Piccolo
Baroque
Classical
Romantic
20th century
21st century
Solo repertoire
Piccolo
Alto flute
Bass flute
Andersen Joachim
Adler, Samuel
Andersen, Joachim
Auric, Georges
Baksa, Andreas
Beaser, Robert
Benshoof, Ken
Boisson, Felix
Bonnisseau, Frédéric
Chamberlain, Nicole
Damase, Jean-Michel
Daugherty, Michael
Dehnhard, Tilmann
Donatoni, Franco
Dorff, Daniel
Harberg, Amanda
Huylebroeck, Jan
Jacob, Gordon
Janáček, Leoš
Koechlin, Charles
Krek, Uroš
Lavista, Mario
Liebermann, Lowell
Loeb, David
Mălăncioiu, Gabriel
Martinů, Bohuslav
Meltzer, Harold
Morlacchi, Pietro
Mower, Mike
Musgrave, Thea
Papandopulo, Boris
Persichetti, Vincent
Poulenc, Francis
Reichert, Matthieu Andre
Rotaru, Doina
Schocker, Gary
Silva, Pattápio
Smith, Matt
Vivaldi, Antonio
Wilder, Alec
Yun, Isang
Moto Perpetuo for piccolo and orchestra, Op. 8
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
Moto Perpetuo for piccolo and orchestra, Op. 8
Joachim Andersen: Moto Perpetuo for piccolo and orchestra, Op. 8 was written in 1883 and is dedicated to the famous French flutist and pedagogue Paul Taffanel.
Originally written for flute and orchestra, this showpiece was composed during his time in Berlin, where he was a co-founder and a prominent flutist in the newly formed Berlin Philharmonic.
Andersen was clearly influenced by the "perpetual motion" style popularized by composers like Paganini. His Moto Perpetuo is a direct challenge to flutists to meet the same level of virtuosic display that violinists do with the Paganini version.
Vahan Mardirossian (conductor), Prague Radio Symphony Orchestra, 2019, Skarbo / Naxos
Moto Perpetuo
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.