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What a winter, and now spring is in the earth in Nashville! Tulips and daffodils are in bloom, and the sun feels warm.

Returning for a brief 3-month period to the post I held for a decade as the flutist with Eighth Blackbird is a joy. What fun new repertoire for me to perform, and with incredible musicians with whom I started working while we were Oberlin students 27 years ago!

And after each performance, I am always eager to return to the Blair School of Music. The students at Blair are some of the most creative, entrepreneurial, and collegial people in the world, and I have the incredible privilege of working with them!

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https://www.city.ac.uk/events/2019/november/molly-barth

 

The award-winning flautist brings a multifaceted programme of contemporary US and Latin American solo works to London, including several works written for and dedicated to her.

Programme:

  • Michael Fiday, Jim and John
  • Frederic Rzewski, Mollitude
  • Omar Acosta, Solo de Pajarillo
  • John Liberatore, Gilded Tree
  • John Fonville, Music for Sarah
  • Shulamit Ran, East Wind
  • Aaron Holloway Nahum, Forever Fleeing Earth’s Pull

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Live In Studio C: This Piece Of Music Had Her Name On It

It’s an auspicious honor to have a piece of music named after you. Flutist Molly Barth would know, and she’ll also tell you that the idea to include a name comes from the composer, not the title-character.

Set List:

  • CPE Bach: Flute Sonata in A Minor – Adagio, Allegro, Allegro
  • Luca Cori: Quodlibarth – Softly Dancing, Festivito, Ostinato, Eco
  • John Liberatore: Gilded Tree – Black Twig Tips

 

 

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I am pleased about the CDs that I have recorded, and encourage you to peruse them!

Vento Appassionato: Molly Barth presents her interpretations of ten of the most influential 20th century compositions for solo flute: Syrinx by Claude Debussy, Sonata Appassionata by Sigfrid Karg-Elert, Acht Stücke by Paul Hindemith, Density 21.5 by Edgard Varèse, Image by Eugene Bozza, Sequenza by Luciano Berio, Mei by Kazuo Fukushima, Three Preludes by Robert Muczynski, Scrivo in Vento by Elliott Carter, and Air by Toru Takemitsu. “Barth is a rock-solid player who knows this music inside and out. Barth puts across all her selections with spirit and imagination. Even if you know Fukushima’s Mei (1962), your jaw will drop at 4:30 where she switches from a fortissimo high note to a pianissimo whistle tone. Such is her virtuosity that much of the writing sounds easier to play than it actually is.” T. Gorman, American Record Guide, Sept./Oct. 2018 https://www.albanyrecords.com/mm5/merchant.mvc?Screen=PROD&Store_Code=AR&Product_Code=TROY1726&Category_Code

 

Molly Barth joins forces with guitarist Dieter Hennings to form Duo Damiana. Their debut album Castillos de Viento includes works of Michael Fiday, Jesse Jones, Shafer Mahoney, Hebert Vázquez, and Chen Yi. https://www.innova.mu/albums/duo-damiana/castillos-de-viento

 

Ricardo Zohn-Muldoon’s extended song cycle Songtree is based on poetry by William Shakespeare and Mexican author Raúl Aceves, featuring the Zohn Collective with soprano Tony Arnold. http://www.arkivmusic.com/classical/album.jsp?album_id=2275916

 

Thorn, Molly Barth‘s collection of works by David Lang, has been described as “…a varied yet consistent overview of Lang’s chamber music activities, a vital part of his output. The performances strike just the right balance between nervous tension and technical security.” (Steve Smith, The Log Journal) https://cantaloupemusic.com/albums/thorn

 

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This is what they had to say:

“…one of the world’s finest flutists.”
Brett Campbell, Eugene Weekly, October 4, 2018

“Flutist Molly Alicia Barth plays its melodies with the breadth of a clarinet and the metallic waver of a saxophone, as well as with more conventional flute tones, but always with rare control and precision.”
Nicholas Stevens, ClevelandClassical.com, October 10, 2018

“Barth is a rock-solid player who knows this music inside and out….Barth puts across all her selections with spirit and imagination. Even if you know Fukushima’s Mei (1962), your jaw will drop at 4:30 where she switches from a fortissimo high note to a pianissimo whistle tone. Such is her virtuosity that much of the writing sounds easier to play than it actually is.”
Todd Gorman, American Record Guide, September/October 2018