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OPPORTUNITIES FOR LISTENING
Dr. Constance G. Lane, Professor of Music - flute
Present day flutists enjoy an unprecedented opportunity to explore their instrument, not available to older flutists even twenty years ago. Some aspects of flute playing might take weeks to develop without the almost instant examples accessible through modern CD’s and cassette tapes. If you are not using the recordings available to you through the public library, and the retail recording outlets, you are missing some of the most helpful materials imaginable on your instrument. The following are sources for finding a particular piece or soloist. (1) SCHWANN OPUS CATALOG -- Ask the librarian to point you to this publication. This catalog is the best all-purpose reference for retail recordings. If a piece has been recorded and is available in this country, it will normally be in this publication. The Schwann Opus is updated quarterly. It is also available in most record stores. Schwann also publishes an ARTIST ISSUE, which comes out annually. In this, the listings are divided by instrument, then by artist within each section. (2) Reviews are contained in some professional flute publications, as well as in some newspapers and other magazines. Advertisements appear in some flute related journals. (3) THE FLUTIST QUARTERLY, the official publication of the National Flute Association has also published several discographies in past years, organized by flutist/performer. (4) FLUTE WORLD, the Michigan-based, all-flute retailer has one of the largest listings of available recordings. (www.fluteworld.com) (5) SCHOOL OF MUSIC LIBRARIES, and THE PUBLIC LIBRARY have recordings listed in their computer card catalog. The policy on checking out recordings varies from one library to another. All usually allow listening on the premises. (6) STATE PUBLIC RADIO STATIONS frequently play music by well-known flutists. A card, phone call, or e-mail request can usually get you the name of the piece you have just heard on the radio. If you are a financial contributor to public radio (91.3 in Columbia), you may receive a publication listing the pieces to be heard during that month. Some also have web sites listing the pieces broadcast during that month.
The following are places to actually purchase recordings. (1) Large mega-retailers such as Tower records in larger metropolitan areas, Best Buy, and even small local record stores are worth a browse. Papa Jazz in Five Points in Columbia has some amazing things from time to time. (2) Book stores, such as Barnes and Noble and book stores on campuses often sell recordings. (3) Music retail stores, both local and out-of-state often sell recordings. As mentioned before, Flute World has an in-depth stock listed in their online catalog. This listing is available on the internet: http://www.fluteworld.com for free. (4) Specialty recordings from companies with a small area of focus, such as Musical Heritage Society, which requires a membership, are available to the public. Music educators also get fliers advertising recordings offered by educational record companies such as Crystal Records or Edutainment Recordings. (5) Performing artists these days often have recorded and advertised for sale, their own recordings. While you normally will not find these recordings in the larger places mentioned above, they do advertise in the major publications related to the flute. After their live performances, they may inform the audience that they "happen to have just a few of their recordings with them if anyone is interested in purchasing one."
Being a critical listener does not mean counting mistakes! Instead, you should be focusing on various aspects of the flutist’s playing style, along with the musical decisions that the flutist has made within the piece. Some examples are: (1) general tempi, (2) where the performer takes liberties with the speed, (3) how the piano part, or other instrumental part(s) fits with the flute, (4) where the flute has the melodic line and where it does not, (5) where the balance problems might be, (6) where the performer is feeling the ends of phrases, (7) probable breathing spots, (8) how the performer uses tone color, (9) the use of vibrato, (10) probable intonation troubles, (11) the use of ornamentation in Baroque music. After deliberating these topics, you can begin to make some informed decisions about the recording. You may have some ideas about parts of the performance that you wish to incorporate into your own. You may find some parts of the performance not to your liking. Recognizing these negatives may help you to avoid them in your own performances. In the end, you should be taking concepts from many flutists, which together will help you build a style uniquely your own. Listen to all types of music along with your flute recordings. You can learn from a good performer on ANY instrument, not just the flute. Learning opportunities on the flute are available in orchestral and chamber music recordings as well. The volume of literature available on recordings is more than can be digested in one lifetime. Take the opportunities that you have. James Galway and the late Jean-Pierre Rampal probably remain as the two most recorded flutists in the world. Many excellent flutists today produce and record their own CD’s, marketing them themselves. Some other names who have recorded often,who are reliable for quality include: Andras Adorjan, Robert Aitken(Canada), Julius Baker(US), Samuel Baron (US), Jeanne BaxtresserCanada/US), William Bennett (UK), Michel Debost (France/US), Robert Dick (US), Peter-Lukas Graf (Germany), Alain Marion (France), Susan Milan (UK), Aurele Nicolet (Germany), Paula Robison (US), Gary Schocker (US), Robert Stallman (US), Alexa Still (New Zealand/US), Jennifer Stinton (UK), and Carol Wincenc (US).
Dr. Constance G. Lane, Professor of Music - flute |
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