Get to Know...Christie Beard![]() We’re excited to feature another of our brand new members! Christine Erlander Beard (Christie) has long been an advocate for new music (especially for piccolo) and we’re excited that she’s joined FNMC! We were also really excited to see that she’s performing a work by Dana Wilson at the 2017 NFA Convention, Whispers from Another Time for piccolo & piano. Dana was the winner of the 2016 Newly Composed Category for Conjurer for flute and chamber ensemble. We’re looking forward to collaborating with Christie and we’re happy she took the time to share a little about herself! Q&A with Christie… What about new music for the flute appeals to you? One of the most exciting things about being a flutist today is how active we are as a poplation in commissioning and/ or encouraging composers to write new music for our instrument! We do not have the same wealth or depth of repertoire for our instrument as the violin, but I think flutists in the 20th and 21st centuries recognized this and have committeed themselves to rectifying this for future generations of flutists. My own personal mission is to inspire and encourage composers to explore the voice of the piccolo as a lyrical and expressive instrument, and to continue to add significant works to the piccolo's limited (athough growing) repertoire. Who is/are your favorite “new music” composer/s and why? Narrowing down my *favorite* contemporary composer is an impossible request! I have recently been turned on to the British composer Andy Scott and will be including some of his flute music in my 2017-2018 tour schedule. I am especially drawn to composers who successfully fuse elements of popular music with the classical tradition (including minimalism), and particularly love the music of composers such as David Lang, Julia Wolfe, Nico Muhly, Judd Greenstein, Michael Gordon and Steve Reich. (Sadly, most of them haven't written solo any pieces for flute, but they do have terrific chamber works in their catalogues that include flute or piccolo). How did you become interested in new music? I was an undergraduate student at Arkansas State Univ when my interest in new music was piqued, as I was pegged the "go to flutist" for the very active composition studio there. My MM and DMA were both earned at the Univ of Texas, where upon my arrival in 1996, there was no flute spot open in the UT New Music Ensemble. But I was persistent and insisted that I be granted an audition despite that. The director, Dan Welcher agreed to hear me and after playing for him, he put me on the sub list my 1st year, after which I became the principal flutist in the UTNME for the duration of my studies there (the next 5 years). More About Christie… Described by Flute Focus as “…having shattered any notions that the piccolo might be lacking in deep, expressive powers," Christine Erlander Beard enjoys an active international career as a soloist, chamber artist and teacher, and is in constant demand throughout North and South America and Europe. Christie strives to showcase expressive music written for the flute and piccolo as well as promoting new and original works by living composers. An artist for Sankyo Flutes, she serves the National Flute Association as a member of the Piccolo Committee, and as a contributing editor to The Flutist Quarterly. Beard is Professor of Flute at the University of Nebraska at Omaha. www.christiebeard.com
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Get to Know...Shelley Martinson![]() Without Shelley Martinson, FNMC would not exist. It was her idea, developed to solve a problem she encountered while working on her doctoral thesis, that served as the foundation for creating FNMC. She wanted to commission new music, but the expense is often far beyond the budget of most musicians, the solution…a consortium, and not just a one-time consortium, but a standing organization that would commission new pieces, with each commissioner eligible to participate in the simultaneous premiere, and that the organization would provide continued support for the commissioned works. FNMC has really grown since the fall of 2013 when we held our first board meeting; we’re about to complete our second commission (there’s still time to join!), preparing to choose the third composer, we’re holding our fourth composition contest, we’ve organized concerts of FNMC Composition Contest works all over the country, and we’re preparing to hold our first Flute Artist competition (the finals will feature a required piece we’ve commissioned by Bekah Simms, a former composition contest winner.) Shelley has actively supported our first commission (Zhou Long’s Confluence for solo flute) and is a commissioner for our second commission (Carter Pann’s new work for flute and piano) and is looking forward to performing it in March. She has also performed several composition contest works including Garuda for flute solo by Alex Nante, Van Gogh Vignettes for Flute Duet by Greg Steinke, and three of the flute quartet’s; Nicole Chamberlain’s French Quarter, In Memoriam: Sacagawea for by Greg Steinke, and Intensity by Carleton Macy. Shelley is a member of the Tornado Alley Flutes (Carlos Feller, Karen MacLaughlin Large, Shelley Martinson, Ellen Johnson Mosley, and Elizabeth Robinson). This group includes four FNMC Commissioning Members and they’ve actively supported the quartets listed above. They will perform French Quarter at the CMS Convention in San Antonio, TX in October. Shelley and her husband, Dr. Philip Martinson, perform as a flute and trombone duo and actively support new music for that instrumentation. They’ve commissioned two composition contest honorees to write works for them. They premiered Nicole Chamberlain’s Wail at the 2016 NFA Convention in San Diego and will premiere a new work by Kay HE this year for flute, trombone, and electronics! We hope you enjoy learning more about Shelley! Q&A with Shelley… What about new music for the flute appeals to you? While I enjoy performing and listening to music from all eras, I’m always excited to hear (and play!) new works. Composers continue to explore and experiment, discovering new sounds and techniques, and seeking new inspirations. I enjoy the technical and musical challenge of preparing, interpreting, and performing new music, as well as the chance to work with living composers to create something new. When did you join FNMC and what attracted you to the organization? I think I could be considered our first member! The concept for FNMC evolved in fall 2013 with a lot of time, energy, and enthusiasm from our founding board members: Elizabeth Robinson, Ashley Shank, David Graham, and I. FNMC centers around the idea that flutists can come together to commission and discover new works for the flute – this basic mission still excites me. Not only have our large-scale commissions produced wonderful new pieces for the flute, but I’ve also discovered great new pieces and composers through our composition competition. Do you have any upcoming events that you would like our friends and followers to know about? I look forward to performing several new works at the NFA Convention in Minneapolis this week. Dr. Stacey DiPaolo and I will perform FNMC composition competition winner, Asha Srinivasan’s Bapu for flute, clarinet, and electronics on Friday morning. I’ll also perform Amanda Harberg’s Feathers and Wax for Flute and Piano and Tilmann Dehnhard’s Wake Up! For Piccolo and Alarm Clock on Sunday. Though I’m not participating, I look forward to attending the FNMC organized session, “Keeping Score: A Conversation about Commissioning New Works,” on Saturday at noon. Looking ahead to the fall semester, Dr. Philip Martinson and I will premiere a new work by Kay He (also a FNMC Composition Competition Winner) for flute, trombone, and electronics. More About Shelley... An active performer, Shelley Martinson joined the faculty of Southwestern Oklahoma State University as Assistant Professor of Music in fall 2013, where she instructs courses in applied flute, flute studio, music history, and chamber music. Martinson serves on the board of the Oklahoma Flute Society (Past President) and is chair of the National Flute Association's (NFA) Career and Artistic Development Committee. Recipient of the NFA's 2014 Graduate Research Competition, Martinson earned her Doctorate of Music in flute performance with a certificate in World Music from Florida State University. She holds additional degrees in flute performance and music history from the University of Akron and Skidmore College. www.shelleymartinson.com Get to Know...Jan Vinci![]() FNMC Artistic Advisor Jan Vinci, has been a staunch supporter of FNMC from the beginning, providing us with invaluable advice, serving as a preliminary round judge, and joining us as a Commissioning Member for both the Zhou Long and the Carter Pann commissions. We’re so happy that she’ll be sharing her wisdom about the commissioning process as a part of the panel for “Keeping Score: A Conversation About Commissioning New Works” during this year’s NFA Convention (2017). Jan has commissioned and/or premiered more than forty works, she is definitely an expert at the process and we're really looking forward to learning from her and the other members of the panel at the convention! Q&A with Jan… What advice can you give to flutists about approaching new music in practice? When learning an older work, one can easily get caught up in, and always follow, performance traditions. However, the beauty of learning a new work is that the journey of discovery is always fresh. … First, I first look at the large structure and the general energy of the rhythms, articulation and dynamics. Then I dig into the multiple layers of details that support the large structure and the general character. I look for contrasts and ways to bring those across, knowing that contrast is what can help define ideas and structure. I also compare the structure of the motives, phrases and sections to music of other eras, as this can often reveal logic of compositional development. Just remember that if we get so caught up in only the details, we lose perspective of the composer's larger picture and, consequently, we lose the overall impact of the work. This mistake leads to a mediocre presentation of a composer's work, which sometimes can discourage other flutists from wanting to perform the work. … Also, I have found that the fresh approach to learning a new work has taught me to take new approaches to interpreting older compositions, often unlocking new and interesting perspectives. What about new music for the flute appeals to you? As in any era, very few pieces end up being considered “exceptional compositions.” Even many pieces by our giants, such as Bach and Beethoven, are not strong enough to earn that label. I have played a lot new music that, no doubt, may never be played again. But as a performer, I feel a responsibility to put new pieces out there because there WILL be new works that deserve longevity and appreciation for years to come. The new pieces that have lasting potential are those that have logic and appeal to the performer and the listener alike: Pieces that have a clear macro and micro structure (Mei for solo flute by Fukushima); Pieces that utilize contemporary techniques for the sake of the music (Idyll for the Misbegotten for flute and percussion by George Crumb); Not always, but… some pieces that are programmatic or have a philosophical inspiration (Medieval Suite for flute and piano by Katherine Hoover and Crow’s Nest for solo flute by Mark Vinci). It is very interesting to read autobiographies of noted performers and conductors who have experienced the birth of new compositions. Their predictions of a new work’s eventual success or demise are most often correct. Do you have any upcoming events that you would like our friends and followers to know about? I would like to tell FNMC members about my latest commission project in which I commissioned 3 works and recorded them on American FluteScape: A Tapestry of Premieres and Classics (Albany Records). I hope FNMC members will check out these very worthy and exciting new works! 1. Along with pianist and Skidmore colleague Pola Baytelman, I commissioned a flute sonata by Jennifer Higdon. Being a flutist, Jennifer has written a lot of flute music, but never a sonata; so, I felt it was time. … Flute Poetic for flute and piano starts with the first movement that Higdon describes as a frantic schizophrenic dialogue with an unpredictable opening - like a picture going in and out of focus. Contrastingly, “Blue Hills” soars with sublime passionate melodies that are bookended with rhythmic introspections. In this movement two, Higdon was thinking of her brother Andrew Blue, who had a sad untimely death, and the beautiful refuge of Cades Cove in East Tennessee where they grew up. From the first note of movement three, “Jagged” creates an energy that is relentlessly on the verge of bursting… and, at the end, it finally does! 2. I commissioned Juilliard Jazz faculty and my husband ☺ Mark Vinci to compose Crow’s Nest for solo flute. As only an avid fisherman and a masterful musician can, Mark sonically depicts the ocean’s dynamic dichotomy of the tumultuous and the serene, as seen from the vantage point of a sailor up in a ship’s crow’s nest. This fantastically fun piece is a springboard for classical flutists to dive into the world of jazz, and begs the performer to ornament, beat box and groove. Inspired by Mark and other world-class jazz musicians, and by the rock-in-roller Ian Anderson (recollecting a Jethro Tull concert that I attended in 1973 in Knoxville, TN), I thoroughly enjoyed adding my own spin on this solo of both virtuosity and tranquility. 3. I also commissioned Mark Vinci to compose a flute concerto TINGsha Bom t-Bom t-Bom for flute and orchestra. Using both classical structures and improvisational style, he creates a wide swath of emotional and rhythmic scenarios. The opening movement, “En garde!,” is a jousting banter between the flutist and the orchestra. Inspired by small Tibetan Tingsha chimes, the second movement, “TINGsha,” lures the listener into ethereal and otherworldly realms with the flutist’s use of unusual flute fingerings, simultaneous singing and playing, bending notes and flutter tonguing. “Bom t-Bom t-Bom” opens with an extended jazz flute cadenza that eventually sets up an infectious rhythmic theme depicting a roving caravan of camels, minstrels, gypsies and vagabonds. Grooving variations ensue first by orchestral winds, followed by jazzy pizzicato strings, and eventually elaborated by the soloist. All end tutti with a rousing rhythmic coda! More About Jan… Classical Recording Foundation Awardee and First Prizewinner of England's International Electric Music Performance Competition, Jan Vinci has performed in Alice Tully, Carnegie, and Merkin Halls and for events such as the Blossom Festival, ICMC in The Netherlands, Electric Music Festival in England and Killington Music Festival. She is often the featured artist for flute club festivals and performs for NFA conventions. Vinci recorded three CD's on Albany Records. Vinci's newest Albany Records CD is American FluteScape: A Tapestry of Premieres and Classics, which includes three works that she commissioned: Mark Vinci's "TINGsha Bom-t-Bom-t-Bom for flute and orchestra” and “Crow’s Nest for solo flute,” and Pulitzer Prize winner Jennifer Higdon’s “Flute Poetic for flute and piano” (co-commissioner Pola Baytelman). As an avid proponent of new works, Vinci’s recent commission projects include Pulitzer Prize winner Long Zhou’s “Confluence for solo flute” (as part of the Flute New Music Consortium) and Carleton Macy's "Autumn Sky: Fantasy for flute and concert band." Vinci earned a D.M.A. from The Juilliard School, M.M. from The Cleveland Institute of Music, and B.M. from Bowling Green State University, studying with Julius Baker, Samuel Baron, Maurice Sharp and Judith Bentley. Former faculty member of Queens College, Hofstra University and the Skidmore Flute Institute, Vinci is Senior Artist-in-Residence at Skidmore College and often teaches master classes at colleges. Vinci served as President of the New York Flute Club. For a breadth of musical offerings by Ms. Vinci, please visit janvinci.com. Get to Know...Wayla Chambo![]() Wayla Chambo loves new music and is an avid performer of contemporary works. This year, her active performance schedule included performances at the New York City Electroacoustic Music Festival and the Christopher Newport University Contemporary Music Festival. Wayla is a member of the New Music Advisory Committee of the National Flute Association. A member since 2016, we’re so happy that she’ll be bringing her experience and perspective to FNMC! Q&A with Wayla… What about new music for the flute appeals to you? I love exploring a variety of sounds and expressive possibilities. I enjoy challenges and new discoveries. I want my instrument to have a powerful voice, and I enjoy collaborating with composers and being an active partner in creating the music of our time. Describe your musical background and current activities. I have a DMA with in flute performance, with a related field in contemporary music, from the University of North Texas, where I was fortunate to study with the renowned new music flutist Dr. Elizabeth McNutt as well as many other excellent teachers. I also attended CalArts, which is where I first started diving into new and experimental music, and the University of North Carolina. Currently I am a freelance flutist and teacher based in Southeast VA, and I frequently perform new music in both solo and chamber music contexts. I’m also a member of the NFA’s New Music Advisory committee. What advice can you give to flutists about approaching new music in practice? Keep an open mind, be curious, and don’t be discouraged if it sounds “bad” at first or takes longer to learn than you’re used to. Find a piece that you really love, and let that lead you to other composers and works you might enjoy. More About Wayla… Wayla J. Chambo is a versatile, committed performer of new and experimental flute music alongside the traditional repertoire. She has performed with the Dallas Festival of Modern Music, Allen Philharmonic Orchestra, Dallas Wind Symphony, Virginia Symphony, and the Norfolk Chamber Consort, and maintains an active presence at national and regional festivals and conventions. Chambo serves on the NFA’s New Music Advisory Committee and was Program Chair of the 2016 Mid-Atlantic Flute Convention. She earned her DMA from the University of North Texas, and is currently a faculty member at Thomas Nelson Community College and a classical radio announcer on WHRO-FM. https://www.facebook.com/WaylaChamboFlutist/ Get to Know...Marissa Olin![]() We’re so excited about our next commission, a new work for flute and piano by Carter Pann, and we’re very happy that Marissa Olin, who joined us last year as a Performing Member recently joined us as a commissioner of Carter’s new work! As you’ll see below, she’s an active supporter and performer of new music, particularly for flute and clarinet duo (with Jonathan Holden, clarinet). We hope you enjoy learning more about Marissa! Q&A with Marissa… What about new music for the flute appeals to you? New music appeals to me because it allows us to explore new sounds and techniques on the flute in innovative and ground-breaking ways. I especially like being able to communicate and collaborate with composers throughout the creation and/or premiere of a new work. When did you join FNMC and what attracted you to the organization? I have been a FNMC member since 2016, and I am excited to be participating in the upcoming Carter Pann commission. I am attracted to FNMC’s mission of promoting new music for the flute through commissioning projects and their annual composition competition. Do you have any upcoming events that you would like our friends and followers to know about? I currently play in a flute/clarinet duo with Dr. Jonathan Holden, faculty at Florida State University. We will be performing at the NFA Convention on Friday at 1pm (Flute Clarinet Duos Consortium Retrospective) and Saturday at 11am (Chamber Music for Winds). On Friday, we are performing Barn Dances by Libby Larsen with pianist Dr. Mariah Boucher. On Saturday, we are playing Fluteball: a soccer-driven melodrama by Ricardo Lorenz and Synthetic Butterflies by Kendra Kestner. All are pieces by living composers! I hope to see you there! More About Marissa… Marissa Olin is an active freelance musician in Michigan. She is a member of the West Michigan Symphony (Flute II) and she has performed with the Kalamazoo, Midland, Lansing, Battle Creek, Jackson, and Traverse Symphony Orchestras. She is Instructor of Flute at Spring Arbor University, Kellogg Community College, and the Michigan State University Community Music School. She received degrees from Michigan State University (D.M.A. and M.M.) and the Lawrence University Conservatory of Music (B.M.), with additional study in Vienna, Austria. Get to Know...Elyse Davis![]() You might have noticed we have a strong Florida State University contingent of members. We love that Shelley’s fellow FSU alumni (as well as FSU current students) have embraced FNMC. Of course, we must also credit the strong participation to the support of FSU Flute Professor and FNMC Artistic Advisor Eva Amsler! One of our wonderful members with an FSU connection is current DM student, Elyse Davis! Elyse has been an active member since joining FNMC in 2016. She was a preliminary judge for the chamber music category of the FNMC composition contest in 2016, and performed on the FNMC concert at the Florida Flute Association Convention in January 2017. She has actively supported FNMC Composition Contest works; having performed Purple and Yellow for flute and marimba/vibraphone by Stephen Lounsbrough and On the Pivot of an Abandoned Carousel for flute and electronics by Kay HE. Elyse is a member of the Silver Linings Flutes, comprised of Vivianne Asturizaga Laura Clapper, Elyse Davis, and John Ross. The Silver Linings flutes have been very supportive of FNMC works, and FNMC in general, in fact, they’re all members! They’ve performed the quartets French Quarter by Nicole Chamberlain, and In Memoriam: Sacajawea by Greg Steinke. They even included French Quarter on the program they performed during their 2017 tour in Costa Rica! If you’re attending the NFA convention this year, be sure to support Elyse as she competes in the Young Artist Competition. We know she will play beautifully! Q&A with Elyse… When did you join FNMC and what attracted you to the organization? I first joined the FNMC officially about a year ago, and was initially attracted to the organization because of how many Florida State friends and colleagues I have who are also members! I attended an FNMC get together at NFA a few years ago, and was struck by how friendly everyone was- it just seemed like a fun organization to be a part of, and when I was asked to be a preliminary round judge for the composition competition, I was blown away by how amazing some of the music being submitted was. I had a great experience with judging, and have now performed several FNMC pieces. What about new music for the flute appeals to you? Learning and performing new music has opened and developed my mind (and my ear) beyond the more traditional flute repertoire, and has pushed me beyond what I thought I was capable of on the instrument. That, I think, is the true value of new music- it is constantly pushing the boundaries of what is generally thought to be possible, and thus, performers are able to grow and keep improving their abilities in new and ingenious ways. Also, programming new music on a flute recital is particularly appealing, since it is one of the oldest known instruments in the world- the fact that we are able to program a Bach sonata right alongside a work that was composed last year, is amazing to me! What advice can you give to flutists about approaching new music in practice? I think the best advice is just to keep an open and creative mind! Often, there is no wrong answer- the exciting thing about new music is that you can create a completely new and unique interpretation, uninfluenced by others. You have the opportunity to really make it your piece! More About Elyse… Flutist Elyse Davis is an active performer and soloist in the Tallahassee area and throughout the United States. She made her solo debut in Carnegie Hall’s Weill Recital Hall in May of 2017, and has won prizes at numerous competitions, including second prize at the San Diego Flute Guild Young Artist Competition in 2017 and third prize at the NFA’s Orchestral Audition Masterclass Competition in 2016. Ms. Davis is currently pursuing her DM at Florida State University, where she is a Teaching Assistant. She earned her M.M. from FSU, and her B.M. in flute performance from the University of Arizona. Get to Know...George Pope![]() When Shelley conceived of the concept for FNMC and invited three of us to join her in founding FNMC we all reached out to our network of flute friends, teachers, and acquaintances. Among our earliest and most enthusiastic supporters were some of our former teachers. George Pope, is one of those wonderfully supportive teachers. He was among the very first people to join the Zhou Long Commission and was the first to join the Carter Pann Commission, even before we’d formally begun advertising! Those who know George know that he is a lovely and gracious man, and FNMC President Shelley Martinson and Grants and Finance Chair Ashley Shank feel fortunate to have studied with him at The University of Akron and for his continued support of our careers and projects! Lots of flutists are familiar with George as he is a frequent performer and masterclass presenter around the country and has served the National Flute Association is many significant roles (including President and Program Chair.) But, many people may not know that he is a dedicated supporter of new music for the flute! In fact, he recently released a CD of works that were written for him! Q&A with George… What about new music for the flute appeals to you? Although my training has been in very traditional styles, I have always been interested in performing works by my colleagues and friends, or frankly any work that was recommended to me. In my earlier years there was very little information in methods or “guidebooks” available so we just experimented, talked to mentors and the composers, and figured it out. Huge thanks to the pioneers and artists who have documented their work and shared it with our community: inspirations all!! When did you join FNMC and what attracted you to the organization? I have been a member of FNMC from the beginning for two main reasons: I am excited to support the work of my former students who are founding members of FNMC; this is an important organization because of its efforts to commission new works for flute. And second because I want to be involved in the creation of new works for flute, adding to our amazing repertoire. I have commissioned works from friends and colleagues in the past and recorded 7 of them in my solo CD: “some measures for living….” released in 2016 on Crystal Records. What advice can you give to flutists about approaching new music in practice? Like anything new, start slowly!! Set manageable goals for each day of practice. Contemporary techniques must be learned carefully from the beginning so that they become natural and ingrained, just like learning your first scale when you were a beginner. If you have been inspired by a performance, seek out that composer and that flutist for insight into the technical and the emotional life of the music. More About George… George Pope is Emeritus Professor of Flute at The University of Akron and Instructor of Flute at The Baldwin Wallace Conservatory. Principal Flute of the Akron Symphony from 1978-2002, Mr. Pope has performed with the Cleveland Orchestra, the Blossom Festival Orchestra, and the Brevard Music Center Orchestra. He is a founding member of the Solaris Wind Quintet and the Chamber Music Society of Ohio. His solo CD “…some measures for living” was released in 2016 by Crystal Records. Laurence Vittes in Gramophone writes, “The wonder of Pope’s playing is how engagingly, articulately, flowingly and objectively he pours himself into music….” https://www.bw.edu/academics/bios/pope-george Get to Know...Paula Gudmundson![]() We’re always excited to have new members! Paula Gudmundson is one of our newest! We love the new perspectives our members bring to the organization and can’t wait to see what she will contribute to FNMC! We’re looking forward to meeting her at the NFA Convention where Paula will be busy! She is the moderator for a panel discussion hosted by the NFA Cultural Outreach Committee entitled “Embracing our Races: Connecting with Communities of Color” on Thursday at 1:30 and is performing her arrangement of Gran Fantasia for flute and piano by Amancio Alcorta on Friday at 5:00. Q&A with Paula… What about new music for the flute appeals to you? I am very interested in performing works that may be unknown or ignored. This may be “classical” music of Argentina, works by Scandinavian composers, to new music by female composers. I am most interested in bringing to life music that is unknown since it may not be part of the tradition cannon. I want to expand our own musical cannon. Who is/are your favorite “new music” composer/s and why? I really enjoy working with composers, so my favorite “new music” is one which I get to workshop with a composer. I really enjoyed working with John Luther Adams and Laura Kaminsky. What is/are your favorite “new music” piece/s and why? My favorite new work is “202-456-1111” which was a commissioned work by Laura Kaminsky. This is the phone number for the public comment line at the White House. I like that Laura Kaminsky’s works have a social consciousness aspect. When did you join FNMC and what attracted you to the organization? I joined FNMC in June 2017 after reading about the various exciting commissioning projects which I really want to support and promote with my own students. I think this is going to be a very important way to support performers and composers in the future. What advice can you give to flutists about approaching new music in practice? I like to approach new music without listening to a recording of the work so I can make my own decisions and to approach it with an open mind. I always use a metronome in learning a piece and then be flexible in always creating music. More About Paula… Flutist, Paula Gudmundson is Assistant Professor of Flute at the University of Minnesota Duluth. Debut recording titled, La Flauta of Buenos Aires, released in 2014 featured works for flute by Amancio Alcorta. Her edition of Gran Fantasia by Amancio Alcorta received an Honorable Gudmundson has been invited to perform in recital at the National Flute Association Convention in 2016 and 2017, La Côte Flûte Festival in Gland, Switzerland in 2016, and International Flute Festival of Costa Rica in 2017. Dr. Gudmundson is a graduate of Lawrence University (B.M), University of North Texas (M.M), and University of Minnesota (DMA) as a Berneking Fellow. Her principal teachers include Immanuel Davis, Terri Sundberg, Ernestine Whitman and Adrianne Greenbaum. Website: www.paulagudmundson.com |
AuthorThe Flute New Music Consortium Archives
March 2018
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