Today we propose the fifth 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 appearance of this tune is in Irish violinist R.M. Levey's second collection of The Dance Music of Ireland (London, 1873), under the title “How are you now Kitty?”. The tune was also entered as an untitled jig into Book 3 of the large circa-1883 music manuscript collection of County Leitrim piper and fiddler Stephen Grier. The shorter title “How Are You Kitty?” is first found in Francis O'Neill's 1903 collection Music Of Ireland, which also includes variants of the tune such as The Woodcock.
This is the opening movement of Johann Joachim Quantz's Sonata in F major for flute and continuo, QV 1:93. 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 sixth 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 nineteenth 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 refers to the 7-hour sea-journey home from Oban to Castlebay, the main village on Barra.
Today we propose the tenth 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 second 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.
Today we propose the sixth 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 tune is in the mid-19th-century music manuscripts of Church of Ireland cleric and uilleann piper James Goodman, under the title “An Síoda 'thá ad Bhalluit?” (“Is it silk that's in your wallet?”). It was then printed with the English title “Is it Silk that's in Your Bag, My Boy?” in R.M. Levey's 2nd collection of The Dance Music of Ireland (London, 1873).
This Largo in D minor is the second movement of Johann Joachim Quantz's Sonata in F major for flute and continuo, QV 1:93. 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 seventh 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 twentienth 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:
Incompetent toffs masquerading as army officers were much in evidence during the First World War, and although the phrase and various versions of it pre-date the 20th century, to many people the Lions led by Donkeys tag is forever associated with how the generals (donkeys) in that war stupidly and callously sent thousands upon thousands of infantry soldiers (lions) to their deaths.
Today's piece was kindly contributed to our collection by guest composer Paul Merkus.
This “Flute Voluntary” was originally written for trumpet and piano in early 2003, but has recently been transcribed for flute and piano by octavating the flute part. The original intent was to exploit the characteristic “signalling” effect that a trumpet can do well, but obviously, the flute can also do this well!
After a piano introduction, the piece begins with the exposition of the theme, accompanied by a walking bass in the piano. In the development, the flute plays the theme strongly and radiantly in the relative key of C minor. After a short piano interlude, the flute plays a counter-theme in a higher register, which in the second instance is boosted by diminished chords. The piano then returns to the opening theme in a grand maestoso style, and the flute answers with rhythmic variations pushing to a climax. A short interlude marks the transition to a solo cadenza featuring virtuoso scale patterns, landing on a trill that marks the return of the piano and a reprise of the original theme.
This is the third 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.
Today we propose the seventh 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.
One of the earliest appearances of this tune is in R.M. Levey's First Collection of the Dance Music of Ireland (London, 1858), under the title “The Munster Buttermilk”. As a four-part melody called “Box the Monkey”, it also appears in the music manuscript collection of piper James Goodman (1828–1896).
Today we propose the eleventh 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.
Today we propose the eighth 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 twenty-first 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 jig is dedicated to West Highlanders Iain MacFarlane and Allan Henderson, “two of the finest and most versatile folk musicians in Scotland.”
Today we propose an arrangement for flute and guitar of Johann Sebastian Bach's Allemande from French Suite No. 5 in G major for harpsichord.
Many thanks to Peter Pope for contributing this arrangement!
This is the fourth and final 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.
Today we propose the eighth 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 tune is as a country dance in a manuscript now preserved in the Bodleian Library at Oxford, inscribed A Collection of the Newest Country Dances Performed in Scotland written at Edinburgh by D.A. Young, W.M. 1740.
The expression “to bung your eye” means “to shut your eye”, a meaning taken from the bung or cork used to stopper a hole in a cask. More specifically, it was one euphemism for drinking gin or other spirits until one's eye is bunged up or closed.
This Vivace is the third and last movement of Johann Joachim Quantz's Sonata in F major for flute and continuo, QV 1:93. 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 ninth 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 twenty-second 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.
Vatersay, just south of Barra, is the southernmost inhabited island in the Outer Hebrides. The Isle of Mingulay lies just south of Vatersay, but was abandoned by its last inhabitants in 1912. Today it can be accessed by boat tours and charters, and it is well worth a trip, particularly for its important seabird populations, including puffins, black-legged kittiwakes, and razorbills, which nest in the high sea-cliffs.