The following chart represents the larger corrections and modifications that the editors have made to the flute parts since the publication of the 1989 Kalmus reprint. All entries refer to both score and parts unless otherwise indicated. These editorial decisions have been made after referring to Steven Carl Bird’s doctoral dissertation, “A Preliminary Comparison of the Autograph Score of Maurice Ravel’s Daphnis et Chloe with the 1913 Edition of the Full Score by Durand et Fils” (University of Texas at Austin, August 1989). Mr. Bird frequently consulted with Mr. Nieweg during the preparation of his dissertation, while he had access to Ravel’s original manuscript of the Ballet. Changes using the manuscript are indicated in the chart as Ms. For a listing of corrections for all instruments consult Mr. Bird’s meticulous 256 page dissertation. These changes are included in the 3rd edition score and parts edited by Clinton F. Nieweg and Carol A. Westfall. Published by E.F. Kalmus LC – Catalog Number A6754 ©2012.

   Many books have the wrong instrumentation formula for the Flute section. 4 players are needed: 1 First Flute, 1 Second Flute doubling Second Piccolo, 1 First Piccolo and 1 Alto Flute in G. As listed in the score: 1 Petite Flûte I, 2 Grandes Flûtes (la 2e prenant la 2e Petite Flûte).1 Flûte en Sol

   The many corrections of the pitches in the cues in all parts have not been listed nor have all of the additions and deletions of accents have been listed on this chart. The corrections in this chart are also valid for the Durand (Kalmus reprint A6755) for the Suite II section of the Ballet Score and Flute parts.
   From Reh. 198 to the end many accidentals have been corrected in this 3rd edition. The problem with the pitches in the 5/4 measures: The Durand engraver must have thought that the dotted bar line canceled the accidental and the pitch reverted back to the key signature but that is not the correct musical rule. Also the given accidental is only good for that octave. To make it clear in the score and part some cautionary accidentals have been added. Not as many are needed in the parts but they do help the players in these fast passages.
   Ravel preferred that the Sur la Scène parts for piccolo and E-flat clarinet be played by additional players off stage, although the two solos are cued in the orchestra parts in the Durand original and Kalmus reprint edition.
An excerpt from one of Ravel’s letters to M. Durand is helpful in clarifying many of the tempo errors found in previous editions:

  A telegram from Ansermet, asking for some clarifications about the tempi in the 2nd suite from Daphnis, allowed me to ascertain – which I had already partially done – that complete lunacy presided over the tempo indications: at 176 (very slow) there is: quarter note = 66. It should read eighth note = 66 (in the piano score as well). Further on, in the 4th measure before 180 add a tempo, and in the following measure add twice as fast: quarter note = the preceding eighth note. Therefore, at 180 (lively) quarter note = the preceding sixteenth note (same for piano).
  At 194 (animated) there is no metronome indication for the orchestra. The piano has one, alas! Quarter note = 68; and, more aggravating: Andante! It should be 168. One day, I must reexamine this unfortunate score from beginning to end. (Used with permission of Arbie Orenstein and the Columbia University Press.)

References
Beck, Crafton. “Use of the Dot for Articulation and Accent in Orchestral Repertoire (1880-1920),” Journal of the Conductors’ Guild. Volume X, nos.1, 2. 12-23.
Bird, Steven Carl. A Preliminary Comparison of the Autograph Score of Maurice Ravel’s Ballet DAPHNIS ET CHLOE with the 1913 Edition of the Full Score by Durand et Fils. Doctoral dissertation: University of Texas at Austin, 1989.
Orenstein, Arbie. A Ravel Reader. Columbia University Press: New York, 1990.
Ravel, Maurice. Daphnis et Chloe. Reduction pour piano par L’Auteur. Durand et Cie: Paris, 1910.
Ravel, Maurice. Daphnis et Chloe. Full score. Durand et Cie: Paris, 1913.
Ravel, Maurice. Daphnis et Chloe. Study score. Durand et Cie: Paris, 1913.
Schuller, Gunther. The Compleat Conductor. Oxford University Press: New York, 1997.

Acknowledgments
   Special thanks to Greg Vaught, Principal Librarian of the San Antonio Symphony, for his extensive errata list and Jennifer Johnson, Assistant Librarian, Met Opera for finding further mistakes. The input from conductors Jonathan Del Mar, Charles Dutoit, Rafael Fruhbeck de Burgos, Gunther Schuller, and Mark Wigglesworth was also of great help to the editors. A special thanks to Dr. Steven Carl Bird for sharing his research.

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Should a middle school band director assign only one flutist to play all the piccolo parts?
   Ideally it is best for a director to rotate piccolo parts between the strongest players so they all get experience playing both flute and piccolo. Sometimes this is difficult because the school owns only one piccolo. In this case, rotate the piccolo assignment by concert. Before assigning a flutist to play piccolo, a director should take the time to offer instruction on the differences between the instruments. He should review the notation issue as the piccolo sounds one octave higher than written and explain the basics of embouchure flexibility. I always recommend that beginning piccolo students become comfortable with the lower two octaves before tackling the high register. Then the piccolo player should approach the third octave in stages, first up to written D6, then up to G6, and finally to the top notes.

What should be the objectives with older students?
   With high school students, particularly at those schools with big marching band programs, multiple piccolos are almost always used. For pitch concerns, either there should be one piccolo player or three or more piccolo players. Keeping the piccolos in groups of three or larger seems to mitigate the slight color, pitch, and vibrato variances between players. In fact, some schools put all their flutists on piccolo for field shows and parades, and then for concert season, one or two students will be the dedicated piccolo player, one per concert band. 
   By college most flute music majors have some experience on the piccolo. It is wise to have a rotation in the chair so that students gain experience with the repertory and various artistic demands. Playing piccolo includes extensive solos, tutti playing at the top of the woodwind choir and full orchestra, and counting seemingly endless rests. With experience piccolo players will master the two big challenges: playing softly in the top octave and always playing in tune. 

What should flutists know to be successful on piccolo?
   First make sure that the piccolo is in good condition. School instruments are often so poorly maintained that they are impossible to play. If the instrument has been stored for long periods of time, the pads are often in bad shape and have leaks. Another common problem is pads which hang down into the key cups themselves. Piccolo pads should be quite thin and flush with the keys themselves.
   Piccolo players should place the instrument slightly higher on the lower lip than they do when playing flute. This placement may be on the red portion of the lip to assure the best angle for the air to strike the back wall. Take care to not overly squeeze or press the lips together as this may create a buzzing sound.
   Listen to many recordings to hear the ways the piccolo is used in band and orchestral writing. Piccoloists play with percussion and brass sections more often than flutes do, and the piccolo is often scored as an exotic solo voice. Never try to hide your part when playing the piccolo. Composers know what they are asking for when they write a high note. Many players automatically drop the part down an octave because they feel they might be too loud. It is better to go ahead and soar over the top of the texture. That is the piccolo’s role in the composition. Approaching the instrument with confidence goes a long way toward success.

How long should one practice the piccolo in each practice session?
   I usually practice piccolo about 30-60 minutes a day. I almost always learn notes on the flute and then transfer over to the piccolo. Because the piccolo is so much smaller, there is a different feel to technical passages. Keep the fingers quiet and don’t allow them to rise too high off the keys. Keep awareness on posture as there is a tendency to hunch over this tiny instrument. Sit tall in the chair (if you are seated to practice) and think of elongating the spine through the crown of the head (if you are standing). Remember to  stay upright yet relaxed. Watch that the right shoulder does not rise due to the more contracted stance of the arms and hands.

How should the piccolo be aligned?
   The center of the embouchure hole of the piccolo headjoint should be aligned slightly in front of the center of the keys so the lips do not cover too much of the hole.

How do you tune a piccolo?
   Very carefully. It helps to know which pitch standard the group is using, whether A=440, 441 or 442, as this will make a difference in the setting of the headjoint. It also helps to know the pitch level of your piccolo. For example, if the group plays at 442, and you own a piccolo pitched at 440, even if you are pushed in all the way, you may have trouble getting your A high enough, and you will skew the instrument’s scale (the way it plays in tune with itself). If your instrument is pitched at 442 and the group plays at 440, you may need to pull out slightly more overall. I play a 442 instrument as it gives me more flexibility in general with our orchestra, which has the pitch standard set at A=441. I always find it easier to come down to a pitch rather than come up to it. The headjoint is pulled about 3-4 mm (millimeters) from the body.

How do you choose which piccolo is best for different settings?
   When playing outdoors, a resin, resin and silver combination, or all-silver piccolo is the best choice for all weather conditions. Wood piccolos are made with a conical bore which improves intonation and response so they are a better choice for indoor playing. Some flutists are more comfortable playing with the lip plate that is standard on silver headjoints. Today there are many options available so explore until you find something that is comfortable.             

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   Why am I training all these young music majors for a career as a professional musician, when making a living as a professional musician is such a long shot, and especially so in this bleak economy? Teachers struggle with this question, as well as with how to balance encouragement with reality checks. The sad truth is that professional orchestras are folding, public and private schools are cutting music positions, and parents are becoming less eager to fund private lessons and upgrades in instruments. At auditions for highly competitive graduate programs in music, applicants are often asked if they have a Plan B. Until recently majoring in music education was a fairly safe option. Lawrence University, where I taught for many years, used to have a 100% placement rate of music education majors finding jobs within a year of graduation. That percentage has dropped as the economic downturn has reduced the number of music positions available.
   So what do you tell an aspiring young flutist or the parent of a child planning to major in music? I was fortunate to teach at an institution that offers a very real solution: the double degree program which allows a student to obtain a Bachelor of Music degree in performance or music education and a Bachelor of Arts degree in another field. The program takes five years. During the time I was the flute professor at Lawrence, double degree students typically made up a large portion of the flute studio.
   Not all students who enroll in the program complete both degrees, but even those who do not receive a couple of years of classes in both majors.  This enables them to make a more informed decision about which path to choose. This program is better than simply taking two majors. Because of the high number of college courses, a typical BA student cannot fit hour lessons into the program most semesters nor practice several hours a day. The extra year of study allows students to have the best of both worlds: sufficient time to practice as well as the academic challenge of a liberal arts or science major.
   More and more colleges offer this option, but some schools are better than others at integrating the two degrees. For instance, the school might schedule science labs during times that do not conflict with performing ensembles or make sure that athletic coaches are aware of the ensemble rehearsal and concert schedules.
   The double degree, even at the best of schools, is quite demanding. Students will typically have several semesters of overloads, especially if they are music education majors. Most of my double degree students were performance majors, which meant they had fewer course requirements than their music education peers. (Of course, that is offset by the additional practice hours.)
   The most successful double degree students are not only bright, but also good at managing their time. While I am always proud of those students who make it as professional performers, I am equally proud of those who chose to pursue careers in fields connected with their BA degrees. Former students from my flute studio have enrolled in law school and medical school, and in graduate programs in history, psychology, social work, religious studies, biochemistry, and astrophysics.
 

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The Story
   Daphnis and Chloe is based on a novel written by the Greek poet Longos in 2 A.D. Daphnis and Chloe are two children who are abandoned at birth by their parents and raised by shepherds. As they become older, they form a naive but strong attraction. In the course of the story Chloe is abducted by pirates and then rescued through divine intervention by the god Pan. When the couple is joyously reunited, they declare their love, marry, and are recognized by their birth parents.

The Ballet
   In 1909 the Russian impresario Sergei de Diaghilev commissioned Maurice Ravel to compose the Daphnis and Chloe Ballet for his Ballets Russes. The premier was June 8, 1912 at the Théâtre du Châtelet in Paris. The premier performance was conducted by Pierre Monteux with choreography by Michel Fokine. Vaslav Nijinsky danced the role of Daphnis and Tamara Karsavina danced the role of Chloe. Stage and costume design was by Léon Bakst.

The Music
   Maurice Ravel referred to the 55-minute long composition as a symphonie chorégraphique which Diaghilev said was more symphonie than chorégraphique. The ballet in three parts is scored for piccolo, 2 flutes (2nd doubling piccolo), alto flute, 2 oboes, English horn, E flat clarinet, 2 clarinets, bass clarinet, 3 bassoons, contrabassoon, 4 horns, 4 trumpets, 3 trombones, tuba, timpani and a large percussion section, 2 harps, wordless choir, and strings in 8 parts. In a later production in London in 1914, Diaghilev omitted the chorus parts which infuriated Ravel. Ravel extracted two orchestral suites of which Suite No. 2 has become a staple of the orchestral repertoire. A free score of the complete ballet may be downloaded from www.imslp.com. 

First Step
   Watch the complete ballet. There is an excellent production online of the Royal Ballet choreographed by Frederick Ashton. This performance was created for the reopening of Covent Garden. The orchestra is the Orchestra of the Royal Opera House. The famous flute solo is on the video D & C No. 8 in this nine-video upload (Part 1: , part 8:).  Then listen to the ballet with the orchestral score. ArkivMusic () is an online source for vintage recordings. There are over 51 listings for the complete Daphnis and Chloe Ballet and 103 listing of the Daphnis and Chloe Suite No. 2. You may select the recording by orchestra or conductor. Of special interest is a recording conducted by Philippe Gaubert with Marcel Moyse playing principal flute.

The Solo
   At the end of Part 2, Chloe has just been rescued from the pirates. After the sunrise beginning at rehearsal 155 the couple is reunited and they decide to enact the story of Pan and Syrinx (rehearsal 172). At rehearsal 175 Chloe disappears into the reeds. Daphnis makes a flute from the reeds and plays a “melancholy air,” during which Chloe reappears and “dances to the accents of the flute” (rehearsal 176). This is the solo discussed in this article. Finally she falls into Daphnis’ arms at rehearsal 187 and at rehearsal 193 he declares his love for her. The ballet ends with a celebratory dance.
   For clarity in this article, the 26 measures of this solo have been renumbered 1 – 26, beginning at rehearsal 176. The passage is marked Très Lent, quarter = 66, but should read, eighth = 66. In performance the tempo tends to be a bit slower, so for auditions I have chosen a tempo of e = 58 or 60. The solo flute is accompanied by strings, harp and two horns and the dynamic marking is p.
   The solo is in F# minor over a double pedal point of pizzicato F#2 and C#3 in the double basses. The validity of the notes of the opening scale has been questioned through the years. The Durand/Dover score starts on the third note of an F# natural minor scale. Flutist Claude Monteux, whose father Pierre Monteux conducted the premier performance, said his father preferred the D natural and E natural version.
   The piano reduction (made by Ravel himself) starts on the third note of an F# melodic minor scale; while in Ravel’s autograph score, the scale is written with a D# and an E natural. (The Ravel autograph score may be found at The University of Texas at Austin Fine Arts Library in the Carlton Lake Collection.) Several conductors have suggested the scale should be played with a D natural and an E#, making the scale an F# harmonic minor scale. Conductor Philippe Gaubert’s 1928 recording, for which Ravel was present, uses the F# melodic minor scale. Technically, I find the F# harmonic minor version most comfortable. You can choose your favorite, but in an audition you will have to play whatever is in the provided music and in performance, consult the Maestro. Check the accompanying errata on page 23 for other discrepancies in the flute part.

The Basics
   Start with rhythm. Many players have been dismissed from an audition due to poor rhythmic control in this solo. The pizzicato fourth beat C# and downbeat F# in the basses and then a second beat pizzicato offer a rhythmic structure which gives the passage a dance-like character. The third beat is deemphasized throughout. Avoid rubato because the rhythm is already complex enough. Practice the solo exactly in time using the metronome with special emphasis on holding out the long notes correctly. After a few practices with the metronome, record yourself without the metronome to check your accuracy. The markings suivez le solo and expressive et souple should not be taken as license for excessive liberties especially in an audition.
   This is very descriptive music, so use tone and vibrato creatively. Explore the entire range of possibilities and get down deep under the skin of the solo by using the tone as your voice, changing timbre to express what you are saying and varying the vibrato according to a plan. As a general rule start the vibrato at the beginning of the note. Vibrato is a rhetorical device and should not be overstated, substituted for tone, or interfere with rhythm and intonation.
   Intonation challenges abound, especially with the B, C#, D# and E# just above the first octave. Lack of tonal focus on these notes can distort intonation. Sometimes we get used to hearing ourselves play out of tune, so it can be difficult to change these habits. Use a tuner, but also establish a good structural tuning sense. For example, start with the high G# in measure 4, then adjust the C# in measure 7 to this, then the octave C# in measure 9, and so forth. Then work on intonation with the secondary, faster notes taking dynamics into account.
   The solo explores a large dynamic range. One problem is that the solo begins softly in the high register, so be careful not to play too loud at the start or the dynamics which follow will sound no different. Measures 22-25 deserve special attention.
   Harmony and phrasing are interdependent. Playing this solo without at least a general understanding of the harmony is like driving into Boston without a map. Don’t simply resort to a series of banal phrasing clichés because conductors and audition committees know the difference. To stand out from the crowd and sound convincing, you must connect your phrases to the harmony. (Refer to the piano reduction in the Orchestral Excerpts for Flute by Jeanne Baxtresser, Theodore Presser Company) Either record the piano reduction or have a friend play the accompaniment so you can practice playing the solo line while listening vertically to the accompanying chords. Know which chord is coming next and plan out the phrases. None of the chords in the solo resolve in the traditional sense so you must constantly shift tone and dynamics within the larger context of the phrase.
   The sound for this solo is that of dominant, minor and half-diminished seventh chords which are created by independently rising chromatic voices in the strings, muted horns, and harps. The dominant creates a traditional instability, the half-diminished chords create a slightly chaotic feeling, and the minor sevenths are more stable and soothing. The pedal pitches of the basses and French horns provide points of reference. Tonal harmony implying F# minor and modal and related keys is veiled in the background. Sometimes, especially later in the solo, the 7th chords clash directly with F#. The chord progression and harmonic rhythm build tension subliminally throughout the solo, reflecting the heightening attraction of Daphnis and Chloe, but there is no peak in the traditional sense. Once you are familiar with the harmony at the piano, focus on your own emotional response to the chord changes supporting the melody. How do the chord transitions make you feel?

The Specifics
   Rehearsal 176, Measures 1-11: During the first three measures, carefully subdivide the beat with the conductor. Take a big breath and play the opening scale in measure 3 lyrically and in tempo, with a very fast air column. Using the scale as springboard, fill the flute with air to ensure that the G#6 will be secure.

measures 3-4

   Mentally map the movement of the embouchure. Remember the aperture size becomes smaller as you ascend. The dynamic is p, but don’t start the scale too softly or the top G# will sound too loud. This is a study in playing softly and beautifully in the top register. For security first practice the G#6 by itself by overblowing the low register fingering, keeping the throat open. You may also overblow the G#6 with a C#5 fingering. Practice the G#6 alternating the three fingerings. I use the G#6 fingering with right hand middle and ring finger added for a more mellow tone and to bring the pitch down, if necessary.
   The harmony in the orchestra is static and veiled for these first six measures of the solo, perhaps representing Pan’s melancholy (meaning something closer to lassitude in Ravel’s day). Play the repeated G#6 in the first phrase with direction, giving a little push approaching the A6 naturals. The G#6 harmonically seeks the A6 natural, symbolizing Daphnis’ yearning for Chloe, but don’t be too passionate yet, it is just the beginning. Keep measures 6-8 together as a unit with a subtle overall phrase concept and don’t stop and start the vibrato too often. You could treat measure 6 as a point of emphasis since it is the third G#6 in a row.
   Breathe quickly between the G#6 notes in measure 6 and then drift down the chromatic triplets. The downbeat of measure 7 is not a resolution. Breathe quickly again after the repeated C# notes and then respond to the change of harmony by playing a bit louder or softer and subtly changing the vibrato width and speed. This is a warmer half-diminished sonority as the dissonant D and C naturals move up to consonant D# and C#. Playing softer here draws out the gentler inquiring nature of this turn of phrase. Maybe Chloe approaches Daphnis at this point in her dance. If you crescendo on the 16ths in measure 7 don’t overdo it, as in measure 8 again the chord does not change. It is easy to treat the downbeat as a false arrival point.

measures 6-8


   In measures 7-9 good intonation is crucial. Don’t be too flat on the B6 because when you take your left thumb off for the C#6 the flute will have a tendency to roll back. Balance the flute well in your hands. Match the C#s in both octaves. C#6 will have a tendency to be flat and C#5 sharp. Be conscious of the vibrato’s effect on phrasing. For example, if you emphasized the downbeat of measure 8 by using more vibrato, then deemphasize that of measure 9, or vice-versa. Play the falling figuration in measure 8 lightly and imaginatively. Color the C#5 in measures 9-10 gently, with a very open throat and oh shaped vowel to reflect the pleasant harmonic shift.

measures 9-10

   Lean gently into each of the 16th notes in measure 9 to lend a sighing quality to the end of the phrase, and do not slow down. The arrival at the C# in measure 10 is a point of low energy. Good breathing so far in the solo now pays off. Breathe between the C# notes in measure 10 and relax here with your most lovely C#. Delay the added crescendo until you hear the chord change in measure 11, and don’t speed up the tempo.
   There is a sense of a new mood at measure 12. Ravel is using traditional expectations a bit more strongly as D and A major are implied in the background. Bring out the dynamic contrast by playing the printed mf B5 with a full, focused tone and passionate vibrato. Stay strong into beat 2 of measure 13 when the chord changes to E dominant ninth, keeping the vibrato very warm. Diminuendo all the way to pp going into measure 14 as the harmony rather unexpectedly relaxes again on beat 2. Perhaps Chloe is teasing Daphnis a bit at this point. Gradually accelerate the repeated B5 in measures 14-15, playing them very staccato for clarity and withhold the crescendo until beat 2. You can switch to double-tonguing as the notes get faster, but practice this carefully so the tone does not change. Avoid accenting the sextuplet in measure 15 or rushing the ascending scale at the end of the measure.
   The B6 in measure 16 is the loudest point in the solo, as the rude surprise of E# half-diminished 7th chord clashes strongly with the F# in the bass. Slur into the downbeat B6, breathing quickly between the repeated notes. Maintain top intensity through the arc of the phrase to the A# and resist going sharp. Tension in the harmony still remains in measure 17, so don’t start your diminuendo until beat 2. This is another intonation hot spot. Keep a wide interval between D# and E# and visualize the differentiated movements of the embouchure clearly. Breathe quickly after the 3rd beat in measure 17 and focus on staying in tempo. Relax the tone a bit with a slight diminuendo, as the harmony relaxes into a D# minor seventh in measure 18. As you diminuendo, keep working to match the tone color of the D#5 with the notes around it. (Tone Tip: As a general rule for D#5 and E#5, use a slow moving air column, combined with a low, relaxed jaw position, as if playing the notes an octave lower. Make sure you are not covering the embouchure hole too much and maneuver the lower lip forward to prevent flatness of pitch. The throat must be very open and the embouchure relaxed. The softer the note, the further forward the lower lip must be.)

measures 16-18

   Practice the notes in measures 17-19 in different patterns for ease of tone production and intonation.

Change the color and go to pp rather suddenly as you approach the retenu legerement (slightly held back) in measure 19. Get your most expensive, intimate tone here. A big breath in measure 17 pays off as you sustain the A# until beat 2 of measure 20. The chord remains the same in measure 20, so don’t overdo the crescendo. Save your air and remain at a slightly slower tempo.
   For the scale in measure 21 you need a strategy. Don’t start too softly or slowly and take lots of time towards the top. Move the lower lip gradually forward as you diminuendo to avoid flatness and keep the air moving fast, mapping the embouchure motion. Experiment by grouping this scale by 2s and 4s to discover what works best for you with the rallentando.

measures 21-22

   Measure 22 (“au Mouvt., or Tempo 1”)is a special moment in the solo and the most challenging for dynamics, ppp. Work for an ethereal sound as you approach the top of the scale in measure 21. The atmosphere which has built up for the last 21 bars now dissolves with a total change in the accompaniment. Enjoy this moment. I like to use the following fingering for the D6: TH 0234,1004. Roll the flute towards you a bit to prevent sharpness and keep a very fast air column. Withhold the crescendo in measure 22, then keep the jaw relaxed and make a very large crescendo with lots of vibrato in measures 23-24. In measure 23 go back to the standard D6 fingering but match the tuning to the previous D6 and get a big breath without disturbing energy or the rhythm.
   When you reach measure 24, sustain the forte a bit, then quickly come back to p while you maintain the air speed and raise the air column by moving the lower lip forward. Don’t roll in here or you will play flat. Take time leaving measure 24 to suspend the tension of this A flat ninth chord (your D natural is a suspension). Keep the tone full in the lower notes as you descend. Make a large retenu in measure 25, but rhythmically pace the end of the bar in relation to the previous 16th-note triplets while continuing to diminuendo. For the final C6, it is very important to keep the pitch up. When you remove the left thumb for this note, keep the flute balanced and do not let it roll back toward you. If you must breathe before measure 26, do it very discreetly.
   This solo intimidates many flutists because it requires great tone and rhythm. Remember Stravinsky said the greatest freedom is within the form. With an organized approach, inspiration, and enjoyment from a deeper study of Daphnis and Chloe, mastery of these challenges may come more easily than you thought.

Note: I would like to thank Robert Willoughby, Walfrid Kujala, David Robertson, and Peter Henderson for their valuable insights.

* * *

Characterization Example for Measures 1-16
Measures 1-2: Dreamy, Misty, Distant
Measures 3-5: Yearning, Disoriented
Measures 7-8: Warm, Questioning, Tender
Measures 9-10: Languorous, Desirous, Melancholy
Measure 11: Expectant
Measure 12: Delighted
Measure 13: Hopeful
Measure 14: Hesitant
Measure 15: Insistent, Desperate
Measure 16, Rebuffed, Shocked, Anguished

Design An Interpretation Strategy
   On a separate copy of the solo show the following:
1. Working in small sections, shape the longer primary notes and shorter secondary notes, deciding degree of emphasis, dynamic nuance, and direction for each.
2. Plan the following aspects within each area: vibrato use, air speed and direction, aperture size and embouchure position, breathing, attacks, and releases.
3. Designate notes for special timbre changes.
4. At appropriate spots, indicate reminders for execution, such as “keep fingers close to keys.”

Helpful Hints: Making a synthesis of your playing takes time, patience, and ease with the fundamentals. Begin with simple melodies, work on each aspect separately, and then slowly start to blend elements as they become easier and more instinctive. Base your decisions on observations of all aspects of the piece and the character of the passage. Beyond the composer’s printed indications, these elements may include harmony, form, rhythm, and articulation.

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   Flutist Trudy Kane was principal flute of the Metropolitan Opera Orchestra in New York City for 32 years before accepting a position as professor of flute at the Frost School of Music at the University of Miami in 2008. Kane earned her bachelor and master’s degrees from The Juilliard School where she studied with Julius Baker. She can be heard on soundtracks of many film scores, and of course on many of the Live from the Met videos.

What were some of the challenges working in Metropolitan Opera Orchestra?
    Operas are long. A 90-minute symphony concert is equal to one act of some operas. Most operas have three acts. Often we had a rehearsal earlier in the day as well.
    For most operas we rotated the personnel to fit the schedule, so it was not unusual to come in and not know with whom you would be playing. There are four flutes on full time salary: two principals, a second flute, and a piccolo. There is also a pool player who is always the first to be offered any extra work. Extra players are called in as needed.

What was your typical schedule like?
    Every day and week was different. Rehearsals are as short as 21/2 hours or as long as 5, occasionally longer. Performances range in length from the occasional short ones such as Salome, Elektra, and Wozzeck to Gotterdamerung (6 hours). Each musician is contracted for four performances a week, and the number of rehearsals is variable. Since singers never rehearse and perform on the same day, a dress rehearsal is always a few days before the opening night. It would not be unusual to play three different operas in two days. Occasionally, I would play as many as five different operas in three days. 

What was the audition process like?
    I took four auditions for the Met. I won the third audition for the position of second flute. There were over 125 applicants for that position, and 85 flutists actually auditioned. The Met sent out the audition materials (which was not the norm at the time). This was before the days of a recorded preliminary round.
    I played second flute through the third week of the season when James Politis, principal flute, became ill. I then began playing principal flute. Even more players auditioned for the principal position six months later (my fourth audition), but fortunately I won that one as well.

How did you prepare for the audition?
    I practiced as much as I could. I was free-lancing and quite busy performing at the time of my audition for second flute. For the first flute audition, I was playing full-time at the Met and tried to practice three hours or more each day. A solid warm-up was important, followed by slow daily practice on all the technically difficult excerpts (a practice I continue to this day).
    The second flute audition was for piccolo as well. A few weeks before the audition, a new neighbor moved into the apartment next to mine in Manhattan. His bedroom was next to my living room. Two days before the audition he said to me, “we must do something about your hours.” I explained what I was doing, and that all this intense practicing would be over in a couple of days. It was a small apartment building, and when I won the position, most of my neighbors were as thrilled as I was.

What did you do before winning the Met principal flute position?
    I was runner-up for the second flute position in the New York Philharmonic right after I received my master’s degree from Juilliard. Pierre Boulez, then the music director, was very taken with my playing and asked to have me there as often as possible. I subbed for the next two years until I began at the Met. I performed in more than 50% of the New York Phil concerts in those two years and sightread a concert at least once a month. Maestro Boulez had enormous faith in me. There is nothing more affirming than having someone like him in your corner.

How loud can you play or must you always be under the singers?
    This would depend on the music, the singers and the conductor. Some conductors wanted the orchestra to be well under the singers; others wanted the orchestra to be important. In general, in a solo passage one can play out as if it is a solo piece. I always liked to play at a dynamic which supported the singer in passages with a prominent flute line. Of course, in an orchestral piece (such as the Carmen solo), I always played to the back of the 3800 seat hall.

How do you remember what to do in all the fermatas?
    This is a good question as every conductor had a different way of dealing with these in each opera. Marking the part always helped. There are two principals at the Met, and we would often share rehearsals and performances. We did not always mark the part in the same way.
    I developed a technique that others copied; whenever a conductor asked for something different than what was in the score (a different dynamic or rhythm), I would mark it with the conductor’s initials. That way, I was not surprised if the next conductor wanted something else.

What is the most difficult opera for flutists to play?
    I found the most technically difficult operas to be Die Frau Ohne Schatten, Porgy and Bess, and War and Peace. I think the most difficult overall is La Boheme. It calls for just about everything in a flutist’s arsenal.

In a work like Lucia, do you rehearse separately with the singer?
    Hopefully, yes. My first experience with Lucia was with Beverly Sills who refused to rehearse with me. Most of the sopranos I played with were as happy as I was to rehearse. When Eduardo Muller conducted, he got off the podium and had me stand on the podium during the cadenza. He was so lovely. He even put my music on the podium for me as he was stepping down one side and I was stepping up the other. Most often, I stood in the front of the pit for the solo and cadenza which allowed me to see the soprano.

What did you do if problems occurred during a performance?
    From time to time someone did get lost. If it was the conductor, the orchestra, which was an amazingly tight unit, would just keep on going. Ray Gniewek was a great concertmaster who could always be counted on to take charge and lead from his seat. On the rare occasion that things would totally deteriorate, someone would always come in strongly, and the orchestra would rally and join in. If it was the singer who became lost, the orchestra had an amazing ability to jump as a unit either ahead or behind to be with the singer. This orchestra was always listening.

What advice would you offer to flutists who would like a career in opera?
    I did not plan to have a career in opera. It just happened that way, and it was wonderful. If you plan to audition for an opera company, learn to play in the different style periods and listen to singers. Most importantly, study with someone who has worked in the opera. They will know how to guide you to play in the proper style. 

Did you have time to teach students during your years with the Met?
    Yes, I taught from the time I was 12 years old. It always seemed an important part of being a musician, and it is a wonderful learning experience.

How has your life changed as a university professor?
    My responsibilities are different. Instead of making sure that I am in the best possible shape so I can play my best, I am doing all I can to help my students play their best. When I was at the Met, I was always playing. Interestingly, I feel that I have even less time to practice now, but I try to make sure that I do perform recitals and chamber works, so that I am always practicing for something. One of the joys of being with the wonderful faculty at the Frost School is playing chamber music with them. We do chamber concerts for all kinds of instrumentation.

What is your curriculum?
    I try to bring out the best in every student. I do not have rules that you must know these pieces by a certain point as everyone moves at a different pace. I try to build on the positive. I do have a few rules including no negatives or marking circles on a part. (All markings you make on parts should be one-step directions.) I also oppose sliding the thumb from B flat to B and vice versa. The rest of my rules are positive.
    Recently I instituted two new classes for my flute students. The first is an orchestral repertoire class in which we play through and work on an entire orchestral part. After the first semester of teaching this course, I was assigned a conducting fellow to conduct the orchestral score. As time went on, other woodwind performers began to attend the class as well.
    Last year I began an audition preparation class. This class examines three to four orchestral excerpts one week, and then the next week the students audition on them in front of the class. The final exam at the end of the semester is a formal audition on everything covered during the term.

Do you ever commission works?
    Not until now. Last school year my studio and I performed Henry Brant’s Angels and Devils for flute solo and flute orchestra. It was a wonderful experience to do with my students. We performed it twice, at the Frost School (below) and the Florida Flute Convention. I have asked Thomas Sleeper who is on the faculty here to write a piece with similar flute orchestration for my studio. We are looking forward to performing it next year.    
  

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Tips for Success

• Always spell correctly. An E# is fingered like an F natural, but it is not an F natural. Spelling correctly makes reading scale passages easier and makes it obvious which note to trill to as some kind of E will trill to some kind of F.
• Mark parts clearly in pencil with what you need to know. Do not use negatives. Write the accidental, the note name, or the beat clearly so you see it easily and clearly in one step.
• If you make the same mistake twice, whatever the reason, mark the correction. Often the mistake is not where you are having the problem but in how you approach the passage or how you leave it. Begin your practice a little before the problem and continue to a little after. Then widen the scope a little at a time.
• When playing a run of many notes, the tendency is to begin slowly and rush to the end of the run. Practice the opposite. The result is usually easier to play and much clearer.
• Practice difficult passages as slowly as you need to play them perfectly. Always play the same way as you will when you play faster. This means to phrase the same way each time with the same dynamics and articulations. Mark  breaths. Add extra breaths when playing slowly. As the tempo increases, eliminate the extra breaths. Often we play unevenly not because we play the difficult too slowly, but because we play the easy part too quickly.
• When playing from A# to B, use the long fingering or the B flat lever. Never slide the thumb from B flat to B or vice-versa to play a half-step.
• Every piece has its own harmonic rhythm (I first heard this in a class with Vincent Persechetti). If the harmony changes infrequently, you will want to play faster; if the harmony changes often, you will want to play slower.
• When you go up, when you go down, when you get louder or softer – open your throat.
• Every note is going or coming from somewhere.
• Wait until finished to congratulate yourself.
• All rules are made to be broken except these two: You must be comfortable and it should sound good.

Opera Excerpts

   The audition list for opera orchestral positions can be overwhelming simply due to the length of each work. Kane suggests students begin with the following operas. Check your university library, www.lucksmusic.com, www.imslp.org for the complete scores and complete flute/piccolo parts. John Wion has compiled nine volumes of Opera Excerpts. Listen to several recordings of the opera because tempos will vary from conductor to conductor.
Beethoven: Leonore, Overture No. 3
Bizet: Carmen
Rossini: William Tell
Strauss: Salome
Bellini: Norma
Britten: Peter Grimes
Donizetti: Lucia di Lammemoor
Puccini: Manon Lescaut
    Opening of opera and solo opening of Act II
Strauss: Der Rosenkavalier
    Two solos in Act I and opening of Act III
Verdi: Aida and Rigoletto

 
Important Teachers

   My junior high school and high school years were on Long Island where I studied with Ruth Freeman and Harold Bennett. I played in the Huntington Symphony (left, age 16), a semi-professional orch-estra. I began as the piccolo player in 9th grade and moved one chair at a time to principal flute. The first time I performed Afternoon of a Faun was in my junior year in high school.
My parents, both music teachers in Commack, Long Island, chose to live in another school district from where they were employed. This district, Northport, had a very strong music program. Over the years many musicians came out of there.
   My Dad was my first piano teacher and flute teacher. Later he attended all of my lessons, and we would discuss them on the way home. He didn’t really expect his daughters to be successful professional musicians (my sister sits in the front of the first violins in the LA Philharmonic). He often said to me that if I wanted to win an audition, I not only had to be better than all the guys, I had to be a lot better. I took that seriously and worked hard.
   My high school piano teacher, Sam Lehrer, opened my eyes to music and phrasing. I had the wonderful good fortune to study the flute with Harold Bennett for the last two and a half years of high school. He was wonderful at explaining things. When I began with him, he had just retired as principal flutist at the Met. He was so tickled that I got the same job ten years later. Sometimes, during my first few years at the Met, my phone would ring shortly after midnight and it would be Harold. “What are you playing,” he would ask. Then “and are you doing it in one breath; you should” or some other valuable piece of advice.
   When I attended Juilliard, I went back to him every few months for a check-up of both my playing and the flute (he was a wonderful repairman as well) for the first few years. Of course, I went to him to help prepare for the Met auditions. At Juilliard I studied with Julius Baker. His playing was so inspiring. Just listening to him play was a lesson in itself.

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