20th century
Baroque
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Solo repertoire
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Kraft Leo
Aitken, Robert
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Fantasy for Flute and Piano
Fantasy for Flute and Piano
Leo Kraft: Fantasy for Flute and Piano was written in 1963.
This piece is actually titled "Fantasy No. 1 for Flute and Piano", as he later wrote a Second (1997) and a Third (2007) Fantasy for the same instrumentation.
The Fantasy No. 1 is a crucial work in Kraft's compositional development. He had previously been working in a style that blended neoclassical elements with American idioms, similar to Aaron Copland. Around this time, he began experimenting with greater chromaticism and departures from conventional tonality. The Fantasy No. 1 is noted as Kraft's first official 12-tone work, marking a significant shift in his compositional language.
The piece is structured around two main principles: juxtaposition (placing contrasting musical ideas next to each other) and expansion/contraction of musical material, built upon the rigorous framework of a 12-tone row.
In 1963, Kraft was a respected professor at the Aaron Copland School of Music at Queens College in New York, a position he held from 1947 to 1989. He was actively engaged in the academic and new music communities, co-founding several major music organizations.
Kraft Leo
Leo Kraft (1922–2014) was a prominent American composer, music theorist, and educator. Known for a compositional style that evolved from American neoclassicism to incorporating twelve-tone techniques, he was a highly respected figure in American academic music for nearly half a century.
Born in Brooklyn, New York, Kraft began his studies at Queens College and later at Princeton University. He studied composition with notable figures such as Karol Rathaus, Randall Thompson, and Darius Milhaud. His education was interrupted by service in the U.S. Army during World War II, where he served as a French translator.
Kraft spent the majority of his career as a dedicated educator, beginning his teaching tenure at Queens College (part of the City University of New York) in 1947. He taught there for over four decades, mentoring generations of composers and music educators.
His musical style underwent significant development. Early works reflected the accessible, wide-open sound of American composers like Aaron Copland. However, in the early 1960s, marked by works like his Fantasy No. 1 for Flute and Piano (1963), he adopted a serial (twelve-tone) approach, integrating it with his existing strong sense of form and rhythmic vitality. He became known for a style that balanced modernist complexity with clarity and accessibility.
Beyond composition and teaching, Kraft was active in promoting new music. He was a co-founder and president of the College Music Society and played a significant role in establishing the Society for Music Theory.