SA FLUTE NEWS

Page 16

PO Box 3208, Norwood SA 5067

0410 717 280 Membership enquiries – Ph. (08) 8431 0452

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PUBLIC OFFICER/MEMBERSHIP SECRETARY/EDITOR

Robert Brown – Ph/Fax 8431 0452 robbrown@adam.com.au

Newsletter Design and Layout

Masako Kondo – 8271 2740 mkondo78@gmail.com

COMMITTEE MEMBERS

Elizabeth Koch OAM – 8313 5343 / 0409 282 927

elizabeth.koch@adelaide.edu.au

Margaret Coventry – 8232 2884 madcov@bigpond.net.au

Helen Seppelt – 8267 4319

Adult $45

Student, Pensioner, Country, Unemployed, Associate $30

Life Membership $675 Download a membership form from our website.

Membership Fees

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The Flute Society of South Australia is a non-profit organization that aims to foster and encourage the enjoyment of flute playing at all levels.

The Society's role includes promoting local and interstate artists, encouraging young players and forging links out into the community.

Regular activities include workshops, concerts, fun days, masterclasses and recitals.

About The Flute Society of South Australia Inc.

The Flute Society of South Australia Inc.

PRESIDENT Karen Fletcher – 8333 0665 kmfletcher@adam.com.au

VICE-PRESIDENT

Linda Pirie – 8342 1237 lindapirie70@gmail.com

SECRETARY

Cristy Wilkins – 0410 717 280 cristy.wilkins@student.adelaide.edu.au

TREASURER

Cara Seppelt – 8267 4319 seppeltp@bigpond.com

We’re on the Web! See us at: http://saflutesociety.org/

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helen.seppelt@student.adelaide.edu.au

Samantha Hennessy – 0411 353 627 hennessy_samantha@yahoo.com.au

Scott Gunn – 7225 0210,

scott.gunn@student.adelaide.edu.au ---------------------------------------------------------

SCHOLARSHIP COMMITTEE

Helen Seppelt, Elizabeth Koch OAM and Samantha Hennessy

---------------------------------------------------------

WEBMASTER Helen Seppelt – 8267 4319

helen.seppelt@student.adelaide.edu.au

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The Flute Society of South Australia Inc. was founded in July 1972 at the instigation of the late Prof. David Cubbin.

Its members represent a wide cross-section of the community – teachers, students, amateur flautists, professional musicians and people from all walks of life, all sharing the same interest – playing, talking about and listening to the flute.

Newsletter Contributions

July 2013 issue deadline – Monday, June 24

Please post to: The Editor

South Australian Flute News PO Box 3208, Norwood, SA 5067

(08) 8431-0452, or email to robbrown@adam.com.au

Attach as a Word.doc or JPEG file or send as body text; maximum length is 500 words. Please send separate Word and JPEG files.

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The Flute Society is building up a database of member’s e-mail addresses so that flute related news and information can be sent to members from time to time.

Sometimes information and news becomes out-of-date before it can be published in South Australian Flute News. If you have an e-mail address or would like to receive South Australian Flute News electronically please e-mail the details to

Robert Brown at robbrown@adam.com.au.

E-mail Database and Newsletter via email

osiak

The Flute Society of South Australia Inc. http://saflutesociety.org/ From  the  President    

May, 2013

Founder Professor David Cubbin

Patron Alison Rosser

Vice Patrons Associate Professor Elizabeth Koch OAM

Robert Brown

South Australian Flute News Print Post Pub. No. 100002101 ABN: 96 991 331 922

Contents

President’s Report 1

New Members 2

Coming Events 2-3

Concerts 3-4

Notes and News 4-5

Scholarship 5

Recent Events 6

Articles 7-14

CD Review 15

Flute Society Info 16

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Dear  Flute  Society  Members,  

We hope you enjoy this issue of our newsletter and find it helpful to keep you in touch with what is on in the flute world. Have you had the chance to check out our updated website?? The Flute Society’s website has a new URL: http://saflutesociety.org/. Our committee member Helen Seppelt has done a wonderful job updating the website with a fresh new look and you will find all sorts of useful information including brochures and entry forms for our events, the Teachers List and much more!

Thank you to Elizabeth Koch for her fabulous organisation of the Flute Teachers’ Evening which was held on Wednesday March 20 at the Unley Uniting Church, Unley. It was an interesting and informative evening and a great way to become more familiar with the pieces in some of the new Series 3 Grade Books which are in the New Flute Syllabus. Thank you also to everyone who contributed on the night, including the many willing performers who prepared their allocated repertoire from the Grade Four, Five and Six Books, Cara Seppelt for her help, and of course, Monika Laczofy, who accompanied all of the performances: so, so many pieces! I am now looking forward to hearing the repertoire in the Preliminary, Grade One, Two and Three Books!

Don’t forget to keep your entries rolling in to Linda Pirie for our Tutti Flutti Flute Performance Afternoon which will be held on Sunday May 5 from 2-4pm at Unley Uniting Church, 187 Unley Road, Unley. Make the most of this excellent opportunity to perform in a relaxed environment with a supportive audience. A professional accompanist will be provided or you can bring your own. Brochures are available on our website.

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The Carolyn White Memorial Scholarship is on Saturday June 15, which is now only a couple of months away, so start planning ahead to prepare for another great performance opportunity. The set piece is from the new Series 3 AMEB Grade Four Book, Adagio and Allegro by Marcello.

We are excited to have Teresa Rabe visit Adelaide in August this year to adjudicate at the City of Adelaide Eisteddfod. While she is in Adelaide we are planning to keep her rather busy, as she is also the very special guest at our Fabulous Flute and Fife Fun Day. Teresa has created some intriguing sessions for this year’s Fun Day … find the program inside your newsletter to see what will be in store for you! Registration is now open for the Australian Flute Festival, which will be held from October 4-7 at the Australian National University School of Music, Canberra. With a Professional Learning Day, a Junior Day, recitals, masterclasses, workshops and competitions, there is bound to be something to involve all levels of players. Take a look at the website to read more about the guest artists and program for this amazing festival: www.australianflutefestival.com.

The Australian flute community is saddened by the death of Linda Vogt on April 2. Linda’s immense contributions to the flute society movement in Australia are gratefully acknowledged.

We hope to see you at one of our events in the near future. Until then, happy fluting!

Karen  Fletcher  

SA FLUTE NEWS Page 2

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COMING EVENTS TUTTI FLUTTI – FLUTE PERFORMANCE AFTERNOON

When: Sunday, May 5, 2-4 pm. Booking in for performers from 1-45 pm.

Where: Unley Uniting Church, 187 Unley Road, Unley

Free admission! Come along for a relaxed afternoon of flute performances.

A scrumptious afternoon tea will be provided.

Download the information sheet and application from http://saflutesociety.org/.

CAROLYN WHITE MEMORIAL SCHOLARSHIP When: Saturday, June 15, 12 noon Venue: Rosefield Uniting Church, 2 Carlton Street, Highgate Adjudicator: Josie Hawkes Closing date: Thursday, June 6

Download the brochure and entry form from http://saflutesociety.org/. The Carolyn White Memorial Scholarship is for young flautists aged fifteen years or under on January 1, 2013. It provides them with the opportunity to prepare and perform works and to compete for cash prizes which may be used for tuition expenses or towards the cost of a new instrument or new music.

Entrants are required to perform the following on a C Concert Flute: a) Set Piece: Adagio and Allegro: Marcello, arr. Weretka, no repeats, AMEB

Flute Fourth Grade Book, Series 3 (AMEB) b) Own choice piece, time limit is 6 minutes.

The Carolyn White Memorial Scholarship will consist of two prizes: First Prize $250 Second Prize $100

Enquiries: Ph. 8333-0665

Come along and support our young flautists as they compete for these awards.

Fabulous Flute and Fife Fun Day When: Sunday, August 11 Venue: Unley Uniting Church, 187 Unley Road, Unley Guest Director: Teresa Rabe

See the brochure inside South Australian Flute News or download from http://saflutesociety.org/.

ADELAIDE EISTEDDFOD FLUTE AND WOODWIND DIVISIONS 2013 When: August 9-12 Venue: Rosefield Uniting Church, 2 Carlton Street, Highgate Adjudicators: Teresa Rabe (flute), Josie Hawkes (woodwind)

Enquiries for Flute and Woodwind Divisions to the Convenor, Robert Brown, Ph. 8431-0452, e-mail robbrown@adam.com.au.

A summary of the session times will be given in the next issue.

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Elizabeth Koch talks to flute teachers

Flute teachers

☆WELCOME TO

OUR NEW MEMBERS☆ Bernadette Spencer Sonja Abdelmalek Jessica Archbold Jennifer Brohier

We hope you enjoy being part of the Flute Society and look forward to seeing you at our events. Please visit our website!

vWEBSITEv

The website has a new URL: http://saflutesociety.org/. Thank you

to Helen Seppelt for her excellent work with the new-look website.

vNEW PRESIDENTv Congratulations to Elizabeth Koch on being elected President of the Music Teachers’ Association of South Australia.

vBIRTHDAYv Happy Birthday to our Honorary Life Member, Beth Peake, who turned 93 on April 8.

Beth Peake, far left, helps with the 10th Anniversary Flute Cake, 1982

SA FLUTE NEWS Page 15 CD REVIEW

by Robert Brown Souvenir. The flute music of Johann Sedlatzek. JBRecords JBR 013-2. Elźbieta Woleńska (flute), Elźbieta Zawadzka (piano). Recorded July 25-27, 2012. Websites: www.jbrecords.com.pl, http://www.wolenska.com/english2/index.htm Johann Sedlatzek (1789-1866) was a 19th century flute virtuoso and composer born at Oberglogau in Silesia (now Glogowek, Poland). Beethoven first met Sedlatzek during his visit to Silesia in 1806. Beethoven’s visit is celebrated annually with the Silesian Beethoven Festival in Glogowek. The 2012 Beethoven Festival included performances by Polish musicians Elźbieta Woleńska, flute, and Elźbieta Zawadzka, piano, of compositions by Johann Sedlatzek which had been rediscovered in London archives in early 2012. Souvenir is the world premiere recording of seven flute compositions by Johann Sedlatzek. The music tends to be in the classical-romantic theme and variations style using well-known themes, often operatic. Two of the pieces last for about 18 minutes, so Sedlatzek must have had lots of stamina! I enjoyed the Selected Airs from Herold’s opera Zampa and Souvenir á Paganini, an interesting set of variations on the Carnival of Venice (a refreshing change to Briccialdi and Genin). Elźbieta Woleńska performs these virtuosic works with the brilliance and aplomb that is required; no doubt the audience wanted more. Elźbieta Zawadzka is an accompanist with the dramatic flair required to support the pyrotechnics of the flute. Hopefully the flute music of Johann Sedlatzek will be in print soon. In the meantime order a copy of Souvenir and enjoy his newly rediscovered music. ♫

Souvenir

Flute Tree 1/2

SA FLUTE NEWS

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ABRSM 1/2

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injury prevention.

We also conducted a study at the Elder Conservatorium, looking at the thoughts and experiences of the woodwind students (including six flautists) regarding injuries and injury prevention. We looked at a wide range of factors, including their injury history, their attitudes towards injuries and injury prevention, benefits and barriers for exercise, and changing their posture and practice structure, and what the consequences of injuries could be. This is only a very brief summary of the findings which are most relevant to teachers.

All participants were interested in learning more about injury prevention. 62% of participants had experienced a playing-related injury, and 39% had an injury at the time of the study, which is particularly concerning given how early in their careers they were! In many cases the potential consequences of an injury were not well understood, with some students not believing there was any chance that an injury could lead to missed playing commitments, financial problems or three months off from playing, although some of the participants had experienced these.

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Interestingly, it would appear that the teacher would have the greatest influence on the student’s injury prevention action, with all stating that they would make a change if their teacher had told them to! Not surprisingly 75% believed that teachers should be teaching their students about injury prevention.

This research has allowed us to consider some of the issues we may face in implementing injury prevention programs for musicians, including their current knowledge, and views as well as potential barriers for musicians to take on our advice. We are therefore very grateful for the support from the Elder Conservatorium, particularly Elizabeth Koch, in allowing this research to happen.

Reference: Stanhope, J 2012, ‘A needs-analysis for an injury prevention program for undergraduate, woodwind students, at the Elder Conservatorium of Music, University of Adelaide’, unpublished report. These projects were supervised by Dr Steve Milanese, Lecturer, School of Health Sciences, University of South Australia and Prof. Karen Grimmer, Director, International Centre for Allied Health Evidence, University of South Australia.♫

vYOUTUBEv

Edith Penville and Roland Revell perform Purcell’s Air and Hornpipe (recording made in 1930), http://www.youtube.com/watch?v=2iKp6W6wJfQ. Roland Revell arranged these two pieces for Edith Penville. FlutEase, an interesting new device for teaching beginners to make a sound, http://www.kickstarter.com/projects/192640657/flutease-the-secret-to-learning-flute Trevor Wye plays his acrylic flute, complete with flashing LEDs, http://www.youtube.com/watch?v=itJf0Gv0pyc&feature=youtu.be Trevor Wye plays the triple flageolet, http://www.youtube.com/watch?v=vDwsJx-6rV0 Bach’s Badinerie, played by two guys, http://www.youtube.com/watch?v=VkJ03vm8FJk 500 flautists play Bach’s Minuet, http://www.youtube.com/watch?v=LLu-V3yAho4

THE ASSOCIATED BOARD OF THE ROYAL SCHOOLS OF MUSIC

24 Portland Place, London, W1B, 1LU, United Kingdom www.abrsm.org

Since 1889, we have provided music teachers and their students with exams and assessments that nurture and evaluate an individual’s performance and progress. As the world’s leading specialist in music assessment, our consistent and rigorous approach carries recognised international authority. ABRSM offer:

Graded music exams and diplomas Practical Musicianship exams Professional Development Programme CT ABRSM Plus

For more information please contact The local representative - South Australia Ms Anastasia Chan Email: abrsmsa@hotmail.com Tel: 08 8234 5952 / 0423 282 589

SA FLUTE NEWS Page 3

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THE FLUTE SOCIETY PROGRAM ON 5MBS - presented by Robert Brown

The Flute Society Program is broadcast on Monday evenings at 7 pm and repeated on the following Saturday at 5 pm. 5MBS is located at 99.9 on the FM Band.

Dates Program Monday, June 10 Saturday, June 15

Performances by Polish flautists Adrianna Lis and Elźbieta Woleńska, including music by Wojciech Kilar and Johann Sedlatzek.

Monday, August 12 Saturday, August 17

Piccolo Polkas, Peter Verhoyen and friends perform music from or inspired by the early 1900s, the golden age of the piccolo.

Monday, October 14 Saturday, October 19

William Bennett and friends perform music for flute by Villa-Lobos, including The Jet Whistle for flute and cello.

Monday, December 9 Saturday, December 15

Music for the Festive Season, including Elizabeth Koch and Suzanne Handel playing Christmas classics.

The theme music used for the Flute Society Program is Rimsky-Korsakov’s Flight of the Bumblebee, played by Sir James Galway, flute, with Hiro Fujikake, synthesizer.

CONCERTS Send your concert details to the Editor for inclusion in this section.

RECITALS Wednesday Lunch Hour Concerts 2013

Where: Pilgrim Church, 12 Flinders Street, Adelaide When: 12-10 pm and 1-10 pm. Admission: Adults: $5, Concession: $4. Tickets at the door. Enquiries: Recitals Australia, Ph. 8266-4936. See http://www.recitalsaustralia.org.au/ for more information.

Wednesday, June 5 12-10 pm Jordan Paterson, flute, Jamie Cock, piano. Music by Chopin, Hyde, Clarke, Vivaldi, Fauré.

Wednesday, June 5 1-10 pm Alexander Paine and Sam Yates, recorders and chamber organ. Music by Quantz, Fontana, Paganini

Wednesday, June 26 12 noon AWARDS CONCERTS. Outstanding performers of the season compete for $1,000. Admission: $7/$5

Elder Hall Lunch Hour Concert Series

When: 1-10 pm. Admission: $10.

See www.adelaide.edu.au/events/concert/lunch/ for more information.

Friday, April 26 Music from the Court of King Frederick the Great, Elysium Ensemble, including Greg Dikmans, baroque flute. Music by Frederick the Great, J.J. Quantz, Benda and C.P.E. Bach.

Friday, May 17 Elder Conservatorium Wind Ensemble

Mitcham Orchestra

When: Sunday, May 19, 2-00 pm Where: Mitcham Uniting Church

103a Princes Road, Mitcham Admission: $12 Soloist: Jordan Paterson, flute, playing Chaminade Concertino. Conductor: Mike Kenny

COMING EVENTS (Cont’d)

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v IN MEMORIUMv

Bill MacKinnon, a member of the Flute Society of South Australia, died on February 11, aged 88 years.

vLIBRARYv The Flute Society Library is housed in Elizabeth Koch’s room (LG 14) at the Elder School of Music. There is a large selection of sheet music, flute ensemble music (duets, trios, quartets and quintets), magazines, books and cassettes. Elizabeth may be contacted during office hours on 8313-5343 or e-mail elizabeth.koch@adelaide.edu.au to arrange a time for borrowing.

Cecile Chaminade

SA FLUTE NEWS Page 4 CONCERTS (Cont’d)

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Adelaide Eisteddfod Special Award Winners’ Concert When: Monday, September 9, 7-30 pm

Where: Salvation Army Citadel 55 George Street, Norwood.

Admission: Adult, $10; Seniors/Students, $8; Children under 16 free.

MBS Young Performer 2013, SA Final When: Sunday, September 22, 2-30 pm Where: St John’s Anglican Church

379 Halifax Street, City Admission: Adult $10, 5MBS Member/Student $5.

NOTES AND NEWS NEW THESIS Carla Rees’ thesis on the Kingma System alto and bass flutes can be found at www.altoflute.co.uk and www.bassflute.co.uk.

ABRSM UPDATE NEWS Professional Development Course ‘Being an Effective Teacher’ is a 15 week online, distance-learning course designed to explore good practice and to develop confident, reflective music teachers. For more information, please visit http://au.abrsm.org/en/courses-and-events/online-learning/.

ABRSM Flute Exams ABRSM is the exam board of the Royal Schools of Music, delivering over 650,000 exams and assessments every year in 93 countries. ABRSM Flute exams consist of three pieces, chosen by the candidate from the appropriate lists in the current syllabus, scales and arpeggios, sight-reading and aural tests. Total marks in all individual Practical exams are 150. 100 marks are required to achieve Pass, 120 marks to pass with Merit and 130 marks to pass with Distinction. There are eight grades of assessment. ABRSM Exams in South Australia ABRSM assessments in held in designated exam centres in Australia during specified periods of the year. Next last date of entry: Practical - July 26; Theory of Music - September 13. If you are interested to receive the FREE package of examination information, current syllabuses, etc., please contact our SA Representative: Ms Anastasia Nga Fong Chan, Ph. 8234-5952, e-mail abrsmsa@hotmail.com.

SOUTH AUSTRALIAN MUSIC CAMP 2013 South Australian Music Camp 2013 will be held from Monday July 8 to Friday July 12 at St Peter’s College. The Camp offers instrumentalists aged from nine to twenty-three years an opportunity to play in one of five orchestras or concert bands which cater for a wide range of ages, standards and levels of experience. The daily routine includes a mixture of tutorials and rehearsals. State Music Camp culminates with a concert in the Memorial Hall at St Peter’s College on Friday July 12 at 7-30 pm that showcases the achievements of the five ensembles. For more information please visit the website, www.samusiccamp.net.au. Applications close on May 6.

vBUY AND SELLv

FLUTE TEACHERS!

Get a free copy of Andrew Scott’s new publication,

Let’s Play Flute, 84 page book and CD package

(RRP: $32.95). Ph. 8370-8358 or visit

andrewscottmusic.com.

SA FLUTE NEWS Page 13

Flutes & Flutists 1/2

ARTICLES

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UPDATE ON INJURY PREVENTION RESEARCH FOR MUSICIANS by Jess Stanhope, BPhysio(Hons), AMusA, APAM, Research Assistant, International Centre for Allied Health Evidence and Physiotherapist, Surrey Downs Physiotherapy and Sports Injury Clinic. It has been about a year since I wrote about two projects we were undertaking regarding understanding injuries, and injury prevention for musicians, and we have now completed both, so here’s an update.

Perceived exertion ratings and muscle activity for high-level flautists.

In this project we looked at the changes in muscle activity measured with electromyography (where electrodes pick up the electrical activity in the muscles) and perceived exertion (how had the flautist felt their muscles were working) in the forearm and shoulder muscles with increased playing time and increased tempo.

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The results varied widely between flautists tested; however we found that perceived exertion related to playing duration, but not tempo. Muscle activity in the forearms was related to tempo, however activity in the shoulder muscles did not, and neither muscle group was related to time. Whilst this study doesn’t lead directly to any recommendations regarding injury prevention for flautists, it has a wide range of research implications. It is therefore the first step in us better understanding the physical demands of flute playing, how and why injuries occur, and therefore how best to prevent and manage them. We will keep you posted overtime!

We’d like to thank the Flute Society of South Australia, and particularly Robert Brown, for their assistance with recruitment for this study!

Reference: Stanhope, J 2012, ‘The validity of Borg’s CR10 scale to rate local perceived exertion in adult, high-level flautists: an exploratory study’, Honours thesis.

University woodwind students thoughts and experiences regarding injuries and

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SA FLUTE NEWS

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Cecere 1/3

ARTICLES

Three Muses: Clio, Euterpe and Thalia

vQUOTESv

Praise him with the strings and flute...

Psalm 150

When in doubt, trill. John Phillip Sousa’s advice to

piccolo players.

Blowing is not playing the flute, you must move the fingers.

Johann Wolfgang von Goethe

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Concertino with the Adelaide Studio Orchestra, conducted by William Cade. The music listed here shows Connie’s great versatility as an orchestral, chamber and solo musician. It is far from being a complete list of the music that she performed. Connie was a very active performer and pioneer in the Adelaide music scene of the 1920s, 30s and 40s.

Constance Pether, late 1940s

Stephen Carter began flute lessons with Connie at Scott Street in 1954, ‘where lessons invariably began with a hot cup of milo! Duets were often played during lessons. Sometimes Dr Robert Hecker, a former student, would visit Connie while Stephen was having his lessons. Connie was a kindly teacher and a polite, dignified lady. In the mid 1950s, Connie was beginning to show the first stages of Alzheimer’s Disease’.

Fred Linnett’s job with the Education Department meant that he was sometimes

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away. He died aged 57 at Memorial Hospital, North Adelaide on January 2, 1958 from delayed shock following surgery to remove his gall bladder: Connie was greatly affected by this. A private funeral was held at Centennial Park Crematorium on January 3. Rev. S.A. Mainstone, from St Bartholomew’s Anglican Church, Norwood, officiated.

The Alzheimer’s Disease continued to progress. The Sands and McDougal’s Directories list ‘F.W. Linnett’ at 16 Scott Street, Dulwich until 1962. The South Australian Telephone Directory for 1960 lists ‘Linnett, F.W.’; for 1964 the listing is ‘Linnett, S.G.’ At around this time, Margaret Linnett, Connie’s sister-in-law, took her back to Perth to be cared for by her sister, Beatrice Bonnerup. Connie died at Subiaco on January 10, 1965, aged 63, and was buried in the Pether family grave at the Karrakatta Cemetery.

Acknowledgements

I would like to thank Mrs Beatrice Bonnerup, Constance Pether’s sister, for the information that she supplied. Also, the following members of the Pether family from Perth, who assisted me: Mrs Joy Pether, Mr Ken Pether, Mr Rod Pether and Mr John Pether. I would also like to thank Miss Isabel Ragless, Mr Frank Whitworth, Dr Robert Hecker, Mrs Francie Gould, Mrs Margaret Linnett, Miss Beryl Chinner, Mr Stephen Carter and Mr Paul Blackman for their assistance. ♫

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SA FLUTE NEWS Page 5

NOTES AND NEWS (Cont’d)

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ANNUAL MUSIC SCHOLARSHIP The Metropolitan Male Choir of SA Inc. invites applications for the Annual Music Scholarship. Valued at $2,000, the scholarship is open to young musicians with proven musical ability and a strong desire to continue their musical development. A second prize of $1,000 may be awarded on the recommendation of the adjudicating panel. The award is designed to recognise the ability of outstanding young musicians, to encourage them to pursue their studies and to provide opportunities for the winners to perform publicly as associate artists with the choir. Applicants must be aged between 12 and 16 years as at January 1, 2014. The closing date for applications is Saturday, August 17. Auditions will be held on Saturday, August 31. Enquiries: Bill Scott, Ph. 8227-0472, e-mail bandliscott@gmail.com, or Geoff Sieben, Ph. 8242-7333, e-mail geoff@sieben.com.au, or visit the website at www.mmcsa.org.

AUSTRALIAN FLUTE FESTIVAL When: October 4-7, 2013, ANU School of Music, Canberra Director: David Leviston Director/Co-ordinator: Lyndie Leviston, e-mail lyndie@australianflutefestival.com Ph. (02) 8006-5345, mobile 0424-504-104 Post: 140 Sailors Bay Road, Northbridge, NSW 2063. Website: http://www.australianflutefestival.com

START SAVING NOW AND PLAN TO ATTEND THIS EXCITING EVENT!

Please note the dates for the registration periods. With Supersaver you could save as much as $120!

Supersaver, April 1 to May 31 Earlybird, June 1 to July 31 Regular, August 1 to October 3

Please visit the website for information about all the guest artists, festival programme, competition details (entries close on June 28 for the Flute, Young Artists and Orchestral Excerpts Competitions and June 1 for the Composition Competition), recitals, masterclasses, Professional Learning Day, Junior Day, private lessons and accommodation.

DAVID CUBBIN MEMORIAL FUND FOR 2013 Grants are available to assist young Australian flautists attend a Flute Festival or Flute Event during 2013. Please send a letter requesting financial assistance to David Cubbin Memorial Fund, C/- Robert Brown, PO Box 3228, Norwood, SA 5067 by Monday, May 6, 2013. Please include your contact information - postal address, telephone number, e-mail address. Applicants are required to provide a supporting letter from their teacher.

SA FLUTE NEWS Page 6

LETTER TO THE EDITOR Hello from Riga, Latvia, to all members of the Flute Society of South Australia! I really enjoyed reading the last newsletter and am motivated by its generosity of ideas and good will.

Unfortunately, we in Latvia don’t yet have our own flute collective/society but I think that your society and its activities might be a very good model and stimulus for us to start our own group as well.

In Latvia, the flute is one of the most popular of student musical instruments. I work at the Riga Secondary School Nr 45, which is a great place to work because we have a vibrant music department that also provides free instrumental tuition in piano, violin, guitar, etc.

My flute students love to perform in little concerts outside the school and regularly play at community centres for pensioners and at kindergartens. It is always good to get some compliments from our audiences and it is just fun anyway!

In the attached photo you can see some of my junior charges after a concert at a community centre on March 8 this year.

If any of you have some interest in Latvian flute playing, Latvian flute compositions, or would just like to exchange ideas about pedagogy, repertoire, examination syllabus, etc., then I would be very pleased to receive your e-mail (ingakarika@inbox.lv). Best wishes from Europe!

Inga Karika, M.Mus. (JVLMA) Specialist Flute Teacher♫

NATIONAL MUSIC CAMP 2013 by Helen Seppelt National Music Camp is one of the many programmes that the Australian Youth Orchestra (AYO) runs every year. It is held in the January holidays in either Canberra or Adelaide, and this year was Adelaide’s turn.

Within Music Camp there are five sub programmes, Orchestral, Arts Administration, Sound Production, Words about Music and Composition. I participated in the Orchestral strand again this year.

AYO found two wonderful conductors (as usual) for the orchestras; Bruno Weil from Austria and Australia’s own Fabian Russell. Bruno was very funny and had a great rapport with young people. His English was great but it was hilarious to hear him say, ‘Your notes are all accidents’ when he meant accidentals. I can’t speak highly enough of Fabian’s conducting. He inspired everyone to play better than they knew they could to produce a fantastic performance. As the theme for Camp this year was Bach the repertoire was slightly different to other years. For instance there were no symphonies played but there was a selection of Bach pieces arranged for orchestra by Schoenberg.

I had the privilege of being Principal of the Bishop Orchestra and the highlight of Camp for me was the final concert in which we played John Adams’ Harmonielehre conducted by Fabian Russell, for which we received a standing ovation. What a way to end Music Camp!

The application booklet for AYO 2014 will be out in May and I would encourage students to audition for any of the programmes that they are interested in – it is a fabulous experience. Visit the AYO website at http://www.ayo.com.au/. ♫

Riga, Latvia

Inga and her flute students

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to Victoria to deputise in the Melbourne Symphony Orchestra for the principal flute, Richard Chugg, who was ill. Later in her career Connie had developed a hand problem (possibly arthritis) and placed cork wedges under the right hand trill keys so she wouldn’t accidently depress them.

Connie broadcast many solos and ensemble works for the A.B.C., including the first programme relayed from Adelaide to the eastern states, and was a soloist at the opening of 6WF in Perth in June 1924 (her sister Lily also performed). The Advocate, Burnie, Tasmania, for July 7, 1933, records that Connie would be broadcasting from 3AR, Melbourne, at 8.17 pm for 8 minutes and at 9.55 pm for 7 minutes.

A Trio for flute, clarinet and piano by Miriam Hyde was dedicated to Connie in July 1948. It was requested by Connie, who, with Cleve Martin, clarinetist, and Beryl Chinner, pianist, wanted a trio to fulfil broadcasting engagements. A South Australian broadcast took place on November 17, 1948, followed by a national broadcast on December 26, 1948. It was recorded by the A.B.C. on February 17, 1949. As a flautist Connie had the unique distinction of broadcasting from the A.B.C. studios in Perth, Adelaide, Melbourne and Sydney, and on many occasions was ‘put through the

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national network to every state in the Commonwealth from these cities’. In December 1948 she broadcast Peter Warlock’s The Curlew with Noel Post, cor Anglais, Clement Williams, baritone, and a string quartet.

Miriam Hyde composed Marsh Birds on February 7/8 1949, during a train journey from Melbourne to Sydney. This is dedicated to Constance Pether and Beryl Chinner. Little Juggler, composed in 1956, is dedicated to Constance Pether. Stephen Carter now owns Constance Pether’s copies of this music; the manuscripts were prepared for her by Miriam Hyde. On the manuscript copy of Marsh Birds the composer drew an ink sketch of a marsh scene. Wedding Morn (1957) is dedicated to ‘Arthur Hancock and his Miriam’. Evening Under The Hill (1936) is dedicated to violinist Arved Kurtz; this was later arranged for the flute. These dedications are missing from the printed Allans edition. In an undated letter Miriam Hyde suggested Morning Pigeons as a title for the Trio for flute, clarinet and piano. In a copy of Marsden Pastorale for flute, violin and harp sent in 1945 Miriam Hyde included her warmest regards to Connie.

Beryl Chinner says that Connie was a ‘nice, kind and generous person, who, although quietly spoken, was very genuine and often praised other people, a real lady’. She particularly remembers Connie’s performance of the Chaminade

Constance Pether’s picture in Photographs of Well-known

Flute Players, 1938

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The Pether family

musicians, circa 1919: Beatrice, Lily, Connie,

Marjorie, Doreen, Lillian Maude with Eleanora, Adele, Sybil, Evelyn

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the only full-time flautist. Some of the other players came from the defunct cinema orchestras (these had closed after the talkies arrived in 1927) and others came from the South Australian Orchestra. The Adelaide Studio Orchestra, with 17 players, was enlarged into the Adelaide Symphony Orchestra with extra players called in as needed. Some of the local flautists who played second flute included Keith Yelland, Ken Carroll, Leo von Bertouch, Robert Hecker, June Lindsay and Denis Sallis. Players brought from interstate included Richard Chugg and Leslie Barklamb from Melbourne and Linda Vogt and Bert Anderson from Sydney.

The A.B.C. had hoped to start enlarging the orchestras in 1939 with Government assistance, but the war effort intervened and call-ups depleted the available personnel and cut-off the ‘flow of overseas artists’. A personnel list from 1940 shows 48 players in the Adelaide Symphony Orchestra. Sir Bernard Heinze did much ‘of the conducting throughout the Commonwealth’ during the war. Fred Linnett was one of many to become involved in the war effort. He enlisted in the 3 Battalion Defence Corps on April 1, 1942, and was discharged on October 16, 1945, with the rank of a Private.

The system of using extra players to enlarge the orchestra continued into the mid 1950s, when permanent players were gradually appointed for all orchestra positions. Joseph Brunovsky came to Adelaide in March 1958 to join the orchestra as the second flute and piccolo player. The flute section was increased to three full-time flautists in March 1964 when Stephen Carter was appointed second flute with Joseph Brunovsky being the third flute and piccolo player. The Adelaide Studio Orchestra was wound-up on July 1, 1949, and replaced by the South Australian Symphony Orchestra, which commenced on July 4, 1949. The South Australian Symphony Orchestra was the result of an agreement between the A.B.C., South Australian Government and the Adelaide City Council. There was to be a minimum of 45 players and a maximum of 55 players.

Resident conductors under who Connie played included William Cade, Percy Code, Norman Chinner and Henry Krips. Visiting conductors included Antal Dorati, Sir Thomas Beecham, Sir Malcolm Sargent,

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Rafael Kubelík, Eugene Ormandy, Maurice D’Abravanel, Georg Schnéevoigt, Sir Bernard Heinze, Sir Ernest McMillan, Eugene Goossens, Warwick Braithwaite, Walter Susskind and Paul Klecki. Connie recalled being associated with over sixty conductors during her career. She appeared as a concerto soloist with William Cade and Percy Code. The Finnish conductor Georg Schnéevoigt, who visited in the early 1940s, didn’t like having women playing in the orchestra and insulted men by saying ‘You play like voomans’. He told the Daily Telegraph that ‘In a country like Australia, which is crying out for a population, a woman’s place should be in the home bringing up a family rather than playing a musical instrument. It would be good for music too!’ He must have been disconcerted to find that the Adelaide Symphony Orchestra had a number of women playing in its ranks! In the mid 1930s, Montague George, the Managing Director of Rudall, Carte & Co., the world-renowned English flute makers, invited leading flautists to be included in the second edition of a book called Photographs of Well-known Flute Players, which was published in February 1938. Constance Pether’s photograph and signature appeared in this book.

Connie was sent interstate to deputise in the A.B.C. orchestras in Perth (three times in 1945), Melbourne and Sydney when players there were indisposed. In 1942 she deputised, at short notice, for a performance of Walton’s Belshazzar’s Feast in Melbourne. A review in The News in 1948 said, ‘The Brahm’s Fourth Symphony was the principal offering. Highlight was Krip’s fine climatic guidance of its Finale, which included sublime flute playing’. In 1947, The Advertiser reported that under Rafael Kubelík, ‘Miss Constance Pether’s flute playing was flawless and the visiting conductor generously drew the attention of the audience to it’. The South Australian Home Gardener, March 1, 1949, said that ‘She ranks with Mr Richard Chugg, of Melbourne, and Mr Neville Amadio, of Sydney’. Connie retired as principal flute in 1950, but continued to play casually until the mid 1950s. James Gleeson was her successor, followed by Denis Sallis (1952), David Cubbin (1954), Russell King (1964), Neil Fisenden (1979), Stephen Carter (1984) and Geoffrey Collins (1997). In 1951 Connie again went

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AN OVERVIEW OF THE NEW AMEB FLUTE SYLLABUS by Alison Rosser 1. Foreword to the new Flute Syllabus is on page 269 of the 2013 AMEB Manual of Syllabuses.

There is an emphasis on ‘Sound and Tonal control’ and ‘Expressive playing’. Repertoire is Traditional and Contemporary. 2. New Syllabus Structure:

Level 1, Preliminary to Fourth Grade Level 2, Fifth Grade to Certificate of Performance Level 3, Associate Diploma (AMusA) and Licentiate Diploma (LMusA). New additions, Preliminary in Level 1 and Certificate of Performance, which caps off Level 2. 3. Syllabus Transition Arrangements:

The new Flute syllabus will come fully into operation from 2015 but can be used from 2013. The old Flute syllabus, as outlined in the 2012 AMEB Manual of Syllabuses and Flute For Leisure syllabus will not operate after 2014. No combinations of syllabuses are permitted, that is, Flute and Piccolo Technical Work Book (Cubbin and Rosser, revised 1998) to be used with old Flute syllabus for 2013 and 2014; and new Flute Technical Work Book (2012, Peter Bartels) with the new Flute syllabus in 2013 and beyond. The 2013 AMEB Manual of Syllabuses lists include many old pieces and also many new pieces to explore (much repertoire that teachers already have). 4. Books to buy:

Flute Technical Work Book (2012, Peter Bartels). Series 2 Flute Grade Books, Grades 2 to 4, continue (but not Series 1 Flute Grade Books). Series 3 Flute Grade Books, Preliminary to Grade 6 (2012). Flute Sight-reading Book (2012, Johanna Selleck). The pieces from Series 1 Flute Grade Books and Flute For Leisure can be used in the new Flute syllabus as Extra List, because Extra List pieces don’t necessarily have to come from the new Flute syllabus. Available online from the Federal AMEB Office, www.ameb.edu.au, or selected local music stores. 5. Miscellaneous Points:

Sight reading is from First Grade, not required for Preliminary. Preliminary Aural is taken from the usual Aural Book used by examiners. See page xii of 2013 AMEB Manual of Syllabuses. General Knowledge information, see page xiv of 2013 AMEB Manual of Syllabuses. General Requirements, see page xi of 2013 AMEB Manual of Syllabuses. 6. Technical Work changes:

More selective technical work, less number of scales, etc. overall. Preliminary: chromatic scale range is over a fifth from F to C. Other grades, adding new exercises in each grade commencing with basic tone emphasis and by Grade 8 developing wider dynamic range; 20th century techniques such as blended octaves, flutter tonguing, singing and playing, tongue rams and multiphonics. There are no Sets in the scale choices now. 7. Recital Programs:

These are required for Certificate of Performance, Associate and Licentiate examinations.

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Please note the required performance duration, including the gaps between pieces. Candidates must choose one piece from each of Lists A, B, C and D and additional pieces from these Lists if they are needed to make up the performance time. Copies of the works to be presented must be provided for the examiners. 8. Orchestral Excerpts:

Available in Licentiate only for students aiming for Orchestral careers as an alternative option for one of the other lists (no longer included in Grades 6 to 8). The examiner will choose five excerpts from the list of ten works in the 2013 AMEB Manual of Syllabuses on page 286. The excerpts are taken from: Baxtresser and Rearick: Orchestral Excerpts for Flute (Presser) Wye and Morris: The Orchestral Practice Book, Volumes 1 and 2 (Novello) 9. Other Flutes:

Only one work using ‘other flutes’ can be presented in Certificate of Performance and Level 3 examinations. Works written for alto flute, bass flute and piccolo must be performed on those instruments. Works in the new Syllabus using these instruments will be identified on the website of the AMEB Federal Office (Melbourne) at www.ameb.edu.au. Level 1 examinations can be presented on the piccolo by little people. Please refer to the 2013 AMEB Manual of Syllabuses for a full coverage of the new Flute Syllabus.♫

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CONSTANCE PETHER: THE FIRST PRINCIPAL FLAUTIST OF THE ADELAIDE SYMPHONY ORCHESTRA: Part II by Robert Brown On June 21, 1946, Connie attended an afternoon tea at the Bohemian Tea Rooms in Gawler Place. This was presented by the Elder Conservatorium Old Scholars’ Association to entertain visiting ‘cellist Edmund Kurtz. The President, Canon Pinnis, ‘made a speech of welcome’, to which Mr Kurtz replied, giving interesting ‘details of music in America’.

Connie played for an Adelaide Bach Society and Elder Conservatorium Chamber Players and Singers Concert in Elder Hall on July 31, 1939, where with fellow flautist Keith Yelland, flute accompaniments were provided for the Aria from J.S. Bach’s secular Cantata Was mir behagt (with Hilda Gill, mezzo-soprano) and Vaughan Williams’ Fantasia on Greensleeves. The Adelaide University Theatre Guild and Elder Conservatorium presented Purcell’s opera Dido and Aeneas on August 22/23, 1940. Proceeds went to the Red Cross. Constance Pether and James Duncan were the flautists, and the programme also included Suite for Strings: The Rival Sisters by Purcell and Suite for Strings and Flutes from Orpheus by Gluck.

In 1948 The Advertiser said this about Connie’s Elder Hall performance of Mozart’s D Major Flute Quartet, ‘the charming Andante and Tempo Di Minuetto was most gracefully and flowingly played’. In Elder Hall on July 22, 1949, the Fifth Concert Series A Chamber Music Recital took place. Along with music by Brahms and Mozart, a performance of Peter Warlock’s The Curlew took place. This is a setting of text by W.B. Yeats for baritone, flute, cor Anglais and string quartet. Connie performed it with Clement Williams, baritone, Noel Post, cor Anglais and string quartet members were Mary Pascoe, Lloyd Davies, Robertson Collins and Harold Parsons. Connie participated in the Memorial Concert for Professor E. Harold Davies in Bonython Hall on November 26, 1949. With fellow soloists, flautist Robert Hecker and violinist Lloyd Davies, J.S. Bach’s Brandenburg Concerto No 4 was performed.

Connie’s playing was admired by the famous Australian flautist John Lemmoné, who gave her ‘valuable help’ and facilitated ‘the making of a record by Columbia for educational purposes’.

The Federal Government established the Australian Broadcasting Commission in 1932. The A.B.C. set up small studio orchestras in Sydney (20 players) and

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Melbourne (17 players) for live radio broadcasts. In 1933 these orchestras were enlarged with casual players for the broadcasting of full symphonic works. In 1934, the A.B.C. engaged its first overseas conductor, Sir Hamilton Harty, for concerts in Sydney and Melbourne. Discovering that there was an interested audience, the A.B.C.’s music adviser, Sir Bernard Heinze, suggested establishing studio orchestras in the other states from the beginning of 1936, and enlarging the orchestras in Sydney and Melbourne.

William Foote left Adelaide in 1931, and Harold Parsons, the Elder Conservatorium’s ‘cello teacher, became the South Australian Orchestra’s new conductor. The 1935 season included concerts which were conducted by Percy Grainger, and included the first Adelaide performances for some of Grainger’s compositions. The South Australian Orchestra was wound up after the conclusion of the 1935 season to make way for the establishment of the Adelaide Studio Orchestra and the Adelaide Symphony Orchestra.

Connie was appointed principal flute of the Adelaide Studio Orchestra in January 1936 for broadcasts of light music over 5CL from the A.B.C. studios in Hindmarsh Square. William Cade was the conductor; he had started forming the orchestra in 1935. Connie was the first woman to be appointed to the wind section of an A.B.C. orchestra (Linda Vogt was the second when she was appointed second flute in the Sydney Symphony Orchestra in 1942). Connie also played the piccolo and cor Anglais and was