When I decided to switch to the Kingma-system Brannen flute, my plan was to use it to develop more subtleties and expressive opportunities in contemporary and ethnic/folk music, which I am very keen on. What came as a TOTAL surprise, however, was my discovery of so many alternative fingering opportunities in traditional 'classical' music as well, leading to far more flexiblity of pitch and timbre in my playing generally. Lesson: A person never knows what they are missing - until they have been exposed to it.......

Wissam Boustany

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I met Eva Kingma for the first time somewhere in the North of Holland more than 20 years ago. It was one of these bad rainy days, when you play with a bad orchestra, a concerto you don't like with a terrible conductor and of course my flute was not working. She came by chance to listen to the concert and save me at the last minute. Since I always followed her career.

She is not only a flutemaker, she has a vision of our future.
Her 1/4 tone keys flute is the most interesting progress I saw in my flute life.
The first wooden flute made by Eva Kingma and Chris Abell was ordered by me and I very often play it.
I was also very interested by her Alto flute and Bass flute. I recorded the concerto by Rautavaara with her instruments and already at the time the sound of the Alto flute was the most amazing, soft, strong, beautifull sound I ever dreamed of.
Recently she had a fantastic evolution with her Bass flute. I played one of them at a concert and I was so happy that the public managed to hear me even in the low register in front of a big orchestra - 75 musicians is big for a flute concerto but huge for a Bass flute. I also was surprised to find a high register - the 3rd octava - with a beautiful real flute sound and, what is the cherry on the top of the cake, in tune!

I am waiting now to see what her imagination will bring to us, but be sure that it will be revolutionary!

Patrick Gallois

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... The Kingma System flute is a very radical expansion of the flute's possibilities ...
... It might not seem as such a big thing, but it is really Mega when we will look what will happen in expanding the instruments' musicality ...
... Having a Kingma System flute made my life so much better ...

Robert Dick
Owner of the very first Kingma System Bass, a Kingma System Alto flute and player of the Brannen-Kingma System C flute.

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I have played the Brannen Kingma and the Kingma Alto flutes almost daily for more than seven years and used them in performances that range from virtuoso modern music to free improv with interactive electronics. The abundant fingering combinations combined with a fine blowing flexibility offer me a seemlingly endless source of sonic possibilities. I still love the sounds that I continue to find. They allow me to make the music that says what I need to say. They keep my fantasy alive and hard at work.

Anne La Berge
voLsap
www.annelaberge.com

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"The Big Bore Bass sounded great and was easy to play.
There is no arm or shoulder strain from holding up a large instrument. The sound was
very full with little effort. All notes were easy to play."

Denise Shuck Woo
San Diego,CA

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I have been playing Eva’s bass and contra bass for several years now. When choosing a bass, I went to the flute convention and fell in love with the Yamaha, but had yet to play a Kingma. When I went to her booth and played the bass, WOW! The tone was so much richer than the Yamaha I could not believe it! It has a full three octave plus range. In addition she offered a low “b” and options for open holes; I chose both options and love the flute! I have played it twice with the Houston Symphony and once with the Dallas Symphony for the Howard Shore piece “Lord of the Rings”. The flute was perfectly in tune and the rich tone carried across the concert hall like a dream. The contra bass is equally impressive and is a regular part of my recording projects filling the role of a cello or bass. It also is an amazing instrument with a full three octave range plus; low b to d above high c. I highly recommend the flutes of Eva Kingma, try one and you will fall in love.

Robert Chadwick
http://www.Bobchadwickflutes.com

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"I've first started thinking of purchasing one of Eva's contrabasses
about 5 or six years ago. Once I started to do some research and spoke
to people who owned contras, Eva's instruments were always mentioned
with the highest praise and respect. I eventually decided to get one of
her instruments and I wanted some extra keywork which had never been
done before on the contrabass flute. Eva attacked these problems of
mechanisim with amazing energy, figured out a great system and made the
incredible instrument I play today. As far as the tone of the horn, I
can't tell you how often people are taken by the sound of her
instruments. The flute seems to unlock a dimension of tone that has not
been explored before by any instrument maker. I am very happy to show
and play my big flute for anyone who will isten to it and I thank Eva
Kingma for creating a truly astonding instrument which I can use in a
classical context, jazz group or in flute quartet or choir."

Vinny Golia

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"My new contrabass flute is magical!! Everything about it is crafted magnificently. It has a rich sound, a beautiful tonal/pitch center, and excellent response. The mechanism is comfortable and sophisticated. I highly recommend these instruments. Thank you Eva!!"
Patti Monson, flutist
*Sequitur New Music Ensemble
*Faculty, Manhattan School of Music
*Director of TACTUS -the MSM Contemporary Ensemble
New York City

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Hi Eva,
Here's a comment from someone in our group.
The most interesting comment I've heard while playing the "contra" was from another
flutist. She told me that until she heard the contra, she had never really been able
to hear how the bass line of the music functioned and contributed to the structure of
the music.

Linda True
Falls House Press
http://www.fallshousepress.com

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"We have been using the Kingma Contrabass flute with Columbia Flute Choir
since 2001 and have found that the Contra adds a whole new dimension to the
sound of flute ensemble music. Composers are now writing specific parts for
the Contrabass and whether it is playing a contra part or doubling the bass
flute (a whole octave lower!), the Contrabass flute dramatically fills out
the bass section and anchors the sound. Though it doesn't project so much as
a solo instrument, the Contrabass sound slides right out from under the
flute choir sound and brings a balance in voicing and register that can't be
achieved any other way. We can't imagine performing without our Kingma
Contrabass flute!"

Warmest regards,
Sharyn Byer

Director Columbia Flute Choir

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I first heard about Kingma flutes from my CalArts flute teacher,Rachel Rudich. I had a Gemeindhart alto and wanted to get something better. I received my open-hole alto in 1994 and really loved it.

After I graduated from CalArts in 1995, I went to Europe for four months. I went to meet Eva in her town and she told me about Flautissimo in Riva del Guarda, Italy, and suggested I go. While there, I was introduced to the Kingma-system Brannen and was really excited about the possibilities of the instrument. I also was fortunate enough to hear performances by William Bennett, Kirsten Spratt,Emmanuel Pahud, but
the one that really struck a chord with me was Matthias Ziegler. I fell in love with the Contrabass that day and asked Eva if she would ever make one. She was hesitant at first, but then said 'Not until 2000.'

Fast forward to the National Flute Association Convention in 1999(Atlanta),- I had purchased Kingma system bass and alto flutes by that time and completed my MA with John Fonville at the University of California, San Diego.. Eva was displaying her contrabass proto-type at that time. I was so thrilled to play it that I ended up staying in her booth for most of the convention. I have spent my NFA conventions there since!

I received my first Kingma Contrabass in Paris(France) in 2000. After that I was fortunate enough to become the owner of the only Kingma-system Contrabass at the
NFA convention in Dallas,TX in 2001. Last year(2005), I received my Kingma-system contr'alto flute.

I am very happy with all of my Kingma instruments- I love its versatility, which I have used in all my projects, whether it be jazz, contemporary classical, funk, electronica and even the Jethro Tull tribute band of which I was once a member. Each of my instruments takes some time to learn all the intricacies of the keys and sound, but I am always learning new ways to use them. I am always in search of new pieces, new composers to work with and each project or commission takes me in a different direction.

Marion Garver Fredrickson
www.myspace.com/megaflute