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
“Three Bagatelles from China West” for flute and piano
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.
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.