THERE'S a moment in one of Andrew Schultz's early compositions,
an alluring prelude for flute and piano, when you may be tempted
to feel sympathy for the flautist. The runs, the rapid leaps from
high to low notes, the control of tone in different registers:
the demands for mastery of the instrument are clear.
Schultz smiles. He agrees that his piece can be tough, but
there's no need to feel sympathy for the performer. Other
composers are far more technically challenging, he says, although
difficulty in music clearly means little by itself.
``There's a difference between what's extending a performer and
what's a challenge, and what's just bad writing,'' he says.
``Performers on the whole actually ...