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20th century

Baroque

Classical

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20th century

21st century

Solo repertoire

Piccolo

Alto flute

Bass flute

Tansman Alexandre

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

Currier, Sebastian

Dahl, Walter Ingolf Marcus

Damase, Jean-Michel

Davidovsky, Mario

De Lorenzo, Leonardo

Debussy, Claude

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

Feld, Jindřich

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

Hovhaness, Alan

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

Liebermann, Lowell

Loudova, Ivana

Mack, Dieter

Mahler, Gustav

Maresz, Yan

Martin, Frank

Martino, Donald

Martinů, Bohuslav

Meltzer, Harold

Messiaen, Olivier

Mihalovici, Marcel

Milhaud, Darius

Mouquet, Jules

Mower, Mike

Muczynski, Robert

Nielsen, Carl

Norby, Erik

Nordenstrom, Gladys

Offermans, Wil

Olsen, Carl Gustav Sparre

Paget, Daniel

Perle, George

Petrovics, Emil

Piazzolla, Astor

Piston, Walter

Poulenc, Francis

Prokofiev, Sergey

Rachmaninoff, Sergei

Ran, Shulamit

Raphael, Günter

Rautavaara, Einojuhani

Ravel, Maurice

Reynolds, Verne

Riegger, Wallingford

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

Sonatine for flute and piano

Sonatine for flute and piano

By Tansman Alexandre

Alexandre Tansman: Sonatine for flute and piano was written in 1925 and dedicated to Louis Fleury. It reflects Tansman's fascination with neo-classicism, blending echoes of history with the lively bohemian spirit of Paris. The work is a playful stroll through a Parisian nightlife infused with the jazz and dance rhythms of the era. 

"Two slow movements (Intermezzo and Notturno) framing a stylised dance show the influence of the serenade, once the principal genre of high-level yet pleasurable, sometimes even slightly provocative entertainment.

As a dance, he selected the foxtrot, in keeping with the times – jazz was a constant source of inspiration in the Paris of the 1920s. The outer movements sketch the classical heritage. The first one begins like a prelude; it consists of two sections of opposing moods reflected in a third. Here, Tansman works with sonata form on the simplest level. He does something similar in the finale, a cheerful concluding movement with a cantabile middle section. Its tripartite structure form outlines the principle of the rondo form."

Habakuk Traber

Anne-Catherine Heinzmann

Thomas Hoppe (piano), 2015, Audite

1. Modéré

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Anne-Catherine Heinzmann

Thomas Hoppe (piano), 2015, Audite

2. Intermezzo

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Anne-Catherine Heinzmann

Thomas Hoppe (piano), 2015, Audite

3. Scherzo (Fox-Trot)

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Anne-Catherine Heinzmann

Thomas Hoppe (piano), 2015, Audite

4. Notturno

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Anne-Catherine Heinzmann

Thomas Hoppe (piano), 2015, Audite

5. Finale

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Tansman Alexandre

Alexandre Tansman (1897–1986) was a Polish-French composer whose music blends neoclassical clarity with expressive lyricism. Born in Łódź into a family with deep Polish roots, he described his parents’ house as “liberal and non-practising” in terms of religion, yet he remained familiar with Jewish teachings and traditions. He studied in Paris, where he was acquainted with Maurice Ravel and Igor Stravinsky, becoming part of the circle of modern emigrant artists called the École de Paris.

“Impressions of urban cultural life were reflected in his works, influencing both his musical language and the variety of genres in which he expressed himself. But these new impulses met with personally developed stylistic resources in his case. He created his style by reacting sensitively to the cultural variety of Poland – a country that did not exist on the political map until 1918, but only in the hearts of its inhabitants. These included the large Jewish population that interpreted the name Poland in Hebrew as “pol in” (meaning “here is where you should live”). Tansman always referred to himself as a Polish composer, even after he assumed French citizenship in 1938, saving himself from Nazi persecution in 1941 in American exile and returning to France in 1946. In his insistence on these origins, the Jewish sound of Poland/Polin continued to resonate, in which reality and utopia entered into a fragile union. In Tansman’s art, there is an effect of Jewish traditions that cannot be pinned down in formulas or sounds, but which helps determine the tone and the flow of his thoughts.”

Habakuk Traber