20th century
Baroque
Classical
Romantic
20th century
21st century
Solo repertoire
Piccolo
Alto flute
Bass flute
Riegger Wallingford
Aitken, Robert
Amirov, Fikret
Amlin, Martin
Amram, David
Andriessen, Jurriaan
Arnold, Malcolm
Arrieu, Claude
Auric, Georges
Babbit, Milton
Bacchus, Peter
Bacri, Nicolas
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Suite for Flute Alone, Op. 8
Suite for Flute Alone, Op. 8
Wallingford Riegger: Suite for Flute Alone, Op. 8 was written in 1929. The work is dedicated to the legendary French-American flutist Georges Barrère. Barrère was the premier flutist of his era and the primary advocate for the silver Boehm-system flute in America.
In 1929, Wallingford Riegger was undergoing a radical stylistic transformation. Having moved to New York in 1928, Riegger was increasingly influenced by the "ultra-modern" circle, including Charles Ives and Henry Cowell. The Suite for Flute Alone represents his shift away from the conservative, romanticized style of his early career toward a dissonant, independent language. Though not strictly a serial work in the Schoenbergian sense, the Suite demonstrates Riegger’s early interest in non-repeating pitch rows. Notably, the end of the final movement contains a 36-note tone row that spans almost the entire range of the flute.
During these years, Riegger was working as a musical editor and arranger to support himself while establishing his voice as a modernist composer.
Riegger Wallingford
Wallingford Riegger (1885–1961) was an American composer and a central figure in the "Ultra-Modernist" movement. He is historically recognized for being one of the first American composers to fully embrace and adapt the twelve-tone technique into a distinctively vigorous and rhythmically driven style.
Born in Albany, Georgia, he was raised in an exceptionally musical household. His mother was a gifted pianist, and his father was a choir director and violinist. After his family moved to New York, Riegger continued his musical education at the Institute of Musical Art (now Juilliard School), where he studied cello under Alwin Schroeder and theory under Percy Goetschius. Like many American composers of his generation, Riegger sought further refinement in Germany. He studied at the Hochschule für Musik in Berlin from 1907 to 1910. Riegger spent several years conducting in Germany before returning to the United States during World War I. The late 1920s marked a radical shift in his aesthetic. Influenced by the avant-garde circle of Henry Cowell and Edgard Varèse, Riegger abandoned his earlier tonal, Romantic style. His Suite for Flute Alone (1929) was a breakthrough work, showcasing his new interest in dissonance and atonal structures. Riegger is often cited in musicological texts as the composer who "naturalized" serialism for American ears. He utilized Schoenberg’s methods not as a rigid system, but as a tool for creating music of intense clarity and dramatic power.