20th century
Baroque
Classical
Romantic
20th century
21st century
Solo repertoire
Piccolo
Alto flute
Bass flute
Schwantner Joseph
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
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Dahl, Walter Ingolf Marcus
Damase, Jean-Michel
Davidovsky, Mario
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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
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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
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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
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Loudova, Ivana
Mack, Dieter
Mahler, Gustav
Maresz, Yan
Martin, Frank
Martino, Donald
Martinů, Bohuslav
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Offermans, Wil
Olsen, Carl Gustav Sparre
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Perle, George
Petrovics, Emil
Piazzolla, Astor
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Poulenc, Francis
Prokofiev, Sergey
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Reynolds, Verne
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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
Black Anemones for flute and piano
Joseph Schwantner: Black Anemones for flute and piano was written in 1980. It is an arrangement of the middle movement of his song cycle Two Poems of Agueda Pizarro (1980) and has become a landmark of late 20th-century American "New Romanticism."
The work is dedicated to the American flautist Harvey Boatright, who was the long-time flautist of the Dallas Symphony Orchestra. It was premiered by Harvey Boatright and pianist Janet Hunt in 1982 in Dallas, Texas.
The piece is noted for its "shimmering" textures and use of pedal points. It utilizes octatonic scales and quartal harmonies to create a sense of suspended time. Additionally, it requires extreme dynamic control (from pppp to f) and the ability to maintain a "haunting, vocal quality" without words.
1980 was a year of deep literary exploration for Schwantner. He was captivated by the poetry of Agueda Pizarro, whose surreal and "darkly fragrant" imagery provided the perfect canvas for his harmonic language. Black Anemones captures the poem's atmosphere of nocturnal mystery and delicate melancholy. A dreamlike atmosphere reflects the child's bizarre dream about his mother: "You walk with silver lions / and wait to estrange me".
In 1980, Schwantner was at the absolute peak of his professional influence, having won the 1979 Pulitzer Prize for Music for Aftertones of Infinity. During this year, he was moving away from the rigid serialism of his early career toward a more sensuous, eclectic, and coloristic style often termed "New Romanticism."
Joseph Schwantner (1943) is an American composer who initially studied classical guitar and played tuba in high school band. Then he studied composition with Bernard Dieter at the American Conservatory in Chicago. His earliest compositions were influenced by music of Bela Bartók, Claude Debussy and Olivier Messiaen as well as various forms or jazz. Later he gradually joined the faculty of the Eastman School of Music, Juilliard School and Yale. He is a recipient of numerous nominations, awards and prizes.
Among his most noteworthy compositions: Percussion Concerto (2012, Grammy Award); symphonic poem Aftertones of Infinity (1978, Pulitzer Prize in music); song cycle Magabunda for orchestra (1983) as well as many chamber music compositions for flute and other instruments.