The flute is a versatile instrument with a rich history, and its repertoire has evolved tremendously over time. The 20th century, in particular, was a significant period for the flute, as it saw the emergence of several prominent composers who wrote some of the most enduring and challenging pieces for the instrument. In this article, we will explore the legacy of 20th century flute repertoire, its composers, and some of the most notable pieces that have shaped the instrument’s modern sound.
Introduction to 20th Century Flute Repertoire
The 20th century marked a significant shift in music composition, with composers breaking away from traditional classical styles and exploring new forms of expression. Flute repertoire during this period underwent a similar transformation, characterized by a departure from traditional tonality, complex harmonies, and an emphasis on experimentation. Composers experimented with different techniques such as extended techniques, microtonality, and aleatory music, among others. This experimentation resulted in a vast and diverse body of repertoire that continues to influence contemporary flute playing. Below is a list of 20th century flute repertoire list;
| Title | Composer | Instruments |
| Hamabe no uta | T. Narita | Flute & Harp |
| Also sprach Zarathustra Op. 30 | R. Strauss | Flute & Organ |
| In the Bleak Midwinter | H. Darke | Flute & Organ |
| Berceuse | P. Gaubert | Flute & Piano |
| Chanson de Matin Op. 15, No. 2 | E. Elgar | Flute & Piano |
| Clair de lune from Suite bergamasque, L. 75 | C. Debussy | Flute & Piano |
| Cranham | G. Holst | Flute & Piano |
| Csárdás | V. Monti | Flute & Piano |
| E lucevan le stelle from Tosca | G. Puccini | Flute & Piano |
| Evening in Transylvania from 10 Easy Pieces, Sz. 39 | B. Bartók | Flute & Piano |
| Gnossienne No. 1 from Gnossiennes | E. Satie | Flute & Piano |
| Gnossienne No. 2 from Gnossiennes | E. Satie | Flute & Piano |
| Gnossienne No. 3 from Gnossiennes | E. Satie | Flute & Piano |
| Gnossienne No. 4 from Gnossiennes | E. Satie | Flute & Piano |
| Gnossienne No. 5 from Gnossiennes | E. Satie | Flute & Piano |
| Gnossienne No. 6 from Gnossiennes | E. Satie | Flute & Piano |
| Gymnopédie No. 1 from Trois Gymnopédies | E. Satie | Flute & Piano |
| Gymnopédie No. 2 from Trois Gymnopédies | E. Satie | Flute & Piano |
| Gymnopédie No. 3 from Trois Gymnopédies | E. Satie | Flute & Piano |
| He’d Have to Get Under – Get Out and Get Under | M. Abrahams | Flute & Piano |
| Hora Staccato | G. Dinicu | Flute & Piano |
| I Don’t Want To Play In Your Yard | H.W. Petrie | Flute & Piano |
| Italian Polka | S. Rachmaninoff | Flute & Piano |
| La fille aux cheveux de lin from Préludes, Book 1, L. 117 | C. Debussy | Flute & Piano |
| Madrigal | P. Gaubert | Flute & Piano |
| Nimrod from Enigma Variations, Op. 36 | E. Elgar | Flute & Piano |
| Nocturne from Nocturne et Allegro Scherzando | P. Gaubert | Flute & Piano |
| Pan et les Bergers from La Flûte de Pan, Op. 15, Mvmt. 1 | J. Mouquet | Flute & Piano |
| Pan et les Oiseaux from La Flûte de Pan, Op. 15, Mvmt. 2 | J. Mouquet | Flute & Piano |
| Pavane pour une infante défunte | M. Ravel | Flute & Piano |
| Quando me’n vo’ from La bohème | G. Puccini | Flute & Piano |
| Rêverie L. 68 | C. Debussy | Flute & Piano |
| Serenata Op. 6, No. 1 | E. Toselli | Flute & Piano |
| So Long, Mother | E. Van Alstyne | Flute & Piano |
| Thaxted | G. Holst | Flute & Piano |
| The Little Shepherd from Children’s Corner, L. 113 | C. Debussy | Flute & Piano |
| Vocalise-Étude en forme de Habanera | M. Ravel | Flute & Piano |
| When Irish Eyes Are Smiling | E.R. Ball | Flute & Piano |
| Yoimachigusa | T. Ōno | Flute & Piano |
| The Teddy Bears’ Picnic | J.W. Bratton | Flute duet |
| Golliwogg’s Cakewalk from Children’s Corner, L. 113 | C. Debussy | Flute quartet |
| Basse-Danse from Capriol Suite | P. Warlock | Flute solo |
| Boléro | M. Ravel | Flute solo |
| Chaconne from 30 Studies for Flute Solo, Op. 107, No. 30 | S. Karg-Elert | Flute solo |
| Children’s March | P. Grainger | Flute solo |
| Danse de la Chèvre H. 39 | A. Honegger | Flute solo |
| Italian Polka | S. Rachmaninoff | Flute solo |
| Jocul cu bâtă from Romanian Folk Dances, Sz. 56 | B. Bartók | Flute solo |
| La plus que lente L. 121 | C. Debussy | Flute solo |
| Land of Hope and Glory from Pomp and Circumstance March No. 1, Op. 39 | E. Elgar | Flute solo |
| Moon on the Ruined Castle | R. Taki | Flute solo |
| Prélude à l’après-midi d’un faune L. 86 | C. Debussy | Flute solo |
| Study No. 6 in C minor from 30 Studies for Flute Solo, Op. 107, No. 6 | S. Karg-Elert | Flute solo |
| Study No. 1 in C major from 30 Studies for Flute Solo, Op. 107, No. 1 | S. Karg-Elert | Flute solo |
| Study No. 10 in A major from 30 Studies for Flute Solo, Op. 107, No. 10 | S. Karg-Elert | Flute solo |
| Study No. 11 in F-sharp minor from 30 Studies for Flute Solo, Op. 107, No. 11 | S. Karg-Elert | Flute solo |
| Study No. 12 in G major from 30 Studies for Flute Solo, Op. 107, No. 12 | S. Karg-Elert | Flute solo |
| Study No. 13 in E-flat major from 30 Studies for Flute Solo, Op. 107, No. 13 | S. Karg-Elert | Flute solo |
| Study No. 14 in E minor from 30 Studies for Flute Solo, Op. 107, No. 14 | S. Karg-Elert | Flute solo |
| Study No. 15 in B-flat major from 30 Studies for Flute Solo, Op. 107, no. 15 | S. Karg-Elert | Flute solo |
| Study No. 16 in G minor from 30 Studies for Flute Solo, Op. 107, no. 16 | S. Karg-Elert | Flute solo |
| Study No. 17 in A-flat major from 30 Studies for Flute Solo, Op. 107, No. 17 | S. Karg-Elert | Flute solo |
| Study No. 18 in D minor from 30 Studies for Flute Solo, Op. 107 | S. Karg-Elert | Flute solo |
| Study No. 19 in E major from 30 Studies for Flute Solo, Op. 107, No. 19 | S. Karg-Elert | Flute solo |
| Study No. 2 in D minor from 30 Studies for Flute Solo, Op. 107, No. 2 | S. Karg-Elert | Flute solo |
| Study No. 20 from 30 Studies for Flute Solo, Op. 107, No. 20 | S. Karg-Elert | Flute solo |
| Study No. 21 in B major from 30 Studies for Flute Solo, Op. 107, No. 21 | S. Karg-Elert | Flute solo |
| Study No. 22 from 30 Studies for Flute Solo, Op. 107, No. 22 | S. Karg-Elert | Flute solo |
| Study No. 23 in C-sharp minor from 30 Studies for Flute Solo, Op. 107 | S. Karg-Elert | Flute solo |
| Study No. 24 in E-flat major from 30 Studies for Flute Solo, Op. 107, No. 24 | S. Karg-Elert | Flute solo |
| Study No. 25 in C minor from 30 Studies for Flute Solo, Op. 107 | S. Karg-Elert | Flute solo |
| Study No. 26 from 30 Studies for Flute Solo, Op. 107, No. 26 | S. Karg-Elert | Flute solo |
| Study No. 27 in E major from 30 Studies for Flute Solo, Op. 107, No. 27 | S. Karg-Elert | Flute solo |
| Study No. 28 in B-flat minor from 30 Studies for Flute Solo, Op. 107 | S. Karg-Elert | Flute solo |
| Study No. 29 in F-sharp major from 30 Studies for Flute Solo, Op. 107, No. 29 | S. Karg-Elert | Flute solo |
| Study No. 3 in F major from 30 Studies for Flute Solo, Op. 107, No. 3 | S. Karg-Elert | Flute solo |
| Study No. 4 in C major from 30 Studies for Flute Solo, Op. 107, No. 4 | S. Karg-Elert | Flute solo |
| Study No. 5 in D major from 30 Studies for Flute Solo, Op. 107, No. 5 | S. Karg-Elert | Flute solo |
| Study No. 7 in A minor from 30 Studies for Flute Solo, Op. 107, No. 7 | S. Karg-Elert | Flute solo |
| Study No. 8 in F major from 30 Studies for Flute Solo, Op. 107, No. 8 | S. Karg-Elert | Flute solo |
| Study No. 9 in G major from 30 Studies for Flute Solo, Op. 107, No. 9 | S. Karg-Elert | Flute solo |
| Syrinx L. 129 | C. Debussy | Flute solo |
| The Little Negro L. 114 | C. Debussy | Flute solo |
| The Whistler and his Dog | A. Pryor | Flute solo |
| Vocalise from Fourteen Songs, Op. 34, No 14 | S. Rachmaninoff | Flute solo |
| Wien, du Stadt meiner Träume | R. Sieczyński | Flute solo |
| Jul, jul, strålande jul | G. Nordqvist | Flute trio |
Prominent Composers of 20th Century Flute Repertoire
Several composers made significant contributions to flute repertoire during the 20th century. These composers drew inspiration from various sources, ranging from folk music to avant-garde styles. Some of the most notable composers of 20th century flute repertoire include:
Claude Debussy
Claude Debussy’s music is known for its impressionistic style, characterized by its use of harmony and color to create atmospheric and evocative music. His Syrinx is one of the most enduring pieces in the flute repertoire, characterized by its use of extended techniques to create a haunting, otherworldly sound.
Edgar Varèse
Edgar Varèse was an avant-garde composer known for his use of electronic and percussive sounds in his music. His Density 21.5, written for solo flute, is a challenging and groundbreaking piece that explores the full range of the instrument.
Ian Clarke
Ian Clarke is a contemporary composer known for his innovative and virtuosic flute music. His pieces such as The Great Train Race and Sunstreams are popular among flute players for their technical demands and dynamic soundscapes.
Notable Pieces of 20th Century Flute Repertoire
The 20th century saw the emergence of several notable pieces that have become staples in the flute repertoire. These pieces challenged traditional playing techniques and pushed the boundaries of what was possible on the instrument. Here are some of the most notable pieces of 20th century flute repertoire:
Syrinx by Claude Debussy
As mentioned earlier, Syrinx is one of the most enduring pieces in flute repertoire. It was written in 1913 and is known for its use of extended techniques such as flutter-tonguing and pitch bending to create a haunting and ethereal sound.
Density 21.5 by Edgar Varèse
Density 21.5 was written in 1936 and is considered one of the most challenging pieces in the flute repertoire. It explores the full range of the instrument, with its use of microtonality and complex rhythms.
Sonatine by Pierre Boulez
Pierre Boulez’s Sonatine is a complex and challenging piece that showcases the technical capabilities of the flute. It features complex rhythms, intricate melodies, and a unique harmonic language that pushes the boundaries of tonality.
Influence of 20th Century Flute Repertoire on Contemporary Flute Playing
The legacy of 20th-century flute repertoire continues to influence contemporary flute playing. Many of the techniques and styles explored by composers of that era have become standard practices in modern flute playing. For example, extended techniques such as flutter-tonguing, pitch bending, and harmonics are now common techniques used by flute players.
Moreover, contemporary composers continue to draw inspiration from the repertoire of the 20th century, incorporating elements of avant-garde styles and experimental techniques in their compositions. The result is a diverse and ever-evolving body of flute repertoire that reflects the ongoing evolution of music composition.
Conclusion
The 20th century was a significant period for flute repertoire, characterized by a departure from traditional styles and an emphasis on experimentation and innovation. The composers of that era pushed the boundaries of what was possible on the instrument, resulting in a vast and diverse body of repertoire that continues to inspire and challenge contemporary flute players. As we look to the future, we can expect to see the legacy of 20th-century flute repertoire continue to influence and shape the evolution of the instrument’s sound.
