20th century
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20th century
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Solo repertoire
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Paget Daniel
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
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Brun, Georges
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Burton, Eldin
Büsser, Henri
Camus, Pierre
Carmichael, John
Carter, Elliott
Casella, Alfredo
Chaynes, Charles
Clarke, Ian
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Dahl, Walter Ingolf Marcus
Damase, Jean-Michel
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Dinicu, Grigoraș
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Folio, Cynthia
Foote, Arthur
Foss, Lukas
Françaix, Jean
Fukushima, Kazuo
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Genzmer, Harald
George, Thom Ritter
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Glière, Reinhold
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Grier, Lita
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Guarnieri, Mozart Camargo
Gubajdulina, Sofia
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Heith, David
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Perle, George
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Yun, Isang
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Romanian Fantasy for flute and piano
Romanian Fantasy for flute and piano
Daniel Paget: Romanian Fantasy for flute and piano was written in 1979 and dedicated to Carol Wincenc. Paget’s goal in 1979 was to make the flute sound like the nai (Romanian panpipes) and the piano sound like the cimbalom (hammered dulcimer). This required a "rich harmonic language" that was relatively rare in mainstream American flute music at the time.
The work is a brilliant "tip-of-the-hat" to Wincenc's Austro-Hungarian heritage and her "inner tzigane-style temperament".
"When my dear friend, the fabulous flutist Carol Wincenc, traveled to Romania in the early 1970s, she found an irresistible world of traditional music that included an enchanting repertoire for the nai, or panpipes. With roots extending back thousands of years, the nai consists of a graduated series of attached reed or bamboo [ipes that are blown across their tops. Music for the instrument derives from peasant songs and dances, and ranges from the hauntingly melancholic to the brilliantly virtuosic.
"In 1979, in preparation for her Naumburg Award Recital at New York's Lincoln Center, Carol asked me to create a work for her drawn from this wonderful folk music. The result was Romania! Fantasy for Flute and Piano, a duet suggestive of both the nai and the cimbalom (hammered dulcimer popular in Eastern European folk and other music).
Daniel Paget
In 1979, Paget served as the Choral Director at the Manhattan School of Music. Paget was a recognized specialist in ragtime music during its popular resurgence in the late 1970s. The commission for Romania! fit perfectly into his profile at the time: a composer known for stylistic versatility and a deep academic background who could authentically translate the "meltingly beautiful lyricism" of Romanian folk music for the concert stage.
Paget Daniel
Daniel Paget (1943) is an American composer, conductor, and educator whose work is characterized by a "third-stream" synthesis of classical formalism, jazz, and ethnic folk traditions.
Born and raised in New York City, Paget was immersed in the city's diverse cultural landscape from a young age. Paget received a rigorous classical education at Columbia University, where he earned both his Bachelor’s and Master’s degrees.
In his early professional years, Paget became a specialist in American Ragtime. He performed extensively as a pianist and conductor in this genre, even traveling to the Far East under the auspices of the U.S. State Department.
Paget has held major conducting posts, serving as the Choral Director at the Manhattan School of Music, John Jay College (CUNY), and Columbia University. He founded the Apollo Chamber Orchestra and led the Paget Chorale in performances at Carnegie Hall and the Kennedy Center.
He is a master of the "imaginary folk" style, using specific modal scales and instrumental effects to mimic traditional instruments like the nai (panpipes) or cimbalom. His music often balances "meltingly beautiful" melodic lines with fiery, improvisatory sections that require high emotional temperament from the performer.