We are looking for 100 flutists of all shapes sizes and skill levels to comprise our “Flute Migranti” as part of master flutist and International Contemporary Ensemble co-founder Claire Chase’s April 4 appearance at CAP UCLA. She will be leading a special performance of Salvatore Sciarrino’s “Cerchio Tagliato dei Suoni” (“Cutting the Circle of Sounds”) an immersive 60-minute work for 104 flutists: 4 soloists and 100 migranti, who move throughout the theater playing air sounds and simple extended techniques. Participants in the migranti can be all ages (10 and older) and all levels, all you need is a flute and an enthusiasm for making new sounds on the instrument.
This piece is aural theater and it has only been performed once in the U.S. Our presentation is the official West Coast premiere and it’s not soon to be repeated. Read more about this unique work and its 2012 presentation at the Guggenheim Museum in New York.
Positioned around an audience arranged in a square with an aisle cut through it, the soloists exchanged trills, hisses, sputters and violent bursts. Around 10 minutes into the 70-minute work a cadre of 100 additional flutists — “migranti,” Mr. Sciarrino designates them — marched through the aisle, playing breathy, hooded sounds at the cusp of audibility. These players, seasoned professionals and small children alike, circulated intermittently, some using intact instruments while others blew through head joints only.
I’m tickled at the thought of a heard of flutists floating through Schoenberg Hall. I have many memories of being part of herds of flute players in my life. And there’s this very incredible emotional high you get from being inside a sound, being part of an orchestra or conglomeration of people making music, making sounds.
I started playing the flute when I was 11 years old after experiencing an introduction to orchestral instruments in the weekly music class at my middle school. (This was in the 1980s, we had music class every week, we learned to sing and read music and play basic tunes on myriad instruments). I, like so many other musically inclined young girls, fell in love with the flute. It was beautiful to look at, beautiful sounds came out of it. I felt (and still feel) beautiful whenever I pick it up and make music with it.
As I traversed the years that followed, I discovered the flute appealed to a multitude of young musicians, many of them girls. Every audition, every competition, every music camp I attended for the next 15 years was punctuated by a sea of fellow flutists vying for a seat, a spot or a score. My private teacher would gather together all of her students every Christmas and institute a “flute choir,” and we would perform crowd-pleasing songs of the season at a busy shopping mall in Phoenix, Arizona. It was almost always an all-girl group of performers, even though at the time my only knowledge of a professional flutist in real life was James Galway, who I adored and wanted to see whenever he came to my city.
Counting myself among a sea of flutists was a big part of my artistic development. I eventually became good enough to find myself a soloist, or a featured performer, earning a scholarship to college in 1990 where I discovered an even greater sea of more-talented and more-dedicated flutists in the world than I was.
But I was young and content for my chosen instrument to become a hobby rather than a career. I still love to play. I look at music that I used to proficiently perform and enjoy and can pick out much of it, which makes me feel more nostalgic than chagrined at my deteriorated skill.
It’s a beautiful instrument and I still love making music with it and hearing others make music with it.
I’m very much looking forward to seeing Claire Chase perform and witnessing every possibility of this wonderful instrument in the hands of a contemporary master.
And of course I jumped at the chance to join the gathering of flutist that will be part of her performance.
If you play the flute, or used to play the flute and long for an opportunity to dust it off, please join me. It’s going to be a very special moment on the season.
Claire will lead two public workshops with the migranti to prepare for the performance.
Ideally participants would be available for all rehearsals, but we can be flexible with schedules.
Wednesday, April 1: 4-7 pm
Thursday, April 2: 4-7 pm (April 1st and 2nd are at the Hammer Museum, free parking available)
Friday, April 3: 6-9 pm (Rehearsal at UCLA’s Schoenberg Hall)
Saturday, April 4: (1:30 rehearsal, 4:00 Performance at Schoenberg/UCLA)
For more info and to confirm participation, contact Meryl Friedman email@example.com