Biography

“captivating,” “brilliant”

The New York Times

Tim Munro is a Chicago-based, triple-Grammy-winning musician. As flautist, writer, broadcaster, and teacher, he treats audiences as equals, welcoming them into musical worlds with passion, intelligence and humor. In 2023, he becomes Associate Professor of Music at the Queensland Conservatorium Griffith University, in Brisbane, Australia.

Tim was the flautist and co-Artistic Director of Eighth Blackbird from 2006-2015. He toured the US and internationally, premiering more than 100 works, co-curating festivals, playing as a concerto soloist, collaborating with artists that ran the gamut and winning three Grammy Awards. Eighth Blackbird sought engaging, stimulating musical experiences that drew audiences close.

Since 2015, he has worn many musical hats. As the St Louis Symphony Orchestra’s Creative Partner, he works as curator, broadcaster, writer and artistic consultant. With the Chicago Symphony Orchestra, he has appeared as flautist, speaker and teacher. He is the flautist with the University of Chicago’s Grossman Ensemble and the Cabrillo Festival Orchestra, and has performed with Ensemble Signal, Imani Winds, Wu Man, Newspeak and Third Coast Percussion. In Australia, he has appeared with Ensemble Q, Stradbroke Chamber Music Festival and Tyalgum Festival.

As a teacher, Tim brings students into collaborative environments, giving them agency. He has worked at music schools in more than forty American states, including the Curtis Institute, the University of Michigan, Manhattan School of Music, University of Southern California and Oberlin College. In Australia, he was the inaugural Kinnane Musician in Residence at the University of Queensland and led a two-week residency at the Australian National Academy of Music.

Tim is committed to large-scale, immersive projects that put listeners at the center of the musical experience. He co-directed Crowd Out Chicago, which drew a choir of 1000 untrained singers from 43 of Chicago’s 50 wards. He has directed several of John Luther Adams’ immersive works, including songbirdsongs, Ten Thousand Birds and Sila: The Breath of the World. With composer Alice Chance and director Julie Ritchey, he is developing the participatory work, Serious Business Meeting.

Tim’s playing has been called “captivating,” “bravura” and “charismatic” (The New York Times). His recent album, Liminal Highway, with music by Pulitzer Prize finalist Christopher Cerrone, exploited Tim’s “expansive artistry” (The Wire). Upcoming releases include new works by uncategorisable trumpeter Peter Evans and post-punk musician David Reminick.

He owes much to his teachers. Debbie Ellison held exacting standards, Gerhard Mallon sought focus in his sound. Jeannette Manricks built a solid foundation, Patrick Nolan challenged his musical perception. Michel Debost filled a flexible musical line with air. And at a key moment, Margaret Crawford convinced him that a flute player could be a full, curious artist.

Tim lives in Chicago with his wife Julie, Artistic Director of Filament Theatre, and their son Ellis.