21st century
Baroque
Classical
Romantic
20th century
21st century
Solo repertoire
Piccolo
Alto flute
Bass flute
Witt Carl
Adler, Samuel
Albert, Adrienne
Amlin, Martin
Arnauts, Dimitri
Bacri, Nicolas
Baksa, Robert
Balter, Marcos
Beal, Jeff
Bilotta, John
Borisova-Ollas, Victoria
Bullard, Janice Maille
Bunch, Kenji
Carter, Elliott
Chamberlain, Nicole
Chyrzynski, Marcel
Clarke, Ian
Coleman, Valerie
Connesson, Guillaume
Costa Roldán, Eduardo
Cueto, Daniel
Dalbavie, Marc-André
Daugherty, Michael
Dehnhard, Tilmann
Desenne, Paul
Dorff, Daniel
Egger, Fabian Johannes
Eggert, Kenneth
Firšt, Nenad
Furrer, Beat
Garrop, Stacy
Ghidoni, Armando
Gibb, Charles
Hailstork, Adolphus
Harberg, Amanda
Hersh, Howard
Hoover, Katherine
Igudesman, Aleksey
Ittzés, Gergely
Kernis, Aaron Jay
Khoury, Houstaf
Kukal, Ondřej
León, Tania
Lias, Stephen
Liebermann, Lowell
Lindberg, Christian
Linthicum-Blackhorse, William
Louke, Phyllis Avidan
Magalif, Eugene
Mitchell, Jonathan
Monroe, Ervin
Mower, Mike
Mucha, Geraldine
Mulleman, Tim
Ornstein, Maarten
Pann, Carter
Panufnik, Roxanna
Pärt, Arvo
Pattillo, Greg
Penman, Katrina
Petrič, Ivo
Price, William
Pritsker, Gene
Pucihar, Blaž
Ran, Shulamit
Rea, Stephanie
Rotaru, Doina
Rozman, Anže
Schocker, Gary
Schwantner, Joseph
Sciarrino, Salvatore
Seif, Sami
Serebrier, José
Skipworth, Lachlan
Sollberger, Harvey
Somma, Victor
Uébayashi, Yuko
Vasks, Pēteris
Widmann, Jörg
Witt, Carl
Woolf, Randall
Yi, Chen
"This Invisible World" for flute and piano
Carl Witt: "This Invisible World" for flute and piano was written around 2010-2011 and dedicated to the blind. It was specifically commissioned by the international flute soloist Wissam Boustany. Boustany actively approached the American composer and fellow flutist Carl Witt to craft a work that could serve as both a complex musical exploration and a advocacy tool. Both Carl Witt and Wissam Boustany shared a deep fascination with the sensory mechanics of visual impairment. Specifically, they wanted to honor the unique capacity of blind individuals to discover profound inner meanings, structures, and textures that remain completely abstract or "invisible" to the sighted world.
The piece was intentionally adopted by Boustany to act as a major flagship catalyst for his global charity initiative, Towards Humanity. A portion of the proceeds from the project's tracking and album distribution directly benefits organizations supporting the blind and visual wellness, such as the SOS Children's Villages UK.
Musically, the composition is an exercise in translating purely tactile and atmospheric spatial awareness into an auditory journey. The composition relies heavily on a post-minimalist structural blueprint. It begins softly, constructing a sonic architecture out of a single short, recurring melodic motif. As the piece moves forward, Witt manipulates the flute and piano registers to create multi-layered acoustic environments—evoking an "aura of unseen beauty" where sound wave physicalities must literally be heard to be felt. The score gradually increases in sheer dynamic intensity and rhythmic urgency before pivoting into an intensely calm, deeply reflective movement of ultimate quietude. This dynamic arc simulates the process of retreating from external chaos into the rich, vast universe of the human mind.
True to Boustany and Szram’s signature performance standard, this piece (which spans 14 minutes and 28 seconds) is traditionally performed completely from memory, heightening the raw, sensory reliance on acoustic feedback and touch.
Carl Witt (1959) is an American pianist and composer. Raised in Kalamazoo, Michigan, he studied at the Western Michigan University and later at the Southern Methodist University in Dallas, Texas.
Witt finalized his elite academic training at the world-renowned Eastman School of Music, where he was awarded a Doctor of Musical Arts (DMA) in composition and applied piano in 1988, taking home the institution's highly coveted top composition prize.
He studied composition with Joseph Schwantner, Samuel Adler, Warren Benson, Ramon Zupko, and Sydney Hodkinson.
Carl Witt’s style bridges the structural complexity of contemporary academic music with deeply expressive, tactile, and meditative environments. He masterfully utilizes recurring, rhythmic, or melodic motifs that bloom into expansive emotional landscapes, as seen in his highly acclaimed solo piano works. He frequently writes music designed to touch upon human advocacy, multimedia dance, or sensory experiences beyond standard notation.
Among his most notable compositions: Quiet Mind: A critically acclaimed commercial album of deeply therapeutic solo piano meditations, as well as several compositions for flute and piano: Blessing; The Invisible World, and Suite for Flute and Piano.