Returning to Heights Unseen Lindsey Goodman

Album Info

Album Veröffentlichung:


Label: Navona

Genre: Classical

Subgenre: Chamber Music

Das Album enthält Albumcover


Formate & Preise

FormatPreisIm WarenkorbKaufen
FLAC 44.1 $ 13,50
  • Roger Dannenberg:
  • 1Separation Logic05:57
  • David Stock:
  • 2A Wedding Prayer04:11
  • Tony Zilincik:
  • 3I Asked You: I. Everything I Love02:27
  • 4I Asked You: II. I Play Music05:27
  • Elainie Lillios:
  • 5Sleep's Undulating Tide12:49
  • Linda Kernohan:
  • 6Demon/Daemon06:21
  • Randall Woolf:
  • 7The Line of Purples12:41
  • Roger Zahab:
  • 8Suspicion of Nakedness02:59
  • Judith Shatin:
  • 9For the Fallen (Version for Flute)07:11
  • Total Runtime01:00:03

Info zu Returning to Heights Unseen

Flutist Lindsey Goodman presents her second album, RETURNING TO HEIGHTS UNSEEN, the follow up studio recording to 2016’s REACH THROUGH THE SKY. Goodman is a budding composer’s dream -- interpreting new music with impeccable style and tenacity.

Goodman grasps the listener’s attention right away with Roger Dannenberg’s Separation Logic for flute and live computer processing (2013). In this futuristic work, it is the listener’s responsibility to determine what is real and what is imagined as their ears are fed short melodic phrases that have been electronically manipulated. Every sound is crucial--even the echoes of the instrument’s keys clicking against their pads.

It’s this sort of electronic genius that allows Goodman to play a duet with herself in the second track, David Stock’s A Wedding Prayer for 2 flutes (2004), stark and striking. In Tony Zilincik’s I Asked You for solo flute and mixed media, Goodman competes with samples of spoken text and percussion riffs in “Everything I Love”. “I Play Music” boasts a similar challenge, but without percussion and with the addition of the atmospheric pads of a modern synthesizer and the sound of ocean waves. The flute melody is a native chant of sorts, and its meditative nature immediately sends all other sounds to the background. Goodman demonstrates dexterous lip-trills that rival the wing speed of a hummingbird.

Elainie Lillios’s Sleep’s Undulating Tide for flute in C and live, interactive electroacoustics (2016) seems to be a continuation of the previous Zilincik track, until the entrance of a ghostly mezzo-soprano voice--the flutist’s herself. The listener is immediately transported into a dark tunnel or cave, and can hear, but not see, many unidentifiable creatures of the night.

Next is Linda Kernohan’s Demon/Daemon, a performance art piece in which the flutist is both musician and actor as she is seemingly possessed by an evil spirit. Randall Woolf’s The Line of Purples for flute and pre-recorded electronics (2015) is the least harmonically experimental of the works so far, but perhaps the most complex to categorize. It begins as a popular rock anthem but journeys into a classical chamber work and then back again. Roger Zahab’s suspicion of nakedness, brings the listener on a an emotional journey through the tentative phrases of the flute melody interspersed with unsure pauses and rhythmic anxiety and hurriedness. This work ends abruptly to give way for Judith Shatin’s For the Fallen for amplified flute and electronics (2017). The fallen, in this case, is the fallen of all wars. Here Goodman offers a moving tribute, with the entire spectrum of possible flute sounds and colors though an electronic backdrop of dark chimes, pipes, gongs, and cymbals.

This masterfully mixed album is a must-have for any new music or electronic music savant.

Lindsey Goodman, flute
Lindsey Goodman, flute & mezzo-soprano (tracks 5-6

Lindsey Goodman
is known throughout North America as a soloist, recording artist, chamber collaborator, orchestral musician, educator, and clinician. Renowned for her “generous warmth of tone and a fluid virtuosity” (Charleston Gazette), “impressive artistry” (Tribune-Review), and “agility and emotion” (Pittsburgh Post-Gazette), Lindsey has performed solo and chamber concerts, taught masterclasses, and given presentations at countless series, festivals, and universities. Her “brilliant”, “bravura performances” (Tribune-Review) “played with conviction” (New York Times), “flair, and emotion” (Gazette) have been heard in three countries, including at Carnegie Hall, Eastman School of Music, University of Cincinnati College–Conservatory of Music, Edinburgh Festival Fringe, New York City Electroacoustic Music Festival, Google headquarters, and several National and Canadian Flute Association conventions.

A committed advocate for living composers and electroacoustic music, Lindsey is an active commissioner of new works with over one hundred world premieres to her credit. Her debut solo album, reach through the sky, is available from New Dynamic Records, and she can be heard in solo, chamber, vocal, and orchestral performances on the New World, Navona, and Albany labels, among others. Lindsey has given multiple professional recitals in New York City, performed concertos from Mozart to commissioned works in the United States and Canada, and has been featured in live and recorded radio broadcasts on stations across the country.

Lindsey is solo flutist of the Pittsburgh New Music Ensemble, principal flutist of the West Virginia Symphony Orchestra, and adjunct lecturer at West Virginia State University and Marietta College. She is a founding member of the flute quartet PANdemonium4, the Leviathan Trio (flute, cello, and piano), and ASSEM3LY (flute, piano, and percussion). Classically trained as a mezzo-soprano, Lindsey is also one half of Chrysalis, a singing flutist and singing pianist duo. A student of Walfrid Kujala and Robert Langevin, Lindsey received degrees from the Manhattan School of Music, Northwestern University, and Duquesne University. She resides in Ohio with her husband, percussionist, composer, and educator Chris Carmean, and their dog Jack.

Dieses Album enthält kein Booklet

© 2010-2019 HIGHRESAUDIO