FNMC Artistic Advisor Jan Vinci, has been a staunch supporter of FNMC from the beginning, providing us with invaluable advice, serving as a preliminary round judge, and joining us as a Commissioning Member for both the Zhou Long and the Carter Pann commissions. We’re so happy that she’ll be sharing her wisdom about the commissioning process as a part of the panel for “Keeping Score: A Conversation About Commissioning New Works” during this year’s NFA Convention (2017). Jan has commissioned and/or premiered more than forty works, she is definitely an expert at the process and we're really looking forward to learning from her and the other members of the panel at the convention!
  
Q&A with Jan…
 
What advice can you give to flutists about approaching new music in practice?
When learning an older work, one can easily get caught up in, and always follow, performance traditions. However, the beauty of learning a new work is that the journey of discovery is always fresh. … First, I first look at the large structure and the general energy of the rhythms, articulation and dynamics. Then I dig into the multiple layers of details that support the large structure and the general character. I look for contrasts and ways to bring those across, knowing that contrast is what can help define ideas and structure. I also compare the structure of the motives, phrases and sections to music of other eras, as this can often reveal logic of compositional development. Just remember that if we get so caught up in only the details, we lose perspective of the composer's larger picture and, consequently, we lose the overall impact of the work. This mistake leads to a mediocre presentation of a composer's work, which sometimes can discourage other flutists from wanting to perform the work. … Also, I have found that the fresh approach to learning a new work has taught me to take new approaches to interpreting older compositions, often unlocking new and interesting perspectives.
 
What about new music for the flute appeals to you?
As in any era, very few pieces end up being considered “exceptional compositions.” Even many pieces by our giants, such as Bach and Beethoven, are not strong enough to earn that label. I have played a lot new music that, no doubt, may never be played again. But as a performer, I feel a responsibility to put new pieces out there because there WILL be new works that deserve longevity and appreciation for years to come. The new pieces that have lasting potential are those that have logic and appeal to the performer and the listener alike: Pieces that have a clear macro and micro structure (Mei for solo flute by Fukushima); Pieces that utilize contemporary techniques for the sake of the music (Idyll for the Misbegotten for flute and percussion by George Crumb); Not always, but… some pieces that are programmatic or have a philosophical inspiration (Medieval Suite for flute and piano by Katherine Hoover and Crow’s Nest for solo flute by Mark Vinci). It is very interesting to read autobiographies of noted performers and conductors who have experienced the birth of new compositions. Their predictions of a new work’s eventual success or demise are most often correct.
 
Do you have any upcoming events that you would like our friends and followers to know about?
I would like to tell FNMC members about my latest commission project in which I commissioned 3 works and recorded them on American FluteScape: A Tapestry of Premieres and Classics (Albany Records). I hope FNMC members will check out these very worthy and exciting new works!
1. Along with pianist and Skidmore colleague Pola Baytelman, I commissioned a flute sonata by Jennifer Higdon. Being a flutist, Jennifer has written a lot of flute music, but never a sonata; so, I felt it was time. … Flute Poetic for flute and piano starts with the first movement that Higdon describes as a frantic schizophrenic dialogue with an unpredictable opening - like a picture going in and out of focus. Contrastingly, “Blue Hills” soars with sublime passionate melodies that are bookended with rhythmic introspections. In this movement two, Higdon was thinking of her brother Andrew Blue, who had a sad untimely death, and the beautiful refuge of Cades Cove in East Tennessee where they grew up. From the first note of movement three, “Jagged” creates an energy that is relentlessly on the verge of bursting… and, at the end, it finally does!
2. I commissioned Juilliard Jazz faculty and my husband ☺ Mark Vinci to compose Crow’s Nest for solo flute. As only an avid fisherman and a masterful musician can, Mark sonically depicts the ocean’s dynamic dichotomy of the tumultuous and the serene, as seen from the vantage point of a sailor up in a ship’s crow’s nest. This fantastically fun piece is a springboard for classical flutists to dive into the world of jazz, and begs the performer to ornament, beat box and groove. Inspired by Mark and other world-class jazz musicians, and by the rock-in-roller Ian Anderson (recollecting a Jethro Tull concert that I attended in 1973 in Knoxville, TN), I thoroughly enjoyed adding my own spin on this solo of both virtuosity and tranquility.
3. I also commissioned Mark Vinci to compose a flute concerto TINGsha Bom t-Bom t-Bom for flute and orchestra. Using both classical structures and improvisational style, he creates a wide swath of emotional and rhythmic scenarios. The opening movement, “En garde!,” is a jousting banter between the flutist and the orchestra.  Inspired by small Tibetan Tingsha chimes, the second movement, “TINGsha,” lures the listener into ethereal and otherworldly realms with the flutist’s use of unusual flute fingerings, simultaneous singing and playing, bending notes and flutter tonguing.  “Bom t-Bom t-Bom” opens with an extended jazz flute cadenza that eventually sets up an infectious rhythmic theme depicting a roving caravan of camels, minstrels, gypsies and vagabonds. Grooving variations ensue first by orchestral winds, followed by jazzy pizzicato strings, and eventually elaborated by the soloist. All end tutti with a rousing rhythmic coda!
 
More About Jan…
 
Classical Recording Foundation Awardee and First Prizewinner of England's International Electric Music Performance Competition, Jan Vinci has performed in Alice Tully, Carnegie, and Merkin Halls and for events such as the Blossom Festival, ICMC in The Netherlands, Electric Music Festival in England and Killington Music Festival. She is often the featured artist for flute club festivals and performs for NFA conventions. Vinci recorded three CD's on Albany Records. Vinci's newest Albany Records CD is American FluteScape: A Tapestry of Premieres and Classics, which includes three works that she commissioned: Mark Vinci's "TINGsha Bom-t-Bom-t-Bom for flute and orchestra” and “Crow’s Nest for solo flute,” and Pulitzer Prize winner Jennifer Higdon’s “Flute Poetic for flute and piano” (co-commissioner Pola Baytelman). As an avid proponent of new works, Vinci’s recent commission projects include Pulitzer Prize winner Long Zhou’s “Confluence for solo flute” (as part of the Flute New Music Consortium) and Carleton Macy's "Autumn Sky: Fantasy for flute and concert band." Vinci earned a D.M.A. from The Juilliard School, M.M. from The Cleveland Institute of Music, and B.M. from Bowling Green State University, studying with Julius Baker, Samuel Baron, Maurice Sharp and Judith Bentley. Former faculty member of Queens College, Hofstra University and the Skidmore Flute Institute, Vinci is Senior Artist-in-Residence at Skidmore College and often teaches master classes at colleges. Vinci served as President of the New York Flute Club. For a breadth of musical offerings by Ms. Vinci, please visit janvinci.com.
 
 

Wayla Chambo loves new music and is an avid performer of contemporary works. This year, her active performance schedule included performances at the New York City Electroacoustic Music Festival and the Christopher Newport University Contemporary Music Festival. Wayla is a member of the New Music Advisory Committee of the National Flute Association. A member since 2016, we’re so happy that she’ll be bringing her experience and perspective to FNMC!
 
Q&A with Wayla…
 
What about new music for the flute appeals to you?
I love exploring a variety of sounds and expressive possibilities. I enjoy challenges and new discoveries. I want my instrument to have a powerful voice, and I enjoy collaborating with composers and being an active partner in creating the music of our time.
 
Describe your musical background and current activities.
I have a DMA with in flute performance, with a related field in contemporary music, from the University of North Texas, where I was fortunate to study with the renowned new music flutist Dr. Elizabeth McNutt as well as many other excellent teachers. I also attended CalArts, which is where I first started diving into new and experimental music, and the University of North Carolina. Currently I am a freelance flutist and teacher based in Southeast VA, and I frequently perform new music in both solo and chamber music contexts. I’m also a member of the NFA’s New Music Advisory committee.
 
What advice can you give to flutists about approaching new music in practice?
Keep an open mind, be curious, and don’t be discouraged if it sounds “bad” at first or takes longer to learn than you’re used to. Find a piece that you really love, and let that lead you to other composers and works you might enjoy.
 
More About Wayla…

Wayla J. Chambo is a versatile, committed performer of new and experimental flute music alongside the traditional repertoire. She has performed with the Dallas Festival of Modern Music, Allen Philharmonic Orchestra, Dallas Wind Symphony, Virginia Symphony, and the Norfolk Chamber Consort, and maintains an active presence at national and regional festivals and conventions. Chambo serves on the NFA’s New Music Advisory Committee and was Program Chair of the 2016 Mid-Atlantic Flute Convention. She earned her DMA from the University of North Texas, and is currently a faculty member at Thomas Nelson Community College and a classical radio announcer on WHRO-FM.
 https://www.facebook.com/WaylaChamboFlutist/
 

We’re so excited about our next commission, a new work for flute and piano by Carter Pann, and we’re very happy that Marissa Olin, who joined us last year as a Performing Member recently joined us as a commissioner of Carter’s new work!  As you’ll see below, she’s an active supporter and performer of new music, particularly for flute and clarinet duo (with Jonathan Holden, clarinet). We hope you enjoy learning more about Marissa!

Q&A with Marissa…
​
What about new music for the flute appeals to you?
New music appeals to me because it allows us to explore new sounds and techniques on the flute in innovative and ground-breaking ways. I especially like being able to communicate and collaborate with composers throughout the creation and/or premiere of a new work.
 
When did you join FNMC and what attracted you to the organization?
I have been a FNMC member since 2016, and I am excited to be participating in the upcoming Carter Pann commission. I am attracted to FNMC’s mission of promoting new music for the flute through commissioning projects and their annual composition competition.
 
Do you have any upcoming events that you would like our friends and followers to know about?
I currently play in a flute/clarinet duo with Dr. Jonathan Holden, faculty at Florida State University. We will be performing at the NFA Convention on Friday at 1pm (Flute Clarinet Duos Consortium Retrospective) and Saturday at 11am (Chamber Music for Winds). On Friday, we are performing Barn Dances by Libby Larsen with pianist Dr. Mariah Boucher. On Saturday, we are playing Fluteball: a soccer-driven melodrama by Ricardo Lorenz and Synthetic Butterflies by Kendra Kestner. All are pieces by living composers! I hope to see you there!
 
More About Marissa…

Marissa Olin is an active freelance musician in Michigan. She is a member of the West Michigan Symphony (Flute II) and she has performed with the Kalamazoo, Midland, Lansing, Battle Creek, Jackson, and Traverse Symphony Orchestras. She is Instructor of Flute at Spring Arbor University, Kellogg Community College, and the Michigan State University Community Music School. She received degrees from Michigan State University (D.M.A. and M.M.) and the Lawrence University Conservatory of Music (B.M.), with additional study in Vienna, Austria.

You might have noticed we have a strong Florida State University contingent of members. We love that Shelley’s fellow FSU alumni (as well as FSU current students) have embraced FNMC. Of course, we must also credit the strong participation to the support of FSU Flute Professor and FNMC Artistic Advisor Eva Amsler!
 
One of our wonderful members with an FSU connection is current DM student, Elyse Davis! Elyse has been an active member since joining FNMC in 2016. She was a preliminary judge for the chamber music category of the FNMC composition contest in 2016, and performed on the FNMC concert at the Florida Flute Association Convention in January 2017. She has actively supported FNMC Composition Contest works; having performed Purple and Yellow for flute and marimba/vibraphone by Stephen Lounsbrough and On the Pivot of an Abandoned Carousel for flute and electronics by Kay HE.
 
Elyse is a member of the Silver Linings Flutes, comprised of Vivianne Asturizaga Laura Clapper, Elyse Davis, and John Ross. The Silver Linings flutes have been very supportive of FNMC works, and FNMC in general, in fact, they’re all members! They’ve performed the quartets French Quarter by Nicole Chamberlain, and In Memoriam: Sacajawea by Greg Steinke. They even included French Quarter on the program they performed during their 2017 tour in Costa Rica!
 
If you’re attending the NFA convention this year, be sure to support Elyse as she competes in the Young Artist Competition. We know she will play beautifully! 
 
Q&A with Elyse…
 
When did you join FNMC and what attracted you to the organization?
I first joined the FNMC officially about a year ago, and was initially attracted to the organization because of how many Florida State friends and colleagues I have who are also members! I attended an FNMC get together at NFA a few years ago, and was struck by how friendly everyone was- it just seemed like a fun organization to be a part of, and when I was asked to be a preliminary round judge for the composition competition, I was blown away by how amazing some of the music being submitted was. I had a great experience with judging, and have now performed several FNMC pieces.
 
What about new music for the flute appeals to you?
Learning and performing new music has opened and developed my mind (and my ear) beyond the more traditional flute repertoire, and has pushed me beyond what I thought I was capable of on the instrument. That, I think, is the true value of new music- it is constantly pushing the boundaries of what is generally thought to be possible, and thus, performers are able to grow and keep improving their abilities in new and ingenious ways. Also, programming new music on a flute recital is particularly appealing, since it is one of the oldest known instruments in the world- the fact that we are able to program a Bach sonata right alongside a work that was composed last year, is amazing to me!
 
What advice can you give to flutists about approaching new music in practice?
I think the best advice is just to keep an open and creative mind! Often, there is no wrong answer- the exciting thing about new music is that you can create a completely new and unique interpretation, uninfluenced by others. You have the opportunity to really make it your piece!
 
More About Elyse…
​
Flutist Elyse Davis is an active performer and soloist in the Tallahassee area and throughout the United States. She made her solo debut in Carnegie Hall’s Weill Recital Hall in May of 2017, and has won prizes at numerous competitions, including second prize at the San Diego Flute Guild Young Artist Competition in 2017 and third prize at the NFA’s Orchestral Audition Masterclass Competition in 2016. Ms. Davis is currently pursuing her DM at Florida State University, where she is a Teaching Assistant. She earned her M.M. from FSU, and her B.M. in flute performance from the University of Arizona.

 
When Shelley conceived of the concept for FNMC and invited three of us to join her in founding FNMC we all reached out to our network of flute friends, teachers, and acquaintances. Among our earliest and most enthusiastic supporters were some of our former teachers. George Pope, is one of those wonderfully supportive teachers. He was among the very first people to join the Zhou Long Commission and was the first to join the Carter Pann Commission, even before we’d formally begun advertising! Those who know George know that he is a lovely and gracious man, and FNMC President Shelley Martinson and Grants and Finance Chair Ashley Shank feel fortunate to have studied with him at The University of Akron and for his continued support of our careers and projects!
 
Lots of flutists are familiar with George as he is a frequent performer and masterclass presenter around the country and has served the National Flute Association is many significant roles (including President and Program Chair.) But, many people may not know that he is a dedicated supporter of new music for the flute!  In fact, he recently released a CD of works that were written for him!
 
Q&A with George…
 
What about new music for the flute appeals to you?
Although my training has been in very traditional styles, I have always been interested in performing works by my colleagues and friends, or frankly any work that was recommended to me. In my earlier years there was very little information in methods or “guidebooks” available so we just experimented, talked to mentors and the composers, and figured it out. Huge thanks to the pioneers and artists who have documented their work and shared it with our community: inspirations all!!
 
When did you join FNMC and what attracted you to the organization?
I have been a member of FNMC from the beginning for two main reasons: I am excited to support the work of my former students who are founding members of FNMC; this is an important organization because of its efforts to commission new works for flute. And second because I want to be involved in the creation of new works for flute, adding to our amazing repertoire. I have commissioned works from friends and colleagues in the past and recorded 7 of them in my solo CD: “some measures for living….” released in 2016 on Crystal Records.
 
What advice can you give to flutists about approaching new music in practice?
Like anything new, start slowly!! Set manageable goals for each day of practice. Contemporary techniques must be learned carefully from the beginning so that they become natural and ingrained, just like learning your first scale when you were a beginner. If you have been inspired by a performance, seek out that composer and that flutist for insight into the technical and the emotional life of the music.
 
More About George…
George Pope is Emeritus Professor of Flute at The University of Akron and Instructor of Flute at The Baldwin Wallace Conservatory. Principal Flute of the Akron Symphony from 1978-2002, Mr. Pope has performed with the Cleveland Orchestra, the Blossom Festival Orchestra, and the Brevard Music Center Orchestra. He is a founding member of the Solaris Wind Quintet and the Chamber Music Society of Ohio. His solo CD “…some measures for living” was released in 2016 by Crystal Records. Laurence Vittes in Gramophone writes, “The wonder of Pope’s playing is how engagingly, articulately, flowingly and objectively he pours himself into music….”
https://www.bw.edu/academics/bios/pope-george

We’re always excited to have new members! Paula Gudmundson is one of our newest! We love the new perspectives our members bring to the organization and can’t wait to see what she will contribute to FNMC!
 
We’re looking forward to meeting her at the NFA Convention where Paula will be busy! She is the moderator for a panel discussion hosted by the NFA Cultural Outreach Committee entitled “Embracing our Races: Connecting with Communities of Color” on Thursday at 1:30 and is performing her arrangement of Gran Fantasia for flute and piano by Amancio Alcorta on Friday at 5:00.
 

​Q&A with Paula…
 
What about new music for the flute appeals to you?
I am very interested in performing works that may be unknown or ignored. This may be “classical” music of Argentina, works by Scandinavian composers, to new music by female composers. I am most interested in bringing to life music that is unknown since it may not be part of the tradition cannon. I want to expand our own musical cannon.
 
Who is/are your favorite “new music” composer/s and why?
I really enjoy working with composers, so my favorite “new music” is one which I get to workshop with a composer. I really enjoyed working with John Luther Adams and Laura Kaminsky.
 
What is/are your favorite “new music” piece/s and why?
My favorite new work is “202-456-1111” which was a commissioned work by Laura Kaminsky. This is the phone number for the public comment line at the White House. I like that Laura Kaminsky’s works have a social consciousness aspect.
 
When did you join FNMC and what attracted you to the organization?
I joined FNMC in June 2017 after reading about the various exciting commissioning projects which I really want to support and promote with my own students. I think this is going to be a very important way to support performers and composers in the future.
 
What advice can you give to flutists about approaching new music in practice?
I like to approach new music without listening to a recording of the work so I can make my own decisions and to approach it with an open mind. I always use a metronome in learning a piece and then be flexible in always creating music.
 
More About Paula…
 
Flutist, Paula Gudmundson is Assistant Professor of Flute at the University of Minnesota Duluth. Debut recording titled, La Flauta of Buenos Aires, released in 2014 featured works for flute by Amancio Alcorta.  Her edition of Gran Fantasia by Amancio Alcorta received an Honorable Gudmundson has been invited to perform in recital at the National Flute Association Convention in 2016 and 2017,  La Côte Flûte Festival in Gland, Switzerland in  2016, and International Flute Festival of Costa Rica in 2017. Dr. Gudmundson is a graduate of Lawrence University (B.M), University of North Texas (M.M), and University of Minnesota (DMA) as a Berneking Fellow. Her principal teachers include Immanuel Davis, Terri Sundberg, Ernestine Whitman and Adrianne Greenbaum.
Website:  www.paulagudmundson.com

It’s FNMC Composition Contest season! The first deadline is only about a month away. What better time to feature the lady behind it all?! Elizabeth Robinson is the Vice President and Competition Coordinator of the Flute New Music Consortium. Perhaps we should call her the Countess of the Composition Contest. Without her incredible dedication and skill, the composition contest would not be possible. Each year, she dedicates countless hours to the competition. Elizabeth expertly manages the entries; carefully cataloging them, booking judges, communicating with the composers, and meticulously maintaining the integrity of the process.
 
Like the rest of the board, Elizabeth contributes to FNMC by leading projects outside her specific duties. She coordinated the CMS Great Plains proposal in 2016 and crafted the proposal and will act as moderator for a panel discussion at NFA this summer entitled “Keeping Score: A Conversation about Commissioning New Works.” The panel will feature composers Asha Srinivasan and Nicole Chamberlain and flutist/commissioners Nicole Riner (FNMC Membership and Communications Chair) and Jan Vinci (FNMC Artistic Advisor). Elizabeth also spearheaded the FNMC t-shirt project.
 
Elizabeth performed and/or presented on behalf of FNMC at the CMS Great Plains Regional Conference, NACWPI Conference, and the NFA Convention in Chicago. Elizabeth was a commissioning member for Zhou Long’s Confluence and renewed as a Pann commissioning member.  She has performed several works honored in the FNMC Composition Contest including; French Quarter by Nicole Chamberlain, Cycling by Panayiotis Korkoras, Van Gogh Vignettes by Greg Steinke, and Dviraag by Asha Srinivasan
 
Although Elizabeth and I have worked together on the FNMC board since the inception of the organization and I consider her a friend, we’ve never met in person. Our friendship and working relationship developed through emails, google chats, and an occasional phone call. Her wit and sense of humor never fail to bring levity to our board meetings! It turns out forming friendships is a great benefit of FNMC.
 
Q&A with Elizabeth…
 
What about new music for the flute appeals to you?
I've always had a commitment to new music. The opportunity to help create something new is an exciting one. To witness the creation of a work from inception to performance is a very gratifying process. Collaboration between artists and composers is critical as we try to advance the repertoire.
 
Describe your musical background and current activities.
I currently serve as the Vice President and Competition Coordinator for the Flute New Music Consortium. I hold the Diana Osterhout piccolo chair in the Topeka Symphony and teach academic courses at Kansas State University.  
 
When did you join FNMC and what attracted you to the organization?
I was one of the founding members of FNMC. I loved the idea of promoting new, high quality works for the flute repertoire. I was excited about building a community of flutists with similar interests, and about helping connect that community with the composition community. Several years later, it's exciting to watch those ideas turn into reality - and I'm excited to see what our future holds!
 
Do you have any upcoming events that you would like our friends and followers to know about?
I just completed a performance of Daniel Dorff's Flash! with the Kansas State University Wind Symphony, and have begun a series of commissions for piccolo, beginning with a solo work by recent competition finalist Nicole Chamberlain. I'm hoping to make announcements about the second work soon!
 
What advice can you give to flutists about approaching new music in practice?
The biggest piece of advice would be that if it is new music, the composer is likely still alive - so contact them! Start a dialogue. Collaborate with them on their new piece, and don't be afraid to speak with them and get your questions answered. In your practice, make sure it's knowledgeable practice. Analyze the piece and create informed musical opinions about what you are playing.
 
More About Elizabeth…
 
Dr. Elizabeth Robinson holds the Diana Osterhout piccolo chair of the Topeka Symphony and serves as an instructor of flute at Missouri State Southern University. An active teacher and performer, she has appeared as a guest artist throughout the midwest, teaching masterclasses and workshops ranging from Extended Techniques for Dummies to Yoga for Flutists/Musicians. She is founding member of Tornado Alley Flutes, a professional flute ensemble based in the heart of tornado alley.
 
Winner of the 2012 National Flute Association Graduate Research Competition, her dissertation Voice, Itinerant, and Air: The Solo Flute Works of Toru Takemitsu, was presented at the 2012 NFA Convention. 
 
http://www.robinsonflute.com

One of the great things about working with FNMC is how it brings together flutists from all over the country who are at different stages in their careers. For example, Emily Nazario (today’s featured member who is a MM student in Wyoming) recently performed on an FNMC program at the Mid-South Flute Festival with Katherine Emeneth and Carmen Lemoine (both professional flutists who teach flute at the college level in GA and KS respectively) and Brittany Trotter, who is a DMA student in WV. We love that these performances give flutists who might not otherwise have the opportunity to collaborate a chance to get to know one another!
 



​Q&A with Emily…
 
What about new music for the flute appeals to you?
My favorite part about performing new music is being able to interact with living composers. It is interesting what the composer has to say. With today’s technology, I can easily ask the composer about specific details of their piece(s).
 
Describe your musical background and current activities.
Currently, I am a master’s student at the University of Wyoming where I play in the symphony orchestra and wind ensemble. I teach private flute lessons in Laramie, Wyoming and remotely through Skype. My flute teacher is Nicole Riner, who introduced me to the FNMC.
 
Do you have any upcoming events that you would like our friends and followers to know about?
On Sunday May 7, 2017 at 1:00pm, I will be giving a solo recital at the University of Wyoming (which I will be live streaming on Facebook.) I will be playing quite a few new music pieces including: Honami by Wil Offermans, Flash! for piccolo and piano by Daniel Dorff, and Croatian Trio for flute, trumpet, and piano by James Stephenson.
 
 
More About Emily…
 
Emily has played with many ensembles including the Ithaca College Symphony Orchestra and Ithaca College Wind Ensemble. She performed as principal piccolo with the Ithaca College Wind Ensemble at Alice Tully Hall in 2015. Emily also attended Marrowstone Music Festival in Bellingham, Washington the summer of 2013, where she played under the baton of Gerard Schwarz and Dale Clevenger of the Chicago Symphony Orchestra. Emily is currently a member of the University of Wyoming Symphony Orchestra and Wind Symphony.
 
Masterclasses Emily has attended include the Anatomy of Sound Workshop (2014- Ann Arbor, MI), Domaine Forget International Music and Dance Academy (2013- St. Irene, Quebec), and The Annual Julius Baker Flute Masterclass (2012- Danbury, CT). She has played in masterclasses with Amy Porter, Jeanne Baxtresser, Mark Sparks, Susan Hoepnner, Bradley Garner, and Trudy Kane.
 
Born and raised in Olney, Maryland, Emily began playing the flute at age 10, where she participated in state solo and ensemble festivals, and honor bands. She graduated with a Bachelor’s of Music Performance in 2015 from Ithaca College, where she studied with Dr. Wendy Mehne and Mary Kay Robinson. Additionally, Emily spent a semester abroad in Amsterdam where she studied at Conservatorium van Amsterdam. She is currently pursuing a Master’s of Music Performance at the University of Wyoming under the tutelage of Dr. Nicole Riner.
 
In her free time Emily enjoys hiking in the Snowy Range close to Laramie, cooking healthy meals, and traveling to new places. 

The last year has been an exciting time with a lot of transitions and new opportunities for Carmen Lemoine! She was appointed Assistant Professor of Flute at Wichita State University, invited to teach chamber music at the Saarburg International Music Festival, and joined FNMC. Obviously, the last one isn’t nearly as momentous a life event, but we’re so happy to have her as a part of our organization! She recently gave a beautiful performance of Shawn Okpebholo’s On a Poem by Miho Nonaka: Harvard Square (the winning work in the solo flute category of the 2016 FNMC Composition Compeition) at the Mid-South Flute Festival and we look forward to her participation in future FNMC projects.
 
Q&A with Carmen…
 
What about new music for the flute appeals to you?
New music always presents not only technical challenges but also the freedom to interpret a piece of music that likely not many have heard before. Perhaps there aren’t even recordings to listen to- so a player must trust and rely on great artistry to bring this piece to life. Risk-taking is encouraged!
 
Describe your musical background and current activities.
I have a fairly standard journey of flute education: three degrees in flute performance. What I believe is not standard is my "portfolio"career: I have won auditions and performed with orchestras; I have freelanced in a metropolitan area and learned a ton of skills not taught in school; I have taught small children all the way up to conservatory-level; I've built website and even started my own podcast! I've almost done it all! I am currently Assistant Professor of Flute at Wichita State University and love every minute of it. If you are looking for a great reason to be in Germany this summer, I'll be teaching chamber music at the Saarburg International Music Festival and would love to see you there!
 
Do you have any upcoming events that you would like our friends and followers to know about?
Upcoming events include the Saarburg Festival (see above)- www.saarburgfestival.de- this summer; Mid-South Flute Convention where I'll be performing Shawn Okpebholo's beautiful and intriguing "On a Poem by Miho Nonaka"; a presentation at the Oklahoma Flute Society's annual flute festival about how to create resonance in your sound; a performance of Jonathan Newman's Concerto for
Flute with the Wichita State University Wind Ensemble; performances with the Louisville Orchestra and Lieurance Quintet; and, a performance of Lasse Thoresen's "Interplay" at the NFA Annual Convention in Minneapolis this August.
 
What advice can you give to flutists about approaching new music in practice?
My advice to flutists re: new music: start early and start slowly.
 
More About Carmen…
 
Carmen Lemoine wants to live in a world where education is free to all, pantyhose don’t exist, people aren’t afraid to be honest, Unti winery is her next-door neighbor, a train will shuttle her across town in 15 minutes, and all you need is love.
 
Until that day arrives, however, she has dedicated herself to mastering the art of the flute. Dr. Lemoine is Assistant Professor of Flute at Wichita State University in Wichita, Kansas. She holds positions with the Santa Rosa and Santa Cruz symphonies in California, performs frequently with the Louisville Orchestra, and recently appeared as guest principal flute with the Auckland Philharmonia Orchestra in New Zealand. Equally at home in small ensembles of contrasting styles, she has been a member of Ensemble Mik Nawooj, a hip-hop/classical fusion group recently featured in the Wall Street Journal, and is currently a member of the Lieurance Woodwind Quintet.
 
Previous to her appointment in Wichita, Carmen introduced eager minds to the wonderful worlds of woodwind chamber music, musicianship, and music theory at the San Francisco Conservatory of Music.
 
In July 2016, she launched her latest project — the podcast Notes from the Audiophiles: Why Don’t I Like Classical Music?. Co-hosted with her brilliant friend Pinky, each episode delivers digestible morsels of music history in an accessible, conversational style.
 
Dr. Lemoine earned degrees in flute performance from the Eastman School of Music (B.M. and D.M.A.), where she studied with celebrated artist and teacher Bonita Boyd, and the San Francisco Conservatory of Music (M. M.), studying with San Francisco Symphony principal flute Timothy Day. Learn more at carmenlemoine.com. 

A member of the FNMC board since 2016, our Membership and Communications coordinator, Nicole Riner is an invaluable contributor to the Flute New Music Consortium. Nicole is a longtime supporter of new music for flute having commissioned and premiered over twenty pieces! 
Nicole joined FNMC in 2014 and quickly became an active member of the organization. We were very fortunate she decided to run for a seat on the board in 2016.  Since joining the board she’s brought many new members to the organization, spearheaded several wonderful projects to help us operate more efficiently, interviewed Carter Pann (we should be posting their discussion about our commission soon!), and coordinated the proposal for the Music by Women Festival. She also served as a preliminary round judge for the solo flute category of the 2016 FNMC Composition Contest. As an added bonus, she’s a really awesome and interesting person who enjoys cooking and traveling and has a very witty blog, DrinkFoodTravel. We’re so happy to have Nicole as an integral part of FNMC! We hope you enjoy learning more about her!
                                                     
Q&A with Nicole
 
What about new music for flute appeals to you? 
I am always eager to find new music; how boring it would be to just pay the same programs of 19th century pieces for the rest of my career (although those pieces are lovely, too)! And to me, there is no better time than the present for musicians.  The instrument keeps evolving, new compositional ideas keep emerging, and I love the vast exploration of colors, techniques, structures, etc. that you find in new music. In seeking out new compositions, I am continually stretched--I keep learning more about the instrument and about myself as a creative artist. I also love the spirit of collaboration; it is such a great privilege to be able to email the composer for input on your interpretation, and in most instances, develop a long-term friendship with the artist who created this music that I love playing!  It's such a positive way to interact with the music world!
 
When did you join FNMC and what attracted you to the organization? 
I joined in 2014 right after I saw FNMC's winning presentation at the NFA Arts Venture Competition.  I was so excited to find out you exist and so impressed with your mission statement, organizational scheme, and very affordable membership fee.  I thought, "How could you lose by joining"? And I have happily become more entrenched as time goes on. In fact, I have loved so many of the recent composition contest winners and finalists that FNMC literature is really dominating my music stand these days!
 
Do you have any upcoming events you would like our friends and followers to know about? 
I'll be performing Yuanyuan (Kay) HE's On the Pivot of an Abandoned Carousel for flute and electronics and a movement of Nicole Chamberlain's French Quarter (flute quartet) at the Music by Women Festival in March, which is an FNMC proposal that I coordinated.  I am excited to collaborate with members Olivia Boatman, Shelley Collins, Katherine Emeneth, and Brittany Trotter on that lecture-recital, which will also include a beginner's guide to commissioning new music. I also have a short solo tour in Pennsylvania in April, with stops at IUP and Penn State, where I will perform finalist Emanuela Ballio's Gocce for solo flute in what I think will be the world premiere. At the end of April, I'm performing the sublime Seven Seascapes by Kevin Puts with my colleagues at University of Wyoming along with Jean Ahn's very colorful Toys for flute, piano, and wind-up toy. 
 
More About Nicole
Praised for her "luscious, full sound" (American Record Guide) and "effortless precision" (Flutist Quarterly), flutist Nicole Riner maintains an active international presence as a recitalist and pedagogue. Nicole has also commissioned and premiered new works by numerous composers as a solo artist and with her chamber group, Verismo Trio. Her live performances have been broadcast on Public Radio programs in Colorado, Michigan, Minnesota, and Wyoming. She has recorded on the ACA, Centaur, and Albany record labels. Nicole is Visiting Assistant Professor in Flute at University of Wyoming and an Altus Performing Artist. She also serves on the board of Flute New Music Consortium. http://www.nicoleriner.info/