The talented composer and flutist, Maggi Payne, offers eight fascinating contemporary works for the flute, several with electronics. Payne's original Hum (1973), for seven flutes, made use of the inherent electronic hum in the multi-track recorder plus humming through the flute itself. In this version, the recorder hum is gone. We hear amassed breath sounds, microtonal clusters, multiple trills, sliding tones, and other mysterious and compelling sounds. The two parts of David Behrman's QSRL (1994) have the elegant and ...
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The talented composer and flutist, Maggi Payne, offers eight fascinating contemporary works for the flute, several with electronics. Payne's original Hum (1973), for seven flutes, made use of the inherent electronic hum in the multi-track recorder plus humming through the flute itself. In this version, the recorder hum is gone. We hear amassed breath sounds, microtonal clusters, multiple trills, sliding tones, and other mysterious and compelling sounds. The two parts of David Behrman's QSRL (1994) have the elegant and meditative qualities of Behrman's style but also a gentle humor. The flute and computer electronics are interactive in real-time, creating a wonderfully rich situation with exquisite textures. Poempiece I: whitegold blue (1967), by William Brooks, is built from short fragments of text and many inventive musical effects organized on a chart, together with improvisational passages. Payne's Aeolian Confluence (1993), using flute samples and live flute overdubs, "deals with spatial concerns,"...
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Add this copy of The Extended Flute to cart. $11.38, new condition, Sold by Branchranch Music rated 5.0 out of 5 stars, ships from Cocoa, FL, UNITED STATES, published 1999 by CRI: CD 807.
