmic and interpretative skills
improves their performance of traditional repertoire as well.
Wendy Hymes has BA, MM, and DMA degrees from Principia
College, Indiana University, and Louisiana State University
respectively, and has taught at LSU, Southern Illinois University
at Edwardsville, and Jefferson College. She has performed with
the Louisiana Philharmonic Orchestra, the St. Louis Symphony,
and the Union Avenue Opera and given recitals nationally and
in England, Ghana, and Nigeria. Her solo CD African Art
Music for Flute is planned for release soon.
Endnotes
Ex. 12 Joshua Uzoigwe, Oja Flute Suite, Ogbe Nkwa, mm. 16

The last movement, A Sketch for Trombone or Flute, was
written in 1986. Its bitonal nature reflects Uzoigwes fluency
with contemporary 20th-century compositional techniques.
Here he combines D major and B-flat major in the treble and
bass parts of the piano respectively:
Ex. 13 Joshua Uzoigwe, Oja Flute Suite, A Sketch for

Trombone or Flute, mm. 12
1. J.H. Kwabena Nketia, African Art Music (Accra, Ghana: Afram Publications
Ltd., 2004), 5.
2. Ademola Adegbite, The Present State of Development of African Art Music
in Nigeria, in African Art Music in Nigeria, ed. M.A. Omibiyi-Obidike (Nigeria:
Stirling-Horden Publishers Ltd., 2001), 77.
3. Ibid., 77.
Ltd., 2004), 5.
5. Akin Euba, Concepts of Neo-African Music as Manifested in Yoruba Folk
Opera, in The African Diaspora, ed. Ingrid Monson (New York and London:
Garland Publishing, Inc., 2000), 238.
6. J.H. Kwabena Nketia, African Art Music (Accra, Ghana, Afram Publications
Ltd., 2004), 9.
7. An elucidating study on this topic is Kofi Agawus Representing African
Music: Postcolonial Notes, Queries, Positions (New York, London: Routledge,
2003).
8. J.H. Kwabena Nketia, African Pianism: Twelve Pedagogical Pieces (Accra,
Ghana: Afram PublicationsLtd., 1994) iii.
9. Bongani Ndodana-Breen, e-mail message to author, September 21, 2006.
10. Ibid.
Ltd., 2004), 21.
12. Interview with Fred Onovwerosuoke, September 2006.
13. Isolugus range from bass to soprano range.
14.Interview with Fred Onovwerosuoke, September 2006.
15. Ibid.
16. Justinian Tamusuza, Ekitundu Ekisooka: Okwanjula KwEndere (Richmond:
International Opus, 1996), cover notes.
17. Peter Cooke, Music in a Ugandan Court, Early Music 24, no. 3 (August
1996), 439.
18. Ibid., 448.
19. Ibid., 92.
20. See also Uzoigwes Talking Drums (1992) for solo piano whose first and
fourth movements are based on Igbo music and the second and third movements are based on Yoruba music.
21. Lion of Africa, Nnadi Andy Best and directed by Simisola Opeoluwa, Andy
Best Electronics Limited.
22. Joy Lo-Bamijoko, Performance Practice in Nigerian Music, Black
Perspective in Music, 22, no. 1 (Spring 1984): 11.
23. Joshua Uzoigwe, African Pianism: The Problem of Tonality and Atonality,
in Towards African Pianism: Keyboard Music of Africa and the Diaspora, (Point
Richmond: MRI Press, 2005), 109.
nfaonline.org
25
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Commissioned
Works from the
High School
Soloist
Competition:
Elizabeth Browns
Trillium
by Ronda Benson Ford
Competitors performing Trillium were

provided with a fingering system that
was devised by the composer specifically
for playing this piece. The works fingering aid was influenced by shakuhachi
music traditions.
Editors note: This is the final in a four-part series about the National Flute Associations High School Soloist
Competition, which is presented annually at the NFA convention in August.
n 1999, the NFA commissioned Elizabeth Brown to

create a piece for the 2000 NFA High School Soloist
Competition. Although Brown was hesitant to write for
this competition, one of her New York colleagues, Jayn
Rosenfeld,1strongly encouraged her to do so. Browns main
concerns were whether she could write a piece that would
be appealing to high school students, within their expected
abilities, and not too difficult technically.2 The range of this
1
3
work extends from c to a , which is well within the abilities
of advanced high school students. In writing specifically
for the competition, Brown ensured that her piece could be
played on a closed-hole C foot flute, and limited the alternate fingerings and techniques required to those possible
on this flute, which is a requirement of the competition
rules regarding the commissioned work.3
According to Brown, she did not compose specifically to fit
the title, but rather named the piece Trillium while working
on it. As she was composing in the summer of 1999, she
remembered seeing white trillium flowers in full bloom during
a spring walk earlier that year. As an avid gardener, Brown
appreciates the beauty of the solitary trillium4 flower and
thought that Trillium would be an appropriate title for the
solo piece because it contained many trills. Brown describes
28 The Flutist Quarterly Winter 2008
nfaonline.org
her own music as understated and a bit melancholy, and

the white trillium flower best expresses the mood of what
she was attempting to convey in the piece.5 Although trillium
flowers occur in a variety of colors, Browns notes to performers describe the trillium as a woodland wildflower
with leaves and white petals in threes.6
The finalists of the 2000 NFA High School Competition
presented the premiere of Trillium on August 17, 2000, in
Columbus, Ohio.7 The performers impressed Brown with
their high level of playing ability.8 Later during the convention,
Brown gave a two-part presentation titled Meet The
Composer: Elizabeth Brown. For the first part, Brown presented a masterclass on Trillium; for the second part, she
performed one of her own works, Acadia for Flute and
Shakuhachi (1999) with Jayn Rosenfeld performing on flute
and Brown performing on shakuhachi.9
Brown wrote Trillium in ternary ABA form. Although it is
neither major nor minor, a tonal center of E prevails at the
beginning and end of Trillium. Brown intentionally may have
chosen to begin and end the piece with a tonal center of E to
accommodate limitations of a C-foot flute. Trillium contains
six motives in the A section, presenting these in various tonal
centers and in fragmentation throughout the piece.
Fingering Aids
Brown provides program notes and a fingering index for
the performer. The fingering index aids the performer in
learning alternate fingerings, trills, and tremolos necessary to
perform Trillium. She explains that many of her compositional
ideas derive from alternate fingerings and experimentation
with the flute. Her notes to performers at the beginning of
Trillium state:
The flute language of Trillium is influenced by
Japanese shakuhachi music and birdsong. There are
a number of unusual timbres and trills, many
involving microtonesa microtone is an interval
smaller than a half step. Fingerings are included
when they appear for the first time and when they
havent occurred for a while. Some of the alternate
timbres (indicated by an x above a note) sound
weak or mothy; this is intentional. There is a fingering index on the last page, along with suggestions for
learning some of the sequences.10
Extended techniques employed in Trillium include
microtones, microtonal progressions, alternate fingerings
required by Brown, harmonics, nonstandard trills, tremolos,
multiphonics, and pitch bending. For some of the alternate
fingerings in Trillium, Brown experimented with standard
flute fingerings and then invented her own fingerings to
achieve the sound she liked the best.
Microtones are intervals smaller than half steps,11 and
microtonal progressions contain several notes in series made
up of microtones. Brown notates microtones in both ascending
and descending patterns in Trillium. Between notated pitches,
she identifies a microtonal progression by alternate fingerings illustrated above each pitch, creating as many notes as
there are stems.12 It is important not to overblow when
playing microtones to avoid playing a pitch other than the
one notated. An example of a microtonal progression is
shown in the second measure.
requires three different fingerings to produce C-sharp ; the

first fingering is a harmonic fingering, the second is the
standard fingering, and the third is the alternate fingering
required by Brown.
Ex. 2. Trillium, measure 8
Harmonics consist of a series of frequencies, all of which are

multiples of a single frequency known as the fundamental
pitch.14 For the intended harmonics in Trillium, Brown shows
two simultaneous pitches in the music: the lower pitch provides
the correct fingering, whereas the higher note with a circle
(0) indicates the desired pitch. I find it helpful to roll the flute
slightly outward when playing the harmonics to ensure that
they come out easily and in tune.
The standard fingerings for half and whole step trills cannot
be applied in Trillium. Instead, Brown uses nonstandard
trillsher own fingering system for all trills in the piece. She
inserts these directly into the music, which is very helpful
because the flutist would otherwise tend to revert back to the
standard trill fingering. Brown explains that all trills in Trillium
are either timbral or microtonal, and should sound more like a
shimmer15 than a conventional trill.16 An example of a nonstandard fingering for a trill can be found in measure 11.
Brown instructs the performer to use several alternate fingerings in Trillium. These fingerings are influenced from
Japanese shakuhachi music, which does not contain uniform
sounds. Several fingerings in shakuhachi music produce the
same pitch, but these are considered to be completely different
notes that are not interchangeable. The tone color of a note is
as important as the pitch in shakuhachi music.13 This concept
is similar to a single word that has multiple meanings or
implications that are unique, depending on its usage. Brown
applies this principle to Trillium in measure 8, where she
Tremolos are defined by James Pellerite as rapid alternation

between two intervals of at least a minor third or larger.17
Brown provides the fingering necessary to produce each
tremolo, and utilizes an upward ascending line to indicate that
the tremolo should be overblown to a particular pitch. In
Trillium, Brown utilizes only major and minor thirds for the
tremolos. To achieve the maximum amount of tonal variety in
the tremolo, the flutist can practice producing all the harmonics between the lowest and highest written notes. In measure
1
1
23, the flutist begins by producing the tremolo D-flat to f
and then must overblow while continually fingering the
3
tremolo to eventually produce f as indicated.
nfaonline.org
29
Commissioned Works from the High School Soloist Competition: Elizabeth Brown
Multiphonics and Pitch Bends

A multiphonic is the production of more than one pitch
simultaneously from a single wind instrument.18 Trillium
contains only two different multiphonics,19 each with two
pitches. The first multiphonic in measure 34 contains an
interval of a perfect fourth, in which the flutist simultaneously plays b1 and e2. The second multiphonic contains an
interval of a minor third, in which the flutist simultaneously
2
2
plays d and f . The flutist must use the fingerings indicated
by Brown in order to properly produce the multiphonics.
Brown describes the multiphonics in her piece as fingerings
that are false. They will not be either pitch. If you play softly
with an uncentered sound, this is what happens. 20
Stokes and Condon recommend practicing each note of
the multiphonic separately. After the flutist has practiced the
individual notes, then the flutist should make an
embouchure compromise between the two pitches to get the
notes to sound simultaneously.21
I find it helpful to aim the air stream more toward the
lower pitch, as the upper pitch of the multiphonic seems to
respond easier than the lower pitch. Both multiphonics used
in Trillium are shown in measure 34.
written for unaccompanied flute, some flexibility with regard to

breathing is available to the performer. Brown comments that
she has heard some people play Trillium quite differently than she
imagined, but she has still enjoyed each performance and is happy
to have written something with a little flexibility built into it.23
Trillium is written in ternary form ABA, as shown in the
following analytical outline:
Section
Measure Numbers
A
B
A
Coda
126
2769
7087
88103
Measure 1 contains the first motive, which has a tonal center

of E and is written in traditional notation with no extended
techniques. This motive is also transposed in the piece to a
tonal center of A.
Later variations of this motive include the use of grace notes,

as illustrated in measures 1213.
Ex. 9. Trillium, measures 1213
Ex 6. Trillium, measure 34
Brown uses pitch bends in combination with tremolos. Robert

Dick explains that pitch
bending is the changing of the pitch without change
of fingering. Basically, this is done by rolling the flute
inwards to lower the pitch and rolling it outwards to
raise the pitch. Embouchure adjustments are made as
a matter of course to adjust to the very different
angles of the airstream. Regardless of the pitch being
played, the flute will always bend downwards further
than it will upwards.22
Measure 2 contains the second motive and emulates the

sound of Japanese shakuhachi music through the use of
alternate fingerings and a microtonal glissando.
Brown uses pitch bending in measures 3133 of her piece, as

shown in the example below.
As a flutist herself, Brown intentionally included all breath

marks in Trillium to help the performer. She even identifies a
few optional breath marks within parentheses to divide longer
phrases. Based on the composers own performance of Trillium,
the breath marks clearly define each phrase. Because Trillium is
nfaonline.org
Motive three begins on the fourth beat of measure 3 and

continues to the breath mark in measure 4. This motive
again contains no extended techniques and is made up of
primarily stepwise motion. A fragment of this motive appears
at the end of measure 13 and several times in the B section.
Because Trillium is written for

unaccompanied flute, some flexibility
with regard to breathing is available to the
performer. Brown comments that
she has heard some people play Trillium
quite differently than she imagined,
but she has still enjoyed each performance
and is happy to have written something
with a little flexibility into it.
Daniel Stein took first place in the 2000 High
School Soloist competition, which featured Trillium.
Ex. 11. Trillium, measures 3, 4, and 13
Measures 811 contain the fourth motive, comprised of

harmonics and several alternate fingerings, which again
are meant to represent the shakuhachi sound. The tonal
center for motive four is C-sharp. These measures also
represent the initial climactic point of the A section, due
to the excitement created by the extended use of 32nd
notes and resolving with a nonstandard trill. Measures
810 provide the most timbral variety heard thus far in the
piece and also introduce the concept of a three measure
repeated pattern that could possibly represent the
trillium flower.
Measures 1415 include the first use of tremolo, and introduce the fifth motive of the piece. This tremolo utilizes the
3
interval of a major third and contains the highest pitch, f , in
the A section until the end of the section.
Measures 1617 contain a rhythmic augmentation of measures 89, using a fragment of the fourth motive. Measures
1617 contain the penultimate climatic point of the A section
due to the first use of the fortissimo dynamic marking.
Measures 1920 contain the sixth motive. This motive

serves as the basis for the coda at the end of the piece, and
uses traditional notation with no extended techniques.
nfaonline.org
31
The performer should observe Browns dynamic marking in

the B section to ensure that the multiphonic can be produced
with ease.24
Measures 2325 contain the fifth motive. Measure 25 has a

tremolo containing the interval of a minor third, reminiscent
of the intervals used in the first motive, and contains the
3
highest pitch, G-sharp , of the entire A section. Measure 25 is
the ultimate climactic point in the A section.
Motive 9 occurs in measure 31 and combines the use of

tremolo with pitch bending. The flutist must roll the flute in
toward the lips to bend the pitch flat and out or away from
the lips to sharpen the pitch, while continuing to move the
necessary fingers to produce the tremolo.
Measure 26 serves as a short transition from the A section to

the B section, and uses a microtonal segment from the second
motive.
Measures 3738 contain a rhythmic double augmentation of

measures 89. This concept also applies to measures 4750
and measures 5354.
Most of the B section is quiet because of the extended use of

multiphonics, which must be played at a soft dynamic level to
produce the multiphonic properly. The overall tempo of the
B section is faster than the A section, until the ritard beginning in measure 63, which helps to set up the return of A. The
initial tempo marking is notated as crisp and odd; the
crispness represents staccato marking, whereas the oddness
results from a combination of microtones, multiphonics, and
pitch bending.
The B section of Trillium introduces three new motives,
with the remainder of the material derived from the motives
in the A section. Motive 7 in measure 27 combines the simultaneous use of two extended techniquesalternate fingerings and pitch bending. The rhythm of motive 7 resembles a
fanfare. The quartertones along with the use of several alternate fingerings imitate the sound of the shakuhachi.
Motive 8 appears in measure 28 and contains the first use of

multiphonics in the piece. The interval of a minor third created by the multiphonic recalls the minor third from motive 1.
nfaonline.org
The B section reaches two individual climactic points. The

first climactic point occurs in measure 52 and contains
3
an f-sharp , which is the highest pitch of the B section thus
far and also the loudest point of the B section, marked as
fortissimo.
Measures 6369 contain the transition to the return of A

section. The B section gradually slows down, and measures
6566 include a series of nonstandard trills, with the last
3
3
trill, G-sharp to a , containing the highest note of the piece
thus far and representing the second climactic point of the
B section. Brown alternates back and forth between the two
different multiphonics in measures 6667 and 6869.
The return of A begins in measure 70. Measures 6989 are

an exact repetition of measures 120. Measures 88103
form the coda. Measures 8890 introduce a three-measure
rhythmic pattern that repeats three times, continuing the
pattern of threes similar to the trillium flower. Brown
wrote several versions of measures 88100 to obtain the
right metric feel for the end of the piece. She even considered making every three bars equal to one bar, so if the
pattern beginning in measure 88 would have been in 3/4
time signature, there would have been six notes on every
beat. Ultimately, she decided to keep the 3/8 time signature
to match the A section.25 Beginning in measure 91, the first
two measures of the rhythmic pattern contain an A major
chord that reverts to an A-flat major chord in the third
measure, creating a slight hesitation in the ending of the
3
piece. A sequence down by step begins with the trill on a
3
3
in measure 99 followed by descending trills on g and f .
The climax of the entire piece occurs in measures 99100
3
on the a trill.
Painstaking Work
Brown describes herself as an extremely slow and painstaking
composer. She does not think in theoretical terms when
composing. She changes tonal centers to accommodate
sounds that she prefers. Unlike other composers, she rarely
revises anything she has completed, because during the
composition process she may have written many versions
of the piece only to decide on the version she feels best
expresses her thoughts.26
Brown describes her music as intimate, personal, lyrical, and
melancholy. She writes primarily chamber music for specific
musicians, and uses microtonal gestures or inflections within
a predominately tonal language. Instruments shadow and
echo one another, and at times the sound completely dissolves and slides away.27
Like Messiaen,28 Brown has studied birdcalls and uses these
as a point of departure for her compositions. To imitate
birds, she uses nontempered scales and the contour or shape
of a birdcall rather than its exact melody. She mimics the
rhythm in birdcalls with an amount of repeating or spacing
between repetitions. Unlike other composers, she does not
intentionally represent birdcalls through the use of trills or
tremolos. Her trills and tremolos evolve from playing
shakuhachi, and represent the extended flute language she
has created for her compositions.29
Brown studied flute with Robert Cavally, Harold Bennett,
and Samuel Baron. She has taught flute through the
advancement program at the Juilliard School and composition
through the Hartt School of Music.30 Several companies and
flute organizations have commissioned works by Brown,
including the Brannen-Cooper Fund, the National Flute
Association, the New York New Music Ensemble, the New
York Flute Club, the Long Island Flute Club, Flute Force, and
the Los Angeles Department of Cultural Affairs.31
Ronda Benson Ford is second flutist with the Topeka
Symphony and has played with orchestras in Missouri,
Kansas, Illinois, Texas, and Arkansas. She received her doctoral
degree in flute performance and pedagogy from the University of
Southern Mississippi, her masters degree in flute performance
from Illinois State University, and her bachelors degree in
music education from the University of Central Arkansas.
All music examples copyright 1999 by Quetzal Music.
Endnotes
1. Jayn Rosenfeld has been president of the New York Flute Club and is the principal flute of the Princeton Symphony. Her teachers include James Pappoutsakis,
William Kincaid, and Marcel Moyse. Kyle Dzapo, ed., Coming Together: Primary
Sources and New Perspectives, 2005 NFA Convention in San Diego, California.
(Santa Clarita, CA: The National Flute Association, Inc., 2005), 197.
2. Elizabeth Brown, interview by author, 29 November 2004, Lenexa, KS, tape
recording by phone.
3. Ibid.
4. Trilliums, also known as birthroot, stinking Benjamin, trinity flower, wakerobin,
and wood lily are hardy perennials native to North America and Asia. These solitary plants feature three large, flat, pointed leaves growing horizontally and large,
single, three-petaled flowers of white, pink, yellow, or red. Fully grown trilliums
range in height from six inches to eighteen inches. Eileen Powell. The Gardeners
AZ Guide to Growing Flowers from Seed to Bloom. (North Adams, MA: Storey
Publishing, 2004), 350.
nfaonline.org
33
5. Elizabeth Brown, interview by author, 29 November
12. Elizabeth Brown, Trillium, Quetzal Music, 1999.
Dictionary of Music, (Cambridge, MA: The Belknap
2004, Lenexa, KS, tape recording by phone.
Press of Harvard University Press, 1986), 515
7. George Pope, ed., Odyssey: A Flutists Journey
14. Don Michael Randel, ed. The New Harvard
(Santa Clarita, CA: The National Flute Association,
Dictionary of Music, (Cambridge, MA: The Belknap
Inc., 2000), 51.
Press of Harvard University Press, 1986), 364.
21. Sheridon Stokes and Richard Condon, Special
Effects for Flute (Santa Monica, CA: Trio Associates,
16. Of the commercially available trill charts for the
1976), 10.
9. George Pope, ed., Odyssey: A Flutists Journey
flute, most use the same fingering for half and whole
22. Robert Dick, The Other Flute: A Performance
(Santa Clarita, CA: The National Flute Association,
step trills. James Pellerites book is one of the most
Manual of Contemporary Tech-niques, 2d ed. (St. Louis,
Inc., 2000), 78.
comprehensive books of fingerings for the flute, and
MO: Multiple Breath Music Company, 1989), 140.
includes standard as well as alternate trill fingerings
11. Daniel Stein, first prize winner of the 2000 NFA
when available. James Pellerite, A Modern Guide To
High School Soloist Competition, provides a basic
Fingerings For The Flute, 2d ed. (Van Nuys, CA:
24. In Dicks book, he states that the production of
introduction to these microtones in Trillium. Daniel
Alfred Publishing Co., 1964), 12-17.
multiphonics can be produced by following a four-
Stein, Microtones in Trillium for solo flute, Flute
17. Ibid, 18.
step procedure: 1. Play each pitch separately to
Explorer, March 2003, 12-13.
18. Don Michael Randel, ed. The New Harvard
find its dynamic range, embouchure position, angle

of the flute; 2. Determine which is the weaker or
weakest resonance; 3. When playing the pitches
together, the jaw position will be that of the lowest
pitch, the airspeed will be one that is included in
the dynamic range of all the pitches; 4. Generally,
but not always, the embouchure formation can be
defined as the lower lip functioning to define the
bottom of the air stream, ensuring that the air stream
is deep enough into the embouchure hole to produce the lower pitch, and the upper lip is pursed
forward so that it defines the top of the air stream,
insuring that it reaches the proper angle to produce
the higher pitch. Robert Dick, The Other Flute: A
Performance Manual of Contemporary Techniques,
2d ed. (St. Louis, MO: Multiple Breath Music
Company, 1989), 83.
25. Elizabeth Brown, interview by author, 29
November 2004, Lenexa, KS, tape recording by
phone.
26. Ibid
27. Ibid
28. Olivier Messiaen (19081992) was a French
composer who actually notated the songs from a
wide variety of birds. He then incorporated many of
these into his works, particularly after 1950. Don
Michael Randel, ed., The Harvard Biographical
Dictionary of Music (Cambridge, MA: The Belknap
Press of Harvard University Press, 1996), 582-583.
29. Composer and flutist Elizabeth Brown, interview
by author, 29 November 2004, Lenexa, KS, tape
recording by phone.
30. Ibid.
31. Elizabeth Brown, Elizabeth Brown the
Composer,http://www.elizabethbrowncomposer.co
m (2002), accessed 02 November 2004.
High Velocity Alert!

Start planning for the 2008 convention
in Kansas City, Missouri now! Book
your rooms at the Hyatt Crown Center
or the Westin. Find links to these hotels
and other information at nfaonline.org,
and check the site often for additional
information as it becomes available.
nfaonline.org
TO YOUR
HEALTH
At the 2007 NFA convention, a performance health
seminar featured physicians with special skills in
performance-related concerns. Earlier, another
organization hosted a conference to develop materials and standards for health promotion in schools.
The two presentations are summarized here.
by Amy Likar, DMA, Ralph Manchester, MD, and Michael Weinstein, MD
Health Promotion in Schools of Music
he National Association of Schools of Music is the accrediting body for approximately 600 schools, conservatories,
colleges, and universities in the United States. The schools
belonging to NASM agree to follow the standards, procedures,
and guidelines defined by the organization. In its 20032004
Handbook, NASM defined a new guideline encouraging institutions to assist students to acquire knowledge from qualified
professionals regarding the prevention of performance injuries.
In response to the new guideline, a Health Promotion in
Schools of Music conference, organized by the Texas Center
for Music and Medicine, the University of North Texas, and
the Performing Arts Medicine Association, was held
September 30October 2, 2004. The mission of the conference
was to develop core materials for health promotion, develop
materials specifically for NASM school students, increase
NASM school administrators and faculty awareness of and
ability to access resources for students, develop unity, and provide a foundation for future research and policy development.
I was privileged to attend the conference as the American
Society for the Alexander Technique liaison. AmSAT is one of
25 organizations, associations, and societies that have agreed
to partner with the Health Promotion in Schools of Music
project. I am a member of the National Flute Association (Lee
Van Deusen was the liaison), Alexander Technique
International, and Andover Educatorsall of which are partnering organizations for the Health Promotion Initiativein
addition to being a member of PAMA, one of the sponsors of
the event.
Task force groups were organized in four areasneuromusculoskeletal health, mental health, audiological health, and
vocal healthto create core content recommendations for
NASM schools of music.
nfaonline.org
The declarations and recommendations that came out of

that conference were presented to the NASM board in 2006
and then published in the Journal of Medical Problems of
Performing Artists in September 2006. In addition, three follow-up articles were published in MPPA describing current
course offerings at various NASM schools in the United
States, as well as several schools in Europe as recommended
by HPSM.
The Declarations
Performance injuries are preventable. A holistic approach that
encourages wellness and personal responsibility is necessary
for prevention. Schools of music should focus on prevention
education in addition to supporting efforts directed at treating diseases once they have occurred.
Schools of music do influence student behaviors through
factors such as collective values, beliefs, and actions. These factors need to be considered and modified as crucial first steps
toward reducing the rate and severity of performance injuries.
A health promotion framework offers a common philosophical
and practical basis for such efforts, and would allow for effective
and sustainable prevention-oriented educational efforts.
Without diminishing the concerns for musculoskeletal,
vocal, and mental health, schools of music should recognize
that noise-induced hearing loss is a widespread and serious
public health issue and that music is always implicated as a
causal factor. This problem receives little or no recognition in
schools of music. A high-priority strategy is needed for
informing all music students about the risks for noise-induced
hearing loss.
Because many of the physical, psychological, and sociological determinants for performance injuries are well established
before young musicians attend college, schools of music must
prepare health-conscious music educators and produce
Amy Likar, DMA
Ralph Manchester, MD
Michael Weinstein, MD
injury-free musicians. Music education faculty must acknowledge the possible negative consequences of learning and
performing music and prepare future teachers accordingly.
The Recommendations
Adopt a health promotion framework.
Develop and offer an undergraduate occupational
health course for all music majors.
Educate students about hearing loss as part of ensemblebased instruction.
Assist students through active engagement with health
care resources.
In response to these declarations and recommendations,
both the Music Educators National Conference and Music
Teachers National Association published position papers on
Health Promotion. To read MENCs position paper, visit
menc.org/connect/surveys/position/health.html. For more
information and a detailed report of the declarations and
recommendations, visit the health promotion in schools of
music Web site at unt.edu/hpsm.
Amy Likar is an active San Francisco Bay Area flutist, Alexander
Technique teacher, and Body Mapping teacher trainer.
Invest in Your Performance Health
n August 9, 2007, a presentation on performance health

was held at the NFA convention with moderator Lee
Van Dusen, DC; and panelists Marilyn First, flutist; Ralph
Manchester, MD; and Michael Weinstein, MD. This presentation covered information every flutist should know about
how to stay healthy to perform at the highest level.
In addition to the standard health problems that anyone
can experience, flutists are at increased risk of a variety of
conditions that can be caused by playing the flute or can otherwise interfere with performance. A paper by Spence in
A closer relationship
between music
educators and the
medical community is
needed to enhance the
students experience
learning and playing
the flute.
Medical Problems of Performing Artists, September 2001

(based on responses to a Web-based musicians health survey
and a survey done at the 1999 NFA convention) showed that
about half of flute players suffer from fatigue, headache,
stage fright, and eye strain. Other common problems were
respiratory allergies, TMJ problems, asthma, and hearing
loss. Due to the limited amount of research that has been
done on flutists health problems, its unclear if these issues
occur more frequently among flutists than other musicians.
Ralph Manchester, MD, from the University of Rochester
in New York, spoke of breathing and embouchure issues, as
well as head and neck problems. Michael Weinstein, MD,
from Virginia Mason Medical Center in Seattle,
Washington, spoke of performance problems related to the
use of drugs, alcohol, and cigarettes, and the medical evaluation, recognition of potentially serious problems, and treatment of tendinitis (including overuse syndromes).
Both medical practitioners emphasized the role of emotions
in performance and health, with a more in-depth discussion on
performance anxiety and depression. Both physicians also
encouraged good health and healthy habits, including a
proper warm-up routine, focus on proper posture, and
performance ergonomics. Clearly, a closer relationship
between music educators and the medical community is
needed to more effectively enhance the students experience
learning and playing the flute. Common injuries occur with
changes of repertoire, practice patterns, and technique.
A lively question-and-answer period occurred after the
formal presentations with the audience of 60 people.
Afterwards, and for the next several days, the guest speakers
joined Lee Van Dusen and Marilyn First at the performance
health care booth in the convention hall, so that individuals
could ask questions and seek advice. At the booth there were
also free materials about the Performing Artists Medicine
Association, free samples of the Journal of Medical Problems
of Performing Artists, and multiple free articles about performance-related health issues.
While some of these problems can be prevented by following
standard advice concerning healthy lifestyles, flute players
should be aware of the specific methods that can reduce the
nfaonline.org
37
To Your Health
medications such as nasal steroid sprays will control the
symptoms for most patients.
TMJ problems are not likely to be caused solely by playing
the flute, but the lower jaw position required to blow over
the aperture can aggravate an underlying TMJ problem.
Consultation with a dentist is the first step to take if a
flutist notices pain in front of the ears associated with eating
or performing. Dental problems such as a chipped front
tooth or wearing braces can cause difficulty with maintaining a comfortable mouthpiece position on the lower lip;
dentists and orthodontists can suggest ways of dealing with
these issues.
Playing the flute does not make asthma better (or worse),
but uncontrolled asthma can certainly interfere with playing
well. Modern asthma treatment includes long-acting steroid
inhalers and shorter-acting bronchodilators.
chance of developing a performance-related injury.

Performance anxiety (stage fright) can be managed by both
medication and other interventions, but proper evaluation
by a health care professional is an essential first step. Betablockers are effective for instrumental performers who get
physical symptoms in the setting of a solo performance or
audition, but cognitive-behavioral therapy and other
methods can work if given enough time.
Hearing loss is a known risk of being exposed to high
sound pressure levels, and many musical instruments
(including the flute) can produce over 100 dB. Testing for
hearing loss and consistently wearing appropriate hearing
protection are the two key steps to prevent hearing loss
over time.
A less common but potentially bothersome problem is
the appearance of a rash on the lower lip and adjacent skin
that is in contact with the mouthpiece. This is most often
caused by sensitivity to nickel, which is part of the alloy
used to make less expensive flutes. The only long-term
solution may be switching to a sterling silver, gold, or
platinum instrument.
Common health problems that can interfere with flute
performance can usually be managed so as to minimize the
effect on ones ability to play. Respiratory allergies are typically treated initially with nonprescription medications
(e.g., loratadine); if these dont work alone, prescription
Ralph Manchester, MD, has been providing care for students

at the University of Rochesters Eastman School of Music
and doing research on the musculoskeletal problems of
musicians since 1983. He is also a past president of the
Performing Arts Medicine Association and the editor of
Medical Problems of Performing Artists. Michael
Weinstein, MD, is a specialist in physical medicine and
rehabilitation at the Clinic For Performing Artists, Virginia
Mason Medical Center in Seattle.
Eurhythmionics
for Piccolo and Piano
by
Steve Kujala
What began as a modest piece entitled TAKE YOUR PICC (straight out of the famous Kujala family pun center)
was premiered at the 1979 NFA Convention in Dallas, TX. Now its outgrowth, EURHYTHMIONICS, has ended
XS DV D EHWWHU FUDIWHG DQG PRUH PDWXUH SLHFH RI PXVLF WKDW , IHHO LV QDOO\ ZRUWK\ RI WDNLQJ LWV SODFH DORQJVLGH
the growing concert repertoire for the piccolo.
-Steve Kujala
EURHYTHMIONICS is a hybrid of eurhythmy*, Europe ZKHUH PDQ\ RI P\ PRVW LQXHQWLDO

composers/heroes came from), rhythm, and phonics.
*Eurhythmy: rhythmical movement; a system of harmonious body movement to the rhythm of spoken words
progress
pp
press
nfaonline.org
he
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headjoints and
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40
nfaonline.org
WILL HOSKINS, JULY
2007;
ALL IMAGES COURTESY JANET MOYSE
Renaissance Man:
Louis Moyse (19122007)
by John Barcellona
A friend, colleague, and one-time musical partner

recalls the varied and virtuoso talents of flutist
Louis Moyse, who died July 30, 2007.
JIM BROWN
est known to younger generations of flutists as the

editor of volumes of flute repertoire, including Flute
Music by French Composers, Louis Moyse was much
more: a virtuoso performer on flute and piano, consummate
composer, pedagogue, scholar, poet, graphic artist, and
humanitarian. With more than 170 original compositions
(many unpublished), he is regarded as one of the most prolific
flute composers in history.
Born in Scheveningen, Netherlands, to French parents,
Moyse was raised within the rich cultural environment of
Paris. His father Marcel, one of the most revered European
flutists, provided him with a musical heritage from which he
would develop his own talents. As a youth, Louis Moyse was
inspired by many of the family friends. He often talked about
composer Bohulsav Martinu coming over for dinner. It was
Martinu, Moyse said, who most influenced him to become a
composer. Moyse entered the Paris Conservatory studying
flute with his father and Philippe Gaubert, piano with Isidore
Philipp and Joseph Benvenuti, and harmony and composition with Eugene Bigot. At 19, he won first prize on flute at
the Conservatory.
As a young professional, Moyse performed with the Moyse
Trio. His father, Marcel, played flute; his wife, Blanche
Honegger, played violin and viola. Of course Louis played
flute and piano. With such a versatile instrumentation, many
combinations were possible, and Moyse composed for them all.
Their many successful recordings brought them international
fame. Moyse also accompanied his father on all his famous
RCA Red Seal solo recordings.
In the late 1930s, just after Louis had accepted the position
of second flute with the Boston Symphony, World War II
broke out. Upon Hitlers invasion of France, the borders were
closed, and the family relocated to Marcels hometown of St.
Amour. The postwar economy was so bad that guitarist Andres
Segovia convinced the Moyse Trio to relocate in Argentina,
Left page, Louis Moyse nine days before his 95th birthday. Above, the Moyse
DuoJohn Barcellona and Louis Moysein 1988.
where they could teach at a new university. But after they

arrived, they learned that General Peron had closed the school.
Musical Traditions in the United States

The Moyse family came to the United States and in 1949
established residence in Vermont to teach at the new
Marlboro College. The Trio, with the help of their friends
Adolf and Herman Busch and Rudolf Serkin, cofounded the
Marlboro School of Music Festival (summer) and then the
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41
RENAISSANCE MAN: LOUIS MOYSE (19122007)
The final decade of Louis Moyses life was spent in Montpelier, Vermont. This picture was taken shortly before he turned 94, in 2006, when he was hard at work on an
arrangement of The Barber of Seville.
Brattleboro Music Center in Vermont. Moyse became an

American citizen in 1959. In 1974, he married the love of his
life, Janet White. They moved to Westport, New York, and
lived there happily for about 23 years.
It was during this period that I first encountered Louis
Moyse. In the mid 1980s, during an NFA convention, I met
Beverly Allison, a Houston flutist and student of Moyse.
Moyse had taken a hiatus from public appearances, and she
asked me if I would like to have him come to California State
University, Long Beach, where I taught, to perform and present a masterclass. Of course I jumped at the opportunity and
soon found myself on the phone with Louis and Janet
Moyse. We set up a monumental size class and concert. By
the time they arrived in California for the festival, the three
of us were already friends.
The concert and masterclasses were all sold out, as this was
the first time a Moyse had visited southern California in years.
Everyone was overwhelmed with Moyses compositions,
virtuosity, musical sensitivity, and compassionate teaching
at all levels, especially me. I was amazed that when we performed his compositions together for the first time, we were
musically sympathetic. It just seemed to magically click, and
we both felt it.
This astounded me, as we were worlds apart: I was a generation younger than he and brought up in the American
Kincaid tradition knowing almost nothing of the French
school. Nonetheless, enjoying our partnership, we soon
formed the Moyse Duo. We were dedicated to performing
Louis original compositions and the repertoire he recorded
and performed with his father, Marcel. A greater honor could
not have been bestowed on my career! Upon forming our
duo, Louis said to me, It is my job to introduce you to
Marcel Moyse.
We went on for some 10 years, performing concerts and masterclasses throughout the West, including California, Utah,
Washington, and Alaska. Any concert was not complete until
42
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we went out to celebrate with a scotch. On one occasion I had

to cancel our little postconcert hang to take someone to the airport. He never did stop complaining about that incident!
A major highlight for me came in 1987 during our second
masterclass/performance at a flute festival in Wenatchee,
Washington. On this occasion, Louis wanted to play several
of his flute duets from 30 Easy Duets in all Keys. He said
this would be his last professional appearance as a flutist. I
had long heard of his legendary gigantic rich and full tone
from many sources. On this occasion I got to experience it
first hand. I had to work my hardest and blow my brains
out to attempt to balance and match him. I dont think I
quite made it.
Another memorable moment was the second time Louis
and Janet joined me for the Fairbanks Summer Arts Festival.
I played principal flute in the festival orchestra as Louis conducted his Ballad of Vermont for large symphony orchestra.
A significant outcome from our many California concerts
was Louiss compositions for flute choir. At that time, I was
the founder and conductor of the Southern California Flute
Orchestra, a group comprised of professionals and my former
graduates. Louis enjoyed conducting this group so much
that every year he would compose a new piece for it. He
experimented with adding bassoon, cello, double bass, and
on one occasion guitar to the flute choir, which added an
extraordinary depth to the sound.
Later Years in Vermont

In 1998, Louis and Janet relocated to Montpelier,Vermont,
at the suggestion of his student, Karen Kevra. (See related
article.) Moyse soon became an important part of the
Vermont musical scene, which included his annual international masterclass, teaching lessons, coaching ensembles,
and working with the Montpelier Chamber Orchestra. Louis
and Janet also made trips to Japan, the Paris Conservatory
and St. Amour.
Moyse spent the last year of his life working diligently on an

arrangement of The Barber of Seville for flute choir, bassoon,
cello, and piano. It is about 45 minutes in length. It was
premiered at the culminating performance of his last
annual masterclass. He gave all his strength to conducting it
with the help of his friend and colleague Kenichi Ueda. He
knew it was his last concert, but was already planning a new
arrangement of Peer Gynt when he unexpectedly but peacefully
died nine days later.
Moyses energy and fortitude for the second half of his
career came from the love affair that he and Janet shared.
This was as strong and sincere a relationship as Ive ever
witnessed, and a testament to true love. They spent 24 hours
of each day together for 33 years. Their relationship can
best be described in Janets own words: We were soul
mates, friends, companions, and shared his musical career
for all these years. His love for me, as mine for him, was
what gave us the strength to carry on. Those who knew
him loved him, and their love and loss is being felt around
the world by so many.
It is often said that genius is not recognized in its own
time. Ive felt this way about Moyse ever since Ive known
him. His musical compositions in particular have not yet
reached the level of popularity they deserve. Louis Moyse,
like his teacher Philippe Gaubert, never wrote a bad piece
of music. Every note and chord has a purpose that communicates pure emotions. From the most simple of pieces
to the most complex, his music is always accessible.
Being both a virtuoso flutist and pianist, his works for this
combination are always idiomatic to both instruments. His
Introduction Theme and Variations is profound, and in my
estimation the Schubert variations of the 20th century. His
orchestral works, most of which remain unpublished, include
the Marlboroian Concerticoncerto grossi for various solo
ensemble groups (such as four flutes and orchestra, flute and
English horn with orchestra, etc.).
Moyses Hommage a Krishna for solo flute is the Syrinx
of the late 20th century. He also wrote a poem to go along
with this expressive solo work:
Louis with Janet, the love of his life, whom he married in 1974 and with whom
he spent every day for his remaining years.
TOP:
WILL HOSKINS, JULY 2007
I play for God only.

Offering Him the humble sounds of my flute
Wishing that my vibrations will reach His universe
Bringing peace in my heart,
Understanding in my mind,
Humility in my life,
Compassion for the human condition
You will be greatly missed dear friend, but never forgotten.
John Barcellona is professor of flute and director of woodwind
studies at California State University, Long Beach. A former
member of the Moyse Duo, he performs and records with the
Westwood Wind Quintet and Christopher Caliendos trio.
Louis Moyse in the 1960s, while he was at Marlboro college.

nfaonline.org
43
RENAISSANCE MAN: LOUIS MOYSE (19122007)
Memories and Musings

For the author, a former student and musical partner, Louis Moyse
inspired, taught, and delighted, not only with his music, but with his life.
by Karen Kevra
or as long as I can remember, I have

associated the name of Louis Moyse
with the flute. As a 9-year-old beginner
flutist, I accumulated volumes of Louiss
edited works, such as his ubiquitous 40
Little Pieces for Beginning Flutists and later
the mainstay Flute Music by French
Composers. By the time I became a teenager,
it seemed that the majority of the music in
my library had his name printed on it.
Everywhere I turned, I saw Louis Moyse.
Who is this guy? I used to wonder.
Karen Kevra and Louis Moyse in Saint-Amour, France, where Louis grew up.
44
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I played a Bach sonata and a French virtuoso piece for

him that day, and when I finished, he asked me, Why did
you come here? My answer was as spontaneous and as
natural as the question was fair. I came here because I
want to understand music.
Magnetism
As early as that first lesson, I felt the assuredness and
magnetic force of this extraordinary musician. Learning
from Louis Moyse was like an infusion. So often when a
student plays a piece for his or her teacher, the performance is followed by a phrase that is so predictable it is
almost clich: I played that so much better at home.
This was never my experience with Louis! I found that I
played my best when he stood beside mesinging, gesturing,
in his warm, insistent, tactile way. (The hard part was going
home and finding that it wasnt so easy to re-create the
magic of the lesson on my own.) Those first lessons were
intensely rich, exciting, and inspiring. They were also initially a bit confusing. Confusing because in spite of his
40-plus years living in the United States, his French
accent was so strong that it was a little like having flute
lessons with Inspector Clouseau.
It was in that first year that Louis suggested that I learn
his First Sonata. I found a pianist to read through it with
me, and we were astounded by the musicenticingly challenging for both of us and captivating and musically deep.
I was just as enthralled by his monumental Introduction,
COURTESY KAREN KEVRA
I was soon to discover that Louis Moyse was more than a

great pedagogue, prolific editor, composer of distinction,
world-class flutist, and pianist: he was also one of the
warmest and most generous men on earth.
Twelve years ago, at a postconcert reception at the
home of Jim Lowe, Barre-Montpelier Times Argus arts
editor, Lowe insisted that I listen to a 1972 recording
from the New England Bach Festival on which Louis was
flutist in the Ssser Trost aria from Bachs Cantata no.
151. I had never heard flute playing like this before. His
playing combined the passion and depth of a great voice
with a rich and haunting cellolike sound. I was completely under the spell of his playing, and I knew that I needed to seek him out.
Several months later the time came. With a mix of intense
excitement and trepidation, I drove from Montpelier, over the
Appalachian Gap, across Lake Champlain, to Westport, New
York, where Louis and his wife, Janet, lived at the time. It was
September 18, 1996.
For me it was a kind of flute pilgrimage. I was going to
play for the most venerated living flute guru. I remember
that first lesson vividly, from the magnificent twisted
locust trees that flanked the Moyses driveway, to my
initial sighting of Janet in her spectacular garden, to my
first unforgettable glimpse of a smiling Louis, as he
released the final chord of a Beethoven piano sonata, and
our eyes met for the first time. In that moment, I knew
my life was about to change.
Theme, and Variations. What a discovery! I remember

askingpesteringLouis to write a Second Sonata, and
he seemed to brush the idea aside. It became a kind of
annoying joke, for a period of about a year: Whenever I
saw him, Id say, Hows that sonata coming, Louis? You
can imagine my delight when after a lesson in 1998, with
a big grin on his face, he handed me the manuscript for
his Second Sonata.
In 2002, pianist Paul Orgel and I recorded Works for Flute
and Piano by Louis Moyse. We made the recording with a
sense of urgency and compelling desire to help Louis gain
overdue recognition as a composer.
Our wish came true in 2003, when the CD was nominated
for a Grammy Award. It was an excellent recording, but
there is no doubt in my mind that it was the musicLouiss
compositionsthat earned us the Grammy nomination.
Together we made a pretty big splash nationally. At the
same time, Louis also began to make his mark closer to
home, right here in Montpelier. At about that time, I
grumbled to him over lunch one day about the paucity of
performance opportunities in Vermont. Louis suggested
that I do as he had done years before during his time at
Marlboro: He encouraged me to invite my friends to
come to Montpelier to play. That was really the moment
of conception for Capital City Concerts. Over the next six
years, Louis coached rehearsals for several concerts, and
those performances overflowed with heart and joy and
passion. Without question, Louis was the inspiration and
one of the driving forces behind the series.
But not only was he inspiring, he was a charmer! About
the time I turned 35 I made a very grown-up decision: It
was time for me to give up the parka and Sorel boots in
favor of something classier. I purchased my first full
length, black wool coat. I wore it for several days expecting
a reaction from someone, but I had to wait until I saw
Louis before that happened. He noticed immediately, and
in the most honest way said Dear, you look very EH-layghant (elegant) in that long black coat.
Parisian Life and Love Louis was born before the automobile, and experienced boyhood in a kind of rural
innocence with his family in his native village of SaintAmour, in eastern France. Paris in the 1920s was his
training ground, and he had regular encounters with
Faur, Saint-Sans, Stravinsky, Messiaen, Prokofiev, and
Martinu. He even played piano duets with Duke
Ellington during that time! In the 12 years that I knew
him, Louis was quick to point out that I am not of this
time. He had something of a distrust of the telephone,
and complete disdain for computers. His distaste for the
modern age only made him more lovable.
Two years ago, in a coaching session I shared with my
colleague and friend the pianist Jeffrey Chappell, we
played a Romance by Widor. When we finished, Louis
reminded us that the piece was written for Paul Taffanel,
professor of flute at the Paris Conservatory when Louis
was a boy. He described Taffanels concert day routine
slowly elaborating the details. He described how Taffanel

would carefully clean and oil his flute, followed by a
lengthy walk around Paris, a leisurely nap, and a good
meal. He said, These people lived very differently than
you do now. They took the time to live. They took the
time to sleep. They took the time to talk. They took the
time to eat. They took the time to love. He told us that
this is what we needed to bring to the music. And we
knew how right he was.
In a letter dated March 13, 1997, Louis shared with me
some of his philosophy of life and spirituality: Without
love, life doesnt make too much senseI put God into a
modulation by Schubert, in the trees, in my love for my
dear Janet, in a sunrise or sunset, in nature, in everything
beautiful, in friendship.
And friends we became. Louis opened not only music
and his heart to me, but his home as well. And what a
home! I always felt as though time slowed down when I was
there. The place was sunny with the constant activity of
creative projectsboth of them engaged in fanciful art
projects, Janets enchanting landscaping projects, and
their shared prolific output of personal edition compositions and compilations, lovingly adorned with Louiss
whimsical and intricate doodles and Janets lovely poetry.
And then there was the food! If Louis was a master of
music, Janet was the queen of culinary excellence. I never
saw her consult a cookbook. Her meals were simple and
deliriously delicious, and strangest of all, I never once
saw her toil in the kitchen. Glorious dinners seemed to
appear before my very eyes. I have such memories of long
afternoons lingering over her killer Swiss fondue, her
yummy raclette, and her intoxicating garlicky escargot.
Her cooking made such an influence on me that I began
preparing these dishes at home. I cooked them so frequently
that they became some of my sons favorite dishes. Imagine
the look on the third grade teachers face when it was his
turn to share his collage of favorite foods conspicuously
void of pizza and hot dogs. (Let me tell you, it wasnt easy
to find a photograph of escargot!)
The weekend following Louiss death, I spent hours listening to my recorded coaching sessions with him. The
immediacy of his teaching, the vitality of his voice, and
the richness of his laughter were such reassuring gifts.
Louis Moyse was insistent and consistent.
There he wasspeaking to me again, asking me to
give life to your sound; give life to the phrase. Many
teachers will implore you to sing, but Louis wanted
more from his students, and he got it. But we were the
lucky recipients.
Karen Kevra is a performing flutist and the founder and
artistic director of Capital City Concerts in Montpelier,
Vermont. Her premier recording of Works for Flute and
Piano of Louis Moyse earned a 2003 Grammy nomination,
and Classics Today.com designated it as one of its top 10
CDs. See karenkevra.com.
nfaonline.org
45
Join the NFA member forum!

Everybodys buzzing about
the newest NFA membership
benefit the online forum,
where members can talk about
all things flute. Join an ongoing
conversation, or create a new
one of your own! Log on to
the members access page at
nfaonline.org and follow the
easy directions to join the fun!
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ORCHESTRAL TECHNIQUES FOR FLUTE AND PICCOLO:

AN AUDITION GUIDE
AN INSIDE LOOK AT SYMPHONIC TRADITIONS

BY
WALFRID KUJALA
Comprehensive instructional material on
excerpts from 28 orchestral masterworks
In this book, Kujala demonstrates repeatedly that true artistry is

born of strict self-discipline and the development of analytical skills
92 pages (9 x 12, softbound). Includes

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orchestral career of Walfrid Kujala.
7KH ZLVGRP KHUHLQ ZKLOH LQWHQGHG WR EHQHW WKRVH ZKR SOD\ WKH XWH
and piccolo, provides countless principles and insights for any musician who is in serious quest of a higher performance level.
progress
pp
Alan Heatherington, Music Director

Ars Viva Symphony Orchestra
Lake Forest Symphony Orchestra
press
THE INNER FLUTE
The
Mystic
Journey
by Suzanne Teng
Sometimes, occurences that appear to be misfortunes
turn out to be the events that galvanize a life. For
this flutist, her successful career began when she
realized that she had one contribution that no one
else on Earth could offer: herself.
KEVIN ROLLY
ho would ever have guessed that the shy

Chinese-American girl with long hair that fell
in her face would grow up to become the leader
of a contemporary world music band? Or that the little
flutist who sat in the second-to-last chair in the school
band would eventually perform on world stages playing
exotic wind instruments while dancing with flowing
scarves to thunderous African drums?
Certainly not me, that little girl, now a grown woman with
a trail of life experiencessome blissful, some miserable
that have shaped me into the person, flutist, and musician
that I am today.
The key to success in music and life became clear to me
when I realized that no one on this planet was better at being
Suzanne Wei Shiu Teng than me. It sounds so simple, but it
took me decades to realize that I didnt have to be the best
classical flute player, or the best ethnomusicologist, or the
best ethnic wind player to have a successful career in music.
As I reflect back on my path, I realize that what once seemed
like misfortunes turned out to be what made me strong,
confident, and independent, and that when I was open
enough to venture onto new and unknown paths, wonderful
worlds opened up to me.
My transformation occurred when I learned to follow my
inner voice and to honor my strengths.
For years I thought my only career choices as a flutist were
to play in an orchestra or teach at a university. I was raised to
pursue security, and that meant a job with a regular paycheck.
Today I make my living as a performer, recording artist,

composer, and teacher. My contemporary world music
band, Suzanne Teng and Mystic Journey, performs internationally and has released three award-winning CDs. I record
on soundtracks, offer flute meditations at a wide range of
events, and teach workshops on world flutes. Im not guaranteed a regular paycheck, but Ive found a niche that enables me
to be creative and rarely bored. When I face slow times or
rejection, what keeps me motivated even in these times of selfdoubt is remembering that I am the best me around, and that
my unique voice is what people enjoy hearing.
Stick with the Violin

Although I was born and raised in Berkeley, California, one
of the most open-minded and liberal places in the world,
I was raised in a relatively traditional household by immigrant parents. My three sisters and I all learned a stringed
instrument at school. I played the violin but realized at age
10 that I did not want to be second fiddle to my older
sister, and switched to the flute. My parents thought that
since I nearly died of pneumonia when I was a baby, I
wouldnt have the lungs for a wind instrument, and
advised me to stick with the violin. This was the first time
in my young life that I consciously stepped off the path
laid in front of me and chose my own. I had finally found
my voice. The flute became my passion and the identity
that I had been seeking since childhood when I struggled
with being an identical twin.
nfaonline.org
49
THE MYSTIC JOURNEY
Suzanne Teng and Mystic Journey (Gilbert Levy, Barry Newton, and Dann Torres).
Teng playing panpipes, among myriad world flutes on which she performs.
My dedication paid off, and I became a good flutist. I sat

first chair in band, won a school competition, played in youth
orchestras, and represented my school at the all-state honor
band. Shouldnt I continue on to a conservatory?
When my father advised that, since I loved gardening so
much, I should go to UC Davis (an agriculture school), I
agreed. He told me I could always play music on the side. I was
absolutely miserable while I majored in agricultural economics to get a real job.
What I later realized was that since I was at a university
where I didnt face much competition with other flutists, I
was able to play first chair in the
orchestra for four years, perform
concertos, and debut pieces on faculty
concertsexperiences that gave me a
tremendous amount of confidence.
What seemed like a detriment turned
out to be an asset. I finally learned
not to regret the decision made that
day while standing in the garden
with my dad.
After graduation, it was time to
either go for it, or realize that music
would just be a hobby for me. Graduate school and Boston, here
I come, and the biggest challenges I have ever faced in my life.
and my mothers suicide attempt. I managed to finish my

degree, but then needed to figure out how to make a living.
After the hardest year of my life, I moved in with my teacher,
Leone Buyse, and got a job as a music librarian at the nearby university.
I was in heaven. I had an amazing mentor to inspire and
guide me, I practiced for hours preparing for competitions,
I developed a strong yoga practice and felt like the phoenix
rising. Interestingly though, out of my calm and normal
routine came a person who changed my life.
Onye Onyemaechi is a Nigerian drummer, dancer, and healer
who asked me one day to play something for him on my Chinese flute. I
had studied the dizi at an exchange
program in Taiwan a few summers
back, but couldnt remember any of
the tunes that I had learned. He said,
just play.
What, me? Just play anything?
How? Without sheet music? The only
improvisations I had attempted before
were my assignments in baroque
ornamentation. He insisted, so I closed
my eyes and just played. Suddenly a whole new world opened up
to me. After that day, I started to improvise more and more and
was soon performing my original pieces with Onye and his
troupe of drummers throughout New England.
He said, just play.

Suddenly a whole new
world opened up to me.
When I chose to follow my bliss, I didnt realize itd be so difficult. My parents decided I was officially on my own, and
since I was no longer the obedient and dutiful Chinese daughter in their eyes, if I wanted to spend my life playing the flute,
Id have to learn how to survive in the real world the hard way.
I experienced poverty for the first time. I lived in Roxbury,
one of Bostons toughest neighborhoodsso rough that I
could never find a ride home after school concerts, not even
with a cab driver! Id ride my bike or take the public buses
through neighborhoods with housing projects and gunfire. I
learned to pray that year, and I also learned how lucky I was
that I could move out, up, and onward.
While I was working on my masters degree in flute at
Boston University, I also experienced the suicide of one of my
best friends, the breakup of my first long-term relationship,
nfaonline.org
Southern California
My growing passion for world music and ethnic flutes led me
to Los Angeles to pursue a PhD in ethnomusicology. I learned
much during my few years in the program, but my flute playing and creative spirit were suffering. I took a leave of absence
and rediscovered a sense of freedom that I hadnt felt since my
days playing with the drummers. When I had decided to move
to L.A., flutist Gretel Shanley offered to rent me her house in
Topanga, a little Bohemian town outside of the city, full of
artists and hippies. I jumped at the opportunity to live in the
mountains. So, no longer a student, and living in Topanga, I
rediscovered the freer side of my personality.
My hippie musician friends and I formed a band called
Topanga, and we started playing our own form of world
HELENE BARBARA
Difficult Bliss
CLEVE CHRISTIE
Tengs passion for world music and ethnic flutes led her to pursue a PhD in ethnomusicology. It was one step of many in her ongoing quest to find her own voice.
music hinting at rock and reggae. I didnt have a clear vision of

how I was going to make a living out of this new lifestyle, but
I felt so creative and content that I knew it was a path I wanted to follow. During those years I also joined an all-female
band featuring flute, harp, and cello.
Through sales of our CDs and performing as street musicians, we made good money and received lots of publicity. We
were offered a major record deal, performed for celebrities and
politiciansand as we were preparing for fame and fortune,
the group self-destructed.
Out of that process, though, I learned what it took to produce my own music and how to lead a band. The time was
right for me to commit to my own band, Mystic Journey.
Thanks to Paulo, a boyfriend who had just broken up with
me, I met my husband and music partner, Gilbert Levy. Paulo
had made appointments with both of us at the same time and
placeand stood up both of us. Again, what seemed painful
at the time turned out to be a blessing. Gilberts drumming
was the bands missing link, and the music started to flow.
Were now starting our fourth album, are raising a wonderful
4-year-old son, and feel great pride knowing that our music is
being used for healing, in both the alternative and conventional medical worlds.
Lessons of Hardship
Hardships and hard work taught me the value of committing
to my dreams and believing in my strengths. Every person is
unique, and by honoring our talents instead of pushing to be
someone we think we want to be, we will find our own voices.
Im grateful I found mine. My reward has been the joy and
peace that I feel when I close my eyes and just play.
Suzanne Teng, M.Mus., was selected Best New Age/Ambient
Artist 2007 in the Los Angeles Music Awards. She is the first
place winner of the 2006 International Acoustic Music
Awards/Instrumental Division and the 2005 and 2001
Independent Music Awards for Best New Age Artist. Recent
credits include 300, Kleenex, and NBCs Americas Got Talent.
Known for composing music for yoga, meditation, and healing,
Teng was selected by the pharmaceutical company Genentech
to create a CD, now in its third printing, for cancer patients.
See suzanneteng.com.
Cant Find it? Gotta Have it?
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The complete index of articles in

The Flutist Quarterly, volumes 16
through 32, is now online!
Visit nfaonline.org
and look under the
Flutist Quarterly section
of the site to find the index.
L F F G F
QJDDPMPT
CPTUPO
65 Divsdi Tusffu
Xjodiftufs- Nbttbdivtfuut 129:1 VTB
Qipof; 892.47:.2737
F.nbjm; kjnAlffgfqjddpmp/dpn
xxx/lffgfqjddpmp/dpn
(A printed index to issues prior to volume 16 is

available from the NFA office on request.)
nfaonline.org
51
STUDENT SPOTLIGHT
Im Too Young
to be a Victim
of Flute
Discrimination!
by Jill Weakland
A middle school student challenges her

band directorand all composersto
let her people gointo school jazz
bands everywhere. Flutists, unite, and
you shall overcome!
ive trumpets, five trombones, six

saxophones, two guitars, one keyboard, and one percussionist
these are the instruments in my middle
school jazz band in Richmond, Virginia.
Unfortunately, I play the flute.
After six years of flute lessons and
countless recitals and performances
with the concert band and other ensembles, I felt I was good enough to compete
with any brass instrument player for a
spot in the Pocahontas Middle School
Jazz Band. So, in eighth grade, I mustered
the courage to tell my band director that
his jazz band would be better with a
flute. I guess he thought I was joking.
Dont get me wrong. Our jazz band is
terrific, even without a flute. But imagine
how much richer and more interesting
the sound would be with an instrument
that could hit the high notes without
straining. Thats what I thought as I sat
in the audience, listening to five trumpets, five trombones, six saxophones,
two guitars, one keyboard, and one
percussionist, and watching all the fun
they were having as they played
nfaonline.org
Malaguena, It Dont Mean a Thing,

and R-E-S-P-E-C-T. But when they
played the Mission: Impossible Theme,
I knew something was missingme! The
saxophones tried to sound like flutes, but
it wasnt the same thing.
In middle school, flutes seem to get
little R-E-S-P-E-C-T. When I asked jazz
band members to describe the sound
of the flute, common answers were
soothing and relaxing. One teacher
said the flute was chirpy, like a bird.
Their answers surprised me because I
think of the flute as a more dominant
instrument, often playing the melody and
rising above other instruments in the
band. At least, thats what I was taught.
Teaching and Learning

I began flute lessons in third grade in
Tampa, Florida. My teacher then was
Miss Martha Rearick. She was a wonderful instructor and musician. She
passed along to me her love of the flute
by exposing me to a variety of musical
styles. We sometimes ended our lessons
by sight-reading jazz duets. Miss
Martha spent considerable time with a

rhythm book, showing me how to clap
difficult syncopation and uncommon
rhythms. It did not seem like fun at the
time, but her enthusiasm and teaching
style helped me learn jazz rhythms and
contemporary music styles. After our
family moved to Virginia a few years
ago, I stayed in touch with Miss Martha
and was sad to learn of her passing.
My current flute teacher, Jeremy
McEntire, continues to expand my
repertoire with more modern compositions, including Sonate by Francis
Poulenc and Danse de la Chevre by
Arthur Honegger. McEntire has also
introduced me to techniques for unusual
articulations, such as humming or
singing into the mouthpiece or partially
covering the finger holes.
In middle school, flutes have a more
limited role in the music program.
When the trumpets have the melody,
the flutes have to back off. When the
flutes have the melody, its a softer part
because the composer is trying to show
contrasts between the instruments.
Just once, it would be fun for the instruments to change

their roles. Give the flutes loud brassy parts and give the brass
instruments softer melodic lines.
When the composer occasionally gives a
solo part to the flute, it is quiet and less
dynamic than brass solos.
Just once, it would be fun for the
instruments to change their roles. Give
the flutes loud brassy parts and give the
brass instruments softer melodic lines.
If middle school music composers really
want these band musicians to develop a
wider range of dynamics, they would
write music with this in mind.
Composers, are you listening? All you

need to do is write flute music for
middle school jazz bands, and the next
generation of band students will be
saved from flute discrimination.
Jill Weakland, 14, graduated from
Pocahontas Middle School in summer
2007. She was selected to attend the
Maggie L. Walker Governors School for
Government and International Studies

in Richmond, Virginia. Weakland participated in the Tribute to Martha
Rearick at the National Flute
Association convention in Pittsburgh in
2006. Weaklands activities at the
Governors School include French club,
volleyball, Model UN, and, yes, playing
flute in the schools jazz band.
Jazz Flutes
The flute is a terrific jazz instrument. It
can make a variety of different sounds.
Jazz is a very expressive form of music,
and a good flutist can play soft, loud,
sweet, and nastyall in three octaves or
more. Why should middle school jazz
bands miss the rich sound of the flute?
I know what all the band directors are
thinking: If we let the flutes in, then the
clarinet players would try to join, and
then the oboes and tubas.
I say, why not? Throughout the
Internet, you can find Web sites with
music from jazz tubas, jazz bassoons,
and even a jazz euphonium. Why discriminate? Allow the students who want
to play jazz to play it on the instruments
they enjoy rather than forcing a flutist
to play a saxophone or a tuba player a
bass guitar. These young musicians
should have an equal opportunity to
play jazz concerts, travel with the jazz
band, and conquer more challenging
music. This is education, after all.
Although my middle school band
director, Matthew Bruins, is an excellent
trumpet player, he told me that he
would encourage his child to play the
flute. He said the flute sound is very
pretty and can be very graceful. He
even admitted that flutes are used in
jazz and there are even famous rock
and roll artists who play the flute.
So why isnt the flute an instrument
in the Pocahontas Jazz Band? I asked
him. His answer was very simple:
Because the music that is written for
that level jazz band does not have any
flute parts.
RIVERBERI SONORI
the flute music publishing company
FLUTE STUDIES
Giulio Briccialdi
30 Soli o Esercizi per flauto solo
RS1021
24 Studi per flauto solo
(edited by Angelo Persichilli)
RS1051
Vincenzo De Michelis
Preludio Monodico
Onnitonico op. 91
RS1003
58 esercizi per flauto solo

RS1009
Ernesto Khler
Op. 33
vol. I 15 studi facili
RS1027
vol. II 12 studi
di media difficolt
RS1028
vol. III 8 studi difficili
RS1029
Paolo Minetti
12 studi fantastici per flauto
RS1040
Do it Duet per due flauti

RS1060
Johann Joachim Quantz
Sei sonate o duetti per flauti o
violini
RS1046
W. A. Mozart
6 Sonatas for flute and piano
(transcribed and edited by
Konrad Hnteler)
Vol. I: KV 301-303
RS1034
Vol. II: KV 304-306
RS1035
Sonata per flauto e pianoforte
RS1008.
Antonio De Angelis
Skys Flowers per flauto
e pianoforte
RS1041
Raymond Guiot
Fantaisie per flauto e pianoforte
RS1001
A Raymond 5 pezzi jazz

per flauto e pianoforte RS1010
Little Princess album facile
per flauto e pianoforte RS1031
Angels flute
per flauto e pianoforte
RS1044
Serenata e tango
RS1047
Giacomo Saponaro
TWO FLUTES AND PIANO

Giulio Briccialdi
Duettino per due flauti e
pianoforte Sur la Soire Musicale
di Rossini op. 49
(edited by Rien de Reede)
RS1025
RS1005
RS1006
12 Sonate per flauto e b. c.

Vol. I: Sonate I-VI
RS1036
Vol. II: Sonate VII-XII
RS1037
THREE/FOUR/FIVE FLUTES
Antonio De Angelis
Running per 4 flauti
(score and parts)
RS1042
Giulio Briccialdi
Duo concertant
per due flauti op. 100 n. 2
(edited by Rien de Reede)
RS1056
www.riverberisonori.it
Joseph Fahrbach
Prima Fantasia su motivi
dellAida di G. Verdi
op. 78 per 3 flauti
(edited by Maurizio Bignardelli)
RS1062
Raymond Guiot
Conversazione per 5 flauti
(score and parts)
RS1043
W. A. Mozart
Quartetto per 4 flauti KV 370
(arrangement Enrico Blatti)
RS1049
ENSEMBLE
Francesco Santucci
Habanera e tango
per flauto e chitarra
RS1059
Peter Van Munster
TWO FLUTES
Benedetto Marcello
Viotti Gianella Mercadante

Tre duetti italiani per due flauti
RS1060
Francesco Santucci
Scherzo per flauto e pianoforte

RS1007
FLUTE AND PIANO
Sonata a flauto solo
Raymond Guiot
Songs without words

for flute and piano
(arranged by Benot Fromanger)
RS1039
Mario Pilati
Giuseppe Gariboldi
Quattro pezzi facili

Felix Mendelssohn-Bartholdy
Repertoire catalogue.
Piccolo, Alto flute, Bass Flute
RS1052
info@riverberisonori.it
nfaonline.org
53
School of Music
University of Washington
The University of Washington

Welcomes Donna Shin!
Donna Shin has joined the
University of Washington School
of Music faculty as assistant
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Donna Shin is a superb
performer, taking on the most
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panache of a sword swallower,
said Dr. Robin McCabe, director
of the UW School of Music.
7LI MW E RI GSQQYRMGEXSV ERH
dedicated teacher who will be
highly sought after by students
SJ XLI YXI
Ms. Shin has been on the

faculties at University of
South Carolina and Oklahoma
State University, and holds
degrees from the Eastman
School of Music and the New
England Conservatory. She
has performed with many
orchestras and festivals in the
U.S., Asia, and Europe.
www.donnashin.com
YXI$Y[EWLMRKXSRIHY
;I SJJIV FEGLIPSVW QEWXIVW ERH HSGXSVEP HIKVII TVSKVEQW MR YXI TIVJSVQERGI
Admissions Information
Jenni Cole Admissions & Outreach Coordinator
SoMadmit@u.washington.edu or 206-685-9872
School of Music: www.music.washington.edu
University of Washington: http://admit.washington.edu
Across
by Christine Cleary
the Miles
News about flute club and flute choir activities throughout the United States
The Arizona Flute Society held its annual Flute Festival and
Competition November 17 and a recital and masterclass
with Goran Marcusson accompanied by Tim Carey on
piano November 18. Marcusson was the featured judge at
the competition, which was open to all levels of flute
musicians, from beginner to adult. The AFS held its annual yard sale in October, the proceeds of which will be used
to support expenditures for future programs. Phyllis
Avidan Louke, bass flutist and composer, will be the guest
conductor at AFSs Flute Ensemble Event March 29. The
AFS will sponsor the Alla Breve Flute Choir, under the
direction of Elizabeth Buck, in January. Rehearsals will be
held January 12 and 25, with a concert at Beatitudes
Campus of Care on January 27. Visit azflutes.org or contact
Leslie Etzel, president, at lesetz@cox.net.
The 25th annual Central Ohio Flute Association competition will be held April 19 at the Ohio State University.
Competition categories and cash prizes are as follows: junior
division (grades 69): $150; senior division (grades 1012):
$250; and young artist division (up to age 27): $400. For the
first time, the competition will be open to residents from any
state or country. Audition recordings must be postmarked
by February 23, 2008. For more information, including
audition repertoire and application procedures, visit
http://cofa.osu.edu or contact Kathy Cameron at
cameron.821@osu.edu.
The Flute Society of Greater Philadelphia kicked off its
20072008 season October 13, with a masterclass featuring
Jeanne Baxtresser, who spoke on My Personal Guide to
Effective and Enjoyable Performing and worked with flutists
from FSGPs membership. On November 18, the society held
a mock audition and coaching session for area students in
preparation for the Philadelphia Music Educators Association
festival auditions in December. On March 29, FSGP will hold
its Second Annual Flute Choir Symposium in Wayne,
Pennsylvania. David Cramer, of the Philadelphia Orchestra,
will present a recital April 12, 24 p.m., at the Olivet Covenant
Presbyterian Church in downtown Philadelphia. The season
concludes May 3 with the annual open members recital and
party. Visit philaflutesociety.org.
The Flute Society of Kentucky will hold its 2008 Kentucky

Flute Festival in Bowling Green January 1819. Festival solo
competitions for all age and performance levels include
junior soloist, high school soloist, collegiate artist (undergraduate only), young artist, andthe newestnew
music competitions. Prizes will be awarded to each finalist,
and the winner of each competition will be invited to perform
in a concert during the festival. The new music competition
features Rain and Shine, a newly commissioned work written by Gary Schocker. The FSK commissioned this piece,
which is available for purchase from Carolyn Nussbaum
Music Company (flute4u.com). All are eligible to enter
this competition, including previous FSK competition
winners, regardless of age and performance levels. Guest
artist Michel DeBost will present a masterclass and solo
recital during the festival; there also will be additional concerts, clinics, and flute choir opportunities for everyone. For
more information, and to find information about all the
music for the 2008 competitions, visit fskentucky.org.
Flutissimo! Flute Choirs fall 2007 series centered around
the four elements: earth, air, fire, and water. The centerpiece
was Cynthia Folios Elements. Also included was the premiere performance of Shaul Ben-Meirs arrangement of
Ritual Fire Dance and an unpublished work titled Neige
au Printemps. A multimedia presentation accompanied
each work. Flutissimo! will perform through the Christmas
season at local retirement homes and malls. The spring
series will present music of myths and legends.
In celebration of the 10th anniversary of the Greater
Cleveland Flute Society, Oberlin College faculty Michel
DeBost and Kathleen Chastain gave a joint recital and masterclass at the Cleveland Music School Settlement November
11. DeBost was one of the first guest artists GCFS hosted 10
years ago. The DeBost/Chastain duo performed works by
Debussy, Bizet, and Ravel.
The 15th Annual Hampton Roads Flute Faire (Norfolk,
Virginia) will be held February 9, at the Diehn Fine and
nfaonline.org
55
ACROSS THE MILES

Performing Arts Building on the campus of Old Dominion
University in Norfolk. The Faire is hosted by the music
departments of Old Dominion University and the
Governors School for the Arts. This years guest artist is
Bonita Boyd, professor of flute at the Eastman School of
Music. The event includes masterclasses, flute choir performances, recitals, and exhibitors; flutists of all ages and
abilities are welcome to attend. The elementary, middle, and
high school competition will take place the evening of
January 28 at the same location. Visit flutefaire.com or send
an e-mail to Patti Watters at pwatters@gsarts.net.
The Houston Flute Club is pleased to announce its annual
Flute Fest for 2008, slated for March 8 at the University of
Houston Moores School of Music. Events will include the
Denise Jennings Solo and Ensemble Competition for all
ages, masterclasses, exhibits, concerts, and the Byron
Hester Flute Competition with a $1,000 prize for the winner. The members of the Houston Flute Club were well
represented at this years NFA Convention. The University
of Houston Flute Choir and the Woodlands Young Artist
Flute Choir performed. John Thorne, associate principal
flute with the Houston Symphony, was a judge for several
events including the Young Artists Competition. The
Mobius Chamber Ensemble, composed of HFC president
Jennifer Isadore and Michael Isadore, premiered a commissioned piece (through the Texas-based Flute/Clarinet
Duos Consortium) by Valerie Coleman of the Imani
Winds. Several Texas flutists also participated in the competitions. For more information on the Flute Fest, send an
e-mail to president@houstonfluteclub.org.
Indy Flute Fest 2007, presented by the Greater Indianapolis
Flute Club (or Indyflute), was held November 3 at the
Hilbert Circle Theatre in downtown Indianapolis. Walfrid
Kujala taught a masterclass and performed a short recital.
James Pellerite also performed on Native American flute.
Additional workshops, performances, and exhibitions
also were held. The events attendees received free tickets
to an evening concert by the Indianapolis Symphony
Orchestra, featuring Bartoks Concerto for Orchestra.
Visit indyflute.org.
The International Flute Choir Festival at Fresno Pacific
University will be held February 2223. Leone Buyse will
be guest artist, and the director will be Janette Erickson.
Individuals and flute choirs may attend. For more information,
call 559-243-0303 or send an e-mail to janflute@pacbell.net.
Thirty-four members of the International Flute Orchestra
traveled to Greece in May 2007, giving concerts in Patras,
Trikala, and Athens, and followed the tour with a cruise
through the Greek islands. The orchestra also performed on
nfaonline.org
board the cruise ship. This was the 10th tour of the IFO,
which began as the American Flute Orchestra in 1996.
Members are mostly orchestral musicians or college teachers
from all over the United States and Canada. The May 2008
tour is planned for Chile.
Magic Flutes Flute Choir from San Mateo, California, performs its annual winter concert in December at St.
Matthews Catholic Church in San Mateo. Selections include
Winter from The Seasons, by Vivaldi, Hanukah Suite, by
Phyllis Louke, Ukrainian Bell Carole and Christmas
Concerto, by Corelli, and others. The choir also performs at
the Filoli Mansion in Woodside, California, during Filolis
annual Holiday Traditions Celebration. Magic Flutes is
directed by flutist Pamela Ravenelle.
Flute Festival MidSouth, March 78, will feature British
flutist and composer, Ian Clarke. The festival will be held
at the Scheidt School of Music, University of Memphis, in
Tennessee. The festival will include competitions in categories of young artist ($1,000 prize), high school soloist,
junior high and under, solo and ensemble, and college
masterclass, and will also feature workshops and classes
selected from proposals submitted, flute choirs, recitals,
and exhibits. Visit midsouthflute.org.
From left, front: Stacey Pelinka, Tomiko Hamai, Gary Woodward, Michelle
Caimotto; standing: Karen Johnson, Mimi Stillman, Maria Tamburrino, Joshua
Smith, and Karen Van Dyke.
The Northern California Flute Camp, hosted by Hidden

Valley Music Seminars in Carmel Valley, featured Joshua
Smith and Mimi Stillman as guest artists in July 2007. Serious
high school flutists from across the United States and from
four different foreign countries were the beneficiaries of masterclasses and recitals from both artists, with Colette Valentine
and Miles Graber accompanying on piano. Other aspects of
the curriculum included solo performance, flute choirs, chamber music, seminars, and electives classes. Visit flutecamp.com.
The Northwest Flute Consort performed in the Washington

State Capitol Rotunda in November under the direction of
Hal Ott. The program featured all Celtic music and Gaelica,
an Olympia-based trio with vocals, high and low whistles,
mandolin, banjo, guitar, and cittern and bass, playing traditional and almost traditional Celtic music. The capitol
rotunda is one of the largest dome structures in the world.
It is a large, circular open space four floors high and open in
the middle, with balconies, steps, and walls of marble and
containing chandeliers and sculptures. The acoustic
chamber of the capitol rotunda has a seven-second delay
in sound. Rotunda concerts are always free. The
Northwest Flute Consort includes flutists from the
Seattle/Tacoma areas; the states capital, Olympia; eastern
Washington; and Oregon.
Raleigh Area Flute Association kicked off its 20072008
season September 23, featuring flute maker and repair
specialist Clifford Tretick in a concert and class. RAFAs
23rd annual scholarship competition was held November
4, with contest winners performing a concert on
November 9. Jeanne Baxtresser was guest artist for the
November 10 Flute Fair, which included masterclasses,
exhibits, workshops, and a closing gala concert featuring
RAFAs professional flutists. The fourth annual Solo Fest
will be held March 15, with graded repertoire examinations
including solos, etudes, and scales. A concert and Body
Mapping seminar with Lea Pearson will be presented April
19, and the annual Members Recital will be held May 18.
Throughout the year, RAFA sponsors three flute choirs
and hosts bimonthly meetings for adult amateur flutists
(the Second Winds). Visit raleighflutes.org.
The Raleigh Flute Choir, a group of nine professionals
performing as a chamber ensemble, is now in its 21st year.
The RFC performed fall concerts at Meredith College and
Pittsboro, plus Christmas concerts at the North Carolina
Museum of Art and Duke Chapel. The choirs collaborations
with a student flute choir and with a pianist for several selections provides opportunities to educate young people and to
expand the groups outreach with other musicians.
The Texas Flute Society is pleased to announce the winners
of the 2007 Myrna W. Brown Artist Competition, held in
May 2007: first place, Rebecca Powell Garfield ($1,200
prize); second place, Bonnie Ham ($500 prize); and third
place, Deanna Little ($250 prize). Throughout October
and November, the TFS hosted free clinics in the
DallasFort Worth area for students preparing for all-state
auditions. On November 17, the TFS sponsored a masterclass with Jean Ferrandis of the Ecole Normale Superieure
de MusicParis. Held on the campus of Southern
Methodist University, advanced students from area universities participated. The 31st Annual Texas Flute Society
Flute Festival will be held on the campus of the University
of North Texas May 1517. Guest artists include Renee
Siebert, member of the New York Philharmonic for over
25 years, concert soloist, and instructor of orchestral
repertory classes at the Manhattan School of Music;
Andrea Oliva, first solo flute at the Symphony Orchestra
of Santa Cecilia in Rome and member of the Nuovo
Quintetto Italian Wind Quintet; Elizabeth McNutt, expert
interpreter of the masterpieces of the last century and lecturer in contemporary performance practice and flute
technique; Rebecca Powell Garfield, winner of the 2007
Myrna W. Brown Artist Competition and principal flutist
of the Austin Symphony; and Greg Patillo, known as the
beat boxing flute player on YouTube, in a special performance.
Application forms and additional information about masterclass opportunities with these artists can be found at
texasflutesociety.org or by contacting Pamela Youngblood
at pyoungblood@twu.edu or 940-898-2495. Application
forms and requirements for the 2008 competition are
available at the TFS Web site, or by contacting Pam Adams
at padamsflute@yahoo.com or 817-236-5687.
On September 2, members of the Tucson Flute Club played
the national anthem to open the baseball game between the
Tucson Sidewinders and the Sacramento River Cats. TFC
presented a sunset concert September 22 at Kitt Peak
National Observatorys Stars and Music picnic concert
series. The observatory, high on a mountaintop 60 miles
southwest of Tucson in southern Arizona, hosts concerts
several times during the summer. The program included
arrangements of traditional American music as well as compositions by John Philip Sousa, Stephen Foster, and others.
Following the concert, TFC members, guests, and concert
attendees were treated to an hour-long star party, viewing
the celestial panorama through amateur telescopes.
The Utah Flute Association welcomed Grammy Award
winning flutist Rhonda Larson for a three-day tour October
2224. Larson taught masterclasses and performed recitals
in Logan, Orem, and Salt Lake City. The UFA Flute Festival
will be held March 78 in Gardner Hall at the University of
Utah in Salt Lake City. Leone Buyse is the guest artist. In
addition to a masterclass and recital by Buyse, there will be
workshops, exhibitors, and other activities. Visit
utahflute.org or send an e-mail to info@utahflute.org.
Please send information about flute club activities, and
high-resolution images if available, to Christine Cleary,
Flute Clubs Coordinator, 2022 Wedgewood Dr., Grapevine,
TX 76051; stinejay@yahoo.com.
nfaonline.org
57
From the
PROGRAM CHAIR
Alert: High-Velocity Convention Ahead
m pleased to report that planning

the 2008 NFA convention has proven
much easier than finding a theme
for it. As I created the overall theme for
the convention, I wrestled with many different ideas, ranging from the geographic
(Prairie Song), to the comic (Low
Altitude Fluting), to the obvious (K.C.
Masterpiece), and to the lascivious (Seven
Deadly Sins). (The challenge of programming a concert of works featuring avarice
removed this latter idea from contention!)
I finally settled on the whimsical
notion that, as home to some of the
countrys highest winds, Kansas Citys
convention could bear some sort of
reference to the Midwests tornadic
activity. Ultimately, F6 Flute: High Winds
became the theme, with the F referring to the Fujita scale of measuring
tornados, and the 6 being the highest
on the scale (in excess of 218 m.p.h.).
Among this conventions many emphases
will be the performance of high-velocity,
virtuosic works for the flute.
As I embark upon planning the 2008
convention in earnest, Im excited by
the possibility of carving new paths
and insights into our instruments
repertoire and its pedagogy, and for
hearing virtuosic performances. Im
enjoying putting together next years
program with my assistant, Rebecca
Johnson. Together, weve started well
down the path toward crafting an

exciting set of performances for attendees
at the August 710 convention in Kansas
City, Missouri.
A particular strength of the 2008 convention will be the help of the Kansas
City Flute Association. With a broad
and diverse membership, this group
includes nearly 150 flutists and is
chaired by Rebecca Dunnell. Theyve
graciously volunteered to facilitate the
myriad responsibilities that come with
the NFAs annual convention.
This years convention will be held at
the Hyatt Regency Crown Center. It is a
recently renovated, state-of-the-art
facility that lies in the heart of Kansas
Citys downtown. Located close to
shopping, the famed Plaza, fine dining,
peerless barbecue, and some of the
greatest blues and jazz the world has to
offer, the 2008 convention promises
something for everyone. Attendees will
enjoy the close proximity of the Crown
Centers shopping and food, and will
find their nourishment extends well
beyond music.
I am thrilled to be the program chair
of a convention that offers such rich and
diverse opportunities for exploration
beyond the standard flute offerings.
Kansas City is truly a jewel in the crown
of Midwestern cities.
Jonathan Keeble
Jonathan Keeble
nfaonline.org
59
S P E C I A L P U B L I C AT I O N S A N D N FA P R O D U C T S
CDS
Historical Recordings Series

Vol. II: Joseph Mariano
$15.00 + S&H
Historical Recordings Series

Vol. IV: Maurice Sharp
$15.00 + S&H
Sweatshirt with
silkscreened NFA logo
$18.00 + S&H
Historical Recordings Series Vol.

III: Robert Willoughby
$15.00 + S&H
BOOKS
The NFA 20th Anniversary
Anthology of
American Flute Music
Selected Flute Studies: A

Graded Guide of tudes,
Daily Studies, and
Method Books
$7.00 + S&H
The NFA 20th

Anniversary Anthology of
American Flute Music
$20.00 + S&H
Kincaidiana: A Flute
Players Notebook
By John C. Krell
$12.95 + S&H
The Flutists Handbook:

A Pedagogy Anthology
Edited by Martha Rearick
and Michael Stoune
$15.00 + S&H
Selected Flute Repertoire:

A Graded Guide for
Teachers and Students
$7.00 + S&H
Polo shirt, 100 % cotton,
with embroidered NFA logo
$25.00 + S&H
NFA Coffee Mug
$8.00 + S&H
Fill out this order form and mail it or fax it with your credit card information OR payment in U.S. funds to:
The National Flute Association, Inc. 26951 Ruether Ave., Suite H Santa Clarita, CA 91351 fax: 661-299-6681
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Historical Recordings Series Vol. II: Joseph Mariano
$15.00
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$15.00
Historical Recordings Series Vol. IV: Maurice Sharp
$15.00
$20.00
Selected Flute Repertoire: A Graded Guide

for Teachers and Students
$7.00
Selected Flute Studies: A Graded Guide of tudes,

Daily Studies, and Method Books
$7.00
NFA Coffee Mug
The Flutists Handbook:

A Pedagogy Anthology
$15.00
Kincaidiana: A Flute Players Notebook
$12.95
$8.00
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(circle size: M L)
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NFA News
Updates on committee activities and other news of interest from the national office
Inauguration: The NFA Jazz Flute Big Band

by Ali Ryerson
he debut of the NFA Jazz Flute Big Band at the 2007

convention in Albuquerque paved the way for the biennial Jazz Flute Big Band Competition, to begin in 2009.
Both audience and band members enjoyed the experience.
Ali Ryerson and the NFA Jazz Flute Big Bands debut was one
of the highlights of the convention for many who attended.
What a joy to seeand hearthis group of all-star jazz musicians performing a sparks-filled cabaret set! Under the expert
leadership of Ali Ryerson, the group rehearsed for hours
during the convention itself to achieve the high level we
were treated to on Saturday evening. Participant Keith
Underwood, who later said he had a blast, mentioned to me
that the learning curve was high, but that all involved were
exhilarated and excited by the results. Brava to Ali and the
entire group! Lets hope that the NFA Jazz Flute Big Band
becomes an NFA tradition!
Nancy Andrew, NFA program chair 2007
More than 20 flutists joined the debut performance by the Jazz Flute Big Band
at the 2007 convention in Albuquerque.
Jazz flutists have formed ensembles before, but usually in

just threes or fours, so I wasnt sure if this was going to hang
together. But from the first few measures it was clear this
was going to work beautifully. The writing was great, the
execution flawless, and the soloists inspired.
Peter Westbrook, jazz journalist, author, The Flute in Jazz
What a treat to hear the new Jazz Flute Big Band. They
totally rocked the house!
Lori Akins, NFA assistant secretary
A sonic delight! Its the real thing! I was blown away at the
level of jazz solo playing and how the big band sound was
represented with integrity. Congratulations, Ali.
Amy Porter, director of flute studies, University of Michigan
Your performance was one cabaret I did not want to miss,

and when I came into the room packed with attendees, it
made my heart feel so good. Being a big band singer myself, I
could appreciate all the work that went into this performance. The charts were great and the group was swinging.
COURTESY GEMSTONE MUSICAL INSTRUMENTS
Madeline Neumann, NFA convention director
While I was on the NFA board of directors, Ali Ryerson

presented her ideas for an NFA Jazz Flute Big Band. Of
course we were unanimously in favor of this wonderful
projecta missing link in NFA programming. I never
thought at the time I would actually be a part of this project, but Ali asked me to play for the maiden voyage. From
the inside looking out, I thought it was a huge success. The
band was stacked with a world-class rhythm section, not to
mention some of the greatest jazz flutists in the country.
The sound of an amplified flute choir with rhythm section
is truly a new genre. I look forward to future opportunities
for our NFA aspiring jazz flutists to audition and perform
with the biennial NFA Jazz Flute Big Band.
John Barcellona
The ensemble playing was tight, the rhythm section was

swinging, the soloists were all hot, and the arrangements
superb. As the creator of a flute band myself (Tutti Flutti)
some 25 years ago, I can appreciate all of the color possibilities
and choices of function, and I think in this pure jazz/bigband idiom, you have all pulled it off smartly and with
lots of style.
Ali Ryerson invited artists from all parts of the country and
all areas of the jazz flute world to come together for one
historic night. The result of this collaboration was breathtaking. It firmly established the viability of the jazz flute big
band as a performance category with popular appeal and
potential for future exploration. There is a tremendous
need for this performance genre among jazz flutists.
Steve Kujala, jazz recording artist
Sas Kamalidiin
nfaonline.org
63
NFA NEWS
John Barcellona
Steve Kujala
Several music teachers who spoke to me about the Jazz Flute

Big Band performance commented on their desire to incorporate flute into school jazz ensembles, based on what they
heard at the concert. Letting band directors know that flute is
a legitimate jazz instrument was just another benefit of having the performance at the NFA Convention!
Holly Hofmann
Ali Ryerson
Its great being a part of this history-making event, which

helped further jazz flute education.
Henri Scott
We certainly did make history. The amount of rehearsal

time was just right. It could not have happened without
everyones dedication to the project. I am going to contact
several arrangers, and see if they would like to write for us.
Ken Sherman
I really had fun playing the music, meeting, hearing, and hanging
with so many great flute players. Everyone had such a great spirit.
Jamie Baum
An amazing event to be a part of. When John Barcellona and

Keith Underwood took solos, I was impressed by how much
they knew about the jazz language and how great they sounded! It shows that a classical flutist morphing into a jazz player is possible. We are that much closer to bringing jazz and
classical flute into the same light.
Dominique Gagne
I learned a lot and feel that I am a better jazz ensemble player.

Next time around I will be confident and ready to solo! I
know what it takes now.
Matt Riley
It was a bit of an effort and commitment, including the

rehearsals every evening. What made it worthwhile was seeing
the audience, no more than a few feet from me, really get into
our music, enthusiastically finger snapping and foot tapping
with the beat.
Richard Ford
Sincere thanks are due everyone whose efforts made the

Jazz Flute Big Band a reality. We look forward to the first
biennial Jazz Flute Big Band Competition in New York in
2009 with confident anticipation. I hope this new ensemble
will encourage jazz arrangers to develop a repertoire for all
flute choirs interested in performing with a rhythm section. As these performers have expressed, the experience of
playing in a jazz ensemble is not one to be missed!
Ali Ryerson is the chair of the NFA Jazz committee.
Carlos Xavier
Playing with the band was unlike anything Ive ever experienced. The most surprising thing for me was how different we
all sounded. No two players were carbon copies of each other.
The other wonderful thing was there was no sense of competition between players. We all wanted to show each other what we
could do, but it wasnt in the sense of competing. After soloing,
you could look around and see other players giving you a
thumbs up. That alone was worth the trip! If we sounded good,
it was because we had brilliant arrangers. Jazz isnt just about
jamming; it requires solid technique and a good understanding
of theory. More cross-pollination between those who play classically and those who play primarily jazz has to be a good thing!
nfaonline.org
Passing
Information about absent friends
Clifford Benson
Tones
Benson and Trevor Wye, in kimono, performing in Japan in 2003.
ianist Clifford Benson, world-renowned musician,

among the leading pianists of his generation, and
frequent collaborator with flutists, died August 10, 2007, at
age 60, after being diagnosed in November 2006 with an
inoperable brain tumor. Benson gave concerts and masterclasses worldwide and, in 2001, joined the faculty of the
Royal Academy of Music. He was a regular contributor to
BBC Radio 3 and Classic FM and recorded for Hyperion,
Chandos, CRD, and Deutsche Grammophon. He appeared
as soloist and chamber musician at the Proms and was the
pianist for the Jacqueline du Pr masterclasses on BBC
Television. He was also pianist of the Nash Ensemble in its
early years.
Born in Grays, Essex, United Kingdom, to Doris and
George Benson, amateur music enthusiasts, Clifford showed
musical talent at an early age. He participated in music activities at his church, the London Road Methodist Church,
often joined by his sister Sylvia for vocal duets, which he
accompanied on the ukelele. His parents encouraged his
ambition to become a concert pianist. After attending Aveley
Technical High School at Grays, he studied at the Royal
College of Music, where he won the Chopin Prize, the
Geoffrey Tankard Lieder Prize for Accompaniment, and
the Tagore Gold Medal. At the College of Music he also
met violinist Levon Chilingirian, who was to become a
lifelong duo partner and friend. In 1969 the pair won the
BBC Beethoven Duo Competition, followed by the
Clifford and Dilys Benson
Munich International Duo Competition in 1971. While at

the Royal College, Benson studied piano with Lamar Crowson
and Cyril Smith and composition with Herbert Howells. He
also received coaching from harpsichordist George Malcolm.
Benson won numerous prizes and was quickly in demand
as an accompanist, forming lifelong partnerships with
flutists William Bennett and Trevor Wye and clarinetist
Dame Thea King. Benson enjoyed working with young
people and was passionate and generous in his teaching.
With the help of his wife, Dilys, he ran an annual international summer course for solo pianists and chamber
groups at Frensham Heights; he was also in great demand
as an adjudicator. A member of the Nash Ensemble for
many years, he performed with such artists as Cleo Laine,
Eartha Kitt, Marion Montgomery, Sarah Walker, John
Taverner, and Sir Simon Rattle. He also worked with conductors Sir Charles Mackerras, George Hurst, Daniel
Barenboim, and Sir Neville Marriner.
To celebrate his 60th birthday, Benson had planned to
fulfill a lifetimes ambition to record his own piano compositions. After he was diagnosed and lost the use of one
side, his colleague and friend Michael Dussek agreed to
record the solo pieces, with John Reid joining for a
humorous piano duet. Benson attended the recording session
and the CD was completed.
Benson is survived by his wife and daughters Sarah and
Emily, his mother, Doris, and his sister, Sylvia.
nfaonline.org
67
PASSING TONES
ary Sigurdson, orchestral flutist and music publisher, died August 19, 2007,
after a lengthy illness. He was 72. Sigurdson was born in Bremerton,
Washington. He was principal flutist for the Kansas City Philharmonic, and later
was appointed director of the music department at Interlochen Arts Academy. In
1985, he and his wife, Patricia, founded the Salt Creek Ballet to provide professionalquality training and performance opportunities to young dancers. Sigurdson also
was active with the Hinsdale Chamber Orchestra and the original Hinsdale Arts
Council. After receiving a PhD in music, Sigurdson earned an MBA from the
University of Chicago and served as general manager of Carl Fischer Music in
Chicago for 20 years. Sigurdson is survived by his wife; his sons, Eric and Steven; his
grandchildren, Andrew and Lauren; and his sister, Marilyn Cole.
Gary Sigurdson
lutist, composer, and band director Thomas A. Kennedy Jr., died on June 15,
2007, in Springfield, Ohio, after a lengthy battle with brain tumors. Kennedy was
born June 11, 1953, in Elyria, Ohio. The son of a band director, Kennedy grew up
in Sarver, Pennsylvania. He received a bachelor of music education degree from
Indiana University, master of music in flute performance from Penn State, and doctor
of musical arts in instrumental conducting from the University of Miami in Coral
Gables, Florida. Kennedy was associate professor of music at Wittenburg University
in Ohio. He was director of band and orchestra there from 1991 until his medical
leave in 2005. During this time, he also served as conductor of the Springfield Youth
Symphony, assistant conductor of the Springfield Symphony, conductor of the
Thomas A. Kennedy Jr.
Miami Valley Symphony Orchestra, and flutist in the TOFT trio. He was a composer,
arranger, and editor for Kalmus, BRS, ALRY, Masters, Ludwig, Southern Music, and other publishing houses. He appeared as guest
conductor, clinician, and adjudicator throughout the country, including 19 years with the Indiana University Summer
Instrumental Clinic. Kennedy is survived by his sister, Zo A. Scott, and brother-in-law, Robert Scott, of Chicora, Pennsylvania,
and friends Joyce Wendel and her husband, Larry Smith.
lutist Ramona Pitts died in Lansing, Michigan, on June 18,

2007. Pitts was born in New Haven, Connecticut, September
19, 1928, to Adolf L. and Doris J. Dahlborg. Pitts received both
bachelors and masters degrees from the Julliard School of
Music in New York. As a teenager, she received scholarships to
the National Music Camp in Michigan, Tanglewood in
Massachusetts, and Julliard. Pitts was a noted professional concert flutist and toured widely with the Becker Ensemble, the
Robert Shaw Chorale, the Doyly Carte Opera Company, the
Danish Ballet, the Interlochen Arts Academy Quintet, and the
Ramona Pitts
Pitts with the Interlochen Arts Academy quintet
Michigan State University Quintet. Pitts also taught at the
Julliard School of Music, Bronx Music School (New York), Westchester Conservatory (White Plains, New York), National Music
Camp (Interlochen, Michigan), Stephens College (Missouri), Brevard Music Center (North Carolina), and several colleges in
Michigan. She was a charter faculty member of the Interlochen Arts Academy when it opened in 1962. Pitts was the first flutist of
the Lansing Symphony Orchestra for 24 years. She is survived by stepsons, James and Stuart Pitts of Michigan; grandchildren,
Joshua and Jessica Pitts of Michigan; a sister, Harriet D. Lawson of West Haven, Connecticut; nephews, Ralph P. (Marlene) Lawson
III, of West Haven and Ronald U. (Judy) Dahlborg of Illinois; and nieces, Rae L. Lambert (Roger) of Ohio, Valerie M. (John)
Maene, and Lisa H. Dahlborg of New Jersey. Memorials in Ramona Pitts name may be made to the Interlochen Center for the
Arts, Office of Gifts, PO Box 199, Interlochen, MI 49643-0199.
artha Herby, 55, died October 5, 2007, from complications following gall bladder cancer diagnosed in July. Herby became
the second flutist of the Oregon Symphony in 1981, and also served as the acting principal flute of the symphony on many
occasions. At the time of her death, she was one of two orchestra members appointed to the board of directors. Herby was a graduate
of the Eastman School of Music, where she earned a master of music degree and the performers certificate, before being
named to the schools faculty in 1976. She held the position of principal flute in both the Bloch Music Festival orchestra in
Newport, Oregon, and the Cascade Music Festival in Bend. Herby appeared as a concerto soloist with the Oregon
Symphony, the Brockport Symphony, the Rainier Symphony, the Chautauqua Festival Orchestra, and the West Coast
Chamber Orchestra, where she played principal flute from 1980 to 1990. She taught on the faculties of the Eastman School
of Music, the National Music Camp at Interlochen, Michigan, and Lewis and Clark College in Portland, Oregon. Herby can
be heard as both principal and second flute on most of the Oregon Symphonys CD recordings with James DePreist con-
nfaonline.org
ducting. She also recorded two CDs with the Third Angle New Music Ensemble. Herby was born in Jamestown, New York,
and received her bachelors degree from the State University of New York at Fredonia, where she majored in music education. She studied with and was coached by James Galway, Walfrid Kujala, James Walker, Bonita Boyd, and Keith Underwood.
Her last public performance was as a member of the Oregon Ballet Theatre Orchestra flute section during
performances of Sleeping Beauty in June 2007. Among her many extramusical activities, Herby was an avid gardener and
member of the Oregon Symphonys garden club, where she enjoyed her honorary title Queen of Dirt. Herby is survived by
her parents, Norman and Violet Herby; her brother and sister-in-law Paul and Sue Herby; nephews Chris and Tim; and niece
Catelin of Chanhassen, Minnesota. Contributions may be made in Martha Herbys name to the Oregon Symphony Annual
Fund Drive.
endy Jill Layman Pender-Cudlip, active NFA member and author of an article chronicling her experiences as a flutist
with cancer for The Flutist Quarterly, died October 4, 2007, in Litchfield, Connecticut. Family and close friends were
with her when she died. Pender-Cudlip was born March 5, 1956. She attended Wamogo High School and the Hartt School of
Music, graduating magna cum laude with degrees in performance and music education. She taught at the Manhattan School
of Music and was a winner of the New York Flute Club Young Artists Competition. She taught privately and performed with
various groups. In March 2004, Pender-Cudlip was diagnosed with ovarian cancer and underwent surgery, chemotherapy,
and radiation. During the remainder of her life, she advocated for increased awareness of gynecologic cancers, from which
patients have five-year survival rates of 90 percent or greater if diagnosed at the earliest stages. She helped successfully lobby
for the passage of Johannas Law, which funds cancer awareness campaigns. With her professional musician friends, she
organized concerts in 2005 and 2006, the proceeds of which benefited the organizations listed below. She was an accomplished flutist and avid gardener. Pender-Cudlip is survived by husband John, children Ben and Marilla of Torrington,
parents Bill and Elaine Layman, and siblings Bill Jr., Keith, and Ken, all of Warren. In lieu of flowers, the family suggests donations to The Center for Cancer Care Fund, Connecticut Oncology and Hematology, 200 Kennedy Dr., Torrington, CT 06790;
or Gynecologic Oncology Research Development Acct., St. Francis Hospital Division of Gynecologic Oncology, Suite 2110,
1000 Asylum Ave., Hartford, CT 06105.
THE
DEAN
YA N G
FLUTE
nvision a flute crafted with the

precision and beauty worthy
of professional flutists. Yet
it is a flute tailored to meet
a modest budget.
Dean Yang has created

such an instrument.
Dean Yang flutes

www.dean-yang.com
flute@dean-yang.com
248-540-7970
nfaonline.org
69
NFA Office, Coordinators, Committee Chairs

Please check the NFA Web site for any changes and updates for addresses, phone numbers, and e-mail addresses: nfaonline.org
NFA OFFICE
Chief Executive Officer
Phyllis T. Pemberton
The National Flute Association, Inc.
26951 Ruether Ave., Ste. H
Santa Clarita, CA 91351
661-713-6013
fax: 661-299-6681
ceo@nfaonline.org
Convention Director
Madeline Neumann
661-299-6680
fax: 661-299-6681
conventionservices@nfaonline.org
Membership Director
Maria Stibelman
661-250-8920
fax: 661-299-6681
membershipservices@nfaonline.org
Publications Director
Anne Welsbacher
7213 E. Chelsea St.
Wichita, KS 67206
316-440-2800
fax: 316-440-2801
awelsbacher@nfaonline.org
NFA Online Administrator
Brian Covington
webmaster@nfaonline.org
CONVENTION
Program Chair 2008
Jonathan Keeble
University of Illinois
1114 W. Nevada St.
Urbana, IL 61801
nfapc08@gmail.com
Assistant Program Chair 2008
Rebecca Johnson
1010 N. Busey Ave.
Urbana, IL 61801
nfapc08@gmail.com
Convention Director
Madeline Neumann
26951 Ruether Ave., Suite H
661-299-6680
fax: 661-299-6681
conventionservices@nfaonline.org
Local Arrangements Chair 2008
Rebecca Dunnell
Northwest Missouri State University
Music Dept. 800 University Dr.
Maryville, MO 64468
660-562-1791
fax: 660-562-1346
dunnell@nwmissouri.edu
Exhibits Management
Jim Magee
NAwlins Trade Show and Convention Services, Inc.
612 Highland Ct.
Mandeville, LA 70448
985-626-3046
fax: 985-727-3940
jnawlins@bellsouth.net
Exhibits Assistant
Patti McCleney
NAwlins Trade Show and Convention Services, Inc.
PO Box 8538
Mandeville, LA 70470-8538
phone/fax: 985-893-9521
pattimccleney@yahoo.com
Showcase and Exhibitors Concert Coordinator
Nora Kile (2003)
1802 Glen Stone Ln.
Hixson, TN 37343-3106
423-842-4570
nora-kile@utc.edu
Program Book Editor
Anne Welsbacher
7213 E. Chelsea St.
Wichita, KS 67206
316-440-2800
fax: 316-440-2801
Program Book Advertising Sales Representative
Steve DiLauro
LaRich & Associates, Inc.
15300 Pearl Rd., Suite 112
Strongsville, OH 44136-5036
440-238-5577
fax: 440-572-2976
sdilauro@larichadv.com
Program Book Bio Editor

Lisa Van Dusen (2007)
1947 Gravel Rd.
Seneca Falls, NY 13148-8720
315-568-1233
lvandusen1@rochester.rr.com
Piccolo
Mary Kay Ferguson (2004)
3420 E. Fairfax
Cleveland Heights, OH 44118
216-321-2713
mkferguson@mac.com
Gala Fundraising Dinner Chair

Gwen Powell
5101 E. Oakmont Dr.
Tucson, AZ 85718
520-529-3748
gpowell@u.arizona.edu
Planned Gifts
Gwen Powell (2007)
5101 E. Oakmont Dr.
Tucson, AZ 85718
520-529-3748
gpowell@u.arizona.edu
COMMITTEE CHAIRS
Advisory Committee
Alexa Still (2007)
Sydney Conservatorium of Music
Macquarie St.
Sydney, NSW 2000
Australia
011 61 2 93511266
fax: 011 61 293511287 (attn: Alexa)
a.still@usyd.edu.au
alexa@alexastill.com
Amateur Resources
Lisa Fahlstrom (2007)
1216 Travis View Ct.
Gaithersburg, MD 20879
301-948-5333
fax: 301-279-1323
lfahlstrom@msn.com
Archives and Oral History
Nancy Toff (2007)
425 East 79th St., #6F
New York, NY 10075
212-772-1343
nancy.toff@oup.com
Cultural Outreach
Horace Alexander Young (2007)
410 SE Crestview
Pullman, WA 99163
713-817-3754
halexzsax@aol.com
Development
Katherine Borst Jones (2007)
4635 Rutherford Rd.
Powell, OH 43065
740-881-5008
fax: 740-881-5252
jones.6@osu.edu
Endowment
Zart Dombourian-Eby (2007)
2515 10th Ave. W.
Seattle, WA 98119
206-285-0206
ebydombourian@aol.com
Forum
Carol Dale (2007)
12902 W. 102 St.
Lenexa, KS 66215
913-400-3676
carol@vcdale.com
Historical Flutes
Linda Pereksta (2007)
801 Frontage Rd., #912
Oxford, MS 38655
662-513-0508
pereksta@earthlink.net
Jazz
Ali Ryerson (2004)
12 Longview Dr.
Brookfield, CT 06804
203-740-2044
alialto@aol.com
aliryerson.com
New Music Advisory
Molly Barth (2007)
126 SE Macy St.
McMinnville, OR 79128
503-435-1393
773-727-2473
mollybarth@gmail.com
Nominating
Leonard Garrison (2007)
Lionel Hampton School of Music
Music Room #206
University of Idaho
Moscow, ID 83844-4015
208-885-6709
fax: 208-885-7254
leonardg@uidaho.edu
Pedagogy
Rebecca Hovan (2004)
23685 Arlene Ave.
Elkhart, IN 46517-3643
574-875-5447
rshflute@verizon.net
Performance Health Care
Stephen A. Mitchell (2008)
4820 Redcastle Ridge
Nashville, TN 37211
615-386-9089
fax: 615-832-7888
voicedoctor@hotmail.com
Special Publications
Susan Waller (2003)
224 Kent Pl.
San Ramon, CA 94583-3748
925-829-4922
piccolosue@aol.com
COMPETITION COORDINATORS
General Coordinator
Lisa Garner Santa (2007)
School of Music
Texas Tech University
Box 42033
Lubbock, TX 79409-2033
806-742-2270, ext. 259
lisa.garner@ttu.edu
Baroque Flute
Nancy Schneeloch-Bingham (2008)
Hayes School of Music
Appalachian State University
Boone, NC 28608
828-262-6447
schneelochna@appstate.edu
Chamber Music
Andrea Graves (2004)
2800 S. Highland Mesa, #1-202
Flagstaff, AZ 86001
309-255-7269
ar.graves17@gmail.com
Convention Performers
Amy Hamilton (2003)
154 King St.
Oakville, ON L6J 1B2
Canada
905-339-2658
keith.atkinson@sympatico.ca
DMA/PhD Dissertation
Michelle Cheramy (2007)
School of Music
Memorial University of Newfoundland
St. Johns, Newfoundland
Canada A1C 5S7
709-737-7477
mcheramy@mun.ca
High School Soloist
Ruth Ann McClain (2008)
5760 Barfield
Memphis, TN 38120-2054
901-683-4110
fax: 815-846-1556
ruthann.mcclain@gmail.com
Professional Flute Choir

Diane Boyd Schultz (2006)
University of Alabama
School of Music, Box 870366
Tuscaloosa, AL 35487
205-348-7110
fax: 205-348-1473
dschultz@music.ua.edu
Young Artist
Karen Evans Moratz (2003)
Jordan College of Fine Arts
Butler University
4600 Sunset Ave.
Indianapolis, IN 46208
317-253-1891
kmoratz@butler.edu
ARCHIVES AND LIBRARIES
NFA Librarian
Bob Diaz, Music and Dance Librarian
NFA Music Library
c/o University of Arizona Libraries
1510 E. University
Tucson, AZ 85721-0055
520-621-7010
diazj@u.library.arizona.edu
OTHER APPOINTMENTS
Director of Public Relations
Irene Pruzan (2004)
5951 Petunia Ln.
Orlando, FL 32821
phone/fax: 407-238-9378
irene-pruzan@juno.com
Flute Choirs Coordinator
Kelly Via (2007)
965 Daisy Ct.
Lawrenceville, GA 30044
770-935-1379
kellyvia@earthlink.net
Flute Clubs Coordinator
Christine Cleary (2004)
2022 Wedgewood Dr.
Grapevine, TX 76051-7706
817-421-6663
Flute Research Coordinator
Michelle Cheramy (2007)
School of Music
Memorial University of Newfoundland
St. Johns, Nfld
Canada A1C 5S7
709-737-7477
mcheramy@mun.ca
Grants Committee
Patricia Spencer (2003)
215 W. 90th St. #1G
New York, NY 10024
212-873-1065
fax: 646-619-4462
newflute@earthlink.net
Jazz Flute Masterclass

Holly Hofmann (2005)
1125 Via Las Cumbres
San Diego, CA 92111
858-292-1814
hhofmann@earthlink.net
International Liaison
Matej Zupan (2004)
C.9. Avgusta 72
1410 Zagorje ob Savi
Slovenija, Europe
386 40 811 811
fax: 386 1 516 11 34
matej.zupan@siol.net
Masterclass Performers
Jill Heyboer (2007)
Music Department
Missouri State University
901 S. National Ave.
Springfield, MO 65897
417-836-4875
jillheyboer@missouristate.edu
Legal Advisor to the Board

Linda Mintener (2003)
3976 Plymouth Cir.
Madison, WI 53705
phone/fax: 608-231-1680
608-266-3049 (office)
608-516-2216 (cell)
lmintener@aol.com
National High School Flute Choir

Virginia Schulze-Johnson (2007)
Department of Music
Drew University
Madison, NJ 07940
908-875-3211
vschulze@drew.edu
Masterclass Reporter, Flutist Quarterly

Tony Watson (2003)
1305 Edmund Park Dr. NE
Atlanta, GA 30306
404-964-4142
tonywatsonflute@yahoo.com
Newly Published Music

Jennifer Robin Lau (2008)
Center for the Arts
MSC04 2570
1 University of New Mexico
Albuquerque, NM 87131
505-401-2398
jlau@unm.edu
Orchestral Audition and Masterclass
Jennifer Parker-Harley (2008)
319 Stewart Ave.
Columbus, OH 43206
614-261-0780
jparkerharley@hotmail.com
Piccolo Artist
Rebecca Arrensen (2004)
1429 Stoney Creek Cir.
Carmel, IN 46032
317-818-0004
rarrensen@indy.rr.com
Myrna Brown International Liaison

Angeleita Floyd (2007)
3743 Beaver Ridge Cir.
Cedar Falls, IA 50613
319-268-1001
angeleita.floyd@uni.edu
Myrna Brown Society
Eva Amsler (2007)
1650 Snowball Way
Tallahassee, FL 32301
850-877-2096
eamsler@mailer.fsu.edu
NFA Library Liaison
Brian Luce (2004)
PO Box 210004
University of Arizona
Tucson, AZ 85721-0004
520-621-7015
fax: 520-621-8118
bluce@u.arizona.edu
NEW
PRODUCTS
Recordings, music, and other products by and for NFA members

The NFA Special Publications
committee announces the release
of the fourth in its Historic
Recording series, Historic Recordings
of Maurice Sharp, available through
the NFA at nfaonline.org. For 50
years, Maurice Sharp (19081986)
was both principal flute of the
Cleveland Orchestra and head of
the flute department at the
Cleveland Institute of Music. The collected works heard on
Historic Recordings of Maurice Sharp demonstrate his vast
contribution to the American flute community and
beyond. This new CD contains the reissue of Sharps one
solo LP, Music for a Golden Flute, which was recorded by
the Cleveland Sinfonietta in 1960, with Louis Lane conducting. It features works for solo flute and orchestra:
Griffess Poem, Footes A Night Piece, Honeggers
Concerto da Camera (with Harvey McGuire, English
horn), and Hansons Serenade. The orchestral excerpts
from works by Beethoven (Leonore Overture No. 3,
Symphony No. 3), Brahms (Symphony No. 4),
Mendelssohn (Midsummer Nights Dream, Scherzo),
Rossini (Il viaggio a Reims), Hindemith (Symphonic
Metamorphosis), Dvork (Symphony No. 8), and Ravel
(Daphnis and Chloe) are from Cleveland Orchestra recordings conducted by George Szell and Pierre Boulez. The
chamber music performances from the archives of the
Cleveland Institute of Music include Sonata for Flute and
Piano by Beryl Rubinstein, Caprice on Danish and Russian
Airs, Op. 79, by Camille Saint-Sans, and Sonatina for Flute
and Accordion by Waldemar Bloch. Assisting artists in
these performances are Marianne Matousek Mastics, piano;
John Mack, oboe; Franklin Cohen, clarinet; Donald Payne,
piano; and Jacqueline Hofto, accordion.
The Armstrong Flute and Percussion

Duo, consisting of Eleanor Duncan
Armstrong (flutes) and Dan C.
Armstrong (percussion), has released
Creative Mix, its second CD recording. Four of the works on this CD
are new commissions written for
and dedicated to the Duo, including
Kiva by Dan Welcher, Pu-EmRemu by Dana Wilson, Music for Flute and Drums by Burt
Fenner, and Three Days in May by Lynn Glassock. The other
two works included are Sonata piccola by Wolfgang
Hofmann and the first CD recording of the classic Diversions
for Flute and Marimba (1958) by Peter Tanner. This CD was
recorded for the Gasparo label by Kent Klouser of Klouser
Audio and was produced by Roy Christensen. It was made at
Penn State University, where the Armstrongs are members of
the music faculty. Visit gasparo.com.
Suzanne Teng announces the
availability of the sheet music for
her compositions Sierra and
Katyias Dance. These pieces,
written for alto flute, guitar, bass,
and drums, are also available transcribed for C flute. Teng performed Sierra on the Sunday
Headliner Concert at the recent
NFA Convention in Albuquerque with percussionist Gilbert
Levy and guitarist Arnold Cardon. Teng also announces the
release of her third solo recording, Enchanted Wind, which features seven of her original flute meditations played on alto
flute, bass flute, bamboo flutes, and contra bass flute.
Accompanying instruments include celtic harp, bass dulcimer,
and tanbura. Visit suzanneteng.com.
Save the Date: Upcoming NFA Conventions

August 710, 2008,
Kansas City, Missouri
August 1316, 2009,
New York City, New York
Syrinx
Fine Flute Repair
www.syrinxflute.com
August 1215, 2010,

Anaheim, California
August 811, 2011,
Charlotte, North Carolina
Sarah Merrow
sarah@syrinxflute.com
978.771.7945
nfaonline.org
71
REVIEWS
Reviews of flute-related recordings, books, and other items of interest
Books
Le grand rpertoire de la flte

Bernard Pierreuse
2005 Listesso Srl and La Traversire, listesso.com
Print version: 2 vols.
Electronic version: CD-ROM for Windows or Macintosh
n 1982, Bernard Pierreuse, a chamber musician, teacher, and

flutist in the Lige Philharmonic, published Flte Litterature.
This massive catalog listed everything from unaccompanied
solos to works for flute with orchestra, tudes, methods, histories, and biographies of flutists. Now a new edition, Le grand
rpertoire de la flte, is available as a searchable database and
in a new print version. The coverage has been expanded to an
incredible 90,000 titles. As in the first edition, the author has
made an exceptional effort to include both available and
out-of-print materials, as well as those that exist only in
manuscript, in institutional collections, or that are mentioned in major reference sources. This review will focus on
the electronic version, the form supplied by the publisher.
Instructions provided for both installing and using the
database are minimal (as are the directions in the print version). Those familiar with the features of large bibliographic
databases will quickly adapt, but the less experienced searcher
may need to go through a process of trial and error before
achieving entirely successful results. Installing the database on
a computer is straightforward, although users need to be
aware that, even after installation, the compact disc must be
put into the drive for each use, and that a screen setting of at
least 1024 x 768 pixels is essential for the database to function
properly. The database cannot be loaded on to a hard drive,
nfaonline.org
and no functioning backup copy of the CD-ROM can be

produced. In addition, it is apparently not possible to save
search results and either print or e-mail them. Once the database is installed, however, its remarkable scope and potential
range of applications are immediately apparent. The user
can select from three languages (French, German, or
English) and has the option of searching by composer, title,
duration, year of composition, instrumentation, or publisher
or any combination of those elements.
It is also possible to search by a composers year of birth or
death, a feature that would certainly be useful for planning
anniversary concerts. A separate collection search finds
compilations, but the contents of the collections themselves
are not listed. Search results are displayed in a clear and uniform manner that provides all or most of the following
details: the composers name with years of birth and death,
title, duration, year of composition, publisher, publishers
stock number, year of publication, and instrumentation. The
remaining features of the CD-ROM are a list of abbreviations
for instruments and other terms (the lexicon) and a directory of
those publishers cited that have active addresses or Web sites.
The Lexicon is one of the most indispensable features of the
database, but it would be even more useful if it could be printed. A 305-page composer index was not included on the CDROM (or in the print volumes), but it can be downloaded
from the Listesso Web site and printed.
The print version, now in two volumes, is organized much as
the first edition was: by instrumental combination, and then by
composer within each section. Each volume includes the
Lexicon of abbreviations, the index of instrumental ensembles,
and the list of publishers. Volume I is devoted to works for unaccompanied flute, flute and piano, flute choir, and flute with
orchestra, as well as pedagogical materials and literature on the
flute. Volume II covers all other ensembles with flute. A major
improvement in the print version is the use of highlighting to
make the index of instrumental ensembles far more readable.
A highlight of the new edition is that citations for journal
articles, dissertations, and other publications have increased
dramatically. Coverage is selective: many of the famous treatises,
methods, and dictionaries from the 19th century and earlier
are included, but the periodical articles, dissertations,
brochures, and catalogs are generally from the 1950s or later.
Articles in Continental and British journals are more prevalent (Tibia, Pan, Traversire, Flte aktuell, and Fluit are all
well represented), but publications from other countries are
not excluded.
One obvious asset of the electronic version is that the
opportunities for combining search elements are greatly
increased. It is possible to look for Breitkopf editions of Bachs
flute works, for flute duets that are less than three minutes long,
or for works for flute and voice that have the word paradise in
the title. Searching by instrumental combination is perhaps
the most sophisticated and versatile function. The user can
specify a precise ensemble (flute, trombone, and cello) or use
broader categories (works for two woodwinds and two brass
with a keyboard instrument). Pull-down menus for each
instrumental classification allow the user to select everything
from piccolo, to Ondes Martenot, to a dancer.
The principal challenge of searching the electronic version
is that of using names and/or titles consistent with the forms
entered in the database. If the title Acht Stcke is entered, two
German-language articles about Hindemiths unaccompanied
solos will be retrieved. Entering Eight Pieces yields a work
with the full title Pieces of Eight. Citations for the
Hindemith work are found only by entering 8 Pieces, the title
uniformly used in creating the database entries. In addition,

there is no automatic translating or cross-referencing between
different versions of the same title. For example Paul Wetzgers
flute solo, By the Brook, must be located using either the
composers name or the German title, Am waldesbach.
Such idiosyncracies are common to all electronic resources,
and fortunately none of these are serious enough to prevent Le
grand rpertoire from being completely usable. Of greater
importance is the fact that the content of the database is
impeccable. Because there is no other single resource that
presents so much detail about flute repertory, it is an essential
purchase for libraries, teachers, and performers. Le grand
rpertoire de la flte will serve as a significant resource for both
performance and research for many years to come.
Susan Nelson
Johann Sebastian Bach:

Partita in A Minor for
Solo Flute BWV 1013,
with Emphasis on the
AllemandeHistorical
Clues and New Discoveries
for Performance
Betty Bang Mather and
Elizabeth A. Sadilek
each movement, as in other partitas of Bach, is patterned after

a traditional baroque dance form.
In the past 44 years many articles have been published about
the Partita, but the recent book by Betty Bang Mather and
Elizabeth Sadilek achieves an extraordinarily high standard of
scholarly research coupled with an impressive amount of
practical performance advice.
Part One of their book gives a historical background of the
Partita, and includes a manuscript facsimile of the work and the
authors transcription of the music in modern notation. Part
Two begins with a comparison study of five contemporary allemandesfour by Bach for solo keyboard, cello, and violin, and
one by Johann Blockwitz for solo flute. This study discusses such
topics as affect, tempo, texture, harmony, rhythm, melody, and
repeated strains. A second study titled Ongoing Movement
despite Breaths explains the forward motion of the allemande,
its poetic phrase structure, and the need for speechlike enunciation by the flute. The entire allemande is then notated twice, first
with a structural analysis and then with a suggested structural enunciation scheme, along with helpful practice
suggestions for delivering Bachs flute allemande as recited
poetry. In the third study, Poetic Images and Emphases, the
authors argue that the structure of Bachs flute allemande is that
of a psalm, and they present fascinating rhetorical analogies
between this allemande and the verses of Psalms 19 and 27.
Part Three is devoted to the other three movements, Corrente,
Sarabande, and Bourre Anglaise. Though not as detailed as the
allemande coverage, Mather and Sadilek show how the four
dances relate and how faithful each is to its dance type, and they
give excellent advice on how each can be performed.
At the 2006 NFA convention in Pittsburgh, I attended an
illuminating lecture/demonstration on the Bach partita by
Mather and Sadilek. Among other things, I learned that,
according to Thoinot Arbeau, the allemande is a dance of
moderate gravity. Thus, with Mather as the expert dance
instructor and Sadilek as the poetic flutist, my classmates
and I learned the relatively sedate double and single steps
that comprise a stylish allemande dance. This was indeed a
convincing demonstration that 126 is definitely not the
proper allemande tempo!
Walfrid Kujala
2004 Falls House Press
can still remember my exciting

first encounter with the J. S.
Bach Partita while a student at
Eastman in the 1940s. Having
already studied the six standard
Bach sonatas, I happened one day to run across another
Sonate by J. S. Bach appended on page 133 of my Albert J.
Andraud (now Southern Music) publication, Famous Flute
Studies & Duets. The dark blue cover of this oversize book
prompted me always to refer to it admiringly as my Big Blue
Book, because in addition to the Andersen Op. 30 and 63
tudes, there were 55 delightful pages of duets and solos, the
very last one being my newly discovered four-page J. S. Bach
Sonate, revised by Robert Cavally, and with a clarifying footnoteoriginally written for flute alone. The revisers printed
tempo for the allemande first movement was animato e spiritoso. That marking, along with the generous number of staccato
dots, accents, and dynamics sprinkled through the movement,
led me to adopt a very fast tempo modeled after the virtuosic
preludio movement of the E Major Violin Partita BWV 1006.
Being clueless about the proper character of an allemande, I
blithely forged ahead with a 126 to the quarter-note metronome
speed, a ludicrously rapid tempo by todays standards.
At that time there were no recordings of the Partita (alias
Sonate), and apparently it was not often performed. In fact,
there had been doubts by some musicologists concerning its
authenticity (the original autograph was lost). However, by
the late 1950s, a resurgence of interest took hold, a consensus
was reached that it was indeed authentic, and in the new 1963
Brenreiter edition Hans Peter Schmitz retitled it Partita, since
nfaonline.org
75
CDs
Franz Josef Haydn;

Londoner Trios, Hob. IV:
Nr. 13 (two flutes and cello
or flute, violin and cello)
with play-along CD
Georg Friedrich Hndel;

3 Hallenser Sonaten,
HWV 374376 (flute or violin and Basso Continuo)
with play-along CD
C. Ph. E. Bach; Sonata in G

Minor for violin (or flute)
and Harpsichord (originally
attributed to J. S. Bach BWV
1020) with play-along CD
2006 C. F. Peters
2006 C. F. Peters
2006 C. F. Peters
hese products are the C. F. Peters incarnation of the old

stalwartMusic Minus One (MMO). Obviously, technology
has progressed radically since my parents bought me an MMO
record of the Mozart flute quartets several eons ago. Additionally,
as I recall, on my record of yesteryear, the quality of playing by the
unidentified performers was questionable, the rhythm unstable,
entrances were a guessing game, and the vagaries of pitch were
held prisoner by the efficacy of the turntable.
Times have changed. The vinyl has been replaced by a digitally
stable CD, and the accompanying performers are first class.
The Haydn CD features Imre Kovacs, flute; Zsuzsanna
Molnar, violin; and Zsolt Bartha, violoncello. Kovacs has
served as principal flutist in the Hungarian State Orchestra
since 1976. He is a member of the faculty of the Bela Bartok
School and Conservatory in Budapest. His two colleagues on
this recording are excellent musicians. The obligatory rhythmic
consistency (whether by click-track or not) is steely accurate.
The package includes the CD, two instrumental parts, and a
scoreall in urtext form. There are two complete performances
on the CD. The first is YOU, second flute, and cello; the second
is YOU, second violin, and cello.
If your violin (or flute) and cello buddies decide to bag your
weekly chamber music evening for a Jewel concert instead, this
CD would be a hearty substitute.
The Handel CD features Siegfried Petrenz, cembalo/harpsichord, and Gregory Johns, violoncello. In The Flute Book
(indispensible to all of us!), Nancy Toff mentions that over the
years, editors have clouded compositional dates and attribution
of Handels works for flute. The three sonatas above were
allegedly composed by Handel while he was a student and
organist in Halle. Both the compositional date (1702) and the
authorship remain in doubt.
These sonatas are easier to play than Handels standard
six. I have periodically utilized them along with the Vivaldi Il
nfaonline.org
Pastor Fido Sonatas for students who are transitioning from

beginning flute books to real music. For students who are
more advanced, Handels skeleton writing in this group of
sonatas provides an ideal template for experimentation with
baroque ornamentation. One caveat, howevereditor
Waldemar Woehls print realization of the continuo in the
music package is somewhat different than Petrenzs on the
enclosed CD. Additionally, most of the movements on the
CD have two measures of preparatory beats, but several
have only one measure. I enjoyed my play-along with this
CDespecially No. 3 in B Minorand I think that you will, too.
The C. Ph. E. Bach CD features Siegfried Petrenz, harpsichord. Im not sure what it says about me that three of my
favorite flute works by Bachthe A Minor Partita, the E-flat
Sonata, and the G Minor Sonatahave all had doubts cast
upon their authenticity. There is substantial scholarship to prove
that Johanns G Minor sonata was actually composed by son
Carl, and to add insult to injury, it was most likely for violin originally. Some oboists even claim ownership. So be itit is vintage
baroque music, and were lucky to have it in our repertoire.
Petrenzs keyboard artistry is very straightforward and accuratenecessities for a play-along CD. Dont count on
preparatory beats in the third movement! The spotless Edition
Peters urtext is included. This package is the only one of the
three above that has an English translation of frontispiece
remarks in German, which is helpful.
Bottom line: These play-along performance packages are
well-crafted and well-conceived products. The performances
on the play-along CDs are high quality and the sparkling
Peters Editions can function as stand-alone additions to your
music library. Each package provides multiple templates for
the purchaserstudy, practice, and enjoyment.
Erich Graf
Music
Antonio Vivaldi:
Three Concertos for Piccolo
Zart Dombourian-Eby, ed.;
Piano reductions Martha Rearick
2006 Theodore Presser Co.
art Dombourian-Eby, one of the

foremost piccolo virtuosi of the 21st
century, has created an important contribution to the piccolo repertoire with this edition of
Vivaldis concertos for the flautino. Dombourian-Eby, the
principal piccoloist of the Seattle Symphony, had been
teaching these concertos at her Northwest Flute and Piccolo
Forum for several years when a student requested that she
publish her own edition with performance suggestions.
Dombourian-Ebys purpose in creating this new publication
was to create a performance ready edition that stayed as true
as possible to baroque performance practice. The preface
Classic Duets for Flute,

Volumes 1 and 2
Selected and introduced by
Mary Karen Clardy
s a teacher, I am always on the lookout for good duets to play with my

intermediate and advanced students.
Clardys duet collections are excellent
choices for any flute teacher to consider. Volume 1 contains
works by Hndel, Blavet, J. S. Bach, Haydn, Mozart, and
Rossini. Many of these duets are opera arias that were
arranged by the composers contemporaries for the enjoyment
of amateurs. Teachers will find the earlier duets useful for
teaching baroque style, as Clardy has thoughtfully included a
table of J. S. Bachs realized ornaments. Flutists familiar with
the Two Part Inventions may be surprised to see that they have
been transposed to fit the tessiatura of the flute, and will have
to decide for themselves whether or not the change of key
signatures affects the character of each movement.
A common complaint about duets is that the first players
part is often more challenging and interesting than that given
to the second player. Clardy has avoided this problem by
choosing duets in which each player is given a satisfying part
Koehler
15 Easy Exercises,
Op. 33, Book 1
Edition and commentary
by Sir James Galway
his collection of tudes would be an

excellent choice for the intermediate
includes a treasure trove of historical notes on the compositions;

an explanation of the possible instruments denoted by the
term flautino; suggestions for performing ornaments, trills,
and articulations; alternate fingerings; dynamics (not indicated
in Vivaldis autograph score); and suggestions about playing tutti
sections. Based on her study of the manuscript, she has also
restored pitches, stating that some accidentals differ from
most other currently published editions. A section of the
manuscript is included in the preface.
The middle movement of the Concerto in C Major, RV 443,
is in two repeated sections. For each, Dombourian-Eby has
included gorgeous, ornate passages to be played in the repeats.
These tasteful passagi will be welcomed by students learning
how to ornament Italian baroque works.
The late Martha Rearick created beautiful, tasteful piano
reductions from the orchestral scores. This edition is a welcome
addition to any serious piccoloistss library.
Shelley Collins
to play. My students particularly enjoyed an arrangement of

Blavets Gavotte from Suite No. 5 (Harmonious Blacksmith)
because of the back-and-forth interplay between the two
parts. They also enjoyed performing the Rossini Overture to
The Barber of Seville, although they found the page turns
difficult to navigate.
Written introductions to each duet include historical information and performance suggestions that will be useful for
students and teachers alike.
Volume 2 includes helpful, short biographies of each composer and performance suggestions for each work. This volume
features works by Telemann, Quantz, W. F. Bach, Devienne,
and Koehler. Clardy begins the collection with two canonic
sonatas by Telemann. These duets are usually written as a singlestave piece of music in which the players begin one measure
apart. While this method saves space on the page, young players
will subsequently struggle to find their place if they get lost.
Clardy, however, has solved this problem by writing the canon
on two staves. No solution is perfect, as this means that flutists
will have more pages to turn. I couldnt help but think that leaving pages blank to facilitate some of the page turns would have
been a useful feature in both volumes. However, this is a small
quibble with what are otherwise excellent collections that will be
enjoyed both for sight-reading practice and for performance.
Shelley Collins
student. Similar in difficulty to the Berbigieur or the easier
Andersen tudes, each study is contained on a single page, and
key signatures go up to three flats and four sharps. Teachers
will find several useful features. Measures are numbered so that
teachers can refer to them when giving assignments. Galway
has included helpful breath marks and suggestions for learning
each tude. He has also included a variety of articulations to
challenge the student.
Shelley Collins
nfaonline.org
77
SUBSCRIPTIONS
Receipt of The Flutist Quarterly is a benefit of membership in the National Flute
Association, Inc. Subscriptions are available to libraries and institutions at a charge
of $35 per year. Personal subscriptions are not available. The Music Library Catalog
(6th ed.) is also available to libraries and institutions at $15 per copy.
ADDRESS CORRECTIONS
Bulk rate mail is not forwarded. Send address corrections to: Maria Stibelman,
Membership Services, 26951 Ruether Ave., Ste. H, Santa Clarita, CA 91351;
661-250-8920; 661-299-6681 (fax); nfamembership@aol.com. The NFA will be
responsible for one missed magazine in the event an address change crosses in the
mail. Missed issues due to bad addresses are available at the rate of $10 per copy
through the membership services manager.
BACK ISSUES
Members and nonmembers may purchase back issues of The Flutist Quarterly
at the rate of $10 each through the membership services manager at the
address listed above.
EDITORIAL GUIDELINES
Please submit manuscripts electronically as Word files attached to an e-mail
message that clearly states what you are submitting. (Unidentified attachments
might be deleted as a virus security precaution.) If you are unable to submit via
e-mail, please send submissions as Word files on a CD. Please include a singlespaced, printed copy of your submission.
Submissions should also be accompanied by a signed letter stating that the
material contained in your submission (1) is entirely original; (2) has not been
previously published; and (3) is not currently under consideration for publication
elsewhere. (Electronic submissions need not be signed but should include these
three statements.) Manuscripts under copyright need to include permission to
duplicate 10 copies for review purposes only.
You will be notified that your manuscript has been received by the editor.
Authors of manuscripts accepted for publication will be sent a permission-toprint form. Accepted manuscripts will, when appropriate, go through a review
process. Authors might be asked to revise manuscripts during this procedure. The
editor reserves the right to edit all articles for style, content, or space requirements.
The Flutist Quarterly budget does not include honorariums for authors.
Editorial deadlines for The Flutist Quarterly apply primarily to departments

providing news of interest about flutist activities and products. Unsolicited feature
articles, items for review, and news about member achievements may be sent at
any time for consideration; submissions to Across the Miles, Canadian News, and
Notes from Around the World departments should be sent to their editors at least
one week prior to deadline dates to be considered for inclusion. Queries via
e-mail or phone about feature article topics prior to submission are welcome
at any time. Send editorial materials for the fall issue by June 1; the winter issue
by September 1; the spring issue by December 1; and the summer issue by March
1. Please note these earlier submission deadlines, effective as of May 2007.
Please send submissions (except Across the Miles, Canadian News, and Notes
from Around the Worldsee those departments for contact information) to:
Anne Welsbacher
7213 E. Chelsea St.
Wichita, KS 67206
316-440-2800
fax: 316-440-2801
No submissions will be returned unless accompanied by a stamped,
self-addressed envelope.
ADVERTISING GUIDELINES
Guidelines, deadlines, and fees are available at nfaonline.org/fqadvertising.asp,
or contact Steve diLauro. Deadlines for The Flutist Quarterly are: fall issue,
August 1; winter issue, November 1; spring issue, February 1; summer issue, May
1. Please note these earlier submission deadlines, effective as of May 2007.
Please send advertising submissions and queries to:
Steve diLauro, NFA Advertising Sales Representative
LaRich & Associates, Inc.
153000 Pearl Rd., Ste. 112
Strongsville, OH 44136-5036
440-238-5577
fax: 440-572-2976
sdilauro@larichadv.com
INDEX OF ADVERTISERS
Anne Pollack has raised the art of
flute maintenance to a new level."
- Sir James Galway
8)"5
WORKS
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WHERE
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24/7
"O "NB[JOH 7JSUVPTJUZ

presenting the Headjoints of:
NDJG
;AJI:
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Anne H. Pollack /Master Flute Technician
Discerning Flute Dealer . . . since 1976
3FQBJST $POTJHONFOU 4BMFT .BODLF )FBEKPJOUT

Authorized to install Straubinger Pads. FedEx for Out-of State service.
Abell Flute Co.

39
Altus Flutes America, Inc.
2
Brannen Bros. Flutemakers, Inc.
80
Burkart Flutes and Piccolos (2)
10, 72
Cantilena Records
83
Cardinal Classics
58
Carlini, Louis A.
8
Clarion Insurance
61
Classical Collection Inc
27
Crystal Records
35
Drelinger Headjoint Co. (3)
8
Emerson, division of Conn-Selmer
11
Fluit
26
Flute Specialists, Inc.
66
Flute World
48
Paul Fried Flutist
73
Global Choro Music Corporation
4
Erich Graf
27
Patricia Harper
62
Hammig Piccolos (see also Miyazawa)
78
William S. Haynes
6
Italian Flute Society
53
Jupiter Band Instruments, Inc.
1415
Keefe Piccolos
51
Kemler, Katherine
62
Landell Flutes
62
Bradley Leighton
46
Little Piper/Dean Yang Flutes
69
Lopatin Flute Company
47
Lyric Flutes (see also Miyazawa)
15
Magnolia Music Press
8
Mancke-Flutes
27
Miyazawa Flutes, Ltd (3)
12, 15, 78
MPulse Ann Arbor (University of Michigan) 34
Muramatsu America
84
Music for Healing & Transition Program
27
National Flute Association
51, 58, 60, 62, 66
Northwind Cases
27
Oberlin Flute Institute
46
Ogura Flute Works
81
PAN
54
Randolph County Community Arts Center
58
(Timber Flute Festival)
Simon Polak
54
Progress Press (3)
26, 38, 47
Theodore Presser
79
Sheridan Flute Co.
62
Skidmore College Summer Flute Institute
39
Southern Music Company
39
Syrinx Flute Repair
47
Tai Hei
39
University of Washington
54
Wildacres Flute Retreat
26
Williams Flutes
82
Windplayer Publications
47
Winzer Press
65
Yamaha Corporation of America
7
Your Flute Works
81
Photo David Williams 2006
We are pleased to recommend the following distributors:

Carolyn Nussbaum Music Co.
Flute Center
Paul Rabinov
Plano, TX
New York, NY
Los Angeles, CA
www.flute4u.com
www.flutes4sale.com
rabinov@earthlink.net
818-249-1659
877-358-8348
212-307-9737
J.L. Smith & Co.

Charlotte, NC
www.flutesmith.com
800-822-2157
Williams Flutes, Boston, MA 781-643-8839 www.williamsflutes.com
T H E
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LUTIST

defin ing the art of the handmade flute

VOLUME XXXIII, NO. 2

From the Chair

NFA Office, Coordinators,

New Horizons: The World of African Art Music for Flute

Commissioned Works from the High School Soloist Competition:

Renaissance Man: Louis Moyse (1912-2007)

Cover: Courtesy Wendy Hymes Onovwerosuoke.

T HE NATIONAL F LUTE A SSOCIATION

N OVEMBER 18, 1972

Winter 2008 The Flutist Quarterly

s I write this from New Orleans,

The newly formed Endowment

one and seeing the stacks! Gwen Powell,

Winter 2008 The Flutist Quarterly

THE FLUTIST QUARTERLY

National Flute Association, Inc, Staff

Life and Death and Music

inter is tough on some

teaching affected, and was affected by,

her. I resisted this portion because this

Winter 2008 The Flutist Quarterly

Burkart instruments are at once beautifully

2 Shaker Road #D107

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We make legends. Conn-Selmer, Inc., A division of Steinway Musical Instruments, Inc.

News and activities about the accomplishments of National

Nicola Mazzanti teaching a morning warm-up class at the International

he first International Piccolo Symposium (IPS) was held

he 2007 Julius Baker MasterclassesThe Legacy

FA members Amy Likar, Lea Pearson, Stacey Pelinka,

Winter 2008 The Flutist Quarterly

FA member Polly Meyerding taught

ormer NFA Chair Alexa

her original composition for solo flute, Solace. Angela

The Flutist Quarterly Winter 2008

ecent years have witnessed an increase in the number

African Art Music Defined

WENDY HYMES ONOVWEROSUOKE

The Issue of Identity

identity in their work. According to Nketia, an African

Winter 2008 The Flutist Quarterly

NEW HORIZONS: THE WORLD

AFRICAN ART MUSIC

whose ideals still reflect those of the former colonizing

African Pianisms Influence

The Flutist Quarterly Winter 2008

Ndodana-Breens African heritage is seen in the titles of

Ex. 1 Bongani Ndodana-Breen, Visions Part I, mm. 5967

Ex. 2 Bongani Ndodana-Breen, Visions, Part II, lyrical melody

WENDY HYMES ONOVWEROSUOKE

On the role of rhythm, Ndodana-Breen wrote [It is] very

Movement 1 portrays conflicts and resolutions in forming

Winter 2008 The Flutist Quarterly

NEW HORIZONS: THE WORLD

AFRICAN ART MUSIC

Ex. 4 Fred Onovwerosuoke, Ayevwiomo, opening call

Ex. 3 J. H. Kwabena Nketia, Republic Suite, fifth movement,

The Flutist Quarterly Winter 2008

After affirming the birth, the celebration begins in the Allegro

Ex. 5 Fred Onovwerosuoke, Ayevwiomo, cross-rhythms in piano

Ex. 6 Fred Onovwerosuoke, Iroro, opening mm. 16

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