Abendmusik
at Morristown United Methodist Church
November 23, 2002
A nonet of flutes
 Creative programming and superb musicianship marked Abendmusik's presentation of the nonet UpTown Flutes. In what is inherently a monochromatic ensemble, UpTown Flutes presented a program of such timbral and stylistic variety that any preconceived notions about what a flute choir is capable of were left behind by the second work. Since this kind of ensemble is essentially a twentieth-century invention, UpTown Flutes could easily rely on transcriptions and arrangements of older works but instead chooses repertoire primarily by living composers. This choice not only is the foundation of the ensemble's artistic integrity but is also an essential feature making its programs so interesting and enjoyable to its audiences.
Composer Sonny Burnette's 1998 Stone Suite is an outstanding example of the creative possibilities contained in a flute ensemble. In addition to using piccolos, C flutes, alto flutes, and bass flutes, Burnette calls for the performers to play a variety of percussion instruments, clap, sing Native American chant and play pitched soda bottles. In expanding the tonal palette in this way, the music he wrote takes on an almost symphonic scope. Stone Suite was inspired by such famous stone landmarks as Cliff Palace in Mesa Verde National Park, the great Sphinx at Giza and the Blarney Stone. Alto flute joined by maraca, hand drum and chanting characterized the first movement, "Cliff Palace Ghost Dance.". John McMurtery's florid solo lines on C flute with rich sonorities between bass and alto flutes created a vivid picture of "Sunrise at Yosemite." "In the Shadow of the Great Sphinx" was the most evocative of the four movements. Not all flute ensembles have two bass flutes, but fortunately UpTown does, for the richness of the sonorities achieved by the deep velvety sound of these unusual instruments is a rare experience for any listener. Joined by an alto flute, one could hear the care and artistry it takes to play these instruments in tune. The final "To Kiss The Blarney Stone" is a fast jig that turned the UpTown Flutes into a hand-clapping, foot stomping Irish jug band, much to the delight of the audience.
American composer and flutist Katherine Hoover has contributed very substantial music to a wide range of ensembles. UpTown Flutes wisely chose two works by this fine composer whose intimate knowledge of the instruments has yielded works that are idiosyncratic, well constructed and communicative to an audience. Hoover's three tone poems collectively entitled Three for Eight evocatively explore oceanic images. "Dunes" utilizes shimmering cluster harmonies, while double-tongued major seconds portray "Sandpipers" darting about on the beach. "Kites" brought a noticeable reaction from the audience with its vivid tone painting. Hoover's Celebration was written in 2001 to celebrate the ninetieth birthday of flutist Joseph Mariano of the Eastman School of Music. This jubilant work for nine flutes cleverly interpolates quotations from major solo flute works by Mozart, Bach, Poulenc, Debussy and others along with Hoover's imaginative score. UpTown Flutes displayed a deep understanding of the direction of these works along with delicate balancing, and nuanced playing.
The ensemble also varied its program with the size of the ensemble. Legends from the Greenwood (1998) is a flute quartet by Catherine McMichael. It portrays three North American legends: "Hiawatha and the West Wind," "Evangeline and Gabriel," and "Paul Bunyan and His Blue Ox, Babe." McMichael uses a variety of styles and musical languages ranging from Native American music to cowboy tunes to convey the individual stories. Carla Auld, Elise Carter, Jeanne Fessenden and Rebecca Vega played the work with subtlety and imagination. Another quartet - Patricia Davila, Karen Dempsey, John McMurtery, and Virginia Schulze-Johnson - played the music of Donald Draganski. The Winds of Change (2000) is a suite of five short movements using the gamut of available flutes. Each movement utilizes different combinations in music that draws from lyrical, modal melodies and harmonies to styles as varied as the Baroque and Prokofiev.
The oldest work on the program, and the only transcription, was a charming work by Phillippe Gaubert (1879-1941). Madrigal, originally for flute and piano in 1908, has become a favorite of audiences and flutists alike in a transcription by Ervin Monroe. In this performance, the rich sound of this ensemble was what left a lasting impression.
The concert began with all nine flutists positioned around the church playing Carol Kniebusch's 1996 Dawn Carol. It is an effective canon whose beauty was enhanced by the special deployment of the ensemble around the sanctuary of the church.
A deeply appreciative audience, many of whom gave the ensemble a standing ovation, were further treated to a lively and fun encore entitled Rhumba.
-Raymond Wojcik
January 23, 2003
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