21st century
Baroque
Classical
Romantic
20th century
21st century
Solo repertoire
Piccolo
Alto flute
Bass flute
Yi Chen
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
Chen Yi: "Memory" for solo flute was written in 2011, originally composed for solo violin. The work is a tribute to Chen Yi's mentor and violin teacher, Professor Lin Yaoji, following his death in 2009.
The flute adaptation was completed and published in 2016 in collaboration with flutist Mary Holzhausen.
In her program notes, the composer describes the music as her "painful cry" out of the professor's name in their shared Cantonese dialect, expressing her deep sorrow and gratitude for his "fatherly mentorship".
The piece blends Western solo flute performance with traditional Chinese musical influences. It utilizes specific techniques to mirror Chinese instrumental expressions, including pitch bending, unique ornamentations, and varied vibrato.
Around 2011, Chen Yi was serving as the Missouri Distinguished Professor of Composition at the University of Missouri-Kansas City Conservatory.
Chen Yi (1953) is an internationally acclaimed Chinese-American composer and educator. She is celebrated for her unique musical language that seamlessly blends the soundscapes and philosophies of traditional Chinese music with the structural rigor of the Western avant-garde.
Born in Guangzhou, China, Chen Yi began playing violin and piano at age three. Her training was violently interrupted by the Cultural Revolution (1966–1976). At age 15, she was sent to the countryside to perform grueling manual labor for several years. During this time, she practiced her violin with a mute to avoid being overheard, eventually incorporating Chinese folk songs into her playing. This experience became the foundation of her "East-meets-West" aesthetic.
In 1977, she entered the Central Conservatory of Music in Beijing, becoming the first woman in China to receive a Master of Arts in composition.
In 1986, she moved to New York to study at Columbia University with Chou Wen-chung and Mario Davidovsky, earning her DMA in 1993. Since 1998, she has served as the Lorena Cravens/Millsap/Missouri Distinguished Professor of Composition at the University of Missouri-Kansas City (UMKC) Conservatory.
Chen Yi's music is characterized by its rhythmic vitality, structural complexity, and deeply personal narratives.
She frequently utilizes Chinese folk melodies, Beijing Opera vocalizations, and traditional instrumental gestures (like the slides of the pipa or erhu) translated through Western orchestral and chamber instruments.