19th-Century Flute

The flute is one of the oldest instruments that extends back in history to 50000 BC. It continued its development with
different names in different regions and it had various evolutions. The leader name of this development was Theobald
Boehm who was a flute maker, performer, composer and music writer. Theobald Boehm strove to improve the flute
throughout his life and made experiments repeatedly and determinedly. He won gold medals owing to his innovations
and the flute came today with the efforts of him. In this study we briefly discuss his life, compositions, performance and
authorship and we put forth for consideration his contributions to the flute and identified the level of flute repertoire and
performing which we can consider as the results of his studies.
The aim of this research is to describe the technique of flute innovations and developments that brought Boehm and to
determine what the contemporary flute music has gained of the flute system which was developed by him. As far as can
be determined there are no sufficient studies on Theobald Boehm in Turkish. Therefore, we hope that this research will
be a modest contribute to the literature on Boehm in Turkish. This historical monograph being a descriptive study,
based on the method of documentary sources screening.

Esta tesis doctoral es relativa al concepto de repertorio, concretamente a su aplicación y uso en la producción musical para flauta travesera.

Se trata de una investigación que pretende cuestionar y justificar el por qué y el cómo dentro de las obras disponibles para ser tocadas algunas han adquirido durante el siglo XX, una supremacía que las ha convertido en obras habituales, mientras otras aparecen en pocas ocasiones o quizá nunca en el repertorio de los intérpretes. A través de esta investigación se pretende establecer si existe o no una fórmula que garantice no solo el éxito de la obra sino su proyección y perdurabilidad como obra destacada dentro del repertorio, así como también revisar el termino “repertorio” para observar si necesita definiciones más precisas.
LA TESIS COMPLETA PUEDE LEERSE GRATUITAMENTE AQUÍ:  http://www.sofiamartinezvillar.com/flauta.html

Matteo Bevilaqua (1772-1849)

By Tom Moore


Among the many Italian musicians living and working in Vienna at the beginning of the nineteenth century were numerous proponents of the guitar.  Mauro Giuliani (1781-1829), active in Vienna in the years 1807-1819, remains well-known today. His fellow countryman, cavaliere Matteo Bevilacqua, has fallen into obscurity, although recently his surviving works are being digitized.
Unlike many musicians from this period, who left behind a trail of reviews of performances and publications, there is very little information regarding Bevilacqua, probably due to his elevated social position (cavaliere, that is, an untitled nobleman, a hereditary knight, equivalent to a baronet in England, higher than someone who is made a knight during their lifetime). He was sufficiently prominent to merit a biography from Fétis (1835), who writes: 
BEVILAQUA (M.), flutist and virtuoso on the guitar, was born in Italy, and lived for a long time in Vienna. More than sixty musical publications bear his name. Among his productions, we note:
1° Three concertante duos for two flutes; -—
2° Three trios for two clarinets and bassoon; —
3° Quartet for guitar, violin, flute, and violoncello, op. 18; —
4° Nine variations for guitar and flute on the air: La Biondina; —  [op. 19]
5°' Variations on a German air, for guitar and flute or violin, op. 62; —
6° Sonata for piano and flute (in G),  op 63.

All the others works of Bevilaqua consist of duos for guitar and flute, piano and guitar: they were engraved in Vienna and in Rome. The authors of the new musical encyclopedia published in Stuttgart say that the productions of this artist bear the stamp of solid musical knowledge. One of his recent works is a guitar method. We have nothing further printed from Bevilaqua since 1827. 

Of all these six works, only the fifth, the variations on a German air, seems to have survived, though with the opus number of 63 (see my works list below), along with the guitar method.

In addition to his musical activities, Bevilacqua, who is variously identified as “siciliano”, “da Trapani”, or “trapanese”(Sicilian, from Trapani, which is on the west coast of Sicily) , was also involved in literature, having published two volumes of collected poetry (Poesie diverse, Vienna, 1815), where he is identified as “one of the fifty representatives of the Society of Friends of Music of the Austrian States”- this is the famous  Gesellschaft der Musikfreunde in Wien, founded in 1812 by Joseph Sonnleitner. Bevilaqua appears third in the alphabetical list of the fifty founding members  (as v. Bevilacqua, the v. (or von) presumably indicating his status of nobility; another contemporary article regarding the Society lists him as Chev. Bevilaqua ). He also translated an epic poem about Don Quixote and Sancho Panza into Italian from the original Sicilian by Giovanni Meli, with the translation published Vienna, 1818, as well as producing a Descrizione della fedelissima imperiale regia città e portofranco di Trieste, republished in Trieste by the famous writer Italo Svevo in the twentieth century. In addition, an antiquarian catalog from the nineteenth century lists an edition of the lyric poetry of Meli translated by Bevilacqua into Italian that evidently has not survived.

Bevilacqua’s  vocal duets with guitar, op. 37, reveal his address:  9 Seilerstätte, apartment 1017, where the duos could be purchased directly from the composer. \

Works List



Not surviving?
Op. 1. Petit Duos [pour la guitare avec Flûte ou Violon] 
Verzeichniss von Musikalien welche in der Falterschen Musikhandlung

opp. 2-8??

Duo concertant pour la Guitarre et le Violon compose et dédié à Monsieur Alexandre Wetzler Baron de Plankenstern…op. 9.  Vienna: au Bureau d’Arts et d’Industrie. Plate number: 477.
B Comunale di Trento

Petits duos concertans pour la guitarre et la flûte ou violon composés et dédiés à Son Excellence Madame la Comtesse Lucie de Mocenigo, née Comtesse de Memo  : op. 10.  Vienne : Bureau d'Arts et d'Industrie.
BSB.
Digitized:
urn:nbn:de:bvb:12-bsb00083439-8

Not surviving?
12 var. p. Guit. Et Fl. Angloise. Oe 11. Wien: Weigl
[Whistling Handbuch,  p. 238]

Variations sur l'air Nel cor più non mi sento pour le forte-piano et la guitarre ; oeuv: XII. Vienne, Weigl.
B U der Künste, Berlin


Not surviving?
Var. p. Guit. et Pfte. Oe. 14. Wien: Weigl
[Whistling Handbuch,  p. 238]

XII walzes pour la flûte, et la guitarre: oeuv: XV. Vienna: Thadé Weigl.
BSB.
Digitized: urn:nbn:de:bvb:12-bsb00067326-7


Op. 16?

Not surviving?
12 Contredanses angloises p. Guit. et Fl. Oe. 17. Wien: Weigl 
[Whistling Handbuch,  p. 238]

Not surviving?
Quatuor p. Vln., Fl., Guit. Et Vlnc. Op. 18.
Catalog von Franz Hanke….No. 97: Musikalien, p. 64. (and list from Fétis, above).

Not surviving?
9 Var. (La Biondina) p. Guit. et Fl. Oe. 19. Wien: Steiner. [Whistling Handbuch,  p. 238]

Sei Canzonette Veneziane con accompagniamento di Chitarra Op: 20.
BSB; Wroclaw.
Digitized: urn:nbn:de:bvb:12-bsb00008845-3

Not surviving?
Sonate p. 2 Guit. Oe. 21, 35. Wien: Steiner.
[Whistling Handbuch,  p. 238]

Op. 22, 23, 24, 25?

Not surviving?
12 Ecossoises p. Guit. et Fl. Oe. 26. Wien: Weigl
[Whistling Handbuch,  p. 238]

Op. 27-36?

Tre Duetti per due voci, ed accompagnamento di Chitarra composti, e dedicati alla Damigella Matilde de Haan da ... Opera XXXVII. Wien, Proprietà del compositore, che abita al 9 Sailerstadt nro 1017.  [= 9 Seilerstätte, now the address of the theater Ronacher]
ZB Solothurn

Op. 38-46?

Trio pour deux flûtes et une guitarre ou pour 2 violons et guitarre: op. 47. Artaria, 1807.
Yale. BSB.
Digitized at BSB: urn:nbn:de:bvb:12-bsb00083443-6

Op. 48-62?

Douze Variations pour la Guitarre et Flute, ou Violon sur le Theme favori de l'Opera: Die Schweizerfamilie "Wer horte wohl jemals mich klagen" ; Oeuvre 63. Leipsic et Berlin, Bureau des arts et d'industrie.
SBB


Works without opus number:

Not surviving?
12 Waltzes.
Verzeichniss von Musikalien welche in der Falterschen Musikhandlung (p. 18)

Not surviving?
Duettino conc. Avec Var. p. Guit. et V. Wien: Cappi.

Not surviving?
Duetto del op. Guilletta et Romeo ridotto p. Guitarra. Breitkopf & Härtel.
Allgemeine musikalische Zeitung, Volume 7 (1805). I-Blatt no. 7, Feb. 1805.

Not surviving?
6 Menuetti p. 2 Chit. Wien: Steiner

Gli Orazi ed i Curiazi Aria "Guerdamile in questo ciglio". Hamburg, Bohme.
UB Basel


Non t'accostare all'Urna, Aria Con Accompagnamento Di Fortepiano, ò Chitarra, Vienna.
BSB
Digitized: urn:nbn:de:bvb:12-bsb00049501-8


Otto cavatine per chitarra francese, o forte-piano, etc.
BL

V Petites Pieces pour la Guitarre. Leipsic et Berlin, Bureau des arts et d'industrie.
Leipsic et Berlin Bureau des arts et d'industrie
http://digital.staatsbibliothek-berlin.de/werkansicht?PPN=PPN721451306&PHYSID=PHYS_0001&DMDID=DMDLOG_0001


Principes et methode nouvelle pour pincer la guitare. Vienne, Tranquillo Mollo.
DK: KB

Quartetto vocale: http://digital.staatsbibliothek-berlin.de/werkansicht?PPN=PPN718686985&PHYSID=PHYS_0001


Quattro cavatine Per Chittarra Francese, ò Forte-piano. Vienna, Artaria.
SBB

Recueil complet d'Airs, de Romances, Rondeau, et Duos tant originaux que choisis des Opera les plus favoris, allemans, francois, et italiens, avec l'accompagnement de Guitare Cahier IV me. Wien, Thaddäus Weigl.
ZB Solothurn

Recueil complet d'Airs, de Romances, Rondeaux, et Duos tant originaux que choisis des Opera les plus favoris, allemans, francois, et italiens, avec l'accompagnement de Guitare. Giulio Sabino: Cavatina: Pensieri funesti Cahier V Cahier V. A. Vienne, chez Thadé Weigl, sur le Graben.
Plate number: 1212
Ballerup

Recueil complet d'Aires, de Romances, Rondeau, et Duos tant originaux que choisis des Opera les plus favoris, allemans, françois, et italiens cahier XIIme. Wien, Thaddäus Weigl.
ZB Solothurn

Not surviving ?: 
Sonata conc. P. Guit. et Pfte. Wien: Artaria.
[Whistling Handbuch,  p. 238]

Not surviving ?: 
Var. p. 2 Guit. Wien: Artaria.

Not surviving ?: 
Variations in G p. Guit. et Fl. Hannover: Kruschwitz. 
[Whistling Handbuch,  p. 238]


Variazioni per violino e chitarra francese. Vienna, Artaria.
B U der Künste, Berlin

Literary works:

Poesie diverse del cavaliere Matteo de Bevilacqua siciliano, uno dei cinquanta rappresentanti della Società degli amici della musica degli stati austriaci: Parte prima  in commissione da Carlo Gerold, nella piazza dei domenicani, 1815.


Don Chisciotte E Sancio Panza Nella Scizia: Poema Originale in Dialetto Siciliano (1818), Felice Stöckholzer di Hirschfeld, 2 vol. in quarto.
12 Canti in ottava rima.
BSB
Digitized :  urn:nbn:de:bvb:12-bsb10686817-1;  urn:nbn:de:bvb:12-bsb10686818-6


Original poem in Sicilian by D. Giovanni Meli, translated into Italian by Cav. Matteo di Bevilacqua.


Descrizione della fedelissima imperiale regia città e portofranco di Trieste

[republication of the edition Venezia, 1820] - Trieste: Italo Svevo, 1982


not surviving?

Meli Giov La Lyrica tradotta dal dialetto siciliuno in versi toscani de Matteo de Bevilacqua Vienna 1816 In 8 2
Katalog des antiquarischen Bücherlagers von Albert Cohn in Berlin W ...


Modern editions:

Sonáta G dur pro flétnu a kytaru, op. 38, Amos Editio, 2001

Variazioni per due chitarre "sulle follie di Spagna" op. 48, Zanibon, 1988

A previous article of mine presented three sets of divertissemens for solo flute, all based on operas by Auber and Rossini, by the prolific and long-lived Caspar Kummer (1795-1870). The article below will focus on Kummer's production for flute and guitar, which, interestingly, seems to all have been produced within a period of about a dozen years, from 1818 to 1830.

The international life and career of the flutist Michel Folz exemplifies the increasingly global life of the traveling virtuoso in the nineteenth century, once all of Europe had been linked by rail transportation. He began his career as a member of a Neapolitan with at least four flute-playing siblings of a flutist father.

A Böhm-fuvola és metodikájának kialakulása Magyarországon

Talán egy fafúvós hangszer sem változott akkorát, mint a fuvola Theobald Böhm újítása révén. Hangszerreformja máig ható hullámokat vet, és éppen ezért rendkívül fontos tanulmányozni Böhm munkásságát, de zeneszerzői tevékenységét is, különös tekintettel pedagógiai műveire. Ebben a cikkben azt a kérdést vizsgálom milyen sajátos események vezettek a Böhm-fuvola metodikájának kialakulásához hazánkban. Áttekintem a hangszer kialakulásának, és elterjedésének körülményeit, kísérletet téve arra, hogy nyomon kövessem az új hangszer térhódítását, úgy térben – tehát földrajzi tekintetben –, mint időben, olykor geopolitikai és történelmi sajátosságokat is szem előtt tartva. Mindezt azért, hogy helyes önértékeléssel jelölhessük ki saját helyünket a világ fuvolázó nemzetei között.

Paolo Sandrini (1782-1813)

By Tom Moore



Given his brief lifespan, the multi-talented musician Paolo Sandrini made a considerable impact in his thirty-one years. He was born in Gorizia, in what is now the region of Friuli Venezia Giulia, an area representing a border between various ethnicities, most especially those speaking Germanic, Italian, and Slavic languages. At the time when Sandrini was born, Gorizia was part of the Holy Roman Empire, governed politically from Vienna. Culturally, the coastal regions east of Venice were predominantly Italian, usually speaking the Venetian dialect, at least as far as Fiume (now Rijeka). German encyclopedias who inform us about Sandrini give no details about his activities prior to arriving in the north, but according to the late Slovene scholar Danilo Pokorn Sandrini had been first oboe in the orchestra in Ljubljana (Laibach), and left that position to go to Prague (both Laibach and Prague then being secondary cities under the Emperor in Vienna).

The earliest biographical volume to mention Sandrini is the Universal-Lexikon der Tonkunst (1849), which notes: “Sandrini, Paolo, in his younger years a good player of flute and oboe, and also a skilled guitarist, born in Italy, but already in Germany from 1805 on, first in Prag, and then from 1808 in Dresden; he also composed many little things. In the Dresden orchestra S. played the oboe, but he died here already on November 15, 1813, barely 31 years old.”

He had the good fortune to marry a woman who would become one of the most notable opera singers of her time, Luigia Caravoglia (1782-1869), born to another distinguished Italian singer who was on tour in The Hague when Luigia was born. Luigia was then brought up in Messina, where she had small roles beginning as young as 14. She later appeared as a substitute for the prima donna Rossini (mother of the composer) in Bologna, and arrived as the leading lady for the Italian company of Guardasoni in Prague in 1802. She continued with the German opera of Liebig after Guardasoni’s death. She married Sandrini in Prague, and was called to be leading lady of the Italian court opera in Dresden in 1808. She performed for Napoleon several times there in 1813. In 1832, when the Italian opera in Dresden was dissolved, she became a voice teacher at the Conservatory in Prague. Sandrini and Caravoglia were the parents of a notable daughter, the composer and singer Marie Börner-Sandrini (b. July 14, 1809), who published her memoirs (Erinnerungen einer alten Dresdnerin), in 1876, though unfortunately there is not a word about her father, of whom he may not even have had a memory.

Sandrini must have been a very skilled performer, for there is much in the columns of the Allgemeine Musikalische Zeitung about his work. Datelined Prague, April 20 (published in the May 1808 issue, columns 501-502):

Prague, April 20. The concerts for this year’s Lenten season were begun on March 8th by Herr Sandrini, the husband of our leading lady singer, whose departure for the Royal Saxon Court Theater has aroused general regret. Mr. S plays oboe and English horn almost equally well; but the first yet more assures him a place among the excellent virtuosi. Mr. S presented three new products of Bohemian composers, and seems thus to be one of the few foreigners who know how to appreciate the talent of the Bohemians. The compositions which he performed, are by  Wittasek, Rösler and Weber. From the first we heard the Adagio und Allegro from a concerto for the English horn, from the second a double concerto for flute and oboe, and for the last, in conclusion, a Potpourri for the oboe.
Herr Wittasek this time took on a very difficult and not very rewarding job; it was indifferently received, as the composer and the performing artist deserved, although one must understand, that it belongs to most successful works of the former. The reason for this cold reception was probably simply the unfavorable organ through which the art spoke here. The English horn has long since been supplanted by the lovelier bassett horn (as a concerted instrument) and at most be tolerated still as accompaniment of an aria. From the second concerto we already heard the rondo several years ago, with a preceding or rather introductory Adagio, played by Fladt and Metzger from Munich, for whom it was written; only the first Allegro was new to us. Herr Sandrini (oboe) and Mr. Bayer (flute) fought an honorable competition, and presented their parts with considerable purity and precision. It was only a pity that the object of their combined efforts was an entirely everyday product, which was only saved from being a complete flop through their excellent interpretation. Herr Weber’s potpourri is a quite excellent piece of moderate scope, the only goal of which seems to be to place the talent of the virtuoso into the full spotlight. However, it is also rich in Harmony, and the instrumentation is brilliant and surprising. It demands considerable precision in the execution. We must also regret on the part of all three composers, that the orchestra accompanied without any sense; an unfortunate result of the lack of rehearsals. Madame S. sang two arias (one from Paer’s Sophonisbe, and a second by Nasolini); very fine. 

And from Dec. 1809:

Leipzig. On Dec. 28 Herr und Madame Sandrini (née Caravoglia) gave a concert. Herr S. is employed a virtuoso on the oboe, Madame as first chamber and opera-singer in Dresden. All the good things which had been earlier reported in these pages from Prague regarding these two were confirmed. Herr S. handled his instrument with much delicacy and great dexterity. The voice and vocal style of Madame S. certainly seem to be more for the theater than for the concert: but both her performances, and those of her husband were entirely correct. The concerto which Herr S. played on the first half was written by J. Schubert in Dresden with insight and to good effect. 


Regarding Sandrini’s compositional production, the Biographisches Lexikon des Kaiserthums Oesterreich notes:

S. was not only a virtuoso on the instruments which he played, he also composed many thigs for these, for example, duets for flute and guitar, variations for guitar, cavatine with guitar accompaniment, and his compositions were considered pleasing by musical connoisseurs. 


However, I have only been able to find documentation for at most eight works, of which six survive. The earliest of these was published as op. 12, however, so presumably there were at least eleven more pieces/collections, which may or may not have been published during Sandrini’s lifetime.


Works list:


Duo concertant pour guitarre et flûte, Oe. 12. Leipzig, Kühnel.
Plate number 1020.
BSB.

Duo concertant: Op 12. Leipzig, London, Frankfurt, N.Y., C.F. Peters.
Plate number 1020.
Aarhus.

These are the same edition, as can be seen from the plate number. Kühnel, along with F.A. Hoffmeister, was the founder in Leipzig of the “Bureau de Musique”, sold to C.F. Peters, also of Leipzig, after Kühnel’s death in 1813. The copy at the Bavarian State Library has been digitized.


VI Cavatine coll´accomp. di Chitara Francese,  composte da Paolo Sandrini
op. 13. Leipzig: Peters.
Czech NL.

The cataloging for the copy at the Czech National Library does not note the publisher or place of publication.



Six différentes ariettes, françaises, italiennes et allemandes avec accompt. de guitarre, composes et dédiées à Madame la Baronne de Leysser par Paule Sandrini. Oe. 14 Leipzig, С. F. Peters  Plate no. 1102. 
BSB; SUB Hamburg.


SBB:
Autograph copy:
http://digital.staatsbibliothek-berlin.de/werkansicht?PPN=PPN847849368&PHYSID=PHYS_0007&DMDID=DMDLOG_0001

The autograph at the SBB only presents four of the six (omitting the German arias from the title page).

Contents:
1. Unique objet de ma tendresse. 3 verses.
2. Voulez-vous que je vous trace
3. Ite agnelette simplici 2 verses
4. Le luci serene 2 verses


(not surviving?)
Sonata concertante [for guitar and flute]. Op. 15. Leipzig: Peters.

I have not found a surviving copy of this work, although an article on the 19th century guitar sonata includes Sandrini’s name among the works annotated by the author.


Deux thêmes variés: Op 16. Leipzig, A. Kühnel.
Plate number: 1110
Aarhus.

Works without opus number:

XII Laendler pour la Guitarre. Composée par Paul Sandrini. Vienne : Jean Traeg .
ONB.

VI Variationen über das beliebte Tÿrolerlied Wann i in der Früh aufsteh : für eine Guitarre.
Prag: Haas.  Bonn:Simrock.
Plate number: 64.
SBB; SLUB.
Digitized at: SBB


(not surviving?)
Variations in G [for flute and guitar]. Vienna: Diabelli.

This set (?) is listed after Sandrini’s op. 12, 15, and 16, in the 1844 edition of the Whistling Handbuch der musikalische Literatur, but does not seem to have survived.

Le célèbre flûtiste Joseph Küttel, aujourd'hui oublié, a connu une carrière internationale réussie dans les années 1830 et 1840, notamment en tant que professeur de flûte à l'Institut Kinderfreund de Prague. Nous savons, grâce à une biographie tardive (dans une revue médicale, qui sera examinée en détail ci-dessous) qu'il était âgé de quarante-huit ans en 1859, et donc né vers 1811, qu'il était originaire de Halle, et qu'il a commencé à étudier la musique à l'âge de quatorze ans. Il apparaît pour la première fois dans la presse de Halle, décrit comme un élève de A.B. Fürstenau, en 1835. Les sources ne permettent pas de savoir à quel moment ni où Küttel aurait étudié avec Fürstenau, qui était devenu le premier flûtiste à Dresde (à près de 150 km au sud-est de Halle). Cependant, Fürstenau avait clairement des liens avec Halle, puisque ses opus 84 à 88 ont été publiés en août-septembre 1831 à Halle par Helmuth  (annoncés dans la Allgemeine Musikalische Zeitung); op. 85 (Six duos faciles) et op. 88 (Quatuor pour quatre flûtes) ont été examinées dans Cecilia en 1833