Taken from the album 'Woodwind Multiples' due for release via Modern Love on July 7th. 2023.

8B4 (1985/2022) is played by Manuel Zurria and is for four bass flutes. It is a revision of 8x4, which was written in 1985 for the DownTown Ensemble and was only performed once, due to its unusual instrumentation: alto flute, English horn (originally bass oboe), clarinet, and voice.

Woodwind Multiples

Mary Jane Leach - 8B4

Premiere Performance 
Seiji Ozawa Hall, Tanglewood, Lenox, Massachusetts 
24 July 2010

Marie Tachouet, flute
Kathryn Bates, cello

℗ 2010 Boston Symphony Orchestra

Obsessive Folksing (2010)

Slipstream: Molly Barth, flute - Excerpt

for bass flute, percussion, string quartet (performed by Gavin Osborn, Steve Pycroft, Helen Tonge, Catherine Lander, Laura Robinson, Alice Purton; Manchester 2010)

Night shining is the third work in my cycle of cloud-inspired pieces that all feature the bass flute. The first two works in the cycle, The invention of clouds and The modifications of clouds take as a starting point Luke Howard’s 1804 essay that first defined the cloud types as we know them today: Cirrus, Stratus, Cumulus…This work takes the most recent scientific research into clouds as its inspiration.

Found on the edge of space above polar regions, noctilucent, or ‘night-shining’ clouds are the most mysterious, and least understood clouds in Earth’s atmosphere. Noctilucent clouds are the highest clouds, and are the only clouds to occur in the mesosphere, forming c.80km above Earth’s surface. They are only visible from Earth at night, lit by the Sun after it has set.

Noctilucent clouds were first spotted in the late nineteenth century, around the time of the Second Industrial Revolution. A recent surge in observations of this cloud type has led scientists to suggest links with global warming. In 2006 NASA launched the Aeronomy of Ice in the Mesosphere satellite (AIM) to gather more data on the formation of noctilucent clouds (photographic, chemical, dust/meteors, temperature). 

The piece draws on photographs of noctilucent clouds and data (in the form of charts and graphs) from NASA’s AIM satellite. These images were used to shape structure, direct timbral change, and to generate pitch material for the piece. 

I would like to thank Gavin Osborn for his dedication to this project and for commissioning the first piece in the cycle. 


copyright Nina Whiteman

Night Shining (bass flute, percussion, string quartet, 2010)

WAVE

Two Flutes and Tape for Janet

Commissioned by The National Flute Association, Inc.

Performance by flutist Anne Cartel of Ensemble Variances
November 4, 2015
Town Hall
Seattle, WA

Gargoyles (2009) for solo flute

FANNY HENSEL (MENDELSSOHN) -Ich stand gelehnet

This synth is amazing. Just two piccolo multiphonic samples, 19-tone mean tuning and holy cow. For short attention spans.

Polygas Piccolo

Thunder was heard as I started recording - I decided to leave it in..

Looking for some more solo bass flute music the melancholy yearning of this piece appealed to me. 
No 6 of Ross Edwards Mystic Spring for treble woodwinds. Music available here:
https://www.australianmusiccentre.com.au/workversion/edwards-ross-mystic-spring/23203

Arabesque from Mystic Spring by Ross Edwards on Bass Flute

Four Hands, Four Feet is a set of eight short studies (some very short) for two organists. Composed in 2000, it explores some possible divisions of labor when four hands and four feet are assigned to operate the keyboards and pedals of a concert organ. The players are encouraged to present timbes comprised of varying proportions of air, noise, and traditional organ sound. The recording is of a concert performance in Pitea, Sweden by organists Lars Sjostedt and Gary Verkade on November 26, 2008.

Organ Duo

Flutes/Improvisations/Contemporary Classical/Experimental

FANNY HENSEL (MENDELSSOHN) -Ich stand gelehnet

Lisa Goethe-McGinn

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