Welcome to the very special final edition of Flute Focus in hard copy – Flute Focus is leading flute periodicals by going on line from here on out. I am sure there will be some readers who will miss flipping through this beautiful magazine, but think of all the trees we’ll be saving and even better, think of how you’ll be able to access everything, all of the articles old and new and search through it all, absolutely FREE!

All of the wonderful regular columns are here, and are continuing on-line too. Of special note, in this issue we have some really concrete assistance in writing grant applications in “You’ve Got To Be In To Win It” by from Morwenna Collett. I am mindful that my own training and some of my most important career milestones have been assisted substantially by philanthropy. I am immensely grateful, and I like to think that these improvements in my flute playing and knowledge contribute a great deal to my skills as a teacher and therefore benefit others too. I also realize that my ability to write convincing grant applications has been essential! In some ways, grant writing is like entering competitions and doing auditions – you get much better at it with experience. Devouring this article, as well, will definitely speed up your progress.

We also have a fascinating article by Greg Pattillo. If you don’t know this name, you are in danger of showing your age! You might consider searching for his name on-line on YouTube, to appreciate what our younger flutists all know about. Greg is the new superstar, celebrated for bringing the flute to the masses beyond the realm of classical music, much like Sir James Galway did with his “Annie’s Song” and Showpieces L.P. albums of the 1970s. Greg personifies the performers dream of engaging an audience! I also think his playing shows us where flute playing and ‘classical’ music is headed in mixing the old, the new and the popular genres. The Grammy and Pulitzer award winning composer John Corigliano has just been in residence at the Sydney Conservatorium of Music. For the last few years, John has been the most performed living American composer by American orchestras, which would mean his music is reaching the largest live ‘classical’ audience. Amongst much illuminating commentary, he made the observation that composers just don’t care any more about the compositional techniques that used to dominate modern music. John’s success clearly demonstrates that an audience responds to beauty and power of emotion in music. To further this thought, I note that the program of the recent National Flute Association Convention in New York read like a who’s-who in flute, and it was amazing to witness the apparent enthusiasm for premieres with standing room only at these concerts (a laughable idea ten years ago) and to see the popularity of flutist composers including (and NOT limited to!) Robert Dick, Ian Clarke, Matthias Zeigler, and Elizabeth Brown, flutists who have included all the special extended techniques that we found in serial compositions, and who have updated them and applied them with such convincing musical meaning. I predict in 20 years, the up and coming flutists will all be circular breathing, playing multiphonics with great ease, and yes, even beatboxing!

On behalf of Flute Focus, thanks for being loyal subscribers, we hope you enjoy this final paper magazine, and we look forward to meeting up on line!

Alexa Still records for Koch International Classics and performs concerts internationally. She has just finished an elected term as Chair of the Board of Directors for the National Flute Association (USA) and is now based in Sydney as Head of Flute and Chair of Woodwind at the Sydney Conservatorium of Music. You can read, see and hear much more at her website: www.alexastill.com