Frank and Lu Horsfall Competition
Information about the 2021 Competition is now available!
The Frank and Lu Horsfall Competition is an annual competition for flutists in grades 6-12 sponsored by the Seattle Flute Society. Applicants must be currently studying with a private flute teacher, and both the applicant and the teacher must be members of Seattle Flute Society. This year's competition will take place ONLINE on Saturday and Sunday, March 13-14, 2021.
All applicants must submit a recorded audition by 11:59pm Monday, January 18, 2021 to be considered for the live competition. Results of the recorded round will be emailed by January 31, 2020, and up to twenty finalists from each division will be selected to compete in the competition on March 13/14, 2021. Competition results will be announced online and via email Monday, March 15, 2021. Upper Division Winners are awarded cash prizes and all winners are required to perform in the Horsfall Winner's Recital. Please carefully review all of the competition rules and guidelines below. They have changed due to the online format. Questions? Email Cassie Lear at email@example.com.
General Entry Rules and Instructions
For the 2021 online competition, rules and procedures have changed. The following is an abbreviated version of the 2021 rules. Full rules will be posted soon.
Repertoire performed must be for flute alone. No pieces that have accompaniment, piano or electronic.
SFS has compiled a list of unaccompanied flute works, available here.This list is of suggestions only and is not complete; please do not feel that you must choose a work off of this list. This list includes works from different historical periods and different levels of difficulty. Again, these are only suggested works. SFS does not guarantee the accuracy of this list; please refer to the rules to see if a given work is allowed for Horsfall repertoire.
Preliminary tapes are audio only.
Finalists will submit a video of their final performance to the Horsfall Coordinator on or before March 7, 2021. This video will be played during their online Zoom appointment with the adjudicator, and they will work with the adjudicator for the remainder of their time slot.
Zoom performances are open to the public. There will be a Zoom waiting room.
Results will be emailed and posted online Monday, March 15, 2021
Recording Content Instructions
Preliminary Tape (mp3 Audio only):
Lower Division: Grades 6-9
The A Major scale, played for two octaves, up and down, slurred, in sixteenth notes at a minimum speed of quarter note = 60 mm.
The G harmonic minor scale, played for two octaves, up and down, slurred, in sixteenth notes at a minimum speed of quarter note = 60 mm.
Chromatic scale starting on low C (middle C on the piano), two octaves, up and down, slurred, in sixteenth notes at a minimum speed of quarter note = 60 mm.
Excerpt of solo piece that will be played for the competition, 5 minutes only.
Upper Division: Grades 10-12
The E Major scale played for two octaves, up and down, slurred, in sixteenth notes at a minimum speed of quarter note = 72 mm.
The F harmonic minor scale played for two octaves, up and down, slurred, in sixteenth notes at a minimum speed of quarter note = 72 mm.
Chromatic scale starting on low C (middle C on the piano), three octaves, up and down, slurred, in sixteenth notes at a minimum speed of quarter note = 72 mm.
Excerpts of solo piece that will be played for the competition, 5 minutes only.
Finalist Tape (Video/Audio), both divisions:
Finalists will submit a video recording of their solo performance.
Multiple movements or pieces accepted.
You may play movements from different works.
You must announce your name and repertoire selections on the video.
The entire video, including announcing, should be less than 10 minutes.
Do not stop the video between announcing and performing. No panning, multiple cameras, or multiple views. Video must be unedited.
Dress is performance attire.
Each finalist will receive a 15-minute time slot and Zoom link. Finalists will attend their performance on Zoom during their time slot, during which they will watch their submitted video and work with the adjudicator in the time remaining. Finalist performances are open to teachers, friends, and family. Participants will submit lists of expected audience members in order to avoid strangers attending.
Lower Division will take place Saturday, March 13.
Upper Division will take place Sunday, March 14.
Results will be announced via email and posted online Monday, March 15. Adjudicator’s Recital will take the form of a performance, participant warm up class, or lecture, possibly Friday, March 12. More information to follow.
January 18, 2021: Preliminary tapes, application, and payments due.
January 31, 2021: Preliminary results emailed.
March 7, 2021: Finalist videos due to Horsfall Coordinator.
March 12, 2021: Adjudicator Performance/Participant Class - open to all SFS members.
March 13, 2021: Lower Division Finals.
March 14, 2021: Upper Division Finals.
March 15, 2021: Results emailed and posted on the SFS website.
Upper Division Adjudicator: Dr. Catherine Ramirez
Recognized for her “sensitive and artistic” (Flute Talk Magazine) performances as “a communicator through music” (American Record Guide), flutist Catherine Ramirez has captivated listeners from her humble roots along the U.S. Southern border to audiences around the world. Despite a late start on the flute, Catherine has performed as a soloist and chamber musician at such venues as the Beijing Concert Hall (China), Teatro del Giglio (Italy), Carnegie’s Weill Recital Hall (NYC), the Kennedy Center Terrace Theatre (Washington, D.C.), Preston Bradley Hall (Chicago), Zilkha Hall (Houston), Zipper Hall (Los Angeles), and Temple Square (Salt Lake City), as well as “The Barn” of the Norfolk Chamber Music Festival (CT), and the artist lofts of Lowertown in St. Paul (MN).
Equally at home with symphony, ballet and opera orchestras, Catherine has performed with the El Paso Symphony, El Paso Opera, Juarez Symphony (Mexico), Las Cruces Symphony, Houston Ballet, Vermont Mozart Festival, Mill City Summer Opera, the Minnesota Orchestra and The Saint Paul Chamber Orchestra. The strength of her adaptability, honed through diverse musical ventures, extends to musical theatre and popular music, including recent performances in the Minnesota State Fair Grandstand show with “Weird Al” Yankovic, “The Who” on their Moving On Tour, and the Broadway musical “Phantom of the Opera” Tour (MN).
A winner of three top prizes at the “Città di Padova” International Music Competitions in Italy, a First Prize at the New York Flute Club Young Artist Competition, a Global Music Award for Outstanding Achievement, a Minnesota State Arts Board Artists Initiative Grant, an Ernst Krenek Society Recording Prize, a New Music Grant from the Yvar Mikhashoff Trust, and a SphinxConnect Fellowship, Catherine is also a dedicated educator and member of the flute community. She has a Special Appointment as Artist-in-Residence at St. Olaf College in Minnesota, where she has taught flute and chamber music since 2010. She has served as president of the Upper Midwest Flute Association and as a member of the Cultural Outreach Committee of the National Flute Association (NFA). Catherine has adjudicated and coached for the Fischoff National Chamber Music Competition, and has taught youth to graduate flute students in masterclasses in the U.S., Italy, Colombia, and China.
Motivated to give back to communities in which she has lived, Catherine taught middle school band in El Paso, organized a concert series of accessible Latin and South American chamber music for Houston’s ‘at-risk’ youth, performed for nuns in Bogotà (Colombia), and played a tailored program for cancer patients and therapists at mental health clinics in Minnesota. She has offered her perspective on the Diversity and Inclusion Panel of the NFA, the ‘Greater Than’ Faculty Mental Health Panel (St. Olaf College), and the Houston Hispanic Forum (Hispanic Career and Education Day at the George Brown Convention Center). She has released two recordings: Transformation (independent) and Shelter From The Storm (Albany Records). Her performances have been broadcast on WFMT, KUHF and MPR radio, and her research on optimal musical communication has been featured on the cover of The Flutist Quarterly and in The Flute View online magazine.
Born in Phoenix, Arizona, to Colombian and Mexican-American parents, Catherine grew up in the U.S.-Mexico border city of El Paso, Texas. She began playing the flute in the sixth grade public school band, and started private flute lessons at age 18. She earned performance degrees from Occidental College (BA), the Boccherini Music Institute in Italy (Honors Diploma), Queens College (MA), Yale University School of Music (MM), and Rice University (DMA). Her major teachers include Melissa Colgin-Abeln, Gary Woodward, Marzio Conti, Tara Helen O'Connor, Ransom Wilson and Leone Buyse. A lover of travel and languages, she resides with her husband and their dog in Minnesota.
Since 2019, Catherine Ramirez plays on a Lillian Burkart Flute with a Tobias Mancke Headjoint. For more information, please visit www.catherineramirez.com.
Lower Division Adjudicator: Martha Long
Oregon Symphony principal flute Martha Conwell Long is a native of Chapel Hill, NC. She attended the Colburn School in Los Angeles, where she studied with Jim Walker and was the first wind player to receive a Bachelor of Music degree. As an undergraduate Martha won prizes at the Mid-South Flute Society Young Artist Competition, the Pittsburgh Flute Club Young Artist Concerto Competition, and the National Flute Association’s Orchestral Audition Competition. During her final year at Colburn, Martha was named principal flute of the Fort Collins Symphony in Colorado.
Martha continued her studies at the New England Conservatory in Boston, completing a Graduate Diploma as a student of Elizabeth Rowe. She spent two summers as an orchestral fellow at Tanglewood Music Center in Massachusetts and was invited to return for a third summer as a New Fromm Player, working with composition fellows and focusing on the study and performance of contemporary music.
In 2012 Martha became principal flute of the San Antonio Symphony in Texas. During her four years in San Antonio, she performed concertos by J.S. Bach, W.A. Mozart, and G.P. Telemann with the orchestra. In 2015, Martha returned to Tanglewood for a fourth summer as a New Fromm Player and was a prize winner at the NFA’s Young Artist Competition.
Martha joined the Oregon Symphony at the beginning of the 2016-2017 season. During her first season, she performed Frank Martin’s Concerto for Seven Wind Instruments with her colleagues under the baton of Maestro Hans Graf. Outside of the orchestra, she teaches private lessons, coordinates the NFA's Orchestral Audition Competition, and performs with 45th Parallel Universe. In the summer Martha teaches at camps for middle- and high-school students and performs as principal flute of the Oregon Bach Festival.
Martha plays on a handmade Powell flute and is a Powell Artist. In her spare time, she enjoys reading, cooking, playing Boggle, and hiking with her husband and dog. Visit www.marthaclong.com for more information.
Frank Horsfall with students
Frank H. Horsfall (1883-1968) was a prominent Pacific Northwest musician who directly or indirectly influenced a great many flutists locally and nationally. He was in the Seattle Symphony for 46 continuous seasons (35 of those as Principal), a member of the University of Washington faculty for 20 years, and a friend and colleague of many renowned artists. He was a sought-after obbligatist for stars such as Lily Pons, Lauritz Melchior, Patrice Munzel and Martha Graham. He also enjoyed playing in the Western Washington Fair Band every September for 25 years and marching with the Nile Temple Band at conventions and parades whenever his busy schedule would allow it. He had many offers to join major eastern symphonies, but chose to stay with the students and musical associations in his beloved Northwest. His greatest pleasure was in teaching. He taught for nearly 60 years and many of his students gained prominence of their own in famous orchestras across the country.
Frank was born in Tacoma of English parents who had emigrated from Yorkshire in 1867. When Washington became a state in 1889 his father was a Tacoma Councilman. After the 8th grade, Frank left school and entered into a four-year apprenticeship to become a machinist. On the side, he learned to play a fife, talked his way into a fife-and-drum corps, bought a $2 piccolo and a $10 flute and began his musical career. He set aside one third of his wages for lessons and would search out any appropriate music professional who came within reach, for good teachers were hard to find. He also took several off-hours business courses in order to manage his future financial affairs. All his life, he looked for ways to learn, improve and expand his knowledge.
In 1901 he became a journeyman machinist and worked at that trade with music as an avocation. At age 22, having also learned to play the saxophone, he put aside machinist tools to play flute and sax in local dance orchestras. The big break came in 1909 - an invitation to be a member of the original Seattle Symphony Orchestra. To augment his symphony income he taught a few lessons and played in park bands, dance bands and pit orchestras for vaudeville, ballets and musical comedies. He and two other flutists even formed an act, "The Three Magic Flutes", and toured for a short time on the Orpheum vaudeville circuit. During World War I he was a machinist at the shipyard by day and a musician by night, but when the war ended he again devoted his full attention to music.
Lulu C. Smith (1889-1983) was born in Minneapolis of Norwegian and German parents who moved to Tacoma when she was a toddler. She became an expert pianist and Frank's favorite dancing partner. They were married in 1913 and she shared his life for 55 years thereafter, creating a loving home for their two sons and a supportive atmosphere for her musician husband. She was continuously active in school and university organizations and in music circles. Lu was a talented artist, seamstress and cook. The students who sat in her warm kitchen waiting for their lessons appreciated her cheery ways.
Frank's long career encompassed many activities and interests. He was a business manager, real estate entrepreneur, artistic photographer and lifelong adventurer. In 1920 he and Lu went up the inside coast of British Columbia in a small outboard boat, camping on the wild beaches each night. He climbed Mt. Rainier in 1925, starting from the Longmire's residence, where Lu helped attend to those waiting for the return of the hiking party. One summer he and three other musicians hiked 300 miles through Glacier National Park. Each evening they would haul out their instruments to entertain fellow campers. When over 80 years old, he photographed Kauai's Waimea Canyon leaning out of an open helicopter.
An outgoing man, with effervescence and enthusiasm, he was never one to hold back if the opportunity came along to make new friends. After a concert by the touring London Philharmonic Orchestra, for example, he went backstage to meet the flute section. That evening, after taking them on a tour of Seattle, they all ended up in his basement studio playing music from his library and enjoying Lu's gracious hospitality.
In the mid-30's, he joined with the principal clarinet and oboe players of the symphony, both teachers interested in youth, to form the Seattle Symphony Woodwind Trio. They are still remembered for the humorous and educational music-appreciation programs they put on at countless school assemblies.
Certainly he was proud of what he was able to achieve in his lifetime, but he took the most pride in the accomplishments of his students. As their lives progressed, he would follow their advancements with the interest of a parent. Julius Baker, during one visit to the Seattle Flute Society, mentioned his long acquaintance with Frank and commented, "Bill Kincaid and I envied Frank's natural rapport and easy way with young people -- he loved his students and they loved him."
His last private lesson was given just three months before his death in March 1968, at the age of 84. Lu, blessed with good health and a bright-side philosophy, continued to lead an active life until her death in November 1983, at 94.
The Seattle Flute Society's Frank and Lu Horsfall Competition helps perpetuate their memory and the influence they had on the musical history of the Pacific Northwest.
-- Contributed by John Horsfall