Moore_In Memoriam GH-2

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The Choix de jolies bagatelles, telles que Préludes, Danses, Marches, Rondos, Andantes et Variations sur des air favoris d’Opéras de Rossini et autres pour la Flute, par R. DresslerTom Moore

As musicians and more passive consumers of music in the 21st century, we are aware, to varying degrees, of musical genres and markets, and how they interact with musical instruments. As one casts an historical eye backwards over music and its uses, these relationships change. Today, an immense part of our exposure to music comes from mechanically recorded performances (usually transmitted in the form of mp3 fi les on computers). For a substantial period prior to the perfecting and availability of recordings at popular prices, music was heard via arrangements for piano, since this was an instrument present in many middle-class homes in Europe and in places in the Americas where European culture was dominant. Before the period in which the piano was manufactured for a large market, its cost of fabrication meant that it was only present in the wealthiest households. Th e instrument for which simplicity of construction, small size and low cost meant it was easily accessible to a broad part of the population was the fl ute, frequently with a single key, rather than the more complex eight-key instrument, or the instrument with the even more complicated Boehm mechanism.

Th e collection of works published in six volumes by Simrock in Bonn as the Choix de jolies Bagatelles provides a good view of the intersection of professional and amateur music-making on the fl ute in the early 19th century. Th e title emphasizes many of the important qualities prized by the fl utist. First of all, selection (choix). Many volumes of music published for the fl ute at this time focus on “beauties” (Nicholson’s Beauties, Alexander’s Select Beauties for the Flute, Beauties of Music, Beauties from the works of Beethoven, Cimarosa, Haydn, Hummel, Mozart & Spohr). Th e music is viewed perhaps more as a delightful pastime, something diverting: a jolie bagatelle, or pretty nothing, rather than with the seriousness that an abstract work such as a sonata might convey. Th e repertoire, in addition to works written originally for the fl ute, included many favorite airs taken from the operatic successes of the day, usually presented with one or many sets of variations, as well as popular tunes from the traditions of Scotland and/or Ireland, which might be presented with the embellishments characteristic of the performance tradition of the slow air, rather than with multiple variations. Finally, although the fl ute, the instrument, and its exponents

504 Analizar, interpretar, hacer música... · Melanie Plesch (ed.)

Tom Moore

had characteristic national traits (which might be usefully divided into English, French and German schools) the global economy and political situation of the period circa 1800-1825 meant that these national traits intermingled to a considerable degree with instruments, music and musicians traveling between all three spheres. Raphael Dressler, to whom the collection is credited, was born in Graz, Austria, was later active in Hannover, from whence he moved to London in 1820, later returning to the continent. Interestingly, the Choix de jolies Bagatelles seems to be the republication (without acknowledgement) of a collection in two parts, each in six volumes, entitled Dressler’s selection of beauties with embellishments for the fl ute. Dedicated to amateurs, and published by R. Cocks in London (plate numbers 312/393), with no date. Th e earliest advertisement I have found for the latter collection is from March 1828 (in the Harmonicon), where the advertisement is selling six books.1 Th e advertisement from the following month of April 1828 off ers twelve books,2 as do all subsequent ads. Th e collection is also found in an advertisement for new publications by R. Cocks in no. 65 of the Athenaeum ( Jan. 21, 1829). Simrock’s edition of the Choix de jolies Bagatelles is indexed in the 1829 edition of the Whistling catalogue of music in print (the Handbuch der Musikalischen Literatur), as well as being noted in the Allgemeine Musikalische Zeitung, vol. 31, no. 12 ( July 1829) listing of new publications from Simrock,3 and the similar list from the Berliner Allgemeine Musikalische Zeitung, vol. 6 (May 5, 1829). Its sequence of six plate numbers (2670-2675) indicates a publication date of 1829 within the context of other datable works from Simrock. Th e Choix de jolies Bagatelles is still being advertised (in six books only) in the 1851 Simrock catalogue.4 To sum up, it seems that the fi rst six books were published as a set (as Dressler’s selection of beauties) by at the latest March 1828 by Cocks, were joined by the second set of six books by April 1828, and the fi rst six books were published in Bonn under the new French title ( Choix de jolies Bagatelles, a more or less idiomatic rendition of “selection of beauties”) by Simrock in early 1829.

To my knowledge, the only surviving copy of the entire set of the twelve books of the R. Cocks edition is held at the University of Toronto (where the library was so kind as to supply me with the the pages for the table of contents). Th e Choix de jolies Bagatelles is held at the Hitchcock Collection of the Florida State University, and also at the Watkinson Library of Trinity College, Hartford, Connecticut. We are lucky to have contemporary reviews for the fi rst six books of Dressler’s selection of beauties from the Athenaeum (vol. 2,

1 Th e Harmonicon, N° 3 (III-1828), Advertisements (unpaginated, second page). 2 Th e Harmonicon, N° 4 (IV-1828), Advertisements (unpaginated, second page). 3 Allgemeine Musikalische Zeitung, Vol. 31 (1829), p. 455. 4 Verzeichniss des Musik-Verlags von N. Simrock in Bonn (1851), p. 137.

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The Choix de jolies bagatelles...

1828, p. 442, p. 470, for books 1-2) and from the Harmonicon (v.4-5, for books 3-6). Th e Athenaeum notes

We feel much satisfaction in recommending this very desirable work to the particular notice of the fl autist, since we are persuaded he will derive infi nite pleasure, as well as improvement, from the perusal and practice of it. On comparison, it will be found to contain more various and useful music than any other publication of the kind, (that we have yet met with) and each number will present from ten to fourteen pieces, chiefl y by the fi rst composers… thirteen interesting and desirable pieces are well adapted, well brought out, and off ered at less than threepence each.

Th e Harmonicon, in contrast, emphasizes the “great diversity of English, Scotch, Irish, Italian, and German airs” [note the pride of place given to the music from the British Isles] and the fact that the works are “chosen not only on account of their present popularity, but because they really possess intrinsic merit”, concluding that the “neatness and cheapness of the work, together with the judgment shown in collecting the materials, ought to recommend it to general notice.”

Th e target audience for these publications is clearly the middle-class amateur for whom both economy and taste are factors in making an expenditure. Th e Choix presents eighty-four sequentially-numbered pages divided into six cahiers. Each cahier includes a duet for two fl utes printed on the last complete opening. Th e table of contents for the Choix/Selection of Beauties, 1 and 2 follows.

Some notes on the works included in the Choix de jolies Bagatelles

Ombra adorata

Th is is the “admired air ‘Ombra adorata aspetta’ sung by the noted opera singer Giuditta Pasta (1797-1865) in Romeo e Giulietta by Niccolò Antonio Zingarelli; the aria, however, was composed Girolamo Crescentini (1762-1846). Other arrangements of the aria include settings for the harp by Th éodore Labarre and Nicholas-Charles Bochsa.

Ombra adorata aspetta teco sarò indiviso, nel fortunato eliso avrà contento il cor.Là tra i fedeli amantici appresta amor diletti, godremo i dolci istanti de’ più innocenti aff etti; e l ’eco a noi d’intorno risuonerà d’amor.

Adored shade, wait,*I will be inseparable from you, in the happy thereafterYour heart will be content.Th ere among faithful loversLove prepares delights for us, We will enjoy the sweet momentsOf the most innocent feeling;And the echoes around usWill resound with love.

* All translations are my own.


Tom Moore

Choix de jolies Bagatelles

Cahier I Plate number 2670

Adagio, in C major / Tulou 1Ombra Adorata / Chant de Madame Pasta / Arr: par R. Dressler / Rondo Maestoso / In D major. 2-3Marche / La Donna del Lago. Rossini. / Maestoso / In E-flat major. 3Air Allemand / Varié par R. Dressler / Allegretto, in G major / Theme, 4 variations 4-5Gramachree Molly / Arr: par R. Dressler / Andante, Allegretto / In B-flat major. 6Quadrille / Arr: par R. Dressler / Allegretto, in G major 7 Gallenberg’s favorite Waltz / Arr: par R. Dressler / Allegretto, in D major 7Una voce poco fa. / Arr: par R. Dressler / Allegro moderato, in C major. 8La Suissesse au bord du lac / Arr: par R. Dressler / Andantino, in E major 10Polacca / Berbiguier / Moderato, in D major. 11[Duo - Primo-Secondo] / Quintet de Moise. / Arr. par Berbiguier. / Andante sostenuto, in G major. 12-13Je suis Lindor / Tulou / Andante, in F major 14 Rossini’s Priere [sic] de Moise / Arr: par R. Dressler / Larghetto, in D minor 14

Cahier IIPlate number 2671

Nun Beut die Flur / Aus der Schöpfung von Haydn / Arr: par R. Dressler / Andante, in B-flat / Extravagantly ornamented, in one movement 15Rondo / In F , Allegro poco assai / Berbiguier 16The Blue Bonnets / Rondo Allegretto / In D / Arr: par R. Dressler 17Air Allemand / Varié par R. Dressler / Andante, in F major / Theme, 3 variations (marked 1, 2, 4) 18-19O dolce concento / Varié par Berbiguier / Andante, in E-flat major / Theme, 6 variations 20-22Il pleut bergere [sic] / Farrenc / Allegretto, in G major / Theme, 2 variations 23Cease your funning / Varié par R. Dressler / Andante, in C major / Theme, 4 variations 24-25Air varié / Tulou / Allegretto poco andante, in G major / Theme, 5 variations, coda 26-28

Cahier IIIPlate number 2672

Poor Mary Anne / Embelli par R. Dressler / In F major. / Un poco lento/ Allegro Scherzo 29Non più mesta / Aria de la Cenerentola. Arr: par W. Forde / Allegretto, in F major. 30-31My lodging is on the cold ground / avec Variations par R. Dressler / Larghetto, in C major / Theme, 4 variations 32-34Oh! Nanny / avec Variations par R. Dressler / Andante, in B flat / Theme, 3 variations 34-37

Gott Erhalt [sic] den Kayser von Haydn / Arr: par R. Dressler / In B-flat major / Poco Adagio/Allegretto 38-39[Duo - Primo-Secondo] / Du Barbier de Rossini. / Arr: par Berbiguier / Polacca / In G major 40-41Air Portugaise / Embelli par R. Dressler / Andantino, in D major 42

Cahier IVPlate number 2673

In my cottage near a wood / Embelli par R. Dressler / Andantino, in G major 43Auld Robin Gray / Varié par R. Dressler / Adagio, in G major / Theme, 3 variations 44-45Rondo / Berbiguier / Allegro poco assai, in D major 46-47 Mozart’s “Batti Batti”. / Embelli par Kuhlau / Andante, in D major 48-49Romanza [no composer] / Lento ma non troppo, in G major. 50The Blue Bell of Scotland / Varié par R. Dressler / Andante, in A major 51-53[Duo - Primo-Secondo] / Ye Banks and Braes / Arr: par R. Dressler / Andante, in F major 54-55Six preludes / Composé par Gabrielsky. 56

Cahier VPlate number 2674

Romanza / Comp. par Berbiguier / Andante sostenuto, in B-flat 57Air Allemand / Deutsches Lied / Varié par R. Dressler / Andante, in G major / Theme, 4 variations 58-59Air Suisse / Embelli par R. Dressler / Andante ad libitum, A minor 60Deutsches Lied / Embelli par R. Dressler / Allegretto, in D major 61Solo / Par Köhler / Allegro risoluto, in C major 62-63Sul Margine d’un Rio / Embelli par R. Dressler / Andante, in C major 64Romance de Mozart / Arr. par R. Dressler / Adagio, in D major 65Waltz avec Variations [no composer] / In C major / Theme, 4 variations 66-67[Duo - Primo-Secondo] / *Romanze par R. Dressler / Adagio molto, in E minor 68-69Six preludes [continuation of preludes by Gabrielsky from Cahier V?] 70

Cahier VIPlate number 2675

Six preludes par R. Dressler 71Quando al Marcial. Tancredi. / Arr. par Dressler / Maestoso, in C major. 72Ah come mai. Duetto nel Tancredi. / Arr. par Dressler / Andante, in G major. 73La Marche d’Alexandre. / Rondo par R. Dressler. / Allegretto, in F major. 74

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Coro de Congiurati du Crociato / Par W. Forde / Tempo di Marcia, in C major 75Chor der Bajaderen / Aus Spohr’s “Jessonda” / Arr. par R. Dressler / Andante, in B-flat major 76Waffentanz / Aus Spohr’s “Jessonda” / Arr. par R. Dressler / Vivace, in D major 76-77Air Suisse [no composer] /Andantino, in A-flat major / Waltz. / Allegretto, in A-flat major 78Allegretto, in G major 78Deux Walzer / Par Farrenc / In G major. 79[Duo - Primo-Secondo] / Il Vivo Lampo. / Duo nel Tancredi. / Arr. par W. Forde. / Allegro Marziale, in C major. 80-81Air Suisse / avec Variations par R. Dressler / Moderato, in C major / Theme, 2 variations 82-83Andante / Embelli par R. Dressler / In E-flat major 84

Book 7 Mozart’s Opera “Seraglio”

The Overture 85Romance Belmonte 86Andante 87Mussulman Chorus 88Aira Ah. La Gioja 89Con vezzie 91Aria 92Allegretto 93Rondoletto 94Rondo 96Romanza 97Andante 98

Book 8“Buona Notte”embellished by Dressler 99“We’re a’ noddin” varied by Do 100 Hummel’s Tema by Forde 102Cimarosa’s Air Giuliani 103“Ah come” in “ Crociato” by Dressler 104“Adeste Fidelis”, embd by Dressler 105 Hummel’s Waltz 2 flutes 106Air, “Shöne [sic] Minka” 2 Do 1062 Tyrolian Airs for 2 Do 106“Ah Perdona” and “Deh prendi” two flutes by Forde 108 Berbiguier’s 2 Romance 110

Book 9Romance, Haydn by Dressler 111“Highland Laddie” by Do 112Portuguese Air varied by Camus 113“C’est l’Amour” by Dressler 114Himmel’s Polonaise by Forde 115A Scotch Air varied by Camus 116Two favorite airs in Crociato by Forde 117Duet “All’s well” 2 Flutes by Dressler 118 Mozart’s “Manly Heart” and Aria 2 flutes by Do and 120“Le Petit Tambour” as a Rondo by Do 122

Book 10An Original Romance by Dressler 123“Wind gentle Evergreen” two flutes by Do 124Romances, by Haydn, Tulou & Berbiguier 126“Fleuve du Tage” embd Dressler 127Herz’s 4 Waltzes arr. by Forde 128“O Kenmure” arr. as a rondo by Dressler 129Romances by Haydn & Hugot, arr by Forde 130“La Belle Catherine” arr. by Dressler 131Romanza in “Teobaldo” arr for 2 fl by J. Hewett 132Six Preludes by Dressler 134

Book 11“Waters of Elle” arr. as a Rondo by Dressler 135“Lass of Richmond Hill” Do 136Polacca, by Keller, and Romance by Tulou 137Two Romances by Spohr 138Romance & Rondo by Tulou 139Sweet Home” varied by Dressler 140Rondo in “Pietro l’Eremita” by Do 142Romances, by Beethoven, & Haydn 143Aria in “Zelmira”, Drouet & Tulou’s Romance, op. 28 144An Original Romance by Dressler 145 Rossini’s “Viene fra queste” in “La Gazza Ladra” by Forde 146

Book 12Six Preludes Dressler 147“Isabel” embell’d by Do 148An original Romance by Do 149“Glorious Apollo” 2 flutes Do 150 Haydn’s Military Rondo & Oginsky’s Polonaise, for 2 flutes by Forde 152A Greek Air, a French & Romance by Kuhlau, 2 Fl. 154“ God Save the King”, embd for 2 flutes by Dressler 156“Kelvin Grove” by Do 158


Tom Moore

Marche - La Donna del Lago

Although Rossini is the only operatic source to appear by name on the cover of the collection, among the extensive selections included in its pages are only three items from his pen. Th is piece is arranged from the instrumental introduction to the chorus Quel Rapido Torrente (originally in c), no. 6 in Rossini’s setting of a libretto based on Sir Walter Scott’s La Donna del Lago, premiered in October 1819.

Gramachree Molly

Th is was a popular Irish tune published in the later 18th century with words by George Ogle (1742-1814), and was the subject of a set of variations for keyboard by Wagenseil published around 1770, as well as a keyboard concerto by Johann Christian Fischer from about the same time. In the early 19th century it was also set for fl ute by both Drouet and Nicholson, and for harp by Bochsa.

Th e Ogle poem begins as follows:

As down by Banna’s banks I strayed,One evening in May, Th e little birds with blithest notes, Made vocal every spray; Th ey sung their little notes of love, Th ey sung them o’er and o’er. Ah! grá mo chrói, mo cailín óg, Is Mailligh mo stór.5

Gallenberg’s favorite Waltz

Th e composition is by Count Wenzel Robert Gallenberg (1783-1839). Th e most well-known waltz by Gallenberg is evidently that in A-fl at that is the subject of settings for piano by both Osborne and Czerny, as well as for harp and piano by Bochsa. Th e work included in this collection is a diff erent waltz.

Una voce poco fa

Perhaps one of the most famous moments in lyric opera, Una voce poco fa is a cavatina from Act 1 of Rossini’s Barber of Seville. Th e arrangement for fl ute uses the section with the text beginning Io sono docile, son rispettosa where Rosina sings with increasing virtuosity of what a viper she will be if she does not get her way.

5 http://www.ricorso.net/rx/az-data/authors/o/Ogle_G2/xtra.htm

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Io sono docile, son rispettosaSono obbediente, dolce, amorosa.Mi lascio reggere, mi lascio reggere,Mi fo guidar, mi fo guidar.Ma se mi toccano dov’e il mio debole,Sara una vipera, saroE cento trappole prima di cedereFaro giocar, faro giocar, ecc.

I am docile, am respectful,Am obedient, sweet, and loving.I listen to direction,And let myself be guided. But if they touch me at my weak point,I will be a viper!And before yielding I will Spring a hundred traps.

La Suissesse au bord du lac

Th is seems to have been a popular song of Swiss origin, and well-known enough to have been adapted as a hymn by the early 19th century,6 in which guise it was still popular enough by the late 18th century to have been denounced by F. A. Gore Ouseley in the following words:

How can such tunes –in 6-8 time, in tripping measure, in secular style, with associations of secular and even amorous and questionable words– how can such tunes conduce to devotion? How can they enhance the perfection of sacred art? How can they fail to degrade that which they seek to exalt?7

L’encens des fl eurs embaume cet asile,La nuit descend à pas silencieux; Le lac est pur, l ’air est frais et tran-quille, La paix du soir se répand en ces lieux. O ma patrie,O mon bonheur!Toujours chérie, Tu rempliras mon cœur.

Venez jouir, ô mes chères compagnes, Du plus beau soir après le plus beau jour; Faisons redire à l ’écho des montagnes Ces chants si purs de tendresse et d’amour O ma patrie, etc.

Th e incense of the fl owers gives balm to this exile,Night descends with silent steps, Th e lake is pure, the air cool and tranquil, Th e peace of the evening expands in these places.O my fatherland, O my happiness, Always dear, You will fi ll my heart.

Come, enjoy, my dear companions, Th e beautiful evening, after the fairest dayLet us sing once more, as the mountains echo, Our purest songs of tenderness and love.O my fatherland…

6 Smith, Horace. Gaieties and Gravities: A Series of Essays, Comic Tales, and Fugitive Vagaries (London: Henry Colburn, 1825), p. 137.7 As reported in the Proceedings of the Royal Musical Association, Vol. 8 (1882), p. 33.


Tom Moore

Phébé perçant à travers le feuillage, De mon ami m’annonce le retour; Déjà j’entends au lointain du rivage Sa douce voix répéter à son tour: O ma patrie, etc.

Phoebe, piercing the foliage,Announces my friend’s return; I already hear, from the distant shore,His sweet voice repeating:O my fatherland…

Quintet de Moise

Th is, and the prayer which follows after Je suis Lindor, are taken from the Rossini opera, premiered in 1818 at Naples, revised for Naples in 1819, and revised again for Paris in 1827. Since the titles here are in French, the arrangements (by Berbiguier for the Quintet, and Dressler for the Prayer) evidently reference the Parisian production, only shortly before the publication of this collection. Paganini wrote a celebrated set of variations on the Prayer (Dal tuo stellato soglio).

Th e quintet (with solo for Moses) is found in Act 2, no. 8 (for the opera as a whole). Th e prayer is no. 15 (Act 4).

O toi dont la clémenceAppaise leur souff ranceTa gloire et ta puissanceÉgalent ta bonté.Malheur à qui l’off enseTout cede a sa puissanceMon coeur maudit en silenceTout cède à ta volonté.

O you, whose clemencyAppeases their suff eringYour glory and powerEqual your goodness.Woe to himwho off ends youAll give way to your power(My heart curses in silence)All cedes to your will.

Je suis Lindor

Th is is an aria for the Count from the Barber of Seville. Th e original music for the fi rst Paris production from 1775, by Baudron, was the subject of numerous variations, including the fi rst item from the Six Airs Choisis Variés by J. B. Mayer. Tulou’s variations, however, are apparently based on the corresponding cavatina from Paisiello’s setting (Saper bramate etc.), premiered in 1782 in St. Petersburg, and later adapted for performance in French. Th is

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was copied into the ms volume hc 246 of the Hitchcock collection (with the note “arr’d by Dressler”).

le comte chante en se promenant, et s’accompagnant sur sa guitare.

Vous l’ordonnez, je me ferai connaître, Plus inconnu, j’osais vous adorer ;En me nommant, que pourrais-je espérer?N’importe, il faut obéir à son maître.

figaro, bas. Fort bien, parbleu ! Courage, Monseigneur !

le comte. Je suis Lindor, ma naissance est commune; Mes vœux sont ceux d’un simple bachelier ; Que n’ai-je, hélas ! d’un brillant chevalier A Vous off rir le rang et la fortune !

figaro. Et comment, diable ! Je ne ferais pas mieux, moi qui m’en pique.

le comte. Tous les matins, ici, d’une voix tendre,Je chanterai mon amour sans espoir ;Je bornerai mes plaisirs à vous voir ;Et puissiez-vous en trouver à m’entendre !

the count sings while he strolls, accompanying himself on the guitar.

At your order, I will make myself known, Unknown, I dared to adore you; What may I hope if I reveal my name? It matters not – I must obey my master.

figaro (aside): Well done! Courage, my lord.

the count:I am Lindor, of humble birth;My vows are those of a simple bachelor;For, alas, I cannot off er you the rank and fortune Of a brilliant cavalier!

figaro (aside): And how, the devil! I couldn’t do better myself.

the count: Every morning here, with a tender voice, I will sing of my hopeless love; My pleasure will be only to see you; And may you fi nd pleasure in listening to me.

Rossini’s Priere [sic] de Moise

Des cieux ou tu residesGrand dieu toi qui nous guidesComble les voeux timides D’un people obeisant

Après un long orageConduis nous au ravageEt sauve du naufrageTes fi dèles hébreux.

From the heavens where you dwellGreat God, who guides usFulfi ll the vowsOf an obedient people.

After a long tempestBring us to shore, And save your faithful HebrewsFrom shipwreck.


Tom Moore

O toi que tout révèreAux cieux et sur la terreEcoute ma prière Protége tes enfants.

O you, revered by all, On earth and in heaven, Hear my prayer – Protect your children.

Nun Beut die Flur

Th is is taken from the Joseph Haydn’s famous oratorio, Th e Creation, premiered in 1799. Th e aria is for soprano, and is in b-fl at, as is the transcription.

With verdure clad the fi elds appeardelightful to the ravish’d sense by fl owers sweet and gay enhanced is the charming sight. Here vent their fumes the fragrant herbs; here shoots the healing plant.By loads of fruit th’ expanded boughs are press’d; to shady vaults are bent the tufty groves;the mountain’s brow is crown’d with closed wood.

Blue Bonnets Over the Border

Th is was a popular nationalistic Scottish ballad in the early 19th century, still known and sung today. Th e poem is by Sir Walter Scott, and found in his novel Th e Monastery, published in 1820.

March, march, Ettrick and Teviotdale,Why, my lads, dinna ye march forward in order?March, march, Eskdale and Liddesdale,All the blue bonnets are over the border. Many a banner spread, fl utters above your head,Many a crest that is famous in story, Mount and make ready then, sons of the mountain glen,Fight for your Queen and the old Scottish glory.

Come from the hills where your hirsels are grazing,Come from the glen of the buck and the roe:Come to the crag where the beacon is blazing;Come with the buckler, the lance, and the bow. Trumpets are sounding, war-steeds are bounding;Stand to your arms, and march in good order; England shall many a day tell of the bloody fray,When the blue bonnets came over the border.

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O dolce concento

Th e tune “Das klinget so herrlich” from Mozart’s Magic Flute, was highly popular as a source for variations, not only under the original German title (as for example, in a set for solo fl ute by F. R. Gebaur held in the Hitchcock collection), but more frequently under the title “O dolce concento” (the title of a virtuoso set of variations by Drouet) or as “Away with Melancholy”, which eventually became an English folksong8.

O dolce concento,O dolce piacer, Empia l ’alma di contentoL’armonia che molce il cor.

O sweet chord,O sweet pleasureHarmony, which softens the heartFills the soul with contentment.

Il pleut bergere [sic]

Th is popular romance dates to the later 18th century, with the poetry by P. F. N. Fabre d’Églantine, and the music by Louis Victor Simon. It was the subject of settings by Carcassi ( guitar), Kalkbrenner, Mozin ( piano), Bochsa (harp), and even appeared in a setting published as late as 1870 or so by Charles Ferlus. Th ese are the fi rst three of many stanzas. Aristide Farrenc (1794-1865), the composer of the variations on the tune, is better known today as the husband of composer Louise Farrenc, though he produced a fl ute method and a respectable number of compositions for his instrument.

Il pleut, il pleut bergère, Rentre tes blancs moutons, Allons sous ma chaumière Bergère, vite, allons.

J’entends sous le feuillage L’eau qui tombe à grand bruit, Voici, venir l ’orageVoilà l ’éclair qui luit.

Entends-tu le tonnerre ? Il roule en approchant, Prends un abri bergèreA ma droite en marchant.

It is raining, shepherdess,Bring your white sheep,And let us go into my cottage, Quick, shepherdess.

I hear the rain fallingUnder the leaves, Come, see the storm,See the fl ash of the lightning.

Can you hear the thunder?It booms as it approaches,Take shelter, shepherdess,At my right as we go.

8 Arthur Ness traces this trajectory in detail: http://mysite.verizon.net/vzepq31c/musexx/id14.html


Tom Moore

Cease your funning

Th is popular song dates back at least as far as Th e Beggar’s Opera, where it appeared in 1728. It was set by Beethoven as one of his Twelve Scottish Songs, woo 156 (no. 5), and is still a popular song today.

Cease your funning, force or cunning,

Never shall my heart trepan;All these sallies are but maliceTo seduce my constant man.‘Tis most certain by their fl irtingWomen oft have envy shown,Pleas’d to ruin other’s wooingNever happy with their own.

Poor Mary Anne

Th is is a popular Welsh tune, most commonly found under its Welsh title, “Ar Hyd y Nos”, or under the English translation, “All through the night”. Below is the fi rst verse of the poem belonging to this title.

Here beneath this willow sleepeth Poor Mary Anne! One whom all the village weepeth, Poor Mary Anne! He she lov’d her passion slighted;Breaking all the vows he plighted;Th erefore life no more delighted Poor Mary Anne!

Non più mesta – Aria de la Cenerentola

Th is famous aria was written for the title character of Rossini’s Cinderella, premiered in 1817 in Rome, and refl ects her happy ending with virtuoso trills and runs.

Non più mesta accanto al fuoco Starò sola a gorgheggiar. Ah fu un lampo, un sogno, un gioco Il mio lungo palpitar.*

No longer will I sit sadly by the fi reAlone while I sing. Ah, my long suff ering was onlyA fl ash, a dream, a game.

* http://opera.stanford.edu/ Rossini/Cenerentola/act2.html

My Lodging is on the Ground

Th e story of the success of this song is widely told, and can be found in the General History of the Science and Practice of Music by Hawkins (published

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in 1776). It was sung by Mary Davis in Th e Rivals to such success that she became the mistress of, and had a child by, Charles II. Th e tune found in this collection, however, is an alternative one, more commonly known with the words “Believe me, if all those endearing young charms” by the Irish poet Th omas Moore.

My lodging is on the cold ground,And very hard is my fare, But that which troubles me most is Th e unkindness of my dear. Yet still I cry, O turn, love, And I prythee, love, turn to me, For thou art the man that I long for,And alack what remedy.

I’ll crown thee with a garland of straw, then, And I’ll marry thee with a rush ring,My frozen hopes shall thaw then,And merrily we will sing.O turn to me, my dear love,And I prythee, love, turn to me, For thou art the man that alone canstProcure my liberty.

But if thou wilt harden thy heart still,And be deaf to my pitiful moan,Th en I must endure the smart still,And tumble in straw all alone. Yet still I cry, O turn, love,And I prythee, love, turn to me,For thou art the man that alone artTh e cause of my misery.

Oh! Nanny

Another popular Scots song, with poetry by Dr. Th omas Percy (1728-1811).9

O, Nannie wilt thou gang wi’ me,Nor sigh to leave the fl aunting town? Can silent glens have charms lor thee, Th e lowly cot and russet gown? Nae langer drest in silken sheen, Nae langer deck’d wi’ jewels rare,

9 Chambers, Robert. Cyclopaedia of English Literature (London / Edinburgh: William and Robert Chambers, 1857), p. 76.


Tom Moore

Say, canst thou quit each courtly scene, Where thou wert fairest of the fair?

O Nannie, when thou’rt far away,Wilt thou not cast a look behind? Say, canst thou face the fl aky snaw, Nor shrink before the winter wind? O can that soft and gentle mien Severest hardships learn to bear, Nor, sad, regret each courtly scene, Where thou wert fairest of the fair?

O Nannie, canst thou love so true,Th rough perils keen wi’ me to gae? Or, when thy swain mishap shall rue, To share with him the pang of wae? Say, should disease or pain befall, Wilt thou assume the nurse’s care, Nor, wishful, those gay scenes recall, Where thou wert fairest of the fair?

And when at last thy love shall die,Wilt thou receive his parting breath? Wilt thou repress each struggling sigh, And cheer with smiles the bed of death? And wilt thou o’er his much-loved clay Strew fl owers, and drop the tender tear? Nor then regret those scenes so gay, Where thou wert fairest of the fair?

Gott erhalt den Kayser von Haydn

Properly known as “Gott erhalte Franz den Kaiser”, the hymn was composed for the Holy Roman Emperor Franz ii in 1797 by Joseph Haydn. Th ere have been many instrumental arrangements, sets of variations, etc., especially a set of 24 variations for unaccompanied fl ute by Franz Alexander Possinger.

Th e fi rst stanza of four is given here.

Gott erhalte Franz, den Kaiser,Unsern guten Kaiser Franz!Lange lebe Franz, der Kaiser,In des Glückes hellstem Glanz!Ihm erblühen Lorbeerreiser,Wo er geht, zum Ehrenkranz!Gott erhalte Franz, den Kaiser,Unsern guten Kaiser Franz!

God save Franz, the Emperor, Our good Emperor Franz!Long live Franz, the Emperor, In the brightest light of happiness!May laurel bloom for him,Where ever he goes, for a laurel wreath! God save Franz, the Emperor, Our good Emperor Franz!

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In My Cottage Near a Wood

An unnamed author devotes considerable ink to the origin of this tune in an essay printed as number 4 in a series on old tunes, published anonymously in Th e Musical Times, vol. 36, p. 591 (Sept. 1, 1895). He notes “We are most of us old enough to remember how this used to form the fi rst essay of the amateur fl ute player. Th e air is terribly weak and far from exhilarating when feebly tootled by an uncertain player; but properly rendered, either on an instrument or vocally, it has a rather charming simplicity about it.” Th e author traces the melody back to a French original published as early as 1725, “Dedans mon petit réduit”. It became popular in England c. 1800, and was published under this title in 1806. Nicholson published a setting for unaccompanied fl ute, and Drouet a set of variations for fl ute and piano.

Th e poem is found in the Universal Songster, vol. 2 (attributed to Morland) as follows:

In my cottage near a wood,Love and Rosa now are mine; Rosa, ever fair and good,Charm me with those smiles of thine.

Rosa, partner of my life,Th ee alone my heart shall prize;Th ou the tender friend and wife, Ah! Too swift life’s current fl ies.

Linger yet, ye moments stay,Why so rapid is your wing?Whither would ye haste away?Stay and hear my Rosa sing.

Love and you still bless my cot,Fortune’s frowns are for our good;May we live by pride forgot,In our cottage near a wood.10

Auld Robin Gray

Th is was a popular Scots ballad written by Anne Lindsay in 1772 about an ill-fated love aff air, and well-known enough to appear in the novel Maria (1798) by Mary Wollstonecraft. It continued to be popular until well into the 19th century, and was set for unaccompanied fl ute by Nicholson, Saust, and Dressler.

10 Th e universal songster, or, Museum of mirth (London: Fairburn, 1826), Vol. 2, p. 112.


Tom Moore

When the sheep are in the fauld, and the kye at hame,And a’ the warld to rest are gane,Th e waes o’ my heart fa’ in showers frae my e’e,While my gudeman lies sound by me.

Young Jamie lo’ed me weel, and sought me for his bride;But saving a croun he had naething else beside:To make the croun a pund, young Jamie gaed to sea;And the croun and the pund were baith for me.

He hadna been awa’ a week but only twa,When my father brak his arm, and the cow was stown awa’;My mother she fell sick, and my Jamie at the sea–And auld Robin Gray came a-courtin’ me.

My father couldna work, and my mother couldna spin;I toil’d day and night, but their bread I couldna win;Auld Rob maintain’d them baith, and wi’ tears in his e’eSaid, Jennie, for their sakes, O marry me!

My heart it said nay; I look’d for Jamie back:But the wind it blew high, and the ship it was a wrack;His ship it was a wrack–why didna Jamie dee?Or why do I live to cry, Wae’s me?My father urgit sair; my mother didna speak,But she look’d in my face till my heart was like to break:Th ey gi’ed him my hand, but my heart was at the sea;Sae auld Robin Gray he was gudeman to me.

I hadna been a wife a week but only four,When mournfu’ as I sat on the stane at the door,I saw my Jamie’s wraith, for I couldna think it heTill he said, I’m come hame to marry thee.

O sair, sair did we greet, and muckle did we say;We took but ae kiss, and I bade him gang away.I wish that I were dead, but I’m no like to dee;And why was I born to say, Wae’s me?I gang like a ghaist, and I carena to spin;I daurna think on Jamie, for that wad be a sin;But I’ll do my best a gude wife aye to be,For auld Robin Gray he is kind unto me.

Mozart’s Batti Batti

Th is is the closing set of variations from the Fantasy in d major, op. 38, no. 1, by Kuhlau, published in Paris by Aristide Farrenc, about 1826-1827, on

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“Batti, batti” from Mozart’s Don Giovanni. Th e version given in this collection omits the fi nal two variations prior to the closing allegro con fuoco.

Th e text of the original aria:

Batti, batti, o bel Masetto,La tua povera Zerlina;Starò qui come agnellinaLe tue botte ad aspettar.Lascierò straziarmi il crine,Lascierò cavarmi gli occhi,E le care tue manineLieta poi saprò baciar.Ah, lo vedo, non hai core!Pace, pace, o vita mia,In contento ed allegriaNotte e dì vogliam passar,Si, notte e dì vogliam passar.

Beat, beat, O handsome Masetto,your poor Zerlina; I will await your blowsLike a little lamb. I will let you tear my hair,Dig out my eyes, And then I will happilyKiss your dear little hands.Ah, I see, you have no heart for it!Peace, my life,Let us spend our nights and daysIn happiness and contentment.

The Blue Bell of Scotland

Th e poetry for this patriotic song was written by Anne Grant (1755-1838), and it was among the folksong arrangements produced by Haydn for the publisher George Th omson.

Oh where, tell me where, is your Highland Laddie gone?Oh where, tell me where, is your Highland Laddie gone?He’s gone with streaming banners, where noble deeds are done,And my sad heart will tremble, till he come safely home.He’s gone with streaming banners, where noble deeds are done,And my sad heart will tremble, till he come safely home.

O where, tell me where, did your Highland Laddie stay?O where, tell me where, did your Highland Laddie stay?He dwel’t beneath the holly-trees, beside the rapid Spey,And many a blessing follow’d him, the day he went away.He dwel’t beneath the holly-trees, beside the rapid Spey,And many a blessing follow’d him, the day he went away.

Oh what, tell me, what does your Highland Laddie wear?Oh what, tell me, what does your Highland Laddie wear?A bonnet with a lofty plume, the gallant badge of war,And a plaid across the manly breast that yet shall wear a star.A bonnet with a lofty plume, the gallant badge of war,And a plaid across the manly breast that yet shall wear a star.

Suppose, ah suppose that some cruel cruel woundShould pierce your Highland Laddie, and all your hopes confound!


Tom Moore

Th e pipe would play a cheering march, the banners round him fl y,Th e spirit of a Highland chief would lighten in his eye:Th e pipe would play a cheering march, the banners round him fl y,And for his king and country dear with pleasure he would die.

But I will hope to see him yet in Scotland’s bonny bounds,But I will hope to see him yet in Scotland’s bonny bounds,His native land of liberty shall nurse his glorious wounds,While wide through all our Highland hills his warlike name resounds:His native land of liberty shall nurse his glorious wounds,While wide through all our Highland hills his warlike name resounds.11

Ye Banks and Braes

Th e melody is traditional, the poetry by Robert Burns. Th e song is still popular today. Contemporary instrumental renderings included that by Sor (Fantasia on a favourite Scottish air).

Ye banks and braes o’ bonnie Doon,How can ye bloom sae fair!How can ye chant, ye little birds,And I sae fu’ o’ care!

Th ou’ll break my heart, thou bonnie birdTh at sings upon the bough;Th ou minds me o’ the happy daysWhen my fause Luve was true.

Th ou’ll break my heart, thou bonnie birdTh at sings beside thy mate;For sae I sat, and sae I sang,And wist na o’ my fate.

Aft hae I roved by bonnie DoonTo see the woodbine twine,And ilka bird sang o’ its love;And sae did I o’ mine.

Wi’ lightsome heart I pu’d a roseFrae aff its thorny tree;And my fause luver staw the rose,But left the thorn wi’ me.12

11 http://www.recmusic.org/lieder/get_text.html?TextId=5711312 http://www.bartleby.com/106/139.html

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Air Suisse

Material similar to this (the opening melody is almost identical) is found as a middle movement in the “Potpourri” no. 3 of Charles Keller, Six Divertissements pour une Flute,13 p. 8. Here it is developed at much greater length. Both must be derived from the same, pre-existing, perhaps folk material.

Solo ( Köhler)

Th is must have been composed by the prolifi c Gottlieb Heinrich Köhler, but I have not found a printed source from the period for the work, which is in sonata form (one movement) as one would expect from the title.

Sul Margine d’un Rio

Th is was a highly popular melody, described variously as “Italian”, “Venetian”, “Neapolitan”, and “Sicilian”. Th ere are instrumental settings for fl ute and piano ( Drouet, op. 123, Saust, op. 5, Nicholson), piano and fl ute ( Latour), harp and fl ute ( Dizi), harp ( Bochsa), piano ( Henri Herz, op. 38), guitar ( Carulli, op. 142), unaccompanied fl ute ( Nicholson), piano four hands ( Challoner), and others.

Ah Come Mai – Duetto nel Tancredi

Th is duo is from Rossini’s Tancredi, Act 2, scene 8, for Tancredi and Amenaide. Th e opera was premiered at La Fenice, Venice, in 1813, receiving its London premiere in 1820, and its New York premiere in 1825.

Tan. Ah! come mai quel ’ anima Cangiò per me d’ aff etto! Per chi sospiri in petto, O debole mio cor?

Ame. Ah! che fedel quest’ anima Serbò il giurato aff etto! Fosti tu sei 1’ oggetto Dei tenero mio cor.

Tan. Ah, how can that soulHave changed its feelings for me!Why do you sigh in my chest,O my weak heart?

Ame.Ah! Th is soulMaintained faithfully the aff ection it swore.You were and are the object Of my tender heart.

13 http://petrucci.mus.auth.gr/imglnks/usimg/d/d7/IMSLP92287-PMLP190139-charles_keller_6_fl _div.pdf


Tom Moore

La Marche d’Alexandre

Th is is adapted from the theme of the Grand Variations, op. 32, of Ignace Moscheles, which were composed in January 1815, with the variations being written “upon the march played by the regiment bearing the name of the Emperor Alexander of Russia”.14 Th e work was widely celebrated for the brilliance and technical diffi culty of the writing for piano.

Coro de Congiurati du Crociato

Meyerbeer, Crociato

Chor der Bajaderen, Aus Spohr’s “Jessonda”

Louis Spohr (1784-1859) is known today above all for his chamber music and concertos for violin, but in his day produced several celebrated operas, including Jessonda, from 1823. Th e libretto is by Eduard Heinrich Gehe (1793-1850).

Th is is no. 20, the fi nale for Act 2.

Aus der Wellen heil ’gem SchooßSchweigend stieg sie, makellos;All ’ ihr Hoff en, all ’ ihr GlückLieß sie in der Fluth zurück.

From the holy lap of the waves, silently she rises, immaculate; All her hopes, all her fortune,She leaves in the waters.

Waffentanz, Aus Spohr’s “Jessonda”

Th is is the conclusion of no. 10, the fi rst number in Act 2, a mostly instrumental dance with some choral participation. It is presented in the original key of d major.

Air Suisse

Th is tune, “known as “Th e Swiss Boy”, was among the Tyrolian songs performed by a traveling fi ve-voice vocal ensemble, the Rainer Family singers, and achieved wide popularity. It was published as a ballad with piano accompaniment by Moscheles.15

Th e poetry begins:

Come arouse thee, arouse thee, my brave Swiss Boy!Take thy pail and to labor away!

14 Moscheles, Charlotte. Life of Moscheles (London: Hurst and Blakett, 1873), Vol. 1, p. 18. 15 http://dc.lib.unc.edu/cdm4/document.php?CISOROOT=/sheetmusic&CISOPTR=27640&REC=3

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Th e sun is up, with ruddy beam,Th e kine are thronging to the stream, Come arouse thee, arouse thee, my brave Swiss Boy!Take thy pail and to labor away!

Il Vivo Lampo Duo nel Tancredi [ Rossini]

Th is is the famous duo from Act 2, Scene 8 of Rossini’s Tancredi, sung by Argirio and Tancredi.

Il vivo lampoDi quella spadaSplenda terribileSul traditor.

Th e living lightOf that swordWill shine terriblyUpon the traitor.

Air Suisse

Th is tune was widely familiar, with various settings including a set of variations concluding the Fantasy for solo fl ute by Kaspar Kummer, op. 33, no. 3.

[Kinloch of Kinloch]

“Kinloch of Kinloch” was a “favorite Scotch air” of the early 19th century, with settings by Czerny and others and a rather late setting by the Scottish nationalist composer William Vincent Wallace (1857), as well as a setting for fl ute and piano by Nicholson, and a setting for unaccompanied fl ute by Th omas Lindsay.

* * *

We only truly see how formative our years of study were with some degree of perspective gained by increasing age, and it is hard to believe that now almost thirty-fi ve years have passed since I arrived (in Fall 1978) at the lively atmosphere of those involved with early music at Stanford in the seventies, while there was still a program combining musicology and performance. One of the luminaries among the students (many somewhat older than I, fresh out of undergraduate school) was Gerardo Huseby, with whom I sang many masses in the St. Ann Choir under the direction of Bill Mahrt. Gerardo was exotic and fascinating in many ways –a blond of Norwegian descent who was the fi rst Porteño I would get to know, a countertenor, a specialist in early winds, and one who sped about town on a Vespa scooter. While at Stanford I began my life-long romance with the early fl ute, thanks to Herb Myers, who started me on the renaissance fl ute, and then lent me a baroque fl ute from his collection, and fi nally sent me to Rod Cameron to buy a fl ute


Tom Moore

of my own in early 1980, which I still play to this day. A dream, long-deferred, was that of building my own collection of early fl utes (most from the early 19th century, something I have started on thanks to Ebay), and I was interested, but not surprised, to hear from Melanie Plesch, in suggesting the article which follows for the book in Gerardo’s memory, that he also was a devoted collector of 19th century winds. I am sure that Gerardo’s light still burns brightly among all those who had the pleasure to know him. May his memory be for a blessing.

References

Allgemeine Musikalische Zeitung, Vol. 31, N° 12 (VII-1829). Athenaeum, N° 65 (21-I-1829). Berliner Allgemeine Musikalische Zeitung, Vol. 6 (5-V-1829).Proceedings of the Royal Musical Association, Vol. 8 (1882).Th e Harmonicon, N° 3 (III-1828), Advertisements (unpaginated, second page).Th e Harmonicon, N° 4 (IV-1828), Advertisements (unpaginated, second page).Th e universal songster, or, Museum of mirth (London: Fairburn, 1826), Vol. 2.Verzeichniss des Musik-Verlags von N. Simrock in Bonn (1851).

Chambers, Robert. Cyclopaedia of English Literature (London / Edinburgh: William and Robert Chambers, 1857).

Moscheles, Charlotte. Life of Moscheles (London: Hurst and Blakett, 1873). Smith, Horace. Gaieties and Gravities: A Series of Essays, Comic Tales, and Fugitive

Vagaries (London: Henry Colburn, 1825).

Tom Moore grew up in the early music paradise of Boston, Massachusetts, and has been around

long enough to remember when Frans Brüggen played the recorder. He studied recorder with

John Tyson while an undergraduate student at Harvard, where he received his BA in music in

1978. From there he went on to study early music performance and musicology at Stanford

University, where his professors included George Houle, William Mahrt, and Herbert Myers. His

research included work on the late Italian madrigal and on English musica ficta He was awarded

the DMA in 1982. After studying library and information science at Simmons, he served as music

librarian at Princeton University and The College of New Jersey, as well as visiting professor of

music at the University of Rio de Janeiro. He performs on traverso, modern flute, and recorder,

and as a vocalist. As a flutist he has made premiere recordings of Telemann for Lyrichord and

Boismortier for A Casa Discos, and as a choral basso has recorded with the St. Clement’s Choir,

Pomerium, Concert Royal, and the Symphonic Choir of Rio de Janeiro. His music criticism has

been published in Boston Early Music News, Fanfare, Goldberg, and other print and online

publications. A recent interest has been the music of Brazil, with composer interviews published

at MusicaBrasileira.org and in 21st Century Music. His ideal in the field of music criticism is George

Bernard Shaw. He also works as a translator from Portuguese, Spanish, Italian, French, Catalan

and German into English.

Documents

Moore_In Memoriam GH-2