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Romantic

Baroque

Classical

Romantic

20th century

21st century

Solo repertoire

Piccolo

Alto flute

Bass flute

Beach Amy

Akimenko, Theodore

Albeniz, Isaac

Andersen, Joachim

Barnett, John Francis

Bazzini, Antonio

Beach, Amy

Bellini, Vincenzo

Bizet, George

Blahetka, Leopoldine

Blodek, Wilhelm

Boehm, Theobald

Bonis, Mel

Borne, François

Brahms, Johannes

Briccialdi, Giulio

Bruch, Max

Caplet, André

Chaminade, Cécile

Chopin, Frédéric

Danzi, Franz Ignaz

Debussy, Claude

Demersseman, Jules-Auguste Edouard

Donizetti, Gaetano

Donjon, Johannes

Doppler, Albert Franz

Du Puy, Édouard

Dvořák, Antonin

Elgar, Edward

Fauré, Gabriel

Foote, Arthur

Franck, César

Frühling, Carl

Fürstenau, Anton Bernhard

Gade, Niels Wilhelm

Ganne, Louis

Génin, Paul Agricole

German, Edward

Glière, Reinhold

Godard, Benjamin

Gounod, Charles

Grandval, Clémence

Hahn, Reynaldo

Hüe, Georges Adolphe

Hummel, Johann Nepomuk

Jadassohn, Solomon

Kohler, Ernesto

Kreisler, Fritz

Kuhlau, Friedrich

Lefebvre, Charles Edouard

Liszt, Franz

Maier, Amanda

Massenet, Jules

Mendelssohn, Fanny

Mendelssohn, Felix

Mercadante, Saverio

Meyer-Olbersleben, Max

Molique, Wilhelm Bernhard

Morlacchi, Pietro

Mouquet, Jules

Nielsen, Carl

Paganini, Niccolo

Périlhou, Albert

Pierné, Gabriel

Popp, Wilhelm

Rabboni, Giuseppe

Reger, Max

Reichert, Matthieu Andre

Reinecke, Carl Heinrich Carsten

Ries, Ferdinand

Rietz, Julius

Rossini, Gioacchino

Saint-Saëns, Camille

Sarasate, Pablo de

Schubert, Franz

Schumann, Clara

Schumann, Robert

Sibelius, Jean

Silcher, Friedrich

Strauss, Richard

Taffanel, Claude Paul

Tulou, Jean-Louis

Vitali, Tomaso Antonio

Wagner, Siegfried

Widor, Charles Marie Jean Albert

Romance for flute and piano Op. 23

By Beach Amy

Amy Beach: Romance for flute and piano Op. 23 was written in 1893. Originally for violin and piano. The work is dedicated to the pioneering American virtuoso violinist Maud Powell, who was a close personal friend of the composer. Beach and Powell premiered the piece together on July 6, 1893, at the World’s Columbian Exposition in Chicago. It was performed during the Women’s Musical Congress, an event specifically designed to highlight the contributions of female musicians. The performance was an overwhelming success; the audience was so moved that they reportedly demanded the duo play the entire six-minute work a second time immediately.

Despite her fame, she was professionally known as "Mrs. H.H.A. Beach" following her 1885 marriage to a prominent Boston physician. Her husband restricted her public piano performances to two per year (usually for charity), which led her to focus primarily on composition.
In 1893, Beach was 26 years old and establishing herself as America's leading female composer. That same year, she was commissioned to write the Festival Jubilate, Op. 17, for the dedication of the Woman’s Building at the Chicago World's Fair.
1893 was the year Antonín Dvořák pronounced that American composers should look to African American and Native American melodies for inspiration. While Beach's Romance remains firmly in the European Romantic tradition, the debates of that year directly influenced her next major project, the Gaelic Symphony (1894–1896).

Mark Sparks

Beilin Han (piano), live performance, 2025

Romance

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Yeojin Han

Sehee Hwang (harp), live performance at Kumho Art Hall, 13 August 2020

Romance

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Mimi Stillman

Charles Abramovic (piano), live performance at Field Concert Hall, Curtis Institute of Music, Philadelphia, January 24, 2016

Romance

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Beach Amy

Amy Beach (1867–1944) was the first successful American female composer.
Born in Henniker, New Hampshire, she was a musical wunderkind. By age one, she could sing forty tunes; by four, she was composing piano pieces in her head; and by seven, she was performing public recitals of Beethoven and Chopin.
Unlike her male contemporaries, who traveled to Europe for training, Beach was almost entirely self-taught in composition. She studied original scores by Bach, Beethoven, and Brahms, and she translated the theoretical treatises of Berlioz and Gevaert from French to English herself to master orchestration.
In 1885, at age 18, she married Dr. Henry Harris Aubrey Beach. Per his request and social norms, she curtailed her performing career and published under the name Mrs. H.H.A. Beach, focusing her creative energy on composition.
Her style is rooted in the rich harmonic language of the late 19th century, comparable to Brahms or Wagner, but with a uniquely lyrical "New England" sensibility. Beach was an early advocate for using folk melodies to create a national identity. She frequently incorporated Irish (Gaelic) and Balkan folk tunes, as well as bird songs, into her complex structures.
Among her most notable compositions: "Mass in E-flat major" (1890), the "Gaelic Symphony" (1896), the Piano Concerto in C-sharp minor (1899), and the opera "Cabildo" (1932), which utilized a chamber ensemble and reflected her later, more innovative style.