Good intonation on the piccolo is very important. Not only is the instrument at the top of the pitch ladder, it has a potent sound and therefore is almost always heard. Thankfully, in an orchestra one piccolo is usually the whole section. However, there are a few times, such as in Mahler symphonies, that the entire flute section will be playing piccolo in unison. Since many marching bands have the entire flute section playing piccolo or have a piccolo section comprised of several players, blending tone and matching pitch becomes a top priority.
   The best way to approach piccolo intonation is to become familiar with the intonation tendencies of the instrument. Piccolos seem to vary more from instrument to instrument than flutes do, but there are some very basic guidelines to observe. First, make sure that the instrument itself is in good working order. The cork in the headjoint should be in the proper position, and the pads should not be protruding into the key cups. Check to make sure that the trill keys on the backside of the instrument are opening at the proper distance as well. The headjoint should be pulled out from the body about ¼ of a millimeter. If you have to pull out much more than this, check the headjoint cork placement.
   Make sure that the piccolo is placed correctly on the lower lip. The piccolo is placed slightly higher on the lower lip than the flute to compensate for the smaller embouchure hole. The placement is actually on the pink part of the lip. If you find yourself playing flat overall on the instrument, your lip may be covering too much of the embouchure hole. The ratio for covering the embouchure hole is about the same as the flute. The bottom lip covers about one-third of the hole and the remaining two-thirds of the hole is open.
   Experiment with not pressing the piccolo too tightly into the chin. Flexibility is compromised if the lower lip is compressed by excessive pressure. One last reminder about the physical setup is that the piccolo should be balanced in the hands, not held by the fingers. Hands provide a stable framework so the fingers can remain light and smooth. No white-knuckle death grip is allowed. A stable balance keeps the instrument from rolling in the hands.
   The alignment of the piccolo headjoint in relationship to the piccolo body is another issue that can affect pitch. Make sure that the center of the embouchure hole is aligned slightly in front of the center of the left-hand key stack. If the headjoint is turned inward toward the player, the overall pitch may be flat and the tone muffled. If the headjoint is aligned too far away, the pitch may be sharp, and the tone will be breathy, spread and shallow.
   The lowest register, from D1 to D2, is fairly reliable, but novice piccolo players often blow this register flat. Make sure to use a well-supported, fast-moving air stream. Blowing too far down into the embouchure hole can result in flat pitch, so remember the air has to be directed across the hole, then down. One of my teachers used to remind me that a fast air stream is a supported air stream. As a string player moves the bow, the piccolo player moves the air stream although the string player has the advantage of seeing the bow move. The goal is to move the air constantly through the notes.
   The middle register, D2 to D3, tends to be fairly stable in general, until the last three chromatic notes: C, C# and D. In general, these notes tend toward the flat side. Alternate fingerings are a good choice for solving these problems. I prefer: C: No TH/1204/1034; C#: No TH/0034/0234; D: TH/0234/0234.
   These fingerings and many more choices for these notes are listed in Jan Gippo’s book, The Complete Piccolo. An interesting observation is that these notes on the piccolo may have the opposite pitch tendencies from the flute. When playing, remind yourself that the piccolo is a separate instrument from the flute. Develop a new mental file containing separate information just for the piccolo.
   The third octave holds a few pitch surprises as the piccolo’s tendencies are once again opposite of the flute. For instance, F#3 is a note that can be a little flat on piccolo and a little sharp on the flute. Try: TH/1030/0230 to raise the pitch. High G also tends to be a low note. The fingering no TH/1234/0230 solves this tendency. High A speaks beautifully without the right hand little finger (putting this finger down will lower the pitch a little bit). The topmost three pitches, A#, B and C, will all speak better without the right hand pinky just as on the flute.
   Use your tuner and check out each note on your piccolo to know your personal ballpark tendency, so that you can adjust to make the proper correction. Another problem though is overcompensation. Too often we think the note in question might be out of tune and make unneeded adjustments. For instance, C3 has a tendency to be flat, so piccolo players use a higher fingering to bring it up. Suddenly this note is now too sharp, as the correction has gone too far. Try not to tune intellectually. Listen to what is actually happening and adjust to the sounds around you. I have used three different alternate fingerings for the same pitch in a given piece, depending on the color, dynamic and blending requirements. Stay flexible in order to provide what is appropriate for that particular time.
   It also helps to remember some basic rules of pitch for the instruments you are blending with. Clarinets tend to go sharp when played softly and flat when loud, exactly the opposite of the flute, and in many cases, the piccolo.
   When tuning in an ensemble, be willing to change your pitch slightly to match a colleague so you are working with and not against your neighbors. This is why matching pitch is sometimes called favoring as you bend to meet in the middle with another player. Don’t be stubborn and refuse to move your pitch in a group. Be ready to adjust at a moment’s notice.

The post Thoughts on Piccolo Intonation appeared first on The Instrumentalist.

When and Where
   Most city arts councils and universities compile events calendars. This is a valuable asset to consult in selecting a date for your recital. Choose the date several months in advance to allow time to prepare thoroughly and organize a good publicity campaign. A 7:30 p.m. start time has become more common than the traditional 8:00 p.m. Late Sunday afternoon concerts are another excellent option.
   Choosing the location depends on the type of recital program you have planned. If you program pieces that require an organ, then select a church sanctuary or university organ recital hall. If the includes a piano, be sure there is a satisfactory one available. I mention this because I was once booked to play a recital with a piano that was quite old. The piano tuner decided it would be too much of a challenge to bring it up to pitch so he tuned it one-half step low. On top of that, some of the keys did not sound. I ended up changing the program at the last minute to play all solo works. The pianist rounded out the program by playing several selections alone.
   If you elect to perform a recital with chamber ensembles, your options for performance venues are more flexible. Last year, I attended a Henderson State University Flute Choir concert held in the university’s planetarium. A space show was presented as the choir performed music based on the planets. A creative location and novel programming may entice new listeners to your event. House Concerts have been a popular choice of location since the very first recitals were performed.
   Many locations, while free, require a signed contract. If possible, request time for at least one rehearsal so you can get familiar to the sound of the hall. Sometimes the location will arrange for a piano tuner; other times it is your responsibility. This is something that is better to know sooner than later. Make arrangements to pick up the key in advance of the concert and check any instructions regarding lights, heating, or air conditioning. Many locations own music stands and an audio/video recording system. If you wish to use any of their equipment, note these requests in the contract.
  The fee to rent the location is usually negotiable. Barter is alive and well. My flute choir gave five concerts per year in a local church in exchange for several members playing in the Christmas Eve service. Do ask because you may save some money.

What to Play
   Programming is always a challenge. The goal is to present an interesting, diverse program that allows you to shine as a performer and provide a great musical experience for the audience. Variety is the key. The variables to consider about the music are: programmatic or absolute, length of the program and of individual compositions, style period, genre, form, key, rhythm and tempo, and level of difficulty. 

Programmatic or Absolute
   The flute repertoire consists of two types of music: programmatic and absolute. Programmatic music is instrumental music that expresses a mood, an idea or tells a story. The title of the composition indicates to the audience what the music is trying to convey. Poem by Charles Tomlinson Griffes, Syrinx by Claude Debussy and Dance De La Chevre by Arthur Honegger are examples of programmatic music. Music that depends entirely on musical tones is called absolute music. Absolute music includes sonatas, concertos, and one-movement works that are titled by their tempo such as Allegro or Rondo. A well-balanced program will be a sampling of each. 

Length
   Select compositions that vary in length. The modern trend in symphonic programming has moved toward shorter concerts. Fifty to fifty-five minutes of music is a good length for a flute recital. Time spent walking on and off, bowing, stage setup, introducing a composition to the audience, and a brief intermission will easily stretch the fifty minute program to an hour and fifteen minutes.

Style Period
   Planning a program that encompasses several style periods is similar to planning a multi-course meal. Many courses are more interesting than a plain meal of rice or beans. Music written just for the flute had its birth in the Baroque period (1600-1750). Baroque composers who wrote for the flute include Vivaldi, Handel, Bach, and Telemann. In the Classical era (1750-1827) Mozart, Mercadante, Devienne and Beethoven composed flute music. Schubert, Reinecke, Schumann, and many of the flute-playing composers such as Boehm, Soussmann, and Popp wrote flute music in the Romantic style (1800-1900). A recital that encompasses works from several periods, offers the opportunity for you to show how you can vary sound and phrasing styles.

Genre and Form
   Genre refers to a kind or category of music. The flute repertoire is rich with a huge selection of suites, sonatas, one-movement pieces, dances, marches, and fantasias. While some of the legendary performers chose programs in which they played all the Bach Sonatas or Telemann Fantasias, this is not the best choice for a novice. Pieces are also composed in a variety of forms including, sonata form, three-part form, rondo form, through-composed, theme and variations. Presenting an array of musical genres and forms keeps the listener’s mind fresh and alert.

Key
   Program a variety of keys such as major, minor or modal. A concert in which all the compositions are in either D or G major quickly tires the ear. A few years ago I constructed a program titled “Homage to Bach.” The program played on the idea of relating Bach’s name to the musical pitches: B, A, C, b. (Capital letters for major keys and lower case for minor keys.) The first piece on the program was in B major, then A major, and so on. However, there were deliberately no pieces by Bach on the program. This led to a lively discussion after the concert about why the program was titled “Homage to Bach.”

Rhythm and Tempo
   Once again variety is the key. A recital in which every composition is in 68 becomes boring. Likewise a recital in which every composition features a syncopated rhythm is not so interesting either. Choose compositions that are in simple meter (2/4, 3/4, 4/4) and compound meter (3/8, 6/8, 9/8, 12/8 ) or with mixed meters. Select slower pieces to be played between faster compositions.

Order
   Recitals presented to fulfill degree requirements often have such rules to follow as programming compositions from several style periods, composers from various countries and an ensemble piece. To satisfy these requirements, it is best to start with a Baroque (Handel or Bach) or Classical Era sonata (Mozart violin sonata or Devienne sonata), followed by a large Romantic work (Reinecke, Franck). After a brief intermission, perform a contemporary solo work followed by a chamber work such as the Doppler Andante and Rondo, Op. 25 for two flutes and piano, Kuhlau Trio, Op. 119 for two flutes and piano, or the Madeline Dring Trio for Flute, Oboe, and Piano.
   Historically violin recitals have been arranged to present the most serious compositions first and then after intermission the violinist plays a series of salon virtuoso pieces or bon bons. This type of programming works well for flute recitals also.
   When you have selected your concert order, check the key of each piece. If possible, arrange the compositions so there are not two pieces in a row in the same key. Tonic/dominant relationships are always an excellent choice.

Themed Programs
   Successful programs are often constructed around a central theme such as pieces by the French Six composers, pieces by students of Nadia Boulanger, early American composers, or compositions by Pulitizer prize winning composers. Many flute choirs give concerts based on holiday themes such as Halloween or Christmas.

Commissioned Projects
   A premiere performance of a commissioned piece is interesting to the audience. If the composer can be at the premiere, the audience will appreciate the piece even more. Many flutists pool their resources and jointly commission a piece. Each flutist gets to premiere the piece in his local venue. In many cases, the composition may receive five or ten premiere performances.

Difficulty
   Often my students want to program one difficult composition after another. One challenging piece per program is enough. Program selections you play well and can enjoy performing. A recital should be joyous event and not one where you are worrying about whether you will make it or not.

Select a Pianist
   I had a tennis coach who said, “Always play tennis with someone who is better than you.” The same is true for choosing a pianist for your recital. Many students wish to play with an aunt or sister. In all my years preparing students for graduation recitals, I have never had a relative play at a high enough level to be an asset to the performer. Select the best pianist you can afford and prepare to pay him extra. He is worth every penny. 

Attend Recitals
   I recommend going to recitals presented by singers, pianists and other instrumentalists before preparing for your recital. Observe how they deal with these topics. Steal the good ideas and leave the poor ones alone.

Recital Program
   Prepare a printed recital program in advance. The program may be as simple as a two-sided sheet. On the first side, list your name followed by a comma and the word flute. Then list your pianist’s name followed by a comma and the word, piano. List the names of the compositions aligned on the left and the composer’s name aligned on the right. You may list the entire composer’s name or if the composer is deceased, only his last name. List the composer’s birth and death dates after his name or directly underneath his name.
   Movement titles are placed under the composition title and are indented. Copy the movement titles or tempo markings from the piano score rather than the flute part. For compositions by J. S. Bach include the BWV number and for Mozart the KV number. Also include the date, time and location of the program on this side. The reverse side may be used for brief program notes. Write the program notes early in your concert preparation because information you discover could influence how you play the pieces. List the dates for future programs to develop continued audience support.
   Send publicity materials to the music editor of local newspapers. Most editors prefer receiving the information in an attachment to an email. In the email attach your concert program, a photo, a short bio and contact information. If your concert is free, include the statement, “The concert is free and open to the public.”

Practice
   Start your preparation early. If you have practiced well, the moment you walk on stage you can say to yourself, “I am well-prepared and this is going to be fun. I am going to share my insights into this music I love, with you, the audience.” If you have not prepared well, you will lack confidence and be filled with self-doubt. 
   Play several prerecital programs in a variety of locations before the big day. Assisted living facilities and hospitals are always looking for entertainment for their residents. These practice recitals will help you learn to perform and sell yourself. While you might not wear your evening gown for these concerts, wearing the same shoes for each program will help you know if you have selected the proper foot attire. Many opera divas wear athletic shoes under their ballgowns to gain the best body alignment and breath support. This is a great idea for us also.

Stage Hands
   If the stage setup requires a change during the recital, hire a stagehand. Practice the setup changes during the dress rehearsal. Professional stagehands mark the stage floor with tape indicating the position of the piano, each chair and music stand for the best sound and visual effect. A well-organized concert will move swiftly and effortlessly.

Sleep, Eat, and Hydrate
   Several weeks before your performance start adding fifteen minutes more of sleep per night until you work up to an extra hour of sleep. Storing sleep ahead has been proven to help you play your best and keep your focus. Obviously you should eat well and drink enough water as well. 

Payroll
   Prepare payment checks for your pianist, guest performers and stagehands before the performance. Place the check in an envelope with a hand-written note thanking them for being part of your recital. Present the envelopes at the conclusion of the recital but before the reception if there is one.
   Your first recital is the most difficult one to give. There are many details to work out; however, every recital you present in the future will become easier and more fulfilling for you and the audience.

The post The Big Recital appeared first on The Instrumentalist.

2.    Determine which note is the high point of the phrase. The high point of the phrase (which isn’t necessarily the highest pitch) receives the most emphasis. Notes before the high point lead toward it (crescendo), while notes after the high point lead away (diminuendo) from it.

3.    When looking for the high point(s) of a phrase, always consider the metric accents. Beat one is often the strongest beat in the measure so look there first. However, when modern composers want to shift the high point or point of inflection, they often change the meter.

4.    Emphasize motion. Within a phrase, some notes have more motion than others – both rhythmically and harmonically.

5.    Lean on the first note of a slur. This was one of Louis Moyse’s cardinal rules of phrasing.

6.    Sing phrases before playing them. Pay careful attention to which notes naturally receive the emphasis. Play the phrase on the flute using the air in the same manner.

7.    Be aware of the flute’s natural tendency to play louder and project more in the high octave. The craft of compensating for this natural tendency, when the music demands something else, should be developed. Maintain-ing the same dynamic level on a descending melody, for example, may actually require a crescendo.

8.    Execute inflection within the mood of the music. If the music is playful, bounce or poke the points of inflection. However, within more expressive moods, gently emphasize or caress the high points of the phrase.

9.    Give long notes direction. Some-times a long static note is desired, but most often long notes are leading somewhere (crescendo) or falling away from a point of inflection (diminuendo).

10.    Crescendo on a tie. When a long note is tied to proceeding shorter note values, (for example a half note tied to four 16th notes), crescendo on the tie, thereby making the shorter notes sound as if they grow out of the tied note. Too many wind players leave dead spots between ties and shorter note values, which interrupts the flow of the phrase.

11.    Learn to play perfectly in time unaccompanied. This is the most difficult rhythmic discipline because there is not anything else to synchronize with. Longer note values have a tendency to be rushed. Developing this ability is essential for successful orchestral auditions.

12.    When making a crescendo, compensate for the natural tendency to rush. When playing legato, make the notes feel slightly longer as the crescendo is made. When playing staccato, make the spaces between the notes feel longer.

13.    When making a diminuendo, compensate for the natural tendency to drag. Legato notes should feel shorter in length as if rushing. Spaces between staccato notes will similarly feel shorter.

14.    To play evenly, anticipate key resistance. Many inexperienced flutists move their fingers as if typing on a computer keyboard where all key resistance is equal. As a result, they rush and drag as the key resistance changes from note to note. For example, ascending scales are more resistant than descending scales. When ascending, we lift the weight of the fingers against gravity. All flutists know which fingering combinations are more resistant and take more strength and energy to execute in tempo. By consciously anticipating these differences, playing becomes more even.

15.    Staccato length is determined by the mood of the music. Staccato means separated (not necessarily short). Longer staccato notes with less space can be used in lyrical passages, while playful, energetic passages call for a shorter staccato length. There is no standard rule – experiment.

16.    Slow movements automatically mean maximum note lengths. Play the last notes of phrases up to the following rests. Any shorter note lengths will be indicated by the composer.

17.    When making a crescendo, articulation strength should increase exponentially. Instead many flutists lose the clarity of articulation. When adding more air to play louder, articulations should feel much stronger (more air pressure behind the tongue).

18.    Increase the depth or amplitude of the vibrato during a crescendo. Otherwise, as a note becomes louder the presence of the vibrato diminishes.

19.    To balance large ascending skips, crescendo through the lower note, then play the upper note at a volume that matches the lower note.

20.    When playing after a short rest, (for example, a 16th rest followed by three 16th notes), think of entering early so the notes can be stretched out evenly within the beat.

21.    Do not drag when playing repeated notes. This is a natural phenomenon on all wind instruments. Think of moving repeated notes forward.

22.    The great players often use slight rhythmic distortions to bring music to life. Playing exactly even and perfectly in tempo can be musically boring in many situations. For example, in Prokofiev’s famous Peter and the Wolf solo, playing the G-major seventh arpeggios evenly doesn’t quite recreate the darting and dashing flight of an excited bird. Rushing forward slightly as the arpeggio descends brings the birdlike free flight to life.

23.    Make use of unmeasured rubato such as in Romantic Era pieces. Let the tempo bend and flex as the moods and dynamics change; rush for crescendos and relax for diminuendos. Roger Stevens (former flutist with the Los Angeles Philharmonic) called this technique ebb and flow. For example, when performing the introductory solo in Debussy’s Afternoon of a Faun, instead of counting steady eighth notes, try rushing forward slightly during crescendos and slowing during diminuendos. Overall it works out to be about the same amount of time as playing with a steady pulse, but it is much more expressive.

24.    Make use of measured rubato. Within a steady tempo, slightly adjust the distribution of notes while keeping the tempo steady. For example, stretch the first 16th note and rush the second, third, and fourth so the following downbeat occurs on time. This example is a common use of measured rubato for the interpretation of appoggiaturas in urtext editions of Mozart flute concerto scores. Editors in other editions have changed the appoggiaturas to straight 16th notes. Mozart wrote the important 16ths as appoggiaturas so they would be stressed.

25.    When playing in the Classical Era style, remember these three national influences: German precision, French elegance, and Italian bel canto. For German precision, execute all rhythms and note lengths precisely and consistently. For a French elegance, play with a certain amount of lightness.  The 18th-century Italian bel canto opera style includes effortless technical facility and lyrical sensitivity.

26.    Keep all your button holes the same size. This was a favorite quote of Harold Bennett (former principal flutist with the New York Metropol-itan Opera). He was referring to maintaining the same note lengths within a phrase. This helps maintain the mood that has been established.

27.    To play lightly, take the weight off phrase endings. Emphasizing the last note of a phrase creates a heavy cumbersome mood.

28.    Follow the contour of the line dynamically. This was one of William Kincaid’s favorite phrasing axioms. Crescendo as a scale or arpeggio ascends and diminuendo on the descent. This can be used effectively in the same Prokofiev arpeggio mentioned in #22.

29.    Strive to eliminate flarp! When flutists play ascending intervals they tend to go sharp, while descending intervals tend to go flat. Practice octaves with a tuner. If the tuner displays a correct octave and it sounds flat on top or sharp at the bottom, you
suffer from……flarp!

30.    When interpreting a piece of music, the first place to look is the upper right hand corner of the page. In other words, look at the composer’s name. Your main role is to interpret the ideas of the composer – always consider his marks and suggestions before attempting to add or change anything.

The post Remedies for Style and Phrasing appeared first on The Instrumentalist.

1.    If one is available, listen to a recording of the piece or to other music by the composer to get a concept of musicality and style.
2.    Look at the title of the piece and think about what it means or implies about the piece’s style.
3.    Know what key the piece is in.  Practice scales and arpeggios in that key.
4.    Look up foreign terms or markings in the music that you don’t know.
5.    Check that you have learned all of the rhythms accurately.
6.    Practice with a metronome.
7.    Speak, sing, clap, and conduct difficult metric or rhythmic changes.
8.    If the piece is performed with piano, study the piano score.
9.    Use creative exercises to solve technical problems.
10.    Group runs or sequences of more than four notes into smaller groups for greater technical understanding and accuracy.
11.    If the piece has trills, make sure you use accurate trill fingerings.
12.    Plan the number of revolutions in the trills, and know which note the trill should start from and how it should resolve.
13.    Check all details pertaining to articulation, dynamic, and stylistic markings.
14.    Practice difficult intonation passages with a tuner.
15.    Plan the breathing, not only for necessity, but for the phrase structure of the music.
16.    Investigate any special fingerings or techniques.
17.    Check whether you are using the highest quality and most efficient sound on all notes.
18.    Have a plan, intention, and function for every note of the music.
19.    Record yourself in the practice room, listening carefully for all of these elements.
20.    If you are still not sture what to do after looking for all possible solutions for questions, make a note of the passage in question to ask at the next lesson.

   Be your own best teacher. Have respect for yourself, your teacher, and most importantly, the music. Use lesson time for reaching new levels, not fixing basic errors that should be solved in the practice room. No matter at what level you are, set goals and see how much you can achieve.

The post Am I Prepared For My Lesson appeared first on The Instrumentalist.

Gaubert’s Flute
   In 2003, a student approached Duchamp requesting lessons. She said that she had played the flute before and wanted to resume because there were flutists in her family. Three years later she entered Duchamp’s class holding an old flute case. It belonged to her mother-in-law, Yvette Poire-Gaubert. Mme. Poire-Gaubert had heard one of Duchamp’s recordings and wanted his advice on this particular old flute. It was Philippe Gaubert’s flute, the Louis Lot Nº 1986.
   Yvette Poire-Gaubert, the only living heir of Philippe Gaubert, had another request – that Duchamp review the music of Philippe Gaubert that she had stored in her basement for over 60 years. “This was the gift of a lifetime. I couldn’t believe it. When I first saw the flute, it was in horrible condition. The case was completely broken. I went to a flute repair specialist and checked if it was real. We looked in the register and confirmed that it was legitimate.”  
   For three years, Duchamp held onto the flute in its tattered condition, and periodically tried to communicate with Yvette, who remained reclusive. His only recourse for communication with her was through his student, Aurelie. Over time Duchamp eventually earned Poire-Gaubert’s trust, and she gave her permission to proceed with repairing the flute.
   Duchamp brought the flute to Philippe Roellandt in Paris for the major overhaul it needed, probably the first in nearly a century. “Everything had to be done on the instrument. He took everything off and just observed it for several days. He was prudent to do thorough research, so that he could repair it in a way authentic to the period, and not in the modern manner. He researched the pads and the glue that were used in the era and fabricated them himself. When he started, I was very impatient because I thought it would be like a normal overhaul! When I saw his work, however, I was very impressed.”
   After the flute was repaired, Duchamp had his first meeting with Yvette in 2009. Yvette had been married to Gaubert’s step-son, Alain, who died in 2000. Gaubert told her that she could have his music when he died, but once she received it, she didn’t have a chance to go through it because she was busy with her husband’s movie business. “When her husband died, she started organizing Gaubert’s things and wrote a book, but didn’t want to publish it. I read it, and it’s fantastic. She tells some funny anecdotes about the family. It is a very personal work, and would need to have some work in order to be fit for publishing. She is now 92 years old.”  
   Gaubert left quantities of materials to his step-daughter-in-law, which she housed in her basement – photos, letters, and many original manuscripts, some unpublished, including a work in progress only a few bars long titled  Boules de Neiges, which is dedicated to Yvette. Duchamp will be performing some of the unpublished works for the first time in his U.S. tour. 
   Also among the original manuscripts were those for the works that are known by most flutists: the Fantaisie, the Nocturne and Allegro Scherzando, and a lot of melodies for voice. “In my initial meeting with Yvette, she showed me Gaubert’s original Fantaisie – a piece I had studied since my youth. When I saw it, I noticed that there was a piece of paper on top of the cadenza with an alternative cadenza. The first published edition by Salabert had a cadenza, but Gaubert wanted it corrected. For the second edition he put a new paper on top. The first edition of 1914 no longer exists. What we play is his second edition cadenza. I think the second version is better, but I played the first cadenza in Weill Hall in Carnegie in January 2011.”
   Of the correspondence Gaubert left to Yvette, there were letters from Paul Valery, Camille Saint-Saens, Georges Enesco, and Richard Strauss, among other famous personages. According to Duchamp, he now has enough to work on a new Gaubert biography.
   Duchamp has encouraged Yvette and her family to organize and preserve the materials. “She explained that they have already done a lot of work in this regard. In fact, a long time ago she wanted to make a gift to the Paris Opéra. She brought them a box with the flute, his manuscripts, and his baton, but they said they didn’t care. They put the baton in the garbage! To them, Gaubert was a director like everyone else and therefore they weren’t interested.
   “It’s a shame because now I think they will be interested. In the last 10 years they have changed and the Bibliothèque Nationale de France has a huge music department that does preservation. We will talk about this possibility with Mme. Poire-Gaubert.”
   After overcoming her initial hesitation to become public with the historical treasures, Yvette has fully supported both recorded and live performances, including the current U.S. tour. Starting in 2010, a renaissance of Gaubert’s orchestral works began, with the recording of Gaubert’s ballet, Le Chevalier et La Damoiselle (Timpani) by Orchestre Philharm­onique du Luxembourg, under conductor Marc Soustrot.
   Duchamp’s project, “Gaubert Vivant” is a large part of this Gaubert revival. He and his pianist McKenzie will not only tour but also record live performances on the Gaubert flute. “In October 2009, we organized our first free concerts in Paris based on the works of Gaubert and his friends. We performed in conjunction with an exhibition of all the documents associated with the Gaubert flute. Yvette spoke at the event, especially about Gaubert’s Souvenir.
   Duchamp had begun thinking about a Gaubert project shortly after meeting Yvette. At the invitation of the French music production company, Cap Musique France, Duchamp began production on a documentary film using the artifacts and manuscripts in Yvette’s holdings. His idea was to pair the film with a live performance of not only Gaubert’s works, but also those of Taffanel. “Gaubert Vivant” (“Gaubert Alive”) was born. 
   The film started production in October 2009 and was finished in June 2010. The main difficulties arose in sifting through mountains of materials to compile the components, and in refurbishing the photos and other documents. Yvette helped to fund the project, and there were a lot of passionate volunteers as well.
   The result was an overwhelming success at the British Flute Society Convention, and is now in the U.S. for over a year’s worth of performances at universities and concert halls throughout the country. The performances will offer a 55-minute film, including interviews with Yvette Poire-Gaubert, interspersed with the silken sounds of the original Gaubert flute performing not only Gaubert classics but never-before-heard gems resurrected from the Gaubert archives.  Also included on the program will be the Scherzando performed from the original manuscript, showing Gaubert’s corrections to the score.
   Having the Gaubert flute quite literally fall into his hands was life-changing for Duchamp and his discoveries and efforts will affect generations of flutists and audiences. According to Duchamp, “More and more I feel the spirit of Gaubert.”

Philippe Gaubert

   “Jules Taffanel, the father of Paul Taffanel, discovered Philippe Gaubert. After giving Gaubert a free lesson he sent him on to his son, Paul. Through Taffanel, Gaubert entered the Conservatoire de Paris and eventually took over for Taffanel as the professor of flute. Gaubert also received Taffanel’s baton, taking over his positions conducting the Paris Opéra and the Société des Concerts du Conservatoire. Gaubert began conducting without classes and was a highly gifted conductor and composer. He studied counterpoint and fugue at the Conservatoire de Paris.”

Nº 1986 Louis Lot Flute
   According to Duchamp, Gaubert bought the Nº 1986 Louis Lot flute when he was around 17 or 18 years old, in approximately 1886. It was manufactured in 1874, but Duchamp is uncertain from whom Gaubert purchased it. “I thought it was from Paul Taffanel, but it wasn’t. I think Taffanel also played a Louis Lot. Gaubert had this instrument when he started to play at the Paris Opéra. It is a late production Louis Lot. The Louis Lot flute was ideal for playing impressionistic/transparent music. The way to compose and build instruments went hand in hand. At the beginning the Lots weren’t always Boehm models.”
   Between 1855 and 1876, approximately 2,700 flutes were manufactured with the mark, “L.L./Louis Lot/Paris.” According to Tula Giannini, about 900 of these were metal, usually silver,  around 1800 were Boehm-system wooden flutes and piccolos, and a few were simple system flutes. Lot had collaborated with Louis Dorus on the development of the metal, French-model, cylinder Boehm flute.1 In 1860, Louis Lot became the official supplier to the Conserva-toire de Paris. When Lot retired in 1876, H.D. Villette headed the company until 1882 and was the first in a long line of successors. The Louis Lot mark was by then considered by many to be the highest quality flute ever made. Even Boehm himself was in awe of the brand, ordering 20 keyless flutes between 1855 and 1863. (T. Giannini, 2010)
   According to Duchamp’s research, Gaubert stopped playing officially when he was 40, around 1919. Duchamp theorizes that it was mainly due to Gaubert’s busy schedule composing and conducting. “He worked all night, and during the day he taught at the Conservatoire de Paris 3 days a week. The days he didn’t teach, Marcel Moyse taught since he was Gaubert’s assistant. Gaubert was conducting what is now the Orchestra d’Paris as well as the Paris Opéra.
   “The official reason he quit flute playing, however, is that he had a lip problem. According to his biography, Gaubert served in WWI. He was very patriotic. He loved France and wanted to defend it even though at 38 he was pretty old to be in the military. In 1917 he was kicked out of the French army because of a lung problem.
   “After a bad first marriage, he married Madeleine Poire, who was from a very wealthy and artistic family. She was divorced with two children from a previous marriage. Her son, Alain Poire, was the founder of a big movie company in France, producing 244 successful movies.”

 
Nicolas Duchamp

   French flutist Nicolas Duchamp was born in Bordeaux in 1968 and is the product of the French school of flute playing. He studied four years with his first teacher, Stephane Boudot, principal flute in the Bordeaux Opera Orchestra. After graduating from the Bordeaux Conservatoire he continued his studies with Maurice Pruvot, principal piccolo with the Orchestre de Paris at the national school of Creteil, a conservatory close to Paris. He also studied with Georges Alirol and Maxence Larrieu at the Conservatoire National Superieur de Musique de Lyon as well as Catherine Cantin, Jean-Pierre Rampal, and Michel Debost.
   Since 2004, Duchamp has served as principal flute in the French National Opéra Comique and has performed as soloist with the Paris Opera Bastille, the Nice Opéra, the Strasbourg National Opéra and the Bordeaux National Opera. In 2003 he received recognition from the French Senate and has won prizes in various competitions.
   Duchamp’s grandmother, an opera singer, first introduced him to music. The flute was his first and immediate infatuation. “I wanted to be a flutist since I was three years old. I waited a long time before I started at 11. At that time, teachers didn’t think students should start as early as they do now. I was really craving the flute and pretended to play on sticks or anything I could find. Once I was finally allowed to play, I progressed very rapidly. I think this was because being denied the opportunity to play flute when I wanted to, gave me a lot of energy once I started.
  “When I was 14, I won a first prize in a competition in Bordeaux. Afterward my teacher, Stephane Boudot, told me that I should continue with someone very serious, perhaps even with Rampal in Paris. With this suggestion, I went for a few lessons with Rampal.
   “Rampal didn’t give me too many specific instructions, but he was very energetic. He simply said, ‘Do this and this…’ and then I found that I could do it. His approach wasn’t intellectual – it was magical. He told me I had to prepare for the entrance competition for the Conservatoire. I needed to seriously strengthen my skills and improve my playing quality in order to enter the flute class where I would be exposed to a higher level of playing.”

Early Influence of Gaubert
   After two years working with Maurice Pruvot, Duchamp finished his “superior studies” at the national school of music of Creteil in 1985. Pruvot’s father, who was also named Maurice Pruvot, was a flutist, and had been a student of Gaubert. “He told me a lot about how Gaubert was as a teacher. I practiced a lot and played the Gaubert Fantasie, the Dutilleux Sonatine, and all the French repertoire. It was not only the fashion but obligatory to play this repertoire if you wanted to get into the Conservatoire Superior de Paris or Lyon. The particular demands of this music gives you a profound understanding of the approach needed to perform it, such as exploring the various colors, articulations, vibrato parameters, rhythms, and musical structures. As it turns out, Philippe Gaubert had already entered my life because my musical education was in the tradition of his teaching and music.”

   For more information on the tour, including concerts and masterclasses in the French style, consult the following: ,  . Nicolas Duchamp can be contacted at duchampus@gmail.com.

References
¹Tula Giannini. “Lot.” In Grove Music Online. Oxford Music Online, http://www.oxfordmusiconline.com/subscriber/article/grove/music/17016pg4 (accessed October 22, 2010).

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