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21st century

Baroque

Classical

Romantic

20th century

21st century

Solo repertoire

Piccolo

Alto flute

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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

“Three Bagatelles from China West” for flute and piano

By Yi Chen

Chen Yi: “Three Bagatelles from China West” for flute and piano was written in 2006. The piece was commissioned by the organization "Meet The Composer" for flutist Marya Martin as part of the "Flute Book for the 21st Century" project, later published as the Eight Visions anthology. The work is dedicated to Mr. Gilbert Kaplan, a longtime friend of the composer, in recognition of his significant support for classical music.
Marya Martin premiered the piece on March 29, 2007, at Carnegie Hall’s Weill Recital Hall. For the premiere, Martin performed on a wooden flute to capture a more "mellow" and authentic sound that complemented the folk-alike tone colors.
The piece is a suite of three movements, each drawing from authentic folk music of the minority peoples in Western China:
1. Shan Ge (Hill Song)
Inspired by the solo piece Shange Diao played on the Lerong (a wind instrument) and musical patterns of the Kouxian (mouth harp) of the Jingpo people.
2. Nai Guo Hou.
Inspired by the Bawu (a reed instrument) and pitch material from the folk song Ashima of the Yi people.
3. Dou Duo (or Happy Tune)
Inspired by the folk song Dou Duo and the percussive ensemble sounds of the Lusheng played by the Miao people.

The year 2006 was a landmark for Chen Yi’s professional recognition and academic influence. She was a finalist for the 2006 Pulitzer Prize in Music for her orchestral work Si Ji (Four Seasons), and she also began serving as a Visiting Professor at multiple music institutes in China starting in 2006. During this time, she was highly active in promoting new music and bridging Eastern and Western cultural traditions, often through projects like the Marya Martin commission, which sought to expand the modern flute repertoire.

Marya Martin

Colette Valentine (piano), 2009, Naxos

1. Shan Ge (Hill Song)

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Marya Martin

Colette Valentine (piano), 2009, Naxos

2. Nai Guo Hou

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Marya Martin

Colette Valentine (piano), 2009, Naxos

3. Dou Duo

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Yi Chen

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.