20th century
Baroque
Classical
Romantic
20th century
21st century
Solo repertoire
Piccolo
Alto flute
Bass flute
Karg-Elert Sigfrid
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
21-30 Caprices for flute solo, Op. 107
1-10 Caprices for flute solo, Op. 107
11-20 Caprices for flute solo, Op. 107
21-30 Caprices for flute solo, Op. 107
Sinfonische Kanzone for flute and piano, Op.114
Sonata in B Major for flute and piano, Op. 121
"Impressions Exotiques" for flute and piano, Op. 134
21-30 Caprices for flute solo, Op. 107
Sigfrid Karg-Elert: Sigfrid Karg-Elert: 30 Caprices, Op. 107 for flute solo was written in 1918 and 1919, during the final months of World War I and the immediate post-war transition. The work is dedicated to Carl Bartuzat, the principal flutist of the Leipzig Gewandhaus Orchestra. Bartuzat provided the technical consultation that allowed Karg-Elert to push the instrument's boundaries.
1918–1919 is often called Karg-Elert’s "Flute Year." He wrote Op. 107 specifically to bridge the gap between traditional Romantic flute playing and the complex chromaticism and wide intervals of modern orchestral music (specifically the works of Strauss, Mahler, and Schoenberg). Following the armistice in November 1918, Karg-Elert faced extreme poverty in Leipzig. He wrote these caprices partly as a commercial venture to provide a modern method for the Leipzig Conservatory, where he was appointed to the faculty in 1919.
Each caprice is written in a different "style" (e.g., alla Handel, alla Chopin, alla Skryabin), serving as a record of the composer’s own transition from 19th-century tonality to 20th-century Impressionism and Expressionism.
Op. 107 is the most significant set of flute etudes since those of Boehm or Andersen. Caprice No. 30, "Chaconne," is particularly famous; it is a massive, unaccompanied work that is often performed as a standalone concert piece, representing the pinnacle of flute technique for that era.
Caprice No. 25 (Alla Skryabin): Reflects the mystical, chromatic harmonic language of Alexander Scriabin, requiring the flutist to navigate complex, non-traditional intervals and tonalities.
Caprice No. 30 (Chaconne): While a standalone masterpiece, it is fundamentally rooted in the Baroque Chaconne tradition, specifically as a final technical summary of the entire set.
Karg-Elert Sigfrid
Sigfrid Karg-Elert (1877-1933) was a prolific German composer, organist, and multi-instrumentalist whose work serves as a unique bridge between Late Romanticism and Impressionism.
Born in Oberndorf am Neckar, he was the youngest of twelve children. Following the failure of his father's business and his subsequent death, the family moved to Leipzig in 1882. His childhood was marked by poverty, yet his musical talent was recognized early through his participation in local choirs. He received his first significant musical grounding as an oboe student and pianist.
In 1896, his talent secured him a scholarship to the Leipzig Conservatory, where he studied piano with Alfred Reisenauer (a pupil of Liszt) and composition with Salomon Jadassohn and Carl Reinecke.
It was during this period that he added the hyphenated "-Elert" to his name at the suggestion of his agent.
A pivotal moment in his development occurred when he met Edvard Grieg, who encouraged him to abandon his career as a virtuoso pianist to focus exclusively on composition.
Encouraged by the organist Karl Straube, Karg-Elert became a master of the organ and harmonium. During World War I, while serving in a military band, he met the flautist Carl Bartuzat. This partnership resulted in his most significant flute works.
In 1919, he was appointed Professor of Composition at the Leipzig Conservatory, succeeding Max Reger.
Karg-Elert’s style is characterized by a "polyphonic-impressionism." He synthesized the rigorous chromatic counterpoint of Reger with the exotic tonal colors of Debussy and Scriabin. Among his most notable compositions are 66 Chorale improvisations for organ (Op. 65) and a substantial amount of instrumental works.