21st century
Baroque
Classical
Romantic
20th century
21st century
Solo repertoire
Piccolo
Alto flute
Bass flute
Baksa Robert
Adler, Samuel
Albert, Adrienne
Amlin, Martin
Arnauts, Dimitri
Bacri, Nicolas
Baksa, Robert
Balter, Marcos
Beal, Jeff
Bilotta, John
Borisova-Ollas, Victoria
Bullard, Janice Maille
Bunch, Kenji
Carter, Elliott
Chamberlain, Nicole
Chyrzynski, Marcel
Clarke, Ian
Coleman, Valerie
Connesson, Guillaume
Costa Roldán, Eduardo
Cueto, Daniel
Dalbavie, Marc-André
Daugherty, Michael
Dehnhard, Tilmann
Desenne, Paul
Dorff, Daniel
Egger, Fabian Johannes
Eggert, Kenneth
Firšt, Nenad
Furrer, Beat
Garrop, Stacy
Ghidoni, Armando
Gibb, Charles
Hailstork, Adolphus
Harberg, Amanda
Hersh, Howard
Hoover, Katherine
Igudesman, Aleksey
Ittzés, Gergely
Kernis, Aaron Jay
Khoury, Houstaf
Kukal, Ondřej
León, Tania
Lias, Stephen
Liebermann, Lowell
Lindberg, Christian
Linthicum-Blackhorse, William
Louke, Phyllis Avidan
Magalif, Eugene
Mitchell, Jonathan
Monroe, Ervin
Mower, Mike
Mucha, Geraldine
Mulleman, Tim
Ornstein, Maarten
Pann, Carter
Panufnik, Roxanna
Pärt, Arvo
Pattillo, Greg
Penman, Katrina
Petrič, Ivo
Price, William
Pritsker, Gene
Pucihar, Blaž
Ran, Shulamit
Rea, Stephanie
Rotaru, Doina
Rozman, Anže
Schocker, Gary
Schwantner, Joseph
Sciarrino, Salvatore
Seif, Sami
Serebrier, José
Skipworth, Lachlan
Sollberger, Harvey
Somma, Victor
Uébayashi, Yuko
Vasks, Pēteris
Widmann, Jörg
Witt, Carl
Woolf, Randall
Yi, Chen
Flute Sonata No. 3
Robert Baksa: Flute Sonata No. 3 was written in 2000 and is one of the final major chamber works for flute by the composer, characterized by his signature lyrical wit and structural transparency.
Like its predecessors, Sonata No. 3 remains firmly rooted in Baksa's neo-classical and tonal aesthetic. However, it is noted for being somewhat more "jaunty" and playful than the more melancholic Sonata No. 2. It utilizes clear-cut themes and a transparent relationship between the flute and piano, ensuring both instruments are treated as equal partners.
By the time Baksa wrote this third sonata in 2000, he had become a beloved figure in the American flute community. This work serves as a culmination of his sonata cycle, refining the melodic fluency he established in the 1970s.
Elizabeth DiFelice (piano), 2003, MSR Classics / Orchard
2. Misterioso, liberamente
Baksa Robert
Robert Baksa (1938–2023) was a prolific American composer of Hungarian descent, celebrated for his vast output of over 500 works and his unwavering commitment to a lyrical, tonal, and accessible musical language.
Born in New York City to Hungarian parents, he was raised in Arizona. After earning his Bachelor of Music at the University of Arizona he later settled in New York, where he spent most of his professional life.
Baksa famously avoided the rigid serialism and avant-garde trends of the mid-20th century. His style is often described as "lucid," "effusive," and "natural," drawing comparisons to the clarity of Haydn and the lyricism of Mozart, but with a distinctly modern American energy.
He believed that music should be expressive and communicative, once stating that his goal was to create music that was "as much a pleasure to perform as it is to hear."
His Sonata for Flute and Piano (1972) and his two solo works, Monologue and Soliloquy, are considered modern staples of the repertoire.