20th century
Baroque
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Solo repertoire
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Koechlin Charles
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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Boulanger, Marie-Juliette
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14 pieces for flute and piano, Op. 157b
Sonata for flute and piano, Op. 52
14 pieces for flute and piano, Op. 157b
14 pieces for piccolo and piano, Op. 157b
Sonatina for solo flute No. 1, Op. 184
Sonatina for solo flute No. 2, Op. 184
Sonatina for solo flute No. 3, Op. 184
Les chants de nectaire, Op. 198 for solo flute (No. 1-12)
Les chants de Nectaire, Op. 198 for solo flute (No. 13 -24)
Les chants de Nectaire, Op. 198 for solo flute (No. 25 -32)
Charles Koechlin: 14 pieces for flute and piano, Op. 157b was written in 1936. The pieces were first composed for solo flute as Op. 157, and Koechlin added the piano accompaniment later to create Op. 157b.
The whole set of these 14 short pieces was dedicated to flutist Paul Dommel and his wife, pianist Amy Dommel-Diény. The Dommels were close friends of Koechlin. Notably, Koechlin later dedicated his final major flute work, Stèle funéraire (1950), to Paul Dommel’s memory.
In 1936, Koechlin was teaching fugue and modal polyphony at the Schola Cantorum de Paris. His interest in ancient modes is reflected in the modal, folk-like atmosphere of Op. 157.
However, Koechlin was actively involved in social life at that time. In 1936, the Popular Front came to power in France. Koechlin, who was deeply involved in leftist musical organizations like the Fédération Musicale Populaire, was actively composing "music for the people". Works that were accessible, clear, and avoided overly complex avant-garde techniques. While composing these short miniatures, he was also working on larger projects, including his Primavera quintet (Op. 156) and continuing his infatuation with cinema star Lilian Harvey, which inspired much of his chamber music in the mid-1930s.
Martin Amlin (piano), 1990, Hyperion / Universal Music Group
1. Vieille chanson. Andante con moto
Martin Amlin (piano), 1990, Hyperion / Universal Music Group
3. Andante espressivo
Martin Amlin (piano), 1990, Hyperion / Universal Music Group
4. Moderato con moto
Martin Amlin (piano), 1990, Hyperion / Universal Music Group
6. Andante quasi adagio
Martin Amlin (piano), 1990, Hyperion / Universal Music Group
9. Allegretto con moto
Martin Amlin (piano), 1990, Hyperion / Universal Music Group
10. Allegretto quasi andantino
Martin Amlin (piano), 1990, Hyperion / Universal Music Group
12. Danse printanière. Allegretto
Martin Amlin (piano), 1990, Hyperion / Universal Music Group
13. Marche funèbre. Andante
Martin Amlin (piano), 1990, Hyperion / Universal Music Group
14. Allegro moderato
Charles Koechlin (1867–1950) was a prolific French composer, theorist, and teacher. A polymath with a deep interest in astronomy, photography, and philosophy, he created a vast musical world that spanned from the academic traditions of the 19th century to the most radical innovations of the 20th century.
Born in Paris into a wealthy family of Alsatian industrialists, Koechlin was initially groomed for a scientific career. He entered the prestigious École Polytechnique in 1887 to become an engineer. A severe bout of tuberculosis forced him to abandon his scientific studies. During his recovery, he turned to music, entering the Paris Conservatoire at the age of 23. There he studied composition with Jules Massenet and Gabriel Fauré, becoming Fauré’s favorite pupil and later his biographer, eventually orchestrating Fauré’s famous Pelléas et Mélisande suite.
In 1909, he co-founded the Société Musicale Indépendante (SMI) with Maurice Ravel and Florent Schmitt to challenge the rigid conservatism of the Paris musical establishment. Additionally, Koechlin was arguably the greatest musical theorist of his era, teaching pupils such as Francis Poulenc and Cole Porter.
In the 1930s, he developed a legendary fascination with early cinema stars like Lilian Harvey and Jean Harlow, composing hundreds of "Seven Stars" miniatures and symphonic poems in their honor.
Koechlin’s music is famously diverse, ranging from crystalline modal melodies to dense, complex polytonality and atonalism.