This is the eighteenth piece from 24 Etudes mélodiques, Op. 110 by German flutist and composer Caspar Kummer. This collection has also been published in English as 24 Melodic Exercises.
This piece, part of German composer Carl Gottlieb Reissiger's Danses Brillantes for piano, Op. 26, has been misattributed to Carl Maria von Weber for many years, because it was found among Weber's papers upon his death in 1826.
The piece was very popular in its time, and was even mentioned in Edgar Allan Poe's short story “The Fall of the House of Usher” (1839).
I shall ever bear about me a memory of the many solemn hours I thus spent alone with the master of the House of Usher. Yet I should fail in any attempt to convey an idea of the exact character of the studies, or of the occupations, in which he involved me, or led me the way. An excited and highly distempered ideality threw a sulphureous lustre over all. His long improvised dirges will ring forever in my ears. Among other things, I hold painfully in mind a certain singular perversion and amplification of the wild air of the last waltz of Von Weber.
The present arrangement for two flutes appeared in Blake's Young Flutist's Magazine, published in Philadelphia in 1833.
This easy piece for flute and piano was kindly contributed to our collection by its composer, Paul Merkus from the Netherlands.
This piece has been recently created and is a short atmospheric drawing in my usual style. Because the atmosphere created can be reminiscent of a ship that is sailing away with a loved one on board, the title “Adieu” has been chosen. After the prelude by the piano, the flute plays the exposition of the main theme in the lower register. Then, a slightly more playful piece of art follows, which culminates in a moment with more stillness, after which the reprise of the opening theme in the higher register follow that leads to the final summit.
This piece marks Paul's 10th contribution to our website, and as a token of gratitude for our constructive collaboration the composer decided to dedicate the piece to FluteTunes.com! We must say that we are very honored by this dedication, and once again would like to thank you, Paul, for sharing your music with us. We look forward to publishing more of your pieces, and we are happy that, as you reassured us in your email, the title “Adieu” (which is French for “farewell”) is misleading!
The oldest appearance of this jig in print is in Francis O'Neill's Music of Ireland, published in Chicago in 1903.
From the 16th to the 19th century, “bit” was a common term for a small piece of money, especially the lowest denomination of silver coin.
Today's piece is the twenty-eighth study from 40 Esercizi per Flauto (40 Exercises for Flute), Op. 101, by Italian flutist, composer and arranger Luigi Hugues.
This is the eighth and final movement of the fourth 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. The title of the movement, “La Picarde”, references Picardy, a historical region of northern France.
Thanks to Marco for suggesting this piece!
This gigue is the eighth and last movement of Amusement palatin, a suite for solo instrument (“musette, vielle, flute and oboe” according to the original edition) and continuo by the French Baroque composer Nicolas Chédeville. The French title “L'Amnistie” translates as “The Amnesty”.