20th century
Baroque
Classical
Romantic
20th century
21st century
Solo repertoire
Piccolo
Alto flute
Bass flute
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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Bon, Maarten
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Kelterborn, Rudolf
Ķeniņš, Tālivaldis
Kennan, Kent Wheeler
Kennedy, Martin
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Khachaturian, Aram
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Kodaly, Zoltan
Koechlin, Charles
Kornauth, Egon
Kraft, Leo
Krzywicki, Jan
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La Montaine, John
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Sonatina for solo flute No. 1, Op. 184
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: Sonatina for solo flute No. 1, Op. 184 was written in 1942 as part of a set of three Sonatinas, which were first published posthumously in 1951 by Éditions Salabert.
Each of the three sonatinas follows a distinct three-movement structure:
1. Sonatina No. 1: Allegro — Andantino — Finale: Allegro con moto.
2. Sonatina No. 2: Lento — Allegretto tranquillo — Finale: Allegro vivo.
3. Sonatina No. 3: Adagio — Sicilienne — Finale: Allegro.
In 1942, Koechlin was living in Paris during the German occupation. Despite the hardships of war, 1942 was a highly productive year for him. During this period, he became increasingly interested in "monody" (unaccompanied melody). Along with these sonatinas, he composed other solo works in 1942, such as the Suite for cor anglais, Op. 185.
His style remained fiercely independent, often blending neo-Baroque structures with modern polytonality or atonality, which is evident in the structured yet fluid nature of these sonatinas.
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.