In an effort to proliferate the awareness of and interest in flute and organ chamber music, I have commissioned five new works for flute and organ. An analysis and performance guide of these works will provide the basis for the discussion in this monograph. Through a survey of various sources, I hope to prove the need for more flute and organ chamber works as well as introduce the five new pieces into the mainstream repertoire. I begin with a discussion of the organ/flute duo and briefly touch on the small number of existing works widely recognized in both the flute and organ communities. I use several instrument-specific catalogues of repertoire to compare which pieces are common in both the flute and the organ communities as well as how they are catalogued. Using modern scholarship surrounding the rapidly growing performance-studies discipline, I hope to show that a performance guide of these new works can be of great significance to the performers. Once I have established a need for more repertoire for this unique paring, I introduce and discuss at length each individual piece, providing a formal analysis and suggestions to the performer on how best to approach these pieces based on this analysis. I provide an abridged version of the performance guide for each piece as an appendix. Finally, I compare the five new compositions to the existing handful briefly mentioned in the introduction and strive to use the opinions of other professionals in the field to prove not only the validity of the works in themselves, but their viability as upstanding compositions in the mainstream repertoire. / Music Performance

Die zyklische Anordnung von György Kurtágs Kafka-Fragmenten op. 24, wie sie in der gedruckten Partitur erscheint, ist kein direktes Ergebnis des Kompositionsprozesses, sondern basiert auf einer vom Musikwissenschaftler András Wilheim vorgeschlagenen Reihenfolge. Dieser Umstand erlaubt es, das Werk sowohl als Fragmentsammlung, die keinerlei Verkettungskonzept folgt, als auch als Zyklus, der durch genau kalkulierte Gegenüberstellung seiner Einzelstücke entsteht, zu betrachten. Mithilfe einer Detailanalyse zur architektonischen Form der unterschiedlichen Fragmente wird untersucht, inwieweit verschiedene aus der Analyse abgeleitete Formkategorien auf diese beiden formalen Konzepte jeweils einheitsstiftend wirken können. Des Weiteren geht dieser Beitrag der Frage nach, auf welche Weise die Anordnung und Verbindung der einzelnen Fragmente innerhalb des Zyklus durch ihre architektonische Form und ihre Rahmentöne begründbar sind. / The cyclic arrangement of György Kurtág’s Kafka-Fragmente op. 24 as it appears in the printed score is not a direct product of the compositional process but based on a layout suggested by musicologist András Wilheim. This circumstance makes possible an analysis of the work both as a collection of fragments, disregarding any concept of concatenation, as well as a cycle featuring a strictly calculated juxtaposition of its individual parts. Following the results of a previous detailed study of each fragment’s architectonic form, this paper investigates how different formal categories derived from analysis can act as a unifying factor for both concepts. Furthermore, this essay aims to examine how the positioning and interconnection of the individual fragments within the cycle can possibly be explained by their architectonic form as well as their framing tones.