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I am thrilled to be preparing for two exciting performances of the “Trail of Tears” flute concerto, composed by Michael Daugherty, to be performed with the Portland Columbia Symphony.

Please join me at one or both of the following events, and invite your friend to attend as well!

Friday, November 18, 7:30pm
Portland First United Methodist Church

Sunday, November 20, 3pm
Reynolds High School Performing Arts Center

http://columbiasymphony.org/Trail%20of%20Tears.php

Composer’s Notes
One of the tragedies of human history is the forced removal of peoples from their homeland for political, economic, racial, religious, or cultural reasons. In America, the forced removal of all Native Americans living east of the Mississippi River began with the passage of President Andrew Jackson’s Indian Removal Act of 1830. In 1838, 15,000 Cherokee men, women, and children were forcibly taken from their homes by the U.S. Army and placed in stockades and camps in Tennessee. From November 1838 to March 1839, the Cherokee, with scant clothing and many without shoes, were forced to make a 800-mile march for relocation in Oklahoma during the bitter cold of winter. Suffering from exposure, disease, and starvation, nearly 4,000 Cherokee died during the five-month march known as the “Trail of Tears.”

My flute concerto is a musical journey into how the human spirit discovers ways to deal with upheaval, adversity and adapting to a new environment. The first two movements of the concerto are played without pause. The first movement reflects on meaningful memories of things past, inspired by a quotation from the Native American leader Geronimo (1829–1909): “I was born on the prairies where the wind blew free and there was nothing to break the light of the sun.” The end of the first movement becomes a death march, marked “Trail of Tears,” and concludes with a turbulent instrumental coda. The reflective second movement, entitled “incantation,” meditates on the passing of loved ones and the hope for a better life in the world beyond. The third and final movement, “sun dance,” evokes the most spectacular and important religious dance ceremony of the Plains Indians of 19th-century North America. Banned on Indian reservations for a century by the U.S. government, the dance is practiced again today. I have composed my own fiery musical dance to suggest how reconnecting with rituals of the past might create a path to a new and brighter future.

— Michael Daugherty

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Autumn is a busy time of year to make great music!

 

In the next few months, I am to appear as soloist with the Portland Columbia Symphony, interact with flutists of the Greater Cleveland Flute Society and the Rochester Flute Association, engage in a residency at Eastman with Jeff Zeigler and Paola Prestini, travel to Oaxaca with Bent Frequency, perform Bartok and Strauss with the Oregon Symphony, and have a fun set of Nutcracker performances with Orchestra Next. What fun!!

 

 

 

 

 

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The moment I ended my fabulous 8th year teaching at the University of Oregon School of Music and Dance, I boarded a plane to participate in the Charlotte New Music Festival; thank you, Bent Frequency, for including me in this exciting collaboration.

I then had the privilege to interact with an inspiring cast of performers and composers at the Oregon Bach Festival Composers Symposium, which attracted 92 composer/performer participants!

The Britt Festival commission of Michael Gordon for a series of Crater Lake National Park premieres, July 29-30, is an historical, monumental event for which I am honored and proud to be invited to perform.

I am pleased to be working with my spirited and talented University of Oregon flute studio to showcase works of French composer Sophie Dufeutrelle at the National Flute Association convention.

AND, certainly a moment or two of rest and relaxation prior to a whirlwind Autumn 2016!

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I am proud to invite you to view my new music video. I am performing “Cantiga del Merolico II” by Ricardo Zohn Muldoon, with Darren Stevenson of PUSH Physical Theater.

Cantiga del Merolico II (1990/rev. 2014)
composed by Ricardo Zohn-Muldoon

This work is a tribute to the merolico, an exhuberant type of vendor that is often found in open markets in México. In order to attract customers, the merolico improvises florid and incessant monologues extolling the virtues of his merchandise, while ingenuously interspersing swift compliments to beautiful señoritas passing by and satirical remarks against those who ignore him. The merolico is able to adapt to his audience with a speed and accuracy that would make a chameleon die of shame.

Molly Alicia Barth, flutist
Darren Stevenson, dancer
Avi Pryntz-Nadworny, videographer
Lance Miller, audio recording engineer
Avi Pryntz-Nadworny, Ricardo Zohn-Muldoon and Molly Alicia Barth, producers

Molly Barth has received a Career Opportunity Grant award from the Oregon Arts Commission.