30 Capricci op. 107 for flute solo
«The existing literature does not exhaust the unlimited technical possibilities (of the Boehm flute)» asserted Karg-Elert in his preface of the 30 Capricci (1919). And with this idea in mind, he completely changed the stereotyped use of the flute, reproposing it as a privileged instrument for composers of the twentieth century. An absolute masterpiece of flutist literature of all time, can also be used as a valuable teaching tool.
He has been flutist of the Concertgebouw Orchestra for over thirty years and professor of flute and chamber music at the Royal Conservatory of The Hague.
He has played in various chamber ensembles such as the Viotta Ensemble of the Concertgebouw and the Amsterdam Quartet (flute and strings). He has been a member of the famous Netherlands Wind Ensemble for more than ten years. Some of the greatest Dutch composers (Rudolf Escher, Theo Loevendie and Tristan Keuris) wrote and dedicated to him new works for flute, and so also foreign composers of the name of Ysang Yun, Jean Françaix, Gottfried Michael Koenig and Per Nørgård. He recorded a large number of CDs and recorded the concerts of Vivaldi, Mozart and Jolivet for Dutch television.
For some years he has been teaching privately in his studio in Tuscany, and in Amsterdam. He is regularly invited for master classes in Germany, England, Portugal, and Italy and in recent years also in Australia, Japan and the United States. In recent years he has intensified his activity as director and instructor of music for wind instruments and has been called to take care of the wind instruments section of the European Youth Orchestra.
As a curator and reviewer of critical editions he works permanently with Amadeus (Switzerland), Broekmans & Van Poppel and Knuf (The Netherlands), and for the Italian publishing house Riverberi Sonori.
Sigfrid Karg-Elert (Oberndorf am Neckar, 21 November 1877 - Leipzig, 9 April 1933) was a German composer, teacher and organist. He achieved a certain popularity in the early twentieth century, especially for his choral works, lieder, orchestral music, piano music and compositions for the organ and the harmonium. Born with the name of Siegfried Theodor Karg, he studied at the Conservatory of Leipzig under the guidance of Alfred Reisenauer, a pupil of Franz Liszt, and of Salomon Jadassohn and Carl Reinecke. In 1901 he became a piano professor at the Conservatory of Magdeburg and here he changed his name to Sigfrid Karg-Elert, with a simplified version of his mother's surname, Ehlert. In these years, on the advice of Edvard Grieg he devoted himself to composition, in particular of piano works. In 1904, through the music publisher Carl Simon, he discovered the expressive possibilities of the so-called "art harmonium": from this moment on, the music written for this instrument will become a preponderant part of his catalog of works, as well as the repertoire for Kunstharmonium.
In 1919, he became professor of music theory and composition at the Leipzig Conservatory, succeeding Max Reger. 
While in Great Britain and the United States his works became very popular, in Germany he was opposed by much of the music critics and composers like Reger himself. In the 1920s and 1930s, Karg-Elert increasingly turned to the international scene, partly because of the rise of National Socialism. From 5 to 17 May 1930 the Londoner Organ Music Society organizes a "Karg-Elert Festival" in London: 10 different organ recitals are presented in his honor, to which he is present as a guest composer. Moreover, in 1932 he was invited to perform as a concert organist of 22 concerts in the United States: despite being ill with diabetes, he decided to leave to present some of his latest compositions (such as the Introduction, Passacaglia and Fuga on the name BACH) alongside works by ancient masters. But the tour turns out to be a failure: organist of limited technical skills, Karg-Elert is lost in front of the complex American instruments and ends up disappointing the public receiving bad reviews from critics. This extreme blow has catastrophic consequences on his state of health.
A man who has always been very tormented and singular, he dies the following year, just 55 years old.