Something in all living things responds
mysteriously to the sound of wind in the reeds. At the gentle pleasing
of a flute, certain crabs glide out of their caves and sit listening
under water. Mosquitoes of some breeds collect on people playing
flutes. Lions fly into panic, dogs sink into bliss—though only when
the flute is played in the key of C minor. In China, the musk deer is
hunted with a Judas flute, which the deer meekly follows to its doom.People respond to the flute too, and of late with special reason: the
world is now entering the golden age of the flute. Never in history has
“the metal nightingale” been so highly esteemed as a solo instrument;
never in one period has it been played by so many virtuoso performers.
In the U.S. and Europe, there are at least 30 first-rate
flutists-London's Geoffrey Gilbert and William Bennett, Manhattan's
John Wummer and Samuel Baron, Rochester's Joseph Mariano, Boston's
Doriot Anthony Dwyer, Detroit's Albert Tipton, Marlboro's Louis
Moyse—and among them there are four who may well belong among the
great flute players of all time. JULIUS BAKER, 52, first flutist of the New York Philharmonic, last
week played the intricate trills in Mendelssohn's oratorio Elijah as
casually as another man might whistle for a taxi. A plump, dapper,
matter-of-fact chap who looks and acts like a prosperous dentist, Baker
is short on temperament but long on technique. He is the supreme
mechanic of his instrument, and he produces what is surely the most
glorious tone that ever came out of a flute: big, round, cool, white,
radiant as a September moon. JEAN-PIERRE RAMPAL, 44, the most famous
French flutist of the age, this week had a concert date in Paris to
play Mozart's Concerto for Flute in D Major. A large man with a suave
stage presence, Rampal cannot make the flute sing as Baker can, but he
does make it speak with a wonderfully expressive French accent. He is
the master showman of his instrument, and he charms an audience as a
fakir charms a snake. AURELE NICOLET, 40, Rampal's leading rival, last week started a
ten-concert tour of Israel. A slender, clear-eyed man whose art is
often touched with a quality of rapture, Nicolet is a poet of the flute
who may well become its greatest virtuoso. While Rampal stands always a
little aside from the piece he is playing, Nicolet knows how to yield
to the music and enter more deeply into its being. Rampal is a
magnificent mannerist, Nicolet the profounder stylist. SEVERING GAZZELONI, 47, the grand master of the difficult contemporary
repertory, this week begins a monthlong concert tour that will take him
from Copenhagen to Tripoli to Minneapolis. Fidgety and ferret-bright,
Gazzeloni started noodling around with atonal music about 20 years
ago, got fascinated when he found that in order to play the new music
he had to dispense with the traditional flute technique and develop a
new one. After several years of experiment, he developed one that
permits him to cacophonize like an electronic menagerie. His art
appalls the classical masters, but it reveals an exciting and
significant new function of the flute.
