Every year since 1980, the James Pappoutsakis Memorial Fund has held a competition to select an outstanding flutist studying in the Boston area. The organization is named for the Boston Symphony Orchestra’s former assistant principal flute, whose tenure spanned a 40-year-period that began with a 1937 audition for Serge Koussevitzky and ended during the music directorship of Seiji Ozawa. The winner of the Pappoutsakis Prize gives a free recital. This year’s winner is Thomas J. Wible, an artist diploma student at Boston University.
Wible’s Sunday recital at Jordan Hall marks the beginning of a new collaboration between the fund and New England Conservatory, and it will honor another local flute legend: Fenwick Smith, also a former second flute at the BSO and an NEC faculty member from 1982-2012. Yearly for more than 30 years, Smith would give a September recital that was widely regarded as the unofficial start to the Boston concert season. These recitals roamed freely through the flute repertoire and in many cases expanded it, thanks to new pieces written for Smith by various colleagues.
Sunday’s concert will include spoken tributes to Smith from some of his colleagues, including Leone Buyse, cofounder of the Greater Boston Flute Association and also a former member of both the BSO and the NEC faculty. Wible’s recital will include the Serenade for Flute and Harp by NEC composer John Heiss and “Dialogue for Solo Flute” by Peter Child (a music professor at Massachusetts Institute of Technology), the latter a commission by the Pappoutsakis Foundation. Also on the program are works by Jean-Marie Leclair, Charles-Marie Widor, and Sigfrid Karg-Elert. Wible will be accompanied by pianist Ayako Yoda and harpist Franziska Huhn.
More new directions
for Boston Baroque
Boston Baroque has announced a second season of its New Directions series, intended to bring together the Baroque and Classical works that are the group’s stock in trade with contemporary works. The series has gone from four concerts last season to two this year, and both have works by music director Martin Pearlman. In the first concert (Oct. 19), his contribution is “Variations on WoO77,” a work for piano that takes off from an early Beethoven variation set. Also on that program is Manuel de Falla’s Concerto for Harpsichord, Flute, Oboe, Clarinet, Violin, and Cello and works by Rameau and Clerambault.
At the center of “Monologues,” the second concert (March 29, 2014), is the final section of “Finnegans Wake: An Operoar,” Pearlman’s in-progress setting of sections from James Joyce’s often-praised, rarely read novel, for actor and instrumental ensemble. Last year Pearlman presented a section of his piece that covered the novel’s first seven pages; the new segment focuses on the famous Anna Livia Plurabelle section. Accompanying it on the program are an excerpt from Handel’s “Agrippina” and Bach’s Sonata for Solo Violin in G minor.
Both concerts are at the Longy School’s Pickman Hall.
bostonbaroque.orgDavid Weininger can be reached at globeclassicalnotes@gmail