20th century
Baroque
Classical
Romantic
20th century
21st century
Solo repertoire
Piccolo
Alto flute
Bass flute
Feld Jindřich
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
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Bartók, Béla Viktor János
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Bennet, Richard Rodney
Berg, Gunnar
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Bernofsky, Lauren
Bernstein, Leonard
Bloch, Ernest
Bolling, Claude
Bon, Maarten
Bonis, Mel
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Boulanger, Marie-Juliette
Boulez, Pierre
Bourdin, Roger
Bournonville, Armand
Bowen, Edwin York
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Brings, Allen
Brotons, Salvador
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Büsser, Henri
Camus, Pierre
Carmichael, John
Carter, Elliott
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Farkas, Ferenc
Feld, Jindřich
Ferroud, Pierre-Octave
Flothuis, Marius
Folio, Cynthia
Foote, Arthur
Foss, Lukas
Françaix, Jean
Fukushima, Kazuo
Gade, Jacob
Gál, Hans
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Genzmer, Harald
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Kornauth, Egon
Kraft, Leo
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Lauber, Joseph
Lavista, Mario
Lee, Eugene
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Mahler, Gustav
Maresz, Yan
Martin, Frank
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Martinů, Bohuslav
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Takemitsu, Tōru
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Tansman, Alexandre
Tomasi, Henri
Tower, Joan
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Vasks, Pēteris
Weigl, Vally
Weinberg, Mieczysław
Wilder, Alec
Williams, Ralph Vaughan
Yi, Chen
Yun, Isang
Zgraja, Krystof
Sonata for flute and piano
Jindřich Feld: Sonata for flute and piano was written in 1957 by commission of Jean-Pierre Rampal and is considered one of the most popular pieces for flute written by Feld. The piece is dedicated to Jean-Pierre Rampal, who premiered it in Prague in 1957 with pianist Viktorie Švihlíková. The work is noted for its symphonic scale, treating the piano as an equal partner rather than a mere accompaniment. It demands a wide dynamic range and orchestral power from both performers.
1957 was a pivotal year in the lifelong artistic partnership between Feld and Rampal. After Rampal premiered and recorded Feld's Flute Concerto (1954), he requested a major chamber work for his upcoming tour. This sonata was the result of that request, specifically designed to showcase Rampal's unique tonal brilliance and technical agility.
By 1957, Feld was increasingly moving away from the "Socialist Realism" mandates of the Czechoslovakian regime. While the Sonata remains anchored in clear formal structures, it exhibits a more aggressive, Prokofiev-esque edge and rhythmic complexity that signaled his shift toward international modernism.
Phillip Moll (piano), 1988, RCA Red Seal
1. Allegro giocoso, 2. Grave, 3. Allegro vivace
Josef Hala (piano), 1967, Chech radio
1. Allegro giocoso, 2. Grave, 3. Allegro vivace
Daniel Blumenthal (piano), 1996, PAVANE Records
1. Allegro giocoso, 2. Grave, 3. Allegro vivace
Feld Jindřich
Jindřich Feld (1925-2007) was a prominent Czech composer whose works, particularly for woodwinds, are cornerstones of the 20th-century repertoire. His style evolved from neoclassicism to a mature synthesis of serialism and aleatory techniques.
Born in Prague, Feld was raised in an intensely musical household. His father, Jindřich Feld Sr., was a renowned professor of violin at the Prague Conservatory, and his mother was also a violinist.
His early education was steeped in the string tradition. He began violin and viola studies under his father. The family frequently performed string quartets at home, a practice Feld credited for his deep understanding of instrumental color and counterpoint.
He studied composition at the Prague Conservatory and the Academy of Musical Arts (HAMU). Additionally, he earned a Doctorate in Musicology, Philosophy, and Aesthetics from Charles University.
Feld’s international breakthrough came in the mid-1950s. His Concerto for Flute and Orchestra (1954) and the Sonata (1957), championed by Jean-Pierre Rampal, established him as a premier composer for the instrument.
Feld’s music is characterized by rhythmic vitality, clear formal structures, and a "virtuosic" approach to orchestration. While he remained a "Prague composer" at heart, his language was cosmopolitan, eventually incorporating twelve-tone rows and quarter-tones while maintaining an accessible, motoric energy.
Although he has composed more than 200 works, ranging from operas to small instrumental compositions, he is mostly known for his chamber music and music compositions for the flute. During his three periods of musical style development (till the end of the 1950s, 1960s, and from the 1970s onwards).
He served as a Professor of Composition at the Prague Conservatory (1972–1986) and held guest professorships at Adelaide University in Australia and Indiana University in the USA.