Vento Appassionato
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Virtuoso flutist Molly Barth performs 20th Century classics for solo flute.

In Vento Appassionato, Molly Barth presents her interpretations of ten of the most influential 20th century compositions for solo flute in the repertoire, chronologically spanning from 1913 to 1966. Each piece on this recording leads Ms. Barth on an impactful emotional journey, which she delights in sharing with her listeners. Grammy-Award winning flutist Molly Barth is in demand as a soloist, clinician, and chamber musician. Lauded by reviewers, she has performed in Australia, Korea, Mexico, and across the United States. A founding member of the famed new music ensemble, Eighth Blackbird, Ms. Barth won first prize at the 1998 Concert Artists Guild International Competition. She is on the faculty at the Blair School of Music, Vanderbilt University and is a graduate of Oberlin, Cincinnati Conservatory of Music, and Northwestern University School of Music.
Contents:
Claude Debussy, composer
Syrinx
Molly Barth, flute

Sigfrid Karg-Elert, composer
Sonata Appassionata
Molly Barth, flute

Paul Hindemith, composer
Acht Stücke
Molly Barth, flute

Edgard Varèse, composer
Density 21.5
Molly Barth, flute

Eugène Bozza, composer
Image
Molly Barth, flute

Luciano Berio, composer
Sequenza
Molly Barth, flute

Kazuo Fukushima, composer
Mei
Molly Barth, flute

Robert Muczynski, composer
Three Preludes
Molly Barth, flute

Elliott Carter, composer
Scrivo in Vento
Molly Barth, flute

Toru Takemitsu, composer
Air
Molly Barth, flute
Review:
"This program contains the most important 20th Century repertory for unaccompanied flute. Five pieces are from before 1950 and five were written after; composers from Europe, North America, and Asia are represented…these ten selections have been chosen with care and do offer a fine overview of major composers' contributions to this genre in the past century. Barth is a rock-solid player who knows this music inside and out…Playing unaccompanied means you have to hold the stage, so it calls for a sense of theatricality and truly becomes a recital in the sense that it takes on the aspect of a recitation. Barth puts across all her selections with spirit and imagination.…Such is her virtuosity that much of the writing sounds easier to play than it actually is.…" (American Record Guide)