20th century
Baroque
Classical
Romantic
20th century
21st century
Solo repertoire
Piccolo
Alto flute
Bass flute
Piazzolla Astor
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
De Lorenzo, Leonardo
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
Gade, Jacob
Gál, Hans
Gaubert, Philippe
Genzmer, Harald
George, Thom Ritter
Ghidoni, Armando
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
Hovhaness, Alan
Hüe, Georges Adolphe
Hurel, Philippe
Ibert, Jacques
Ichiyanagi, Toshi
Ittzés, Gergely
Ives, Charles
Jacob, Gordon
James, Bob
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
Norby, Erik
Nordenstrom, Gladys
Offermans, Wil
Olsen, Carl Gustav Sparre
Paget, Daniel
Perle, George
Petrovics, Emil
Piazzolla, Astor
Piston, Walter
Poulenc, Francis
Prokofiev, Sergey
Rachmaninoff, Sergei
Ran, Shulamit
Raphael, Günter
Rautavaara, Einojuhani
Ravel, Maurice
Reynolds, Verne
Riegger, Wallingford
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
6 Tango Etudes for Flute solo
6 Tango Etudes for Flute solo
A. Piazzolla: 6 Tango Etudes (Tango-Études pour flûte seule) for solo flute were written in 1987 and dedicated to the Belgian flutist Marc Grauwels, who premiered them in 1987 in Paris. Each etude: Décidé; Anxieux et rubato; Molto marcato e energico; Lento meditativo; Sans indication; Avec anxiété was written originally for flute.
When composing these etudes, Piazzolla occasionally consulted with his good friend, Argentine flutist Claudio Barile, the principal flutist of the Orquesta Filarmónica de Buenos Aires. In 1987, Piazzolla shared the early drafts of the etudes with Barile to test their idiomatic feasibility. According to interviews with Claudio Barile, Piazzolla was specifically interested in how the flute could mimic the aggressive bellows-shake and the staccato "bite" of the bandoneón. Barile helped Piazzolla refine the articulation markings and the breath phrasing to ensure the music felt like an authentic tango rather than a standard European exercise. Barile’s input was crucial for the intervallic leaps found in Etudes No. 3 and No. 6, which pushed the instrument's technical limits while remaining playable for a virtuoso.
In 1987, Piazzolla was at the peak of his international fame but also facing significant health challenges. This period was a time of "classical reflection" where he sought to leave behind a written legacy for classical soloists. Piazzolla and Grauwels had a prolific professional relationship during this time. In 1987, the same year as the Etudes, they collaborated on the famous History of the Tango for flute and guitar. The Etudes were written as a solo counterpart to that work, allowing the flutist to explore the percussive and melodic language of the tango without accompaniment.
Piazzolla Astor
Astor Piazzolla (1921-1992) was an Argentinian composer, known for his inconceivable ability to apply sounds and rhythms of Argentinian tango to virtually any music form. Even though Piazzolla was raised in New York, young Astor was exposed to different cultures and learned to play bandoneón (concertina type instrument invented by Heinrich Band). When he turned 16, Astor moved to Argentina to become a professional tango musician.
Tango dance originated in the end of 19th century as a part of bar and brothel culture of Buenos Aires, combining various native dance styles (milonga, habanera and candombe) and typically accompanied by bandoneón, piano, violin, guitar and double bass. There Piazzolla started to study composition. Initially with Alberto Ginastera and later with Nadia Boulanger in Paris who greatly influenced him by encouraging to develop his compositional style "concert tango", also known as tango nuevo. Among his most important compositions: symphonic work Orquesta Típica (1946); Orquesta de Cuerdas (1958) for string orchestra; Octeto Buenos Aires (1958) etc.