Flutings From Frances
Dear CBFC members,
Once again we had outstanding attendance at our meeting on Jan. 30. While our practice was
delayed a bit, everyone took it in stride and adapted to the situation when we had to move our
rehearsal to another location. We owe a debt of gratitude to Belen Tuley for her quick thinking as
well as to First Christian Church for providing us with a place to rehearse on short notice. It doesn't
happen very often, but it is nice to know there are nice folks out there who are willing and able to
come to the rescue when we need them. We plan to meet as usual for our next REGULAR
rehearsal on March 20 at St. Luke's Chapel, but the next thing on our agenda is our upcoming
concert in Port Aransas on Feb. 20. ( See elsewhere in this newsletter for details.)
During the fall most of our rehearsal time was necessarily devoted to preparing seasonal music for
our Dec. concert in Rockport. Since then, we've had to hustle, I am proud to say we are indeed
going to be ready to present a program of all new music to the people of Port Aransas on Sunday
afternoon Feb. 20.
Dear CBFC members,
Once again we had outstanding attendance at our meeting on Jan. 30. While our practice was
delayed a bit, everyone took it in stride and adapted to the situation when we had to move our
rehearsal to another location. We owe a debt of gratitude to Belen Tuley for her quick thinking as
well as to First Christian Church for providing us with a place to rehearse on short notice. It doesn't
happen very often, but it is nice to know there are nice folks out there who are willing and able to
come to the rescue when we need them. We plan to meet as usual for our next REGULAR
rehearsal on March 20 at St. Luke's Chapel, but the next thing on our agenda is our upcoming
concert in Port Aransas on Feb. 20. ( See elsewhere in this newsletter for details.)
During the fall most of our rehearsal time was necessarily devoted to preparing seasonal music for
our Dec. concert in Rockport. Since then, we've had to hustle, I am proud to say we are indeed
going to be ready to present a program of all new music to the people of Port Aransas on Sunday
afternoon Feb. 20.
| VOLUME 15 NUMBER 4 |
Future Dates:
Port Aransas 2/20
Concert 2:00pm
Rehearsal 3/20
at St. Luke’s
1:30
Rehearsal 4/03
St. Luke's
1:30
Spring Concert 4/23
St. Lukes
2:00
May Meeting 5/??
TBD
Wedding 5/21
Orange Grove
(Optional)
Concert 2:00pm
Rehearsal 3/20
at St. Luke’s
1:30
Rehearsal 4/03
St. Luke's
1:30
Spring Concert 4/23
St. Lukes
2:00
May Meeting 5/??
TBD
Wedding 5/21
Orange Grove
(Optional)
Port Aransas Concert
February 20th we will play at the Port Aransas Community Theater. The concert will begin at 3:00.
We will meet at the theater at 2:00 to set up and rehearse. For this concert we will wear black skirt or
slacks and our Coastal Bend Flute Club Shirts.
For those desiring to car-pool, meet in front of St. Luke’s Chapel at 12:45pm. We will leave for Port
Aransas at 1:00. For more information call Carolyn Everett at 361-857-6378.
Stands will be provided for us, so just bring your instruments and (of course) your music!!
See you there!!!
February 20th we will play at the Port Aransas Community Theater. The concert will begin at 3:00.
We will meet at the theater at 2:00 to set up and rehearse. For this concert we will wear black skirt or
slacks and our Coastal Bend Flute Club Shirts.
For those desiring to car-pool, meet in front of St. Luke’s Chapel at 12:45pm. We will leave for Port
Aransas at 1:00. For more information call Carolyn Everett at 361-857-6378.
Stands will be provided for us, so just bring your instruments and (of course) your music!!
See you there!!!
New Music Review: Adagio from Suite for Organ
As documented in The Concise Oxford Dictionary of Music, 1980, while this well known composition
is based on two thematic fragments and one figured bass by Baroque composer Tomoso Albinoni, it
was 20th century Italian Musicologist Remo Giagotto who reconstructed it for organ and strings in
1958. And while it is commonly credited exclusively to Albinoni, it is indeed Giagotto who holds the
copyright on the composition.
To the delight of flutists and lovers of this work, Vilmos Lesko transcribed this beautiful Adagio in g
minor for flute and piano in 1988. It has been widely performed and recorded by flutists such as
James Galway since that time. Additionally, in the late 1990's the theme was given words and was
popularized for a short time in a vocal arrangement which was aired on TV and on pop/rock music
radio stations around the country.
The name Ann Cameron Pearce is no stranger to our flute club. We have played some fine
arrangements of hers in the past and this one is no exception. While the Lesko arrangement
dramatically expounds on the Albinoni themes with a cadenza in the latter part of the piece,
Pearce's flute choir arrangement sticks to the simple, yet profoundly powerful initial melodies.
Although this flute choir arrangement may be performed by as few as 6 C flutes, the 5th and 6th parts
are notated with a preference for the use of Alto and Bass respectively. Additionally, Pearce smartly
wrote divisi parts in the 2nd and 3rd parts that aptly beg the use of even more lower instruments.
Because CBFC has access to fewer than the desired number of the larger flutes, particularly basses
to add to the mix, it will add to our challenge to meet the level of intensity and depth called for in the
original composition. Nevertheless, it will be worth the effort to pay homage to this compellingly
beautiful and hauntingly mournful melody appropriately dedicated by the arranger to the "Memory of
the Victims of Terriorism on 9/11/01." Adagio from Suite for Organ arranged for Flute Choir by Ann
Cameron Pearce was published in 2003 by Falls House Press.
As documented in The Concise Oxford Dictionary of Music, 1980, while this well known composition
is based on two thematic fragments and one figured bass by Baroque composer Tomoso Albinoni, it
was 20th century Italian Musicologist Remo Giagotto who reconstructed it for organ and strings in
1958. And while it is commonly credited exclusively to Albinoni, it is indeed Giagotto who holds the
copyright on the composition.
To the delight of flutists and lovers of this work, Vilmos Lesko transcribed this beautiful Adagio in g
minor for flute and piano in 1988. It has been widely performed and recorded by flutists such as
James Galway since that time. Additionally, in the late 1990's the theme was given words and was
popularized for a short time in a vocal arrangement which was aired on TV and on pop/rock music
radio stations around the country.
The name Ann Cameron Pearce is no stranger to our flute club. We have played some fine
arrangements of hers in the past and this one is no exception. While the Lesko arrangement
dramatically expounds on the Albinoni themes with a cadenza in the latter part of the piece,
Pearce's flute choir arrangement sticks to the simple, yet profoundly powerful initial melodies.
Although this flute choir arrangement may be performed by as few as 6 C flutes, the 5th and 6th parts
are notated with a preference for the use of Alto and Bass respectively. Additionally, Pearce smartly
wrote divisi parts in the 2nd and 3rd parts that aptly beg the use of even more lower instruments.
Because CBFC has access to fewer than the desired number of the larger flutes, particularly basses
to add to the mix, it will add to our challenge to meet the level of intensity and depth called for in the
original composition. Nevertheless, it will be worth the effort to pay homage to this compellingly
beautiful and hauntingly mournful melody appropriately dedicated by the arranger to the "Memory of
the Victims of Terriorism on 9/11/01." Adagio from Suite for Organ arranged for Flute Choir by Ann
Cameron Pearce was published in 2003 by Falls House Press.
Flute Trivia
As reported in the
February 2005 issue
of the International
Musician Journal, a
7" long flute carved
from solid mammoth
ivory tusk with three
finger holes has
recently been
discovered by
German
archaeologists. This
finding dates the
origins of music to the
European Ice Age
over 30,000 years
ago.
As reported in the
February 2005 issue
of the International
Musician Journal, a
7" long flute carved
from solid mammoth
ivory tusk with three
finger holes has
recently been
discovered by
German
archaeologists. This
finding dates the
origins of music to the
European Ice Age
over 30,000 years
ago.
Playing Tips
From the Art of Practice and Modern Flute Techniques Vol. 1
By
William Kincaid
WHERE TO BREATHE
Fundamental Rules
1. Breathe AFTER the longest note if the notes are of MIXED value
2. Breathe BETWEEN repeated notes if the notes are of EQUAL value.
3. Breathe AFTER the first note or AFTER the downbeat of the new measure
if notes are of EQUAL value and there are NO REPEATED notes.
4. Breathe AFTER the change in direction in a CONTINUOUS or flowing
passage.
5. Generally, AVOID breathing on the BARLINE, EXCEPT in TRIPLE meter.
From the Art of Practice and Modern Flute Techniques Vol. 1
By
William Kincaid
WHERE TO BREATHE
Fundamental Rules
1. Breathe AFTER the longest note if the notes are of MIXED value
2. Breathe BETWEEN repeated notes if the notes are of EQUAL value.
3. Breathe AFTER the first note or AFTER the downbeat of the new measure
if notes are of EQUAL value and there are NO REPEATED notes.
4. Breathe AFTER the change in direction in a CONTINUOUS or flowing
passage.
5. Generally, AVOID breathing on the BARLINE, EXCEPT in TRIPLE meter.
Congratulations
Congratulations to
Sarah Gill who recently
won first place in the
Kentucky Flute Society’
s Young Artist
Competition.
Congratulations to
Sarah Gill who recently
won first place in the
Kentucky Flute Society’
s Young Artist
Competition.
Our Deepest
Sympathies
Please join us in
extending our
deepest sympathies
to Sharon Gutierrez
on the loss of Father,
and to Ouida
Richardson on the
loss of her
Grandmother.
Sympathies
Please join us in
extending our
deepest sympathies
to Sharon Gutierrez
on the loss of Father,
and to Ouida
Richardson on the
loss of her
Grandmother.