Scribd Logo
Upload

Welcome to Scribd!

  • Flute Ambassador of Brazil PDF

    Uploaded by

    SaloméViegas
    62 views7 pages

    Original Title

    Flute Ambassador of Brazil.pdf

    Copyright

    © © All Rights Reserved

    Available Formats

    PDF or read online from Scribd

    Did you find this document useful?

    Is this content inappropriate?

    Report this Document

    Copyright:

    © All Rights Reserved
    Download as PDF or read online from Scribd
    Flag for inappropriate content
    62 views7 pages

    Flute Ambassador of Brazil PDF

    Uploaded by

    SaloméViegas

    Copyright:

    © All Rights Reserved
    Download as PDF or read online from Scribd
    Flag for inappropriate content
    of 7
    VOLUME 44, NO@sprine 2019 Flute Phonics Te ae as a Grate ad es Coc ren Walco rs aan Set eee weer Wena Cs cece ere Ue teeta mas A ASSOCIATION 2019 NFA Flute Convention “ar lable of Contents ‘The Flutist Quarterly Volume 44,No. 3 DEPARTMENTS 13 From the President 15 From the Editor >. 16 High Notes 36 Across the Miles ‘ 3 40 From the 2019 Convention i, Program Chair 44° From the Local Arrangements 24 Chis FEATURES 50 NFA News : ee : ee $1 From the Career and Artistic | 2° Flute Phonics: Using Vowel Shapes to Color ‘Tone Development Committee by bi Bake ep eae aaa 2 ‘celebrated jazz and improvisational flutist describes how he 52 Notes from Around the World shapes tone colors to create a full cast of “characters” in his From the New Music Advisory musical performances. Committee 56 Passing Tones 24 Celso Woltzenlogel: Flute Ambassador of Brazil 60 Honor Roll of Donors Lh Sabra deerabaid Ga theNEA Heralded for his expressive tone, pedagogical talents, and warm, friendly nature, the multifaceted flutist also launched the Associagio Brasileira de Flautistas, or ABRAF, and its 64 Reviews subsequent cornucopia of Brazilian flute festivals. This year a Mon Ce marks the 25th anniversary of ABRAF’s founding. 62 New Products eae 30 Using Flute Excerpts to Reinforce Music Theory by Courtenay L. Harter See eee ‘The author proposes ways to apply classroom concepts to the flute lesson and to performance. 84 Index of Advertisers ‘The Critical Ear vs. The Discerning Ear: Performing Confidently by Catherine Winters Boyack ‘The 2018 winner of the NEA Young Artist Competition describes how hyper self-criticism wreaked havoc on both self-esteem and, performance—and reminds fellow flutists to focus instead on gratitude and the abundance of our shared musical community. oO aor Pert Dream Big ee by Davina Miaw eee ‘Through her experiences preparing for and attending the Annual Sarre rte NFA Convention, the 2018 Frances Blaisdell Scholarship winner Pee nay Sterner rediscovered the lost joys of her childhood—and the possibilities that open up if you dare to dream, sees 20 He NUTT quay 5 Celso Woltzenlogel: Flute Ambassador of Brazil by Cecilia Piehl Price to pronounce his com. Barly Life Heralded for his expressive tone, pedagogical talents, and warm, friendly nature, the multifaceted flutist also launched the Associacao Brasileira de Flautistas, or ABRAF, and its subsequent cornucopia of Brazilian flute festivals. This year marks the 25th anniversary of ABRAF’s founding. ut need to lear the fourth fute part This is a fun the sa L " That “fun piece lay itto close the rect 1991 summer camp i sic, [read a name thal cor Nilsson nin 0 iv ull can play the fourth flute part from memory By the time he tuned 18, Celso had won a competition organized by composer Camargo Guamnieti in the Ministry of Education and Culture, He moved to Rio de Faneito to study with futist Moacyr Liserra at the Bscola de Miisica de Universidade Federat do Rio de Janeira gracuatiny in 1964 with the highest honors Immediately ater graduation, Celso was given a fellowship from the French government to study in Paris. During the next three years he took flute lessons from Alain Marion and Jean Pierre Rampal, with whom he became lifelong friends. He also studied music analysis from pedagogue Nadia Boulanger ‘To take advantage ofthis opportunity in France, Celso moved from the Brazitian student residence, where the main language was Portugnese, to the German one, where everyone spoke French, ‘This move not only made him bilingual, but also led him to meet Alicia Cassarii, the woman who would become his wife “She had just returned froma trip to Byypt and needed a pro Jectorto se her slides” said Gelso, “Someone told her Thad one, and so we met A few months later, ste answered the door when. went to her tesidence looking for another student. We ended up going to a dance where we had to bring a date from acountry dliflerent than ours, We danced and fell in love, and five months later we got married” Casarini, an Argentinean woman, was studying for a French ‘graduate degree at La Sorbonne, Together they had two daughters and, later, tee grandsons. If Celso and Alicia had stayed in France, their story might have ended here, Dut after three years in Paris, they decided to return to Brazil Fertile Homeland ‘Upon GelsoS return to Rio from Pars, his atisry an his signatute beatiful tone were quickly recognized, and opportunities came his way, He resumed his position as principal fitist atthe Orquestra SiepOnica Nacionas where he continued to work for 28 years In only a few months, he became the flute force of Rio, and soon his muskal reputation extended throughout Brazil, Celso was a founding member of six ensembles: Duo Instrumentals, Ars Barroca, Jizz Classico do Rio de Janeiro, Quinteto de So- pros Villa-Lobos, Sexteto do Rio, and Flantistas do Rio, Some of thetn still exist. After the death of his former teacher, Celso became the tite professor atthe Ficola de Mistca da Universidade Federal do Rio de Janetra, a post he held for 25 years. During part ofthat time, he also tanght atthe Escola de Milica Viia-Lobos A passionate teacher, Celso mentored generations of fltists who cecnpy top orchestral posts in Braz and abroad. Some of thet ate also teachers, composers, or creators of prestigious ensembles “Gelso was the rigorons professor who taught me how to fl, the teacher who opened doors to an international career” said former student and close friend Ayres Potthoff,aprofessor atthe nsttuto Porto Alegre in Brazil. ‘But first and foremost, he was the ftiend who, in my hardest moments, was by my side, giving ime his support and encouragement” ‘When Celso retired, former students won auditions for his si: phony and college positions. Many of them became collaborators or partners in Celso’ future projects. Around 1982, to address the absence of Brazilian or Latin ‘music in ute ensemble repertoire, Celso asked his friend Alberto Arantes to write ute choir arrangements based on Brazilian > L 3c wen lane ert ren ere Rar ods th se, it), anager cnn a ao “Celso was the rigorous professor who taught me how to fly, the teacher who opened doors to an international career...But first and foremost, he was the friend who, in my hardest moments, was by my side, giving me his support and encouragement” —Ayres Potthoft ‘must: He published them in the three-volume Mista Brastatra ‘para Conjuntos de Flasda (Brazilian Music for Pte Ensembles). Calscs Método Hustrade de Flauta (iistrated Metied for Flute), with a preface by Jean-Pierce Rampal, was published in 1983 and Is headed to His sixth editton. His Plauta Pécs! 1-1 (Basy Fue LAD, two method books including, CDs of exam ples, were published in 2008 and 2017 respectively. "The series ‘was expanded to include method books far other instruments: saxophone, trombone, plano, vielin, and clarinet. Adalitionally, Gelso edited and published five flute compositions by renowned Brazilian composers. irmaos Vitale—Rattores Bast has published all of Celso editions. ‘Calg status asa classically trained flutist with 2 South Amex- {can backgsound informs both his work and the recognition he enjoys. He has recorded with Brazilian popular music celebrities Including Francis Hime, Chico Buarque, Edu Lobo, Gal Costa, Egherto Gismanti, Djavan, Clara Nunes, Roberto Carlos, Tom Jobim, Maria Bethania and Milton Nascimento. “T rejoced hearing him on the radio when the flute had a prominent role inthe arrangements of Francis Hime” sald fend and colleague Antonto Carlos Cartasquelta, ute professor at Universidade de Sa0 Pato in Brazil, °Cels0s tone, so clean, in perfect pitch and with very expressive phrasing, could easily be recognized, T knew itwas he” Fora decade, Celso worked in the orchestraof TY GLOBO, the seconk!-largest television network in the worl, where he played for most soap operas an! movie sound tracks. Some days, Celso had morning symphony rehearsal, taught classes at the university during the afternoon, and then headed to the TV GLOBO for Jate-night recordings. Backat home, he let notes on the counter saying, “Dom wake me up.” Celebrating 25 Years 1m 1988, Ceo attend the 117 Radel Interaactonat de Flandstas in Pern—the longest-standing Latin-American flute festival, created by César Vivanco in 1986. Celso and other attendees became Iifelong friends over the subsequent years. Eveninally calling themselves Ta Fata Nostra these cnileagues enjoyed, encour aged, and grew from knowing, each other, summer ater summer “This group of pioneers began a movement that transformed the flute landscape ofthe continent and led to the founding of other associations and longstanding festivals throughout South America, \whete such events had previously been viewally non-existent. PROGRAMA RIO | FESTIVAL INTERNACIONAL DE FLAUTISTAS 1S AB deactembrede1995 Hecola do Mision, 18:30 =m Ee se ee aN HE ie) 3s bl Gs wre stop avexe muta 2cansdelesa or ersotary ama‘etoralsatny Cass eatiruests en, peraryinpre—arangh In summer 2018, the 46th Annual NFA Convention in Orlan- do featured the original Flauta Nostra friends in a tribute to c ebate their three decades of work that paved the way for future generations Inspired by the consequences of the Peruvian experience, in 1991 Feuadorian flutist Tacano Carrera created the Festival Internacional de Flauttstas en ta Mitad del Mundo (which con. tines today), and Lars Nilsson started the flute summer camp [Nueva Vermand in Argentina, which was held for for 26 years ‘Also in the early 1990s, Celso set out to add a thitd major South American festival in Brazil, Because ofits wast territory — roughly the same size as the United States—he decided tobegin by

    You might also like