Lente

“Julia Domna,” Roman, 193-217 CE.
Seen at the Harvard Art Museums last week.

My progress through Dr. LaFleur’s Latin tutorial has been maddeningly slow: When I submitted my work on Chapter VIII in August 2023 (yes, you read that correctly), I wrote, in part, “I recognize that I may be your slowest student ever but trust that if this represented a problem, you would advise me.” Imagine my relief when I learned that several students had, at that point, been working through the tutorial for at least two years. But eighteen months have passed, and I am now polishing my submission for Chapter XI (yes, you read that correctly). At this rate, the Ovid tutorial — my reach goal — seems impossibly far off.

And yet….

When I wander through art museums, some of my favorite moments involve recognition: I “know” an artist, or an artist’s contemporary, or the obscure subject, or whatever. Are you familiar with the feeling I’m describing? A work attracts your attention, and you realize it reminds you of other pieces… “Ah! Could this be…? It is!” My daughters and husband, who most frequently join me for museum adventures, have indulged and encouraged my barely stifled delight at one “discovery” or another (and another) for many, many years now. In fact, they know that this wash-rinse-repeat cycle in which we stitch one learning experience to another, or a book to a painting to a piece of music to a news article to a film to a — you get the idea, is a rich and rewarding way to learn, to think, to grow. This sort of (re)discovery has a reliable “stickiness.”

As have my Latin studies. It has been slow going, yes, but what I have learned so far, I own. My husband drills me on vocabulary and my study cards for at least an hour on nearly every trip into Chicago or Milwaukee, for example, and I drive the first leg of our trips into Michigan so that he can quiz me. More than six months ago, I added Duolingo to my day. Admittedly, its Latin program is short and limited, but the skill-building tools for vocabulary have merit.

And so I learn. In my way. On my schedule. However long it takes.

(Speaking of schedules, for the first semester since I enrolled in music lessons (Fall 2014), I am taking a break of sorts: I have only registered for a half-term this spring. More, I am not returning to band until Fall 2025. Travel and “required maintenance” on this aging vehicle prompted me to rethink these first few months of the new year. I am still studying, though, and will outline what is on my practice sheet in another post.)

By the waters

My image of detail from “Another Chance” by Jack Butler Yeats (1944).

While preparing Louis Aubert’s Lied for flute and piano in September, I stumbled onto a recording of Robert Beaser’s “The Old Men Admiring Themselves in the Water.” Based on the William Butler Yeats poem of the same name, it is a haunting, lovely piece. I presented it at a lesson last month.

“Another Chance,” which demanded my attention this Saturday, is painted by Yeats’ brother. The places at which my interests and pursuits intersect delight me.

“‘All that’s beautiful drifts away / Like the waters.’”

Of course, what drew my eye initially was the figure — to me, Ishmael atop Queequeg’s casket. Speaking of the intersections of interests and pursuits, my younger daughter and I are scheduled to read at the 2025 Moby-Dick Marathon. (I was a reader for the virtual program in 2021.)

Notes

Image taken at the Smart Museum of Art.


This week’s practice sheet:

🎶 Still working on pages 4 through 8 of Maquarre’s Daily Exercises for the Flute.

🎶 “Consolation” in Ernesto Köhler’s Twenty-Five Romantic Etudes (Op. 66).

🎶 My current solo piece, the Plamen Prodanov arrangement of Tchaikovsky’s “Autumn Song.”

🎶 Sonata No. in G by Jean-Baptiste Loeillet de Gant, the fourth and final movement, the gavotte. I am playing the first part in this duet.

🎶 In Interval Duets by Thomas Filas, the seventh duet, the second part.

🎶 In P. Bona’s Complete Method for Rhythmical Articulation, 120. Not sure I will spend much time on this in October, but it is on my sheet.

Notes

Sculpture at Allerton Park

This week’s practice sheet:

🎶 In Maquarre’s Daily Exercises for the Flute, pages 4 through 8.

🎶 In Album of Flute Duets, revised and annotated by Louis Moyse, Jean-Jacques Naudot’s Sonata for Two Flutes, the fourth and final movement, another allegro.

🎶 In Interval Duets by Thomas Filas, the third duet. I am playing the second flute part this time through these deceptively simple pieces.

🎶 In Ernesto Köhler’s Twenty-Five Romantic Etudes (Op. 66), “Dolls’ Waltz.”

🎶 Revisiting the Adagio and Allegro from Jean-Baptiste Loeillet’s Sonata No. III in Selected Duets for Flute, Vol. II (Advanced). Again, I am playing the second part.

🎶 In P. Bona’s Complete Method for Rhythmical Articulation, 120.

🎶 In Contemporary French Recital Pieces, Vol. I, Louis Aubert’s “Lied.”

Because we don’t have band rehearsal next week, I am setting aside my concert folder until after my next lesson. 

Notes

It had been two months since my last music lesson, and my practice time was limited during those months. But somehow I pulled it together for a productive hour-long lesson today.

🎶 Having completed work on Hans Köhler’s Sonatina for Two Flutes in Album of Flute Duets, revised and annotated by Louis Moyse, we have selected Jean-Jacques Naudot’s Sonata for Two Flutes in the same collection. For my late-July lesson, I will prepare the Adagio and the first part of the Allegro (the first page of the four-page piece).

Over the spring semester, we completed the fifteen pieces in Interval Duets by Thomas Filas. The deceptively simple collection focused on achieving a clear, beautiful sound. Over the next fifteen lessons, then, we have decided to work through the book again; this time, I will play second part. We are also revisiting the Adagio and Allegro from Jean-Baptiste Loeillet’s Sonata No. 1 in Selected Duets for Flute, Vol. II (Advanced); again, I am playing the second part.

🎶 Today I finished (if that is correct verb) the third of Köhler’s “moderately difficult pieces as studies for flute” from Op. 33, Book 2, in Robert Cavally’s Melodious and Progressive Studies from Andersen, Gariboldi, Koehler, and Terschak for Flute, Book 2. In April, I shared with my teacher that pieces like this feel needlessly difficult for an adult learner whose chief goals are (1) to do well in community band and (2) to always be learning and improving. She has now moved me into his Twenty-Five Romantic Etudes (Op. 66), and for my next lesson I will prepare the “The Swing.”

🎶 In April, I finished 116 in P. Bona’s Complete Method for Rhythmical Articulation, and my teacher provided excellent notes and examples to help me approach 120, my last assignment in the book; however, I have no plans to tackle this until after I present the first movement of the Stamitz Concerto in G major, Op.29, in August. Because I chose to work on the three movements out of order, this will conclude my work on the concerto, freeing me to focus on the Bona.

🎶 For my scales and long tone work, I have primarily relied on Parès Scales for Flute or Piccolo and ILMEA Senior HS Band Audition Scales sheet. My teacher now recommends that I begin working in Maquarre’s Daily Exercises for the Flute.

🎶 For my piccolo studies, in addition to exercises in Danielle Eden’s Piccolo! Piccolo! method books, my teacher recommended revisiting Köhler’s Op. 33, Book 1.

🎶 My July practice sheet:

— 15 minutes: long tones, scales, exercises
— 20 minutes: Twenty-Five Romantic Etudes (Op. 66), “The Swing”
— 10 minutes: Interval Duets, No. I
— 15 minutes: Album of Flute Duets, Jean-Jacques Naudot’s Sonata for Two Flutes
— 15 minutes: Selected Duets for Flute, Vol. II (Advanced), Jean-Baptiste Loeillet’s Sonata No. 1
— 15 minutes: piccolo

Notes

🎶 Earlier this month, my instructor and I completed Johann Christian Schultze’s Sonata for Two Flutes in Album of Flute Duets, revised and annotated by Louis Moyse, and moved on to Hans Köhler’s Sonatina for Two Flutes in the same collection. This week, I am focused on the second page of the Allegro.

We are also working in a new-to-us book: Interval Duets by Thomas Filas, which appears to be out of print. “[T]he playing of duets is the starting rung of the ladder which leads to higher musicianship,” the introduction gently chides. Truth. While providing a respite in a challenging program of study, these deceptively simple pieces have reminded this adult student that while “speed” (or “velocity”) may be difficult to achieve, a clear, beautiful sound is always achievable.

🎶 In Robert Cavally’s Melodious and Progressive Studies from Andersen, Gariboldi, Koehler, and Terschak for Flute, Book 2, I am now working on the third of Köhler’s “moderately difficult pieces as studies for flute” from Op. 33, Book 2.

🎶 Speaking of difficult, this semester’s band selections… so, yes, P. Bona’s rhythmical articulation studies has sunk to the bottom of my daily practice roster again. As I have mentioned, though, only two assignments remain in this book, 116 and 120. I will get to them eventually.

🎶 This week, having successfully presented the third movement, I began practicing the first movement of the Stamitz Concerto in G major, Op.29. (Yes, I chose to work on them out of order.)

🎶 I am not playing piccolo in band this semester, so my instructor has added short piccolo duets to my practice sheet, as well as a solo: “L’oiseau du bois” by Charles le Thiere. Yes, this is all quite a lot, but right now, I am exhilarated, undaunted. Check back with me over spring break, though; the Köhler study could break me.

Perspective

Seen while walking in Ann Arbor yesterday.

Following a string of gray days, the sun is winking in and out of view, so it’s time to walk. Today’s other projects include my reading and notes for tomorrow’s meeting on The Magic Mountain, a “You took how many days off?!?” music practice, reading for this, and my current Latin unit.

To do

• Practice music with particular emphasis on 113 (Bona Rhythmical Articulation)
• Review Latin vocabulary
• Read “The Geese” and assemble notes for first of three discussions on Essays of E.B. White
• Walk before the light drains from the sky
Look up again tonight
• Finish Chain Gang All-Stars (review here)

Weekend notes

Jólabókaflóð continues.

The graduation concert is behind us, and I have only two more lessons before the holiday break. Practice will continue throughout the holidays, but the respite this season brings is delightful — fewer pieces to cover and more time for “fun stuff,” like the album of Christmas duets for flute and clarinet.

During the winter break, my reading is often a bit more relaxed, too, although I’m thisclose to finishing a few books on my TBR shelf. It may be worth pushing a bit harder than I usually do in December.

Speaking of which, today was supposed to be an off day, but there we were, putting in a few miles before all of the light drained from the sky. Tomorrow we’re planning to walk in one of the conservation districts. 

This, that

So many books; not quite enough time.

Since Tuesday evening, we have been fighting some sort of bug, the chief characteristics of which were congestion and lethargy. We have nearly snapped out of it, though, and look forward to resuming our regular walks.

During my sick days, I rediscovered NYPD Blue (Hulu). A fan during its long run, I appreciated returning to this engaging show when I was too weary to read but not enough to sleep. Had I been well, I would have finished Gissing’s The Odd Women, now a task for this weekend.

Next weekend, we will play at the graduation concert. We did manage some quality practice this week and look forward to more this weekend.