21st century
Baroque
Classical
Romantic
20th century
21st century
Solo repertoire
Piccolo
Alto flute
Bass flute
Pann Carter
Adler, Samuel
Albert, Adrienne
Amlin, Martin
Arnauts, Dimitri
Bacri, Nicolas
Baksa, Robert
Balter, Marcos
Beal, Jeff
Bilotta, John
Borisova-Ollas, Victoria
Bullard, Janice Maille
Bunch, Kenji
Carter, Elliott
Chamberlain, Nicole
Chyrzynski, Marcel
Clarke, Ian
Coleman, Valerie
Connesson, Guillaume
Costa Roldán, Eduardo
Cueto, Daniel
Dalbavie, Marc-André
Daugherty, Michael
Dehnhard, Tilmann
Desenne, Paul
Dorff, Daniel
Egger, Fabian Johannes
Eggert, Kenneth
Firšt, Nenad
Furrer, Beat
Garrop, Stacy
Ghidoni, Armando
Gibb, Charles
Hailstork, Adolphus
Harberg, Amanda
Hersh, Howard
Hoover, Katherine
Igudesman, Aleksey
Ittzés, Gergely
Kernis, Aaron Jay
Khoury, Houstaf
Kukal, Ondřej
León, Tania
Lias, Stephen
Liebermann, Lowell
Lindberg, Christian
Linthicum-Blackhorse, William
Louke, Phyllis Avidan
Magalif, Eugene
Mitchell, Jonathan
Monroe, Ervin
Mower, Mike
Mucha, Geraldine
Mulleman, Tim
Ornstein, Maarten
Pann, Carter
Panufnik, Roxanna
Pärt, Arvo
Pattillo, Greg
Penman, Katrina
Petrič, Ivo
Price, William
Pritsker, Gene
Pucihar, Blaž
Ran, Shulamit
Rea, Stephanie
Rotaru, Doina
Rozman, Anže
Schocker, Gary
Schwantner, Joseph
Sciarrino, Salvatore
Seif, Sami
Serebrier, José
Skipworth, Lachlan
Sollberger, Harvey
Somma, Victor
Uébayashi, Yuko
Vasks, Pēteris
Widmann, Jörg
Witt, Carl
Woolf, Randall
Yi, Chen
Giantess for flute and piano
Giantess for flute and piano
Carter Pann: Giantess for flute and piano was written in 2017. The work was commissioned by the Flute New Music Consortium (FNMC). The piece had a unique "simultaneous co-premiere" weekend from March 2–4, 2018. Many members of the FNMC performed the work across different locations during this window to broaden its immediate reach. While the work was a consortium commission, it is closely associated with flutist Jennie Oh Brown, a long-time friend of Pann since their time at the Eastman School of Music.
Giantess reflects Pann's shift toward "lush and open-hearted" rhapsodic writing. The title refers to the "larger-than-life" quality of the melodic line, which Pann described as an image of a gigantic performer capable of making the flute expand its volume and range far beyond its physical size.
Pann composed the work shortly after being named a 2016 Pulitzer Prize Finalist for The Mechanics, which significantly increased the demand for his chamber music.
During this time, Pann served as the Chair of the Composition Department at the University of Colorado Boulder, where he was actively mentoring young composers and conducting the Boulder Altitude Directive ensemble.
Pann Carter
Carter Pann (1972) is an American composer and pianist. Born in La Grange, Illinois, and raised in the Chicago suburb of Western Springs, he began gravitating toward the piano at age three and received his earliest musical training from his grandmother, a cocktail pianist who taught him the rudiments of the instrument.
He studied piano with Emilio del Rosario at the Music Center of the North Shore before moving to Eastman School of Music, where he studied with Samuel Adler, Warren Benson, and Joseph Schwantner.
He has earned a Master of Music and Doctor of Musical Arts from the University of Michigan, studying under William Bolcom and William Albright. He is currently a Professor of Music and Chair of the Composition Department at the University of Colorado Boulder.
Pann identifies his music as being "driven by harmony," utilizing standard keys and signatures rather than atonal "tri-chordal" systems. This makes his work highly accessible to the "common man" while maintaining technical sophistication. His idiom is marked by a "propensity towards quotation," drawing from sources as diverse as Renaissance French dance, Russian Romantics (Tchaikovsky), and 1970s pop music.