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
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).
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.