20th century
Baroque
Classical
Romantic
20th century
21st century
Solo repertoire
Piccolo
Alto flute
Bass flute
Takemitsu Tōru
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
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Brings, Allen
Brotons, Salvador
Brown, Elizabeth
Brun, Georges
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Camus, Pierre
Carmichael, John
Carter, Elliott
Casella, Alfredo
Chaynes, Charles
Clarke, Ian
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Colquhoun, Michael
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Cortese, Luigi
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Dahl, Walter Ingolf Marcus
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Del Tredici, David
DeLaney, Charles Oliver
Delerue, Georges
Denisov, Edison
Dèsbriere, Jacques
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Dinicu, Grigoraș
Dodgson, Stephen
Dohnányi, Ernő
Dubois, Pierre Max
Dukas, Paul
Durey, Louis
Dutilleux, Henri
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Farkas, Ferenc
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Ferroud, Pierre-Octave
Flothuis, Marius
Folio, Cynthia
Foote, Arthur
Foss, Lukas
Françaix, Jean
Fukushima, Kazuo
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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
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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
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Lauber, Joseph
Lavista, Mario
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Maresz, Yan
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Martinů, Bohuslav
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Poulenc, Francis
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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
Voice for flute solo
T. Takemitsu: Voice for solo flute was written in one day: 8 April 1971 and premiered in Tokyo by Aurèle Nicolet who commissioned the piece. The composition showcases various extended techniques and consists of three sections: Encounter, Active, and Calm. Besides playing the instrument, flutist has to extensively use voice – to sing, speak (quoting a line from Shuzo Takiguchi poem “Handmade Proverbs”: "Qui va là? Qui que tu sois, parle, transparence! (Who goes there? Speak, transparence, whoever you are!)", shout, growl, hum, and click the tongue.
Tōru Takemitsu (1930-1996) was a Japanese composer, known for combining elements of oriental and occidental philosophy, mixing sounds, silence, tradition and innovation.
Born in Tokyo, he was enlisted in military service at the age of 14 during World War II. Due to prolonged illness after the war, he was exposed to Western music through the U.S. Armed forces network where he worked at that time. His bitter experiences of Japanese military service explained his unwillingness to pursue traditional music of his native Japan. Mostly self-taught Takemitsu was lured by electronic music possibilities and was a founding member of experimental workshop Jikken Kōbō in early 1950s.
He received international recognition with his Requiem for string orchestra (1957) when Stravinsky accidentally listen to it and later invited him for lunch. This facilitated his first comission from the Koussevitzky Foundation – symphonic work Dorian Horizon (1966). Further musical explorations of Takemitsu were inspired by Olivier Messiaen, John Cage (and his Zen practice) and Anton Webern as well as studies of traditional Japanese instruments from which his “November steps” for biwa, shakuhachi and orchestra was premiered by the New York Philharmonic Orchestra led by Seiji Ozawa and strengthened his international reputation as one of the leading Japanese composers of the 20th century. Considered as the first Japanese composer who was fully recognized in the West, Takemitsu legacy consists of several hundreds of various works, including scores for more than 90 films and publishing 20 books.