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21st century

Baroque

Classical

Romantic

20th century

21st century

Solo repertoire

Piccolo

Alto flute

Bass flute

Coleman Valerie

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

“Requiem Milonga” for flute and piano

By Coleman Valerie

Valerie Coleman: “Requiem Milonga” for flute and piano was written in 2014. The piece is composed as a "tango-inspired lament" or tone poem. This work is a deeply personal expression of grief and loss, inspired by the untimely passing of a dear friend and colleague. It uses the style of a Milonga, the sensual and rhythmically driving Argentine dance form that precedes the tango, to express intense emotion. The music is characterized by a "driving, yet sorrowful" rhythm, blending a traditional Baroque lament style with a bluesy, improvisational feel in the flute line.
In 2014, Valerie Coleman was highly active in education, serving on the faculty of the Manhattan School of Music and conducting workshops across the U.S. This year highlights Coleman’s interest in global musical styles, specifically Latin American music, which is also evident in her earlier work Danza de la Mariposa (2008).

Alexa Still

2023, Oberlin Conservatory of Music / Naxos

Requiem Milonga

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Coleman Valerie

Valerie Coleman (1970) is an internationally acclaimed American composer, Grammy-nominated flutist, and entrepreneur.
Born and raised in the West End of Louisville, Kentucky, Coleman grew up in the same neighborhood as boxing legend Muhammad Ali. After her father passed away when she was nine, she was raised by her mother, a single working parent and lifelong daycare educator. Coleman’s mother noted she began "playing" the flute as a toddler, using sticks from the backyard. She started formal music lessons in the fourth grade at age 11. By age 14, Coleman had already written three full-length symphonies on a portable organ at home and won multiple local and state competitions.
She earned a double bachelor's degree in Theory/Composition and Flute Performance from Boston University and later a Master’s degree in Flute Performance from Mannes College of Music.
In 1996, Coleman founded the Grammy-nominated woodwind quintet Imani Winds. She served as the group’s resident composer and flutist for over 20 years, creating signature works like Umoja. Her orchestral works have been commissioned and performed by the "Big Five" American orchestras, including the Philadelphia Orchestra (the first living African American woman they ever commissioned), the New York Philharmonic, and the Chicago Symphony.
Valerie Coleman describes her compositional style as
"urban-classical," a hybrid language that infuses modern Western art music traditions with popular American and world idioms. She weaves together classical forms with jazz, Afro-Cuban traditions, gospel, and Kentucky bluegrass. Her music often moves fluidly between these styles, such as a smoky tango or polyrhythmic lines suggesting a Cuban clave or James Brown. Coleman frequently blends European, Asian, Middle Eastern, and African styles to create a technical "melting pot".
In addition to her role at Juilliard (appointed 2024), she has held faculty positions at the Manhattan School of Music, Mannes School of Music, and the Frost School of Music.