Photo by Maggie Thompson
EVENT BOOKING
Do you need a flutist for your upcoming event?
As an accomplished performer, Anne-Marie is happy to assist with performance events. Such events may include weddings, church services, receptions, chamber recitals, solo recitals, choir accompaniment, or musicals with a pit orchestra, along with many others. Please use the contact tab to communicate your interest! |
FOR THE CONTEMPORARY FLUTIST
Flute Alternate Fingerings
This chart shows possible alternate fingerings for a majority of the traditional notes on flute; slightly changing the fingering of a note may result in a change of timbre, color, and/or pitch, and this document showcases some of those options. Feel free to use this as a resource when considering musical decisions in repertoire, and check out the blog tab for suggestions of application specifically in Density 21.5 by Edgard Varèse. This is by no means an exhaustive list of choices, so explore on your own as well! |
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SELECT RECORDINGS
Vox Balaenae (opening) by George Crumb
Performed with Khanh Pham, piano
Performed with Khanh Pham, piano
Crumb heard recordings of the songs of humpback whales and was inspired to write a musical setting of the songs. What is truly amazing is how he uses Western instruments to produce these animal sounds; to accomplish this, a multitude of extended techniques are used. On the flute, this includes singing while playing and also singing directly into the flute (covering the tone hole) while moving one’s fingers for a warbling sound. Harmonics are also used as an effect on the flute and Crumb even calls for some techniques away from the instrument, such as speaking and whistling. The piano is responsible for the bulk of the extended techniques, using prepared piano and calling for the pianist to actually play inside of the instrument.
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Density 21.5 by Edgard Varèse
This seminal work had a profound effect on later flute repertoire. It contains the first use of key clicks, extended use of the extreme upper register, and redefined the flute as an instrument capable of a powerful musical intensity. The repeated interval of the minor third contributes to this musical power by using silence, tempo, and register as differing ways of adding vigor.
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Le Merle Noir by Olivier Messiaen
Performed with Cameron Hofmann, piano
Performed with Cameron Hofmann, piano
Meaning “the blackbird,” Le merle noir stands as a standard piece in the French repertoire. Written in 1951 as a competition piece for the Conservatoire de Paris, it is one of the earliest pieces by Messiaen to exclusively use birdsong from a particular species; the piece combines the birdsong with the compositional technique of serialism. It is in A A’ B form; the A sections include quasi cadenzas of birdsongs in the flute, lyric lines by both flute and piano, and “chirping” passages. The B section is comprised of a rhythmic staccato motive expanding on the shorter “chirps” heard previously. The contrast of material, even within the different sections, typifies Messiaen’s music.
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Icicle (excerpt) by Robert Aitken
Aitken’s Icicle includes extensive use of extended techniques. Alternate fingerings, notated trill pacing, continuous colored trills, tongue manipulation, and harmonics contribute to the “icy” feel by creating hollow and covered tones from the flute.
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Sonate pour Flûte et Piano, IV. Finale-Moderato by Mélanie Bonis
Performed with Cameron Hofmann, piano
Performed with Cameron Hofmann, piano
This sonata, written in 1904, has been described as the French counterpart to Carl Reinecke’s Sonata Undine. Dialogue between the flute and piano pervades and themes return repeatedly. Each movement of the piece employs a different atmosphere based on more than tempo alone; this final movement serves as a dramatic synthesis of the previous three.
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Antarctica (excerpt) by Elizabeth Brown
Brown wrote the work Antarctica for alto flute and recorded sound. The inspiration for this piece came from Brown reading Terra Incognita: Travels in Antarctica by Sara Wheeler. Specifically, Brown highlights the timbre of the alto flute with wide leaps in the opening melodic material and by covering the entire range of the instrument from the lowest to the highest possible notes. The upper register of the alto flute tends to be less rich than the lower, and these sounds are used strategically in the growth of the piece. Extended techniques are also used: alternate fingerings for microtone pitches, microtonal progressions, compound trills, overblown tremolos, and mutliphonics (also called double-stops). These techniques typically result in hollow sounding pitches, fitting nicely with the theme of Antarctica and with the recorded noises as well. One can hear the “wind” sounds throughout the recording, helping to create the idea of the landscape of Antarctica.
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Kembang Suling, II by Gareth Farr
Performed with Travis Houy, marimba
Performed with Travis Houy, marimba
In its entirety, this piece depicts three musical snapshots of Asia. Farr describes the second movement as “The haunting sounds of the Japanese shakuhachi flute float out over the warm echoes of the rolling landscape,” as heard in the literal rolls of the marimba part.
FLUTE RESEARCH
Please inquire for further information on any paper or topic.
The History and Development of the Flute
This paper focuses on the development of the Western flute, starting with its mention in mythology and going through modern approaches to its timbre. The transverse flute has gone through physical changes that today seem stabilized, making it possible for philosophical changes in how the instrument is written for and perceived.
The Flute in Ecomusicology
This lecture recital was given on the flute and ecomusicology (the interaction of nature, culture, and music) in contemporary flute repertoire through using nature, imitating nature, commenting on nature, interacting with nature, and being inspired by nature.
Debussy and Takemitsu: Similarities between Syrinx and Voice
Claude Debussy’s ties with Japan are nothing new, and his influence on Tōru Takemitsu is well known. This paper explores this relationship and, specifically, how Takemitsu’s flute solo Voice (1971) compares with Debussy’s flute solo Syrinx (1913).
This paper focuses on the development of the Western flute, starting with its mention in mythology and going through modern approaches to its timbre. The transverse flute has gone through physical changes that today seem stabilized, making it possible for philosophical changes in how the instrument is written for and perceived.
The Flute in Ecomusicology
This lecture recital was given on the flute and ecomusicology (the interaction of nature, culture, and music) in contemporary flute repertoire through using nature, imitating nature, commenting on nature, interacting with nature, and being inspired by nature.
Debussy and Takemitsu: Similarities between Syrinx and Voice
Claude Debussy’s ties with Japan are nothing new, and his influence on Tōru Takemitsu is well known. This paper explores this relationship and, specifically, how Takemitsu’s flute solo Voice (1971) compares with Debussy’s flute solo Syrinx (1913).