“captivating,” “brilliant”—New York Times

Tim Munro is a Chicago-based, triple-Grammy-winning musician. His diverse work as a flutist, speaker, writer and teacher is united by a single goal: to draw audiences into an engrossing and whimsical musical world. Tim made his New York solo debut in November 2016, at Miller Theater, with “a daring program [showcasing the flute’s] theatrical and performative aspects” (Limelight Magazine).

Born in Brisbane, Australia, Tim was the flutist and co-artistic director of the chamber ensemble eighth blackbird from 2006 till 2015. As a member of eighth blackbird, Tim performed at major concert venues in 40 US states and abroad, worked as soloist with America’s finest orchestras, curated three music festivals, and premiered more than 100 new works, including Steve Reich’s “Double Sextet” (Pulitzer Prize winner, 2009). Tim won his third Grammy Award as a member of eighth blackbird in 2016, for the Cedille Records album “Filament.”

According to the Chicago Tribune, “the fierce virtuosity of Tim Munro was worth the price of admission all by itself.” Tim’s solo performances are “captivating,” “bravura,” “charismatic,” “brilliant” (The New York Times), “engrossing” (Chicago Tribune) and “brilliantly clear and beautifully balanced” (Sydney Morning Herald). Tim memorizes his solo repertoire, leaving him free to add a theatrical dimension to his shows.

Tim’s solo album, “one two three,” is a funny, terrifying, and unpredictable journey that casts Munro as flutist, singer, amateur mathematician, and supervillain, produced in collaboration with cassette tape label Parlour Tapes+.

In the first half of 2017, Tim takes part in the Queensland Conservatorium’s 70th Anniversary Celebration, performs chamber music at Chicago’s Arts Club, plays with Charlottesville Opera, speaks at Depauw University, and writes for Carnegie Hall, Australia’s Limelight Magazine and the Sydney Symphony. Tim is the Paula Kinnane Artist-in-Residence at the University of Queensland in 2017, and is co-music director for a large-scale project taking place in both Chicago and Brisbane, involving 1000 performers.

An experienced and energetic teacher, Tim guides and provokes students to use their instruments to tell compelling tales with emotional honesty. As a member of eighth blackbird, he held faculty positions at the Curtis Institute of Music, University of Chicago and University of Richmond, and has appeared as a guest lecturer at more than 50 universities across America.

Tim is also a passionate writer and speaker about music, inviting audiences into his beloved musical worlds with intelligence and humor. Tim is principal flute of the Cabrillo Festival Orchestra in Santa Cruz, and has performed with many of Australia’s orchestras and chamber ensembles.

“fierce virtuosity”—Chicago Tribune

“stellar”—The Australian

“The brilliant flutist Tim Munro…”—The New York Times

“…a display of instrumental dexterity that was staggering”—Seen and Heard International

“Munro made his New York debut with a daring program. Munro’s playing is quite unique … No part of the flute is left unharnessed, and no sound is beyond his scope. He moves easily from flute to piccolo, and even infuses singing and acting in a holistic presentation.”—Limelight Magazine

“Munro [gave] captivating accounts of [Sciarrino’s] flickering, shadowy “All’aure in una lontanza” and the more outlandish “Come vengono prodotti gli incantesimi?” In between came Mr. Munro’s own “Last Exit,” an agonized ratcheting of tension based on a poem by Samuel Wagan Watson that indicts enduring Australian racism.”—The New York Times

“Charismatic flutist Munro is a lanky, physically agile performer who dispatches the gnarly, alluring and frenzied music, but also sings in a piercing falsetto and struts about the stage.”—The New York Times

“The fierce virtuosity of Munro was worth the price of admission all by itself.”—Chicago Tribune

“Munro eked every possible sound out of his flutes. Absorbing.”—Richmond Times-Dispatch

“[Munro created] an anxious landscape of whistling, whirring, thumping and screeching blurs electronic and acoustic boundaries… Engrossing.”—Chicago Tribune

“Munro gave a brilliantly clear and beautifully balanced performance from memory of [Steve Reich’s] Vermont Counterpoint.”—The Sydney Morning Herald

“Sustaining piercing clarity and tonal purity, Munro’s stellar performance illuminated the work’s dense textures.”—The Australian

“Ms. Kirsten’s Pirouette on a Moon Sliver drew from Mr. Munro a bravura show of hissing, gibbering, urgent recitation and lines sung at high and low extremes.”—The New York Times

 

“brilliantly clear and beautifully balanced”
Sydney Morning Herald

"This particularly rapid unintelligible patter..." @lullysfoot shares his Ten Greatest Patter Songs shar.es/1DKkf5 pic.twitter.com/31Zz3lGTgn