ABOUT

Immanuel Davis is one of the most versatile flautists of his generation. Equally at home on modern and Baroque flutes, Davis has performed as a soloist and chamber musician throughout the US and abroad. In 2005 he received a Fulbright Fellowship to study Baroque flute with Wilbert Hazelzet at the Koninklijk Conservatorium in The Hague. Since then he has performed as a soloist and chamber player with Early Music ensembles such as Early Music New York, ARTEK, Lyra Baroque Orchestra, REBEL, Bach Society of Minnesota and Mercury Orchestra of Houston. Davis has been the flute professor at the University of Minnesota since 2001. He is also an AmSAT-certified teacher of the Alexander Technique.

PRESS

“Davis' playing [on a Louis Lot flute] epitomizes French style. Flexibility is the key word that comes to my mind, along with an effortlessness and accuracy that I think were central to Gaubert’s own playing. Davis navigates the instrument’s various registers with ease and excellent intonation and control..."

Gorman, American Record Guide [September/October 2011]

"Both the flute and piano present a more soft-grained and less brilliant sound than one typically encounters nowadays, and Davis also plays with minimal vibrato, giving Gaubert’s music a particularly sinuous feel. These are first-rate performances... anyone content with one CD of Gaubert to start can begin here."

James A. Altena, Fanfare [November/December 2011]

“Davis has a bright tone and much agility in his technique and musical lines” American Record Guide

About the Vine Sonata: ”...inspires the performers to impressive heights of virtuosity...”

Juilliard Journal

“It was a great pleasure to unexpectedly receive a new recording of my Sonata for Flute and Piano performed by Immanuel Davis and Stephen Gosling (on the compact disc, "Prevailing Winds"). This is a thoroughly sympathetic and authentic rendition of the work displaying abundant skill, understanding and sensitivity from both musicians. Immanuel's playing is very fine, with the excessive technical demands of the solo part being easily met without ever detracting from his clear understanding of the work's emotional and musical arcs. His ease in the high, fast passage work of the finale is perfectly balanced by the warmer tone and fluidity of the slow movement, in turn presaged by a delicately balanced interpretation of the unexpected twists and turns of the opening section.”

Carl Vine, 2004.

"This may be the best recording of my music to date."

Nikolai Kapustin

Superb performances, especially, Davis’ skill on flute deserves special recognition.

Gregory Mertl, “Afterglow of a Kiss” for flute and chamber ensemble (2017), Bridge Records with University of Minnesota Wind Ensemble, Craig Kirchhoff, conductor

“The solo flute part is challenging – but not too challenging for Immanuel Davis. Despite the demands on his instrument, he maintains a beautiful, well-rounded tone.”

Ralph Graves