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Release Date: January 10, 2020
Catalog #: NV6265
Format: Digital & Physical

Etereo

New Music For Flute

Bruce Babcock composer
Steven Block composer
Peter Castine composer
Alla Elana Cohen composer
Mara Helmuth composer
Jennifer Jolley composer
Josh OXford composer
Jason Taurins composer

Lindsey Goodman flute
Chrysalis Duo
Leviathan Trio

Fresh from Navona Records comes PARMA recording artist Lindsey Goodman’s ETEREO, a multi-composer album featuring the internationally acclaimed flutist in solo, duo, and trio settings. Goodman’s virtuosic performances unleash the breadth of dynamic and tonal possibilities the flute offers, making for a riveting listener experience.

The album opens with Josh OXford’s intervallically complex Bluez... in which Goodman’s breath accompanies frantic jazzy melodies, rife with overblown harmonics and vocal harmonizations akin to throat singing. Next comes Bruce Babcock’s Soliloquy which soars and flutters, at once insistent and inquisitive. For Marsyas and Gadfly by Jason Taurins, Goodman performs a series of arrhythmic dances, punctuated by instrumental bends and shrieking cries. Steven Block’s sweet soulless solstice also explores the physical limits of the instrument, replete with ethereal harmonics. After that comes Mara Helmuth’s Butterfly Within, a four-movement work in which Goodman explores a new sonic landscape, full of extra-musical sounds and spine-tingling aural sensations. In Watercolors of the Master Who is Accustomed to Paint With Oils by Alla Elana Cohen, Goodman is joined by piano; her piercing exclamations are marked by uncertainty but gain a footing and grow joyful as the work progresses. “In memoriam” from Three Duos for Alto Flute and Cello by Peter Castine is marked by soft, droning chord clusters, with the interjection of a toy piano midway. Lastly, in Flight 710 to Cabo San Lucas by Jennifer Jolley, the rapid stabs of the trio give way to an explosive repartee, making for an upbeat conclusion to the album.

In ETEREO, flute virtuoso Lindsey Goodman captures the dramatic thrill of her stage performances. With flare backed by impressive technical ability, Goodman releases the fiery potential energy stored up within her instrument. Listeners who wish to challenge their assumptions and expand their appreciation for flute music need look no further than ETEREO.

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Track Listing & Credits

# Title Composer Performer
01 Bluez... Josh Oxford Lindsey Goodman, flute 4:57
02 Soliloquy Bruce Babcock Lindsey Goodman, flute 4:24
03 Marsyas Jason Taurins Lindsey Goodman, alto flute 3:11
04 Gadfly Jason Taurins Lindsey Goodman, flute 3:11
05 Sweet Soulless Solstice Steven Block Lindsey Goodman, flute 5:59
06 Butterfly Within: I. Serenity Mara Helmuth Lindsey Goodman, flute and fixed media 3:34
07 Butterfly Within: II. I Am Radioactive Mara Helmuth Lindsey Goodman, flute and fixed media 1:01
08 Butterfly Within: III. From Inside Mara Helmuth Lindsey Goodman, flute and fixed media 2:01
09 Butterfly Within: IV. Seeing Within Mara Helmuth Lindsey Goodman, flute and fixed media 1:31
10 Watercolors of the Master Who Is Accustomed to Paint Oils (Version for Flute & Piano): I. Andante mesto Alla Elana Cohen The Chrysalis Duo | Lindsey Goodman, flute; Robert Frankenberry, piano 1:53
11 Watercolors of the Master Who Is Accustomed to Paint Oils (Version for Flute & Piano): II. Con moto, triste Alla Elana Cohen The Chrysalis Duo | Lindsey Goodman, flute; Robert Frankenberry, piano 1:08
12 Watercolors of the Master Who Is Accustomed to Paint Oils (Version for Flute & Piano): III. Commodo Alla Elana Cohen The Chrysalis Duo | Lindsey Goodman, flute; Robert Frankenberry, piano 1:27
13 Watercolors of the Master Who Is Accustomed to Paint Oils (Version for Flute & Piano): IV. Allegro Impetuoso Alla Elana Cohen The Chrysalis Duo | Lindsey Goodman, flute; Robert Frankenberry, piano 0:45
14 3 Duos for Alto Flute & Cello: No. 3, In memoriam Peter Castine Lindsey Goodman, flute; Hannah Pressley, cello; Joseph Dangerfield, toy piano; Chris Carmean, crotales 6:54
15 Flight 710 to Cabo San Lucas (Version for Flute, Cello & Piano) Jennifer Jolley The Leviathan Trio | Lindsey Goodman, flute; Hannah Pressley, cello; Joseph Dangerfield, piano 9:02

All pieces recorded May 14-17, 19, 2019 at Weigel Hall Auditorium, The Ohio State University School of Music in Columbus OH
Recording Session Producer Brad Michel
Recording Session Engineer Mark Rubinstein
Photography Joshua Brown

Executive Producer Bob Lord

Executive A&R Sam Renshaw
A&R Director Brandon MacNeil
A&R Chris Robinson, Danielle Lewis, Quinton Blue

VP, Audio Production Jeff LeRoy
Audio Director Lucas Paquette
Editing, Mixing & Mastering Brad Michel
Recording Sessions Director Levi Brown
Recording Sessions Assistant Emma Terrell

VP, Design & Marketing Brett Picknell
Art Director Ryan Harrison
Design Edward A. Fleming
Publicity Patrick Niland, Sara Warner

Artist Information

Josh Oxford

Composer

Electronisist Josh Oxford, born in 1985, is a composer, arranger, and performer of myriad styles of music. He has performed throughout the world, especially in his native central New York, on piano, percussion, and Moog synthesizer. After suffering a debilitating car crash in 2010, Oxford has devoted his energy to composing.

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Bruce Babcock

Composer

Applauded by Aaron Copland, inspired by Desmond Tutu, and mentored by Hugo Friedhofer and Earle Hagen, Bruce Babcock has spent his working life composing music for the musicians of Los Angeles. Successful in film, television, and the concert hall, he is known for vibrant, sonorous, and expressive pieces that immerse audience members and performers alike in an inclusive and exuberant celebration of the musical art.

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Jason Taurins

Composer

Jason Taurins (b. 1991) is a music educator, composer/arranger, and clinician. He has lived in Arizona since 2015. He holds a Bachelor of Music in Education from Western Michigan University, where he studied composition with Lisa Coons and Richard Adams. He also has a Master of Music from the University of Florida. His musical interests include writing for wind bands, arranging for marching band, and writing marching band drill, as well as writing chamber music. His influences are diverse, including the great Classical composers, the 20th-century avant garde, jazz, classic rock, and metal. He is an active advocate of music by living composers and diversity in musical programming.

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Steven Block

Composer

Steven D. Block was born in New York City on November 5, 1952. He is currently Dean of the College of Fine Arts at the University of Texas – Rio Grande Valley after having served as Chair of the Department of Music at the University of New Mexico for 17 years.

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Mara Helmuth

Composer

Mara Helmuth was composes music and sonic spaces often involving the computer, focusing recently on environmental issues and wildlife. Her recordings include Irresistible Flux on Esther Lamneck’s Tarogato Constructions, from O on Open Space CD 33 Benjamin Boretz 9x9, Lifting the Mask on Sounding Out! (Everglade), Sound Collaborations, (CDCM v.36, Centaur CRC 2903), Implements of Actuation (Electronic Music Foundation EMF 023), and works included on Open Space CD 16 and the 50th Anniversary University of Illinois EMS collection. Scores are published in Open Space Magazine Issues 19-20 (from O), and Notations 21 (String Paths), edited by Theresa Sauer.

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Alla Elana Cohen

Composer

Alla Elana Cohen is a distinguished composer, pianist, music theorist, and teacher who came to the United States in 1989 from Russia. Graduating from the Moscow State Tchaikovsky Conservatory with the highest honors of distinction, Cohen lives in Boston and is a professor at Berklee College of Music.

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Peter Castine

Composer

Peter Castine was born in New York City on a Sunday in the year of the snake. Studies of composition, piano, and computer science in Stony Brook and Berlin were followed by work as a performer, concert and conference organizer, and developer of software-based musical instruments.

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Jennifer Jolley

Composer

Jennifer Jolley (b. 1981) is a West Texas-based composer of vocal, orchestral, wind ensemble, chamber, and electronic works.

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Lindsey Goodman

Flutist

Flutist Lindsey Goodman is a soloist, recording artist, chamber collaborator, orchestral musician, educator, and clinician whose “palette of tone colors includes cool silver, warm chocolate, the bright colors of a sunrise, and the deep blue of midnight.” (The Flutist Quarterly) Renowned for her “energy and artistry, conveying her exuberance and creativity” (Pittsburgh in the Round), Lindsey has performed solo and chamber concerts, taught masterclasses, and given presentations at countless series, festivals, and universities. Performances “played with conviction” (New York Times) have been heard across three continents, including at Carnegie Hall, Eastman School of Music, Edinburgh Festival Fringe, Oberlin Conservatory of Music, Google headquarters, University of Cincinnati College–Conservatory of Music, several National and Canadian Flute Association conventions, across China, and on Nobody Listens to Paula Poundstone.

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Robert Frankenberry

Robert Frankenberry

Piano

ROBERT FRANKENBERRY leads a multi-faceted career as a vocalist, pianist, composer, and conductor. Onstage, he has performed a wide range of roles including Mozart (Amadeus), John Adams (1776), Carl-Magnus (A Little Night Music), Bacchus (Ariadne on Naxos), the title roles in Don Carlo, The Tales of Hoffmann, Faust, and Willy Wonka, and originated the role of Orson Welles in Daron Hagen’s Orson Rehearsed with Chicago’s Fifth House Ensemble.

From 2012-2019, he held the position of Music Director for Pittsburgh Festival Opera, during which time he led the premieres of the Night Caps and Night Caps International projects (also contributing as composer), Roger Zahab’s Happy Hour, Gilda Lyons’ A New Kind of Fallout, Dwayne Fulton’s jazz/gospel opera A Gathering of Sons, and Daron Hagen’s Shining Brow-Fallingwater version (performed on and in Frank Lloyd Wright’s Fallingwater). He also led workshops of new works in development by Guang Yang, Faye Chiao, Ruth Chan, and Karen Brown as part of the company’s Fight For the Right project. In the summer of 2019, he served as arranger, adaptor, composer, and musical director for Mr. Rogers’ Operas, creating live-performance versions of Spoon Mountain and Windstorm in Bubbleland for operatic voices. At the piano, he focuses primarily on new and recent music, performing with such ensembles as Pittsburgh’s IonSound and Music On the Edge; New York City’s The Phoenix Players and PRISM Players; and multi-city entelechron, and Chrysalis Duo.

Hannah Pressley

Hannah Pressley

Cello

Cellist HANNAH PRESSLEY lives in Charleston WV and actively performs across the region as an orchestral and chamber musician. She has performed across the United States and in China, Canada, the UK, France, and Japan. Pressley has been broadcast live and in recordings on West Virginia Public Broadcasting, All Classical Portland (Oregon), Maryland Public Television, and KING FM (Seattle).

In Charleston, Pressley has performed with the Montclaire Quartet several times as well as on the Library Jams, Kanawha Forum, FestivALL, and Concerts @ St. John's series.

A lover of the outdoors, Pressley regularly performs string quartets at the bottom of the Grand Canyon on rafting trips with Canyon Explorations. As a founding member of the Leviathan Trio, she toured China in fall 2018 and the southeastern United States in winter 2016, and commissioned and premiered a number of new works. She has performed at West Virginia State University, Marshall University, the University of Florida, Southeastern Louisiana University, Mercyhurst University, and West Virginia University. Pressley is a member of the West Virginia Symphony Orchestra, Roanoke Symphony Orchestra, Ohio Valley Symphony, and the River Cities Symphony Orchestra. She has also performed with the Huntington Symphony Orchestra, the Maryland Symphony Orchestra, and the Westmoreland Symphony Orchestra (PA). Pressley is a member of the West Virginia Music Teachers’ Association, and she maintains a private cello studio in Charleston and works with the West Virginia Youth Symphony as a sectional and chamber music coach. She has also served on the artistic staff for the Roanoke Youth Symphony Orchestra Summer Music Institute.

A native of Seattle WA, Pressley attended the Cleveland Institute of Music and Peabody Conservatory, where she received her bachelor's (2009) and master's (2011) degrees in cello performance as a student of Dr. Alison Wells. She had the opportunity to study abroad at the Guildhall School in London in Spring 2011, where her primary teacher was Richard Lester. She has also participated in masterclasses by such major artists as Laurence Lesser, Hans Jorgen Jensen, Philippe Muller, Eleonore Schoenfeld, Stephen Geber, and Andre Emilianoff. While at Peabody, Pressley received the Mihaly Virizlay Memorial Prize in Cello and the Grace Clagett Ranney Prize in Chamber Music. In her free time, Pressley loves hiking, pickleball, running, and yoga.

Chris Carmean

Chris Carmean

Crotales

CHRIS CARMEAN holds degrees from Miami University and Duquesne University, and is an Assistant Band Director and Percussion Instructor in the Pickerington Local School District. He has performed with the Pittsburgh Symphony Orchestra, the New World Symphony, the Naples Philharmonic, and is an Associate Musician with the Columbus Symphony Orchestra.

Carmean is active as an adjudicator in the Ohio Music Education Association, and has several percussion ensemble pieces available through C.Alan Publications. In 2018, he earned a Private Pilot’s License, and enjoys the opportunity to go flying whenever possible. Carmean and his wife, flutist Lindsey Goodman, live in Pickerington with their Bichon Frise dog, Jack.

Joseph Dangerfield

Joseph Dangerfield

Toy Piano

JOSEPH DANGERFIELD has lived and worked professionally in Germany, Russia, Holland, and New York. He is the recipient of many awards and recognitions, including the Aaron Copland Award (2010), the Indianapolis Chamber Orchestra’s Composition Prize (2010), the Henry and Parker Pelzer Prize for Excellence in Composition (2005), the Young, and Emerging Composers Award (2002).

He was a Fulbright Scholar to the Russian Federation and the Netherlands (2009-10), where he served as composer-in-residence with the Ensemble Studio New Music at the famed Moscow Conservatory, and lectured at Maastricht Conservatorium. He has been a resident in the Leighton Studios of the prestigious Banff Centre in Alberta, Canada, and the Yaddo Colony in New York. Recordings of his works are available on the Albany Records label, and many are published by European American Music and American Concert Editions.

Notes

Jacquie Christen is an amazing flute player who was in school with me at Ithaca College. She used to work at Mahogany Grill, a restaurant I used to frequent after I graduated. It was there that Jacquie told me she would perform a piece of mine if I wrote her one. That winter I was working on Crystal Cruiselines playing piano, which gave me plenty of down time to write. I remember finishing on a beach in Mexico near Acapulco.

As a jazz musician, I was always frustrated by the idea of a piece having “jazz influence” simply because it used the blues scale. To me, bebop is the heart of jazz, so I incorporated aspects of that music, such as moving in and out of the chord changes.

My familiarity with the music of Ian Clarke inspired the use of myriad extended techniques.

— Josh Oxford

Composition Date – 1977

Soliloquy was composed after my sister, who lived in London at the time, met world-renowned Irish flutist James Galway at a record-release and autograph-signing event in a local record shop. As he signed his autograph, she told him "My brother lives in California and he's a composer." Galway, without missing a beat said "Tell him to compose a piece for me!"

So I did. I made the youthful mistake of writing something in a style that I should have known he would have no interest in playing. Although I sent it to him, it just wasn't his kind of piece. Opportunity lost, lesson learned. But, over the years, it has become my most performed piece.

Soliloquy (from the Latin solus “alone” and loqui “to speak”) at its most basic level refers to the act of talking to oneself, and more specifically denotes the solo utterance of an actor in a drama. In this piece the flutist is the actor and the conversation is both spirited and reflective.

The piece consists of one movement, is generally tonal, and explores all registers and dynamic levels of the flute. The first half is unmetered, while the second half contains both metered and unmetered sections, and allows each performer to assert their individual imprint on the music

— Bruce Babcock

Marsyas was a character in Greek mythology who met a cruel fate at the hands of capricious gods. Athena obtained a reed flute, and finding it beyond her ability to play, discarded it on Earth. Marsyas found and mastered the instrument. Filled with hubris, he challenged Apollo to a musical contest to be judged by the Muses. He lost, and as punishment was flayed alive.

Musically, Marsyas is based on a tone row of which I make frequent use. It is reminiscent of Webern in its formal brevity, consisting of six short sections. It also makes use of isorhythm, flutter tonguing, and tongue pizzicato. It makes a great recital piece for the alto flute, and is challenging in that it makes use of the full range of the instrument. It would make a great companion to works such as Density 21.5 or Syrinx.

— Jason Taurins

Have you ever felt frustrated with everyone and everything? Gadfly is a brief musical depiction of this feeling. The title refers to the stinging insect which pesters livestock. The piece makes extensive use of extended techniques and is a short rondo. Techniques include timbral trills, key clicks, tongue pizzicato, microtones, flutter tonguing, and multiphonics. It would make a great recital companion to works such as Density 21.5 or Syrinx.

— Jason Taurins

Sweet soulless solstice was written in 1975 for an extraordinary flutist, Jan Pompilo, when we were both graduate students at the University of Iowa during the heyday of its new music ensemble, composition program, and orchestra conducted by the legendary James Dixon. One description of this composition is that of a romantic tone poem influenced, in part, by some of the classic 20th-century flute solos (Berio, Varese) and post-WWII Italian serial composers. We worked as a team, testing the then new doublestops for flute from Thomas Howell’s landmark book as well as trying out different phrases and overtone passages that appear in the composition. The ability to work directly with a performer is a rare but ideal luxury, so the discovery and unfolding of this composition is a great memory. Technique and compositional strategies ultimately are solely background forces, however, in support of what simply is dramatic musical expression. 

 Steven Block

Butterfly Within explores moments of chaos and peace after a health crisis in 2006, which allowed me to appreciate every moment more distinctly. The idea of the pulsing intensity of a butterfly's quickly beating wings relates to the subtle noise of the flute sounds, the blow bottle sounds, and the rhythms of the shakers. Sound was created with RTcmix and STK (Synthesis ToolKit) physical models. Additional movements were created in 2012 and 2014.

This piece, which consists of 4 concise movements, was composed in 2001 for Bianca Garcia, at the time a 14-year-old prodigy flute player who was accepted at age 14 to Curtis Institute. I consider this composition a musical portrait of Bianca—different facets of it are represented by four contrasting movements. The first movement is pensive, melancholic, and fragile; the second is humorous and slightly teasing; the third is gentle and dreamy; and the fourth is playful and joyful. As Watercolors... was written for the child—very talented, but still a child—the musical idiom is less sophisticated than in my other compositions. I would describe it as "trans-tonality," I don't use there extended techniques, and I avoid harsh dissonances. The piece was premiered in 2001 by Bianca, with me—the composer—at the piano, in concert at the New England Conservatory, Boston.

— Alla Elana Cohen

Year of Composition: 2008

In memoriam is the final piece from a collection of Three Duos for Alto Flute and Violoncello. The duos were commissioned for the “Kulturelle Landpartie,” a festival held annually in the Wendland region of Lower Saxony.

Work on the Duos began not long after my two main composition teachers died, and I still felt a profound sense of loss that two people who had deeply influenced my early development were no longer here. So when I began composing the Duos, I already had a clear idea that the final movement would be a memorial, largely focused on two contrasting kinds of movement. On the one hand, there would be slowly-moving, almost static ethereal sounds, to be complemented on the other hand by lighter, dance-like passages. Of the contrasting material, the more ethereal sounds might have been closer to the heart of one of the dedicatees, whereas the dance-like music is more a reminder of the other (who had composed a considerable body of music for ballet). In the course of the piece, instruments with bell-like sounds are introduced, serving both as a mediation between the two contrasts and to further develop the musical ideas. The piece ends with a return to the original instrumentation, providing not only a sense of eternity with an extended fermata over a single tone, but also abrupt reminders that we, as performers and listeners, are still very much alive.

In memoriam is dedicated to the memory of Gerald Humel (1931–2005) and Frank Michael Beyer (1928–2008).

— Peter Castine

This is the piece I have wanted to write since 2002 but thought I was never cool enough to write it. Around that time my friend Andrew Plewe introduced me to some songs by The Meters and a tune by Ernie and the Top Notes Inc. called “Dap Walk.” In fact, I wanted to name a future piece of mine “I Know the Ghetto Has Got You Down,” a line taken from the song itself.

When I was asked to write a piece for the MusicX festival, I thought this would be the perfect time to write this piece. To prep, I only listened to music by James Brown for a couple of weeks. Some of the rhythmic motives of this piece were taken from the motives found in some of his hits.

I think James Brown’s coolness may have rubbed off on me a little, insomuch that my Leviathan Trio friends think that Flight 710 to Cabo San Lucas is indeed a badass piece in its own right. And they really make it groove.

The title is taken from the first lines of the Quentin Tarantino film Jackie Brown. 

— Jennifer Jolley

Scores

Soliloquy

Bruce Babcock

View Score

Butterfly Within

Mara Helmuth

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In Memoriam (GH & FMB)

Peter Castine

View Score