20th century
Baroque
Classical
Romantic
20th century
21st century
Solo repertoire
Piccolo
Alto flute
Bass flute
Martino Donald
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
Grinblat, Romuald
Grovlez, Gabriel
Guarnieri, Mozart Camargo
Gubajdulina, Sofia
Hahn, Reynaldo
Hailstork, Adolphus
Halphen, Fernand
Hanson, Howard Harold
Harberg, Amanda
Harbison, John
Harsányi, Tibor
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
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Ibert, Jacques
Ichiyanagi, Toshi
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Ives, Charles
Jacob, Gordon
James, Bob
Jemnitz, Sándor
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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
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Mack, Dieter
Mahler, Gustav
Maresz, Yan
Martin, Frank
Martino, Donald
Martinů, Bohuslav
Meltzer, Harold
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Milhaud, Darius
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Mower, Mike
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Olsen, Carl Gustav Sparre
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Poulenc, Francis
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Rivier, Jean
Rodrigo, Joaquin
Rota, Nino
Rotaru, Doina
Rouse, Christopher
Roussel, Albert
Rutter, John
Saariaho, Kaija
Sancan, Pierre
Schmidt, Ole
Schocker, Gary
Schulhoff, Erwin
Schwantner, Joseph
Sciarrino, Salvatore
Shostakovich, Dmitri
Sibelius, Jean
Smit, Leo
Tailleferre, Germaine
Takemitsu, Tōru
Taktakishvili, Otar
Tansman, Alexandre
Tomasi, Henri
Tower, Joan
Uébayashi, Yuko
Varèse, Edgar
Vasks, Pēteris
Weigl, Vally
Weinberg, Mieczysław
Wilder, Alec
Williams, Ralph Vaughan
Yi, Chen
Yun, Isang
Zgraja, Krystof
Quodlibets for Flute solo
Quodlibets for Flute solo
Donald Martino: Quodlibets for Flute solo was written in 1954 and dedicated to Samuel Baron, the renowned flutist and founding member of the New York Woodwind Quintet, who was a major champion of Martino's early wind music. It was premiered by Samuel Baron in 1955 in New York City, shortly after Martino returned from his studies in Italy.
While the work is technically a serial (twelve-tone) composition, it serves as a laboratory where Martino blended his elite academic training with his "jazz upbringing." While in Princeton, Martino was an active jazz saxophonist who deeply admired Charlie Parker. At the same time, Martino was greatly influenced bythe music of Bela Bartok, especially his
"Night Music", characterized by trills, chirps, and sudden interval leaps.
The first movement of Quodlibets (the "12-tone song") utilizes these Bartókian "insect sounds," which Martino felt mirrored the "blue notes" and "flatted fifths" used by Dizzy Gillespie. The Scherzo of Quodlibets possesses a "bebop-like" nervous energy: the jagged, syncopated rhythms are closer to a Charlie Parker solo than a traditional European etude.
To Martino, the upper extensions of jazz chords (9ths, 11ths, 13ths) and Bartók’s chromaticism were the same "musical DNA" as serialism. In Quodlibets, he deliberately chose a tone row that allowed for "consonant-sounding" intervals, making the dodecaphonic structure feel like a highly sophisticated jazz improvisation.
In 1954, the concept of "Third Stream" (merging jazz and classical) was in its infancy. Martino was one of the few composers at Princeton who could "swing." Quodlibets was his way of "sneaking" the rhythmic drive of 52nd Street jazz into the rigorous world of Milton Babbitt.
Martino Donald
Donald Martino (1931-2005) was an American composer, renowned for his ability to synthesize rigorous Total Serialism with a deeply felt, romantic lyricism.
Born in Plainfield, New Jersey, Martino’s musical foundations were not in the conservatory, but in the jazz clubs and dance halls of the 1940s. He was a professional-level clarinetist and saxophonist who spent his youth performing jazz and popular music, an experience that instilled in him a permanent affinity for the rhythmic vitality of Bebop and the music of Charlie Parker.
He pursued his undergraduate studies at Syracuse University before moving to Princeton University, where he became a protégé of Milton Babbitt, the architect of American integral serialism. Under Babbitt, Martino mastered the mathematical complexities of twelve-tone rows and set theory.
In 1954, a Fulbright Grant allowed him to study in Florence with Luigi Dallapiccola, showing Martino how to combine twelve-tone structures with Italianate bel canto lyricism, a synthesis that became the hallmark of Martino's mature style.
Martino held prestigious faculty positions at Yale University, the New England Conservatory, and finally Harvard University, where he taught from 1983 until his retirement.
Martino won the Pulitzer Prize in 1974 for Notturno (chamber music work for piccolo/flute/alto flute, clarinet/bass clarinet, violin, viola, cello, piano, and percussion).
His music is characterized by "virtuosic athleticism" and a rejection of minimalist trends. He famously founded his own publishing company, Dantalian, Inc., to ensure the typographical and editorial accuracy of his complex scores.