This is the fourth movement of the third sonata from Sonates pour la flûte traversière avec la basse, Op. 19 by the prolific French Baroque composer Joseph Bodin de Boismortier. These sonatas were originally published in Paris in 1727.
This song was composed by the famous Irish poet, singer and songwriter Thomas Moore. It is an adaptation of harper Turlough O'Carolan's tune “Planxty O'Kelly”, as indicated by Moore in the first volume of his collection Irish Melodies (1808).
The present arrangement for two flutes appeared in Blake's Young Flutist's Magazine, published in 1833.
This elaborate study is the ninth piece from 24 Technische Studien für Flöte (24 Technical Studies), Op. 11, by German flutist Emil Prill. It was first published in Leipzig in 1911.
This tune is taken from Chicago police officer Francis O'Neill's collection Waifs and Strays of Gaelic Melody, published in 1922. O'Neill's source is the Rice-Walsh manuscript, a collection of music from the repertoire of Jeremiah Breen, a blind fiddler from North Kerry, Ireland.
This Fantasia in C major is one of 24 pieces attributed to the famous German flutist and composer Johann Joachim Quantz to have survived in a manuscript titled Fantasier og Preludier. 8. Capricier og andre Stykker til Øvelse for Flöÿten af Quanz (“Fantasies and Preludes. 8 Caprices and other Pieces for Exercise for the Flute by Quantz”). This manuscript has been kept in the Giedde Collection (named after its founder, Danish composer W.H.R.R. Giedde) in the Royal Library of Copenhagen, which hosts a fairly comprehensive collection of flute music from the second half of the 18th century.
This is the third and final movement of the first of Tre duetti concertanti per due flauti (“Three concertante duets for two flutes”) by Italian composer Saverio Mercadante. It was first published around 1818. The word concertante denotes a piece of music containing one or more solo parts, typically of less prominence than in a classical concerto.
Many thanks to Lutz Kutscher for contributing this piece!
Today we propose the eleventh piece from Exercices journaliers pour la flûte (or Tägliche Studien in German, i.e. “Daily Exercises”) by Austro-Hungarian composer Adolf Terschak. It was first published in 1867.
This reel 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. Ballyheigue is a coastal village in County Kerry.
This gavotte is the fifth and final movement of the third sonata from Sonates pour la flûte traversière avec la basse, Op. 19 by the prolific French Baroque composer Joseph Bodin de Boismortier. These sonatas were originally published in Paris in 1727.
This courante “in the Italian style” is the sixth movement of the second 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 Presto is the ninth piece from 24 Technische Studien für Flöte (24 Technical Studies), Op. 11, by German flutist Emil Prill. It was first published in Leipzig in 1911.
This melody, a trade tune associated with the weavers, was printed in the first volume of James Aird's Selections of Scotch, English, Irish and Foreign Airs, published in 1782. Scotland's national poet, Robert Burns, wrote verses to the march; the song, called “The Gallant Weaver”, tells of a young woman's defiance and disagreement with her parents' plans for who she should wed.
Thanks to Phil for suggesting this tune!
This Fantasia in E minor is one of 24 pieces attributed to the famous German flutist and composer Johann Joachim Quantz to have survived in a manuscript titled Fantasier og Preludier. 8. Capricier og andre Stykker til Øvelse for Flöÿten af Quanz (“Fantasies and Preludes. 8 Caprices and other Pieces for Exercise for the Flute by Quantz”). This manuscript has been kept in the Giedde Collection (named after its founder, Danish composer W.H.R.R. Giedde) in the Royal Library of Copenhagen, which hosts a fairly comprehensive collection of flute music from the second half of the 18th century.
This duet is taken from Blake's Young Flutist's Magazine, published in Philadelphia in 1833. The air is usually attributed to English organist and composer James Hook (1746–1827), although some sources attribute it to Henry Purcell or to Jeremiah Clarke.
This tune has become famous as the vehicle for a song of the same name by English writer Thomas D'Urfey (1653–1723), which “is a noted example of those composed by English wits in imitation of the Scots Manner, and which were, with little discrimination, accepted as Scots songs in Scotland itself.” (Robert Chambers, The songs of Scotland prior to Burns, 1890)
Today we propose the twelfth piece from Exercices journaliers pour la flûte (or Tägliche Studien in German, i.e. “Daily Exercises”) by Austro-Hungarian composer Adolf Terschak. It was first published in 1867.
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.
This allemanda is the opening movement of the fourth sonata from Sonates pour la flûte traversière avec la basse, Op. 19 by the prolific French Baroque composer Joseph Bodin de Boismortier. These sonatas were originally published in Paris in 1727.
This is the first movement from a Fantasia per Flauto Solo con accompagnamento di secondo Flauto o Violino (“Fantasia for solo flute with accompaniment for a second flute or violin”) by Italian composer Saverio Mercadante, first published around 1818.
Many thanks to Lutz Kutscher for contributing this piece!
This study in B major is the eleventh piece from 24 Technische Studien für Flöte (24 Technical Studies), Op. 11, by German flutist Emil Prill. It was first published in Leipzig in 1911.
“Augen geradeaus” (“Eyes straight forward”) was an East Germany marching song.
Our company was marching through the city
And two dark eyes were laughing,
Beautiful, yes, she was beautiful.
She is our talisman,
We look to the left as much as possible.
But the commander ahead shouts:
Eyes straight forward!
Thanks to Hugo for contributing this tune!
Dear Flutetuners, thank you so much for the awesome stories you've sent us for our 10th anniversary! As promised, we have collected them and today we are finally publishing a selection on the website. You can read them here.
Those eligible should already have received our thank-you gift via snail mail. We hope that you liked it! Unfortunately some of you did not answer our emails, so we were unable to send you the gift. If you submitted a story but never got a reply, check your anti-spam folder and make sure to contact us!
Again, thanks everybody for your support over these 10 years, and let's keep flutin' for 100 more!
This Capriccio in G major is one of 24 pieces attributed to the famous German flutist and composer Johann Joachim Quantz to have survived in a manuscript titled Fantasier og Preludier. 8. Capricier og andre Stykker til Øvelse for Flöÿten af Quanz (“Fantasies and Preludes. 8 Caprices and other Pieces for Exercise for the Flute by Quantz”). It is a rare example of music from the Baroque period using mezzo-forte dynamic markings.
This piece is the seventh movement of the second 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 thirteenth piece from Exercices journaliers pour la flûte (or Tägliche Studien in German, i.e. “Daily Exercises”) by Austro-Hungarian composer Adolf Terschak. It was first published in 1867.
This haunting song, composed by David Zehavi in 1945, is based on a poem titled “A Walk to Caesarea” by Israeli hero Hannah Senesh. In 1943, at the height of World War II, she volunteered to go into Nazi-controlled areas in Europe to save Jewish lives. In 1944 she parachuted into Yugoslavia, and after staying with the partisans, she went to Hungary, where she was discovered and executed by the Germans. She is known both for her heroism and her poetry. The song is now considered one of Israel's unofficial anthems, and is the most-commonly played song on Yom HaShoah (the Holocaust Memorial Day) in Israel.
Thanks to Duncan for suggesting this tune!
This corrente is the second movement of the fourth sonata from Sonates pour la flûte traversière avec la basse, Op. 19 by the prolific French Baroque composer Joseph Bodin de Boismortier. These sonatas were originally published in Paris in 1727.
This piece was originally sung as a duet in the 1803 musical drama Rob Roy. The present arrangement for two flutes appeared in Blake's Young Flutist's Magazine, published in Philadelphia in 1833. Although the piece is marked as “Scotch” in this collection, the music was actually written by English composer John Davy (1763–1824). It is true, however, that Davy drew heavily from familiar Scottish songs, which makes sense considering that the work was about the famed Scottish folk hero Rob Roy MacGregor.
This Andante is the ninth piece from 24 Technische Studien für Flöte (24 Technical Studies), Op. 11, by German flutist Emil Prill. It was first published in Leipzig in 1911.
This reel comes from the Rice-Walsh manuscript, a collection of music from the repertoire of the 19th-century Irish fiddler Jeremiah Breen.
The phrase “the devil to pay”, dating from the early 18th century, refers to the bargain formerly supposed to be made between a person and the devil, the former receiving extraordinary powers or wealth in return for their souls. It is still used today to indicate a huge amount of trouble.
This Presto in G major is one of 24 pieces attributed to the famous German flutist and composer Johann Joachim Quantz to have survived in a manuscript titled Fantasier og Preludier. 8. Capricier og andre Stykker til Øvelse for Flöÿten af Quanz (“Fantasies and Preludes. 8 Caprices and other Pieces for Exercise for the Flute by Quantz”). This manuscript has been kept in the Giedde Collection (named after its founder, Danish composer W.H.R.R. Giedde) in the Royal Library of Copenhagen, which hosts a fairly comprehensive collection of flute music from the second half of the 18th century.
This is the second movement from a Fantasia per Flauto Solo con accompagnamento di secondo Flauto o Violino (“Fantasia for solo flute with accompaniment for a second flute or violin”) by Italian composer Saverio Mercadante, first published around 1818.
Many thanks to Lutz Kutscher for contributing this piece!
This extremely syncopated piece is the fourteenth study from Exercices journaliers pour la flûte (or Tägliche Studien in German, i.e. “Daily Exercises”) by Austro-Hungarian composer Adolf Terschak. It was first published in 1867.