Professional Documents
Culture Documents
transverse flute
Kim Pineda has performed on historical flutes and recorders, and as a conductor throughout
the U.S., Canada, and on NPR. Founder and music director of the Seattle-based ensemble
Grand Cru Baroque, he has worked with leading early music players and ensembles in the
U.S., and has performed at the Boston, Berkeley, Long Beach Bach, and Bloomington early
music festivals, Seattles Bumbershoot Festival, and has recorded on the Focus, Centaur, and
Origin Classical labels. Currently a Visiting Assistant Professor of Musicology at Texas Tech
University, he has taught at the University of Oregon, Seattle Pacific University, North Seattle
Community College,and Indiana University, as well as at workshops sponsored by the San
Francisco and San Diego early music societies, and the Seattle Recorder Society. Dr. Pineda
has commissioned new music for historical instruments by composers Roupen Shakarian,
Tim Risher, and Matthias Maute.
Dr. Pineda received his PhD in Musicology from the University of Oregon, the Master of
Music degree from Washington University, St. Louis, and the Bachelor of Music degree from
California State University Northridge. Other interests include the gastronomic arts, cycling,
and the pursuit of the ultimate cadence. In his spare time he reads non-fiction and contributes
to The Fugal Gourmet food blog. For more information visit his website, kimpineda.com.
Dr. Pineda is playing on a flute made by Folkers & Powell, Hudson, New York. It is a copy
of an 18th-century original by Carlo Palanca. Palanca was a bassoonist in the Turin court
ensemble as well as a maker of oboes, recorders, bassoons, and flutes. Several examples of
his flutes survive and all seem to be late 18th-century examples.
Recordings are engineered and produced by Will Strieder and Recording Studio student assistants.
Programs are designed and produced by Benjamin Robinette and Publicity Office student assistants.
documentary on the USA International Harp Competition that won three regional Emmy
Awards in 2011, including one for original music.
Die Mwe und das Meer was composed in 1995 for Anne Kordes, a player of modern and
Baroque flutes. The piece may be played on either instrument. The dedication also says
Thanks to Benjamin Britten. The composer states if the listener is reminded of the Sea
Interludes from the opera Peter Grimes it is not an accident.
Recursions I & IV
Patrcio da Silva received formal musical training at the Escola Superior de Msica de Lisboa
where he studied piano and composition (B.M. in piano), followed by composition studies in
the USA at CalArts (MFA), and the University of California (Ph.D). His composition teachers
include Antnio Pinho Vargas, Mel Powel, Stephen L. Mosko, Morton Subotnick, William
Kraft, David Cope, Curtis Roads, Michael Gandolfi, John Harbison, and Sydney Hodkinson.
Patricio da Silvas Guitar Concerto has been featured on over 250 classical music stations
around the world including the syndicated radio show Classical Guitar Alive. In 2009,
Patricio da Silva was honored to have his work Three Pieces for Solo Piano performed
by Tzimon Barto during the Schleswig Holstein Music Festival, in a benefit concert with
Maestro Christoph Eschenbach for the acquisition of the manuscript of Beethovens Diabelli
Variations by the Beethoven-Haus in Bonn, Germany. Festivals and concert halls where
Patricio da Silvas music has been performed include, among others, Tanglewood, Ravinia,
The Ojai Music Festival, Aspen, Ruhr Festival, Historische Stadthalle Wuppertal, Stadttheater
Wels, German-American Institute Saarbrcken, Long Night of Culture at the Fruchthalle in
Kaiserslautern, Hindemith Institut Frankfurt, The Society for Multi-Ethnic Studies MESEA,
London Festival of American Music, Los Angeles County Museum of Art (LACMA), Auditorio
de Galicia, and Yamahas YASI in NY.
Recursions was written in 2007 for Dorothy Stone, an award-winning composer, virtuoso
flutist, and co-founder of the new-music ensemble the California EAR Unit (1981). She
passed away in 2008. To paraphrase the composers performance suggestion to me: the
player should approach the music and its phrasing as if it were Baroque music; to essentially
use the same approach as in the CPE Bach solo sonata.