December 2011 Demarre McGill: Seattle’s Newest Flute Star
December 2011Demarre McGill: Seattle’s Newest Flute Starby Nathalie Joachim and Allison Loggins-Hull (Flutronix)Not many flutists can say that they’ve received an Avery Fisher CareerGrant and been the principal flutist of three different professionalorchestras, an artist with Chamber Music Society Two, and a gueston a popular PBS children’s show. Demarre McGill, the accomplishedprincipal flutist of the Seattle Symphony and this month’s featured artist atthe Flute Club, can say that he’s done all of the above and more.Demarre has served as inspiration to us over the years, even though we’venever met. As students, we were consistently inspired and encouraged by hisaccomplishments as a flutist, artist, and African-American classical musician. Sowe were thrilled when, over an exchange of coast-to-coast emails, we had theopportunity to learn more about his upbringing, musical endeavors, background,and some highlights of his multifaceted career.Born in Chicago, IL, Demarre grew up in an artistic and creative family.His mother (a dance therapist and art teacher who now worksin the theater) and father (recently retired from the ChicagoFire Department, but also a former art teacher) both paintedavocationally. In addition to their own strong passion for the arts,Demarre’s parents were also very encouraging and supportiveof their children’s artistic pursuits. Knowing this, we askedDemarre how his parents helped to encourage him and how theirencouragement helped to shape himIn Concertas a person. “They taught us early onthe power of having a positive mentalDemarre McGill, fluteattitude and never saying, ‘I can’t,’”TBA, pianoDemarre says. “I believe these thingswith guest artist Anthony McGill, clarinetcontinue to have a powerful impact onme today.” Demarre’s brother AnthonySunday, December 18, 2011, 5:30 pm(four years his junior, and now principalEngelman Recital Hall, Baruch Performing Arts Center, 55 Lexington Avenueclarinet at the Metropolitan Opera) also(entrance on East 25th Street between Lexington and Third Avenues)greatly benefited from this environmentFour Prayers for flute and pianoNed Rorem (b. 1923)(Cont’d on page 4)I N TH IS ISSU EDemarre McGill: Seattle’s Newest Flute Starby Flutronix flutists Nathalie Joachim andAllison Loggins-Hull.1From the President: Forging Aheadby John McMurtery.2Member Profile: Barbara Hopkins.3From the Archives: December 1961.6Photos from November 20 workshop/concert.6AnouncementsFlute Happenings.3Holiday Refreshments Needed.3Ensembles Program Update.7Petite Suitefor flute, clarinet, and pianoClaude Debussy (1862–1918)arr. Michael WebsterSonata for flute and pianoCarl Vine (b. 1954)Duo for flute and pianoAaron Copland (1900–1990)Sonatine en Trio for flute, clarinet, and pianoFlorent Schmitt (1870–1958)Choros No. 2 for flute and clarinetHeitor Villa-Lobos (1887–1959)Sonata for flute and pianoLowell Liebermann (b. 1961)Program subject to change
2 — NYFC NewsletterForging AheadTHE NEW YORK FLUTE CLUB INC.2011–2012Board of DirectorsJohn McMurtery, PresidentNancy Toff, First Vice PresidentDavid Wechsler, Second Vice PresidentJeanne Wilson, Recording SecretaryLucille Goeres, Membership SecretaryNneka Landrum, TreasurerArdith BondiKeith BonnerSusan Friedlander Zara LawlerSusan LurieFred MarcusaKarla MoeStefani StarinWendy SternAdvisory BoardJeanne Baxtresser Gerardo LevyHarold JonesMarya MartinRobert Langevin Michael ParloffJayn RosenfeldPast PresidentsGeorges Barrère. 1920–1944John Wummer. 1944–1947Milton Wittgenstein . 1947–1952Mildred Hunt Wummer. 1952–1955Frederick Wilkins . 1955–1957Harry H. Moskovitz. 1957–1960Paige Brook. 1960–1963Mildred Hunt Wummer . 1963–1964Maurice S. Rosen . 1964–1967Harry H. Moskovitz . 1967–1970Paige Brook . 1970–1973Eleanor Lawrence . . 1973–1976Harold Jones . 1976–1979Eleanor Lawrence . . 1979–1982Paige Brook . 1982–1983John Solum . 1983–1986Eleanor Lawrence . . 1986–1989Sue Ann Kahn . 1989–1992Nancy Toff . 1992–1995Rie Schmidt . 1995–1998Patricia Spencer. 1998–2001Jan Vinci. 2001–2002Jayn Rosenfeld. 2002–2005David Wechsler. 2005–2008Nancy Toff. 2008–2011NewsletterKatherine Saenger, Editor115 Underhill RoadOssining, NY 10562914-762-8582klsaenger@yahoo.comNaomi Ichikawa Healy, Designer230 East 71st Street, Apt. 4DNew York, NY b.orgCopyright 2011 by The New York Flute Club Inc.,unless otherwise noted. All rights reserved.Aby John McMurterys we enter the holiday season, I reflect on thehuge role music plays in our lives this time of year.Nutcracker performances, school concerts, andadvertisements containing holiday music are all celebrationsof long-held traditions. Perhaps a student or family memberwill give you a gift card to one of your favorite onlinemusic retailers, where you can download your favorite trackand add it to your library within seconds. Or maybe you’llbrowse YouTube for a recent performance of a piece you areworking on. Gone are the days when we looked endlesslyfor our favorite albums, schlepping from one record store toFrom thethe next. Now we can just fire up the search engine, and thePresidentresults are there in a fraction of a second.Many public-domain music scores are available as freeor inexpensive downloads. We can study scores on our computer screens or printthem. We can make our own arrangements and produce professional-lookingprinted scores using the latest notation software. We can take these capabilitiesfor granted, but there was a time when they did not exist. There is a well-knownstory about Julius Baker from his student days. When he first learned “Volière” fromCarnival of the Animals, the Curtis library was missing the flute part, so he had tocopy it from the score by hand. It became what he called his “good-luck piece”; hepracticed it every day for 10 years before making a very famous recording of it. Onewonders if the very act of writing the music out by hand instilled both a deeperconnection with “Volière” and the zeal for practicing it.A highlight of our recent club activities was Greg Pattillo’s workshop on“beatbox” flute. Beatboxing is a form of vocal percussion, using one’s lips, tongue,mouth, and throat to imitate drum machines, synthesizers, and other musicalinstruments common in popular music idioms. These techniques, producedacoustically without the aid of amplification, can be combined with the flute toproduce melodies and rhythm effects. It was gratifying to look out into the audienceand see flutists of all ages trying out these new sounds. Greg used common words(“boots/cats,” for example) to explain how he produces a common backbeatpattern, and then had everyone imitate him while he improvised over the top.The energy in the room was tangible; I saw many smiling faces as many of theyoungsters seemed eager to talk to Greg and then go home to try out what they hadjust learned.The workshop’s success is due to the efforts of our education and enrichmentcommittee, headed by Susan Lurie. The committee is working on several otherprojects this year to engage the imaginations of our young flutists.Other plans for the rest of the season are falling into place. Our newcoordinator for the Young Musicians Contest is Soo-Kyung Park. After muchsearching, we finally have a venue and a date for the 2012 Flute Fair. The DiMennaCenter for Classical Music is the new home of the Orchestra of St. Luke’s and isideal for our activities. I am pleased to announce that our guest artist this year willbe Amy Porter. Please see the box on page 3.On a personal note, the ongoing fiasco at the New York City Opera hasforced me and many of my colleagues to pursue other employment opportunities.I recently accepted a six-month position as piccolo/third flutist of the OregonSymphony Orchestra, based in Portland. Over the next several months, my time inNew York City will be limited, but I will be flying back and forth several times toperform and to assist with NYFC events.We are so excited to present Seattle Symphony flutist Demarre McGill in recitalon December 18th. Please join us for our annual holiday reception immediatelyfollowing the concert.
December 2011 — 3FLUTEHigh school: Abington Heights HighBarbaraHopkinsDegree: BM in flute performance (HarttNYFC memberon and offsince 1979School, 1982), MM in flute performance(Mannes College of Music, 1986), andDMA in flute performance (SUNY atStony Brook, 1996).Favorite practice routines: Barbara says,Employment: Assistant principal flutewith the Hartford Symphony Orchestra,flutist/director of the RosewoodChamber Ensemble (flute and guitar),adjunct flute professor at the Universityof Connecticut, owner of CardinalClassics Music (www.barbarahopkins.com) for distributing her CDs and JohnWion’s opera excerpt books), andartist/clinician for Avanti Flutes.A recent recital/performance: A “MusicalWorld of John Quincy Adams” lecture/demonstration on period flutes with theRosewood Chamber Ensemble’s guitaristJudy Handler at the Adams NationalHistoric Park in Quincy, MA, last Julyfor JQA’s birthday celebration.Career highlight(s): Winning the NFAOrchestral Audition Competition in1982, the NYFC Competition in 1983,and a fellowship to Tanglewood MusicCenter in 1985; playing principal flutein Copland’s Third Symphony underLeonard Bernstein at Tanglewood—hispersonality and musicianship were sopowerful, he could just draw the musicout of you.Current flute: Her modern flutes are ac. 1981 silver A 440 Brannen-Cooperplayed with a 14k gold Dave Williamsheadjoint, and an Avanti 2000. She alsohas three simple system, early American wood flutes made by Asa Hopkins(a distant cousin) and a 1981 Haynespiccolo (bought from Florence Nelsonwhen she retired from the NYC Opera).Influential flute teachers: John Wion(for orchestral excerpts), in college;Tom Nyfenger (for tone colors andunderstanding flute embouchure), as amaster’s student; and Sam Baron (whogot her interested in baroque flute), as aDMA student.HAPPENINGSSchool in Clarks Summit, PA.“I usually start my practice day on themodern flute with a half-hour routineof Moyse long tones, articulation,scales, and Taffanel. After that, it’s amatter of what I have to perform nextand what instruments it’s on. It’s reallya challenge to get enough practice timeon all the flutes and I often feel likea doubler. Since I make most of mymoney on modern flute that alwaysgets practiced!”Most notable and/or personally satisfyingaccomplishment(s): In Barbara’s words,“The things that are the most satisfyingare the things that were the hardest.In launching the Rosewood ChamberEnsemble, I went from a situationwhere I was an orchestra player andall I had to do was show up for workprepared, to a situation where I hadto generate all the gigs myself. I don’tremember how many presenters Iapproached before we got that first gig,but I told myself I could quit after 100.”DECEMBER ’11D ec12Monday 8:00 pmThe JAMIE BAUM Septet (plusspecial guests) in a program of compositionsbased on influences from her several visits toSouth Asia, including a work commissionedby the American Music Center. Roulette, 509 Atlantic Avenue (cornerof Atlantic and 3rd Avenues), Brooklyn. Admission: 15 general, 10 Roulettemembers/students/seniors. Info, visit www.roulette.org/newroulette.D ec13Tuesday 8:00 pmThe Antara Ensemble, withHAROLD JONES, flute, will perform achamber music program including works byTelemann, Mozart, and Bolling. Saint Peter’s Church, 619 Lexington Avenue(at 54th Street), NYC. Admission: 25general, 20 seniors. Info, call 212-866-2545. Info, visit www.saintpeters.org.iiiiiiiMember ProfileHolidayiiRefreshmentsiiiPost-concert refreshments are neededfor Sunday, December 18th.Please contact Mary-Ann Tu(maryann.tu@gmail.com)if you can bring something.Other interests: Running, a sport Barbarapicked up as an adult from her fiancé,Robin Woodbury. She says, “I mightnot be a natural athlete, but I’ve gotself discipline and the ability to followa training plan.” She also loves readingand spending time with her cat.Requested items includewine, soda,cheese, crackers,cookies, grapes,and other nibbles.Advice for NYFC members: Decide whatis unique about you, what you dobetter than anyone else, and go forit. It’s better to steer your own careerthan wait for someone to hire you. Inmy pedagogy course at UConn I focuson the business of the music business(business/marketing plans, writingresumes and studio policies) as well ashow to teach the flute, since it doesn’tmatter how great a teacher you are ifyou don’t have any students.Flute Happenings DeadlinesIssueDeadlineMail dateJanuary 2012February 2012March 2012April 2012May 2012
4 — NYFC NewsletterPlayers, and while inSan Diego, he was amember of the MyriadTrio (flute, viola, andharp) and cofounded(and became artisticdirector of) Art ofÉlan, a nonprofitchamber musicorganization thatseeks to attractnontraditionalconcertgoers throughinnovative and diverseshort programs.McGill (Cont’d from page 1)and has achieved his own professionalaccomplishments as a musician. “Myfamily continues to inspire me as anartist. I am constantly in awe of mymother’s energy, my father’s discipline,and my brother’s creativity.”My family continues toinspire me as an artist. Iam constantly in awe ofmy mother’s energy, myfather’s discipline, and mybrother’s creativity.Being surrounded by so muchinnovative energy, Demarre was able toblossom creatively while exploring hismusical interests through imaginativeexpression. We wondered what madeDemarre specifically choose the fluteas his artistic voice. “When my parentswere dating, they would get togetherand have jam sessions where my motherwould sing and my father would playa wooden flute,” Demarre remembers.Perhaps this early musical bondbetween his parents foreshadowed whatwas to come for their children. “Mymother eventually bought my father aused silver flute which I found in theircloset when I was seven years old.”Demarre quickly took to the flute andbecame a very accomplished youngflutist. He and his brother even hadthe opportunity to appear on “MisterRogers’ Neighborhood”! Demarre fondlyrecalls, “Being on Mister Rogers’ withmy brother, Anthony, was a prettyawesome experience. One of the thingsI will never forget was his focus on ouremotional connection to making music.His questions about what sadness,happiness, and anger sound like, whencommunicated through a musicalinstrument, touched on something Ibelieve some classical musicians don’tthink about enough.”Demarre’s bio is quite impressive.After winning many competitions andperforming opportunities as a youngster,Demarre went on to study at the CurtisInstitute of Music with Julius Baker andJeffrey Khaner. He continued his studieswith Baker at the Juilliard School, wherehe received his masters. Demarre hasperformed concerti with many top-tierorchestras, played in numerous musicfestivals (Mostly Mozart and Marlboro,to name a few), and was a winner ofan Avery Fisher Career Grant in 2003.Before starting as principal flute at theSeattle Symphony this fall, he had heldprincipal flute positions with severalorchestras (the Florida Orchestra, theSanta Fe Opera Orchestra, and the SanDiego Symphony Orchestra) and wasacting principal flute of the PittsburghSymphony (during the 2005-06 season).He has been featured on a PBS Livefrom Lincoln Center broadcast withthe Chamber Music Society performingBach’s Brandenburg Concerto No. 2 andperformed on the A&E network series“The Gifted Ones.” While in Florida,he was a member of the Ritz ChamberWith such a vibrantperformance scheduleand involvement inso many differentmusical outlets, wewere curious toknow what, so far,has been one ofthe highlights of hiscareer. Demarre says,“I feel that there havebeen many highlightsin my career. I nevertake for granted thefact that everydayI am doing whatI love. This neverescapes me.” Demarreremains grateful andexcited about his lifeand has maintaineda positive attitudeand work ethic. “Iam particularly excited about my newmusical adventures playing with theSeattle Symphony and our new musicdirector, Ludovic Morlot. I also amvery proud of what my chamber musicorganization, Art of Élan, is doing topromote great music in San Diego.”Although an orchestral position remainsa highly coveted one, there are manychallenges and some not so glamorousmoments. We asked Demarre aboutany challenges that he has facedas a principal player. “I believe thechallenges of being an orchestralmusician are similar to challenges facedin any work environment. After years ofdoing something over and over again,it is possible to become less and lessinvested in it.” Demarre explains thatany potential monotony can be avoidedby keeping active in a variety of musical
December 2011 — 5activities outside ofthe symphony. “Idecided early in myorchestral career that itwas vital to maintain ahealthy non-orchestral,musical existenceto complement myorchestral work.Because I’m equallypassionate aboutthe chamber musicthat I do and theorganization Ico-direct, whenI am playing inorchestra my onlyfocus is performingthe repertoire asbeautifully as I can,while doing my bestto inspire others to dothe same.”On top of havingan eclectic roster ofDemarre McGill with the Myriad Trio members Julie Ann Smith (harp) and Che-Yen Chen (viola).performance outlets,Demarre adds teachingto the mix. Teaching gives anotherexpect. “I am very excited about my NYBut, I believe that everyone’s culture,dimension to his career and serves as aFlute Club concert. The program willfamily life, and past experiences makevital component to his overall artistry.primarily consist of works by Americantheir perspective a unique one. When I“I have always loved teaching,” hecomposers. There will also be a musicalam making music, I am not thinking ofsays. “In addition to the joy I receive inreunion with my brother. We will playwhether the music is black or white. Iseeing a student’s development, I enjoyone or two pieces together. It should beam simply trying to make great music.teaching because it makes me a strongera great time.”I am aware that my race becomesperformer. I am always making sure thata very important factor when I amI’m practicing what I’m preaching!”We definitely think it will be a gooddoing outreach in black and Latinotime, and we look forward to seeingcommunities. It is crucial that youngyou all there on December 18th.black and Latino children are madeaware that they can do anything theybelieve that everyone’sset their minds to, including becoming aculture, family life, and past classical musician.”Nathalie Joachim and Allisonexperiences make theirLoggins-Hull are Flutronix, aAnother aspect that gives musicians acritically acclaimed pair of fresh andperspective a unique one.unique perspective is their own musicalThe music that we listen to as well eclectic flutists who are paving theWhen I am making music, I taste.as the music that we play influences our way from their classical roots to theam not thinking of whether artistic point of view. “Although I listen future of music.Ithe music is black or white.I am simply trying to makegreat music.As flutists who share a similar ethnicbackground, we asked Demarre ifbeing African-American has factoreduniquely into his experience as aclassical musician. “Of course it has.rto a lot of hip hop, R&B, pop, and folk/world music, I’ve never attempted toventure into these genres,” he says. “Ido feel, however, that the wide varietyof music I listen to influences how Iapproach classical music as a performerand a listener.”Getting to know Demarre has onlymade us that much more excited abouthis upcoming December performance.Eager for details, we asked him what to
6 — NYFC NewsletterPhotos from November 20 workshop and concertGreg Pattillo’s November 20 pre-concert beatboxing workshopand the Flutronix/Project Trio concert that followed broughtin a younger-than-usual audience (thanks to the efforts of theNYFC’s education and enrichment committee, headed by SusanLurie). Photos by Ardith Bondi show some special moments.PROJECT Trio members Greg Pattillo (flute), Peter Seymour (bass),and Eric Stephenson (cello)Flutronix flutists Allison Loggins-Hull (left) Nathalie JoachimFrom the Archives: December 1961Curiously—and bytotal coincidence—theNew York Flute Clubprogram of exactly 50years ago also featuredan African-Americanflutist—Harold Jones.Harold went onto serve as NYFCpresident from 1976to 1979, but at thetime of the concert hewas a freshly mintedJuilliard graduate (classof 1959). In addition toseveral Baroque worksand the ChaminadeConcertino, theprogram included apiece for flute andpiano by the Britishcomposer LennoxBerkeley (1903–1989)and the trio for flute,viola, and cello byAlbert Roussel(1869–1937).Harold Jones, Hal Archer, and Connie Boykanat NY Flute Fair 2011. Photo by Nancy Toff.John Solum and Harold Jones, NY Flute Fair2011. Photo by Nancy Toff.
December 2011 — 7iSave the DatedNew York Flute Fair 2012Saturday, March 24, 2012Guest artist: Amy Porter(www.amyporter.com)The DiMenna Center,450 W. 37th Street, NYC.(www.oslmusic.org/dimenna-center)Watch this space and/or visitwww.nyfluteclub.orgfor further detailsas they become available.Greg Pattillo’s beatboxingworkshop was a participatory event.NYFC Ensembles ProgramTRAFFIC ADVISORYTo avoid getting caught in trafficon concert days, please visit theNYC Department of Transportation's weekend traffic advisory htmlUpdateby Mary-Ann TuOn Saturday October 8, 2011, the New YorkFlute Club Ensemble kicked off its season atStudios353, my favorite rehearsal space. Tenflutists attended (despite the Columbus Dayholiday weekend), a 50-50 mix of longtime andnew members.During this first get-together, the groupsightread through many new pieces including: Flight of the Bumble Bee, by NicolaiRimsky-Korsakov, arr. by Trudy Kane. Pictured sans flutes, participants in the October get-together included (left to right) JulieWe have unanimously decided toZnoy, Mary Lynn Hanley, Alexis Jacobs, Ensemble Program director Mary-Ann Tu, JayPendley, Ann Bordley, Denise Koncelik, Karen Robbins, Barbara Seidel. Not shown: Eddieperform this delightful piece at theCrawford and Diana Wayburn.end-of-season concert in May. Ave Verum Corpus, KV 618, by W.A.Mozart, arr. by H. Kamioka. Denise Koncelik, our marvelous bass flutist, generously provided the music. Jewish Music For Flexible Flute Ensemble, arr. by Phyllis Avidan Louke. Ave Maria by Franz Schubert, arr. by Victoria Jicha. Brandenburg Concerto No. 3, by J.S. Bach, arr. by Nancy Nourse.A November rehearsal of the NYFC Ensemble Program, also at Studios353, took place on Sunday, November 20, from 2-4 pm.Next Rehearsal: Saturday, December 10 from 2-4 pm, at Studios353, 353 West 48th Street, Studio 4. We will be rehearsing forour December 14 performance.Upcoming Performance: The NY Flute Club Ensemble will perform at the Atria Senior Residence on the Upper West Side(333 86th Street, between West End Avenue and Riverside Drive) on Wednesday, December 14 from 7 - 8 pm. All NYFCmembers are welcome to join in the festivities. Mary Lynn Hanley kindly provided a list of all senior residences in NYC. It takesa village! Thanks everyone!
The New York Flute ClubPark West Finance StationP.O. Box 20613New York, NY 10025-1515December 18, 2011 concertSunday, 5:30 pm Engelman Recital Hall, 55 Lexington Avenue (at 25th Street)Demarre McGill, Seattle Symphony flutist92 Seasonnd2011 - 2012 ConcertsOctober 16, 2011 Sunday, 5:30 pmCarol Wincenc, flute, & Kenneth Cooper,harpsichordNovember 20, 2011 Sunday, 5:30 pmFlutronix! with special guest Greg PattilloDecember 18, 2011 Sunday, 5:30 pmDemarre McGill, Seattle SymphonyJanuary 22, 2012 Sunday, 5:30 pmChris Norman, Celtic fluteFebruary 26, 2012 Sunday, 5:30 pmMaron Khoury, Metropolitan OperaOrchestraMarch 24, 2012 Saturday, all dayFlute Fair, guest artist Amy PorterApril 22, 2012 Sunday, 5:30 pmNYFC Competition Winners ConcertMay 12, 2012 Sunday, 2:30 pmAnnual Meeting & Ensemble Concert(Bloomingdale School of Music)All regular concerts will take place at EngelmanRecital Hall, Baruch Performing Arts Center, 55Lexington Avenue (entrance on 25th Street), onSundays at 5:30 pm. All dates and programs subject tochange. Tickets 20, students and seniors 10, only atthe door; free to members. For more information, visitthe NYFC website at www.nyfluteclub.org.Greetings! Our December concert will feature DemarreMcGill, newly appointed principal flute of the Seattle Symphony.Flutronix flutists Nathalie Joachim and Allison Loggins-Hullinterviewed Demarre via email, and report on his musicalbeginnings (he and his clarinetist brother Anthony grew up inChicago in a household with two parents active in the arts), thesatisfactions of teaching (practicing what he preaches makes hima better performer), and his activities in bringing chamber musicto nontraditional audiences.I learned from John McMurtery’s “From the President” that heFrom thewill be taking on a temporary position with the Portland-basedEditorOregon Symphony (good news that he has a paying position,but not such good news that it is so far away!). We wish himthe best of luck in juggling his new responsibilities. His column also reminds us to begrateful for the conveniences of the latest music technology—for me personally, thismeans software for making legible arrangements and transcriptions, scores and partsfrom www.imslp.org, and YouTube videos to see which parts of unfamiliar orchestralpieces coming up for performance are exposed enough to merit extra practice.Don’t miss the p. 7 update on the Club’s ensemble program (and a December14 performance) from Mary-Ann Tu. We also have a “From the Archives” programindicating that the NYFC’s Sunday concert 50 years ago this month featured the Club’sown Harold Jones. I was intrigued to see a familiar name on the list of assisting artists—John Jackson, my first flute teacher (for two years in the mid-’60s) and the person whointroduced me to Andersen etudes and Handel sonatas.Barbara Hopkins, a Connecticut-based orchestral musician with an interest inperiod flutes, is this month’s profile subject. I was intrigued to learn she is distantlyrelated to the early American flutemaker Asa Hopkins and to hear the case for heradvice that every flutist should have a business plan. Check it out!Anyway, all for now. See you soon.Best regards,Katherine Saenger (klsaenger@yahoo.com)
Duo for flute and piano Aaron Copland (1900–1990) Sonatine en Trio for flute, clarinet, and piano Florent Schmitt (1870–1958) Choros No. 2 for flute and clarinet Heitor Villa-Lobos (1887–1959) Sonata for flute and piano Lowell Liebermann (b. 1961) Program subject to change (Cont’d on page 4)
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