This website is using cookies. By continuing to browse the site, you are agreeing to our use of cookies. Find out more.

20th century

Baroque

Classical

Romantic

20th century

21st century

Solo repertoire

Piccolo

Alto flute

Bass flute

Carter Elliott

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

Scrivo in vento for Flute solo

By Carter Elliott

E. Carter: Scrivo in vento (I write in the wind) for solo flute was written in 1991 and dedicated to Robert Aitken, the flutist and a friend of Elliott Carter. The inspiration of this piece came from a sonnet by Petrarch (Francesco Petrarca) who lived in Avignon during the first part of 14th century and is considered one of the main initiators of Italian Renaissance. The first performance of Scrivo in vento took place on 20 July (Birthday of Petrarch) during Avignon festival, played by Robert Aiken.

Patrick Gallois

2010, Arion / Believe SAS

Scrivo in vento

00:00
YouTube icon

Robert Aitken

2008, Naxos

Scrivo in vento

00:00
YouTube icon

Carter Elliott

Elliott Carter (1908-2012) was one of the most intellectually rigorous and influential American composers of the 20th and early 21st centuries. He is best known for developing "metric modulation," a technique allowing for fluid, precise changes in tempo and character.
Born in New York City to a wealthy family of lace importers, his initial studies took place at the Horace Mann School. There he was introduced to avant-garde composer Charles Ives, who became a pivotal mentor. Ives encouraged Carter’s interest in ultra-modern music and famously took him to the Boston Symphony Orchestra to hear contemporary works. He began studying music theory and took up the oboe, which he played in the school orchestra. This practical experience as a wind player later informed his idiomatic but challenging writing for the flute and other woodwinds.
In 1926, despite his growing obsession with music, Carter entered Harvard as an English major because his father, a successful businessman, initially refused to support a music career.
During this time, he also studied composition at the Longy School of Music under Walter Piston and Gustav Holst.
Like many of his generation, Carter traveled to Paris (1932–1935) to study with the legendary Nadia Boulanger. This rigorous training in counterpoint and neo-classicism provided the structural foundation for his later, more radical experiments.
Carter’s early works, such as the Symphony No. 1 (1942), were relatively accessible. However, his String Quartet No. 1 (1951) marked a shift toward a highly complex, dissonant, and "stratified" style where each instrument often acts as a distinct character.
Among his most notable compositions is his only opera "What Next?", Symphony of Three orchestras, and various instrumental concertos.
He held prestigious teaching positions at the Peabody Conservatory, Yale University, and the Juilliard School, where he influenced generations of composers.
Carter remained remarkably productive until his death, composing over 40 works between the ages of 90 and 103.