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This is the opening movement of the fifth 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.
Dating back to at least the early 19th century, this tune is used to accompany a traditional processional dance through the streets of Helston (Cornwall, UK) on 8 May every year for the Feast of St. Michael, or Flora Day. It is a celebration of the passing of winter and the arrival of spring. In this instance the word “furry” has nothing to do with fur, but probably derives from the Cornish fer, meaning “fair” or “feast”.
In 1911 Katie Moss, a London composer visiting Helston, observed the Furry Dance and joined in the dancing herself in the evening. On the train home she wrote words and music of a song about her experience, calling the song “The Floral Dance”. First recorded in 1912 by Peter Dawson, it has since been recorded by many other artists. The song experienced a major resurrection in an arrangement by Derek Broadbent, which sold half a million copies and reached #2 in the UK Singles Chart by Christmas 1977. In 1978, Terry Wogan recorded a version which reached #21 in the same chart. In 2016, a campaign for Christmas Number One was launched for his version of The Floral Dance after his death. All proceeds of the downloaded single were donated to the BBC Children in Need fundraiser, which Wogan had hosted for 35 years.
Thanks to Dr Paul for suggesting this tune!
This étude in C minor is the twenty-second piece from 24 Etüden zur Förderung der Technik (24 Studies for the Development of Technique), Op. 12, by German flutist Emil Prill. It was first published in Bremen in 1913.
Written around 1830, “Draw the Sword Scotland” is a stirring call to arms, calling on the sons of Scotland to rise up in defense of their country.
Draw the Sword Scotland! Scotland! Scotland!
Over moor and mountain hath passed the war sign,
The pibroch is pealing! pealing! pealing!
Who heeds not the summons is nae son o' thine.
The present arrangement for two flutes is taken from Blake's Young Flutist's Magazine, published in Philadelphia in 1833.
This Adagio is the opening movement of Italian Baroque composer Arcangelo Corelli's Violin Sonata No. 4 in F major, which was originally published in 1700 as part of his 12 Violin Sonatas, Op. 5. As conductor Andrew Manze put it, this is “arguably the finest and most influential set of violin sonatas ever assembled. All other baroque sonatas can be defined as being pre- or post-Corelli'”.
Thanks to Mary for suggesting this piece!
This tune and its accompanying variations are taken from Der Fluyten Lust-Hof (“The Flute's Pleasure Garden”), a collection of music for recorder by Jacob van Eyck, one of the best-known Dutch musicians of the 17th century. First published in 1644, it is the largest collection of music for a single wind instrument ever published by a single composer.
“Engels Nachtegaeltje” translates as “English Nightingale”, and as the title implies it is an imitation of birdsong. It is an excellent piece to practice Baroque ornamentation.
Thanks to Heather for suggesting this tune!
Today's piece is the tenth study from 30 Studi, Op. 32, by Italian flutist, composer and arranger Luigi Hugues.