Concert Reviews

Green Golly with the Firelands Symphony by Rachel Hacker

Posted by on Jul 1, 2016 in Concert Reviews, Featured, July 2016 | 0 comments

Green Golly with the Firelands Symphony by Rachel Hacker

On a bright morning in June, I set out to Sandusky, Ohio to to take part in the Fireland Symphony's presentation of my fellow Flute View staffer's performance of Green Golly & Her Golden Flute (I was delighted to play flute in the choir). Little did I know that I would witness a rare gem in the mine of “Flutrepreneurship.” Barbara Siesel and her husband Keith Torgan, are the creators of this exciting blend of literature, drama, and music written to create new audiences for classical music. “Green Golly and Her Golden Flute” is the story of a girl in a tower with very long hair and a flute. Donning whimsically designed costumes (a perfect match for their stage personas) Barbara flutes her way to glory as Green Golly while Keith becomes all the other characters. The performance lasts roughly 45 minutes, and audiences of all ages are entertained by the couple’s stage antics.   The curtain goes up on the storyteller singing a whimsical, original song, which informs us that Rapunzel was not the only long haired girl in a tower -- there were many, many others: "Ethel was put in a tower by mommy And Missy Matilda by weird Uncle Tommy Big Beverly climbed up there all by himself And poor little Lila -- was trapped by an elf" Keith is the composer and lyricist of all the original music in Green Golly. His lyrics incite laughter from even the most difficult of children. One of my favorite lines by Keith in the opening song is: “His eyes were the color of boogers.” Sprinkled throughout the plot are excerpts from some of the most recognized works in the classical music canon. Barbara’s graceful tone and crisp articulation soars across audiences. Just like a recipe for brownies that includes black beans, or macaroni and cheese with pureed squash, the Green Golly Project is able to incorporate “ mental nutrition” into the fun story line. Kids are given an unfair reputation for not appreciating classical music, but audiences are captivated by Barbara’s command of the stage through her flute playing. Works such as Francis Borne’s Carmen Fantasy, or Chopin’s Minute Waltz, are sure to grab the attention of even the most distracted of children.   Any young “Flutrepreneur” should take note of how Green Golly has evolved into a business venture. “Green Golly” is far more than just a live performance, it's a brand. Through the hard work and imagination of its creators the story has become an award winning CD, a book, a flute and a curriculum. Green Golly & Her Golden Flute appeals to a wide range of venues, including libraries, schools, performing arts centers and orchestral outreach programs. These venues are large enough to supply funds necessary for each performance. The Firelands Symphony, located in the Sandusky, OH, area, has been able to fund The Green Golly project for several performances in the northern Ohio area. I became acquainted with Jody Chaffee, the Director of Educational Outreach in Sandusky. Below is Jody’s statement, involving the story of how Green Golly came to Sandusky: As the education outreach director for the Firelands Symphony Orchestra, I had the wonderful opportunity to bring the Green Golly Project to 9 elementary schools in the Sandusky area of Ohio. We first...

read more

Rachel Hacker: Concert Review

Posted by on Feb 1, 2016 in Concert Reviews, Featured, February 2016, Issues, Reviews | 0 comments

Rachel Hacker: Concert Review

I like to attend student recitals when I can, because they are often showcases of the freshest and creative playing I have heard.  Rachel Hacker's NYU Graduate Recital was no exception.  After a day of flying back East for the holidays and shipping Fluterscooter bags at the Chinatown post office before the Christmas deadline, dragging luggage and running to Spectrum on NYC's Lower East Side in the cold weather was a little crazy, but once I settled into the popular new music venue, I was ready for a great evening of contemporary flute music. Rachel Hacker is a student of Robert Dick and a champion of his coveted Glissando head joint.  I was very curious to hear the head joint in concert, as I've only heard Robert play it himself.   The first piece on the program was "Density 666," which "gives a hearty nod to Edgard Varese's 1936 composition Density 21.5."  The piece contained both elements of Varese and improvisation, done with an electronic backing track created with KYMA interactive music software.  I'm a sucker for interactive electronic backing tracks, and the haunting quality of the track complimented the flute glissandos very nicely. Next on the program was Berio's Sequenza 1, and Ms. Hacker's extended techniques were always on point.  Isang Yun's Garak was a new piece to me, and the flute and piano chamber work is inspired by traditional Korean music.  The tone colors used imitated the Korean "Daegeum" flute, which has a quite reedy sound.  The technical element and collaboration in this piece was challenging, and Ms. Hacker made both sound effortless and seamless. Fukushima's Mei was next, also played on the Glissando head joint, which well-suited all the pitch bends written in the piece.  The pitch bends are traditionally done with head motions, but adding the Glissando head joint gave the glissandi much greater affect.  Lastly, flutist Ammon Swinbank joined for Robert Dick's flute duet, Time is a Two-Way Street.  This piece was probably my favorite, since I love Robert Dick's music, and the way he writes for two flutes and multi phonics is even better than his solo music, since there are twice as many options! I'm looking forward following Rachel Hacker's career, and you can find out more about her next month, when she is the featured Cover Girl and 4th member finalist for The Flute...

read more

My Evenings with Claire Chase at The Kitchen, a Show Review. By Rachel Hacker

Posted by on Nov 2, 2015 in Concert Reviews, Featured, Issues, November 2015, Reviews | 0 comments

My Evenings with Claire Chase at The Kitchen, a Show Review. By Rachel Hacker

Although I spend most of my day playing extended techniques, I also enjoy listening to others play extended techniques. One of the most prolific and recent endeavors within the new music world comes from Claire Chase, and is called Density 2036. I am fortunate enough to say that I could witness part of this event, at a venue called The Kitchen, in New York City. Below is an excerpt from her website, and explains the project: “Density 2036 is a 22-year project begun by Claire Chase in 2014 to commission an entirely new body of repertory for solo flute each year until the 100th Anniversary of Edgard Varèse’s groundbreaking 1936 flute solo, Density 21.5. Each season between 2014-2036, Claire will premiere a new 60-minute program of solo flute works commissioned that year in a special performance at The Kitchen in New York City, and on tour in select cities thereafter. Additionally, each cycle of works (Density 2014, Density 2015, Density 2020, etc) will be released in their world premiere recordings annually, and scores, performance notes and materials be made available digitally as educational resources for flutists everywhere. Every three years of the cycle (Density 2016, Density 2019, etc) a retrospective event will be held in which Claire will perform cumulative concerts of all Density work commissioned up until that date. In 2036, a 24-hour marathon will take place.” I had finally met Claire in March of 2015, at the annual New York Flute Club Fair. She was the featured guest artist, and performed an exciting collection of repertoire, varying from Density 21.5, to a technology-heavy composition titled “Luciform.” Me, being the nerd I am, shamelessly introduced myself to her after the concert. I opened up the Instagram app on my iPhone, awkwardly snapped our selfie together, and mumbled some phrases about “new music,” “I go to NYU,” and “I love your work.” Claire is a pleasant, humble, and approachable individual, who takes the time to appreciate her guests. Later that year, Claire would do a three concert series, on September 29, 30, and October 2.    On the 29th, she performed a similar set of pieces that I heard with the New York Flute Club. However, I could not attend, because I had a night class at NYU. On Wednesday and Friday, however, I was able to experience the magic of Density 2036. Wednesday and Friday were full house performances. As has been discussed in music circles for the past few decades, some worry that “classical music is dying.” However, performers such as Claire are able to reignite flame of “Classical Music.” New York City has a particularly fertile environment for music ingenuity, even in 2015. For many decades, grandiose musical performances have been carried out. Events such as the epically long 5 hour long Philip Glass opera “Einstein on the Beach” have been met with great success. Chase’s ambitions have been met with similar fervor from audiences. Aside from making music, Claire Chase is able to create a substantial multisensory performance. Involving music technology is a great way to engage audiences in a new music recital. As someone with a background in lighting design and production work, I found the detailed production work to be extremely complimentary to her musical message. When done well, will intensify a composition’s emotional...

read more

Joshua Smith: Concert Review. By Fluterscooter

Posted by on Mar 1, 2015 in Concert Reviews, Featured, Issues, March 2015, Reviews | 0 comments

Joshua Smith: Concert Review.  By Fluterscooter

The Philadelphia Chamber Music Society presented principal flutist of the Cleveland Orchestra, Joshua Smith, along with pianist Christina Dahl at Philadelphia's historic Benjamin Franklin Hall on February 8th. The program included Schubert's Sonatina in A Minor (originally for violin), Bartok's Suite Paysanne Hongroise, CPE Bach's Sonata in A minor, Kurtag's Signs, Games, and Messages, and Boulez's Sonatine. Mr. Smith played on a Powell wooden flute for the entire concert, which was quite impressive considering the technical challenges of the Boulez. The Schubert Sonatina was a beautiful way to start this concert, and it was my first time hearing the piece. Smith's dynamic range was something you rarely hear these days; his contrasts from so soft to so loud were seamless, and I could almost hear 20 different dynamics throughout the piece. His affect and tone colors were very special and made for a stylistically perfect interpretation of Schubert's piece. Next, pianist Christina Dahl provided some fun and contemporary "filler" music from Thomas Ades and William Bolcom, Mazurka No. 2 (2009) and Graceful Ghost Rag (1983). She played both pieces together without a pause, foreshadowing what was to come with the CPE Bach and Kurtag. *sidenote: Smith and Dahl both played from iPads/Airturns the entire concert, which made me slightly nervous. As technologically forward as I am, I am really old-school when it comes to reading music and books. At least if music falls on the floor, I can pick it up in a second. If an iPad crashes, it would be a much more awkward pause. Plus, I like the feel of paper...but that is a whole other post entirely. Bartok's Suite Paysanne Hongroise is one of my favorite pieces to play, and I was very happy when I saw it on the program. Again, I thoroughly enjoyed all of Smith's tone colors; he could go from a whisper to a huge, full sound. Combined with his playfulness and technical fluidity throughout Bartok's collection of short folk songs, he gave a delightful performance of this treasured piece. The second half of the program seemed much more technically and physically challenging, starting with 2 solo flute pieces and ending with the beastly Boulez Sonatine. Instead of playing the CPE Bach and then the Kurtag, Smith did something non-conventional and did a "mash-up" of sorts, interspersing both pieces together. For example, he started with Kurtag's Homage a JS Bach, followed by the CPE Bach Adagio, and then Kurtag's Doloroso. The Kurtag pieces were written from 1987-2005 and include many extended techniques, so it was quite a contrast to CPE Bach's Sonata (1747). The interspersing of these 2 pieces gave a unique mix of beauty from the Bach and darkness from the Kurtag. Lastly, the Boulez Sonatine: I have a love/hate relationship with this piece; I love listening it and hate playing it! I bought it in high school only because it was the most difficult ranked piece in the Flute World catalog. After I looked at it, I realized the piece was just not for me, so I am always impressed when someone programs it. A wooden flute would not be my first choice to perform this contemporary piece (1946), however, Smith made it work. The range of the wooden flute again gave dynamic and tonal subtleties that Boulez wrote in...

read more

Mimi Stillman and Dolce Suono Ensemble: Concert Review

Posted by on Jan 1, 2015 in Concert Reviews, Featured, Issues, January 2015, Reviews | 0 comments

Mimi Stillman and Dolce Suono Ensemble: Concert Review

"Music of Spirit, Longing, and Passion" was the title of Mimi Stillman's Dolce Suono Ensemble concert on December 7th at the Old Pine Presbyterian Church in Philadelphia.   It was a beautiful concert that featured music of J.S. Bach, Handel, Haydn, Vivaldi, and Charles Abramovic.   The concert featured Mimi Stillman on flute, Misoon Ghim, mezzo-soprano, Yiying Julia Li, violin, Yumi Kendall, cello, and Charles Abramovic, piano and harpsichord. I was excited to hear the program, because I was unfamiliar with most of the works except the "La Folia" Variations (except these were Vivaldi's violin variations from his Trio Sonata in D Minor, not the common Marin Marais variations that we all know). Beginning with "Bist du bei mir,"  which I had thought was J.S. Bach's work (actually by Gottfried Heinrich Stolzel as Ms. Stillman explained), the concert began its theme of Emotions.   The text was very powerful.  "If you are with me, I will gladly go to [my] death and to my rest.  Ah, how pleasant would my end be if your dear, fair hands shut my faithful eyes!"  Ms. Ghim's voice blended very well with the flute and accompanying instruments in this arrangement. Bach's arias were also explored, as the ensemble beautifully played one from St. Matthew Passion ("Erbarme dich, mien Gott"), and two from his Cantatas ("Ich will dich all mien Leben lang" and "Vergnugte Ruh, beliebte Seelenlust").  The ensemble played with great passion, always fitting to the concept of the concert. "Laus D" by Charles Abramovic was a humorous take on Haydn, and I enjoyed watching the musicians having fun with the piece!  Mr. Abromovic quoted many Haydn works, such as his Sixth Symphony, Cello Concerto, and String Quartet, all in D major. Vivaldi's "La Folia" Variations were refreshing and technically executed by Ms. Stillman, Ms. Li, and Mr. Abromovic.  The variations were much different (and more spirited) than the Marais solo flute variations.  I like to play La Folia with some harmony, too, so I was pleased to hear this piece as a trio. I am excited to hear more from Dolce Suono Ensemble, and you should be too.  Their next concert on January 18 is a Tribute to Julius Baker and features Jeffrey Khaner.  Mark your...

read more

NYU Faculty Concert Review. By Fluterscooter

Posted by on Nov 4, 2014 in Concert Reviews, Featured, Issues, November 2014, Reviews | 0 comments

NYU Faculty Concert Review.  By Fluterscooter

"Flute music is alive and well in New York City," Brad Garner said before an almost full audience at the Frederick Loewe Theatre on October 21st.  The stellar lineup of artists on one concert was one that you would normally see at a National Flute Association Gala Concert, so to have Keith Underwood, Gary Schocker, Robert Dick, Brad Garner, and Soo-Kyung Park share a stage in New York City really made for a special night of flute music.   Keith Underwood opened the program playing baroque flute along with David Ross for J.S. Bach's Trio Sonata in D Major followed by Gary Schocker's original piece "Nachbach."  I particular enjoyed Schocker's piece, as it contained elements of Bach and Schocker's signature compositional style.  However, my favorite piece on the program was "Tracing Back" by Shen Yiwen.  The piece, played by Brad Garner, was originally written for Chinese dizi flute, and the composer gave Dr. Garner a special arrangement for transverse flute.  The Chinese melodies and style of dizi flute were very apparent in the piece, and Dr. Garner imitated the sound of the Chinese flute perfectly throughout the piece.  Robert Dick opened the second half of the program was Karg-Elert's Sonata Appassionata and then his original piece, "Sliding Life Blues" with the Glissando Headjoint.  I love Robert Dick's music and especially the whammy bar type of effects the Glissando headjoint is able to produce, so of course I really enjoyed this piece!  Soo-Kyung Park played Lukas Foss' "Three American Pieces" beautifully and expressively, and the concert ended with Gary Schocker and Keith Underwood playing Schocker's 2 flute and piano piece, "Danger High Voltage," which had fun Latin rhythms and flair. A side note:  We, as a flute community, need to continue to support our colleagues and fellow flutists.  Although this (free) concert was pretty full, I expected standing room.  I try and go to as many flute events that I can in my area, and this concert was actually the 3rd concert I saw in 4 days.  Maybe I just have more time on my hands or I just don't have a life (haha), but I love hearing others play and still continue to learn by hearing others' interpretations of flute music I know and also by hearing music I have never heard before.  Way too often I attend flute concerts with low attendance, and I have had this discussion with flutists in all parts of the country, and it seems as if this is a common trend recently.  The strength of the flute community lies within all of us, and we only get back what we give.  So lets all try and make more of an effort to support our local flute...

read more

Gloria Jee Eun Park. Concert Review

Posted by on Nov 2, 2014 in Concert Reviews, Featured, Issues, November 2014, Reviews | 0 comments

Gloria Jee Eun Park.  Concert Review

Gloria Jee Eun Park, Principal Flutist of the Seoul Philharmonic Orchestra, played a brilliant recital on October 5, 2014 in Seoul, Korea with Pianist Ian Yungwook Yoo.  Park’s melodic lyricism combined with Yoo’s brilliant technical command of his instrument made for a most enjoyable evening of melodic romantic compositions. The program began with the 3 Lieder transcribed for Flute and Piano by T. Boehm.  Gute Nacht and Der Lindenbaum from “Die Winterreise” and Ständchen from “Schwanengesang” where Park played mournfully, full of expression and lyricism, never loosing sight of the vocal nuances and gentle graceful melodies. The Schubert Variations on “Trockne Blumen”  is a major work in the flute/piano literature and notably one of the most difficult and demanding works in the repertoire.  Most impressive was Park and Yoo’s mournful theme followed by exquisite and elegant variety of variations, each one delicately and expertly unique;  at times commanding, compelling, at times whimsical,  mercurial,  as well as gentle and serene, never loosing site of the lyric vocal theme. After the intermission, the duo performed Carl Maria von Weber’s Sonata No. 2 in A flat major Op. 39.  Each movement displayed a variety of colors, technical brilliance and supreme musicality, never loosing sight of the romantic nature of the piece.  Park’s haunting lines combined with Yoo’s fierce control paired to display an excellent duo in concert. Park and Yoo weaved a romantic tale starting with love’s pains in the first half of the program and finishing the recital with triumph, euphoria and joy.  They left their audience spellbound and leaping to their feet with a full standing ovation.  Park chose to end the evening with her solo version of Amazing Grace which she performed in a rendition that was intimate, fragile, sensitive..... powerful. Gloria Jee Eun Park, flute and Ian Yungwook Yoo Recital  October 5, 2014 at 7:30pm Sejong Center Chamber Hall in Gwanghwamun in Seoul, Korea --Viviana...

read more

Flutronix and Meeranai Shim Concert Reviews

Posted by on Apr 1, 2014 in April 2014, Concert Reviews, Featured, Issues, Reviews | 0 comments

Flutronix and Meeranai Shim Concert Reviews

Flute and electronics are alive and well in New York City, as Flutronix and Meeranai Shim showed me this month!  Since I am spending more time in New York recently, I make sure to go out and support my fellow flutists whenever I can (this is something we all need to do more of as a flute community). Luckily, there have been some great flute concerts lately from both New York-based flutists and flutists here on tour. Brooklyn-based Flutronix, whose sophomore album 2.0 comes out this month, was playing a show at Lower East Side venue Pianos, traditionally a venue for bands and singers, but not usually for a flute concert.  However, with Flutronix’ “urban art-pop” feel, they fit right in at the venue, and everyone in the audience agreed as they grooved to Nathalie Joachim and Allison Loggins-Hull’s smooth flute lines over intricate electronics and thumping beats provided by Joe Blaxx on the drums. Their instrumentation is 2 flutes (sometimes with additional voices), live drum set, and electronic tracks.  Flutronix, founded in 2010 when the 2 flutists met on MySpace, writes all their own music, which has a distinct sound of both minimalist and hiphop elements combined with virtuosic and expressive flute playing.  Did I mention everything is always memorized?!  (seriously, I’ve seen them play multiple times and not one memory slip) There is a remarkable chemistry and camaraderie between Joachim and Loggins-Hull, something that is rare to see among classical musicians these days. Performing selections from their new album as well as covers (my favorite was their take on Rihanna’s “Diamonds,” with Joachim singing better than Rihanna herself), their set had something for everyone: a thought-provoking message in “Typewriter,” technical flutey flair in “Life Lines,” and even a love song.   The combination of electronics, flute, and most recently, Joachim’s and Loggins-Hull’s voices, was fresh, fun, and always entertaining, presented in a way that can cross any genre and appeal to listeners of everything from hiphop to electronic to classical music. Flutronix is bending the rules and paving the way for flutists of this generation and the future, and I’m excited to see everything they have in store!  Their new album, 2.0, is available on www.flutronix.com.   After the New York Flute Fair, I read Meeranai Shim’s tweet that she was playing at Spectrum, a popular new music venue also on NYC’s Lower East Side.  As much as I wanted to attend the New York Flute Club’s Gala concert, there are only so many times I can watch someone playing a PVC contrabass flute, so I chose to go to Meeranai’s show, and I was happy I did. Her flute and percussion duo, AB Duo, consisting of Shim and percussionist Christopher Jones are both based in San Francisco (Shim) and Rochester, NY (Jones).  They have been touring and commissioning works specifically written for their unique instrumentation since 2012. The first piece performed was entitled “Sol Moon Rocker” by composer Zack Browning, and it contained both interpolations of popular rock songs as well as some fun flute and piccolo playing.  Next was Carolyn O’Brien’s piece “Nocturne,” which was by far my favorite, as it was written for the strange combination of contrabass flute and djembe.  I was unsure of what contrabass flute and djembe would sound like, but Shim...

read more

NFA Overview

Posted by on Sep 3, 2013 in Blog, Concert Reviews, Featured, Reviews, September 2013 | 0 comments

NFA Overview

The National Flute Association Convention took place in New Orleans August 8-11, 2013 which boasted nearly 3,000 participants this year.  The program Chair was Tadeu Coelho and his assistant, Krisztina Dér.  This wonderful attendance outcome perhaps was due to the increase in number for regional flute choirs who performed.  For example, there were large Flute Choirs from China, Japan, Argentina, Brazil, Puerto Rico, Mexico. There were several on-site created Flute Choir rehearsals and performances with charming New Orleans based names, such as the Jambalaya Flute Choir, Swamp Jazz Flute Orchestra, Gumbo Flute Orchestra and the Orquesta de Flautas de las Americas featuring flutists from Ecuador, Peru, Brazil, Argentina, Colombia, Costa Rica, Europe and USA brought together by Angelita Floyd. A particular highlight included hearing Gary Schocker present a 10am concert of his own world premiere.... memorized!  What a delight he and pianist Fumi Kuwajima were on Friday morning.  Another delight was hearing Orlando “Maraca” Valle in concert as he presented his latin extravaganza.  Hubert Laws was another welcomed treat at this year’s NFA.  The Lifetime Achievement Award was presented to Barthold Kuijken, Auréle Nicolet and Angeleita Floyd.  The Saturday Gala Concert featured Karl-Heinz Schütz, Sarah Jackson, Nobutaka Shimizu, Janos Balint, Sophie Cherrier, Marianne Gedigian, Marco Granados, Gary Schocker and Carol Wincenc, conducted by Ransom Wilson. Jane Lenoir led a workshop on the Brazilian choro, and all of the participants got to play along and improvise with the excellent accompanying guitarist and percussionists.  Ms. Lenoir later played the choro arrangements in the Flute and Guitar concert, along with Viviana Guzman, whose Piazzola Histoire du Tango was crisp, lively, and fun.  Rogerio Wolf also played on the concert, with music by Brazilian composer Paulo Porto Alegre. This year at NFA in New Orleans The Green Golly Project were exhibitors!!!  We had our own Green Golly booth where we introduced three new offerings from The Green Golly Project and got to meet a cross section of flutists attending the convention.  From this new vantage point I got a chance to meet many flutists that I might never have met before from all over the country and I got to learn about their responses to the project.  Many flute teachers tried the Green Golly by Di Zhao flutes and also bought our new book "Green Golly and Her Golden Flute,  as well as the Green Golly sheet music collection (published by Theodore Presser) for their students.  It was gratifying to see that many flutists were interested in the project and enjoyed our products. Unfortunately since I was glued to my booth I wasn't able to hear many of the wonderful concerts being offered.   But I did get to see a bit of what my colleagues were showing and tried some flutes and head joints.  Right next to me were my friends and colleagues from Bernard Hammig Flutes with some amazing flutes made in Germany.  And right across from me were the beautiful Garner Headjoints, two of which I tried.  I visited the Presser booth, the Powell booth, Di Zhao, Flute Center of NY, Altus Flutes and Sankyo.   And saw many old friends who came by.  It is a strange perspective for someone who performs a lot and is also an entrepreneur, but this NFA I was definitely on the sales side...

read more

Imani Winds Chamber Music Festival. by Barbara Siesel

Posted by on Aug 17, 2013 in August 2013, Concert Reviews, Featured, Issues, Reviews | 2 comments

Imani Winds Chamber Music Festival.  by Barbara Siesel

The Green Golly Project was honored to be invited to participate in the Imani Winds Chamber Music Festival Summer Symposium this past August 3rd. http://www.imaniwindsfestival.com/IWCMF/SYMPOSIUM.html The symposium, which took place at Mannes College of Music, featured master classes, concerts, reading sessions and exhibits by some of the top woodwind artists in the country.  Unique for this flutist was the joy of hearing woodwinds other than flute!! I attended two very different but equally inspiring events – Greg Patillo's Beat Boxing Workshop and Paula Robeson's master class.  Greg challenged us all to improvise and create beatboxing sounds, which sure was a stretch for many of us. Paula's class took the performers to new places too, helping us think about our interpretations of French repertoire in fresh ways.  She inspired me to take out some long buried music and play them again!! Here are other master classes and events of the symposium, (unfortunately – since we were performing and working at the Green Golly Booth we missed many of these). Master Classes with Masters: Mariam Adam, Clarinet (“The Eastern Role of the Clarinet”) Michelle Baker, Horn Stanley Drucker, Clarinet Monica Ellis, Bassoon Greg Patillo, Flute (“Beatbox Flute”) Paula Robison, Flute (“French Impressions”) Gary Schocker, Flute Toyin Spellman-Diaz. Oboe Some Wonderful Concerts: Afternoon Showcase: An American Landscape Featuring Aaron Copland’s “Quiet City”, Leanna Primiani’s “The Black Swan”, and selections of Wind Quintet and Brass Quintet Music by American Composers. Education Showcase: (Hey that's us) The Green Golly Project: Barbara Siesel and Keith Torgan will give an interactive and entertaining sampling of “The Green Golly Project”: story-telling performances and products (Books/CDs) for children. Whether you are a parent looking for a Saturday activity, or a teacher/student who want s better insight on giving children’s performances, Green Golly is for you. Evening Concert: TRIFECTA: An Evening of Provocative and Hip Trio Works Exciting and energetic performances featuring The Zodiac Trio, Project Trio, Transatlantic Ensemble, Monica Ellis - Bassoon and Toyin Spellman - Diaz - Oboe, and Sato Moughalian - flute. Program includes  Stravinksy’s L’Histoire du Soldat, Bartok’s Contrasts, and two works from the pen of Valerie Coleman: Dumesnil Trios for oboe, clarinet and bassoon, and Portraits of Langston for flute, clarinet and piano. There was a terrific emphasis on new compositions and composers too. Attendees had the opportunity to bid on commissioning a short solo or chamber work written just for them or their ensemble.   The silent auction’s roster of  composers include Eric Ewazen, Mohammed Fairouz, Valerie Coleman and Jeff Scott! Proceeds of the silent auction will go towards the IWCMF Scholarship Fund. I'm looking forward to hearing about all the new works that come out of the auction. And for those attending the one day event there were reading sessions of duo's, trios and more so everyone was playing music all day long! The Symposium Day was a part of the two week long Imani Winds Woodwind Chamber Music Festival.  We met students from all over the world. They were inspired, working and practicing very hard and I'm sure the festival was a great experience for them. This event happens every summer and I recommend it to all of...

read more