Women Out In Front!

Dear readers of the male persuasion: please forgive me, but today I just have to write a bit about the rise of women in music, inspired by something amazing I read in the New York Times. Later I’ll write more on this theme, because although it may seem in this year of 2016, that women and men are pretty much on the same footing in the (classical) music business, I’m not so sure we are, truly.

Either way, I think it’s good to look back and see how far we've come, in order to not take things granted. Whenever I mention this subject, or certain historical figures, young players are often taken aback—hasn’t it always been the way it is now? The answer is, alas, a firm NO!

In any case, today I just have to mention a performance of a remarkable and entertaining work for soprano and small orchestra by Gyorgy Ligeti, called “Mysteries of the Macabre”, which was simultaneously sung AND conducted by the American soprano Barbara Hannigan with the Göteborgs Sinfoniker of Sweden. As the article mentions, moving from singing soprano to conducting is fairly rare, but to take both roles at the same time is—was—unheard of. Watch the video here (the work is a real stunner: modern, dramatic, but also hilariously crazy) to see it for your own eyes. 

Oddly enough, after watching this almost operatic rendition (what an outfit!!), I’m now having a hard time even imagining a standard performance, with a soprano soloist and a conductor! I’m crossing my fingers that either the work or the soprano/conductor appear on our orchestra programming; if it happens, you’ll be the first to know!

Barbara Hannigan singing and conducting Ligeti's "Mysteries of the Macabre"

The Importance of Being (like) Bill Cunningham

You may notice in the sidebar a link to the New York Time's series on street fashion called "On the Street", and wonder what on Earth that has to do with music and flute-playing! The answer is: indirectly, A LOT!

"On the Street" is a regular feature of the NY Times, and for nearly 40 years it has been written and photographed by the inimitable Bill Cunningham. His narration of the videos can cheer up your worst day by the sheer enthusiasm he has for his subject (clothes, form, color, NY City) and his subjects (everyone from fashion-plates to ordinary New Yorkers to some truly outlandish dressers). In a way, his enthusiasm is for…enthusiasm! Meaning, if you're going to do something (like get dressed, or play the flute) then DO IT WITH PIZAZZ, do it 100%, and do it in your own way. I think it's easy to apply this to our performing or creative work, too! Otherwise, why bother? Ten Thousand Hours is a lotta time…

Alas, at age 87, Mr. Cunningham passed away in June and has been mourned by his many, many devotees—the photographed and the mere NY Times onlookers (moi). In 2009 he was actually named a Living Landmark, and in 2009 was named to the Legion of Honor by the French Government. However, you can still read about his life and see a slideshow about his work and subjects, or find his cheerful videos on the NY Times site. While we're enjoying the month of August, it's good to stock up on inspiration for the next season, no?

A Bill Cunningham moment backstage in Lisbon: shoes with attitude!

The Sound of Silence

You might think, if you are not TOO TOO young, that I'm referring to the classic Simon and Garfunkel album, the one I grew up listing to endlessly, putting the needle back into the groove again and again. (This was way before vinyl was "vintage", it was just "a record"). What a fabulous album! Want to know how to balance or pace a program or a CD? Look no further. "Sounds of Silence", technically. 

But no, I'm actually talking about the SILENCE of having my cell phone in the shop!! THIS, folks, is real silence! No calls, no alerts, no beeps, no apps…and… no distractions! It is a drastic measure, and I don't recommend smashing the screen on your phone to experience it, but there's something magic, too! Time that is wider-open. Silence that you can sink into. (In short: I got a lot of tidying up done!).

As musicians, we concentrate on the SOUNDS we make, but the SILENCE in between is always important, too. The silence before a piece begins, the silence after—sometimes big, sometimes tiny. The silence of an empty strong beat (thanks again, Karl Kohn). The silence where the music breathes. Here's a visual representation of lots of silence and the punch of just a little bit of "sound"—

Central Park, New York City

PHOTOS!

This post falls into the category of "Better Late Than Never", in that it was meant to go "live" last Monday…Somehow there was a glitch, so here goes:

Back in Lisbon with Wifi, I can finally start adding photos from the incredible week that just passed! The picture speaks the proverbial thousand words: a post-final-presentation THUMBS UP from and for the whole gang of the 4th Summer Flute Academy (AFV) outside ESMAE on Sunday last. A special thank you to the fantastic students; it was a real pleasure to work with you all, and I'll see you again next year!

Post-concert good cheer at the 4th Summer Flute Academy at ESMAE, Porto

Summer Flute Academy Composition Competition - WINNER!

A quick entry about the First-Prize Winning work from the 3rd Composition Competition of the Summer Flute Academy: "Traveling", for flute and alto flute duo, by Ricardo Matosinhos. The work is in four movements, each very picturesque and extremely well-written for both instruments, with a touch of extended techniques here and there, but very accessible to any listener! The composer, also a horn player, is now composing for flute, and all we can say is WELCOME!! The work will be edited and published by Scherzo Editions before the end of 2016—you can order it online. 

We professors of the Academy were particularly proud that two advanced participants gave the work's premier at our final presentation, in the Teatro Helena Sá e Costa in Porto, and extremely well and beautifully played it was! The performers were André Cameira, flute, and Patrícia Pires, alto flute — BRAVO!! Here's a photo of these two fine players with composer Ricardo Matosinhos after the performance. Cheers to all, and on to next year's competition, dear composers!

Flutists André Cameira and Patrícia Pires, with composer Ricardo Matosinhos, center

Bravo, Scherzo Editions of Lisbon!

At the last three editions of the Summer Flute Academy, we have been pleased to include João Vidinha, owner-founder of Scherzo Editions. Scherzo Editions has been busy publishing works by Portuguese and foreign composers, mostly living ones, for a variety of instruments and ensembles. As João has described it, he is looking for "fresh" compositions, music that is well-written and stylistically interesting, without following any particular "school". 

Scherzo Editions is a fundamental element in the Academy's annual Composition Competition for Works for Flute, in that the winning works are subsequently published by Scherzo. Not only is this great for the winning composers, but also for us flutists, since the emphasis at Scherzo is on attention to the legibility and practicability of the score for the PERFORMER! Scherzo's editions are truly a joy to look at and to play from!

Recently, along with publishing all the required commissioned works for the Portuguese Young Musicians' Prizes, Scherzo received a FIRST PRIZE in the American National Flute Association's Newly Published Music Competition—right alongside long-established editors such as Bärenreiter Verlag and Theodor Presser Company, which is an amazing achievement! The winning work, by the Portuguese composer André M. Santos, O motivo da menina Laite, for solo flute, will have its US premier at the NFA Convention in San Diego, California, later this month! To purchase, order directly from the Scherzo site. Bravo Scherzo Editions and André M. Santos!!

João Vidinha of Scherzo Editions, with the NFA prize-winning work, at the Summer Flute Academy