This curiously-named jig appears to be unique to Francis O'Neill's early-20th-century collections. It first appeared in his Music of Ireland, published in Chicago in 1903.
This is the opening movement of Johann Joachim Quantz's Sonata in F major for flute and continuo, QV 1:86. It is one of many works for flute that Quantz composed for his student and patron Frederick II, King of Prussia.
Today we propose the third piece from Duos faciles et progressifs pour 2 flûtes (Easy and progressive duets for 2 flutes) by Austro-Hungarian flutist and composer Adolf Terschak. It was first published in Paris in 1874.
Today's piece is the fifteenth study from 48 Études pour hautbois ou saxophone, composed around 1835 by German oboist and clarinetist Franz Wilhelm Ferling.
Today's tune was kindly contributed to our collection by its composer, piper Roddy Campbell from the isle of Barra in the Outer Hebrides, Scotland.
More jokey gòraiche na h-aoise (daftness of old age)!
Today we propose the seventh air from Italian flutist Tebaldo Monzani's Twelve Airs as Solos for a German Flute with a Violoncello or Bass Accompaniment, published in London around the year 1800.
This is the third movement of a flute duet in B-flat major by the prolific Baroque composer Georg Philipp Telemann. It was first published by Telemann himself in 1727 as part of a collection of 6 flute duets, TWV 40:130-135.
Today we propose the second study from 24 Studi di perfezionamento per flauto, Op. 15, by Italian flutist, composer and arranger Luigi Hugues. It was first published in Milan in 1904.
This tune has long been a popular session jig played under several names, although “Tatter Jack Walsh” is the most common one. The title derives from the Irish “An t‑Athair Jack Walsh”, Athair meaning ‛Father’, as in a Catholic priest.
The melody can be traced back to at least 1858, when it appeared in both R.M. Levey's First Collection of the Dance Music of Ireland and in P.M. Haverty's One Hundred Irish Airs.
This is the second movement of Johann Joachim Quantz's Sonata in F major for flute and continuo, QV 1:86. It is one of many works for flute that Quantz composed for his student and patron Frederick II, King of Prussia.
Today we propose the fourth piece from Duos faciles et progressifs pour 2 flûtes (Easy and progressive duets for 2 flutes) by Austro-Hungarian flutist and composer Adolf Terschak. It was first published in Paris in 1874.
Today's piece is the sixteenth study from 48 Études pour hautbois ou saxophone, composed around 1835 by German oboist and clarinetist Franz Wilhelm Ferling.
Today's tune was kindly contributed to our collection by its composer, piper Roddy Campbell from the isle of Barra in the Outer Hebrides, Scotland. The title is part of a Jacobite toast dating back to the 17th or 18th century:
Weel may we a' be,
Ill may we never see;
Here's to the King
And the gude companie.
Here's a health to them that's away,
Here's a health to them that's away,
Here's a health to them that were here shortsyne,
An, canna be here today.
Franz Schubert composed his song cycle Winterreise (“Winter Journey”) for tenor voice and piano in 1827, a setting of 24 poems by German poet Wilhelm Müller.
The sixth song in the cycle is “Wasserflut”, usually translated as “Flood”.
Many a tear from my eyes
Has fallen into the snow;
Its cold flakes suck in
Thirstily my burning grief.
When the grass is about to sprout,
A mild wind blows,
And the ice breaks up into pieces,
And the soft snow melts away.
Thanks to Thibaut for suggesting this piece!
Beethoven's 9th symphony is regarded by many as one of the supreme achievements in the history of music. It was the first example of a major composer using voices in a symphony, as the final movement features four vocal soloists and a chorus singing lyrics adapted from Friedrich Schiller's poem “Ode to Joy”.
Many thanks go to Joyce Kai for contributing this arrangement for SSAB (2 concert flutes, alto flute, and bass flute) or SSSB quartet (3 concert flutes and bass a flute). The third flute part can be played by either a concert flute or an alto flute; separate parts are provided together with the score.
Today we propose the third piece from 24 Studi di perfezionamento per flauto, Op. 15, by Italian flutist, composer and arranger Luigi Hugues. It was first published in Milan in 1904.
The title of this march commemorates the Battle of Harlaw, fought in 1411 just north of Inverurie in Aberdeenshire, Scotland. It is popular as both a pipe and fiddle tune, and known under a few different names, including “Mac's Fancy” and “The Victor's Return” in Ireland. Despite its title, the tune only seems to date back to the mid-19th century, when it was first printed in John McLachlan's Piper's Assistant (c. 1854).
Today we propose the eighth air from Italian flutist Tebaldo Monzani's Twelve Airs as Solos for a German Flute with a Violoncello or Bass Accompaniment, published in London around the year 1800.
This is the fourth and last movement of a flute duet in B-flat major by the prolific Baroque composer Georg Philipp Telemann. It was first published by Telemann himself in 1727 as part of a collection of 6 flute duets, TWV 40:130-135.
Today's piece is the seventeenth study from 48 Études pour hautbois ou saxophone, composed around 1835 by German oboist and clarinetist Franz Wilhelm Ferling.
Today's tune was kindly contributed to our collection by its composer, piper Roddy Campbell from the isle of Barra in the Outer Hebrides, Scotland. He writes:
My cousins in Tassie opened my eyes to the tragic history of that island, which was once part of the Australian mainland but for 20,000 years or so has been separated by what became known as The Bass Strait. This separation resulted in the indigenous tribes of Tasmania remaining more backward than the mainlanders, e.g. they had no boomerangs. Grand old lady Truganini [1812–1876] has the distinction of having been the last of the pure-blooded Tasmanian aborigines, the remainder having been victims of exploitation, starvation, disease and genocide.
This is the third and final movement of Johann Joachim Quantz's Sonata in F major for flute and continuo, QV 1:86. It is one of many works for flute that Quantz composed for his student and patron Frederick II, King of Prussia.
Today we propose the fifth piece from Duos faciles et progressifs pour 2 flûtes (Easy and progressive duets for 2 flutes) by Austro-Hungarian flutist and composer Adolf Terschak. It was first published in Paris in 1874.
Today we propose the fourth piece from 24 Studi di perfezionamento per flauto, Op. 15, by Italian flutist, composer and arranger Luigi Hugues. It was first published in Milan in 1904.
The earliest known appearance of this jig is in the second volume of O'Farrell's Pocket Companion for the Irish or Union Pipes , published in London around 1806. It was listed under the title “Calloch a Theusa”, a phonetic version of the Irish Cailleach a' Shúsa meaning “Hag of the Blanket”. The title “Snug in the Blanket” first appears in Francis O'Neill's collection Music of Ireland, published in Chicago in 1903.
The origins of this piece are not entirely clear. Its earliest known appearance is in Jean-Daniel Braun's Pièces sans basse, published in Paris in 1740 together with his Flute Sonata in E minor. Since they were published as a single volume, the pieces are often attributed to Braun, even though the front page states that they are “by the same author as well as by various others”. And of course, there is no indication anywhere of which pieces were composed by Braun himself. Some recent editions suggest that some of the pieces might even be by Johann Joachim Quantz, but there is hardly any proof of that.
Modern editions also appear to have caused a bit of confusion regarding the original instrumentation of these pieces. The Pièces sans basse were explicitly intended for flute or bassoon (every piece came with two key signatures, one for each instrument). They have however been transposed and republished in several collections for the recorder, and given the popularity of this instrument during the Baroque era, many people now think that versions for the flute are adaptations, when it is actually the other way around.
As if that were not enough, the “Lamentevole” (Italian for plaintive, mournful, or regrettable) has suffered from even more confusion. It has been republished in several collections, with its title corrupted first to “Lamenterole” (an easy mistake to make, considering how close to an r the v looks in the original edition... except that “lamenterole” does not appear to be a word in any language) and then to “Lamentarola” (also not a word, but perhaps someone thought that sounded more Italian?).
Special thanks to Joe for suggesting such an interesting piece!
Today's piece was kindly contributed to our collection by its composer, Michael Mandak from Graz, Austria. It was written for flutists wishing to alternate the classic works of Telemann, Quantz, Gariboldi etc. with something different and more modern.
Thank you, Michael, for sharing your music with us!
Today's piece is the eighteenth study from 48 Études pour hautbois ou saxophone, composed around 1835 by German oboist and clarinetist Franz Wilhelm Ferling.
Today's tune was kindly contributed to our collection by its composer, piper Roddy Campbell from the isle of Barra in the Outer Hebrides, Scotland.
Who was “Dougal the Servitor“?
He was of the Macgregors of Fortingall and Lismore, for ever associated with The Book of The Dean of Lismore, early to mid-16th century. He wrote a genealogy of the Macgregors which traced their descent from the old Celtic monarchs of Scotland.
Today we propose the ninth air from Italian flutist Tebaldo Monzani's Twelve Airs as Solos for a German Flute with a Violoncello or Bass Accompaniment, published in London around the year 1800.
This is the opening movement of a flute duet in C minor by the prolific Baroque composer Georg Philipp Telemann. It was first published by Telemann himself in 1727 as part of a collection of 6 flute duets, TWV 40:130-135.