Samuel Barber Canzone for Flute and piano

Samuel Barber’s Canzone for Flute (or Violin) and piano is his transcription of the second movement of his Piano Concerto, op.38. The Piano Concerto (1960~1962) was the composer’s final masterpiece, and arguably the zenith of his professional life. Barber was among the most honored and respected living American composers, both at home and abroad. Canzone is a notable instance of the composer’s self-borrowing. This work was originally written for the amateur flautist Manfred Ibel in 1959. It was given the simple title Elegy, but was never published or catalogued as such; two years later Barber re-titled the piece Canzone for Manfred.
The melody of Canzone became the main theme of the second movement of the Piano Concerto. Barber then rededicated Canzone as op.38a and catalogued it as a transcription of the Piano Concerto’s second movement. The beginning and end of both pieces is nearly identical. However, in the Piano Concerto, the mood of the second movement is in general restful and song-like, whereas in Canzone, the lyricism quickly reaches an impassioned and chromatic peak.

(Taken from the All Music Guide)

Great Flutist Julius Baker

"He produces what is surely the most glorious tone that ever came out of a flute."
TIME Magazine The renowned French flutist and pedagogue, Marcel Moyse, once said of him,
"Nobody in France plays like Julius Baker, no one!"
His level of virtuosity is second to none. This sentiment has been shared by the great conductors of our time-Leonard Bernstein, Fritz Reiner, Bruno Walter and Leopold Stokowski all selected Julius Baker to grace the solo chair of their respective orchestras. Julius Baker was born in Cleveland, Ohio. After graduating from the Curtis Institute of Music in Philadelphia, he returned to Cleveland to play in the Cleveland Orchestra under Artur Rodzinski. Mr. Baker then went as a solo flutist to the Pittsburgh Symphony under Fritz Reiner. He left Pittsburgh to become solo flutist of the Columbia Broadcasting Symphony Orchestra in New York City. During this time, he joined the famed Bach Aria Group with which he was associated for eighteen years. When the CBS Orchestra was disbanded, Mr. Baker went as solo flutist to the Chicago Symphony Orchestra. Later he returned to New York to assume the Solo flute position with the New York Philharmonic, where he remained until 1983.
Mr. Baker now concentrates on solo performances and chamber music in addition to teaching. He is on the faculties of the Julliard School and The Curtis Institute of Music - his alma mater. Mr. Baker was a member of an international woodwind quintet formed by the Yamaha Corporation to give concerts in the major cities in Japan to celebrate the 100th anniversary of the Company. He has also given solo recitals in both Japan and Korea and taught at the Toho University in Tokyo. In April, 1994 he performed in Munich, Germany in celebration of the 200th birthday of Theobald Boehm, the developer of the modern flute.
Mr. Baker gives Master classes throughout the U.S. and in Canada, and also serves as a consultant for flutes to the Yamaha Corporation of America.
Mr. Baker has recorded for such labels as RCA Victor, Decca, Vanguard, Westminster and Vox Cum Laude. His latest CD's are on the VAI and Oxford labels.

From http://www.juliusbaker.com/bio.php

Yamaha Concert

I am currently studying with Brad Garner, who is Yamaha artist. I decided to go to the concert when I heard that Brad Garner is playing in Yamaha Concert. Also, there would be many famous flutists such as Jeffrey Khaner, Jim Walker, and so on will play too. I thought that it is a good opportunity to see them at once.
I was there at 2 pm, which was a discussion session. Audiences asked questions to artists and artists talked about their experience while they are practicing and working. Their comments really helped me out. I have played flute for 12 years and I used to thought that I just play flute. I did not hate music but somewhat tired. I realized that the artists also had same period like me. They seems like they do not know stop. They are elites and successful because they tried very hard. This event was helpful to me to change my thinking. The concert started at 3 pm. I am happy to go the concert because I listen to the good music and I heard advices too.

Taffanel & Gaubert Daily studies

If you are playing an instrument, scale and etude is a basic. When I started flute first at 15 years old, I used this book before I practice.
This book is 17 kinds, and to practice this book all of them, I had to spend 2 hours to 3 hours. When I was practice at first time, I did not know the reason why I have to do this because sometimes it was very boring and hard. However, now I carry this book always and practice without other's command.
This book is mandatory to flutist. this book is good for warm-up before practice. My favorite routine is 1, 2, 4, 7, and 10. I put all sound slur and practice with tonguing. If time allows, I change articulations. I think that changing articulations prevents weak sound so I can have same sound every note. I think that to practice 1 and 4 in this book is my warm-up routine everyday. Also, I think this book need practice all of them once a week at least. If it practice, I should think while practice. Thinking while practice is very important because if I don't think, that is just repeat so I can't make better sound. I should feel the tone of color and progress of sound.

J.S. Bach Sonata in E Major, BWV 1035

Johann Sebastian Bach is considered one of the greatest composers of all time, but during his lifetime, he was far more famous as an organist than as a composer. Interestingly enough, although Bach’s flute sonatas are central to the repertoire today, nearly a century passed before they were recognized. Sonata in E Major, BWV 1035 was written in either 1741 or 1747 for Michael Gabriel Fredersdorf, a flutist in the service of Frederick the Great.
The sonata is in the four movement slow-fast-slow-fast structure of the church sonata. Typically these movements are given tempo markings as titles rather than dance title. Breaking from that tradition, Bach names the third movement “Siciliano,” and two of the other movements have been thought of as dances: the second is a Rigaudon, and the finale a Polonaise.
The first movement is “Adagio ma non tanto”. It’s an elegant movement that consists of long, gentle arcs structured is a freely developing manner. With this first movement, the thematic development of the rest of the piece is laid out. Bach works out his variations in succession rather than using repeats and relying on the performer to improvise with embellishments.
The second movement, “Allegro”, is a Rigaudon, and completely unburdened and joyful. Its principal theme is so lively that Bach manages to make do entirely without divertimenti and allows the movement to develop in a completely songlike manner. The aria-like “Siciliana” brings a pastoral mood to the sonata with its dotted rhythms and lilting melody. The movement falls into three sections, each based on the same melodic germ. The opening theme of this extremely virtuosic final movement, “Allegro”, provides constant surprises and makes demands on the performer’s breath control and technical ability.

(Taken from All Music Guide and Hans Vogt)

flute beat box

I actually watched this movie from my friend. As a flute player, I think that this is amazing. I watched other movie clips and they were same as this one. I had questions while I watch this movie. How can he beat boxing? Is he good at playing flute in normal way? I researched more about him and i got the answer. He plays very very well in normal way to. What he does to beat box is blow flute and beat box, blow and beat box continuously and quickly, so it seems like that I hear flute and beat boxing sound at same time. I totally agree his saying that the best pay in the New York City is subway.

Chamber Music Concert

12/10/08



Today, there was a Chamber Music Concert at the Black Box Theater. The six flutists played “Stacked” that they imitate each other while they are playing. The hard thing in my part was that I had to play continuous rhythm and lower register sound. I concentrated on the rhythm and tempo because the rhythm may be fast if I take mistake. Also I had to consider the synchronization with other players than other songs. Deciding a breathing spot in the restless song was other challenge. I think that waiting and listen to other player’s playing is a good experience, but I get tired while I have my play. However, when I stand on the stage, I have a duty to give a joy and I do my best so I do not regret. I think that to help other players and to enjoy the play is always happy.