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Of course we conservatory-trained flutists can play everything in our traditional repertoire. For a complete list, one can check other sites, books and catalogues (e.g. http://www. fluteworld.com/ ).

My favorites span many centuries, beginning with ancient melodies from various cultures and continuing via winding paths to music being written this very minute!

 

SOLO REPERTOIRE (Flute alone)

 

Early Music

Historical Anthology of Music, Volume I: Oriental, Medieval, and Renaissance Music: Revised Edition (Oriental, Medieval, & Renaissance Music).

Archibald T. Davison & Willi Apel (Editors) A required textbook in college, it has proven to be an indispensable resource for many of my solo projects, most recently for one involving ancient music of Greece.

 

Renaissance

Also in my college years I fell in love with Renaissance dance music, playing it first in “Early Music” groups on recorder or Renaissance flutes and later in solo versions on my Western flute.

Favorite composers: PRAETORIUS, GERVAIS and JACQUES MODERNE

 

Baroque

BACH BACH and more BACH!! Partita in A minor, Sonate in C-major (yes, as a solo), and Sciarrino’s adaptation of the Toccata and Fugue in G minor.

MARAIS Les Folies d’espagne

HOTTETERRE Ecos & Gigue

 

Classic

STAMITZ Caprices. Thanks to Zdenek Bruderhans I now appreciate the humor and style in these little pieces!

 

Romantic

DONJON Etudes de salon.  My junior-high teacher had given me The Modern Flutist (pub. Southern Music Co.) so I could practice the Karg-Elert etudes and orchestral excerpts collected there, but I eventually figured out how much fun the (unassigned!) Donjon pieces were!

KARG-ELERT 30 Caprices. Yes. When I was fighting them in the 9th grade, they were NOT my favorite. Way too many accidentals and modern in a weird way. By high school I was proud I could play them, and by the time we were analyzing and memorizing Number 30 in grad school for Prof. Alex Murray I had learned to love them. And I had learned how “romantic” they really were!

 

French Impressionism

DEBUSSY Syrinx. Of course! It’s not only “lovely music”, but it’s a brilliant composition, as I discovered when I had to analyse it for a musicology prof in grad school. I also had the privileges of studying it with Marcel Moyse, who claimed he had played it for Debussy himself (!), and, years later, being asked to perform it in Paris’s Chatelet. Unforgettable experiences for this girl from Michigan….

BOZZA Images. This was one of my “signature pieces” for awhile. The most fun performance, however, was a spontaneous “concert” I gave to a group of children at a friend’s home.

 

20th Century

This is where making categories gets really interesting. Besides the afore-mentioned works of Karg-Elert, Debussy and Bozza, there is EVERY kind of music to be found in this time period—from the neo’s: neo-Baroque, -Classic, -Romantic, -Impressionist, to 12-Tone, Avant-garde, Experimental, Spectral, Concrète, Minimal, Complexity, Simplicity, World, New Age, Crossover, etc. etc. And we flutists can find all these trends right in our own repertoire: the history of 20th Century music unfolding in hundreds of pieces written for just for flute alone!!

 

My personal list, including some “firsts” in the solo repertoire for flute:

Claude Debussy Syrinx (1912)  Symmetrical scales, exotic/ancient themes, theater
Sigfrid Karg-Elert Sonata Appassionata (1917)  Tonality of romanticism pushed to the limit
Paul Hindemith Acht Stuecke (1927) Quartal harmonies
Ruth Crawford-Seeger Diaphonic Suite (1930) (a language speaking of both serial techniques and minimalism)
Edgar Varese Density 21.5 (1936)

Particularly significant! "Blocks of sound", percussive key-clicks, extremes in registers and dynamics…

Then come solos in a more traditional vein: Ibert (1936) Honegger (1937), Bozza (1940), Jolivet (1944), etc.

 

And then:

Roman Haubenstock-Ramati Interpolations (1957) and

Luciano Berio Sequenza (1958) Complex twelve-tone rows serve as the basis for exploiting the agility of the flute, with wild, pointillistic leaps and even more extreme changes of dynamic and register. New also is the space-time notation, and the introduction of a harmonic multiphonic.

 

After Interpolations and Sequenza the door is wide open and music for solo flute is THE medium for modern composers. From then on, it is almost easier to list the composers who did not write for solo flute. But I continue with  my personal choices here in the “mini-history” of the 20th century

Kazuo Fukushima Mei (1962)                       Reference to ancient music, glissandi, quarter-tones
B.A. Zimmermann Tempus Loquendi (1963)

Extremes in dynamic & register, changing between c-, alto- and bass- flutes, open elements in score

Burt Levy Orbs (1965)     use of extended techniques (especially multiphonics & tongue-rams)
William Brooks poem piece white-gold blue (1969) Adding voice, theatrical aspects, open score, improvisation
Mauricio Kagel Atem (1969/1970)               Music theater, improvisation
Brian Ferneyhough Cassandra’s Dreamsong (1970)

More extended techniques, open form

Toru Takemitsu Voice (1971) Voice, extended techniques
Heinz Holliger Lied (1971) “Noise” timbres, ad lib. amplification
Michael Manion Constellations (1974) Graphic score, live electronics
Robert Dick Afterlight (1975) Waves of overblown multiphonics
Younghi Pagh Paan Dreisam Nore (1975) Extended techniques
(Brian Ferneyhough Unity Capsule (1976) Complexity, multi-layered to the extreme)
Thorkell Sigurbjornsson Calaïs (1976) Reference to ancient or archaic music, dissembled flute
Jon Gibson Equal Distribution 1 (1977) Minimalism
Salvatore Sciarrino All’aure in una lontanza (1967) (first performed 1977!) “Whistle tones” inside the flute, air-sounds
Karlheinz Stockhausen In Freundschaft (1977/1983) Extended serialism, prescribed motions
Kaija Saariaho Laconisme de l’aile (1982) Sounds from noise to pure flute tone organized in a graded scale

 

Flute solos continue to make musical history of course, but I will leave the chronological listing to offer some of my favorites alphabetically.  I have made separate lists for music by Japanese composers and for pieces with electronics and video. RED indicates pieces written for and/or premiered by me.

Jan van AMORONGEN (NL) Ondeggiamento (1982)
John VAN BUREN (USA/D) Incandescence (1980)
Gerhard BRAUN Mondlied I (1997)
William BROOKS (1943) KS/CH  (2002) (Music Theatre)
John CAGE Roanji (1984)
Elliott CARTER  Scrivo in Vento (1991)
Adreina COSTANTINI (I)                Streams (1985)
Violeta DINESCU Immagini (1980)
Violeta DINESCU Doru (1992) (bass flute)
Rose DODD (GB)               Lickety-Split (2004)
Michael DENHOFF (D) Studie (2009)
Joel-Francois DURAND (F/USA) Au-delà (1999) (piccolo)
Pèter EÖTVÖS (HU/D)   Kadenz from „Shadows“ (2008)
Ivan FEDELE (I)       Donax (1992)
Christopher FOX (1954, GB) Escalation (2004)
Ulrich GASSER (CH) Schatten im Duftenden Garten (1998) (bass flute)
Vinko GLOBOKAR (F)       Monolith (1976) (c-, alto-, bass flutes)
Barbara HELLER (D) Spielpläne (1994)              
Sven HERMANN (D) Die Brücke(1998)
Joseph HÖLDERLE (D)    Caravelle (1984)
Margaret HOENDERDOES Camilla (1982)
Simon HOLT Maistra (1981/1987)
Gergely ITTZÈS  (HU) Chuang Tse’s Dream (1992)
Zoltan JENEY (HU) Soliloquium (1967)
Erwin KOCH-RAPHAEL (D) Basalt (1993)
Erwin KOCH-RAPHAEL (D) Alba (1996) (bass flute)
Pèter KÖSZEGHY (1971, HU) Utopie XIII—Eisblüten (2008)  (piccolo)
Joyce Bee Tuan KOH (SG) Leap (2004)
Shirish KORDE       Tenderness of Cranes (1989)
Gerold KÜRTEN Blues für Bass-Querflöte (1988) (bass flute)
Arvydas MALCYS (LT) Vox Clamantis in Deserto (2006)
Ursula MAMLOK (D/USA) Variations for Solo Flute (1961)
Eugen-Mihai MARTÒN (RU) Die Taube des fernen Pinienhaines (1984) (bass flute)
Albrecht MAURER (D)     Die Tanzende Aphorisme (1998) (alto flute)
Harald MELTZER (USA)     Trapset from Rumors (1999/2000) (alto flute)
Chris NEWMAN (GB/D) Confusing the Years, (the) last Flautal Appearance“ (1987)
Ansgar NIERHOFF (D) Anlehnen (1999)
Tiberiu OLAH (RU) Sonate (1980)
Robert HP PLATZ (D)       Danach (2002/03)
Karin REHNQVIST (SW)    Wings (1998)
Kaija SAARIAHO (FI) Couleurs du vent (1998) (alto flute)
Kaija SAARIAHO (FI) Dolce Tormento (2004) (piccolo)
Jakub SARWAS (1977, PL) Prisms (2003/2004)
Giacinto SCELSI (I) Pwyll (1954)
Rodney SHARMAN (CAN) Weissherbst (2002)   
Volker STAUB (D) Nr. 34, Teil III (1995) (bass flute)
Klaus STAHMER (D) Aristofaniada (1978/79)
Karlheinz STOCKHAUSEN In Freundschaft (1977)
Karlheinz STOCKHAUSEN Piccolo (1977) (piccolo)
Karlheinz STOCKHAUSEN Amour for flute (1976/1981)
Karlheinz STOCKHAUSEN Zungenspitzentanz (1983) (piccolo)
Karlheinz STOCKHAUSEN Susani’s Echo (1985) (alto flute)
Karlheinz STOCKHAUSEN

Harmonien (Harmonies) – 5th Hour of KLANG (2006)

Mike SVOBODA (USA)

Music for Piccolo, from „something bigger“ (2008)

Gary VERKADE (USA)       Reflections (1976) (The first piece written for me!)
Andreas WAGNER (D) IMIM (1994) (bass flute)
Caspar Johannes WALTER (D) durchscheinende Etüde V/a (bass flute)
Ray WARLEIGH (AU/GB) First Light/Second Light (2004)
Charles WUORINEN (USA) Flute Variations II (1968)

 


FROM JAPAN (see also concertos and chamber music):

Masanori FUJITA Shinonome no kasemeru toki ni (1991) (piccolo)
Kazuo FUKUSHIMA Shun-san (1969)
Toshio HOSOKAWA Vertical Song I (19
Toshi ICHIYANAGI (1933) In A Living Memory (2000)
Shin-Ichiro IKEBE Strata II (1988)
Miyuki ITO The Sands of Time (2003) (bass flute)
Motoharu KAWASHIMA                Manic Psychosis
KenIchiro KOBAYASHI   tentatio 1 & 2 (1973)
Harue KONDOH (*1957)    The Moon of Shighira (2003)
Yu KUWABARA (*1982) Ohyarai Variations (2009)
Noriko NAKAMURA Agata (2003)
Takefumi SHIGIHARA Mogari-bue (2003) (piccolo, flute)
Shoko SHIDA (*1942) Fukura Semé (1998/2000) (nohkan, flute)
Takehito SHIMAZU  La Follia II—An Invitation to Madness (1997/98) (elec.)
Takehito SHIMAZU  Cosmos (2009) (flute and buyoh dancer)
Takehiko SUZUKI    Jade (2003) (Flute and electronic)
Yoko TAKAHASHI Koge (2003)
Toru TAKEMITSU Voice (1970)
Toru TAKEMITSU Itinerant (1989)
Joji YUASA (1929) Mai-Bataraki II (1987) (alto flute)
Joji YUASA (1929) Terms of Temporal Detailing (1989) (bass flute)

 


WITH ELECTRONICS, VIDEO:

Jean-Baptiste BARRIERE (F)

Deux songes de Maeterlinck d'après Brugel (2007)
flute, bass flute, electronics, video

Jean-Baptiste BARRIERE (F) Crossing the Blind Forest (2011) bass flute
Zack BROWNING (USA)         Network Slammer (1998) 9’
William DeFOTIS (USA)   Piece (1980)
Donnacha DENNEHY (EIR)  Swerve (1998) 9’25’’
Miyuki ITO  (J)    The Sands of Time (2003) (bass flute), opt. video
Pèter KOESZEGHY     Spirits (2005) (alto flute) 16'
Anne LeBARON (USA) Sachamama (1995)
Anne LeBARON (USA)     Way of Light (2008) flute, electronics, video
Eric Lyon (USA)                   Hotpants (1990) (piccolo & boombox)
Messias Maiguaschca (D) Sacateca's Dance/Die Zauberflöte
Frederic MAINTENANT (F) Interstice L (2004) (bass flute)
Michael MANION (USA)          Islands (1982)
Usko MERILÄINEN Summer Sounds (1996) (flute and grasshoppers)
Jean.Marc MONTERA 5’05” (2004)
Claudia ROBLES/C.HOITENGA Toward Silence (2011) (flute, live electronics and video)
Anna RODRIGUES          Havanita (1997) (bass flute)
Takehito SHIMAZU La Follia II—An Invitation to Madness (1997/98)
Kaija SAARIAHO Laconisme de l’aile (1982/92) (optional video)
Kaija SAARIAHO Noa Noa (1992) (optional video)
Kaija SAARIAHO Dolce Tormento (2004) (optional video)
Benjamin STAERN Yellow Skies (2003) (alto flute)
Takehiko SUZUKI     Jade (2003)
Christian UTZ      éloignment (2003)
Caroline WILKINS ffffffffff…….(1996/2000) (Flute, alto flute)
Bryan WOLF After the Rain has Gone (2005)

 

 

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