Today we propose the first air from Italian flutist Tebaldo Monzani's Twelve Airs as Solos for a German Flute with a Violoncello or Bass Accompaniment, published in London around the year 1800. Monzani was an all-round music professional: he started his career as a virtuoso, and went on to become a composer, publisher, and flute maker.
Today we propose the nineteenth piece from François Devienne's XXIV Duos faciles pour deux flutes à l'usage des commençans (24 Easy Duets for two flutes for use by beginners). It was first published in Leipzig around 1800.
This study is the fifty-second piece from 58 Esercizi per flauto (a.k.a. First Exercises for Flute, or Die ersten Übungen für Flöte) by Italian Romantic flutist and composer Giuseppe Gariboldi.
This melody was first published in O'Farrell's Pocket Companion for the Irish or Union Pipes around 1805, and used to be quite popular. Although it is also played as a jig, when played “the piece way”, i.e. as a listening tune, slowed down and highly ornamented, it is a well known showcase tune for uilleann pipers.
This is the central movement of Johann Joachim Quantz's Sonata in E-flat major for flute and continuo, QV 1:54. It is one of many works for flute that Quantz composed for his student and patron Frederick II, King of Prussia.
Today we propose the twentieth piece from François Devienne's XXIV Duos faciles pour deux flutes à l'usage des commençans (24 Easy Duets for two flutes for use by beginners). It was first published in Leipzig around 1800.
Today's study is the eighth piece from 48 Études pour hautbois ou saxophone, composed around 1835 by German oboist and clarinetist Franz Wilhelm Ferling. Despite having been an accomplished composer, today Ferling is remembered almost exclusively for this collection, which is still commonly studied by oboists and saxophonists.
It is interesting to note that Ferling composed this work before the saxophone was even invented! It was in fact originally intended solely for the oboe, and only when it was republished in America in the early 20th century the publisher decided to market it towards saxophonists as well.
Thanks to William for suggesting this piece!
Today's tune was kindly contributed to our collection by its composer, piper Roddy Campbell from the Outer Hebrides, Scotland
Conchobar Son of the Bard: Here we have a name from the pages of medieval Irish history. Bh in Scottish Gaelic is pronounced like a v, but in Irish more like a w, so that bhàird is pronounced something like ward. I believe this is the origin of the common surname Ward.
Today we propose the second air from Italian flutist Tebaldo Monzani's Twelve Airs as Solos for a German Flute with a Violoncello or Bass Accompaniment, published in London around the year 1800.
This pair of minuets for two flutes constitute the twenty-first piece from François Devienne's XXIV Duos faciles pour deux flutes à l'usage des commençans (24 Easy Duets for two flutes for use by beginners). It was first published in Leipzig around 1800.
This study is the fifty-third piece from 58 Esercizi per flauto (a.k.a. First Exercises for Flute, or Die ersten Übungen für Flöte) by Italian Romantic flutist and composer Giuseppe Gariboldi.
The earliest known appearance of this tune is in O'Farrell's Pocket Companion for the Irish or Union Pipes, published in London in 1806. Collector Francis O'Neill recorded in 1913 that the tune was associated with a tradition of butchers performing a long dance on May Eve (April 30), an ancient festival which used to mark the beginning of summer.
This is the third and final movement of Johann Joachim Quantz's Sonata in E-flat major for flute and continuo, QV 1:54. It is one of many works for flute that Quantz composed for his student and patron Frederick II, King of Prussia.
This Allegro is the second movement of a duet for two flutes or violins by Baroque composer Georg Philipp Telemann, first published in 1728 as part of Der getreue Musikmeister (“the faithful music master”), a musical journal aimed at amateurs.
Today's study is the fourth piece from 48 Études pour hautbois ou saxophone, composed around 1835 by German oboist and clarinetist Franz Wilhelm Ferling.
Today's tune was kindly contributed to our collection by its composer, piper Roddy Campbell from the Outer Hebrides, Scotland. Glenuig is a small Gaelic-speaking community in the west Highlands of Scotland, home to the famous MacDonald Brothers.
Each of the three MacDonald brothers Angus, Allan and Iain has distinguished himself as a piper of exceptional ability, winning enough trophies, prizes and awards to fill Castle Tioram. More than that all three have shown themselves to be hugely gifted in other musical areas — fiddle, flute, whistle, concertina, bodhran, singing and tune composition. They are excellent ambassadors for the West Highland style.
Today we propose the third air from Italian flutist Tebaldo Monzani's Twelve Airs as Solos for a German Flute with a Violoncello or Bass Accompaniment, published in London around the year 1800.
This Cantabile with variations for two flutes is the twenty-second piece from François Devienne's XXIV Duos faciles pour deux flutes à l'usage des commençans (24 Easy Duets for two flutes for use by beginners). It was first published in Leipzig around 1800.
This study is the fifty-fourth piece from 58 Esercizi per flauto (a.k.a. First Exercises for Flute, or Die ersten Übungen für Flöte) by Italian Romantic flutist and composer Giuseppe Gariboldi.
The earliest known appearance of “The Cat in the Corner” is in Ryan's Mammoth Collection, published in Boston in 1883. However, the tune was likely derived from an earlier jig by Scottish fiddler Niel Gow (1727–1807) titled “Lady Charlotte Murray”.
This is the opening movement of Johann Joachim Quantz's Sonata in F major for flute and continuo, QV 1:82. It is one of many works for flute that Quantz composed for his student and patron Frederick II, King of Prussia.
Today we propose an arrangement for two flutes of the famous Londonderry Air, a.k.a. “Danny Boy”.
Oh, Danny boy, the pipes, the pipes are calling
From glen to glen, and down the mountain side.
The summer's gone, and all the roses falling,
It's you, it's you must go and I must bide.
But come ye back when summer's in the meadow,
Or when the valley's hushed and white with snow,
It's I'll be there in sunshine or in shadow,—
Oh, Danny boy, Oh Danny boy, I love you so!
Thanks to Rachel for contributing this arrangement!
Today's study is the sixth piece from 48 Études pour hautbois ou saxophone, composed around 1835 by German oboist and clarinetist Franz Wilhelm Ferling.
The meaning of the tempo indication “Allegro scergo” is a bit of a mystery, as while the word “scergo” may look Italian, it most definitely isn't. Commentators have advanced multiple hypotheses as to what Ferling (or possibly the original editor) meant, but in our opinion the likeliest of all is that it was a misspelling of “scherzo”.
Today's tune was kindly contributed to our collection by its composer, piper Roddy Campbell from the isle of Barra in the Outer Hebrides, Scotland.
This was a short and pleasant family holiday in the summer of 2009 in Borve, that once-Viking township on the west side of Barra.
Today's piece was kindly contributed to our collection by its composer, Paul Merkus from the Netherlands.
The “Pledge” was originally written for alto saxophone and piano in 2014, but has been transcribed for flute and piano by octavating the flute part. The original intent was to exploit the sultry character of the low register of the alto saxophone, while contrasting it with passages in a higher position.
Hence, the piece begins with a questioning in the low register. After a first phrase, the questioning becomes a bit more impatient, with staccato notes and an exclamation. Then the main theme gradually unfolds with rhythmic evolution, followed by an interlude and a second theme, first rising, then falling. This pattern repeats before leading into an epilogue, in which the questioning return one final time.
This Andante is the third movement of a duet for two flutes or violins by Baroque composer Georg Philipp Telemann, first published in 1728 as part of Der getreue Musikmeister (“the faithful music master”), a musical journal aimed at amateurs.
This study is the fifty-fifth piece from 58 Esercizi per flauto (a.k.a. First Exercises for Flute, or Die ersten Übungen für Flöte) by Italian Romantic flutist and composer Giuseppe Gariboldi.
In its present form, this jig first appeared in Francis O'Neill's Music of Ireland, published in Chicago in 1903. It is probably named after Ballyhooly, a small village in north County Cork, Ireland. The first strain of the melody was however borrowed from a Scottish song, “The Drucken Wife o' Gallowa'”, which first appeared in a collection published in Edinburgh in 1751. The tune is apparently older still, with scholars tracing it back to the air of “To horse, brave boys of Newmarket, to horse”, a song that was printed by Thomas D'Urfey in Pills to Purge Melancholy (1719).
Today we propose the fourth air from Italian flutist Tebaldo Monzani's Twelve Airs as Solos for a German Flute with a Violoncello or Bass Accompaniment, published in London around the year 1800.
This minuet-like piece for two flutes is the twenty-third duet from François Devienne's XXIV Duos faciles pour deux flutes à l'usage des commençans (24 Easy Duets for two flutes for use by beginners). It was first published in Leipzig around 1800.
Today's study is the eleventh piece from 48 Études pour hautbois ou saxophone, composed around 1835 by German oboist and clarinetist Franz Wilhelm Ferling.