Tchaikovsky na Hungria!

Sat 12 April - 7 p.m. - Budapest Chamber Symphony - Hungarian Academy of Sciences
Spartakus Juniki, leader
Zoltán Gyöngyössy, flute
Details: Come, Joy of Spring
VIVALDI: Flute Concerto in G minor "La notte", RV 439
HAYDN: Symphony in D minor "Lamentatione", Hob. I:26
TCHAIKOVSKY: Concert piece for flute and strings, Op. Posth. (first concert performance)Ed. by James Strauss
MOZART: Five Contredanses, K. 609
Andante for Flute and Orchestra, K. 315
TCHAIKOVSKY: Serenade for Strings, Op. 48

Address: Budapest V district, Roosevelt tér 9. Tel.: 411-6100.

Tchaikovsky complete works

http://imslp.org/wiki/List_of_compositions_by_Pyotr_Ilyich_Tchaikovsky

Works with Opus Number

Op.1 - 2 Piano Pieces
Op.2 - Souvenir de Hapsal for Piano
Op.3 - The Voivode, Opera (1867-1868)
Op.4 - Valse caprice in D Major for Piano
Op.5 - Romance in F minor for Piano
Op.6 - 6 Songs for Voice & Piano
Op.7 - Valse-Scherzo in A Major for Piano
Op.8 - Capriccio in Gb Major for Piano
Op.9 - 3 Morceaux for Piano
Op.10 - 2 Morceaux for Piano
Op.11 - String Quartet No. 1 in D major (1871)
Op.12 - The Snow Maiden, Incidental Music
Op.13 - Symphony No.1 in G minor, Winter Daydreams (1866)
Op.14 - Vakula the Smith, Opera (1874)
Op.15 - Festival Overture on the Danish National Anthem(1866)
Op.16 - 6 Songs for Voice & Piano
Op.17 - Symphony No.2 in C minor, Little Russian (1872)
Op.18 - The Tempest, Symphonic Fantasia after Shakespeare (1873)
Op.19 - 6 Morceaux for Piano
Op.20 - Swan Lake, Ballet (1875-1876)
Op.21 - 6 Morceaux for Piano
Op.22 - String Quartet No. 2 in F major (1874)
Op.23 - Piano Concerto No. 1 in B-flat minor (1874-1875)
Op.24 - Eugene Onegin, Opera (1877-1878)
Op.25 - 6 Songs for Voice & Piano
Op.26 - Serenade Melancolique for Violin & Orchestra
Op.27 - 6 Songs for Voice & Piano
Op.28 - 6 Songs for Voice & Piano
Op.29 - Symphony No.3 in D Major, Polish (1875)
Op.30 - String Quartet No. 3 in E-Flat minor (1875)
Op.31 - Marche Slave for Orchestra (1876)
Op.32 - Francesca da Rimini for Orchestra (1876)
Op.33 - Variations on a Rococo Theme for Cello & Orchestra (1876)
Op.34 - Valse-Scherzo for Violin and Orchestra
Op.35 - Violin Concerto in D Major (1878)
Op.36 - Symphony No.4 in F minor (1877-1878)
Op.37 - Piano Sonata in G Major (1878)
Op.37a - The Seasons, for Piano (1876)
Op.38 - 6 Songs for Voice & Piano
Op.39 - Album pour Enfants, 24 Pièces Faciles for Piano
Op.40 - 12 Morceaux for Piano
Op.41 - Liturgy of St. John Chrysostom, for Unaccompanied Chorus
Op.42 - Souvenir d'un Lieu Cher for Violin and Piano (1878)
Op.43 - Orchestral Suite No.1 in D minor (1878-1879)
Op.44 - Piano Concerto No. 2 (1879)
Op.45 - Capriccio Italien for Orchestra (1880)
Op.46 - 6 Duets
Op.47 - 7 Songs for Voice & Piano
Op.48 - Serenade in C for String Orchestra (1880)
Op.49 - 1812 Overture (1880)
Op.50 - Piano Trio in A minor (1882)
Op.51 - 6 Morceaux for Piano
Op.52 - Russian Vesper Service (1881)
Op.53 - Orchestral Suite No.2 in C Major (1883)
Op.54 - 16 Children's Songs
Op.55 - Orchestral Suite No.3 in G Major (1884)
Op.56 - Concert Fantasia in G Major for Piano and Orchestra
Op.57 - 6 Songs for Voice & Piano
Op.58 - Manfred Symphony in B minor (1885)
Op.59 - Dumka, Russian Rustic Scene in C minor for Piano (1886)
Op.60 - 12 Songs for Voice & Piano
Op.61 - Orchestral Suite No.4 in G Major, Mozartiana (1887)
Op.62 - Pezzo capriccioso for Cello and Orchestra (1888)
Op.63 - 6 Songs for Voice & Piano
Op.64 - Symphony No.5 in E minor (1888)
Op.65 - 6 Songs for Voice & Piano
Op.66 - Sleeping Beauty, Ballet (1888-1889)
Op.67 - Hamlet, Fantasy Overture in F minor
Op.67a - Hamlet, Incidental Music
Op.68 - The Queen of Spades, Opera (1890)
Op.69 - Iolanta, Opera (1891)
Op.70 - String Sextet, Souvenir de Florence (1890)
Op.71 - The Nutcracker, Ballet (1891-1892)
Op.71a - The Nutcracker Suite
Op.72 - 18 Pieces for Piano (1892)
Op.73 - 6 Songs for Voice & Piano
Op.74 - Symphony No.6 in B minor, Pathétique (1893)
Op.75 - Piano Concerto No. 3, Posth. (1892)
Op.76 - The Storm, Concert Overture (1860)
Op.77 - Fate, for Orchestra (1868)
Op.78 - The Voyevoda for Orchestra (1891)
Op.79 - Andante and Finale, Posth. (1895)
Op.80 - Piano Sonata in C# minor
Works without Opus Number

Anastasie-Valse for Piano (1854)
Aveu Passionné for Piano (1891)
By the River, By the Bridge, Piano Piece on the Theme of a Folk Song (1862)
Cello Concerto (Unfinished)
Cherevichki (Revision of Vakula the Smith) (1885)
Concertstuck. for Flute and Strings, Posth.
The Enchantress (1885-1887)
Funeral March, On themes from the opera The Oprichnik (1877)
Impromptu for Piano in Ab Major (1889)
Impromptu-Caprice (1884)
The Maid of Orleans, Opera (1878-1879)
Mazepa, Opera (1881-1883)
Military March for Piano (1893)
Moment Lyrique for Piano (1892)
The Oprichnik, Opera (1870-1872)
Potpourri, On themes from the opera The Voevoda (1867-68)
3 Romances (Berceuse, On Chant Encore, Qu'importe) for Piano
Romeo & Juliet Fantasy Overture
50 Russian Folksongs for Piano 4-Hands
String Quartet in B-Flat Major, Posth. (1865)
Symphony in Eb Major (Unfinished)
Theme & Variations for Piano in A minor (1863-64)
Undina, Opera (Unfinished)(1869)
Valse-Scherzo for Piano in A Major (1889)
The Volunteer Fleet March ( Marsch der Marine-Freiwilligen), in C Major for Piano (1878)

Forum realizado em MIAMI em janeiro de 2007 e programa do concerto

Essas foram as autoridades que analizaram meu trabalho em MIAMI em janeiro de 2007

Miami University

Tchaikovsky Forum presenters and participants

January 30, 2007, 2:00 pm–4:00 pm (MacMillan Hall Greatroom)
January 31, 2007, 10:00 am–12:00 noon (CPA Greenroom)

Presenters:

Ada Aynbinder, Musicologist
Daughter of the curator Polina Vajdman, of the Tchaikovsky Archives in Klin, Russia
Presenting "Drafts and sketches of unrealized works by Tchaikovsky"
James Strauss, Concert flutist
Presenting the reconstruction process for Tchaikovsky’s Concertstück for flute and strings
Ricardo Averbach, Assistant Professor and Music Director of the Symphony Orchestra and Oxford Chamber Orchestra, Miami University
Thomas Garcia, Assistant Professor of Ethnomusicology and Latin American Studies, Miami University
Eftychia Papanikolaou, Visiting Assistant Professor of Musicology, Miami University

Participants:
Margarita Mazo
Professor of Ethnomusicology, Ohio State University
Margarita Mazo, professor of music, specializes in ethnomusicology (Russian village music, Stravinsky, Shostakovich, post-Soviet Russia) and publishes widely in both areas. She conducted field research in the U.S. and Russia and initiated a joint Russian-American research project on music in cognate communities residing in the U.S. and Russia. Based on this research, she produced a program "Russian Roots American Branches Music in Two Worlds" at the 1995 Smithsonian Festival of American Folklife. In 1999, she presented twelve pre-concert lectures for the Chicago Symphony’s Schostakovich Festival led by Mstislav Rostropovich. Prior to coming to Ohio State, Professor Mazo taught at Harvard University, New England Conservatory, and the Leningrad Conservatory. Under her leadership, the OSU program in ethnomusicology was awarded an Academic Enrichment grant, and a new Ethnomusicology Lab was established. In 1999, she received Ohio State University’s highest honor for scholars, the Distinguished Scholar Award.

Inna Naroditskaya
Associate Professor, Musicology, Northwestern University
Specialist in Azerbaijanian and Eastern music cultures, Russian music, gender studies, and diasporas. Author, articles and reviews in Ethnomusicology and Asian Music as well as essays and articles in Azerbaijanian and Russian publications; producer of numerous radio programs. Recipient of Center for the Education of Women prize, Rackham research grant, and funding from the International Institute and School of Music at the University of Michigan.

Oxford Chamber Orchestra Concert
Ricardo Averbach, conductor
James Strauss, guest artist
8 p.m. Wednesday, January 31
Hall Auditorium
Miami University
Oxford, OH 45056

Program

Prelude from Bachianas Brasileiras No. 4 Heitor Villa-Lobos
Concerto for Violin, Piano (Cembalo) and Strings, Joseph Haydn
in F major, Hob.XVIII:6, (transcribed for flute and piano)
James Strauss, flute
Siok Lian Tan, piano

Intermission

Small Kuban Variations, op. 59 Alexander Tchaikovsky
James Strauss, piccolo
Concertstück for Flute and Strings Pyotr Ill’yich Tchaikovsky
(Reconstructed and edited by Strauss)
James Strauss, flute

*Lensky’s Aria from Eugene Onegin Pyotr Ill’yich Tchaikovsky

*“Flight of the Bumblebee” from Tsar Saltan Rimsky-Korsakov
*Hora staccato Grigoras Dinicu

James Strauss, flute

* Arrangement and orchestration by James Strauss

James Strauss, flute

Jeffrey Khaner plays Tchaikovsky

Jeffrey Khaner plays Tchaikovsky

Principal flute of the Philadelphia Orchestra

Tuesday, October 2, 2007




Home ← Music ← Article

Khaner: Unexpected touch.
Orchestra 2001 plays CrumbBY: Tom Purdom 09.18.2007

George Crumb plays around with doctored pianos and odd effects, but he uses novel means to achieve classic ends. His techniques may look outré, but he’s doing the same thing that good accompanists do when they create scenes and moods as they play a standard piano accompaniment.

Orchestra 2001, James Freeman, conductor.

Crumb’s Otherworldly Resonances (Marcantonio Barone and James Freeman, amplified piano); Tchaikovsky Concert Piece for Flute and Strings;

Varese’s Density;

Debussy’s Syrinx (Jeffrey Khaner, flute);

Crumb’s Voices from a Forgotten World (Jamie van Eyck, female voice; Patrick Mason, male voice; William Kerrigan, Susan Jones, David Nelson, Angela Nelson percussionists; Marcantonio Barone, piano).

September 16, 2007 at Perelman Theater, Kimmel Center. (215) 922-2190 or http://www.orchestra2001.org/.



Bring on the percussionTOM PURDOM Orchestra 2001 preceded the world premiere of George Crumb’s Voices from a Forgotten World with an unexpected touch. The concert’s guest soloist, the Philadelphia Orchestra’s Jeffrey Khaner, played Debussy’s Syrinx for unaccompanied flute offstage. Debussy’s other-worldly flute line floated through the hall from an unknown source while conductor James Freeman and seven musicians stood on the stage waiting to unveil the Crumb. There was no particular reason why Syrinx should be played offstage, but the interlude had a ritualistic quality that fits Crumb’s work. Some of Crumb’s pieces even look like rituals as the musicians move around the stage manipulating odd-shaped gongs, long whispery rattles and other exotic items. You can also argue that Crumb’s individualistic expressionism is a close cousin of the French approach to music. Like Crumb, French music has always emphasized tone color, and it usually attempts to evoke scenes and create moods. George Crumb’s music has been a regular feature of Orchestra 2001’s programs since James Freeman staged his first concerts 19 years ago. Crumb plays around with doctored pianos and odd effects, but he uses novel means to achieve classic ends.Piano as a sound effects vehicle Voices from a Forgotten World sets ten classic American songs for male and female soloists, accompanied by a percussion section that spread instruments over half the Perelman's stage and required four of our region's leading freelance percussionists. The hard working percussionists were reinforced, in addition, by a pianist, Marcantonio Barone, whose part treated his instrument as a percussion/sound effects vehicle in classic George Crumb style. Voices is the fifth volume in a series devoted to American song, and the most straightforward of the volumes I've encountered so far. In the last group I heard, the familiar melodies were fragmented and dominated by a cosmic background that treated them as lonely voices in the huge dark universe that looms over much of Crumb's sonic poetry. In this collection, most of the melodies are sung pretty much as we’re used to hearing them. Crumb’s main contribution is a series of accompaniments that exploit all the scene-painting potential of a percussion section. In spite of the stage full of equipment, Crumb’s accompaniments tended to be simple and almost sparse. He used the mammoth percussion section as a huge pallet and usually applied his colors a dab and a stroke at a time— the hiss of a South American rattle, the tap of a gong, the pluck of a heavy string on the piano.A celebration of laziness For the opening song, “Bringing in the Sheaves,” Crumb stretched out the melody and slowed the tempo, transforming the hymn into something slightly plaintive, as opposed to the exuberance it pulled out of the congregation in the Southern Baptist church I attended in my teens. His arrangement of “Hallelujah I’m a Bum” emphasized its celebration of a strain that runs through American life in spite of all our talk about the virtues of hard work. George Crumb was sitting right in front of me and baritone Patrick Mason sang the piece with a ne’er-do-well swagger that had the composer himself laughing.

The only disappointment was “Beautiful Dreamer.” Crumb had the vocalists whisper the words. It was an effective treatment of the words and the mood, but when you love that melody...... Some of Crumb’s accompaniments bordered on the obvious, as in the booming drums behind the Navajo “Song of the Thunder,” but they all did things that a standard guitar accompaniment couldn’t attempt. Crumb’s techniques may look outré, but he does the same thing good accompanists do when they create scenes and moods as they play a standard piano accompaniment.A civilized approach to technology

The program teamed Voices from a Forgotten World with two other novelties, the area premiere of Crumb’s Otherworldly Resonances for two amplified pianos and the area premiere of Concert Piece for Flute and Strings, which is, at least in part, a newly discovered work by Tchaikovsky. The Crumb opened with a section called “Double Helix,” in which one of the pianos always plays the same four notes while the other piano dances and weaves around it. The volume level was a good example of Crumb’s civilized approach to technology: He’s interested in the special sound of amplified instruments, not their ability to shatter defenseless eardrums. The Tchaikovsky, according to James Freeman’s notes, has been pieced together from sketches, an incomplete manuscript discovered in 1999, and a flute-and-strings arrangement of one of Tchaikovsky’s solo piano pieces. The three movements combine the ethereal sound of a French flute solo with the soulfulness and emotional force of Tchaikovksy’s orchestral works. Most of the flute concertos in the repertoire were composed during the Baroque period or the early Classical era. We have nothing of importance from the Romantic period, as far as I can tell. The Concert Piece may have a questionable birth certificate, but it’s a beautiful work and it fills a huge gap in the flute literature. Jeffrey Khaner introduced it with feeling and authority. I enjoyed meeting it and look forward to future visits.To respond to this review, click here.To read a response, click here.

Originalmente : http://www.broadstreetreview.com/article.php?idc=1&ida=610

Concertstuck no Japão

Catalog No.: KKCC-3015

Format: CD Number of discs (or other units): 1

Release Date: 2006/11/22

Price: 2667yen (US$ 23.00/ 2800yen Tax incl.)

F.S. Points: 80 points Item weight: 120 g

Availability: Usually ships within 3-5 days


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Credits
Ryuusuke Numajiri (Performer) VIVALDI,ANTONIO (Composer) MASSENET,JULES (Composer) KETELBEY,ALBERT WILLIAM (Composer) FRANCK,CESAR (Composer) CHOPIN,FREDERIC (Composer) TCHAIKOVSKY,PETR ILYCH (Composer) CUI,CESAR (Composer) LASKA,JOSEPH (Composer) TSYBIN,VLADIMIR (Composer) Tooru Takemitsu (Composer)

SAMPLES : http://www.neowing.co.jp/detailview.html?KEY=KKCC-3015

CD e Partitura disponivel na MURAMATSU JAPAN.

Tchaikowsky - Concertstuck para flauta e orquestra de cordas

Existem muitas estórias sobre esta obra, duvidava-se da sua existência, ealguns achavam que era lenda. Foi em 1893 quando Tchaikovsky compôs sua"última grande obra" a Sinfonia nº 6 e, si menor, onde o último movimentoadágio lamentoso é considerado como seu Réquiem, a obra mais tarde foichamada de Sinfonia patética pelo seu irmão Modeste. Em 1893 foi um anomuito prolífico para Tchaikovsky que se apresentou como regente e compositorna Suíça, Alemanha, França e Bélgica e, em junho de 1893, ele recebeu otitulo de Doutor Honoris Causa concedido pela universidade de Cambridge namesma ocasião em que Saint-Saens e Arigo Boito.Em 20 de junho Tchaikowsky escreveu ao seu amigo, o jornalista LéonceDétroyat (1829-1898), sobre seus futuros planos: "Prezado Leonce, eu fizmuitas promessas de escrever concertos para piano, violino, violoncelo eflauta, para vários concertistas famosos e dois deles em Paris, Taffanel eDiémer" (carta nº3598 a), em 7 de outubro ele falou com seu amigo , ovioloncelista Lulian Poplavski e relatou para ele " Estou com o concertopara flauta na minha cabeça e será para a flauta de Taffanel..." Em 28 deoutubro ele dirige a premiére da Sinfonia Patética , sem grande sucesso, opúblico não havia compreendido a mensagem da obra, e alguns dias mais tarde Tchaikovsky, 6 de novembro de 1893, morre em condições bem misteriosas.Seja qual for o motivo da morte, Piotr teve um funeral grandioso, o dia deseu enterro foi decretado luto oficial na Rússia e mais de 8.000 pessoasacompanharam o cortejo até a sua última morada, o monastério AlexanderNevsky em Saint Petersburg. O Concertstuck ficou esquecido por 106 anos...Na ocasião de uma conversa com Jean Pierre Rampal em Janeiro de 1998, ele me contou de forma entusiasta sobre o concerto de Tchaikovsky para flauta, que ele mesmo teve a ocasião de tentar ver o manuscrito em um de seus concertos em Leningrado quando ele quase conseguiu, foi completamente vetado o acesso, o qual o deixou furioso "Quando existe uma coisa como essa é pra falar, não para esconder; é ridículo esconder uma descoberta". Rampal me contou que sabia que o "Concerto" estava em Saint Petersburg. Foi aí que comecei minha busca bem discretamente. Seguindo algumas pistas cheguei a uma família em Saint Petersburg que tinha alguns manuscritos do século 19 entre eles um rascunhos de copista desconhecido com o seguinte titulo " Concertstuck dle flet". Perguntei se havia microfilme, ou se podia encomendar um, "NÃO"! resposta tão categórica e cabida, me senti como o interlocutor do Corvo de Edgar Allan Poe, Nunca mais" minhas esperanças iam se esvaindo quando me autorizaram a copiar a mão, mas depois de uma boa negociação estava de posse do manuscrito, não era muito, mas era um começo. Era a oportunidade de ouro!Eu tinha então alguns compassos, não muitos, mas 20 compassos completos, e uma espaço e mais 14 compassos com o início de uma cadenza para o primeiro movimento, quando acabei de copiar vi que não era muita coisa, mas já era um começo, e quando comecei a virar a página, olhando os rascunhos da Patética, aparentemente uma redução para piano, quando começo a identificar uma parte que não eram da patética, eram do 3th movimento do concertstuck!! 57 compassos, com muitas correções mais incompletas...Quando voltei para minha casa na Finlândia, eu tinha um quebra cabeças paramontar, um trabalho que para mim era de grande responsabilidade. Logo quecomecei a montar a grade com o pouco que eu tinha, descobri que oconcertstuck era a re-elaboração de uma peça na época que Tchaikovsky eraflautista, de 1864, uma introdução e allegro para 2 flautas e cordas. Ficoumais fácil, usei a obra em questão como modelo e montei uma grade com umcerto sucesso!Em 2000 eu encontrei na Finlândia uma segunda fonte para a parte de flauta,eu encontrei em um particular, partituras para flauta do século 19 vindas daRússia, que havia pertencido a um certo Theodor Wateerstra, antigoflautista em Saint Petersburgo, entre os Ciardi, Kölher, Serov, Alaibiev,haviam também alguns manuscritos e uma parte de flauta com o titulo emCirílico "Concertstuck dle flet" Um allegro Vivace, que era o terceiromovimento , um pouco diferente da parte que eu havia reconstruído, com maisfloreios e variações, então eu só acrescentei e segui a orquestração deorigem. Mas ainda faltava o segundo movimento.Em setembro de 2000 encontro em Paris em uma casa de partituras usadas naRue de Rome um lote de partituras que haviam pertencido a Georges Barrere,dentre elas estava uma "Chanson sans Paroles" de Tchaikowsky, arranjada porTaffanel para flauta e piano, uma edição Russa, e a parte separada de flautaescrita a mão com o titulo um pouco diferente "Chanson sans paroles pourflute et orchestre a cordes" arrangé par Taffanel, quando bati os olhoslogo vi o segundo movimento que faltava, o quebra cabeças estava completo,procurei seguir o estilo de orquestração utilizado por Tchaikowsky termineia Cadenza que mais tarde, graças ao professor Jonh Wion descobri ser amesma cadenza da " Maid of Orleans" com umas modificações.Agora após quatro anos de trabalho e revisões e revisões, creio que está nahora do mundo conhecer o concertstuck para flauta, última obra deTchaikovsky. Essa não é a verdade absoluta, é minha verdade, se nos perguntarmos "quid est veritas"? Provavelmente ninguém nunca saberá. Somente Tchaikovsky.

O Concertstuck foi publicado pela FALLS HOUSE PRESS nos EUA em 2006. E foi gravado pela Israeli Virtuosi em Fevereiro com James Strauss como solista, gravação dedicada a memoria de Jean Pierre Rampal. No Brasil disponivel pelo selo ATRAÇÃO FONOGRAFICA.

Eu sou eternamente grato a Jean Pierre Rampal, que me inspirou durante todoo trabalho e estou seguro que onde quer que ele esteja, estará muitocontente com essa nova aquisição para o nosso repertório e que oconcertstuck tenha uma longa vida!

James Strauss

Chicago Flute Club

Chicago Flute Club
2007 Solo Artist Competition
Flute Festival - November 11, 2007
Doubletree Hotel O’Hare-Rosemont
Awards: First Place - $1000, Second Place - $500
ELIGIBLE SOLOISTS And Competition regulations



The Chicago Flute Club Solo Artist Competition is open to all flutists age 18 years or older, from any geographical area.
The application fee is $40 and is non-refundable
All application materials must be postmarked by October 1, 2007
No high school students will be permitted to enter
Current student of the final round judges will not be permitted to participate
The winner of the competition will be awarded $1,000.00
The second place winner will be awarded $500.00
The preliminary round will be recorded and no recordings will be returned
Eight soloists will be selected for the final round and will perform in-person with an accompanist
Finalists will be notified by October 15, 2007
Finalists are responsible for their own travel arrangements and expenses
The final round performance is open to the public
Finalists must provide their own accompanist. The Chicago Flute Club can provide you with contact information for a local accompanist if necessary.
All judges’ decisions are final


REPERTOIRE
Preliminary Round
Paul Hindemith, Acht Stücke für Flöte allein Movements I and I
Georg Philipp Telemann, Fantasia in A Minor (Grave, Vivace, Adagio, Allegro) No Repeats
Applicants must submit an unedited recording of the preliminary round selections on CD in the given order. No identifying information should appear on the CD face or packaging. Recordings will be coded and reviewed by a judging committee.

Final Round
Pyotr Il’yich Tchaikovsky (Reconstructed by James Strauss), Concertstück for Flute & Piano, Movement II Chanson sans paroles
Published by Falls House Press, available at Flute World (248-855-0410)
Two contrasting movements from the J.S. Bach sonatas in e minor, E major, or E-flat major, No Repeats

For more information contact
Jennifer Reiff, Chicago Flute Club Competition Chair
JJRflute@yahoo.com
630-670-3375
or visit www.chicagofluteclub.org
Solo artist competition



Application FoRM


(postmark deadline October 1, 2007)
Name:_____________________________________
Address:_____________________________________________________
_____________________________________________________________
Phone:___________________
Email:_________________________________ (Must be provided)
Include the following with your application:
A bio and resume
$40 application fee (Checks made payable to the Chicago Flute Club)
CD recording of the preliminary round repertoire
Send complete application materials to:
Solo Artist Competition
Chicago Flute Club
P.O. Box 246
Elmhurst, Illinois 60126