20th century
Baroque
Classical
Romantic
20th century
21st century
Solo repertoire
Piccolo
Alto flute
Bass flute
Auric Georges
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
Aria for flute and piano
Aria for flute and piano
G. Auric: Aria for flute and piano was written in 1927 and well displays composer's approach to music that was greatly impacted by his peers of Les Six. The same year (1927) he wrote his one-act opera "Sous le masque", and "Rondeau" for the children's ballet "L'Éventail de Jeanne", a collaboration between ten French composers.
In 1918 Jean Cocteau, author, impresario, cinematograph and artistic innovator published his famous pamphlet "Le Coq et l’Arlequin" which generated significant upheaval in French musical world.
"Cocteau attacked both Wagner and Debussy, writing, "Impressionism is a Wagnerian backlash… one may not lose oneself in the fog of Debussy as in the mist of Wagner…". The alternative for Wagnerian Romanticism and Debussy’s Impressionism would have to be a new simplicity, a sober style. The pleasure and aesthetics of the circus and the music hall served as an example for this new music. As Jean Cocteau wrote, "Enough of clouds, of waves, of aquariums, of Ondines, and of odours of the night; we need a music on the ground, a music of every day…". The music had to be authentically French; after all, "le Coq" (rooster) was the national symbol of France."
Rien de Reede
Georges Auric was only 19 when Cocteau wrote his pamphlet and dedicated to Auric, who wrote a preface to it. Auric was its most active member of Les Six, and Cocteau and Satie acted as the group’s promoters and mentors.
The pamflet made an impression on young composer who later became known for his ability to write simple but very attractive melodies for his numerous ballets, film and theatre music.
During their fifty-year friendship, Auric composed the soundtracks for all of Cocteau's films.
Auric Georges
Georges Auric (1899 - 1983) was a prolific French composer, known as a member of the famous group of composers Les Six in the early 1920s. Auric was its most active member, and Cocteau and Satie acted as the group’s promoters and mentors. During these years Auric was associated with Sergey Diaghilev and his Ballets Russes company. He contributed to Cocteau’s collaborative Les Mariés de la tour Eiffel, and collaborated with Bronislava Nijinska in Les Fâcheux.
His interests were not limited to music. He had unlimited access to the personal library of Louis Combes which enabled him to broaden his knowledge of literature and poetry. He came to appreciate painting and literature as much as music. His discovery of literature that, at such a young age, aroused his interest in vocal music and setting poems to music and greatly shaped his transdisciplinary compositional method.
In 1930s he actively started to write music for films, gradually gaining popularity. By 1935 he abandoned the elitist and highly referential attitudes in favour of a populist approach, becoming associated with leftist groups.
Before World War II he was known music critic as well. After the War he continued to write music for films, gaining fame for his score of British historical romantic drama "Moulin Rouge".
In 1962, he gave up writing for motion pictures when he became director of the Opéra National de Paris and then chairman of SACEM, the French Performing Rights Society.
However, Auric continued to write classical chamber music, especially for winds, right up to his death.