The earliest known appearance of this air in print is in the second volume of The Scottish Minstrel (circa 1811), under the title “Kelvin Water”, although the tune is probably much older. The present arrangement for two flutes is taken from Blake's Young Flutist's Magazine, published in Philadelphia in 1833.
This is the eleventh 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.
This air is taken from Francis O'Neill's collection Waifs and Strays of Gaelic Melody, published in Chicago in 1922. O'Neill had the tune from O'Farrell's Pocket Companion for the Irish or Union Pipes (published between 1804 and 1811), and remarked:
The name of a ballad sung to this air has been substituted for “The Young Man's Dream” an obviously wrong title — as printed in O'Farrell's work.
This is the third movement of the third 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 piece is the nineteenth duet from Trente-six Petits Duos Mélodiques Faciles et Chantants pour deux Flûtes (36 Easy Flute Duets) by French Romantic composer Benoit Tranquille Berbiguier.
Today's piece is the twenty-ninth study from 40 Nuovi Studi, Op. 75, by Italian flutist, composer and arranger Luigi Hugues.
This study has also been published as the nineteenth piece in a selection of 24 Studies for Flute from Hugues's Opp. 32 and 75.
this air is thought to have been composed by blind Irish harper Turlough O'Carolan (1670–1738) for his friend Captain O'Kane (or O'Kain or O'Cahan), a “sporting” Irishman of a distinguished County Antrim family who was well known in his day as “Slasher O'Kane”. O'Carolan authority Donal O'Sullivan could find no attribution in any source to O'Carolan, but says the style is his and he generally accepts it as a composition of the bard's. Tune collector Francis O'Neill (1913) quotes Patrick O'Leary, an Australian correspondent, who wrote that the Captain of the title was “the hero of a hundred fights, from Landon to Oudenarde, who, when old an war-worn, tottered back from the Low Countries to his birthplace to die, and found himself not only a stranger, but an outlawed, disinherited, homeless wanderer in the ancient territory that his fathers ruled as Lords of Limavady.”
The song “The Wounded Hussar” was written to the melody by Alexander Campbell and appears in Smith's Irish Minstrel (Edinburgh, 1825). From its lyrics we learn that Captain Henry O'Kain died of his wounds “on the banks of the dark rolling Danube”.
Scots poet Robert Burns wrote his song “The Chevalier's Lament” (1788) to the tune of “Captain O'Kean”.
Today's piece was kindly contributed to our collection by its composer, Paul Merkus from the Netherlands. It is the third movement of a small suite for flute and piano, comprising a Prelude, a Sarabande and this Gigue.
“The Dashing White Sergeant” was originally a song written by English composer, conductor and arranger Sir Henry Rowley Bishop, and published in the mid-1820s. Perhaps because of its title, the tune was quick to enter British military repertoire as a march; the melody was soon adapted for dancing, however, becoming nearly as popular in America as it was in England.
The present arrangement for two flutes is taken from Blake's Young Flutist's Magazine, published in Philadelphia in 1833.
This is the twelfth 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.
This Dorian-mode 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 second of 12 sonatas for flute and continuo by Italian composer Pietro Antonio Locatelli, originally published in Amsterdam in 1732.
This piece is the twentieth duet from Trente-six Petits Duos Mélodiques Faciles et Chantants pour deux Flûtes (36 Easy Flute Duets) by French Romantic composer Benoit Tranquille Berbiguier.
Today's piece is the thirty-fourth study from 40 Nuovi Studi, Op. 75, by Italian flutist, composer and arranger Luigi Hugues.
This study has also been published as the twentieth piece in a selection of 24 Studies for Flute from Hugues's Opp. 32 and 75.
This air is taken from the third volume of James Aird's A Selection of Scotch, English, Irish and Foreign Airs, first published in 1782. It appears to be unique to that collection.
This is the fourth and last movement of the third 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 usually appears as an “Allegro” in modern editions.
This very popular Scottish air dates at least to the early 18th century. It was the vehicle for quite a few songs in ballad operas, and also saw service as a retreat march (signalling the end of the day's duties) in the British military. It was even used by Johann Christian Bach as the theme for the third movement of his Harpsichord Concerto in B-flat major, Op.13, No. 4.
The present arrangement for two flutes is taken from Blake's Young Flutist's Magazine, published in Philadelphia in 1833.
This is the thirteenth 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.
Today we propose a colorful set of variations on the Scottish tune “There's Nae Luck”.
Thanks to Phil for contributing this piece!
Today's piece was kindly contributed to our collection by its composer, Paul Merkus from the Netherlands. It is the first movement of a small suite for flute and piano, comprising this Prélude, a Sarabande and a Gigue. The short Prélude is intended to be an energetic opening to the suite, consisting of a joyous opening theme followed by some leggiero scales to be contrasted by a more rhythmic passage, which subsequently evolves into the reprise.
This piece is the twenty-first duet from Trente-six Petits Duos Mélodiques Faciles et Chantants pour deux Flûtes (36 Easy Flute Duets) by French Romantic composer Benoit Tranquille Berbiguier.
Today's piece is the twenty-eighth study from 40 Nuovi Studi, Op. 75, by Italian flutist, composer and arranger Luigi Hugues.
This study has also been published as the twenty-first piece in a selection of 24 Studies for Flute from Hugues's Opp. 32 and 75.
This Irish air is taken from Francis O'Neill's collection Waifs and Strays of Gaelic Melody, published in Chicago in 1922. He notes:
This air like scores of others was unconsciously memorized in my boyhood days at Tralibane some three miles southeast of Bantry, West Cork. All that I can remember now of the ballad sung to it is the distich: “My true love he has gone from me, and I can’t tell how far / Eighteen hundred thousand miles, on board of a man of war”. It is not likely that the poetaster in equalizing his meter realized the absurdity of a voyage equal to seventy-two times the circumference of the Earth.
This Andante is the third movement of the second of 12 sonatas for flute and continuo by Italian composer Pietro Antonio Locatelli, originally published in Amsterdam in 1732.
This aria for soprano was written by Italian Baroque composer Alessandro Scarlatti around 1690, as part of his cantata Elpino tradito.
The present arrangement for two flutes is taken from Blake's Young Flutist's Magazine, published in Philadelphia in 1833.
This is the fourteenth 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.
The earliest appearance of this tune in print is in the 4th volume of Samuel, Ann and Peter Thompson's Compleat Collection of 200 Favourite Country Dances (London, 1780). The name of the tune may have been taken from a stage work called La Fête du Village by the famous French composer François-Joseph Gossec, which was performed at the Paris Opera in 1778 and was then imported to London.
Thanks to Phil for suggesting this tune!
Today's piece was kindly contributed to our collection by composer Ricky Lombardo. It is the first of three pieces for solo flute published earlier this year under the name Quarantunes.
I composed Quarantunes to help give flutists a little joy and happiness during these difficult and crazy times of the 2020 Covid pandemic. So many of us, while stuck at home, were starting to feel down and depressed. I wanted to give everyone's spirit and mood a little lift. After composing the tunes for flute alone, it was time to share them with the flute community. I started sending the songs as a free download to many of the flutists I knew around the world and asked them to share the music with their students, colleagues and anyone they thought might enjoy them. It was important to have nice melodies with catchy titles that were not too difficult so they could be reachable to as many as players as possible. Since being shared, the Quarantunes have done exactly what they were intended to do. So many flutists have contacted me saying these have come just when they needed a little boost. They are being performed around the world. Several have used these with their students and posted recordings to YouTube.
Many thanks to Ricky Lombardo for making this piece freely available and for letting us publish it!
This piece is the twenty-second duet from Trente-six Petits Duos Mélodiques Faciles et Chantants pour deux Flûtes (36 Easy Flute Duets) by French Romantic composer Benoit Tranquille Berbiguier.
Today's piece is the thirty-fifth study from 40 Nuovi Studi, Op. 75, by Italian flutist, composer and arranger Luigi Hugues.
This study has also been published as the twenty-second piece in a selection of 24 Studies for Flute from Hugues's Opp. 32 and 75.
This melody was first published as a song in James Johnson's Scots Musical Museum, vol. 6 (1803). In London dancing master Thomas Wilson's Companion to the Ballroom (1816), it appears among the “figure” dances, listed as a Scotch tune.
One of the publishers of the Museum, Thomas Oliver, apparently heard the melody in a pantomime and forwarded it to Richard Gail (1776–1801), asking him to write words to it. The lyrics go:
Thy cheek is o' the rose's hue,
My only Joe and dearie O,
Thy neck is like the siller dew
Upon the bank sae brierie O;
Thy teeth are o' the ivory,
O sweets the twinkle o' thine e'e,
Nae joy nae pleasure blinks on me,
My only Joe and dearie O.