20th century
Baroque
Classical
Romantic
20th century
21st century
Solo repertoire
Piccolo
Alto flute
Bass flute
Arrieu Claude
Aitken, Robert
Amirov, Fikret
Amlin, Martin
Amram, David
Andriessen, Jurriaan
Arnold, Malcolm
Arrieu, Claude
Auric, Georges
Babbit, Milton
Bacchus, Peter
Bacri, Nicolas
Baker, Michael Conway
Baksa, Robert
Barber, Samuel
Barrere, Georges
Bartók, Béla Viktor János
Baton, René-Emmanuel
Beaser, Robert
Bennet, Richard Rodney
Berg, Gunnar
Berio, Luciano
Bernofsky, Lauren
Bernstein, Leonard
Bloch, Ernest
Bolling, Claude
Bon, Maarten
Bonis, Mel
Boughton, Rutland
Boulanger, Marie-Juliette
Boulez, Pierre
Bourdin, Roger
Bournonville, Armand
Bowen, Edwin York
Bozza, Eugène Joseph
Bréville, Pierre
Brings, Allen
Brotons, Salvador
Brown, Elizabeth
Brun, Georges
Burkhard, Willy
Burton, Eldin
Büsser, Henri
Camus, Pierre
Carmichael, John
Carter, Elliott
Casella, Alfredo
Chaynes, Charles
Clarke, Ian
Colgrass, Michael
Colquhoun, Michael
Copland, Aaron
Corigliano, John
Cortese, Luigi
Currier, Sebastian
Dahl, Walter Ingolf Marcus
Damase, Jean-Michel
Davidovsky, Mario
De Lorenzo, Leonardo
Debussy, Claude
Del Tredici, David
DeLaney, Charles Oliver
Delerue, Georges
Denisov, Edison
Dèsbriere, Jacques
Dick, Robert
Dinicu, Grigoraș
Dodgson, Stephen
Dohnányi, Ernő
Dubois, Pierre Max
Dukas, Paul
Durey, Louis
Dutilleux, Henri
Enescu, George
Farkas, Ferenc
Feld, Jindřich
Ferroud, Pierre-Octave
Flothuis, Marius
Folio, Cynthia
Foote, Arthur
Foss, Lukas
Françaix, Jean
Fukushima, Kazuo
Gade, Jacob
Gál, Hans
Gaubert, Philippe
Genzmer, Harald
George, Thom Ritter
Ghidoni, Armando
Gieseking, Walter
Glass, Philip
Glière, Reinhold
Golovin, Andrei
Gordeli, Otar
Grier, Lita
Griffes, Charles Tomlinson
Grinblat, Romuald
Grovlez, Gabriel
Guarnieri, Mozart Camargo
Gubajdulina, Sofia
Hahn, Reynaldo
Hailstork, Adolphus
Halphen, Fernand
Hanson, Howard Harold
Harberg, Amanda
Harbison, John
Harsányi, Tibor
Harty, Hamilton
Heiss, John
Heith, David
Henze, Hans-Werner
Higdon, Jennifer
Hindemith, Paul
Holliger, Heinz
Holmboe, Vagn
Honegger, Arthur
Hoover, Katherine
Hosokawa, Toshio
Hovhaness, Alan
Hüe, Georges Adolphe
Hurel, Philippe
Ibert, Jacques
Ichiyanagi, Toshi
Ittzés, Gergely
Ives, Charles
Jacob, Gordon
James, Bob
Jemnitz, Sándor
Jirák, Karel Boleslav
Jóhannsson, Magnús Blöndal
Jolivet, André
Jongen, Joseph
Karg-Elert, Sigfrid
Kay, Ulysses
Kelterborn, Rudolf
Ķeniņš, Tālivaldis
Kennan, Kent Wheeler
Kennedy, Martin
Kernis, Aaron Jay
Khachaturian, Aram
Kocsár, Miklós
Kodaly, Zoltan
Koechlin, Charles
Kornauth, Egon
Kraft, Leo
Krzywicki, Jan
Kupferman, Meyer
La Montaine, John
Lauber, Joseph
Lavista, Mario
Lee, Eugene
Leeuwen, Ary van
Levinson, Gerald
Liebermann, Lowell
Loudova, Ivana
Mack, Dieter
Mahler, Gustav
Maresz, Yan
Martin, Frank
Martino, Donald
Martinů, Bohuslav
Meltzer, Harold
Messiaen, Olivier
Mihalovici, Marcel
Milhaud, Darius
Mouquet, Jules
Mower, Mike
Muczynski, Robert
Nielsen, Carl
Norby, Erik
Nordenstrom, Gladys
Offermans, Wil
Olsen, Carl Gustav Sparre
Paget, Daniel
Perle, George
Petrovics, Emil
Piazzolla, Astor
Piston, Walter
Poulenc, Francis
Prokofiev, Sergey
Rachmaninoff, Sergei
Ran, Shulamit
Raphael, Günter
Rautavaara, Einojuhani
Ravel, Maurice
Reynolds, Verne
Riegger, Wallingford
Rivier, Jean
Rodrigo, Joaquin
Rota, Nino
Rotaru, Doina
Rouse, Christopher
Roussel, Albert
Rutter, John
Saariaho, Kaija
Sancan, Pierre
Schmidt, Ole
Schocker, Gary
Schulhoff, Erwin
Schwantner, Joseph
Sciarrino, Salvatore
Shostakovich, Dmitri
Sibelius, Jean
Smit, Leo
Tailleferre, Germaine
Takemitsu, Tōru
Taktakishvili, Otar
Tansman, Alexandre
Tomasi, Henri
Tower, Joan
Uébayashi, Yuko
Varèse, Edgar
Vasks, Pēteris
Weigl, Vally
Weinberg, Mieczysław
Wilder, Alec
Williams, Ralph Vaughan
Yi, Chen
Yun, Isang
Zgraja, Krystof
Concerto for flute
Concerto for flute
C. Arrieu: Concerto for Flute and Orchestra was written in 1946 and dedicated to Jean-Pierre Rampal and premiered the same year in Tübingen, Germany.
The full score and a flute and piano reduction were published by Amphion in 1948. Rampal gave additional performances of the piece in the following years, many of which were broadcast on the radio.
Like the Sonatine, the original manuscript score of the Concerto has been lost. Unlike the Sonatine, the Concerto lacks commercially available recordings, reflecting its fade from the flute repertoire over the last several decades.
The Concerto is the longest and most challenging of Arrieu’s flute compositions, and one of the few that she wrote for an instrumental soloist with orchestra. This instrumentation and level of difficulty have likely contributed to the Concerto’s lack of performances and recordings.
The Concerto emulates the large-scale dramatism and portrayal of musical characters found in her operas.
In a review of the 1949 performance with Fernand Caratgé and the Orchestre Lamoureux, composer Louis Aubert provides a succinct and apt observation of the piece:
"The Flute Concerto pays homage to the old masters of the concerto grosso, but it quickly knows how, with a very pleasant ease of writing, to amuse us with modern rhythms. Its skillfully discreet instrumentation knows how to manage the sonorities of the solo instrument. She [Arrieu] offers us a style particularly designed to fulfill the demands of the radio."
As Aubert states, the framework of Arriéu’s flute Concerto honors some of the
traditions of the concerto genre that were first codified in the Baroque and Classical eras. Within its classic structure, Arrieu utilizes modern musical conventions,
especially dramatic elements seemingly developed from her experience writing radio
music.
Daley, Breanna, "The Flute Music of Claude Arrieu: Jean-Pierre Rampal, Radio, and the French Flute School" (2024). Dissertations and Theses @ UNI.
André Girard (conductor), Orchestre de chambre de la RTF, Radio France
1. Allegro moderato , 2. Andante, 3. Presto
Arrieu Claude
Claude Arrieu (1903 - 1990) was a French composer, teacher, and music producer.
Born in Paris (original name: Louise-Marie Simon) to a family of composer Cécile-Paul Simon (her mother also published under male pseudonyms), she received her musical education from an early age.
She studied piano with Marguerite Long at the Conservatoire de Paris and composition with Paul Dukas, becoming a lasting friend of other students of his, including Olivier Messiaen, Tony Aubin, Elsa Barraine, and Yvonne Desporte.
After the graduation, she took a position teaching music theory and composition at the École Normale de Musique de Paris while continuing to compose. Among the most notable works of that period: the orchestra suite "Mascarades" and the Concerto for Piano and Orchestra.
From 1935 to 1947, she worked at the French Radio Broadcasting Program Service, first as a program editor and composer with Studio d’Essai director Pierre Schaeffer, then as Assistant Head of the radio’s music department under Henri Dutilleux.
From 1948, she was composing full-time time writing music in all styles, including works for theatre, film, and radio broadcasts.
Overal she composed 12 operas, instrumental concertos for piano, violin, flute and trumpet, symphonic works "Petite suite en cinq parties" (1945), "Concerto for wind quintet and strings" (1962), Suite funambulesque ("Tightrope Walker's Suite") (1961), and "Variations for classical strings" (1970), and numerous chamber music compositions.