Romantic
Baroque
Classical
Romantic
20th century
21st century
Solo repertoire
Piccolo
Alto flute
Bass flute
Andersen Joachim
Akimenko, Theodore
Albeniz, Isaac
Andersen, Joachim
Barnett, John Francis
Bazzini, Antonio
Beach, Amy
Bellini, Vincenzo
Bizet, George
Blahetka, Leopoldine
Blodek, Wilhelm
Boehm, Theobald
Bonis, Mel
Borne, François
Brahms, Johannes
Briccialdi, Giulio
Bruch, Max
Caplet, André
Chaminade, Cécile
Chopin, Frédéric
Danzi, Franz Ignaz
Debussy, Claude
Demersseman, Jules-Auguste Edouard
Donizetti, Gaetano
Donjon, Johannes
Doppler, Albert Franz
Du Puy, Édouard
Dvořák, Antonin
Elgar, Edward
Fauré, Gabriel
Foote, Arthur
Franck, César
Frühling, Carl
Fürstenau, Anton Bernhard
Gade, Niels Wilhelm
Ganne, Louis
Génin, Paul Agricole
German, Edward
Glière, Reinhold
Godard, Benjamin
Gounod, Charles
Grandval, Clémence
Hahn, Reynaldo
Hüe, Georges Adolphe
Hummel, Johann Nepomuk
Jadassohn, Solomon
Kohler, Ernesto
Kreisler, Fritz
Kuhlau, Friedrich
Lefebvre, Charles Edouard
Liszt, Franz
Maier, Amanda
Massenet, Jules
Mendelssohn, Fanny
Mendelssohn, Felix
Mercadante, Saverio
Meyer-Olbersleben, Max
Molique, Wilhelm Bernhard
Morlacchi, Pietro
Mouquet, Jules
Nielsen, Carl
Paganini, Niccolo
Périlhou, Albert
Pierné, Gabriel
Popp, Wilhelm
Rabboni, Giuseppe
Reger, Max
Reichert, Matthieu Andre
Reinecke, Carl Heinrich Carsten
Ries, Ferdinand
Rietz, Julius
Rossini, Gioacchino
Saint-Saëns, Camille
Sarasate, Pablo de
Schubert, Franz
Schumann, Clara
Schumann, Robert
Sibelius, Jean
Silcher, Friedrich
Strauss, Richard
Taffanel, Claude Paul
Tulou, Jean-Louis
Vitali, Tomaso Antonio
Wagner, Siegfried
Widor, Charles Marie Jean Albert
Impromptu No. 1, Op. 7 for flute and piano
Concert Piece for flute and piano, Op. 3
Ballade et danse des Sylphes, Op. 5
"Solitude" salon piece for flute and piano Op. 6
"Désir" salon piece for flute and piano Op. 6
Impromptu No. 1, Op. 7 for flute and piano
Moto Perpetuo for flute and piano, Op. 8
Moto Perpetuo for piccolo and orchestra, Op. 8
"Au bord de la mer", Op. 9 for flute and piano
Tarantella for flute and piano Op. 10
"La resignation et polonaise", Op. 22 for flute and piano
Six Morceaux de Salon No. 1 "Chant Pastorale" Op. 24
Six Morceaux de Salon No. 2 "Rêverie" Op. 24
Six Morceaux de Salon No. 3 "Alla Mazurka" Op. 24
Six Morceaux de Salon No. 4 "Barcarolle" Op. 24
Six Morceaux de Salon No. 5 "Berceuse" Op. 24
Six Morceaux de Salon No. 6 "Babillard" Op. 24
"Variations drôlatiques sur un air suédois" Op. 26 for flute and orchestra
"Variations drôlatiques sur un air suédois" Op. 26 for piccolo and piano
Deux Morceaux for flute and piano, Op. 28
L'Hirondelle, Op. 44 for flute and piano
"Wiedersehen" for flute and piano, Op. 46
6 Schwedische Polska-Lieder, Op. 50 for flute and piano
7 Salon pieces for flute and piano, Op. 52
Canzone for flute and piano, Op. 53
Erinnerung for flute and piano, Op. 53
Elegie No. 1 for flute and piano, Op. 55
Walzer No. 2 for flute and piano, Op. 55
Notturno No. 3 for flute and piano, Op. 55
Die Mühle No. 4 for flute and piano, Op. 55
Legende No. 5 for flute and piano, Op. 55
Scherzino No. 6 for flute and piano, Op. 55
Albumblatt No. 7 for flute and piano, Op. 55
Tarantelle No. 8 for flute and piano, Op. 55
Die Blumen No. 2, Op. 56 for flute and piano
Le Calme No. 1, Op. 57 for flute and piano
Sérénade mélancolique No. 2, Op. 57 for flute and piano
Le Tourbillon No. 3, Op. 57 for flute and piano
Impromptu No. 1, Op. 7 for flute and piano
Joachim Andersen: Impromptu No. 1, Op. 7 for flute and piano in C Major was published in 1883 and dedicated to French flutist Paul Taffanel. The two musicians formed a close friendship during their time in St. Petersburg.
This lyrical piece marks a significant transition in his compositional style, Andersen’s personal mode of expression, characterized by a certain melancholic inspiration drawn from contemporaries like Tchaikovsky, Brahms, and Anton Rubinstein.
The dedication of Op. 7 to Taffanel represents a mutual respect between two masters of different, but highly influential, national traditions. Andersen's music often bridges these worlds, combining German structural logic with the lyrical, singing quality prized by the French school. Paul Taffanel even used Andersen's etudes in his teaching at the Paris Conservatoire, helping his pupils appreciate their musical depth.
The piece was written during the height of Andersen’s career in Berlin while he was serving as the principal flutist and assistant conductor of the Berlin Philharmonic.
Andersen Joachim
Joachim Andersen (1847 – 1909) was a Danish flutist, conductor and composer. Born in Copenhagen, in a family of flutist, he received his musical training from his father, Christian Joachim Andersen and soon was acknowledged as flute virtuoso. In 1869 he joined the Royal Danish Orchestra but left after a year to seek more challenging work. For couple years he played in the St. Petersburg Philharmonic Orchestra in Russia but then moved to Berlin. There he appeared as a soloist as well as performed with Bilse Band and the Royal German Opera.
In 1882 he was one of the co-founders of the Berlin Philharmonic along with 53 other musicians of Bilse Band. Over period of 8 summers he conducted two daily concerts of the Scheveningen summer festival in Hague.
Due to his health problems he had to leave his position with Berlin Philharmonic in 1893 and moved to Copenhagen. There he founded and orchestra school as well as dedicated his time to composing.