MICHAEL COLQUHOUN
BIOGRAPHICAL STATEMENT

Composer/flutist Michael Colquhoun is currently active as a solo recitalist, as a teacher and composer, and as Adjunct Professor of Music at Canisius College. He has earned his Ph.D. from the State University of New York at Buffalo where he studied with Robert Dick, Morton Feldman, Lejaren Hiller, and Leo Smit.

Michael Colquhoun's works have been published by McGinnis and Marx Music Publishers, and performed by Los Caribes, the New Music Consort, the Talking Drums, the New Jazz Orchestra of Buffalo, the Schanzer/Speach Duo, the Buried Treasures Ensemble, the East Buffalo Media Association, and the Maelström Percussion Ensemble.

Dr. Colquhoun's compositions draw upon both the Classical and Jazz traditions, and often involve a mixture of composed and improvised elements working together to produce a coherent whole.

Dr. Colquhoun currently has available a solo CD Jar of Stones . and a self titled CD from Los Caribes. He has received commissions from The New York State Council on the Arts, Meet the Composer, The National Flute Association and the Buffalo Public Schools.

His compositions for flute and other media have entered the “standard repertoire” and are performed regularly on a worldwide basis. His jazz ensemble pieces have been in continual performance by Buffalo, Boston, Miami and New York City jazz ensembles.

Charanga
". . . His brief and charming solo flute entry Charanga drapes its Latin American sounding fabric with subtle yet pervasive extented techniques such as multiphonics and speak-play passages." David Cleary, The New Music Connoisseur, Fall/Winter 2003

Sonic Explorer
"Flutist finds innovation in all directions.” Thomas Putnam, The Buffalo News, September 25, 1992.

“He makes chords on the flute sound beautiful, which is a pure joy to my ears…. The quality of his sound imbues everything he does, from bop to formal, classical settings.” Robert Dick, Emerson Flute Forum, Autumn/Winter 1990.

Los Caribes
“Colquhoun’s hot but articulate flute led his group through four torrid and infectiously rhythmic numbers, concluding with a riotous “La Bamba.” Herman Trotter, The Buffalo News, September 30, 1995.

Vanished
“a kind of Celtic vision on Yeats’ wandering soul . . . very effective.” Kenneth Young, The Buffalo News, November 25, 1996.

One, Two, Three
“…is a sneaky little work in which a hovering 1, 2, 3-beat pattern is implied as a sort of underbeat rather than heard directly, all with considerable spontaneity and appeal.” Herman Trotter. The Buffalo News, December 12, 1991.

Duplicity
“His manipulation of the echo effects was masterly, and the musical results were often sublime.” Allan Kozinn, New York Times, October 1, 1989.

“…a beautiful, restful work.” Kyle Gann, The Village Voice, October 10, 1989.

Nine Etudes for the Contemporary Flutist
“There are plenty of helpful hints en route and the musical effect is worthwhile with some fascinating jazzy effects. Recommended.” Trevor Wye, PAN, The Journal of the British Flute Society, 1989.

Talking Rocks
“…a fleet of marimbas dripping delightfully…. An attractive piece, with improvisation giving it a natural freedom.” Kenneth Young, The Buffalo News, May 13, 1985.

Das Guiro
“It was outrageous, but I wouldn’t have missed it for anything.” Herman Trotter, The Buffalo News, May 23, 1983.

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