20th century
Baroque
Classical
Romantic
20th century
21st century
Solo repertoire
Piccolo
Alto flute
Bass flute
Harty Hamilton
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
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Bennet, Richard Rodney
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Bernstein, Leonard
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Bon, Maarten
Bonis, Mel
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Boulanger, Marie-Juliette
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Bourdin, Roger
Bournonville, Armand
Bowen, Edwin York
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Brings, Allen
Brotons, Salvador
Brown, Elizabeth
Brun, Georges
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Burton, Eldin
Büsser, Henri
Camus, Pierre
Carmichael, John
Carter, Elliott
Casella, Alfredo
Chaynes, Charles
Clarke, Ian
Colgrass, Michael
Colquhoun, Michael
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DeLaney, Charles Oliver
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Dodgson, Stephen
Dohnányi, Ernő
Dubois, Pierre Max
Dukas, Paul
Durey, Louis
Dutilleux, Henri
Enescu, George
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Ferroud, Pierre-Octave
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Folio, Cynthia
Foote, Arthur
Foss, Lukas
Françaix, Jean
Fukushima, Kazuo
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Gál, Hans
Gaubert, Philippe
Genzmer, Harald
George, Thom Ritter
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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
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Holmboe, Vagn
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Hoover, Katherine
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Hüe, Georges Adolphe
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Jongen, Joseph
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Kennedy, Martin
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Saariaho, Kaija
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Smit, Leo
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Weigl, Vally
Weinberg, Mieczysław
Wilder, Alec
Williams, Ralph Vaughan
Yi, Chen
Yun, Isang
Zgraja, Krystof
Fantasy for flute and piano "In Ireland"
Fantasy for flute and piano "In Ireland"
Hamilton Harty: Fantasy for flute and piano "In Ireland" was written in 1918 and dedicated to Edward de Jong, a Dutch-born flautist who became a central figure in the Manchester musical scene and founded his own orchestra there. In 1935, the Fantasy was arranged for flute, harp, and orchestra. The work is noted for its vivid imagery. Harty himself described the piece as an attempt to portray a "wandering street musician" in a dusty Dublin street. A single-movement fantasy divided into two distinct, contrasting sections:
1. Lento (a "wailing" and expressive opening that mimics the Irish keen (caoine) or a lament.)
2. Allegro (a spirited, rhythmic section inspired by a traditional jig, requiring great agility and crisp articulation).
1918 was a pivotal transition year for Harty. Having made his name as "the prince of accompanists" in London, he was increasingly turning his focus toward conducting. This was the year he began his significant association with the Hallé Orchestra in Manchester, which he would eventually lead as permanent conductor in 1920.
As World War I drew to a close, Harty, like many of his contemporaries, experienced a surge of nostalgic nationalism. "In Ireland" was a conscious effort to evoke the "sights and sounds" of his homeland during a period of global upheaval.
In 1918, Harty was established as the primary successor to Charles Villiers Stanford in the "Irish Romantic" school. His work that year aimed to elevate Irish folk-like melodies into the realm of high-art chamber music without the sentimentality of earlier salon music.
Harty Hamilton
Hamilton Harty (1879-1941) was an Irish composer, conductor, and pianist who became one of the most influential figures in British musical life during the early 20th century. He is best remembered for his "Irish Romantic" compositional style and his transformative leadership of the Hallé Orchestra.
Born in Hillsborough, County Down, Harty was the fourth of ten children. His father, William Michael Harty, was the organist at Hillsborough Parish Church and served as Hamilton’s primary teacher in piano, organ, and viola. By age 12, he was already holding professional organist posts, first at Magheracolton and later at Belfast and Bray.
He moved to London in 1901 at age 21, where he essentially "finished" his musical education through self-study and practical experience as a performer. In London, he quickly earned the nickname "The Prince of Accompanists" for his uncanny ability to support the era's greatest singers and instrumentalists. This period sharpened his understanding of vocal phrasing and melodic line, which became hallmarks of his compositions.
Harty’s most significant professional impact was as the Permanent Conductor of the Hallé Orchestra (1920–1933). He is credited with raising the orchestra to world-class standards and was a champion of the music of Berlioz and Sibelius.
His music is characterized by a "lush, late-Romantic" aesthetic heavily infused with Irish folk idioms. He did not use literal folk songs; rather, he absorbed the "essence" of Irish melody, its specific modal inflections and rhythmic lilt.
The best-known compositions of Hamilton Harty: symphonic tone poem With the Wild Geese (1910), The Irish Symphony (1904), and the violin concerto (1908).