20th century
Baroque
Classical
Romantic
20th century
21st century
Solo repertoire
Piccolo
Alto flute
Bass flute
Bartók Béla Viktor János
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
Suite "Romanian Folk Dances" for flute and piano
Suite "Romanian Folk Dances" for flute and piano
Béla Bartók: Suite "Romanian Folk Dances" for flute and piano was written in 1915, originally for piano, and dedicated to Professor Ion Bușiția, a Romanian teacher and friend who had assisted Bartók in his folk music research in Transylvania. The suite was premiered on February 11, 1916, in Budapest.
The melodies of this suite of six short pieces were collected by Bartók himself between 1910 and 1914 in Transylvania. He used a phonograph to record peasant musicians playing the fiddle and shepherd’s flute (fluier).
The suite consists of six dances:
1. Jocul cu bâtă (Stick Dance): A rhythmic dance from Mezőszabad.
2. Brâul (Sash Dance): A graceful dance from Egres.
3. Pe loc (In One Spot): A "stamping" dance mimicking the dark, earthy tones of a shepherd's pipe.
4. Buciumeana (Dance from Bucsum): A lyrical, soulful melody in 3/4 time.
5. Poarga Românească (Romanian Polka): A fast, syncopated dance.
6. Mărunțel (Fast Dance): Two rapid melodies from Belényes and Nyágra.
Around the time of composition, in 1915, World War I had halted Bartók’s extensive field expeditions. Confined to Budapest and its surroundings, he turned his focus to arranging the vast amount of folk material he had already collected. This was a period of intense musical nationalism. Bartók sought to prove that folk music was not just "decoration" but a sophisticated system of scales and rhythms that could revolutionize modern classical music. Bartók faced significant criticism from Hungarian authorities for his interest in Romanian culture during a time of intense regional conflict. However, he remained committed to the "brotherhood of nations" through shared musical roots.
Hugh Sung (piano), live performance at the Riverside Church, New York, 16 November, 2015, SKP Management
Suite “Romanian Folk Dances”
Bartók Béla Viktor János
Béla Bartók (1881-1945) was a Hungarian composer, pianist, and ethnomusicologist who became one of the most influential figures of 20th-century music.
Born in the small Banat town of Nagyszentmiklós (then Hungary, now Sânnicolau Mare, Romania), he started to learn piano with his mother, Paula, who was a talented pianist. After his father died in 1888, his mother supported the family by traveling as a piano teacher, exposing young Béla to various regional cultures.
He gave his first public recital at age 11, which included a composition he wrote titled The Course of the Danube.
Then he went to study at the Royal Hungarian Academy of Music in Budapest under Hans von Koessler, intentionally rejecting the prestigious Vienna Conservatory to assert his Hungarian national identity.
Starting in 1904, Bartók and his colleague Zoltán Kodály traveled through remote villages in Hungary, Romania, and North Africa, using early Edison phonographs to record thousands of authentic folk songs. This research fundamentally changed his style. He abandoned the "Gypsy" clichés popularized by Liszt and Brahms in favor of the raw irregular rhythms, pentatonic scales, and ancient modes of true peasant music.
By the 1920s, works like the String Quartets and the ballet The Miraculous Mandarin established him as a leader of the musical avant-garde. A staunch anti-fascist, Bartók fled Hungary in 1940 following the outbreak of WWII and the rise of Nazi influence. He settled in New York City, where he lived in relative poverty and declining health (struggling with leukemia).
Bartók's musical style reflects two trends that profoundly changed the approach to composition in the 20th century. The breakdown of the diatonic system of harmony and the revival of national folk music as a primary source of inspiration. In short, the folk music combined with modern techniques created a new stream of modernism.
The most popular works of Béla Bartók are Concerto for Orchestra, Music for Strings, Percussion and Celesta, Cantata Profana, six string quartets, and concertos for violin, viola, and piano.