I N T H I S I S S U E

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Inspiring Collaborations: A Conversation with Carol Wincenc ............................1

by Tanya Dusevic Witek

From the President ......................2Flute Fair Musings

Member Profile ............................3Herb Waldren

A n n o u n c e m e n t sFlute Happenings..................................3Classified ............................................5Flute Fair Update ..................................7Ensembles Program Update ................7

March 2007

Carol Wincenc was the teacher who drewme to study at Juilliard more than 13years ago. I first met her in 1990, when Iwas a student at the Banff Centre for the Arts in

Canada, and in the years following shebecame a significant mentor, influence,and friend. We caught up with each otherin early January over a cup of tea at herUpper West Side apartment and talkedabout her teaching, her musical inspira-tions, and some of her currentactivities.

In Concert

Carol Wincenc, flute

Stephen Gosling, pianoTanya Dusevik Witek, flute

Saturday, March 10, 2007, 5:15 pmUnion Theological Seminary, 100 Claremont Avenue, New York

(between 120th and 122nd Streets)

Sonata No. 5 in C major, K.14 . . . . . .Wolfgang Amadeus Mozart(1756–1791)

Le Merle Noir . . . . . . . . . . . . . . . . . . . . . . . . . .Olivier Messiaen(1908–1992)

Ballade . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Frank Martin(1890–1974)

Au delà du temps . . . . . . . . . . . . . . . . . . . . . . .Yuko Uebayashifor two flutes and piano

Six Chassidic Songs Paul SchoenfieldWorld premiere (b. 1947)

Program subject to change

INSPIRING COLLABORATIONS:A CONVERSATION WITH CAROL WINCENCInterview by Tanya Dusevic Witek

Pet

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TANYA DUSEVIC WITEK: You are inhigh demand as a performer and alsoas a teacher. When you are audition-ing students, what are some of thequalities that make certain candidatesstand out?CAROL WINCENC: Is the sound alluringenough to bring us in? Is their musicalinterpretation really speaking to us—or,I should say—to me, personally? Arethey being authentic? You can find anartifice in a lot of kids because theirteacher told them to do it a certainway. If there is something that seemsauthentic, where I am getting a senseof who they are—their essence—that isworlds right there. And then, of course,there’s that kind of talent when they’renot even conscious of any of that, andit’s just so dazzlingly wonderful. It’s a

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THE NEW YORK FLUTE CLUB INC.

2006–2007Board of Directors

David Wechsler, PresidentJayn Rosenfeld, First Vice PresidentArdith Bondi, Second Vice PresidentJeanne Wilson, Recording SecretaryKeith Bonner, Membership SecretaryEdward Wolf, Treasurer

Katherine Fink Karla MoeSusan Friedlander Seth RosenthalSvjetlana Kabalin Rie SchmidtFred Marcusa Stefani Starin

Nancy Toff

Advisory BoardJeanne Baxtresser Robert LangevinHarold Jones Gerardo Levy

Marya Martin

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

NewsletterKatherine Saenger, Editor115 Underhill RoadOssining, NY 10562914-762-8582klsaenger@yahoo.com

Sue Carlson, Layout/Production789 Westminster RoadBrooklyn, NY 11230718-258-5325scarlson@wwnorton.com

www.nyfluteclub.org

Copyright © 2007 by The New York Flute Club Inc. unless otherwise noted. All rights reserved.

Since this is the March column, it must mean that we arein Flute Fair mode. And indeed we are! What began asan iffy experiment has become somewhat of an institu-tion, and we in the flute playing community are the luckybeneficiaries. I still remember the first fair, in 1994, whenJean-Pierre Rampal was our guest. He had a fondness forNew York and was happy to participate in our maiden voy-age. This year we are fortunate to have Carol Wincenc asour guest artist, someone who is fond enough of New Yorkto live here! Once again, the fair will have interesting panels

and lectures, the competition, and, of course, the backbone of the all-day event—the exhibits.

When I first started as a board member of the New York Flute Club, it was myjob to round up corporate sponsors. While soliciting a contribution from LillianBurkart, she suggested that we ought to have some sort of flute event here in NewYork. That got the whole ball rolling. And, needless to say, it has been very suc-cessful. A good deal of that success has been due to the exhibitors who comewith all their flutes, music and flute paraphernalia. When I was the exhibits chair, Ihad to get to the fair really early (which I still do), do table assignments, andsupervise the load-in. I got to chat with all the makers before Daphnis and Chloëarrived. I still enjoy doing that. It always fascinates me how dedicated the flutemakers are to their craft; how painstaking they are in maintaining a centuries-oldtradition of handcrafted musical instrument-making in an increasingly mass-produced world. Most flute makers today use some high-tech manufacturing tech-niques. But the bottom line is to get a reliable mechanism with an aestheticallypleasing look, and, more importantly, a beautiful sound for you and the listener.In both areas, most of the professional flute makers have succeeded. You pay forthat level of attention to detail and craftsmanship, to be sure, but in addition tobuying the tools of your trade, you are also buying an individual work of art. It’s alittle like the Patek Philippe ad, where they say, “You don’t own the watch, youjust care for it for the next generation.” As far as price, however, if you factor ininflation for the past 85 years or so, the cost of a new professional flute is aboutthe same as it has always been relative to a decent weekly salary.

I always find the bigger flutes, the altos and the basses, of unique interest. Inthese instruments you see a bit more variation in design and construction, espe-cially in the bass flutes. Rudall Carte used to make a bass flute with a double (or“S”) bend in it. Presumably this was done to have the embouchure plate facing theright direction. But the flutes had no trill keys on them. Presumably this was donebecause it was too difficult to rig up a mechanism to have trill keys open in themiddle of a bend. Or, maybe they thought nobody would ever play a trill or athird octave note on a bass flute. My bass flute is of the other design, the one thatlooks like a long “J.” It too was made with no trill keys, so I had them retrofittedafter I bought the flute. Except for Ravel’s Daphnis and Chloë, Stravinsky’s TheRite of Spring, and Varèse’s Deserts, the alto flute is pretty scarce in early 20th-century orchestral music. However, alto and bass flutes are used in a lot of com-mercial music, film and TV dates. The arranger Gil Evans used the alto flute quiteimaginatively and effectively in his arrangements for the Miles Davis records MilesAhead, Porgy and Bess, and Sketches of Spain. Henry Mancini used altos andbasses in many of his film scores. And now, with the explosion of flute ensem-bles, they have become more popular. So, when you go to the fair, make sure totoot a big baby!

Flute Fair Musingsby David Wechsler

From thePresident

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FREE to current NYFC members, this section lists upcoming per-formances 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.

FREE to current NYFC members, this section lists upcoming per-formances 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.

Monday 8:00 pmThe New York New Music Ensem-ble with JAYN ROSENFELD, flute,

will perform Bernard Rands’ Memo 4 (for soloflute) and two sextets, Donald Martino’s Not-turno and Steve Mackey’s Micro-Concerto forpercussion.

• Merkin Hall, 129 West 67th Street, NYC. •Admission: $20 general, $10 students/seniors. •Info, call 212-501-3303.

Monday 8:00 pmThe Sylvan Winds with SVJETLANAKABALIN, flute, will perform

William Mayer’s Yankee Doodle Fanfare, RamiLevin’s Danças Brasileiras, Max Lifchitz’sVignettes, Cynthia Folio’s Aphorisms, andDavid Diamond’s Quintet.

• Christ and St. Stephen’s Church, 120 West 69thStreet (between Broadway and Columbus), NYC.• Admission is free. • Info, call 212-663-7566.

Thursday 8:00 pmUpTown Flutes (CARLA AULD,ELISE CARTER, PATRICIA DAVILA,

KAREN DEMSEY, Jeannie Fessenden, MAR-CIA HANKLE, Becky Vega, and director VIR-GINIA SCHULZE-JOHNSON performingworks by Mozart, McMichael, Bacchus, Bach,Guiot, LeMay, Caliendo, and Lombardo.

• Caldwell College, 9 Ryerson Avenue, Caldwell,NJ. • Admission: $15 general, $12 students/sen-iors. • Info, call 973-618-3520 or 3326, or visitwww.uptownflutes.com.

Friday 7:30 pmThe Arc Duo with HEATHERHOLDEN, flute, and Bradley

Colten, guitar, will perform an Ensemble-in-Residence Recital featuring works by JoanTower, Roberto Sierra, David Leisner, and aworld premiere by Shafer Mahoney.

• Diller-Quaile School of Music, 24 East 95thStreet, NYC. • Admission is free. • Info, call212-369-1484 or or visit www.arcduo.com.

Sunday 8:30 am–6:00 pmNJ Flute Choir Day with guest artistPeter Bacchus: Members of

UpTown Flutes (VIRGINIA SCHULZE-JOHNSON, director; PATRICIA DAVILA, pro-gram assistant) will coach six levels ofstudents followed by a 4:00 pm performance.

• Dorothy Young Center for the Arts, Drew Uni-versity, 36 Madison Avenue, Madison, NJ. • Admission: $70 per participant. • Info, visitwww.depts.drew.edu/music/beyond or call 973-408-3428.

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MARCH ’07

Employment: Individual investor; retiredscience teacher (NYC high schools).

Most recent recital/performance: Playinga flute and piano arrangement ofDebussy’s The Little Shepherd and Pre-lude to the Afternoon of a Faun at theUnitarian Universalist Congregation atShelter Rock (UUCSR) in Manhasset,NY, in September 2006.

Career highlight(s): A sabbatical spenttaking computer courses (1988–89),leading to coordinator/staff developerpositions at Grover Cleveland HighSchool (1989–90) and the NYC Board ofEducation (1990–95) helping highlymotivated night school students andschool personnel gain computer literacy.

Current flute: Custom-made Powell flutewith C foot and Aurumite head (c.2003), Miyazawa Atelier IV silver altoflute (c. 2004), Gemeinhardt wood pic-colo with Jeff Weissman exotic woodhead (c. 2003).

Influential flute teachers: John Solum (asa teenager) and Amy Ziegelbaum (since2002). Herb says, “I started playing theflute at the age of 12 in a junior highschool band in the Bronx and beganlessons at the Henry Street Settlementshortly thereafter [mid to late ’50s]. Itwasn’t until recently that I realized hownotable my teachers were (RobertDiDomenica, Claude Monteux, andJohn Solum).”

High School: Boys High School inBrooklyn, NY.

Degrees: BA in philosophy (BrooklynCollege, 1964), MA in philosophy (SanJose State University, 1970).

Most notable and/or personally satisfyingaccomplishment(s): Retiring from theBoard of Education in 1996 at the ageof 54; running the NYC Marathon tenyears in a row (1979-1988) with a per-sonal best of 3:07 in 1981; in 2001,resuming his flute playing activities andjoining a church (UUCSR) in which hecould feel comfortable, after beingaway from both since his early 20s.

Favorite practice routines: Herb’sfavorite book of practice routines isTaffenel and Gaubert’s Seventeen BigDaily Finger Exercises, but he says, “Ibelieve that practice routines should beselected based on what you think youneed to work on most. Many of thenew pieces that I want to performpresent challenges in different areas ofskill mastery and there isn’t enoughtime to cover them all. So I select rou-tines from various sources or I willmake up my own. Incidentally, being amember of my church choir has been awonderful experience and (to my ini-tial surprise!) complements the workthat I do on the flute.”

Interests/hobbies: A self-confessedinformation junkie, Herb enjoys reading(nonfiction books and periodicals) andcomputers. In addition to the flute, healso enjoys photography, golf, andlong-distance driving (stick-shift only).He’s also become interested in record-ing musical performances (his own andothers) on CD. In his words, “Thecaveats and pitfalls are not to beignored, but there are advantages.”

Advice for NYFC members: Herb’s adviceis for flutists who are not professionals:“Perform for others judiciously andoften (even friends and family); join anensemble to get the experience of coor-dinating your performance with others.And consider memorizing the piecesyou perform. Even if you don’t playwithout the music, it’s a great confi-dence builder to know you could playwithout it if you had to.”

Member ProfileHerb Waldren

NYFC membersince 2003

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Thursday 7:00 pmLAURA KAREL GEORGE and Dar-ren O'Neil will perform a program

of flute and guitar music by Piazzolla, Ibert,Granados, Albeniz, Scarlatti, and others.

• Stage One, Wagner College, 1 Campus Road,Staten Island, NY. • Admission is free. • Info,call 718-420-4068 or visit www.wagner.edu.

Saturday 11:00 am“Chocolate Chip Chamber Music,” aprogram featuring the Femmes

Four Flute Quartet, with AMY ZIEGELBAUM,Helen Richman, Anna Povich de Mayor andLauren Ausubel, flutes, in an interactive chil-dren’s concert.

• Turtle Bay Music School, 244 East 52nd Street,NYC. • Admission: tickets at the door. • Info,call 212-753-8811, email: info@tbms.org orFemmesFour@gmail.com.

Saturday 12:00 noonFemmes Four, the flute quartetlisted above, in a one-hour recital

featuring the music of J.S. Bach, Massenet,Dubois and others.

• Turtle Bay Music School, 244 East 52nd Street,NYC. • Admission: tickets at the door. • Info,call 212-753-8811, email: info@tbms.org orFemmesFour@gmail.com.

Saturday 8:00 pmSUE ANN KAHN, flute, with DavidOei, piano, in a recital of works by

Mozart, Prokofiev, Ibert, Pierné, andGreenbaum.

• Mannes Concert Hall, Mannes College ofMusic, 150 West 85th Street, NYC. • Admis-sion is free.

Thursday 7:30 pmThe Sylvan Winds, with SVJET-LANA KABALIN, flute, will present

“Passion and Protest,” a program includingHenry Cowell’s Ballade, Robert Dick’s Star-tling Stories (world premiere), Robert Martin’sFrom the Green Mountains and SummerQuiescence, and Shostakovich’s String Quar-tet No. 8 (arr. by M. Popkin).

• Tenri Cultural Institute, 43A West 13th Street,1st Floor, NYC. • Info, call 212-222-3569.

8:30 pm and 10:00 pmThe Jamie Baum Septet withJAMIE BAUM, flutes, in a program

of original compositions.

• Cornelia Street Cafe/Jazz Club/Restaurant, 29Cornelia Street, NYC. • Admission: $10 covercharge. • Info, call 212-989-9319 or visitwww.corneliastreetcafe.com.

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kind of naiveté. People come with alldegrees of equipment. I love to takethis poll in classes: For you, if you hadto choose between a rivetingly beautifulsound or a knock-out musical deliv-ery—if you had a choice—what wouldbe the thing that would have youaccept that person? It’s very interesting,because sound is imperative; as a windplayer it’s so important. Is it soundthat’s more important? Or is it this magi-cal interpretation? I can forgive a sort ofoddball sound if the person is totallystorytelling or saying something. I justhad a case in point where I was judginga concerto competition and the childdidn’t have the greatest sound . . .maybe it was an off day . . . I mean itwas good, but it maybe didn’t have thatsparkle and zing you would hope for.But the music making was terrific, andthe person sold the piece. So there’ssuch a fine line between both areas.

TDW: Absolutely. In terms of the sound,how do you teach it? It can be so diffi-cult to verbalize. Is it mostly throughdemonstration? Through description?CW: Well you can probably rememberwhen you studied with me, I was prob-ably playing a lot.

TDW: Yes, yes.CW: So I do believe in demonstration. Ithink a young person needs to havethat role model. What happens in termsof the embouchure is important, but sois the airstream. Most of the work I dois getting the person to connect to thisfully supported forward movement inthe airstream. Because it’s so blah andboring if it doesn’t have the direction[she sings . . . ].

TDW: I think that this was one of thethings that really spoke to me when Ioriginally met you—the way you usedthe airstream in such a full, rich way.CW: As I am getting older, I still instinc-tively want to demonstrate, but some-times it’s not there. I mean if I havebeen teaching all day, I don’t alwayshave the immediacy. But I rememberMr. Moyse. The minute he picked up theflute, and then attempted to demonstratesomething—I mean he was 80 plus atthis point—there was some magic there,regardless. And there are lots of teachers

who never play a note, and they are stillable to convey. I had to deal with thatrecently, because I had this dental sur-gery and I couldn’t play for a week anda half or so, so I had to do everythingwithout playing. It was a great exercise!

TDW: You also have a talent for usingimages and words to get your meaningacross. I remember you saying thingslike “put gold nails in the sky” as youarticulate. I guess this is something veryintuitive for you, right?CW: Well, it is also what I grew upwith; my dad was filled with imageryand Moyse certainly referred to natureall the time. What is the feeling whenyou’re handed a newborn baby? Whatis that experience? So play the phraselike that, as if you have that kind ofguard and delicacy.

TDW: You mentioned Moyse and youmentioned your father. Would you saythat they are two of the key influencesin your teaching style and who you areas a musician?CW: Yes, definitely.

TDW: Does anyone else come to mind?CW: Well, certainly all the people that Iworked with along the way. I remem-ber Felix Galimir at Marlboro, becausewe did Pierrot Lunaire there together.I’ll never forget it. It was indelible. Imean, all his ranting and raving andsaying what was needed in the momentin the phrase. I also sang a lot. I was inRobert Fountain’s Oberlin CollegeChoir. It was really incredible to getthat experience. The Oberlin CollegeChoir was the chamber choir thattoured, so all that finessing and place-ment was really powerful.

TDW: And you make your students singa lot in the lessons, as well. There’s thatconnection between singing andplaying.CW: Well my very first teacher was EdnaComerchero, who is still out in Califor-nia. She just came this past summerwhen I was out at Menlo. She got meonto De la Sonorité when I was eight ornine. She had it firsthand, because shewas over in Paris as well. Those earlyimpressions are so important.

TDW: Definitely. You went to Juilliardas a student, and you have been teach-ing there for quite a long time.

Wincenc (cont’d from page 1)

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Saturday 8:00 pmThe Palisades Virtuosi with MAR-GARET SWINCHOSKI, flute, will

perform “South (and North!) of the Border,” aprogram including works by Ginastera, Villa-Lobos, Donald Draganski (Trio from Rio),Michael Colina (Habanera), and the worldpremiere of a commissioned work by EricEwazen.

• Unitarian Society of Ridgewood, 113 CottagePlace, Ridgewood, NJ. • Admission: $20 gen-eral, $15 students/seniors.

Sunday 2:00 pmAMY ZIEGELBAUM and LaurenAusubel, flutes, and Laura Leon,

piano, performing works by J.S. Bach, LeoKraft, Bela Bartok, Gary Schocker, ClaudeDebussy, Jacques Ibert, and Franz Doppler. .

• Yamaha Piano Salon, 689 Fifth Avenue(entrance on 54th Street). • Admission is free. • Info, email FemmesFour@gmail.com.

Wednesday 7:00-9:00 PM“Calling All Divas and Divos!,” amasterclass with Paula Robison fea-turing Bizet/Borne’s Carmen Fan-

tasy, Cecile Chaminade’s Concertino, andPaul Taffanel’s Fantasie sur le Freischutz.

• Diller-Quaile School of Music, 24 East 95thStreet, NYC. • Admission (auditors): $30 general, $15 students. • Info, call HeatherHolden at 212-369-1484 x26, or emailhholden@diller-quaile.org.

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CW: It will be twenty years this comingyear.

TDW: Unbelievable! So how have thingschanged there since you were a student?CW: When I was a flute student, JuliusBaker was the king. He held court ona daily basis. There were about 20 fluteplayers around school. Now we have12, so it’s completely different in that“hands-on” way. Even though I didn’ttake private lessons from Mr. Baker, hewas an energy that was there. I wasworking with Arthur Lora, and SamBaron was my chamber music coach. Itwas exciting to be part of the fluteempire that was going on at Juilliard.My dear colleague Jeanne Baxtresserused to say we really do too muchhand holding around here. I mean, wehad to fend for ourselves.

TDW: Oh, that’s interesting.CW: The style of teaching has changed,too. You did what you were told to doback in the old days. Whereas the wayI teach, I open the door to the stu-dent’s comments. I have the studentsget up and teach. Maybe the style ofteaching is more that way now. Imean, I see how our New York Wood-wind Quintet seminar is so open thatway. We invite people to offer theirreactions. Going back to your originalquestion about the Juilliard I knew andthe Juilliard of today, we were a wackybunch. It was great. When I think ofmy master’s graduation recital, playingthe Bach B Minor Suite with IdaKavafian, Guillermo Figueroa, Yo-YoMa (continuo) and Lionel Party (harpsi-chord), it was amazing!

TDW: Wow! That’s really amazing!CW: We were a fiery bunch!

TDW: Who were the flute students inschool with you then?CW: Nadine Asin, Ransom Wilson,Reneé Siebert, Michael Parloff, andTrudy Kane. All these people havemajor jobs currently.

TDW: That must have been quiteinspiring.CW: That was our group.

TDW: Quite a few years have passedsince you joined the New York Wood-wind Quintet. I was wondering how theexperience of playing in the quintetregularly has changed you or affectedyour professional life.

CW: Well, it’s what I love to do mostperhaps . . . collaboration—eventhough I have done the whole solotrek—alone in the hotel rooms and allthat. But as Sam Baron said, chambermusic is the most civilized way of mak-ing music. It’s really true. I had a sub-stantial quintet background when Iplayed in the St. Paul Chamber Orches-tra. During the first three seasons ofmy job there, we had a resident wood-wind quintet. We did so much out-reach. Getting into cars and schleppingthrough snowstorms. I had a reallythorough background in quintet play-ing. So when the NYWQ asked me if Iwould consider joining, it was like rid-ing a bike again.

TDW: I know that you were close to Mr.Baron and it must have been a movingexperience to be taking his seat in thequintet. Can you say a little bit aboutwhat that was like for you?CW: Well, I have nothing but theutmost regard and respect for this man,because he was a thinker. I am not theintellectual magma of the volcano—that was Sam Baron. He was themolten lava, and these incredible ideaswould come to the surface. You know,I use a lot of his parts for the quintet,so all of his markings are in there . . .his writing.

TDW: It must be great!CW: It is great! You feel this one onone connection. So he had a legacy.There is no question. The way in whichhe approached playing chamber music. . . analysis was always at the fore-front. And that’s so important in under-standing a piece. But he had all thewarmth of beautiful music making, too.

TDW: His thinking must have reallyaffected the quintet’s interpretations.CW: It did. I’ll tell you where we arenow . . . It’s interesting. We are fivesoloists coming together, there’s noquestion about it. Everybody is just aknockout in their solo playing, andthat’s really exciting, because it has thissort of “out there, off the wall” qualitythat we can get—big risk taking!

TDW: Right now, what’s inspiring youmusically and personally?

(Cont’d on page 6)

C L A S S I F I E DSUE ANN KAHN has released a newrecording of the Mozart Flute Quartets forAlbany Records (TROY884), with ErikoSato, violin, Ronald Carbone, viola, andAlexander Kougell, cello. The recording isavailable from albanyrecords.com oramazon.com.

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Flute Happenings DeadlinesIssue Deadline Mail date*April 2007 03/15/07 04/12/07May 2007 04/05/07 05/03/07*Projected

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CW: Hmmm. . . . Well my [now-14-year-old] son’s performance (on the Frenchhorn) the other day. It just blew meaway. I just couldn’t believe it. It’s reallyfreaky to see your offspring communi-cating through music, because it’s some-thing that you do in your life constantly.

But there is no question that teach-ing is probably the single most inspiringthing in my life. I am sometimesamazed at myself, how I’ll come upwith an idea or concept—an approachto something. I’ll think, “Where did thatcome from?” I’ve always been fascinatedby “the whole person.” I’m pretty psy-chic that way. I know what’s going onin the person, or maybe what doorneeds to be unlocked. And I take a lotof risks. That’s the most rewarding.Maybe I am seeing a person for the firsttime and they’re just having one or twolessons. And afterwards they say, “Howdid you know that that’s exactly what Ineeded to work on?” You develop thatsense as a teacher after all the years.

TDW: You have commissioned a lot ofnew literature for the flute. Whatspecifically do you find so satisfyingabout collaborating with composers onnew pieces?CW: Well, certainly, hearing what thecomposers have to say while workingfirsthand with them. The voice of thecomposer is so exciting, because I can’timagine being able to write somethingas elaborate as a lot of these piecesthat have been written for me. Wheredoes that expressivity come from? It’sincredible. You are connecting to theperson’s ideas. I remember playing theDuo with Mr. Copland. Working withliving composers is the ultimate rewardfor the interpreter.

TDW: What do you remember about theexperience of playing with Mr. Copland?CW: Well, I was really young—in myearly 20s. I was playing in St. Paul. Hewas conducting us as well, so I was inthe orchestra with him, too, and thenwe got to play the Duo. This was1973—just after it was written.

TDW: Did you know the piece already?CW: No. He came to St. Paul, and Ihad heard there was this new flutepiece, so we played it together.

TDW: Amazing!CW: Yes, it was. It was wonderful. Andhe was absolutely down to earth likethe piece is. I think the Duo is a realsnapshot of his writing. It’s dreamy andloaded with imagery, and all the indica-tions in the score are in English. . . .Like “getting a little faster, little by lit-tle” or “played warmly,” you know, asopposed to the standard Italian terms.

TDW: Right, right.CW: And he was so approachable. Hewas so real. He was playing his part,and he was worried about playing hispart.

TDW: It’s a hard part!CW: Yes, especially the slow move-ment, which is less obvious. It’s kind ofabstract. I asked, “How am I supposedto play this, Mr. Copland?” and he said,“Just play it. I like what you’re doing. . . like you’re thinking . . . like astream of consciousness.”

TDW: But he gave you freedom.CW: Yes, he gave me the freedom, andalso just playing it with him directedme. For instance, the last movement isa hoedown, and hearing him play itconveyed the kind of spirit you weresupposed to have. And he was in his80s. He was a really wonderfully warm,approachable person. There was noformality. I was on pins and needles; Iwas so excited to work with this realicon of American music.

TDW: Do you remember what youplayed in the orchestra?CW: Yes, Appalachian Spring in the 13-instrument version. And he used tostand up there, and he would say“Gentlemen, gentlemen . . .” I alwayslaugh about that, because there werefour women in the orchestra. “Gentle-men, gentlemen, no sentimentality, nosentimentality.” I always thought hismusic was so sentimental. He did notwant sentimentality. I think he justwanted it like many Shaker songs—sweetly tender and deeply emotive.

TDW: Simplicity . . .CW: Yes, simplicity.

TDW: Can you talk a bit about yourFlute Fair concert program?CW: Yes. Well, Steve Gosling is goingto be the pianist because Paul [Schoen-field] loves how he plays his music.

Paul has just finished the ChassidicSongs, two of which are in the Valen-tines book, Ufaratsta and AchatSha’alti. It’s a beautiful set of sixpieces, so now we have the other four.They are originally piano pieces that hetranscribed for flute and piano. At themoment the program is mostly 20thcentury, but I will put one of those lit-tle Mozart sonatas on the programbecause I just recorded them.

TDW: Can you talk a little bit aboutthat?CW: Gena Raps and I recorded it overChristmas vacation, just about a yearago. She is on the Mannes faculty andwas my son’s piano teacher for a longtime. I am referring to the six sonatashe wrote when he was eight years oldfor flute or violin. We made quite aproject out of it, because we reworkedsome of the voicing. The recording justcame out on Naxos.

TDW: This year, you are the FluteClub’s Flute Fair guest artist. Were youpleased to be selected?CW: I am absolutely delighted. It’squite an honor. It’s in my home, whereI live and work. I am so excited. Therewill be a flute choir with all these stu-dents who have been in my life, andyou’ll be playing with me in myevening concert.

TDW: I’m so excited.CW: Yes, it will be great. I wish that Ihad had the time to be more involvedwith the Flute Club in years past, but Ilook forward to doing more in thefuture.

TDW: Well, thanks a lot, Carol. It’s beenreally interesting to sit down and talk toyou like this. ❑

�Tanya Dusevic Witek moved fromCalgary, Canada in 1993 to study withCarol Wincenc at the Juilliard School,where she earned her master’s and doc-toral degrees in performance. She iscurrently a freelance flutist in NYC,and is also active as a teaching artistfor the New York Philharmonic.

Wincenc (cont’d from page 5)

NYFC MAR07.3pp 2/15/07 9:08 PM Page 6

March 2007 — 7

UPDATE ON

NEW YORK FLUTE FAIR 2007STAR TRACKS: SETTING YOUR COURSE

Katherine Fink, Flute Fair ChairSunday, March 10, 2007, 9:00 AM–7:00 PM

Union Theological Seminary, 100 Claremont Avenue between 120th and 122nd Streets, NYC

Join the NY Flute Club and world-renowned soloist Carol Wincenc for aday of masterclasses, workshops, con-cert and flute exhibits. Please checkwww.nyfluteclub.org for detailed infor-mation and updates.

LECTURES AND PANEL DISCUSSIONS INCLUDE

History of Breath Teaching: Correcting Mistakes of the Past

Andrew Sterman, flutist with thePhilip Glass Ensemble and teacher ofthe Chinese disciplines tai chi andqigong, will examine the evolution andthe major trends in breath teachingfrom 1850 to the present.

Auditions: Behind the Silver Screen

Paul Dunkel, music director of theWestchester Philharmonic and principalflutist of the New York City Ballet,Trudy Kane, principal flutist of the

Metropolitan Opera, and Mindy Kauf-man, solo piccolo with the New YorkPhilharmonic, share their experiences,observations, and insights from theviewpoint of the audition committees.

College, Opportunity!

Edward Joffe, head of woodwindstudies at New Jersey City University,Sue Ann Kahn, teacher and director ofthe Mannes Pre-college Division, andRachel Cohen, doctoral candidate atSUNY Stony Brook, discuss schooloptions, admission requirements andpreparations, and how to choose theright school and get the most fromyour education.

Going Solo: A Guide to Developing a Solo Career

Linda Chesis, head of woodwinds atManhattan School of Music, LauraGilbert, soloist and professor at Harrod

Conservatory, and Margaret Swin-choski, soloist and founder of PalisadesVirtuosi, present strategies for generat-ing solo performance opportunities,concert funding, and recordings andpromoting your projects.

CONCERT: Admission to the 5:15 pmCarol Wincenc concert is free to currentmembers (with membership card) andFlute Fair registrants; $10 for all others.

NYFC TABLENew York Flute Club members in goodstanding are invited to sell their record-ings and publications at the Club tablein the exhibit hall. Bring your items(maximum of 10) to the Club table themorning of the fair and pick up anyunsold items by 5:00 pm. The NYFCtakes a commission as a contribution tothe Club. For more information, contactRie Schmidt at Rieschmidt@aol.com.

ENSEMBLES PROGRAM ANNOUNCEMENTS

Ensembles ConcertMay 20, 2007, Sunday 5:30 pm

If your ensemble would like to play at the NYFC’s May20 concert, please contact Ensembles Coordinator AnnetteBaron as soon as possible. Let her know who is in thegroup, what you’d like to play, and the estimated lengthof your proposed program.

Next Ensembles Get-Together

March 4, 2007, Sunday 2:00–4:00 pm

The next ensembles get-together will be in Brooklyn, atthe home of Ed Wolf, 34 Plaza Street, Apt. #607. Phone/email: 718-857-5801 and ed11145465@yahoo.com.

Please RSVP to Annette Baron, NYFC Ensembles CoordinatorEmail: NYFCEnsembles@aol.com • Phone: 973-244-0992

NYFC members (L to R) Yvonne Juris, Nancy Smith, RiannanWade, Selena Daniels, Elinor Gipfel, and Julia Porter (not shown)participated in the February 4 ensembles get-together in Brooklyn.(Photo: Julia Porter)

NYFC MAR07.3pp 2/15/07 9:08 PM Page 7

The New York Flute ClubPark West Finance StationP.O. Box 20613New York, NY 10025-1515

Greetings! Our guest artist for New York FluteFair 2007 is Carol Wincenc, flutist with the New YorkWoodwind Quintet and longtime Juilliard School facultymember. Tanya Dusevic Witek’s interview covers Carol’srecollections of playing Copland’s Duo with the composerat the piano (in 1973, when the piece was still new) and,even more interestingly, what she thinks about when lis-tening to the flute players who are auditioning for her. Isshe grabbed by the sound? the interpretation? What are theturnoffs? Great background reading for an upcoming FluteFair panel discussion (“Auditions: Behind the Silver

Screen”) directed towards the same topic, with Paul Dunkel, Trudy Kane, andMindy Kaufman sharing their experiences as audition committee members.

Dave Wechsler’s “From the President” topic this month is . . . you guessed it:New York Flute Fair 2007. Everyone has their own favorite corner of the fair, butnow I know what Dave’s is: checking out the exhibit hall before the space fills upwith Daphnis and Chloë for massed flutes.

Herb Waldren, a Long Island-based amateur flutist who remembers baroqueflutist John Solum from Henry Street lessons as a kid in the late ’50s, is thismonth’s Member Profile subject. Now a private investor (after being a NYC scienceteacher and ten-time NYC marathon finisher), he is a sometime ensembles pro-gram participant who performed at the May 2006 Ensembles Program concert.All for now. Hope to see you at the fair.

Best regards,

Katherine Saenger (klsaenger@yahoo.com)

March 10, 2007 concertSaturday, 5:15 pm • Union Theological Seminary, 100 Claremont Avenue

Carol Wincenc, flute

From theEditor

2006–2007 Concerts87th Season

October 29, 2006 • Sunday, 5:30 pmFENWICK SMITH, flute, and SALLY PINKAS,piano

November 19, 2006 • Sunday, 5:30 pmLEW TABACKIN, jazz artist

December 17, 2006 • Sunday, 5:30 pmLAUREL ZUCKER, flute, and MARK DELPRIORIA, guitarHoliday reception

January 21, 2007 • Sunday, 5:30 pm TIM LIU, Chinese bamboo flutes

February 25, 2007 • Sunday, 5:30 pm THE HANOVERIAN ENSEMBLEJOHN SOLUM and RICHARD WYTON,baroque flutes

March 10, 2007 • Saturday, all dayFLUTE FAIR 2007—CAROL WINCENC, Union Theological Seminary

April 29, 2007 • Sunday, 5:30 pm2007 NYFC COMPETITION WINNERS

May 20, 2007 • Sunday, 5:30 pm ANNUAL MEETING & ENSEMBLE CONCERTGreenwich House Music School

All concerts and events (except as noted) at YamahaPiano Salon, 689 Fifth Avenue (entrance betweenFifth and Madison on 54th Street). All dates and pro-grams subject to change. Tickets $10, only at the door;free to members. For more information, visit the NYFCwebsite at www.nyfluteclub.org or call 732-257-9082.

NYFC MAR07.3pp 2/15/07 9:08 PM Page 8

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