Described as "ferociously talented" (The Oregonian) and "an exemplary performer" (Steve Smith, The Log Journal), Grammy-Award winning flutist Molly Barth specializes in the music of today. In demand as a soloist, clinician, and adjudicator, Molly has visited esteemed venues throughout the world. She recently released her first solo album on the Albany label, titled “Vento Appassionato.” Todd Gorman of the American Record Guide wrote “Barth is a rock-solid player who knows this music inside and out…. Barth puts across all her selections with spirit and imagination.”
Contemporary chamber music is Molly’s primary musical interest, and she is currently involved with two ensembles. Formed by Molly Barth and guitarist Dieter Hennings, Duo Damiana is focused on broadening the cutting-edge body of repertoire for flute and guitar, and released “Castillos de Viento” with Innova Records. The Zohn Collective, a new music initiative, brings together a core ensemble of musicians with deep musical ties for recording and performance projects throughout the world; a recording is forthcoming on the Naxos Oberlin label.
As a founding member of the new music sextet Eighth Blackbird, Molly won the 2007 “Best Chamber Music Performance” Grammy Award, recorded with Cedille Records, and was granted the 2000 Naumburg Chamber Music Award and first prize at the 1998 Concert Artists Guild Competition. As co-founder of the Beta Collide New Music Project, Molly collaborated with individuals from a broad spectrum of disciplines and recorded with Innova Records.
Molly is Assistant Professor of Flute at the Blair School of Music, Vanderbilt University. Formerly Associate Flute Professor at the University of Oregon, she previously taught at Willamette University and held residencies at the University of Chicago and the University of Richmond. She is a graduate of the Oberlin College- Conservatory of Music, Cincinnati Conservatory, and Northwestern University. Molly is a Burkart Artist, and she also plays a 1953 Haynes alto flute.
“…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
“Anyone who’s missed regular doses of Barth’s exuberant virtuosity will welcome the fresh burst of activity presented on thorn.... The performances…strike just the right balance between nervous tension and technical security….thorn is a welcome addition to Lang’s discography and a happy opportunity for reacquaintance with Barth.”
Steve Smith, The Log Journal, May 13, 2017
“A specialist in flute and piccolo…Barth is a fabulous virtuoso on the high instrument, playing with technical panache while augmenting the written demands with her own embellishments. Truly "breathtaking" -- pun intended.”
John W. Barker, The Daily Page, January 22, 2011
"The Vivaldi concerto...is almost absurdly virtuosic, with incredibly long, fast-moving passages that whizzed by with literally almost no room for the soloist to breathe. Flautist Molly Barth, though, was on fire and in control the entire time."
Jessica Curtier, The Capital Times, January 22, 2011
"Aside from the incredibly agile work in the brisk outer movements, the central slow movement revealed a depth of expression rarely suspected in Vivaldi concertos....Ms. Barth at times seemed to dance along with the music, a modern day pied piper of compelling execution."
Greg Hettmansberger, Dane101 Blog, January 25, 2011
“One of the best things to happen to the UO — and to Oregon music — this year is the arrival of Molly Barth. One of the world’s greatest flutists…”
Brett Campbell, The Eugene Weekly, January 29, 2009
“Like a good jazz player, she improvised according to what she got from the other players….Barth was fabulous, again“
David Stabler, The Oregonian, October 19, 2008
“Barth’s sculpted lyricism was intensely moving….“
Tom Manoff, Register Guard, October 23, 2008
“Barth’s virtuosic ability created fluttering trills, sudden fortes, and soothing legato lines that were flat out remarkable.”
James Bash, Northwest Reverb, September 24, 2008
“Her high spirit was contagious, her legato like liquid and her ornaments glittering….“
James McQuillen, The Oregonian, July 14, 2007
“The ferociously talented flutist Molly Alicia Barth gave an electric performance… effortlessly leaping across registers and conveying both a sense of intense dialogue and barely contained anxiety in the many piercingly high passages.”
James McQuillen, The Oregonian, November 20, 2006
“…highly polished techniques and evident depth of feeling for a variety of contemporary styles, as well as a sartorial casualness and open manner”
Allan Kozinn, New York Times, November 23, 1998