Emmanuel Pahud and Matthias Ziegler
"I am deeply impressed by the quality and playability of the Kingma System® Flute.
It is a great challenge to find out how well one can play 'normal' standard repertoire and go for
improvisation and new music with the same instrument.
I believe this is contributing to the future of music and fluteplaying,
opening new doors on new fields of developments."
"The Kingma System® Flute bridges the gap between the music of the past and the future. From barock ornaments to a limitless choice of chromatic multiphonics, extreme changes of dynamics and glissandi. Finally we have an instrument in our hands which enables us to express our musical imagination in the fields of interpretation and improvisation. This instrument is a true motor of creativity."
"... 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."
"'The Kingma system® is a unique and revolutionary design which has changed
the future of the flute. The system is fuel for the imagination,
providing a huge variety of alternative fingerings, microtones,
multiphonics and other techniques, and allows composers and performers
to create ground-breaking work and to extend the expressive and musical
capabilities of the flute. My work encompasses the C flute, alto and upright bass Kingma system instruments,
and composers throughout the world have embraced the capabilities of these flutes, producing over 600 works so far in a range of styles. For me, the Kingma System®
is an essential part of every day flute playing, and the possibilities
it offers have completely shaped both my career and the status of the alto and bass
flute as solo, recital instruments."
Carla Rees published two very informative websites about the Kingma System Altoflute and the Bassflute.
"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."
"Eva Kingma 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 Kingma System® flute made by Eva Kingma and Chris Abell was ordered by me and I very often play it."
Marion Garver Fredrickson:
"...Eva was displaying her contrabass proto-type at the National Flute Association Convention in 1999 (Atlanta).
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 am very happy with all of my Kingma instruments- I love the 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.
On each of my instruments it takes some time to learn all the
intricacies of the keys and sound, but I am always learning new ways to use them."
Anne La Berge:
"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."