Fly the Coop
J.S. Bach: Sonata for Flute and Continuo in E Minor, BWV 1034: III. Andante | Emi Ferguson & Ruckus
Live performance of Emi Ferguson & Ruckus performing the Andante from J.S. Bach's Sonata for Flute and Continuo in E Minor, BWV 1034, from their album - Fly the Coop: Bach Sonatas and Preludes Stream: https://song.link/flythecoop Physical CD: https://www.flythecoopbach.com Spotify: https://tinyurl.com/flythecoopspotify Apple Music: https://tinyurl.com/flythecoopapple Emi Ferguson, baroque flute Ruckus Clay Zeller-Townson, baroque bassoon Shirley Hunt, baroque cello Doug Balliett, baroque bass Paul Holmes Morton, theorbo Stephen Stubbs, baroque guitar Elliot Figg, harpsichord filmed by Kevin Greene audio by Dan Pfieffer edited by Emi Ferguson performed live at Harvard University's Horner Room as part of the American Repertory Theatre's Run AMOC! Festival, December 16th, 2018
J.S. Bach - Sonata in E Minor, BWV 1034: II. Allegro / Emi Ferguson & Ruckus
A single and behind the scenes from the album - Fly the Coop: Bach Sonatas and Preludes Physical CD: https://www.flythecoopbach.com Spotify: https://tinyurl.com/flythecoopspotify Apple Music: https://tinyurl.com/flythecoopapple Taking Bach out of the museum and infusing it with equal parts tradition, funk, whimsy, and fun, Emi Ferguson and Ruckus take you on a wild romp through the second movement of Bach's Sonata in E Minor, BWV 1034 for flute and continuo. Emi Ferguson, baroque flute Ruckus Clay Zeller-Townson, baroque bassoon Shirley Hunt, baroque cello Evan Premo, baroque bass Paul Holmes Morton, baroque guitar Adam Cockerham, theorbo Elliot Figg, harpsichord and organ with... Kendall Briggs, Nicholas Csicsko, Dave Snyder, Matt Hall, and Aleks Degtyarev Filmed by Aleks Degtyarev at Guilford Sound Edited and produced by Emi Ferguson
J.S. Bach - G Major Prelude (After BWV 884), LIVE / Emi Ferguson & Ruckus
Live performance of Emi Ferguson & Ruckus' original arrangement of Bach's G Major Prelude (After BWV 884) from their album - Fly the Coop: Bach Sonatas and Preludes Stream: https://song.link/flythecoop Physical CD: https://www.flythecoopbach.com Spotify: https://tinyurl.com/y35h6cty Apple Music: https://tinyurl.com/y6bngtkx Taking Bach out of the museum and infusing it with equal parts tradition, funk, whimsy, and fun, Emi Ferguson and Ruckus take you on a wild romp through their original arrangement of J.S. Bach's Prelude in G Major from Book II of the Well Tempered Clavier. Emi Ferguson, baroque flute Ruckus Clay Zeller-Townson, baroque bassoon Shirley Hunt, baroque cello Doug Balliett, baroque bass Paul Holmes Morton, baroque guitar Stephen Stubbs, baroque guitar Elliot Figg, harpsichord filmed by Kevin Greene audio by Dan Pfieffer edited by Emi Ferguson performed live at Harvard University's Horner Room as part of the American Repertory Theatre's Run AMOC! Festival, December 16th, 2018
Emi Ferguson - Amour Cruel [Official Music Video]
Billboard charting album out now! Order and listen here: www.emiferguson.com/shop http://www.facebook.com/emifergusonmusic http://www.twitter.com/emiflutes http://www.instgram.com/emiferguson http://www.vimeo.com/arezzomusic https://open.spotify.com/artist/2VuGdgbiX5kIkBrNRAUszt Directed by Emi Ferguson and Yves Falanga Director of photography, Yves Falanga Assistant Director, Nicholas Csicsko Lighting by Jeff Gatto Hair, makeup, and set styling by Alejandra Arguello Boat operator, Tim Ferguson Production assistant, Corinne Ferguson Special thanks to Sophia Ferguson and Paul Brown © 2017 Emi Ferguson
Emi Ferguson - Quand le flambeau
A Sun-play of the Ages Eclipse madness - what happens when sun worship turns fatal? Quand le flambeau, the second single from Emi Ferguson's debut album, Amour Cruel, uses archival footage from D.W. Griffith's 1916 film "Intolerance" to show what happens when sun worship turns to madness during an eclipse - when time is suspended but experience accelerated and our decisions are not our own.
Emi Ferguson - J'avais cru qu'en vous aimant [Official Music Video]
www.emiferguson.com J'avais cru qu'en vous aymant Single from the album Amour Cruel Listen on Spotify: https://spoti.fi/2RZL3xA Listen on Apple Music: https://apple.co/2SMstJj Buy on iTunes: https://apple.co/2SMstJj Lyrics: J'avais crû qu'en vous aimant, La douceur serait extrême: J'aurais crû qu'en vous aimant, Mon sort eût été charmant: Mais, je me trompais, hélas! Dois-je le dire moi-même? Vous savez que je vous aime, Pourquoi ne m'aimez-vous pas? Iris aime son Berger, Qu'en n'en faites vous de même? Iris aime son Berger, Et ne veut point le changer. Tous les jours pour vos appas, Je souffre une peine extrême. Vous savez que je vous aime Pourquoi ne m'aimez-vous pas? I thought that in loving you, The sweetness would be extreme. I would have thought that in loving you, My fate would be charming. But I was mislead, alas! Must I say it myself? You know that I love you Why do you not love me? Iris loves her shepherd, Why don't you do the same? Iris loves her shepherd, And doesn't want to change him Every day for your charm, I suffer an extreme pain. You know that I love you Why do you not love me?
THURBER THEATER - 'Mignonne' performed by Emi Ferguson
"Mignonne" from Emi Ferguson's record "Amour Cruel", filmed live at Thurber Thurber @ Joe's Pub, Nov 2, 2017. Emi Ferguson- Flute, Vocals, Arrangement Jordan Dodson-Guitar Paul Morton-Theorbo Sam Budish-Persussion Tessa Lark-Violin Michael Thurber-Bass to learn more about Emi and Amour Cruel: https://www.emiferguson.com/amourcruel to learn more about Thurber Theater: https://www.michaelthurber.org/
J.S. Bach / Emi Ferguson : Allemande (from the Partita) // *recomposed*
00:12 - Prelude / Introduction 1:55 - J.S. Bach / Allemande (A section) 3:18 - Emi Ferguson / Allemande recomposed (A section) 4:52 - J.S. Bach / Allemande (B section) 6:18 - Emi Ferguson / Allemande recomposed (B section) 8:09 - Bach/Ferguson / CODA The Allemande from Bach's Partita for solo flute - one of my favorite pieces to play - is no less virtuosic today than the day he wrote it, asking flute players to traverse the full length of the instrument from the lowest note to the highest with a constant stream of 16th notes reminiscent of some of his other famous Preludes written for the Cello and Keyboard. One day as I sat alone during the pandemic, I wondered...what would it be like if I took Bach's Allemande and used it as seed material, weaving newly composed A and B repeats into the piece after hearing Bach's original as well as a fun introduction that also incorporates the voice...
Bach: Badinerie Suite No. 2 BWV 1067. Emi Ferguson, flute & Voices of Music, original instruments 8K
The famous Badinerie from the 2nd Orchestral Suite of J.S. Bach, performed on the baroque flute by Emi Ferguson and the award winning Early Music ensemble Voices of Music. Live, ultra high definition video from our Bach and Handel Concert, March, 2019. Please consider a donation https://voicesofmusic.org/donate.html and we will make more videos like this one :) Baroque flute by Martin Wenner, after an original instrument by Carlos Palanca, Turin, 18th century. Voices of Music Hanneke van Proosdij & David Tayler, directors Emi Ferguson, baroque flute Lisa Grodin, Tomà Iliev, Carla Moore, Maxine Nemerovski, Linda Quan, Gabrielle Wunsch, baroque violin Cynthia Black & Maria Caswell, baroque viola Adaiha MacAdam-Somer & Elisabeth Reed, baroque cello Farley Pearce, violone Hanneke van Proosdij, harpsichord David Tayler, archlute #Bach #Badinerie
Handel: Sweet Bird (L'Allegro). Amanda Forsythe, Emi Ferguson & Voices of Music 4K
The aria "Sweet Bird" from Handel's L'Allegro, il Penseroso ed il Moderato HWV 55. Amanda Forsythe, soprano, Emi Ferguson, baroque flute. Live, 4K ultra high definition video from our "As steals the morn" concert, March, 2019. Please subscribe to our channel https://www.youtube.com/VoicesofMusic/?sub_confirmation=1 NB: During filming, birds gathered outside the window and started singing! You can hear them in the video. Buy CDs https://kunaki.com/msales.asp?PublisherId=111319&pp=1 L’Allegro premiered in February of 1740. The original cast was soprano Elisabeth Duparc (‘La Francesina’) a boy treble, tenor John Beard, and basses Henry Reinhold and William Savage. Baroque flute by Martin Wenner, after an original instrument by Carlos Palanca, Turin, 18th century.
The Magic of Bach | Public Premiere
This concert features the glorious and inspiring music of J.S. Bach, brought alive by this virtuosic performance by five of H+H’s unrivaled principal musicians, streaming together for the first time since the start of the COVID-19 pandemic. You’ll be reminded of why Bach has been called “the beginning and end of all music.” September 29, 2020 Music JS Bach: Trio Sonata in G Major, BWV 1038 JS Bach/Ferguson: Allemande, after BWV 1031 JS Bach: Trio Sonata in G Major, BWV 1039 Performed By Emi Ferguson, flute Aisslinn Nosky, violin Susanna Ogata, violin Guy Fishman, cello Ian Watson, harpsichord
Holy Manna William Moore & George Atkins In Holy Manna, we see one of the earliest American folk hymns to make its way into main-stream Christian culture. There is little known about its authors, George Atkins (the writer of the text) and William Moore (to whom the tune is attributed), other than the fact that they were in the United States in the first decades of the 1800s. This song is a call to worship, often used in shape-note singings to bring folks back to their seats after a break, and it has been reprinted in over one hundred hymnals since its first publication in 1810. Typical to the genre, it addresses different constituencies of the assembled (brethren, sisters, etc.) in turn, and its easy-flowing melody and rapturous harmonies are an invitation to devotion. Ruckus John Taylor Ward, bass-baritone Clay Zeller-Townson, bassoon and leader Emi Ferguson, flute Rachel Ellen Wong, violin Priscilla Herreid, recorder Loren Ludwig, New England bass viol Doug Balliett, violone Paul Holmes Morton, banjo and theorbo Elliot Figg, keyboards Matthew Aucoin, percussion Engineered by Julian McBrowne Video by Michael Henaghan
The Church's Desolation
The Church's Desolation (1844) Jesse Thomas White (1821-1894) from The Sacred Harp The anonymous text of this hymn is a rebuke of organized religion and Christian hypocrisy. It claims the mantle of righteousness for the broken-hearted as it laments the perversion of Christian love. Framed in square, pentatonic harmonies by one of the founding fathers of The Sacred Harp, J. T. White, this piece is a righteous wail of indignation against the establishment and an urgent call to seek the small and downtrodden. Its stately rhythmic pavane inexorably marches against the powerful, the entrenched, and the comfortable. Ruckus John Taylor Ward, bass-baritone Clay Zeller-Townson, bassoon and leader Emi Ferguson, flute Rachel Ellen Wong, violin Priscilla Herreid, oboe Loren Ludwig, new england tenor viol Doug Balliett, violone Paul Holmes Morton, theorbo Elliot Figg, keyboards Matthew Aucoin, percussion Engineered by Julian McBrowne Video by Michael Henaghan
Morning Amos Pilsury (1772-1812) The United States Sacred Harmony, 1799 Morning paints a desolate landscape of despair as it describes the death of Jesus Christ. The push and pull of harmonies seem to be at once overwhelmingly immense and starkly spare as the melody rises from broken groans to unrestrained wails and back again. This masterful depiction of grief was composed by Amos Pilsbury (1772-1812), a silversmith and schoolmaster who was born in Newbury, MA, died in Charleston, SC, and compiled the influential tune-book The United States Sacred Harmony in 1799. The text is by the English Congregational minister and theologian, Isaac Watts, whose hymn texts are the most frequently used in almost every shape-note publication. Ruckus John Taylor Ward, bass-baritone Clay Zeller-Townson, bassoon and leader Emi Ferguson, flute Rachel Ellen Wong, violin Priscilla Herreid, oboe Loren Ludwig, New England tenor viol Doug Balliett, violone Paul Holmes Morton, theorbo Elliot Figg, keyboards Matthew Aucoin, percussion Audio engineer: Julian McBrowne Video: Michael Henaghan
Family Bible Anonymous The Southern Harmony (1835/1854) "Family Bible" is a tune of unbridled joy and bittersweet nostalgia. Composed in the middle decades of the nineteenth century by an unknown composer, “The Family Bible that lay on the stand” celebrates home, family, kinship, and memory as the heart of individual and collective identity. It invokes loved ones who have died and the pleasures of childhood. The ecstatic pop-punch of the tune is undercut by shocking dissonances (or “discords” as they are known in the tradition), which give a radiance to the painful pleasure the text describes. Ruckus John Taylor Ward, bass-baritone Clay Zeller-Townson, bassoon and leader Emi Ferguson, flute Rachel Ellen Wong, violin Priscilla Herreid, recorder Loren Ludwig, New England viol Doug Balliett, violone Paul Holmes Morton, banjo Elliot Figg, keyboards Matthew Aucoin, percussion Engineered by Julian McBrowne Video by Michael Henaghan
Tyson Gholston Davis: Tableau No. III, for solo flute (2019) | Emi Ferguson, flute
My piece Tableau No. III, for solo flute is a part of a series of solo pieces that I’ve been writing for the past several months. Each work is for a different solo instrument and explores the expressive possibilities. Some composers of the latter half of the 20th century have explored this idea, notably Luciano Berio (14 Sequenzas), Vincent Persichetti (25 Parables), and Elliott Carter (6 Figments and 5 Retrachings). Coincidentally, these are some of my favorite composers. This Tableau was commissioned Dayna Hagsedt. Performed by Emi Ferguson
LA Opera Digital Shorts: Gallup (Na'nízhoozhí)
Follow along as two mystical beings take us on a journey through the rugged New Mexico landscape in our newest #LAOperaOnNow Digital Short. Filmmaker Blackhorse Lowe's new short film features a musical score by Matthew Aucoin and poetry by Jake Skeets, a Navajo artist—like Lowe—who grew up in Gallup, a city known as the ceremonial capital of Native America. “Gallup (Na'nízhoozhí)” is performed by the American Modern Opera Company and features the vocal stylings of LA Opera favorites Anthony Roth Costanzo and Davone Tines.
...thus far and no further | October 24 2020
...thus far and no further a live concert series amongst the sculpture of Christopher Cairns p r o g r a m Only : Morton Feldman Douleur me bat : Josquin des Prez [begins 2:13] in the snowy margins : Michael Hersch [6:02] Puis qu'en oubli : Guillaume de Machaut [19:21] unwrung, apart, always : Michael Hersch [22:28] Puis qu'en oubli : Guillaume de Machaut [38:42] the weather and landscape are on our side - eleven pieces after fragments from the letters of Bruno Schulz : Michael Hersch [41:47] Douleur me bat : Josquin des Prez [1:00:42] Only : Morton Feldman [1:04:20] Performances by Emi Ferguson, Miranda Cuckson, and the FLUX Quartet. Filmed by Ross Karre, Adele Fournet, and Felipe Wurst. www.arezzomusic.com/thusfar
Emi Ferguson plays Paganini's Violin Caprice no.5 live on the flute
For more information please visit: www.emiferguson.com. Stealing violin music one piece at a time... Although this virtuosic masterpiece was originally written for the violin, it translates so well to the flute - showing off the incredible range, depth, and possibilities of such a truly virtuosic instrument. Emi's arrangement captures the brilliance of Paganini's writing while adapting it to better suit the demands of the flute. Watch more of her videos here: https://www.youtube.com/user/emiflutes This video was filmed by Kenneth Kato as part of Charlotte White's Salon de Virtuosi concert series (www.sdev.org) in New York City. Emi was a 2014 Salon de Virtuosi grant winner. About Emi Hailed by critics for her “tonal bloom” and “hauntingly beautiful performances,” English-American flutist Emi Ferguson is a performer who stretches the boundaries of what is expected of modern-day instrumentalists. Emi’s unique approach to the flute can be heard in performances that alternate between the Silver Flute, Historical Flutes, and Auxilary Flutes, playing repertoire that stretches from the Renaissance to today. Emi was a featured performer alongside Yo-Yo Ma, Paul Simon, and James Taylor at the 10th Anniversary Memorial Ceremony of 9/11 at Ground Zero, where her performance of Amazing Grace was televised worldwide. Her performance that day is now part of the permanent collection at the 911 Museum. Emi’s playing can be heard live in concerts and festivals around the world as well as at home in New York City. Emi is passionate about developing new music for the flute and has premiered works by Wayne Oquin, Kendall Briggs, Elliott Carter and even CPE Bach. Emi has been a featured performer at the Marlboro Music and Lucerne Festivals, June in Buffalo, Twickenham Fest, and Chamberfest Dubuque, and has performed and taught with Juilliard Global in Brazil, PianoSonoma in California, Juilliard Baroque in Germany, and Les Arts Florissants in France and has been featured as a soloist and ambassador for Elliott Carter’s music in China and Japan. Having passions for both “new” and “old” music, Emi is the only flutist to have worked simultaneously with conductors James Levine, Pierre Boulez, and William Christie on modern and baroque flutes in Lucerne, New York, and France. Emi is the 1st Prize winner of the National Flute Association’s Young Artist Competition, of the New York Flute Club Young Artist competition, the Mid-Atlantic Flute Competition, the Juilliard Concerto Competition, and the J.C. Arriaga Chamber Music Competition and was a recipient of the 2014 Salon de Virtuosi grant. As a Baroque Flutist, Emi is a frequent guest artist with period ensembles including Tafelmusik, the American Classical Orchestra, Trinity Baroque Orchestra, and Juilliard 415. She was the only flutist accepted to Juilliard’s inaugural Historical Performance class, and has performed alongside William Christie and Les Arts Florrisants, and with Christophe Hammer, Massaki Suzuki, Christopher Hogwood, and Nicholas McGegan with whom she was a concerto soloist in Alice Tully Hall and on WQXR, New York City’s classical music station. Emi is currently on the faculty of the Juilliard School teaching Ear Training in the Evening and Pre-College divisions and has taught on the faculty of the University of Buffalo. Emi was the first person to have graduated from Juilliard with Undergraduate and Graduate degrees with Scholastic Distinction in flute performance, as well as a second Graduate degree in Historical Performance as a Paul and Daisy Soros Fellow. While pursuing her Undergraduate degree, Emi cross-registered at Columbia University's Mailman School of Public Health studying Epidemiology. Her principal teachers have been Carol Wincenc, Sandra Miller, Robert Langevin, and Judy Grant. Born in Japan and raised in London and Boston, she now resides in New York City.
Weber, Flute Trio in G minor, Op 63, Emi Ferguson, Julian Schwarz, Peter Dugan
Weber, Carl Maria von: Trio for Flute, Cello, and Piano in G Minor Op. 63 Emi Ferguson, Flute Julian Schwarz, Cello Peter Dugan, Piano LIVE (8/4/16) from pianoSonoma Festival, Schroeder Hall, Green Music Center at Sonoma State University
FLUTES - What Makes Them Different?
New album of Bach Sonatas and Preludes out now! Stream: https://song.link/flythecoop http://www.facebook.com/emifergusonmusic http://www.twitter.com/emiflutes http://www.instgram.com/emiferguson http://www.vimeo.com/arezzomusic https://open.spotify.com/artist/2VuGdgbiX5kIkBrNRAUszt
Your ears deceive you | Emi Ferguson | TEDxBeaconStreet
How do our preconceived notions affect how we think about and categorize music? Emi Ferguson may surprise you as she shows what classical composers and musicians have in common with contemporary artists. Hailed by critics for her "tonal bloom" and "hauntingly beautiful performances," English-born American flutist Emi Ferguson is a performer who stretches the boundaries of what is expected of modern-day instrumentalists. In the spirit of ideas worth spreading, TEDx is a program of local, self-organized events that bring people together to share a TED-like experience. At a TEDx event, TEDTalks video and live speakers combine to spark deep discussion and connection in a small group. These local, self-organized events are branded TEDx, where x = independently organized TED event. The TED Conference provides general guidance for the TEDx program, but individual TEDx events are self-organized.* (*Subject to certain rules and regulations)