Vermont Artists in Performance; Performance with Kimi Hasegawa, Amy Poliyakov, and William Tumi

This is Vermont artist in performance that series of music and spoken word programs heard each week on Vermont Public Radio. I'm Frank Kaufman York. Most inviting you to stay tuned for a live performance on Vermont artist and performance tonight. Kimi has a car a faculty member of the Brattleboro music school a community music school in Brattleboro. She also teaches at the school. And plays flute. William to me on the faculty of the Brattleboro music school also he's been a guitarist for 12 years and a lewdness in the Marlborough recorder workshop. Aimee Poliakoff is a student at Marlborough studying flute with Marcel tonight's program will include works by quants into myth. A bear and Carulli. First the duet unaccompanied for two flutes Kimi and Amy playing. It's not in G Major by Johann Quantz. That was a do what came Quantz who was the flutist in the

court of King Frederick the Great of Prussia the King Frederick was also amateur flutist and quants wrote many pieces that he and the king could play together. Well the next piece that is played tonight is a piece by Paul Hindemith whose immigrant composer from Germany. He came to the United States during the Second World War and settled here after the war. I believe he died in the early 60s. This piece is called eight pieces. It's eight short sketches for Pluto alone. And this piece was written in 1927. Oh.

Na na na.

Na. Do do. Oh.

I. Know. I.

Remember. That. I. Know. Eight Pieces for solo flute by intimates Paul Hindemith. Performed by Kimi has a faculty member of the

Brattleboro music school and she's also a teacher at Putney school. And while William to me the guitarist comes into the studio and sets up for his duet to be played with Kimi. Here are a few arts announcements for this week. Tonight is the opening night for Desire under the elms with the Royal Tyler theater on the campus of the University of Vermont in Burlington. The play will run through October the 21st and is open to the public for ticket reservations and additional information call 6 5 6 2 0 9 4. At the wood art gallery and Vermont a recent Prince by David Bombeck of Middlebury. Prints are on exhibit through November the 4th. Also on exhibit at works of Thomas Waterman wood from the gallery's permanent collection. Gallery hours are Tuesday through

Saturday from 12 to 4 admission is always free at the wood art gallery. On Sunday. Pat Garrett and Billy the Kid will show at the Dartmouth Film Society screenings will be at three thirty six forty five and nine fifteen pm. For information concerning the Dartmouth Film Society I do have a few more announcements from Hopkins Center the number at the box office is 6 0 3 6 4 6 2 4 2 2. This Friday night at the shadow box in Hanover New Hampshire Susan Miller will perform works of Bach. This concert begins at 8 p.m. on Saturday. Spellbound starring Gregory Peck and Ingrid Bergman. This is an Alfred Hitchcock murder mystery to be shown at 7:00 and 9:30 p.m. on Sunday the shadow box presents wedding in white the best film of the 1972 Canadian Film Festival starring Carole King. Once again screenings at 7:00 and 9:30. That's the shadow box in the

Grafton star Grange in Hanover New Hampshire. Oh. On October 20th at 8:30 pm the Town Hall of Stratford Vermont Dudley Laufman will call a contra dance. And in the heartland Elementary School this Friday night at 8 p.m. the covered bridge squares of Windsor will hold a square dance at the Chelsea house in west Brattleboro Vermont tomorrow night at 8 a contra dance with the colors collective. Middlebury College begins the Vermont writers series this week. Guest poet will be Donald Hogg. Professor Emeritus at the University of Michigan and a resident of Wilmont New Hampshire. Pulitzer Prize winning novelist Bernard Malamud will give a reading of his latest work Dubin lives at Bennington College on October the 26 a teacher of

literature at Bennington College for nearly 20 years Malamud has received many awards for his novels and short stories. The reading will take place in the carriage barn at 8:15 p.m. on the campus of Bennington College. The public is cordially invited to attend. Pianist Mark Westcott will perform at the Castleton State College Fine Arts Center. Next Wednesday at 8 15 for information call 4 6 8 5 6 1 5 and on October the twenty fifth in Bennington a flute and guitar concert with Sue N. Conn and David Starr. The concert will be performed in the visual and performing arts center Greenwald workshop at 8:15 p.m. at Middlebury College the Friday and lightning con sword will present a concert of early Renaissance music from France Flanders Germany and England. Thursday October the 26 that 4:15 p.m. in chapel

on the Middlebury College campus. This program is free and everyone is invited to attend a. On Sunday November the 5th at 4 p.m. at the mill in the County of New Hampshire and autumn musicale featuring Soprano Carole French galère and Bates pianist in a programme of Schubert Debussy Bach. And. For further information call 6 0 3 2 5 3 4 3 3 1. On the 24th of October at 8 p.m.. Banners she will perform in the Hopkins Center Spaulding auditorium that's United Nations Day celebrations at Hopkins Center. Born in one thousand thirty one banner G is a contemporary of Robbie Shankar he will play the classical music of India Tuesday the 24th at 8 in Spalding auditorium.

And now we. Return to our studio for tonight's Vermont artist and performance featuring Kimi has a gala a flutist a flute teacher from Brattleboro. She is presently on the faculty of the Brattleboro music school a community music school. She also teaches at Putney school. William Toomey is also on the faculty of the Brattleboro music school. He's been a guitarist for 12 years and is the lutenist with the Marlborough recorder workshop. Amy Pauly a cop is a student at Marlboro. She's studying flute with Marcella mo weeks and she will return later on in the program to play once again another duet with me. Has it caught her now Kimi has a car. And William to me.

Thanks bye Fernando. Famous guitars in the early 19th century was largely self taught. But 0 8 make its debut down to the public with a mastery of the guitar with a guitar and some with other instruments. This serenade can be played with a flute or a filing. No. And.

You've been listening to Kimi has a goblin and William to me. I wonder if you

would step up to the microphone there a little bit. I'm interested in that choice. When I called you up and ask you about a program for for monarchists in performance you said you would do some some pieces with a guitar Why did you choose the Corolla is that right. Well the main reason is that we already had the music to that piece so we didn't have to go to New York to get it. It's an interesting piece it's a theme and variations. And the last movement although it's not classified as a variation it's also a variation on the original theme and several variations on the original theme I think. And you'll have another duet. Coming up here in a short while. Yeah that's the very well-known do it for Luton guitar which uses a lot of Spanish motifs.

How long have you been a flutist. Oh many years man it hurts. You don't know that all that you know. Well I'm one of those who started in the fourth grade in public high school band. And you decided to make music a career. Yeah. The decision. Happened little by little but it did. Did you go to a conservatory. No I went to Marlborough College. My musical training I was only there for my last two years and before that I went to a liberal arts school. Let's see. So you'll continue teaching at the Brattleboro music school. Yes. I'm not sure if I see flute as a lifelong career or flute teaching as a lifelong career but you say that. Would you introduce the next piece or tell us a little bit about the composer Anyway you've already told us the title. Well there is a very well-known contemporary French composer. I think about. The same time as the composers of Les cease on a go.

And down from well the name has slipped my memory this point. His music is very French light delightful I think. Well that's a good one. All right. Yes. Oh.

I realize this now applies. But it's beautiful. William while the two ladies are setting up for the next duet Why don't you come over here and. Tell me about yourself. Do you find that it's easy to keep the music going in your life. Being in the southern part of Vermont I think there's a lot happening as far as music goes.

Well I think there's a great deal happening particularly in the in the Brattleboro area when you consider that we started the community music school over there in Brattleboro only two years ago. It's been an enormous and flourishing success. I don't know the exact statistics you know can you exactly how many students we have you know it was cool tonight. That's what I thought. Brattleboro it fosters a great deal of interest in the arts in dance and music in the Folk Arts as well. Is the school actually associated with any of the high schools or primary elementary schools in the area or is it a separate thing where students would have to pay for a license and come down on a private basis. In general I think that in general I think that most students come and matriculate at the school privately but I know that the school has

been instrumental in starting several programs in the schools for four string players for example where the teacher actually goes to the school in order to give the lessons to the children and to young children administered in groups now that takes place both in the public schools and at the music school. So you like to teach more in a group situation or do you like I don't you know you don't teach it all in Greek because particular I don't know how it is with other instruments but for example the guitar is such a complicated instrument technically to begin on unlike the piano in my five year old daughter can play tunes very easily on the piano. And yet one could never expect a child to do that on the guitar because of the the different functions. The hands completely unrelated in many ways and it's the initial problems of the guitar bringing these unrelated functions of both hands together. And I generally like to start students at about 11 or 12 years old at the youngest and are their teachers who believe they should start

earlier. I started playing flute when she was remotely and you were in fourth grade not four years old. Well I really don't know to be perfectly frank I know that all students that registered with me when I was teaching children extensively in Switzerland were only a lot the youngest student I had I think was 10 years old and I felt it was quite a chore for him. It took him for example a year to learn to do what at 12 years old I'm sure he could have done in the first two months. It's that kind of thing once you're over the problem to a certain extent of finger span and finger strength then it comes very very fast whereas the child can become very frustrated struggling when he's in an age group or his body for example at 12 is too small for the instrument. How about the child's coordination will lead very much of course a lot from child to child but that one year would probably make quite a kid make an enormous difference

tremendous difference. So if you had some personal successes with students that you could tell us about that was remarkable play or perhaps that you were beginning student in school that's quite exceptional. Can we look for another set of you coming out of rattle very well. That's very difficult. Yes of course. But all of my students are unqualified successes in a certain regard if I can convey to them the joy of music making and a love for the guitar I mean the initial two years as it's probably a trial period in which they discover whether or not they really love that instrument in a personal way in a deeply personal way that means it will play an integral part in their development throughout their lives as persons. That's what I think that's when you have an unqualified success really and if you and if you can convey that feeling to students

nurture it cultivate it in them then. Then everything has to be a success. Do you ascribe to that theory at all of teaching music that doesn't depend upon what instrument it is but teaching music more from a sensitive and emotional way instead of a mechanical I know that when I took a last stand it was very regimented a very demanding type of lesson where if I didn't practice I I could stand to be balled out and reprimanded for not doing that how do you handle a situation where the students say isn't prepared for that last. Well of course that can vary from lesson to lesson and sometimes they are not prepared for for very special and personal reasons. And part of the skill of being a teacher is to draw then upon your intuition to decide whether the reason that student isn't practicing is because his interest in the instrument is flagged or. For example I have a young student who

finds it very difficult to study at certain times of year because of examinations and whatnot. And you just have to be elastic enough to allow them. I think not to press on them when pressure is being applied from other from other regions I always. My personal philosophy is that music is there. Is there for pleasure and not for punishment. I mean of course there's a certain amount of discipline you have to make that clear to any student that only disciplined behavior can produce success in music. And yet at the same time the purpose of the discipline is to cultivate pleasure. So it's always a balance of things. Just as in making music that's a goal as I said I want to see it but you have to be freed between the beats of anything musical is going to come out you know. You know what I mean by that. Between the beats I think I do in other words you are now you should explain that a little bit more. Now you have a given pulse going I mean other words if you play everything mechanically as it's written on the page with

good rhythmic persuasion it doesn't mean that anything musical will come out you have that's the point at which after they're to speak with the instrument I think if people have been regimented too thoroughly in their early years the music becomes very mechanical. It has to be elastic it has to be free and yet it has to observe the disciplines which make it that individual composition. You know if that's what the composer is giving you a set of disciplines pitches and rhythms which are his basic idea and then you have to make the piece your own you have to speak with it and make it a personal thing or it never comes to life. While I think we've had some lively music here tonight. And this will be your last piece. You'll be performing Kimi. That's right. This is a bi freak coup in my research for this program I found out that Koolau was a draft dodger. He was German and left Germany to escape conscription and

went to Denmark and stayed there for the recommender of his life. He invited his parents to come to Denmark and that with him there. His works are quite unknown except a flutist So I think that many young pianists play but other than that the bulk of his work is for flute. There must be about 20 duets with two flutes. Several trios and at least one quartet for four. It's like well I'd like to take this opportunity to thank all of you for coming. He has got a lot me Polly Acuff and William to me. You've traveled a long way and I thank you for giving us this program on for monarchists and performance. You're very welcome.