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20th century

21st century

Solo repertoire


Alto flute

Bass flute

Taffanel Claude Paul

Andersen, Joachim

Blahetka, Leopoldine

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

Mendelssohn, Felix

Mercadante, Saverio

Molique, Wilhelm Bernhard

Mouquet, Jules

Périlhou, Albert

Reinecke, Carl Heinrich Carsten

Saint-Saëns, Camille

Schubert, Franz

Schumann, Robert

Sibelius, Jean

Strauss, Richard

Taffanel, Claude Paul

Tulou, Jean-Louis

Wagner, Siegfried

Widor, Charles Marie Jean Albert

Grande Fantasie sur Mignon for flute and piano

By Taffanel Claude Paul

P. Taffanel: Grande Fantasie sur Mignon for flute and piano was written 1874, based on themes from the comic opera “Mignon” (composed in 1866) by Ambroise Thomas. The story of the opera is based on a novel “Wilhelm Meister's apprenticeship” (Wilhelm Meisters Lehrjahre) by Goethe. The Grande Fantasie sur Mignon was written as one of five fantasies Taffanel composed from 1874 to 1884 since fantasies became a popular way to display flutist's virtuoso skills at that time.

Paolo Taballione

Hirota Shunji (piano), 2017, live performance at Seoul Arts Center, Korea


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Jasmine Choi

Hugh Sung (piano), 2011, CDBaby


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William Bennett

Clifford Benson (piano), 1995, live performance at Nova Hall

Grande Fantasie sur Mignon

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Davide Formisano

Phillip Moll (piano), 2015, Universal

Grande Fantasie sur Mignon

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Karl-Heinz Schütz

Eliko Akahori (piano), 2013, live performance at The Chapel at the Riverside Church

Grande Fantasie sur Mignon

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Taffanel Claude Paul

Paul Taffanel (1844-1908) was a French flutist, conductor and teacher. As Professor of flute at the Paris Conservatory, he profoundly changed teaching methodology and greatly influenced flute repertoire.
The  founder of the French Flute School, advocating tone quality and vibrato, fully taking advantage of technical capabilities of T. Boehm's modern flute, inspiring his students to play in a new, more subtle way with light vibrato (discouraging use of vibrato when playing early music, though), he completely changed the way how masterclasses were held, focusing attention to individual student. His legacy and impact on flute continue through his method book for flute 17 Grands exercices journaliers de mécanisme which was finished by his students L. Fleury and P. Gaubert after his death.