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
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.
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.