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This jig setting seems to predate the reel of the same name that has been quite popular in Ireland, at least in printed collections. All versions of this “Wild Irishman” appear to have developed from a melody printed by London music publisher Henry Playford in 1688, titled “Fourpence Ha'penny Farthing.”
This is the fourteenth piece from 24 Tägliche Studien (24 Daily Studies) by German flutist and composer Anton Bernhard Fürstenau, first published in Berlin in 1839.
Today we propose a nice arrangement for two flutes of “Hurrah for the Bonnets of Blue”, taken from Blake's Young Flutist's Magazine (Philadelphia, 1833). Therein, the piece is attributed to English musician Alexander Lee, but it is uncertain whether the melody was Lee's original invention or he borrowed it from English tradition.
This is the second movement of the ninth sonata from Sonate a flauto solo con cembalo, o violoncello (“Sonatas for solo flute with harpsichord or cello”) by Italian Baroque composer Paolo Benedetto Bellinzani, originally published in Venice in 1720.
This movement has actually no tempo indication in the original manuscript, but it sometimes appears as an “Allegro” in modern editions.
The first known appearance of this tune in print is in Volume 4 of James Kerr's Merry Melodies (ca. 1880), as “English Clog Hornpipe”.
The tune is very popular in County Donegal, Ireland, where it is often played in A major. It has also had enough currency in Northumberland to be considered local, with origins perhaps in the Irish migrant labor attracted by opportunities in the Tyneside dockyards. One local Northumbrian name for the hornpipe is “Whittle Dene”.
Thanks to Phil for suggesting this tune!
This study is the thirtieth piece from 30 Studi, Op. 32, by Italian flutist, composer and arranger Luigi Hugues.
Today we propose the slow central movement of a Flute Duet in D major by famous German flutist and composer Johann Joachim Quantz, first published in 1759.