The New York Flute ClubOctober 2005

In Concert

LATIN JAZZ FLUTE EXPLOSIONDave Valentin, Andrea Brachfeld,

Karen Joseph, and Connie Grossman, flutes

Sunday, October 23, 2005, 5:30 pmYamaha Artist Piano Salon, 689 Fifth Avenue

Interview by Jamie Baum

(Cont’d on page 9)

Program subject to change.

LATIN JAZZ FLUTE EXPLOSION

N E W S L E T T E R

I N T H I S I S S U E

JAMIE BAUM: Let’s start at the begin-ning and give people some backgroundabout how and when you startedplaying the flute and about the artistswho influenced you.

DAVE VALENTIN: I went to the HighSchool of Music and Art and was apercussion major, playing drums andcongas, timbales and bongos. At age15, I wanted to meet a girl named Irenewho played the flute. I had no interest

Jamie Baum interviewed Dave Valentin and Andrea Brachfeld in a conference telephone call on Thursday evening,August 31st. It was not easy trying to coordinate the schedules of three busy jazz musicians juggling out-of-town engage-ments, local gigs, and a slew of teaching responsibilities, but the stars aligned and the electronics (various cell phones,speaker phones, microphones, tape recorders) held up long enough to get the following:

‘Oye Como Va ........................................ Tito Puente

Transition ........................................... John Coltrane

Bajo Un Palmar—Chasing the Sunset ..................... Connie Grossman

Meet You at the Coda ........................Dave Valentin

Almendra ........................................ Abelardo Valdés

Flor de Zampoña ......................... Andrea Brachfeld

I Remember You ..................... Schertzinger-Mercer

Footprints ..........................................Wayne Shorter

Fly With The Wind .............................McCoy Tyner

in the flute at all at that time. Sheshowed me the flute and the C majorscale, and I played the scale immedi-ately. I wanted to impress her, and inthree weeks I was able to play herHerbie Mann’s “Coming Home Baby.”She looked at me in wonder and saidshe’d been playing for three years andhere I am just picking up the flute and

Andrea Brachfeld, Karen Joseph,Dave Valentin, and Connie Gross-man (clockwise from top left)are the flutists of the Latin JazzFlute Explosion (above).

More aboutthe new venue

and a

Ticket

Update

on pages 4–5

NEWLOCATION!!!

Yamaha Piano Salon, 689 Fifth Avenue(entrance on 54th Street between Fifth and Madison)

Latin Jazz Flute Explosion ......... 1Interview by Jamie Baum

From the President ..................... 2Introducing David Wechsler

Member Profile ........................... 3Burton Leiser

NYFC Moves Concerts ............... 4by Annette I. Dorsky

Piano Makers and theirNew York Concert Halls ............ 5

by Nancy ToffNancy Toff on The Monarchof the Flute ................................. 6

Interview by Katherine SaengerImpressions of Latin America .... 6

by Linda Wetherill A n n o u n c e m e n t sDues Reminder ................................... 2Flute Happenings ............................... 3Member Announcements ................... 4Classified ......................................... 4

2 — NYFC Newsletter

Introducing David Wechsler by David Wechsler

From thePresident

THE NEW YORK FLUTE CLUB INC.

2005–2006

Board of DirectorsDavid Wechsler, President

Jayn Rosenfeld, First Vice President

Ardith Bondi, Second Vice President

Jeanne Wilson, Recording Secretary

Don Hulbert, Membership Secretary

James N. Blair, Treasurer

Katherine Fink Jane RiglerSvjetlana Kabalin Seth RosenthalFred Marcusa Rie SchmidtKarla Moe Stefani Starin

Nancy Toff

NewsletterKatherine Saenger, Editor115 Underhill RoadOssining, NY 10562(914) 762-8582klsaenger@yahoo.com

Alice Barmore, Layout/Production125 Christopher St., #4HNew York, NY 10014(212) 675-9706 (phone and fax)abarmore@earthlink.net

www.nyfluteclub.org

Past PresidentsGeorges Barrère .................. 1920–1944John Wummer ...................... 1944–1947Milton Wittgenstein ............ 1947–1952Mildred Hunt Wummer ...... 1952–1955Frederick Wilkins ................. 1955–1957Harry H. Moskovitz ............. 1957–1960Paige Brook ........................... 1960–1963Mildred Hunt Wummer ...... 1963–1964Maurice S. Rosen ................ 1964–1967Harry H. Moskovitz ............. 1967–1970Paige Brook ........................... 1970–1973Eleanor Lawrence ............... 1973–1976Harold Jones ........................ 1976–1979Eleanor Lawrence ............... 1979–1982Paige Brook ........................... 1982–1983John Solum ........................... 1983–1986Eleanor Lawrence ............... 1986–1989Sue Ann Kahn ...................... 1989–1992Nancy Toff ............................. 1992–1995Rie Schmidt ........................... 1995–1998Patricia Spencer ................... 1998–2001Jan Vinci ................................. 2001–2002Jayn Rosenfeld ..................... 2002–2005

Advisory BoardJeanne Baxtresser Robert LangevinHarold Jones Gerardo Levy

Marya Martin

Copyright © 2005 by The New York Flute Club Inc.unless otherwise noted. All rights reserved.

Hello fellow flutists! I would like to introduce myselfin this first “From the President” column. I amDavid Wechsler, and I am the new president of the

New York Flute Club.I have always had a special place in my heart for the NYFC.

The first date I went on with my wife was to a NYFC concertin the early ’70s. Bonita Boyd was the soloist that afternoon.If I think long enough, I may even remember what the pro-gram was. [Note from the archivist: This concert has beenidentified as Bonita Boyd’s January 27, 1974 CAMI Hall recital,with a program of music by Telemann, Schubert, Prokofieff,

and Jolivet.] Another memorable concert for me was one the previous year [Decem-ber 16, 1973, at the New York Horticultural Society on West 58th Street], when theNew York Saxophone Quartet played a Christmas program that included jazz arrange-ments of standards for flute quartet done by Albert Regni. This was in the daysbefore flute quartets were of any real interest and had little repertoire other thanBaroque and a few contemporary pieces. Al didn’t play that afternoon in order tohear the performance. The players were all doublers and fine flute players, muchlike the present personnel. In 1992, I became a board member of the NYFC, andwas the person responsible for introducing the idea for a flute fair at a board meet-ing. It initially met with resistance, but Nancy Toff and Rie Schmidt and I prevailedupon the rest of the board to try it as an experiment. Now the fair has evolved intoan institution, much like the New York Flute Club itself.

Sometimes things are around so long we take them for granted, not consideringtheir origins and assuming they will always exist. The Flute Club has always been anorganization where flutists could meet, socialize, and hear some very interestingmusic. It continues to be, and that is a comforting thought. For years, the concertstook place at Columbia Artists Management Inc. (CAMI) Hall, a place with a lot ofelegance and character. Some have questioned the acoustics, others have complainedabout the backstage, some love it, some don’t. But it has always been a given thatthis was our home. With a few exceptions, most of the concerts in the Flute Clubseason since 1949 have been there. This year, CAMI Hall is undergoing a restorationand is closed. We were forced to find a hall for the 2005–2006 season and we cameup with a peach! The Yamaha Company graciously invited us to use its Piano Salonon East 54th Street and Fifth Avenue. It is a beautiful space, one that evokes thefeeling I get when I walk into CAMI Hall for a Flute Club concert. The NYFC isindeed grateful to the Yamaha Corporation. And we need not worry about having aquality piano!

As you can see from the schedule on the back page, we have some very interestingand exciting programs planned for the year. I encourage you to attend and to bringfriends, students or colleagues, or a date—hey, you never know how that may turnout. In this time of uncertainty in politics, the economy, the weather, and the relentlesschipping away of live music and fine concerts in general, it is nice to know that ameeting place exists for people of similar musical interests, whether professionals oramateurs, students or teachers, or simply aficionados of the flute. It somehow makesyou feel a little more…civilized. And that, to quote Martha Stewart, is a good thing. ❑

To be included in the 2005-2006 Membership Directory, dues must be paid byOCTOBER 31 (Barrère’s birthday). Dues (regular $50, student/senior $35,

contributing $75) can be sent directly with identifying information (name, address,phone, email) to: Don Hulbert, NYFC Membership Secretary; Park West Finance Station,Box 20613; New York, NY 10025-1515; don.hulbert@verizon.net, 212-316-3321.

Membership Directory Deadline

October 2005 — 3

OCT16

FLUTE

HAPPENINGSMember ProfileBurton LeiserNYFC membersince 2003

O C T O B E R 2 0 0 2OCTOBER ’05

FREE to current NYFC members, this section lists upcomingperformances by members; flute-related contests, auditions, andmasterclasses organized/sponsored by members; and briefdescriptions of members’ new recordings, sheet music, and books.Send submissions to the Newsletter Editor.

Employment: Retired(was DistinguishedProfessor of Philosophy and AdjunctProfessor of Law at Pace University).

A recent recital/performance: A spring2004 student recital at the MusicConservatory of Westchester, perform-ing a Bach trio sonata and two move-ments of a Bach flute sonata.

Career highlight(s): Moving to NY in 1984to assume a named chair in philosophyat Pace and to become an NGO [non-governmental organization] representa-tive to the UN. In his UN role, heworked with organizations dealing withhuman rights and other issues, metdiplomats from many countries (whoarranged lecture tours for him and hiswife), and enlarged his circle of friendsto include a whole new community ofconcerned world citizens.

Current flute: Silver Sankyo PrimaEtude, c. 1990.

Influential flute teachers: Burt startedplaying the flute at age 60. His firstteacher was Jim Heinrich, a member ofthe U.S. Military Academy Band at WestPoint, and his current teacher is HaroldJones, now on the faculty of the MusicConservatory of Westchester. Burtdescribes how he joined the NYFC:“The NY Times was doing a profile ofme that had nothing to do with theflute, but the photographer they sentover arrived at my home while I waspracticing. Her shot of me with myflute accompanied the story, andshortly afterwards [the architect] SyBreines, a longtime Flute Club member,called me out of the blue to invite meto join an ensemble he was in. Iagreed, met Donna Elaine, who led the

ensemble, began studying with her, andjoined the Flute Club.”

High school: North Denver High Schoolin Denver, CO.

Degrees: BA (University of Chicago,1951), MHL [Master of Hebrew Litera-ture] (Yeshiva University, 1956), PhDin philosophy (Brown University,1968), and JD (Drake University, 1981).

Most notable and/or personally satisfyingaccomplishment(s): Burt says, “One ofthe greatest thrills of my life was havingmy dissertation accepted for publicationby Doubleday Anchor before I hadfinished it. One of my greatest disap-pointments was being chewed out bymy dissertation adviser for havingdared to submit it for publicationbefore he had approved it.” AmongBurt’s proudest achievements: introduc-ing hundreds of his undergraduatestudents to opera.

Favorite practice routines: An hour or soa day, except when he gets too busy ortoo lazy. Warm-ups are long tones,breathing exercises, scales (boring butnecessary) from low C to high D (anote he hopes to eventually reachwithout too much stretching). He rewardshimself by playing baroque and classicalfavorites (Bach, Mozart, and Rossini).

Other interests: Opera, going to muse-ums, the zoo, botanical gardens,lectures—all of the wonderful thingsNew York has to offer. Travel (thoughthe hassle is becoming a bit of adeterrent) and reading. Most of all,“our children and our two-year-oldgranddaughter, Maya, who is undoubt-edly the most gorgeous, brilliant childon the planet.”

Advice for NYFC members: Lighten up!You make beautiful music, so enjoy it.And spread the joy by playing forothers. ❑

Sunday 4:00 pmUPTOWN FLUTES in a program offlute choir music.

• Unitarian Fellowship, 1475 West Front Street,Lincroft, NJ • Info, visit www.depts.drew.edu/music/beyond and click on UpTown Flutes.

Saturday 5:30 pmELISE CARTER in a debut solo recitalprogram including works by Franck,

Jolivet, J.S. Bach, Mike Mower, and anoriginal composition by Elise Carter.

• Weill Recital Hall, 154 West 57th Street, NYC• Admission: $25 • Info, call 973-851-5435 orvisit www.calkinsmedia.com.

Saturday 8:00 pmCAROL WINCENC, flute, with theTokyo String Quartet playing the

Mozart Flute Quartet in D Major (K285, 1777).

• 92nd Street Y, 1395 Lexington Avenue, NYC• Admission: $40 • Info, call 212-415-5500.

Monday 8:00 pmCAROL WINCENC, flute, perform-ing the Peter Mennin Concertino

for flute and ensemble with the JuilliardChamber Orchestra in a celebration ofJuilliard’s 100th anniversary and a tribute toPeter Mennin.

• Alice Tully Hall, Broadway at 65th Street, NYC• Admission: free tickets required (availablefrom the Juilliard Box Office, 10/10/05 or later).

Tuesday 8:00 pmLINDA WETHERILL, flutes, willperform winning compositions

from the First International Flute CompositionCompetition in Salzburg as well as selectionsfrom a new Robert Fruehwald/Linda Wetherillanthology for solo bass and alto flutes.

• Collective: Unconscious, 279 Church Street,NYC • Admission: $10 suggested donation.

NOV1

O C T O B E R 2 0 0 2NOVEMBER ’05

OCT22

OCT22

OCT24

Flute Happenings DeadlinesIssue Deadline Mail date*

November 2005 10/06/05 10/27/05December 2005 11/10/05 12/01/05January 2006 12/15/05 01/05/06February 2006 01/12/06 02/02/06March 2006 02/09/06 03/03/06April 2006 03/16/06 04/06/06May 2006 04/13/06 05/04/06

*Projected

4 — NYFC Newsletter

FLUTE

HAPPENINGS

The New Jersey Music Teachers Associationis featuring teacher, performer and soloistJAYN ROSENFELD of Princeton Universityand the New School in a masterclass on therequired repertoire for the NJ regional auditionsfor flute and piccolo at their state conference.The masterclass will take place at 10:00 amon Sunday, November 20, 2005, at the Con-ference Center at Mercer. For details, contactSeth Rosenthal at seth_rosenthal@yahoo.comor visit www.njmta.com.

MEMBER ANNOUNCEMENTS

NYFC Moves Concerts toYamaha Piano Salon

by Annette I. Dorsky

�

C L A S S I F I E D

Members may advertise in this section for $10 forup to 320 characters/spaces. Your ad should besubmitted by hard copy or email. Name and phonenumber are required. Deadline is the same as forFlute Happenings submissions. Ads must be paidfor in advance. Make checks payable to the NewYork Flute Club and mail to the Newsletter Editor.

NEW CD: Antara Records presents“Lil Lite O’ Mine,” a new CD withHAROLD JONES, flute, playing worksby Chaminade, Sancan, Mozart, De-bussy, Chopin, Perkinson, McDaniel,and Hailstork. Available by check ormoney order made out to ANTARARECORDS, P.O. Box 20384, NewYork, NY 10025 ($18.00 plus $2.00 forpostage and handling). For more infor-mation, call 212-866-2545.

TICKET

UPDATE

If you’ve renewed yourmembership or joinedthe NYFC recently andhaven’t yet receivedyour concert tickets:

DON’T

WORRY!

Member tickets will beavailable at the door

for the October concert.

The New York Flute Club is delighted to announce a new location for itsconcert series. CAMI Hall on 57th Street, where the Club has presented itsconcerts for all but one of the past 56 seasons, has been sold, forcing usto find a new venue.

Thanks to Yamaha Artist Services, Inc. (YASI), we will now give our concerts inthe Piano Salon at YASI’s headquarters at 689 Fifth Avenue (entrance on 54thStreet between Fifth and Madison Avenues). This landmark structure, built in 1927,was formerly known as the Aeolian Building. The Club’s 2005–06 concert serieswill take place in YASI’s third-floor Piano Salon, an elegant, traditionally decoratedspace equipped with the latest technology and, of course, fine pianos. It canaccommodate an audience of about 200.

Yamaha moved its headquarters here in May 2004. The Piano Salon isequipped with Active Field Control (AFC), Yamaha’s proprietary acousticenhancement system for performance venues. AFC is capable of actually “tun-ing” the Salon’s acoustics to sound best for particular performer and instrumentand to sound like any number of concert halls. Yamaha uses the hall for avariety of recitals and lectures focusing on piano as well as brass and woodwindinstruments.

On the 11th floor of the building is Yamaha’s Band & Orchestral Atelier, acustom wind and brass instrument shop where orchestral players can get servicefor their instruments of all brands, experiment with prototype wind and brassinstruments, and work with Yamaha to design future models.

The NYFC is extremely grateful to Yamaha for its invaluable gift of this locationfor its concerts. It is hoped that 2005–06 NYFC concert series represents just thebeginning of what will be a long and fruitful future together. ❑

NYFC member Annette I. Dorsky is an amateur flutist.

October 2005 — 5

The Yamaha Piano Salon is thelatest in a distinguished succes-sion of New York concert hallssponsored by leading piano

manufacturers to provide a venue for per-formances by its affiliated artists and topromote their brands. It seems a verymodern concept, but in the piano world,this strategy began in the mid-19th cen-tury. The intense competition among the19th and early-20th-century piano mak-ers, musicologist Allan Lott points out inhis fascinating book From Paris to Peo-ria: How European Piano VirtuososBrought Classical Music to the AmericanHeartland (Oxford, 2003), led to the de-sign of improved instruments, tours ofeminent visiting artists, and the construc-tion of excellent concert halls, develop-ments that were advantageous to themusic lovers of New York and otherAmerican cities

The House of Steinway, founded inGermany, opened in New York in 1853.It took advantage of the growing popu-larity of the piano as a middle-class ac-coutrement, and soon set out to challengethe market leader, the well-respectedChickering Company of Boston. In 1864,the company opened Steinway Hall at 71-73 (later renumbered 109-111) East 14thStreet, near Union Square, then the cen-tral music district of the city. It boasted a2,000-seat main hall, 400-seat annex, stu-dios, and of course piano showrooms.The New York Philharmonic performedthere until the Music Hall (later knownas Carnegie Hall) opened in 1891, atwhich time Steinway Hall closed.

In 1925 Steinway shifted its offices andshowrooms to 109 West 57th Street, inthe neighborhood that was now the epi-center of music in New York. The newSteinway building, designed by Warren& Wetmore (also the architects of GrandCentral Terminal), had an intimate recitalhall on the third floor. There, in January1926, Georges Barrère played a historicseries of flute recitals that included thefirst complete performance of the Bachflute sonatas in New York.

In 1875 Chickering opened ChickeringHall at 130 Fifth Avenue, on the north-

west corner of 18th Street, in an attemptto counter the growing competition fromSteinway. The 1,500-seat hall was inau-gurated by Hans von Bülow. In this au-ditorium, too, Alexander Graham Bellanswered the first interstate telephonecall, on May 17, 1877—the hymn “In TheSweet Bye and Bye” sung in New Bruns-wick, New Jersey, was transmitted over32 miles of telegraph wires. It also hostedthe premiere of Edward MacDowell’s sec-ond piano concerto in 1889.

Chickering sold the hall in 1901, andin 1924 it erected a 13-story building at29 West 57th Street. That building stillstands, and on its eastern facade one cansee an image of the company’s goldmedal from the 1867 Paris Exposition andthe cross that was the symbol of theAmerican Piano Company, which hadbought Chickering in 1908. “The roofmedals served the double function ofmasking the housing for the elevators,while nettling Steinway down the block,”writes architectural historian JohnTauranac in New York from the Air(Abrams, 1998). Flutists should note thata gilded aulos player on the roof is vis-ible from 58th Street.

Yet another competitor in the keyboardfield was the Aeolian Organ and MusicCompany, founded in 1887. It originallymade automatic organs, later expandingto produce player pianos as well. In 1912it commissioned Warren & Wetmore to

build Aeolian Hall at 33 West 42nd Street.Its 1,100-seat concert hall was for severalyears a venue for Walter Damrosch andthe New York Symphony, of whichGeorges Barrère was principal flute, andit was there that he and the NYSO pre-miered the Griffes Poem on November 16,1919. Aeolian Hall was also where GeorgeGershwin and the Paul Whiteman Orches-tra debuted Rhapsody in Blue on Febru-ary 12, 1924. The building later becamethe CUNY Graduate Center and is nowSUNY’s College of Optometry.

Aeolian’s principal product, intro-duced in 1913, was the Duo-Art repro-ducing piano, a player piano mechanismmounted in a professional-quality piano(some made by Steinway). The record-ing device made it possible to record onpaper rolls the slightest nuances of dy-namics, tempo, and phrasing and then toplay them back. Many of the most promi-nent pianists, including Paderewski, madeAeolian rolls.

Riding on the success of this inven-tion, in 1927 Aeolian moved to a newheadquarters building, also designed byWarren & Wetmore, at Fifth Avenue and54th Street, on the site of the former Wil-liam Rockefeller mansion. The elegantnine-story building, with a limestone fa-cade, pink granite base, and Italian marbleornamentation had five floors of show-rooms and a 150-seat recital hall on thesecond floor.

The advent of network radio and thenthe stock market crash of 1929 depressedplayer piano sales, and the companymerged with the American Piano Corpo-ration of East Rochester in 1932; it left itssumptuous New York City home six yearslater. The building was designated a NewYork City Landmark in December 2002.(For more details, see Christopher Gray’s“Streetscapes” article on the Aeolian Build-ing in the March 23, 2003 edition of theNew York Times and the online MidtownBook, www.thecityreview.com/fifth689.html). ❑

Nancy Toff is the NYFC archivist.

Piano Makers and their New York Concert Hallsby Nancy Toff

When New York’s first Aeolian Hall opened on42nd Street in 1914, Musical America re-ported that it “passed with triumphant suc-cess through its supreme acoustical test.”

�

6 — NYFC Newsletter

KATHERINE SAENGER: Whatinspired you to write thisbook?NANCY TOFF: This book got its start in a casual

conversation with the person to whomit is most gratefully dedicated, FrancesBlaisdell. When I visited Frances inCalifornia in 1992, she suggested thatBarrère’s flute-and-piano arrangementsbe reissued to commemorate the fiftiethanniversary of his death, which wouldbe in 1994. That project quickly cameto fruition as The Barrère Album,published by G. Schirmer, whichFrances edited. Then I realized that1994-95 would also be the 75th seasonof the New York Flute Club, and thestars were aligned. I did some research,got a glimpse of Barrère’s varied career,which I’d previously known very littleabout, and organized the exhibitionGeorges Barrère and the Flute inAmerica at the New York Public Libraryfor the Performing Arts, which the fluteclub sponsored.

By the time I finished the work onthe exhibition, I realized there was abook to be written. There was so muchmore work to do on Barrère’s career inFrance, and I had just scratched thesurface of his work in America, particu-larly his collaborations with composers.And I knew that I had a fantastic subject,someone whose outlook on life was alot like my own. He was a very seriousmusician who made important contri-butions to the musical world, but healso had a wonderful sense of humor,and he loved crossword puzzles—justas I do. A guest conductor once askedhim how long it took him to do a cross-word puzzle. “About one rehearsal,” hesaid. And of course, he lived in Paris,which meant that I just had to makemany trips there—tough duty! I’ve beena biography fan since I was a child—one of my favorite sets of books wascalled Great Men and Famous Women—and I’d always wanted to write abiography. Here was my opportunity!

Why Barrère and not someone else?Aside from the fact that Frances got meinterested and I struck gold immedi-ately, there aren’t that many otherflutists who merit a full biography,either because of the nature of theircareers or the availability of documen-tation, or both. Barrère had an unusu-ally varied career; he was involved withso many cultural institutions—the ParisOpera, the Concerts Colonne, the NewYork Symphony, many new musicgroups, and eight of his own chambergroups—and he worked with so manydifferent composers and performers.

Taffanel had an equally interesting,though in many ways quite differentcareer, and Edward Blakeman has justpublished an excellent biography ofhim, which I highly recommend.Gaubert might also merit a book, butthat story is at least as much aboutopera as about the flute, and doesn’tinterest me as much.

Kincaid and Laurent both warrantmore study, but as orchestral musiciansfor the better part of their careers Idon’t think there’s enough to make abook (besides John Krell’s inimitableKincaidiana, which is about peda-gogy). There’s certainly a need forsome meaty articles on both, however.

What interesting things did you learnthat were complete surprises to you?I had no idea that Barrère was afounder of the musicians’ union in Paristhat still exists, and that he was such afervent unionist. I knew, of course,about the battle Walter Damrosch hadwith the New York musicians’ unionwhen he brought Barrère and the otherfour French players to play in the NewYork Symphony in 1905—it’s an oft-toldtale—but I had no idea of the irony,given Barrère’s Paris union activities.

I also learned a great deal about the“merger” of the New York SymphonySociety and the New York Philharmonicin 1928, and what happened to themusicians. In particular, I was able to

Nancy Toff on theMonarch of the Flute

Nancy Toff spent 13 years researching and writing her fourthbook, a biography of Georges Barrère, the NYFC’s founder.

Interview by Katherine Saenger

October 2005 — 7

get to the bottom of the story of howJohn Amans got the first chair in thecombined orchestra, and how and whyBarrère went out on his own at thatpoint. The behind-the-scenes politicswere fascinating, and the researchinvolved putting together clues fromcorrespondence in at least four differ-ent archives.

Another surprise was the Lucy Gatessaga. In a scrapbook in the BancroftLibrary at Berkeley, I found a programof the Trio de Lutèce (flute, cello, andharp) and a soprano named LucyGates. “Who?” I asked myself. It turnedout that she was one of many grand-daughters of the Mormon leaderBrigham Young, and she had a fascinat-ing career in both Germany and theUnited States. She and Barrère had thesame manager in the World War I era,and they toured together. Her papers atBrigham Young University in Provo andat the Utah State Historical Society weregold mines, and I even found a photoof Gates and the Trio wearing maskswhen they were in San Franciscoduring the 1919 flu epidemic. I’d readabout that in many places—they wereallowed to take them off only toperform—but here was the proof. Thephoto is in the book.

I also had no idea of how cohesivethe French-American community inNew York was, especially during WorldWar I. That was a revelation, andlooking into Barrère’s participation inwartime benefit concerts led to a muchbroader exploration of Franco-Ameri-can relations and the cultural aspects ofWorld War I.

What high-level editorial feedback andencouragement did you get?I got a great deal of advice and encour-agement from several scholars ofFrench history, both musical and not.Bill Weber at Cal State Long Beachasked me great (and hard!) questionsabout the programming of concerts,and Bonnie Smith at Rutgers helped me

a great deal with general Frenchhistory. Rich Crawford at the Universityof Michigan made some really helpfulsuggestions about the context in whichWalter Damrosch and the New YorkSymphony performed, and about otheraspects of American musical life.Marilyn Young at NYU, who’s a Viet-nam War specialist and one of myauthors at Oxford University Press,asked me just the right probing ques-tions about the themes of the book at acrucial point in its development.

Among flutists, Leone Buyse readevery word. She’s a wonderful editor aswell as flutist and she made manyuseful suggestions that improved thetext. She and Svjetlana Kabalin (withthe Sylvan Winds) also read throughmuch of the newly-discovered Barrèrerepertoire, which made it much easierto write about.

Fran Barulich, the head of specialcollections at the New York Public

Library music division, who knows agreat deal about Belle Epoque Parisand 20th century New York from herown research, did the same. Sheessentially became my personal musiclibrarian, but the entire staff at NYPLand the Library of Congress encouragedme at every turn. Good librarians liketo see their materials used well, andI’ve been the happy beneficiary.

Who is your intended audience?This book is definitely not just forflutists. Other woodwind playersinterested in the development of therepertoire should find it useful, andthose who want new repertoire ideaswill find lots of them both in the textand in the appendixes of Barrèrededications and premieres. Conductors,too, because Barrère did so much forthe chamber orchestra repertoire. But Ialso hope that people interested in thehistory of Paris and New York ingeneral—for example, readers whoenjoyed Gotham, a history of New YorkCity—and Francophiles, anyone wholoves Toulouse-Lautrec. Certainlyanyone interested in the history ofconcert music—people who’ve readJoseph Horowitz’s Classical Music inAmerica, for example—will find a lot tointerest them.

What do you want the readers to get outof the book?For performers, I hope Barrère inspirestheir intellectual curiosity to seek outnew repertoire, whether early music orbrand new, to work with composers, tobe more creative in their programming.Barrère was such a master programmer.He knew exactly how to focus aprogram for a particular audience, andhow to educate and entertain at thesame time. He also had a broadknowledge of music history. You seethat, for example, in his correspon-dence with New York Times critic Olin

(Cont’d on next page)

Barrère and soprano Lucy Gates performed for 15,000people at a Liberty Loan rally in New York’s City Hall Parkin April 1918. Caught in a driving rain, Gates donned acape and hat offered by a gallant Canadian officer.

8 — NYFC Newsletter

TOFF (cont’d from previous page)

Downes, when they were planning aseries of lectures and concerts for theBrooklyn Institute of Arts & Sciencesand the New York Junior League. He’san excellent role model.

I hope that all readers will get aflavor of Belle Epoque Paris and early20th-century New York, and whatexciting places they were for artists andmusicians. I hope they’ll also come toappreciate the extraordinary develop-ment of American concert life in the20th century, and how individualsmade a difference. Barrère played amajor role in this evolution, participat-ing in everything from the growth ofcommunity concerts to summer festivalsto early music to new music societies tosolo flute recitals to major concertseries.

I think readers will also be asimpressed as I was by the motivationsand activities of some of the greatpatrons—Elizabeth Sprague Coolidge,the doyenne of American chambermusic, who established the chambermusic programs at the Library ofCongress—and Harry Harkness Flagler,the angel of the New York Symphony.These people had character, in allsenses of the word, as well as money.

What publicity things will be done toreach this target audience? Will you goon book tours?I gave two lectures at the National FluteAssociation convention in San Diego,one on “Barrère in Paris” (which I willrepeat for the NYFC in December), theother called “Nancy Drew MeetsGeorges Barrère,” on how I usedprimary and secondary sources to putthe book together. And we had severalrelated concerts, a re-creation of aBarrère Ensemble of Wind Instrumentsconcert with Svjetlana Kabalin’s SylvanWinds and Wendy Mehne’s Ithaca WindQuintet, and a Barrère-Gaubert concertwith Leone Buyse and Fenwick Smith.

I’m lecturing this fall to the BritishFlute Society and later at Juilliard andIthaca College. This is Juilliard’scentennial year as well as Barrère’s, sothe timing works beautifully. AndLeone, Svjetlana, and I are working onplans for a Barrère tour, where we’ll doBarrère-related concerts and lectures atuniversities around the country.

How is the book structured?The book is basically chronological, asmost biographies are.

Any hard choices you had to make?Many! I have nearly 1,800 concerts inmy database of Barrère’s performinglife, and I wrote about a very smallpercentage of them—otherwise itwould be a very boring book. I had todecide which were the exemplary ones,in the true sense of the word exem-plary, which ones represented aparticular aspect of his repertoire orperforming style or collaboration with aparticular performer or composer.

I also had to make hard choicesabout which letters and reviews toquote. Barrère was a wonderful prosestylist and extremely witty. And thecritics of his day were much more“writerly” than those today, veryquotable. But it’s easy to quote toomuch.

What did you have to leave out of thebook that you wanted to put in (due tospace constraints or the informationbeing unavailable)?I wish I had been able to find morepersonal information about his life inParis, but the earliest Barrère letter Ihave is from 1900. I also wish there wasmore to say about his first marriage, toMichelette Burani, but for what areprobably obvious reasons neither onekept much memorabilia about the other.

What was the hardest part of thewriting? the most fun? the least fun?The hardest part was writing the first

draft. On the other hand, there wasa great deal of satisfaction, even theoccasional Eureka!, in seeing factsculled from disparate sources cometogether in a logical way that I didn’tappreciate until I started writing. Isuppose the research is always themost fun, despite the inevitable frustra-tions. But really, I enjoyed the wholeprocess.

Did any information uncovered duringresearch for the book open up new fieldsof study or help other people with theirongoing projects?Leone Buyse and the Sylvan Winds areboth working on CDs of the Barrèreliterature, and I hope the first ones willbe published this year. We’re alsoworking on publishing the works inBarrère’s repertoire that are either outof print or still in manuscript. We got somuch positive feedback from theaudience at the New York Flute Fairlast March (thank you!) and at the NFAthat we hope this will be a verysuccessful project.

I want to continue my research onthe Société Moderne d’Instruments àVent, Barrère’s Paris woodwind en-semble. After he left for the UnitedStates, Louis Fleury took over thegroup, and it played another 69premieres before Fleury died in 1926. Iwant to assemble a comprehensive listof those works, which will provideeven more material for future concerts.I’d also like to do more work on Fleuryhimself.

What’s your next book project?There are many possibilities—that’sclassified information for now! ❑

Nancy Toff is the author of Monarch of theFlute: The Life of Georges Barrère (OxfordUniversity Press, 2005).

Katherine Saenger is the editor of the NYFCNewsletter.

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October 2005 — 9

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in three weeks playing it better thanshe ever did. She told me to go awayand never talk to her again.

JB: So did you switch from percussion toflute at that point?

DV: Well, yes. I still played percussion,but with the flute I felt an immediateconnection with my spirit and my soul.So I pursued the flute.

JB: Was Herbie Mann your maininfluence?

DV: Yes. His music was the first Ipicked up in my teens. He was the firstflutist I ever heard, and he ended upbecoming one my best friends.

JB: Andrea, how did you get startedwith the flute?

ANDREA BRACHFELD: I started pianolessons when I was six years old [at theinsistence of] my parents. At age 10 Itook up the flute at school, when theyoffered lessons that you were taken outof class for. The first jazz flute record-ing I ever heard was Eric Dolphy’s “Outto Lunch” at age 14 or 15. I went to theHigh School of Music and Art. I playedthe piano but they had too many pianostudents. Since I also played the flute, Ichose to study that instead. At age 16,I had my first jazz gig at St. Peter’s Church[at Lexington and 54th Street]. I got aJazz quartet together, wrote my ownmusic, and played at their All Nite SoulCelebration. From that point on, impro-visation became a way of life for me.

JB: How did you get into Latin music?

DV: She met me…{Lots of laughter}

AB: I was playing at the Tin Palace inthe Bowery around 1973–74. I was 19years old and at a Lloyd McNeil gig,and he asked me to sit in. Afterwards,Mauricio Smith, who was in the audi-ence, came up to me and asked if Iwanted to play in a charanga band.Work was work, so I said sure. Thatwas the beginning of my Afro-Cubanmusical influences. I played with a lotof bands and sat in with many otherstoo. There was so much music happen-ing in those days. Each club would hire

The prize-winning works for the First International Flute Composi-tion Competition in Salzburg were presented on February 16,2005. Initiated by the Mozarteum and the House for Latin

American Culture, this was the second of a new series of contestsfeaturing the development of contemporary expressions of SouthAmerican roots. Produced every four years, the first contest solicitedworks for guitar and the third will feature the violin; the flute willagain be the star in 20 years, we must hope.

Forty-eight composers from 17 lands participated this year. Worksfor solo flute and for flute with electronics, guitar, or strings wereconsidered. Only works selected by at least one of the six judges (fourcomposers, one violinist, and one flutist, from six countries) wereperformed, but this subset still provided an interesting view of theLatin music world. The works drew upon and reworked South Ameri-can themes, to be sure, but the method of composition stronglyfocused upon the European avant-garde.

The Argentine Fernando Maglia, winner of the first prize, calledupon the folk music of his own country. It was evident that he hadstudied with Nono and Boulez from the texture of his flute and guitarpiece “El Otro Amanecer” (The Other Route of the Sun), which in-cluded many tradings of motifs between the two instruments.

“Cinco Transfiguraciones Llanas,” a 20-minute flute solo in fivemovements by Venezuelan Mirtru Escalona-Mijares, won secondprize with magical use of extended techniques. He called upon thetraditional music of his homeland, juggling these themes with tremen-dous skill using sounds ranging from pan-flute colors to a study ofthe sun.

“La Vuelta hacia arriba del aire de la Manana” (Morning Air fromAbove) from Argentine live-electonics expert Jorge Sad was impressive,with an array of electronic sounds that played with the flutist. This wasfollowed by three works for flute and string quartet in a range ofstyles: Rudolfo Coelho de Souza’s “Serenade” from Brazil (providing anexcellent conventional construction with a beautiful “Andante” move-ment); Mexican Victor Ibarra Cardenas’s “Son del Pueblo” (Sound ofthe People), named after a local folklore ensemble, a reworking of awonderful Aztec folk dance,”Huapango Huasteco” into a no-man’s-landbetween Astor Piazzolla and John Adams; and “Latin MoltoFollemente,” a cross between a tango and Charleston, with sonoritiesreminding one more of Messiaen and Scelsi, created by Japanesecomposer Shigeru Kan-No, a student of Zender and Lachenmann.

This was a great movement forward in the assimilation of SouthAmerican music into today’s standard contemporary diet, and it wasunfortunate that the other 42 pieces could not also be performed thatevening.

Adelphi University professor of flute Linda Wetherill was the American and flutistwho judged the competition and premiered these works. She will perform these pieceson November 1 (see Flute Happenings for details) and offer them at next summer’sAldelphi Flute Workshop, scheduled for the last week in July (2006).

Impressions from Latin America: A Report from the First International

Flute Composition Competition

(Cont’d on next page)

LATIN JAZZ (cont’d from page 1)

by Linda Wetherill

10 — NYFC Newsletter

at least three bands a night and we wereable to check each other out. It wasgreat! While I was playing the charangagigs, I also pursued my interest in jazz.

JB: So Dave, you took up flute and gotinto Herbie Mann…

DV: Herbie Mann played a concert atthe High School of Music and Art. Iplayed for him on my Gemeinhardt andhe had a gold Haynes flute. Eventuallywe did an album together. Later, Ibought an album called Flute by Laws.[After hearing it,] I called Hubert Lawsand asked if [I could study with him.]

JB: Andrea, after high school, whotaught and guided you into moreimprovisation?

AB: At that time, the Jazzmobile hadworkshops every Saturday morning inHarlem with jazz greats Jimmy Heathand Billy Taylor, among many others,who gave their time to teach youngpeople how to play jazz. Jimmy Heathtaught me improvisation, harmony,scales, chords, etc. He was a wonder-ful flute teacher and he also taught memany things about life. I didn’t alwaysknow what he was talking about—hetaught at a very high level—but Icollected what he taught and hoped

DV: No, I went to Bronx CommunityCollege in order to get out of serving inVietnam. I studied music but found the[academic] approach to music boring andstifling. I got out of college as quicklyas possible. I wanted to play andperform. I [could see myself] playingand performing Latin jazz music everyday, and I knew I could do it.

JB: What is your practice like? Does itinclude playing classical music?

AB: I incorporate classical and jazz inmy practice sessions. I practice scales,fingering and tone exercises. I have aclassical approach but use the jazz scales.

LATIN JAZZ (cont’d from previous page)

He gave me lessons for six months,which was a great experience. How-ever, he made me play Kuhlau duetsfor four months. I hated this and toldhim I wanted to play Latin music likehe played. So he started teaching mehow to play Latin jazz solos. He taughtme melodically and rhythmically… howto improvise, and to never comeunprepared. He also taught me hisapproach to jazz music and playingsolos: “Play loose as a goose and tightas a frog’s butt.”

Other Latin jazz influences includedpeople like Paul Horn, Eric Dolphy,Mauricio Smith, James Moody, FrankWest, Tito Puente, Chick Corea, EddiePalmieri, and many others.

JB: Who else did you study with?

DV: Harold Bennett taught me.

AB: Wow, I studied with him too.

DV: The rest of my learning was all byear. By listening to not only flutists butalso to jazz artists such as Coltrane, MilesDavis, Freddie Hubbard, etc. My ap-proach was to keep my ears open andto explore my possibilities. Of course, Iwanted to sound like Herbie Mann andHubert Laws. But as I grew, I eventu-ally learned to follow my own spirit.

that eventually I would understand it. Ialso went to Jazz Interactions work-shop [a NYC-based organizationfounded by Joe Newman]. There I metYusef Lateef and Barry Harris. I alsostudied with Hubert Laws for three tofour months. He taught me riffs to playand solos. I also took some lessonswith [George] Coleman, Eddie Daniels,etc. My problem was that at that time Ididn’t have a great deal of money forlessons.

Classical teachers were moreconsistent in my life…Sam Baron wasmy first classical teacher, and HaroldBennett was my teacher at the Manhat-tan School of Music.

JB: How was MSM?

AB: I was in the orchestra my firstsemester, but didn’t find it interesting.I was a flute performance major andthere was no jazz program at theschool per se. But there were some jazzensembles there I played in, with DaveFriedman and Valerie Capers, and somegreat performers, like Mitch Forman onpiano. Overall it was a rich musicalexperience for me.

JB: Dave, did you also study at aconservatory after high school?

My interest is primarily focused on jazz,although I did teach a Cuban classicalflute class recently. It was difficult forme to find music but eventually I puttogether pieces of Paquito D’Rivera forthe Cuban classical flute.

DV: And you have to realize that theclassical Cuban flute was played onbaroque flutes—six hole, five keyflutes—French antiques. The fingeringis completely different. Left is right andright is left. The fingering chart I have(AB: I have one too) is completelydifferent. Playing charanga Pachanga,the fingering is so different it bogglesyour mind. I have a c. 1899 6-hole, 10-key flute with the original wood inlaycase from France.

AB: I also have a 5-key flute from Cuba.

JB: Dave, how does classical musicfigure into your practice of the flute?

DV: It doesn’t. I don’t want to playclassical music. When I practice, mymethod is to just go off on a tangent.I try to do things that are completelyunorthodox. I do play scales and playlots of older Latin music. My approachis again, “Loose as a goose…” I try toplay whatever is in my mind. Notclassical music, sometimes not even

“[Hubert Laws] gave me lessons for six months, which wasa great experience. However, he made me play Kuhlau

duets for four months. I hated this…” —Dave Valentin

October 2005 — 11

jazz. Yusef Lateef told me that everyonehas a tone poem in their body, and Itry to find my own tone poem. That’swhat I’d recommend to anyone.

AB: It’s interesting. When I was inVenezuela in 1979, and I saw Dave ata Conjunto Libre concert and Dave’sfirst album, Legend, was coming out,and he gave me a cassette of it. I askedhim how he did that—make his ownrecord? And he said, “You have tobelieve in yourself.”

By the way, Dave and I taught togetherat the John Dwyer Junior High Schoolin the South Bronx. I was hired to teachflute in the after-school program…Daveand I would hang out in the hallwaysand play our flutes together.

JB: How was your group, the Latin JazzFlute Explosion, formed?

AB: Joe Conti called me. Joe was TitoPuente’s right-hand man. He wanted tobring together Dave and Karen [Joseph],Connie [Con Sublime] and me to form agroup. Wally Edgecombe hired us andwe did the arrangements last Novem-ber. A wonderful gig; it worked.

DV: And we learned we were a won-derful combination together.

JB: Andrea, can you tell me about theother members of the group?

AB: Karen went to Jazzmobile with me;that’s where we met. Dave gave herlessons. She graduated from the Phila-delphia School of the Arts. Connie alsowas a classically trained player. We’reall players for other groups as well. Theyhave more information about themselveson my website, www.andreabrachfeld.com.

JB: Talk about what it’s like to lead aband.

DV: My advice is to just let everybodyplay. If there are any arguments, do itin private. Don’t yell at the band on stage.

[DV’s cell phone stopped working.Exited call. On to Andrea alone…]

AB: The group (DV, AB, Connie andKaren) evolved from a community offlute players who had mutual respectfor each other. Everyone brings some-thing to the table. The common bond isthat we all studied with the same type ofpeople—classical, jazz and Latin—and

we bring it all together. We’d like to takeit on the road. Others in the group whoplay with my [own] Phoenix Risinggroup include Kim Plainfield on drums,Bob Quaranta on the piano, ChemboCorniel on the congas, and Andy Eulauon bass. There’s more about the LatinJazz Flute Explosion on my website..

JB: Will you play more traditional Latinmusic or more Latin jazz?

AB: Well, there’s going to be somecharanga music, a type of Cuban music.Charanga is a combination of flute,violin, and piano classical trio thatoriginated from bands in early 1800ssimilar to the early jazz bands in NewOrleans at that time. The music was forthe French and Spanish upper crust ofCuba—indoor music and dance music.

We’ll be playing original materialand standards. All the players will beincluding some of their own arrange-ments; everyone is contributing pieces.

JB: Any advice on leading a group, themusic business, for others who want toplay the same kind of music?

AB: Like Dave said, besides the obvi-ous that you must learn your craft, youneed to learn how to play the flute.Before college, I was offered a scholar-ship to the Berklee School of Music,but I declined because they didn’t havea flutist on staff. I wanted to learn theflute first. You need classical training inorder to learn the technique, and youneed to learn improvisation as well.Improvisation involves what Davetalked about—the spirit. You have tohave the courage to go inside yourselfand do some soul-searching. When youdo, your voice becomes stronger andso will your music. You can’t be afraidto make mistakes. Your mistakes maybe the best things you ever do.

JB: Could you tell me how someonemight go about learning to play Latinjazz music?

AB: There are a couple of schools in NYC,for example, Boys Harbor [at 104thStreet and 5th Avenue]. Other programsstarting to emerge include one at TheCollective [at 14th Street and 6th Avenue].

Good teachers include BobbySanabria, who teaches Afro-Cuban

music at the New School and at theManhattan School of Music, and anumber of other people. Many collegeprograms focus on jazz education, butthere is not as much available in Latinmusic. For Latin music, you need to trythe programs I just mentioned and alsosearch for programs on the Internet.

Latin jazz is not [yet] a developedfield in the mainstream but it can stillbe learned. It’s like the old school oflearning. You need to listen to peopleplaying the music. Go to hear peopleplay. Latin jazz is only just beginning tobe taught at the colleges in a moreformal way.

JB: What draws you to Latin music—what are the characteristics about itthat turn you on?

AB: What drew me were the differentrhythms. I’ve always felt comfortablewith different kinds of rhythms. Even asa child, a teacher remarked I was playingwith lots of rhythm and was capable ofplaying jazz. It’s challenging to play Latinmusic. You need to be creative with howyou play chords. You need to come upwith different ideas for each phrase.

JB: Do you also teach Latin music?

AB: Yes, I do. There is more informationabout my classes on my website. I alsooffer a workshop called “The Origin ofthe Cuban Flute.” In it, I discuss Cubanmusic starting from 1803, when the firstCuban music was published, and goforward to the present. This is amultimedia workshop for a specificaudience interested in Cuban music—people who are at a certain level ofunderstanding of Cuban music.

JB: Any final words?

AB: The concert for the NYFC shouldbe a lot of fun. Dave, Karen, Connie,and I have enjoyed working together alot over many years. We’ve also workedwith each other’s bands. I look forwardto working together with them for along time to come. ❑

Jazz flutist Jamie Baum has a website atwww.jamiebaum.com.

Thanks to Annette I. Dorsky for her help intranscribing the interview.

�

Katherine Saenger (klsaenger@yahoo.com)

October 23, 2005 concert

LATIN JAZZ FLUTE EXPLOSION

Greetings! Looks like we are in for a season ofinteresting and eclectic concerts, starting with the Latin JazzFlute Explosion on October 23rd. Jamie Baum interviewedtwo of the group’s four flutists: Dave Valentin and AndreaBrachfeld. My favorite part of the interview: Dave’s mantrafor playing, passed down from Hubert Laws, “Never comeunprepared,” and some more colorful advice that you willhave to read for yourself.

David Wechsler’s introductory “From the President” letterrecounts two fondly (though vaguely) remembered NYFC con-certs from the early ’70s. With the help of our resident archivist,

we tracked down the dates, location, and programs. Imagine my surprise to realizewhy one of the concerts sounded so familiar to me—not only did I attend it some 30years ago, I even had performed in it (as one of the 37 flutes in Otto Luening’s Canon).

This issue is a 12-pager, in part due to interesting material relating to the newvenue for our Sunday afternoon concerts (the Yamaha Piano Salon at 54th Street and5th Avenue, article by Annette Dorsky) and to a history of some of NYC’s distin-guished corporate performance spaces (“Piano Makers and their New York ConcertHalls,” by Nancy Toff). And, in what will surely be the highlight of this issue forsome, Nancy answers questions posed by the newsletter editor (yours truly) abouther new Barrère biography. Like many of you, I’ve bought the book; hopefully herinformative and amusing Q&A will tide me over until I have time to read it.

Burton Leiser, a retired philosophy professor and a student of the flute sinceage 60, is this month’s member profile subject. His story of how he came to jointhe flute club is hard to beat…check it out.

Best regards,

Sunday, 5:30 pm • Yamaha Artist Piano Salon, 689 Fifth Ave. (@ 54th)

The New York Flute Club Park West Finance Station P.O. Box 20613 New York, NY 10025-1515

From theEditor:

From theEditor

2005–2006 Concerts

86th Season

All concerts and events (except as noted) at YamahaArtist Piano Salon, 689 Fifth Avenue (entrancebetween Fifth and Madison). All dates and programssubject to change. Tickets $10, only at the door; freeto members. For more information, visit the NYFCwebsite at www.nyfluteclub.org or call 732-257-9082.

October 23, 2005 • Sunday, 5:30 pmDAVE VALENTIN, ANDREA BRACHFELD,CONNIE GROSSMAN and KAREN JOSEPHLatin Jazz Flute Explosion

November 13, 2005 • Sunday, 5:30 pmCAMILLA HOITENGA, fluteSavage aural hot bed program

December 18, 2005 • Sunday, 5:30 pmSANDRA MILLER and ANDREW BOLOTOWSKYBaroque holiday concert

January 22, 2006 • Sunday, 5:30 pmSTEPHEN PRESTON and AMARA GUITRYContemporary music for two baroque flutes

February 19, 2006 • Sunday, 5:30 pmPATRICIA and GREGORY ZUBER, flute andpercussion duoWith Thomas Kovachevich visuals

March 19, 2006 • Sunday, All DayFLUTE FAIR 2006 (Guest artist and location TBA)

April 23, 2006 • Sunday, 5:30 pm2006 NYFC COMPETITION WINNERS

May 21, 2006 • Sunday, 6:00 pmANNUAL MEETING & ENSEMBLE CONCERT