This is the tenth piece from 30 Etüden in allen Tonarten für Flöte (“30 Studies in All Keys for Flute”), Op. 6, by German flutist Emil Prill. It was first published in Leipzig in 1894.
This hornpipe is taken from Francis O'Neill's Waifs and Strays of Gaelic Melody, published in Chicago in 1922. In the collection, O'Neill cites himself as the source for this melody.
This Allegro is the fourth and final movement of the third sonata from Six Sonates pour la Flûte traversière avec la Basse, Op. 44 by the prolific French Baroque composer Joseph Bodin de Boismortier. These sonatas were originally published in Paris in 1733.
This is the tenth movement of the fifth of six Concerts à deux Flutes Traversières sans Basse by the French Baroque composer Michel Pignolet de Montéclair. The French title of the piece, les Ramages, could be translated as “Birdsongs”. In fact, the composer explicitly tried to emulate the singing of different species of birds: le rossignol (the nightingale), le serain de Canarie (the canary), les poules (the hens), le perroquet (the parrot), le merle (the blackbird), le coucou (the cuckoo), and le coq d'Inde (the turkey).
Today we propose the fourteenth study from Twenty-Four Etudes for Flute, Op. 21, by Danish flutist Joachim Andersen. It was first published in 1886.
This tune is taken from the Rice-Walsh manuscript, a collection of music from the repertoire of Jeremiah Breen, a blind fiddler from North Kerry, Ireland, notated by his student.
This Allegro is the second movement of the sixth of 12 sonatas for flute and continuo by Italian composer Pietro Antonio Locatelli, published in Amsterdam in 1732.
This flute duet is taken from Blake's Young Flutist's Magazine, published in Philadelphia in 1833. It appears to be based on a folk ballad of the same title.
Oh, I am in love, but I won't tell with who,
For I know very well what the fair one would do,
They'd chatter and flatter, and make themselves fine,
So poor little some one would have a sad time.
So I'll tell nobody, I'll tell nobody,
Nobody, nobody, nobody, no!
This is the eleventh piece from 30 Etüden in allen Tonarten für Flöte (“30 Studies in All Keys for Flute”), Op. 6, by German flutist Emil Prill. It was first published in Leipzig in 1894.
This tune comes from the Rice-Walsh manuscript, a collection of music from the repertoire of Jeremiah Breen, a blind fiddler from North Kerry, Ireland, notated by his student.
Today's piece is a new contribution from our guest composer, Paul Merkus. It is an extension of Op. 48, which also includes the first “Monologue I” and second “Monologue II” for flute solo.
This third “Monologue III” is of a more static nature (as indicated by the “Andante solenne”) than its two predecessors. It consists of three parts, starting with a low theme that gradually builds up to become more vigorous, followed by a milder middle section with richer figures. In the reprise, the theme leads to more richness, and an even higher climax is reached (as a sort of encore), followed by a deep dip. Finally, a short epilogue brings the flute back up to its high register.
This fugue for two flutes is the eleventh and final movement of the fifth of six Concerts à deux Flutes Traversières sans Basse by the French Baroque composer Michel Pignolet de Montéclair.
Today we propose the fifteenth study from Twenty-Four Etudes for Flute, Op. 21, by Danish flutist Joachim Andersen. It was first published in 1886.
This hornpipe appears in A Companion to the Ball Room by English dancing master Thomas Wilson, published in London in 1816. The tune is presumably named after Wilson's spouse.
This is the opening movement of the fourth sonata from Six Sonates pour la Flûte traversière avec la Basse, Op. 44 by the prolific French Baroque composer Joseph Bodin de Boismortier. These sonatas were originally published in Paris in 1733.
Based on a poem by the Irish Thomas Moore, the melody to this song was probably composed by Sir John Andrew Stevenson.
When twilight dews are falling soft
Upon the rosy sea, love,
I watch the star, whose beam so oft
Has lighted me to thee, love.
And thou too, on that orb so dear,
Dost often gaze at even,
And think, though lost for ever here,
Thou'lt yet be mine in heaven.
The present arrangement for two flutes appeared in Blake's Young Flutist's Magazine, published in Philadelphia in 1833.
This is the twelfth piece from 30 Etüden in allen Tonarten für Flöte (“30 Studies in All Keys for Flute”), Op. 6, by German flutist Emil Prill. It was first published in Leipzig in 1894.
The first appearance of this hornpipe in print was under the title “Madam Parrisot's Hornpipe” in Robert Petrie's Third Collection of Strathspey Reels, published in Edinburgh in 1802. Parisot was a famous stage dancer and opera singer of the late 18th and early 19th century. Although she was technically “Mademoselle Parisot”, as she did not marry until the very end of her career, she was frequently referred to as “Madam Parisot”. William Makepeace Thackeray notably mentions her in the first chapter of his famous novel Vanity Fair.
The earliest known appearance of this melody is in William Ballet's Lute Book (1594). A ballad was registered with the Stationers' Company (an early form of copyrighting, and mandatory at the time) in 1566 called “All in a garden green, between two lovers”, which may or may not have been sung to the tune that later appeared in Ballet's manuscript. A further reference can be found in A Handefull of Pleasant Delites (1584), in which mention is made of “An excellent Song of an outcast Lover, to All in a Garden green”. Whether these early references referred to the same melody is not known, as the opening line is common to many songs of the period.
All in a garden green two lovers sat at ease,
As they could scare be seen among, among the leafy trees.
This is the opening movement of the sixth of six Concerts à deux Flutes Traversières sans Basse by the French Baroque composer Michel Pignolet de Montéclair. Here the French word concert is a synonym of “suite”, and has nothing to do with the Italian concerto.
Today we propose the sixteenth study from Twenty-Four Etudes for Flute, Op. 21, by Danish flutist Joachim Andersen. It was first published in 1886.
The earliest appearance of this tune in print is in Preston's Twenty Four Country Dances for the Year 1798. Mr. Richer was a rope and circus dancer on the popular stage during the era when the character based (usually nautical) solo hornpipe was in vogue. He had celebrity in his day, and astonished audiences with his performances on the tight wire.
This short Largo in C minor is the third movement of the sixth of 12 sonatas for flute and continuo by Italian composer Pietro Antonio Locatelli, published in Amsterdam in 1732.
This melody was written by London-born composer and singer Charles Edward Horn (1786–1849). It was originally part of a song with lyrics by English poet Thomas Haynes Bayly.
It is the last meeting, I know it too well;
And near you tomorrow, no more I shall dwell,
Those sweet days are gone! 'Twas folly, I know,
I once would not let myself think they could go.
At night, when one day of enjoyment was passed,
I could look to another as bright as the last,
My fate is decided, alone I shall dwell,
It is the last meeting, receive my farewell.
The present arrangement for two flutes is taken from Blake's Young Flutist's Magazine, published in 1833.
This Irish reel was collected by Chicago police captain Francis O'Neill, who included it in his collection Waifs and Strays of Gaelic Melody, published in 1922.
Merry Christmas from flutetunes.com!
This is the second movement of the fourth sonata from Six Sonates pour la Flûte traversière avec la Basse, Op. 44 by the prolific French Baroque composer Joseph Bodin de Boismortier. These sonatas were originally published in Paris in 1733.
This is the second movement of the sixth of six Concerts à deux Flutes Traversières sans Basse by the French Baroque composer Michel Pignolet de Montéclair. Here the French word concert is a synonym of “suite”, and has nothing to do with the Italian concerto.
This is the thirteenth piece from 30 Etüden in allen Tonarten für Flöte (“30 Studies in All Keys for Flute”), Op. 6, by German flutist Emil Prill. It was first published in Leipzig in 1894.
This Allegro is the fourth and final movement of the sixth of 12 sonatas for flute and continuo by Italian composer Pietro Antonio Locatelli, published in Amsterdam in 1732. It is peculiar in that the melody is in 12/8 time, while the accompaniment is in 4/4.
This flute duet is taken from Blake's Young Flutist's Magazine, published in Philadelphia in 1833. The Romaika is believed to be a Greek country dance tune.
This Dorian-mode reel, related to the more well-known “Reel of Bogie”, is taken from O'Neill's Waifs and Strays of Gaelic Melody, published in Chicago in 1922. O'Neill remarks that the tune was probably memorized from the wonderful piping of Bernard “Barney” Delaney, a piper from County Offaly.