20th century
Baroque
Classical
Romantic
20th century
21st century
Solo repertoire
Piccolo
Alto flute
Bass flute
Hahn Reynaldo
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
Nocturne for flute and piano
Reynaldo Hahn: Nocturne for flute and piano was written in 1906 and dedicated to Henricus (Henri) Barkemeyer, a prominent French flautist of the era and a member of the Société des Concerts du Conservatoire. It was premiered in 1906 at the Salons de l'Hôtel Continental in Paris, with Barkemeyer himself on flute and Hahn at the piano.
By 1906, Hahn was the "darling" of the Parisian salons. However, he was beginning to feel the pressure of being labeled solely as a songwriter (mélodiste). Therefore, Hahn made a conscious effort to expand his instrumental repertoire. The Nocturne represents his "Jewel Box" style: elegant, deceptively simple, and deeply atmospheric.
Around that time, Hahn’s relationship with Marcel Proust had transitioned from a romantic one to a profound, lifelong friendship. This was the year Proust moved into his famous cork-lined room on Boulevard Haussmann. Hahn was a frequent visitor and a primary musical influence on Proust’s writing. The Nocturne was the real-world embodiment of the "imaginary music" (like the Vinteuil Sonata) described in À la recherche du temps perdu.
In 1906, Hahn was also heavily involved in music criticism and conducting. He was becoming a champion of Mozart (conducting Don Giovanni at Salzburg that year). This "Mozartean" influence: clarity of line, economy of notes, and avoidance of excessive Romantic sludge, is highly evident in the flute writing of the Nocturne.
Hahn Reynaldo
Reynaldo Hahn (1874–1947) was a Venezuelan-born French composer, conductor, and critic who epitomized the elegance of the Parisian Belle Époque.
Born in Caracas, Venezuela, in a family of wealthy German-Jewish businessman. His family moved to Paris when Reynaldo was only three years old. A true child prodigy, Hahn entered the Paris Conservatoire at age ten, where he studied under titans of French music, including Jules Massenet (composition), Charles Gounod, and Camille Saint-Saëns.
By age thirteen, he wrote the song "Si mes vers avaient des ailes," which became an international sensation and remains one of his most famous works.
Hahn became a fixture in the elite Parisian salons, where he would sing his own works while accompanying himself at the piano, often with a cigarette dangling from his lips. In 1894, Hahn met the writer Marcel Proust. The two shared a profound romantic and intellectual relationship that deeply influenced both their careers. Despite the rise of radical modernism (Stravinsky, Schoenberg), Hahn remained a staunch defender of clarity, melody, and restraint, values he maintained throughout his life.
Although a naturalized citizen and a prominent artist, Hahn insisted on serving at the front during World War I, an experience that deeply affected his later outlook. He gained fame as a conductor, particularly of Mozart, and was appointed director of the Paris Opéra after World War II, helping to revitalize the institution after the Nazi occupation.
His music is characterized by a "discreet and refined sensuality," marked by fluid melodic lines and a sophisticated, though never overbearing, harmonic palette.