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21st century

Baroque

Classical

Romantic

20th century

21st century

Solo repertoire

Piccolo

Alto flute

Bass flute

Hersh Howard

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

SOLO for solo flute

SOLO for solo flute

By Hersh Howard

Howard Hersh: SOLO for solo flute was written in 2004 and published by Zalo/JP-Publications. The piece reflects the composer’s deep roots in the San Francisco contemporary music scene and his penchant for lyrical, gestural writing.
The work is dedicated to the flutist Robin Guy, who premiered it the same year.
According to program notes from the University of Cincinnati College-Conservatory of Music, the work is an exploration of the flute's vocal qualities, characterized by fluid rhythmic gestures and a sense of "improvised" spontaneity within a structured framework.
By 2004, Hersh was established as a prominent figure in the California contemporary music scene, having previously served as the director of the San Francisco Conservatory’s New Music Ensemble. His style had fully evolved from his earlier, more "rigorous" avant-garde experiments into a language that favored lyricism and accessibility without sacrificing technical complexity.
During the mid-2000s, Hersh was increasingly focused on chamber music that emphasized "the human voice" through instrumental writing. SOLO is a prime example of this, treating the flute as a monophonic storyteller.

Tod Brody (flute), 2022 Howard Hersh / CDBaby

SOLO

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Hersh Howard

Howard Hersh (1940) is an American composer, based in Northern California, recognized for a musical language that blends rigorous structure with lyrical expression. His work often bridges the gap between the academic avant-garde and a more accessible, gestural style.
Born in Santa Monica, California, he began his musical life studying piano in Los Angeles before pursuing his Bachelor’s and Master’s degrees in composition at Stanford University. Hersh was a pivotal figure in the institutionalization of new music in California. He served as the Director of the New Music Ensemble at the San Francisco Conservatory, where he was instrumental in premiering works by landmark composers like John Cage and Morton Feldman.
While his early career was marked by the complexity of the mid-century avant-garde, his mature style, documented in catalogs like Schirmer/AMP, is noted for its clarity, rhythmic vitality, and melodic "breath."
His output includes works commissioned by the Barlow Endowment for Music Composition and the National Endowment for the Arts. Beyond his solo flute repertoire, he is widely known for his chamber music and larger-scale works like the opera The Floating World and his concerto for alto saxophone.
Hersh is frequently cited in performance guides as a composer who treats instruments as human voices, prioritizing the physical and emotional experience of the performer as much as the structural integrity of the score.