Romantic
Baroque
Classical
Romantic
20th century
21st century
Solo repertoire
Piccolo
Alto flute
Bass flute
Saint-Saëns Camille
Andersen, Joachim
Boehm, Theobald
Bonis, Mel
Borne, François
Caplet, André
Chaminade, Cécile
Chopin, Frédéric
Danzi, Franz Ignaz
Demersseman, Jules-Auguste Edouard
Donizetti, Gaetano
Donjon, Johannes
Doppler, Albert Franz
Fauré, Gabriel
Frühling, Carl
Ganne, Louis
Godard, Benjamin
Grandval, Clémence
Hüe, Georges Adolphe
Kuhlau, Friedrich
Mercadante, Saverio
Molique, Wilhelm Bernhard
Mouquet, Jules
Périlhou, Albert
Reinecke, Carl Heinrich Carsten
Saint-Saëns, Camille
Schubert, Franz
Schumann, Robert
Strauss, Richard
Taffanel, Claude Paul
Tulou, Jean-Louis
Wagner, Siegfried
Widor, Charles Marie Jean Albert
Romance for flute and orchestra in D-flat Major (Op 37)
C. Saint-Saëns: "Romance" for flute in D-flat Major (Op 37) was written in 1871 and dedicated to Amédée de Vroye, a renown flutist at that time. Due to political situation in France, the “Romance” was premiered by Vroye and Saint-Saëns in Baden-Baden, Germany. The Paris premiere was possible a year later when it was performed by Paul Taffanel and Saint-Saëns at a Société Nationale de musique concert at the Salle Pleyel on 6 April 1872.
Camille Saint-Saëns (1835-1921) was a French composer, organist, pianist and teacher who is mostly renowned for his opera "Samson et Dalila", Symphony No 3 (Organ) and "Le Carnaval des Animaux" (The Carnaval of Animals) for small orchestra: humorous fantasy that was not performed during his lifetime.
Gifted pianist and organist, he studied at the Paris Conservatoire and served as a church organist for twenty years at renown "La Madeleine" church in Paris which was built to represent the glory of Napoleon's army. For less than 5 years he taught at École de Musique Classique et Religieuse in Paris where Gabriel Fauré and Maurice Ravel were among his students. Even though Saint-Saëns admired some works of modern music of his time composed by R.Schumann, F.Liszt and R.Wagner, he was in conflict with impressionist and dodecaphonic schools of music and regarded as a conservative, even reactionary figure in music around the turn of the 20th century.