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What with giving recitals, playing chamber music and working as principal flutist of the Philadelphia Orchestra, Jeffrey Khaner has time for little else. Khaner looks at the orchestra schedule to figure out how he can slip in recitals and chamber concerts. For his Albuquerque concert, sponsored by the Albuquerque Flute Association, Khaner will play Georg Philipp Telemann, Robert Schumann, Philippe Gaubert, Eldin Burton and Edwin York-Bowen.

Better described as a casual stroll through derivative pastoralia, Jeffrey Kahner's winsome recital gives little hint of America's musical range. Has Elliott Carter written nothing for the flute?

Delicacy was refined in the interior movement of the J.S. Bach \"Brandenberg Concerto No. 5 in D\" as [Jeffrey Khaner] was joined by violinist Anne De Vroome Kamerling and harpsichordist Martha Stiehl in the piece's unaccompanied trio. Stiehl sparkled in the first movement's long demanding cadenza.

They were little more than efficient with the Baroque music on this program Vivaldi's Concerto Opus 3 No. 10 (for four violins, drawn from the orchestra) and Bach's Brandenburg Concerto No. 5 (featuring [Jeffrey Khaner], violinist Anne De Vroome Kamerling and harpsichordist Martha Stiehl). But the Mozart the Symphony No. 33 as well as the concerto they played with precision, flexibility and insight. [Stephen Colburn] demonstrated a sure feel for the composer's witty way of undercutting a grand gesture with an intimate one. He's getting to be a fine Mozart conductor, and at just the right time. On March 23, the MCO will play an all-Mozart program at St. John Cathedral.

Although he offered to reschedule a performance during the 1995-'96 season, it was small consolation at the moment. With music director Stephen Colburn tied up in rehearsals with the Milwaukee Symphony (he is principal oboe with the MSO), the task of finding a replacement for [Jean- Pierre Rampal] fell to the Chamber Orchestra's president Steve Rauch. Within two days of the seemingly disastrous news, Rampal had been replaced by one of America's hottest flutists, [Jeffrey Khaner]. Khaner, who is principal flute with the Philadelphia Orchestra, will fly in for Monday rehearsals, fly to New York on Tuesday for a Carnegie Hall performance, and return Wednesday to finish preparations for Thursday's concert at the Pabst. The Pabst box office began notifying ticket holders of the change. Fans of Rampal know to expect a delicate, French sound and style of playing from the legendary performer. Khaner, a much younger player who trained here in the States, plays with a vibrant, ringing, American sound and the easy style of someone for whom technique is natural and relaxed. Having heard Khaner in concert several times, I can attest to the treat that awaits MCO patrons.

Today, students in 72 countries use the site and learn from dozens of virtuoso ArtistWorks teachers specializing in genres ranging from classical to rock and jazz to bluegrass. The classical component of the site launched in February and currently has seven instruments available for study: violin, piano, flute, clarinet, horn, trumpet and guitar.

Today, students in 72 countries use the site and learn from dozens of virtuoso ArtistWorks teachers specializing in genres ranging from classical to rock and jazz to bluegrass. The classical component of the site launched in February and currently has seven instruments available for study: violin, piano, flute, clarinet, horn, trumpet and guitar.

Today, students in 72 countries use the site and learn from dozens of virtuoso ArtistWorks teachers specializing in genres ranging from classical to rock and jazz to bluegrass. The classical component of the site launched in February and currently has seven instruments available for study: violin, piano, flute, clarinet, horn, trumpet and guitar.

[Ned Rorem]'s style features some of the warm, darkly soothing string flavour of, say, Elgar, with many touches of French lyricism and even Ravelian humour -- [Jeffrey Khaner] and company in the opening Stone Tower movement suggest a flitting Ariel buzzing about the head of a solemn and sagacious Prospero. Ariel's busy buzz is delightful.

The 19th century offers only slim pickings to flautists on the lookout for substantial duos with piano. [Jeffrey Khaner], principal flautist of the Philadelphia Orchestra, here makes the case for appropriating Brahms's late clarinet sonatas (the composer's chosen alternative was viola), [ROBERT SCHUMANN]'s Romances for Oboe (or violin or clarinet), and [CLARA SCHUMANN]'s Romances for violin. In the Brahms, the flute sounds like a boy on a man's errand, inappropriately light and bright, lacking in gravitas and stability - the prominence of Khaner's vibrato seems decidedly unhelpful. Both of the Schumanns' sets of romances are sweetened by the flute. Their more direct lyricism - especially Clara's - responds much better to the flute than anything in the Brahms sonatas. Fascinating but flawed. www.avierecords.com