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
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Baksa, Robert
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Karg-Elert, Sigfrid
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Kelterborn, Rudolf
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"Suite pointillistique" for flute and piano, Op.135
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
"Suite pointillistique" for flute and piano, Op.135
Sigfrid Karg-Elert: "Suite pointillistique" for flute and piano, Op.135, was written in 1919 during the final months of World War I. The piece is dedicated to the legendary conductor Arthur Nikisch, who was the principal conductor of the Leipzig Gewandhaus Orchestra at the time. Although dedicated to Nikisch, the work was premiered in 1920 by the flutist who inspired its creation, Carl Bartuzat, principal flutist of the Leipzig Gewandhaus Orchestra, with the composer at the piano.
1919 was the year Karg-Elert secured his appointment to the Leipzig Conservatory. Dedicating a work to the city's most famous conductor, Nikisch, was a strategic move to solidify his standing as a leading "modernist" voice in a historically conservative musical center.
By 1919, Karg-Elert was moving away from his "Spiritual Collapse" (as he described his wartime experience) and into a phase of German Expressionism. Op. 135, with its movement titles like "The Sick Moon" (Der kranke Mond), directly reflects his study of psychoanalysis and the avant-garde trends circulating in Nikisch's Leipzig.
The title "Suite pointillistique" lies in Sigfrid Karg-Elert's fascination with the intersections of visual arts, psychology, and avant-garde music following World War I, and is a direct reference to the Pointillist movement in painting, pioneered by artists like Georges Seurat. Therefore, Karg-Elert aimed to translate the visual technique of using small, distinct dots of color into music. He utilized fragmented melodic lines, wide interval leaps, and rapid registral shifts to create a "mosaic" of sound rather than traditional long, Romantic melodies. By using this title, Karg-Elert signaled his shift toward German Expressionism and his departure from his earlier, more traditional tonal language.
The second movement, titled Der kranke Mond ("The Sick Moon"), is a direct nod to the seventh movement of Schoenberg's seminal work, Pierrot Lunaire (1912).
Scholars note that the "crazed" and surreal titles of the movements hint at Karg-Elert's interest in Sigmund Freud and the burgeoning field of psychoanalysis in 1919. The third movement "Scherzo: Diavolina und Innocenz ("The Little Devil and Innocence") explores dualities of the human psyche, and the fourth movement "Im stile einer Hymne" (In the style of a Hymn), written in a "strange" 5/4 time, further emphasizes the destabilized, post-war emotional state reflected in the work.
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.