This hornpipe, probably of English origin, is taken from Harding's All-Round Collection of Jigs, Reels and Country Dances, published in New York in 1905. The first part is similar to the Scottish “Montgomerie's Hornpipe”.
Franz Schubert's Musical Moments (Six moments musicaux), D. 780, are a collection of six short pieces for solo piano that the Austrian composer wrote between 1823 and 1828. They are among the most frequently played of all of Schubert's piano music, and have been recorded many times. Today we propose an arrangement for flute and piano of the most popular of the Moments, No. 3 in F minor.
Thanks to Janset for suggesting this piece!
Today we propose the opening movement of Italian Baroque composer Arcangelo Corelli's Trio Sonata Op. 2 No. 4 in E minor, published in 1685. The original edition of the Op. 2 sonatas was dedicated to Cardinal Benedetto Pamphili, who is now more famous as a composer and patron of the arts than for his spiritual activity. Corelli worked for several years for Pamphili, and it seems these sonatas were originally played by Corelli himself (who was an accomplished violinist) and other musicians on Sunday afternoons.
Thanks to Mario for contributing this piece!
This is the eleventh piece from 22 Studies in Expression and Facility, Op. 89 by Italian flutist and composer Ernesto Köhler. This collection was originally published in 1904 with the German title 22 Vortrags- und Geläufigkeits Etuden für Flöte.
First publishd in 1781, this popular tune is said to have been one of the very first to be composed by William Marshall (1748-1823). A native of Fochabers, Scotland, Marshall worked for the Duke of Gordon for thirty years, eventually becoming the Factor of the Gordon Estate, and in his spare time he became conversant with mathematics, astronomy, clocks, mechanics and optics. An accomplished musician, he also found the time to compose over 250 tunes for the fiddle.
This lovely air in rondeau form is the third movement of French Baroque composer Jean-Marie Leclair's Sonata for violin or flute and continuo in E minor, Op. 1 No. 6. The first edition of this sonata was published in Paris around 1723.
This ballad was written by Irish composer and conductor Joseph Augustine Wade in 1831.
Oh! come where the Roses
for ever are blowing.
Secure from the blighting
of Winters rude time.
The present arrangement for two flutes appeared in Blake's Young Flutist's Magazine, published in 1833.
This study in G major is the seventeenth piece from Studi per il flauto in tutti j tuoni e modi (“Flute studies in all keys and modes”) by French-Italian flutist and composer Niccolò Dôthel (a.k.a. Nicolas D'Hotel).
In this Jacobite song, originally composed by Seán Clárach Mac Dónaill (1691–1754), the Gaelic goddess Éire laments Bonnie Prince Charlie Stuart, then in exile. While it is usually rendered by a male voice in a martial fashion, it is in fact a woman's lament for her love, a war hero.
He is my hero, my dashing darling
He is my Caesar, dashing darling.
I've had no rest from forebodings
Since he went far away my darling.
Thanks to Ralph for suggesting this tune!
Today's piece was kindly contributed to our collection by its composer, Paul Merkus from the Netherlands. Composed in 2011, the piece has a romantic flavor to express how personal proximity can feel. It has some resemblance to Chopin's famous Nocturne Op. 9 No. 2, and also something to do with Satie's Gnossienne No. 5. It features a very straightforward piano accompaniment, which makes it easy for flute teachers to accompany their students.
This allemanda is the second movement of Italian Baroque composer Arcangelo Corelli's Trio Sonata No. 4 in E minor, published in 1685. Corelli was a violinist, and strictly speaking this sonata was originally scored for two violins and continuo; however, in those times it was common to write scores that were adaptable to different instruments, so that they could be sold to the widest possible audience, and it is evident that the concept also applies to this sonata.
Thanks to Mario for contributing this piece!
This is the twelfth piece from 22 Studies in Expression and Facility, Op. 89 by Italian flutist and composer Ernesto Köhler. This collection was originally published in 1904 with the German title 22 Vortrags- und Geläufigkeits Etuden für Flöte.
The earliest appearance of this melody is in the 1770 music manuscript collection of Northumbrian musician William Vickers. It was printed in numerous collections during the 19th century.
This Allegro is the fourth and final movement of French Baroque composer Jean-Marie Leclair's Sonata for violin or flute and continuo in E minor, Op. 1 No. 6. The first edition of this sonata was published in Paris around 1723.
This air (whose first verse translates as “Ah! What a pleasure to be a soldier!”) is sung by Georges, a young English officer, in Act I of François-Adrien Boieldieu's 1825 opera La dame blanche (The White Lady). Boieldieu, an opera composer of the Classical Era, is often called “the French Mozart”.
The present arrangement for two flutes is taken from Blake's Young Flutist's Magazine, published in 1833.
The study in G minor that we propose today is the eighteenth piece from Studi per il flauto in tutti j tuoni e modi (“Flute studies in all keys and modes”) by French-Italian flutist and composer Niccolò Dôthel (a.k.a. Nicolas D'Hotel).
The earliest printing of this tune is in Neil Stewart's A Collection of the Newest and the Best Reels and Country Dances (1761), as “Captain Keller”, a title that persisted in 18th-century publications. In 19th-century collections, however, the same reel most often appears as “Captain Keeler”.
This brilliant set of variations on “La Carmagnole” was written by Italian violinist and composer Giuseppe Maria Cambini in 1794. It was published together with a set of variations on “La Marseillaise” titled “Marche des Marseillois”.
As a song, “La Carmagnole” was created and made popular during the French Revolution, based on a dance tune of the same name that may have been brought into France by the Piedmontese. The title comes from the name of the short jacket worn by working-class militant sans-culottes, adopted from the Piedmontese peasant costume, whose name derives from the town of Carmagnola.
Today we propose the third movement of Italian Baroque composer Arcangelo Corelli's Trio Sonata Op. 2 No. 4 in E minor, published in 1685. This movement features a four-bar introductory Grave (the slowest tempo indication), which soon gives way to an Adagio.
Thanks to Mario for contributing this piece!
This theme with variations is the thirteenth piece from 22 Studies in Expression and Facility, Op. 89 by Italian flutist and composer Ernesto Köhler. This collection was originally published in 1904 with the German title 22 Vortrags- und Geläufigkeits Etuden für Flöte.
Originally a Scottish song air, with alternating verses sung by a man and a woman, this tune has become very popular in Northumbria, where it is now a part of the local piping repertoire.
A bawbee was a Scottish halfpenny, a copper coin that was hammered until 1677.
Thanks to Phil for suggesting this tune!
This Adagio is the opening movement of French Baroque composer Jean-Marie Leclair's Sonata for violin or flute and continuo in A minor, Op. 1 No. 1. The first edition of this sonata was published in Paris around 1723.
This flute duet appears in Blake's Young Flutist's Magazine, published in 1833. It is an arrangement of an English tune of uncertain origin, an air to a song from Kane O'Hara's 1762 comic opera Midas. In the original book of words to the opera, the music of “Pray Goody” is stated to be “A tune in Queen Mab. The music for the pantomime of Queen Mab was composed by Dr. [Charles] Burney.” It is to be noted, however, that music to pantomimes was almost invariably selected music, so it is highly likely that Burney “borrowed” a preexisting tune.
This little minuet in G-flat major is the nineteenth piece from Studi per il flauto in tutti j tuoni e modi (“Flute studies in all keys and modes”) by French-Italian flutist and composer Niccolò Dôthel (a.k.a. Nicolas D'Hotel).
The earliest appearance of this tune is in Thompson's Twenty Four Country Dances for the Year 1799. It subsequently appeared in several 19th-century publications and manuscripts.
The title honors Admiral John Jervis (1735–1823), Lord St. Vincent, a contemporary of the celebrated Lord Horatio Nelson's and himself a hero of the Napoleonic Wars and the victor of the Battle of Cape St. Vincent. The title “Vinton's Hornpipe”, by which the tune appears in some publications, is a probably a corruption of the original title honoring Jervis.
“La mer est infinie” (“The sea is infinite”) is the first of four mélodies composed in 1921 by Gabriel Fauré as part of his song cycle L'horizon chimérique, Op. 118. The cycle is based on four of the poems from the collection of the same name by Jean de La Ville de Mirmont.
The sea is infinite and my dreams are mad.
The sea sings to the sun while beating the cliffs
and my light dreams are no longer content
to dance on the sea like drunken birds.
This giga is the fourth and final movement of Italian Baroque composer Arcangelo Corelli's Trio Sonata No. 4 in E minor, published in 1685. Corelli was a violinist, and this sonata was originally scored for two violins and continuo; however, it can be played with little or no modification by two modern flutes, the only potential issue being the two low B's near the end.
Thanks to Mario for contributing this piece!
This Allegretto is the fourteenth piece from 22 Studies in Expression and Facility, Op. 89 by Italian flutist and composer Ernesto Köhler. This collection was originally published in 1904 with the German title 22 Vortrags- und Geläufigkeits Etuden für Flöte.
This reel was first printed in the 5th volume of James Aird's Selection of Scotch, English, Irish and Foreign Airs, published in Glasgow in 1797. The melody also appears in the music manuscript copybook of fiddler John Burks, dated 1821.
Today we propose the opening movement of Amusement de Bellone, a suite for solo instrument (“musette, vielle, flute and oboe” according to the original edition) and continuo by the French Baroque composer Nicolas Chédeville.
This flute trio is taken from Blake's Young Flutist's Magazine, published in 1833. It is an arrangement of a cavatina (a simple, melodious air) from Act I of Gioachino Rossini's 1813 opera Tancredi.