Making Goals, Inspiring Students: An Afternoon With Teacher, Performer, and Scholar, Dr. Kyle Dzapo
Making Goals, Inspiring Students: An Afternoon With Teacher, Performer, and Scholar, Dr. Kyle Dzapo
Making Goals, Inspiring Students: An Afternoon With Teacher, Performer, and Scholar, Dr. Kyle Dzapo
I
mmediate Past President of the National Flute featuring his compositions. She has reflected on this
Association and Professor of Flute at Bradley work by saying, “You never know when one project
University in Peoria, Dr. will lead to another.”
Kyle Dzapo, will offer a recit- After catching up, we began discuss-
al and masterclass on March ing her Andersen research, and her en-
3, 2019. The masterclass will thusiasm was immediately apparent. She
feature compositions by Joa- has devoted some of her recent practice
chim Andersen. to reviewing all 188 etudes. She is work-
In anticipation of the CFC ing through them by key signature, rather
event, I had the opportunity to than by opus, allowing for a mixture in
spend an afternoon with Dr. levels of difficulty. “They are really
Dzapo discussing etudes, the beautiful pieces. They show his mastery
joys of teaching, and her cur- of harmony and his amazing ability, pre-
rent projects. Having studied sumably, to compose so quickly, given
with her, I appreciated being his conducting work, teaching, and full-
reunited and was encouraged time position as solo flutist of the Berlin
again by her genuine excite- Philharmonic.” Dr. Dzapo then played a
ment and passion for music. She models the im- recording by Toke Lund Christiansen of the opus 30
portance of dedication and hard work to her students etude in F major. In referring to the beauty of the
by arriving daily at 7:00 a.m., the opening time of the etude and Mr. Christiansen’s musical delivery, she
Bradley University music building, to practice. After said, “You wouldn’t have guessed it was an etude,
completing her first practice session of the day, she would you? I think that is one of the interesting
makes a cup of tea and begins working on an upcom- things. I love for people to think of them as really
ing talk or editing her next Andersen publication un- good solo pieces.” I was struck by his timing, virtu-
til her first student arrives. osically progressing through certain passages and
Andersen Scholar broadening others to bring out the beauty of the
……………………..………Continues on page 12 ...
Since completing her doctoral thesis at Northwest-
ern University, Dr. Dzapo has been the leading expert
The Chicago Flute Club is a community of
on Joachim Andersen’s life, etudes, and works for
flutists in the greater Chicago area that fosters
flute and piano. She has published a book, a CD, and
new editions of his music, and travels world-wide the highest artistic potential of all its members
performing, teaching, and presenting lecture-recitals through teaching, listening, and performing.
Officers and Chairs
2018-2019
President…………………..…….………Jan Frank
Vice President………...…….……Florence Nelson
Secretary……………...…...…Mary Ann Tanquary
Treasurer……………..…….Stefanie Abderhalden
Director 17-19………..…………...Hideko Amano
Director 17-19……………...….……Cate Hummel
Director 17-19………....…...Johanna Beth Sennett
Director 18-20………...……...Lynne Krayer-Luke
Pipeline 5
Tim: After I finished at Oberlin, my confidence was tion of it—at any moment, there are seventeen differ-
very low. I was not playing well, and I had a lot of use ent things that I am thinking about with regard to tun-
issues. In the last ten years, I’ve had a lot fewer physi- ing. What sort of sound am I doing to blend with the
cal issues because I have a lot more confidence in my oboe, or the clarinet? You are always listening, and
playing. A lot of my issues at the time were to do with there’s rhythm and articulation. There is a wonderful
my anxieties about my playing. There was a period of sense of problem solving. But I know that fundamen-
time where I had days when I could barely produce a tally I am just told what to do by the conductor, or that
third-register C and C#. I hadn’t been able to find my I have to fight with the rest of the section.
own way. I was auditioning for orchestras and getting Julie: Do you think of yourself as more of an innova-
nowhere. I went back to Australia not knowing what to tive flutist or a traditional flutist?
do. After studying awhile with Margaret Crawford,
who is Australia’s grande dame of the flute, I felt free Tim: It’s interesting when I think about that now, be-
again. It was like coming full circle. She freed me from cause I don’t play as much right now. During the next
some of the shackles that I felt, and she helped me find twelve months I will be playing 20% of my time. I get
the sound that was right for me. She said that there are very insecure about these things because so much of
so many colors of sound, not just one. The flute is ca- my sense of self-worth is wrapped up in my flute-
pable of so many different things, and she would have playing. My wife tells me that my task is to be the Bill
me do an exercise in the low register in which I was to Nye of classical music. There is a bigger overarching
find eleven different characters, from oboe to clarinet, thing that drives all of the work that I do, and I have
to horn, and somewhere in there is a flute sound. come to realize that I have other skills, but I didn’t be-
lieve that for a long time. I thought that the only thing
Julie: Do you still do that exercise today? that I was qualified to do was what I had done for
Tim: I do an exercise where I go from a complete air 15,000 hours. That’s the classical music syndrome. As
sound to as focused a sound as I can, trying to maintain musicians, our smarts are transferable. We are problem
pitch. The pitch is the main thing in this exercise. -solvers, having learned to look at a piece of music as a
piece of instructions that we have to decode. It’s a se-
Julie: After all that you went through and discovered, I
ries of algorithms.
think you would make a great teacher. So many teach-
ers end up being a stumbling block to their students. Julie: What brought you to Chicago?
Tim: I think I am a pretty good teacher, but I find Tim: I came to Chicago to join Eighth Blackbird,
teaching very stressful. When I teach, I come to the which changed my life. I suddenly went from thinking
end of each day feeling like a counselor as much as a I would never be a professional flute-player to having a
flute teacher. I think every flute teacher should have a job in a renowned chamber music group that toured the
year of counseling training. country. It enabled me to gain confidence. I was sud-
denly giving masterclasses at places like UC Boulder. I
Julie: How do you succeed in this business today, be-
had to come to accept that I was good at things. I found
cause it is so technical and competitive?
freedom in that we were performing all of the time,
Tim: It’s hard, because to win a job these days, you working really hard. We started every rehearsal with
have to be at such an incredibly high technical level. thirty minutes of scales and intonation work. We were
As an undergrad, I spent four to six hours of practice always working together on blending and building a
every day, essentially just building my foundation. foundation. No matter what piece we were playing, we
Building a solid foundation is incredibly important. It could find each other. We developed really quick-fire
is no accident that orchestra players are among the un- reaction skills, where we could find each other when
happiest of anyone in the world, although to this day I one person would split off. I remember the joy in expe-
have a desire to win an orchestra job. I know all of the riencing the speed with which everyone would come
struggles there are to be in an organization like that. together and scoop that person up. That’s what I miss
But flute was all of my identity when I was in my the most.
twenties, and wrapped up in that was playing in an or-
….…………..……….….……Continues on page 19 …
chestra. I love the challenge of it. It’s the tuning por-
6 Winter 2019
The CFC Thanks These Supporting Members
CONTRIBUTING MEMBERS Kaye Clements
Judith Cook Bentley
Angeleita Floyd
Susan Crandall
Cynthia Fudala
Claudia Cryer
Mariana Gariazzo
Pam Donath
Delia Helpingstine
Michele Gaus Ehning
Lynne Krayer-Luke
Jan Frank
Michael R. Treister
Marion Garver Fredrickson
Scott Vogl
Jessica Garcia-Hankinson
John Wachala
Patricia George
Jennifer Wilhelms
Sue Gillio
Eileen Heise
CORPORATE MEMBERS Barbara Holland
Abell Flute Co. Ellen Huntington
Altus Flutes Victoria Jicha
Anthem Musical Instruments Inc./North Bridge Winds Alyce Johnson
Brannen Brothers Flutemakers, Inc. Betsy Ko
Burkart Flutes and Piccolos Julie Koidin
Eugene S. Gordon Woodwinds, Inc. Sherry Kujala
Flute Asylum Carlyn Lloyd
Flute Specialists, Inc. Julie Marcotte
Flute World Carolyn May
Flutistry Boston Patrick McCray
JL Smith & Co. Scott Metlicka
Keefe Piccolo Company Anita Miller-Rieder
Kobers instrument repair Eugenia Moliner
Levit Flute Company, LLC Sandra Morgan
Miyazawa Teresa Cowin Muir
Performers Music Florence Nelson
Sankyo Jennifer Nelson
Straubinger Flutes, Inc. Susan Phelps
Verne Q. Powell Flutes Caroline Pittman
Windy City Flutes Marcia Rudin
Wm. S. Haynes Co. Thomas Shanahan
Yamaha Corporation of America Debra Silvert
Sue Hofmann Slater
LIFETIME MEMBERS Mary Stolper
Stefanie Abderhalden John Thorne
Hideko Amano Diane Willis
Insung Baik Tom Wilson
Marie Bennett
Sally Bowers HONORARY LIFETIME MEMBERS
Jennie Brown Jeanne Baxtresser
Edward S. Burd Walfrid Kujala
Gerald Carey Donald Peck
Ruth Cavanaugh Mary Louise Poor
Sarah Cifani
Pipeline 7
A Tribute to Jack Moore
12 September 1929—27 August 2018
By Tom Lacy
By Cate Hummel
Pipeline 9
WELCOME NEW CFC MEMBERS!
Student Members Miguel A Rodriguez
Casandra Schaefer
Michael Barrera Katelyn Shen
Rama Bhagwat Dennis Szczech
Cameron Bilek Linden Wadsworth
Katherine Chen Milena Weide
Caroline Clark Frankie Wild
Chelsea Davis Shreeya Yampati
Claire Harrison Renee Zhuang
Imran Husain DONORS
Emma Johnson Regular Members
Anonymous
Ume Jorgensen Jenny Bendelstein
Jeannie Kim Hyejin Bae, Arlington Heights
Judith Cook Bentley
Annmarie Koziel Amy Dohler, Vernon Hills (In memory of John Bentley)
Aurelia Lawson Kay Kim, Naperville Lyrical Flutes
Rachel Lee Claire Odland, Chicago Carolyn May
Kelly McManus Cindy Walls, Spring, TX Janice Misurell-Mitchell
Aarush Palli Maria Schwartz, Chicago Florence Nelson
Siwon Park Sora Jederan Shpack, Chicago Marcia Rudin
Emily Perucca Andre Sinico, Evanston (In memory of Richard Rudin)
Caroline Reynolds Madeleine Wilmsen, Chicago Sora Jederan Shpack
John Wachala
10 Winter 2019
Members React to “Elements of Performance”
O
ctober 21st marked the CFC’s first event of ple melody.” Barbara Vernon shared: “What I enjoyed
the season, featuring interactive sessions and best was hearing Jennifer’s performances of the three
performances by three Chicago-area teachers different ornamentations/publications of the Largo
and performers. Seeking a new and unprecedented for- movement. This is a standard piccolo piece, but she
mat for a review article, the Pipeline staff interviewed brought so much warmth and character to each varia-
several audience members to share their reactions. tion.” Lupo said, “Jennifer humbly wondered if hear-
ing Vivaldi three times in three ways would be tire-
Meret Bitticks’ presentation on the French-style of
some. What she didn’t realize was we would have
articulation was described by CFC member Seymour
gladly listened to her play it thirty times and still want-
Rabens as “very definitive.” He related her lecture to
ed more.” Francine Castongia agreed, “I enjoyed Jen-
his own experience: “It explained what I do automati-
nifer most of all. I just wanted her to play the whole
cally, without thinking about the process,” Indeed
time. She sounded great!”
many of the audience members appreciated this tech-
nical explanation. “As a teacher, I appreciated her dis- Shanna Gutierrez took the stage to discuss extended
cussion on the various placement and angle possibili- techniques. Joseph Johnson said that although he has
ties of the headjoint,” said CFC Program Chair Stepha- less experience with them, “Shanna's presentation gave
nie Lupo. Barbara Vernon concurred, enjoying Bit- me confidence in reading the notation as well as exe-
ticks’ “back to basics demonstration.” cuting it.” Mike Treister also liked this “very animated
and interesting presentation.” Seymour Rabens felt the
Bitticks had the audience try spitting rice. Vernon
presentation was “helpful in understanding how to in-
approved: “The rice experiment was very helpful with
terpret the composer's intention,” but opined that “I
the visual aspect, highlighting the mechanics of some-
cannot understand why a musician would spend so
thing we do everyday in our playing.” Still, not every-
much money to buy a professional-grade instrument to
one could relate so well. Non-flutist Francine Caston-
produce what I consider to be sound effects.” Humor-
gia humorously wondered that “I would think there
ous and ironic, indeed, though we of course play more
would be a better way to teach that without spitting…
on our expensive flutes than just avant-garde music.
gross!” Yet the flutists were certainly intrigued. “I
would have liked to have had a longer discussion about Lastly, Jennifer Gunn performed the world premi-
double tonguing,” said Vernon, but time ran low. ere of the Sonata for Piccolo and Piano by James Ste-
phenson. “Wow!” said Mike Treister, “That was beau-
Principal Piccoloist of the Chicago Symphony Or-
tiful. In addition to the incredible music itself, that is
chestra, Jennifer Gunn, next gave an impromptu
an amazingly sweet-sounding piccolo and the clear
presentation on the Vivaldi Piccolo Concerto in C with
smoothness of her higher notes and the voicing was
the CFC’s longtime Program Chair Florence Nelson.
astounding.” Joseph Johnson appreciated the idiomatic
Mike Treister reacted: “Having the various Baroque
writing for piccolo, “Stephenson commented that so
ornamentations played so beautifully side-by-side was
often the piccolo is used as ‘icing on the cake’ or as an
highly educational. I particularly liked Wally Kujala's,
outline for the sonic environment. He endeavored to
which I felt allowed more of the core to show through.
make the piccolo more than that. I think he accom-
I like ornamentation but often feel that it overpowers
plished it. This will become standard repertoire for the
the beauty of the score.” Nelson interviewed Gunn,
piccolo because it treats the instrument in its own right
examining three different ornamented versions. Steph-
and eschews any programmatic themes. The piccolo is
anie Lupo loved the experience, feeling “it helped in
more than just a tweety bird or a glorified fife!”
providing a sense for which types of ornamentation
work best for a concerto performance and which would The entire audience left satisfied. Mike Treister
be preferred in an audition.” Relating music history to summed it all up: “What a wonderful opportunity for
the present, Seymour Rabens pointed out that “It re- flutists of all skill/educational levels to all learn a lot. I
minded me of how jazz players might embellish a sim- cannot imagine a better flute club get-together.” ~
Pipeline 11
Kyle Dzapo—continued from page 1 ... her stand, she then showed me examples of various
editions and their differing breath-mark placements.
underlying harmonic progressions. After hearing and
This was made possible by the fact that she owns near-
discussing Andersen’s music, we began to play etudes
ly every edition ever published of Andersen’s music.
together, like old times. I loved, once again, feeling her
With a sparkle in her eye, she says, “I never get tired of
energy and hearing her shimmering sound and flawless
teaching these etudes. I find value in so many of them.”
technique.
Professorial Advice for University Students
Andersen Teacher
Dr. Dzapo suggests “starting an academic career
After chatting about her latest research, we
with an awareness that, at any university, you will have
launched into a discussion on the benefits of practicing
only a finite amount of time with your teacher, and that
etudes, in which she stressed working efficiently and
you must make the most of each of those precious
“very quickly ascertaining the music behind the piece.”
hours.” Further emphasizing the reality of the situation,
She also suggests focusing not on the repetitive pat-
she points out that students typically have only thirty,
terns, but on the changes within the etudes. “The most
one-hour lessons per year; therefore, 120 hours consti-
challenging passages are often the crucial moments
tutes a student’s entire applied study in an undergradu-
because they are what propel the etude: the tension that
ate education. As a doctoral student, she remembered
leads to resolution.” Those are the places to spend the
thinking, “I never want Mr. Kujala to have to tell me
most time practicing. She smiled, saying, “The fun of
something again.” Do your best during your practice
these pieces is in mastering them technically so that
each week to master what your teacher has suggested.
you can bring these things out musically.” She advo-
She finds that the most exciting lessons with students
cates practicing section by section, gradually increas-
are the ones in which they are working diligently to-
ing the tempo, and finding the essence of the music.
gether as a team.
I asked about the etudes’ tempo markings, and she
She also pointed out that students have only three
said it is imperative to play fast enough to convey the
summers for masterclasses before heading to graduate
style and impulses of the music: “If we play them too
school, so they should take the best possible advantage
slowly, we have to breathe more often, interrupting the
of these opportunities. Summer masterclasses not only
phrases, and losing the flow." To play at the prescribed
strengthen students as performers, but also provide the
tempo, players must understand the hierarchy of beats.
basis for a lifelong network of colleagues and help stu-
“Notes do not participate in a democracy. They are not
dents find appropriate places and teachers for graduate
equal. Some are clearly more important than others."
school. She makes sure her students “think of the end-
She then mentioned opus 60: “We know the tempo
game from the start,” so that opportunities stay open
markings are incredibly fast. He dedicated these etudes
and they have choices. I remember Dr. Dzapo discuss-
to his brother, and the story, apocryphal or not, has al-
ing graduate school with me at the beginning of my
ways been that Vigo Andersen was the only flutist who
freshman year. She believes “students need to have a
could play them at tempo. Vigo died in January 1895,
sense of working toward a goal and knowing that it
the year opus 60 was published, so we don't know for
will be worth it in the end. I have always thought the
sure that he actually knew these pieces! They may have
glory is in getting to the place beyond what you ever
been Joachim's tribute to Vigo, who, though the young-
thought possible.”
er brother, Joachim always regarded as the better
player.” Upcoming CFC Event
Dr. Dzapo offered a few more tips for playing An- Any student fortunate enough to study with Dr.
dersen’s etudes. She recommends reading Music and Dzapo will come away with a strong love of music,
the Flute by Thomas Nyfenger, who provides a synop- which is why we are so excited to welcome her to the
sis of each opus 15 etude. Also, players must know that Chicago Flute Club as a guest artist. You will leave
inspired to practice and with a newfound appreciation
Andersen did not indicate breath marks; therefore, they
for the flute and for Andersen’s etudes. We look for-
must decide for themselves where to breathe based on ward to sharing this event with you at First UMC of
the harmonic rhythm and phrasing. Pulling music off Park Ridge on March 3, 2019, from 2:00 to 5:00 p.m. ~
12 Winter 2019
CFC’s 2018 Annual Student Competition
By Mariana Gariazzo
T
he Chicago Flute Club held its 2018 Annual and participants travel from Illinois, Iowa, Texas, and
Student Competition at Harper College, in Pal- Wisconsin in order to attend. The repertoire for all
atine. “Practice. Persevere. Dream.” was the three divisions was selected to showcase contrasting
motto that guided this year’s contestants to give their styles and performance practices. The fact that a large
all on Sunday, November 4. Horn Stash Palatine spon- number of contestants registered for the event is indic-
sored the Elementary and Junior Divisions and provid- ative of a well-selected repertoire for each division.
ed an exhibit of beautiful flutes throughout the day at The schedule was kept right on point by the diligent
the registration site. work of competition proctors and more than forty par-
ents who volunteered as door guards. Parents’ involve-
ment in the competition is important, as they serve as
role models of community service and provide encour-
agement to all of the contestants. Parent volunteers
were asked to serve for twenty minutes after (and in
some cases before) their own contestants’ assigned
competition time. This created a large pool of volun-
teers who helped run the competition smoothly. The
Chicago Flute Club is grateful to all of the volunteers
for their continuous support and participation.
Pipeline 15
Musical Strategies for Coping
with Music Performance Anxiety
By Andre Sinico da Cunha
16 Winter 2019
most of which we will experience in the course of our playing.
profession, these include the individual practice ses- If you play in a recital, you also need to consider
sion, lessons, masterclass, audition, and competition. the length of each piece of music, and the recital as a
The individual practice session is the easiest situation whole. A recital becomes more interesting when we
of musical performance because we are on our own. combine different styles from the periods of western
Any other situation will have an audience that can music history, as well as combining both solo and
make us feel insecure due to the fear of critical judg- chamber music. The sequence of pieces in the program
ment. Perhaps you were anxious when you played in a must be chosen carefully. Avoid playing the program
masterclass for the first time because you had never in chronological order- it is old-fashioned. To get start-
played for that teacher before, and other flute students ed, choose the music that you feel more comfortable
were watching you. Certainly, the more we experience and confident playing, as it will help to diminish the
all situations of musical performance, the less anxious
we will feel.
Indeed, when we are on stage, we don´t want to feel
anxious, but motivated to play the best we can. How-
ever, music performance anxiety can suddenly show
up. So, what can we do to cope with the MPA before
an important situation of musical performance? I will
present two musical strategies that will help you to
cope with music performance anxiety in advance. In
this issue, I will talk about how to choose the
repertoire.
The first musical strategy that will help you to cope
with music performance anxiety is the repertoire
choice. Sometimes the repertoire is chosen by the stu-
dent and teacher. Concerning this choice, both student
and teacher need to be aware of the level of technical
and interpretive skills on the flute, and what is required
to play the chosen repertoire. When I was a teenager, I
listened to the Flute Sonata in B Minor by J. S. Bach
for the first time. I purchased the score in order to fol-
low along while I was listening to the music, and I
tried to play it. Unhappily, I became frustrated because
I couldn’t play as beautifully as the flute player in the
recording. Sometimes, frustration can lead to anxiety.
When it happens we need to take a step back and ask
butterflies in your stomach at the beginning. In my last
ourselves, “Do I have most of the technical and inter-
recital, for example, I played Solo I by the Brazilian
pretive skills to play this music?” If the answer is yes,
composer Marlos Nobre, and then Partita in A Minor,
go ahead!
BWV 1013, by J.S. Bach. Although the works are
When we choose repertoire, some challenges are completely different, I felt more prepared to play Bach
necessary to motivate us to practice the music every after testing the flute on-stage. Last but not least,
single day, and it will let us concentrate during the per- please do not let the music be too challenging right to
formance. If the repertoire seems too easy for you, you the end because you will be too tired to play it!
have two options: play it as amazingly as you can, or
In the next issue, I will present the second musical
find another piece of music. The lack of motivation
strategy to cope with music performance anxiety: plan-
can also cause anxiety because it will cause you to lose
concentration and make mistakes while you are ning the individual practice session. ~
Pipeline 17
I ’m not going to become a
professional musician, so why
practice? Etudes But how do you find motivation and disci-
pline to practice if you aren’t preparing for
anything in particular? More specifically, if
I’ve always known that if I quit A Column for Students you don’t have dreams of making a living in
playing flute and attempt writing music, how do you continue? Can you enjoy
sketch comedy or filming my own playing the flute while most of your day is in
YouTube cooking channel, I will medicine, journalism, or getting a degree in
probably continue to practice or at psychology?
least warm-up everyday. External accountability
My warm-up is my morning Music can be a social hobby. Whether
meditation. I inhale air, engage my you are a beginner or advanced, playing with
support, and blow a consistent air- others can be motivating. Many schools have
stream across the strike wall. Small community music programs or night divi-
reminders go through my head about sions for amateur players. If you are reading
air angle and keeping my soft palate and the back of this, you are a member of the Chicago Flute Club.
my tongue apart. Long tones are kept simple with Have you attended concerts and workshops? You most
some additional challenges like dynamics or tapering. definitely will meet other flutists who are just like you.
Throughout this ritual, I am present, or at least attempt
If you live in a town that does not have a flute club,
to be.
check out the flute groups on social media. Etude of
Practice sessions give my day structure. I try and the Week holds you accountable to post a video each
practice at least an hour before lunch, putting my mind week, going through well-known etudes one by one.
at ease as I teach the rest of the afternoon. If I can get There’s even an Etude of the Week: Amateur Edition.
in two or three hours, I’m automatically in a good
If preparing something so specific is too much
mood and feel ahead of the game! By the time I am
pressure, Hilary Hahn started a hashtag called
home from teaching, my reward is to prepare dinner,
“#100daysofpractice.” This is meant to be one hundred
something I approach in a similar way as my warm-up.
straight days of practice but Hilary has posted reasons
I focus on the recipe, and what needs to be ready be-
for skipping a day here and there. From a passive In-
fore I start working with heat. As I cook, I smell the
stagrammer’s perspective, this is also a way of finding
garlic and ginger in the olive oil, helping me know
motivation. Even videos with mistakes in them can
when it is time to add the ground pork.
demonstrate what you are trying to fix or improve over
But Mozart, Chopin, and Satie Made their living in the past week.
music
Goal-oriented
In Mason Currey’s book Daily Rituals: How Artists
If you would rather play everyday and avoid post-
Work, the most famous artists broke their work ses-
ing videos on social media, you may need to set a goal.
sions up throughout the day. Satie, for example, moved
Maybe you have a favorite piece that you’ve always
to a town outside of Paris and developed a routine of
wanted to learn. Schedule several goals leading up to a
walking six miles back to the city’s best cafes, eventu-
due date. For example, if you’ve been dying to learn
ally writing at one of them. It’s said that part of his
the Bach Partita, research which edition to purchase.
eventual style of composition came from this walk,
Watch videos of it online. Which is your favorite, and
“finding the possibility of variation within repetition.”
why? When did Bach write this?
It’s almost as if scheduling creative time during
Hobbies can be ritualistic, too
your day promises a good work ethic, contrary to the
belief that artists thrive on spontaneity. Personally, Regardless if you are pursuing the flute as a career,
I’ve struggled my entire life with this. I like my sched- you are still an artist. Develop a routine that works
ule to change, but I am more productive with a routine around your career outside of music and you will find
or plan in place. inspiration. If it worked for Satie, we can at least try. ~
18 Winter 2019
RENEW YOUR CFC UPDATE • UPDATE • UPDATE • UPDATE
Have you moved? Do you have a new email address?
Has your phone number changed? Did you change
MEMBERSHIP ONLINE your name? Let us know!
Send your new and improved information to our
Avoid Snail-Mail Delays wonderful Membership Chair, Lynne Krayer-Luke:
membership@chicagofluteclub.org.
chicagofluteclub.org She will update CFC records and make sure you
don’t miss a single postcard or Pipeline issue.
Sandra Morgan
SandieMorgan@gmail.com
Tim Munro—continued from page 6 ... twelve years, and work on other writing projects for
them. It is a no flute-playing job, but it uses all of my
Julie: When did you decide to break from the group
skills and interests. The challenge for me in the next
and do your own thing?
year is to find where flute-playing fits in to that. I will
Tim: For nine years, six strong personalities made eve- play principal flute in a festival orchestra in Santa Cruz
ry decision together: we fought over how we would in the first two weeks of August. For me, it’s the bal-
lace our shoes, or take a train, or stay in this hotel ance of finding the motivation for each project, and
room, or play this or that piece. It gets exhausting after having a broad spectrum of abilities. I love the ability
a while. For twenty years I had been writing, and when of playing a sound, and getting together with a bunch
I left the group, I started doing more writing, more of friends and reading music. I am also working with
speaking, and I found that I enjoyed using other parts some people to found a chamber orchestra called Big
of my brain. One of my great joys now is finding ways Shoulders. What young musicians don’t know is that
to reinvent the concert experience. 90% of being a musician is in the planning, and not
Julie: What is next for you? playing at all.
Tim: This is the unexpected nature of freelance life: I Julie: What is the core of Tim Munro’s life?
was called up last December by the St. Louis Sympho- Tim: Family. My Australian family and my wife, who
ny to do some broadcasting work for them. It has been is incredibly inspiring to me. Supporting my wife’s
a mutually beneficial relationship. They brought me on work is very core to who I am. As an artist, it’s two
in a more significant role to co-host their live radio things. First, I’d like to support and perform music spe-
broadcast which air each Saturday night on the St. cifically written by women and people of color. Hav-
Louis Public Radio. I write their program notes, curate ing a variety of different sorts of voices in a room
their series at the Pulitzer Museum, which is a series meets better results. And second, it’s stepping back so
on contemporary music that they have done now for that others can step forward. ~
Pipeline 19
Student Competition—continued from page 13 … 2018 Student Competition Winners
Elementary Division
First Prize: Matthew Leistensnider
Second Prize: Stella Moon
Third Prize: Linden Wadsworth
Honorable Mentions: Katelyn Shen, Dennis Szczech,
Nina Zhan
Junior Division
First Prize: Joanna Choe
Second Prize: Hannah Oyasu
A teacher in the Western Suburbs stated, “I love get- Third Prize: Grace Choi
ting the comments as it provides my student with feed- Honorable Mentions: Rosie Wang, Renee Zhuang
back that reassures what I say over and over again in
lessons. Someone else is telling them the same things I Senior Division
tell them, so they finally believe me!”
First Prize: Holly Venkitaswaran
Internationally renowned judges, specializing in di-
Second Prize: Lydia Walquist
verse aspects of flute playing, were invited to adjudi-
cate this year. The panel of Senior Division judges was Third Prize: Lucy Rubin
comprised of Cristina Ballatori and Eugenia Moliner. Honorable Mentions: Iris Xie, Emily Ruvoli,
The Elementary and Senior Divisions were adjudicated Serlina Ku
by Shanna Gutierrez and Jennifer Gosack Darwell. ~ Congratulations to the winners and all
who participated this year!
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