Los Angeles Flute Guild

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Molly Barth
Flute Masterclass and Recital

presented by the Los Angeles Flute Guild and the Bob Cole Conservatory of Music
Saturday, April 23, 2016

9:30am – Registration Opens
10:30am – 12:30pm – Masterclass and Recital

Location: Bob Cole Conservatory of Music at California State University, Long Beach – Choir Room
Parking Lot 12 ($5 parking fee) off of Atherton Street.
UMC Music Building
Please click here for parking information and campus map.
Please click here for directions.

Masterclass Participant Fee: $50
includes 22 minute Masterclass coaching
you may bring your own accompanist if desired for no additional cost.
Masterclass Participant Fee with accompanist: $75

All performers will be accepted until the class is full. Please direct inquiries to Janelle Barrera at lafluteguild@gmail.com
Performers must receive confirmation, and will not be required to pay the fee until confirmation is received.

Auditor Fee
Students: $10
Adults: $15
Please pay at the door. Cash or Check payable to Los Angeles Flute Guild

Professor Barth will also be offering private lessons and chamber music coaching on Saturday, April 23rd at CSULB. If interested, please contact Janelle Barrera at lafluteguild@gmail.com

1225 University of Oregon
Eugene, OR 97403-1225

Described as “ferociously talented” (The Oregonian), Grammy-Award winning flutist Molly Alicia Barth specializes in the music of today. In demand as a soloist, Molly has recently performed in Australia, Korea, and Mexico and has played solo recitals and led clinics at esteemed institutions including the Indiana University Jacobs School of
Music, Oberlin Conservatory, Cincinnati Conservatory, San Francisco Conservatory and Northwestern University Bienen School of Music. Contemporary chamber music is Molly’s primary musical interest, and she is currently
involved with three 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. As co-founder of the Beta Collide New Music Project, Molly has collaborated with individuals from a broad spectrum of disciplines such as dance, art,
sound sculpture and theoretical physics. With Beta Collide, she has recorded two CDs and one DVD with Innova Records. Molly is the Associate Professor of Flute at the University of Oregon, where she is a member of the Oregon Wind Quintet. The Oregon Wind Quintet, which regularly tours throughout the Pacific Northwest, performs a large body of contemporary music along with standard wind quintet repertoire. As a founding member of the new music sextet eighth blackbird from 1996-2006, Molly won the 2007 “Best Chamber Music Performance” Grammy Award, recorded four CDs with Cedille Records, and was granted the 2000 Naumburg Chamber Music Award and first prize at the 1998 Concert Artists Guild International Competition.

Before assuming her teaching position at the University of Oregon, Molly taught at Willamette University and held residencies at the University of Chicago and at the University of Richmond. She is a graduate of the Oberlin College- Conservatory of Music, Cincinnati Conservatory of Music, and Northwestern University School of Music. Molly’s principal teachers include Michel Debost, Kathleen Chastain, Randolph Bowman, Bradley Garner, and Walfrid Kujala. In 2013, Molly received an Individual Artist Fellowship from the Oregon Arts Commission. In addition to frequent solo and master class appearances worldwide, Molly’s adjudication experience includes work with the National Endowment for the Arts, Australian Flute Festival, National Flute Association (USA), Idaho State Solo Competition, Seattle Flute Society Horsfall Competition, Oregon State Solo and Ensemble Competition, Connie Fritz Memorial Competition (Salem, OR), Chicago Youth Symphony Orchestra, and Alpert Award in the Arts (Los Angeles). She has commissioned many new solo and chamber works, and has appeared on television and radio shows nationwide. Molly plays a Burkart flute and piccolo, and a 1953 Haynes alto flute. “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 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 of Bernard Rands’ ‘Memo 4,’ effortlessly leaping across registers and conveying both a sense of intense dialogue and barely contained anxiety in the many piercingly high 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

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