20th century
Baroque
Classical
Romantic
20th century
21st century
Solo repertoire
Piccolo
Alto flute
Bass flute
Loudova Ivana
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
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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
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Gál, Hans
Gaubert, Philippe
Genzmer, Harald
George, Thom Ritter
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Gieseking, Walter
Glass, Philip
Glière, Reinhold
Golovin, Andrei
Gordeli, Otar
Grier, Lita
Griffes, Charles Tomlinson
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Grovlez, Gabriel
Guarnieri, Mozart Camargo
Gubajdulina, Sofia
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Harbison, John
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Harty, Hamilton
Heiss, John
Heith, David
Henze, Hans-Werner
Higdon, Jennifer
Hindemith, Paul
Holliger, Heinz
Holmboe, Vagn
Honegger, Arthur
Hoover, Katherine
Hosokawa, Toshio
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Hüe, Georges Adolphe
Hurel, Philippe
Ibert, Jacques
Ichiyanagi, Toshi
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Ives, Charles
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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
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Schwantner, Joseph
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Smit, Leo
Tailleferre, Germaine
Takemitsu, Tōru
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Tansman, Alexandre
Tomasi, Henri
Tower, Joan
Uébayashi, Yuko
Varèse, Edgar
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Weigl, Vally
Weinberg, Mieczysław
Wilder, Alec
Williams, Ralph Vaughan
Yi, Chen
Yun, Isang
Zgraja, Krystof
Suite for solo flute
Suite for solo flute
Ivana Loudova: Suite for solo flute was written in 1959, often listed by its Czech title Suita pro sólovou flétnu. The piece is dedicated to the renowned Czech flutist Václav Žilka, a member of the Czech Philharmonic.
The Suite consists of four movements and explores the flute's registral contrasts, moving rapidly from low, dark "hollow" tones to brilliant, piercing high notes. It is often praised for its "architectural" clarity. Stylistically, the work blends Neo-Baroque structures (reminiscent of Hindemith) with a specific "Slavic" rhythmic edge.
Following the "Thaw" in the Soviet bloc, Czech composers in the late 50s were beginning to cautiously explore Western avant-garde techniques (like those of Messiaen and Honegger) while still adhering to the rhythmic vitality of Martinů and Janáček.
In 1959, Loudová was finishing her studies at the Prague Conservatory under Miloslav Kabeláč. Kabeláč’s influence is highly visible in this Suite; he taught her a strict sense of proportion, clear structures, and the use of "modal" scales that felt modern but remained accessible.
At only 18 years old, Loudová was already being hailed as a "prodigy" of the Czech school. This Suite served as her "calling card," demonstrating that she could create a compelling narrative using only a single melodic line.
Loudova Ivana
Ivana Loudova (1941–2017) was a Czech composer of the late 20th century, known for her rigorous "architectural" style and her synthesis of French and Czech musical traditions.
Born in Chlumec nad Cidlinou, Czechoslovakia, she was raised in a highly musical environment. Her mother was a piano teacher, and Ivana began composing her first pieces at the age of six.
Recognizing her prodigious talent, she was admitted to the Prague Conservatory at a younger age than her contemporaries. Her primary mentor there was Miloslav Kabeláč, a leading figure in Czech music who emphasized structural clarity and modal logic.
Under Kabeláč’s tutelage, she developed a fascination with Gregorian chant and mathematical proportions (such as the Golden Ratio), which remained foundational to her compositional philosophy throughout her life. After one year of studies at the Prague Academy of Music, she moved to Paris to study with Olivier Messiaen and André Jolivet. This period introduced her to modern French techniques, including aleatory elements and complex orchestral colors. After her return, she eventually became a professor of composition at the Prague Academy of Music (HAMU).
Her mature style is characterized by "lyrical expressionism" balanced by strict formal logic. She excelled in writing for solo instruments and chamber ensembles, often focusing on the timbral possibilities of woodwinds.