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This study in articulation is étude No. 21 from Italian Romantic composer Giuseppe Gariboldi's collection of 30 Etudes faciles et progressives.
Today's piece, “a fanfare with a fairy tale vibe”, was kindly contributed to our collection by its composers, Anne E. McKennon and Sophia Parra.
Once upon a time, Anne McKennon and Sophia Parra formed a flute duo playing concerts with sonatas, poetry, character pieces, and narrated musical stories. Storybook Fanfare (formerly Fanfare No. 1) began as a theme song to introduce those concerts. As it turns out, the fanfare held potential. With a little more imagination, it now fits ensembles large and small. It is filled with the charm and curiosity of “Once upon a time...”
I wonder what happens next?
This piece, taken from Wagner's 1850 opera Lohengrin, occurs at Act II, Scene 4, where all are going to the Minster for the ceremony that will occur at the beginning of Act III. The piece starts with a subtle opening which sets the stage for a dramatic build-up, leading very well into any triumphant piece, particularly the famous Bridal Chorus, which falls immediately after this piece in the opera.
Thanks to Anastasia for suggesting this piece!
The earliest appearance of this tune is in the 5th volume of James Aird's Selection of Scotch, English, Irish and Foreign Airs, published in Glasgow in 1797.
The word ‛wad’ at one time signified (a bundle of) straw, so that the title means “Moll in the straw” (possibly meaning “after childbirth”), although ‛wad’ has also been taken to mean ‛wood’. Barry Callaghan (2007) identified Moll i' the Wad, or Mother Goose, as a popular pantomime figure of the late 18th century. There are also nursery rhymes and old songs called “Moll in the Wad”.
This is the third étude from Sigfried Karg-Elert's 30 Caprices: a “Gradus ad Parnassum” of the modern technique for flute solo.
The wonderful arrangement for flute trio and guitar that we present today was kindly contributed by Chris. The piece is an old Japanese air known as “Sakura Sakura”, or simply “Sakura”.
This is the slow middle movement of Johann Sebastian Bach's B-minor sonata for Flute and Harpsichord. It encompasses two beautifully simple themes, which contrast the complexity of the preceding and following movements.