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G12041
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France around 1820: The French Revolution (1789–1794) and the ensuing Napoleonic Wars (1799–1815) had ended not so very long before, and an attempt had been made at the Congress of Vienna (1814–1815) to stabilize political equilibrium and re-define the political landscape in Europe. The wars had resulted in considerable destruction throughout Europe; the aristocracy had been significantly weakened or, in the case of France, almost completely eradicated. This brought about the rise of the middle classes, and hence an increasing number of music lovers and musical amateurs. To meet the needs of an increasingly well educated, middle-class audience, extracts and highlights from a number of operas were edited to suit a variety of instrumentations and musicians.1 This enabled the well-known music from the opera houses to be enjoyed in middle-class homes, thus making the tunes available to a wider public unable to attend opera performances, either for financial reasons, or because they lived too far out in the provinces. Between 1810 (La cambiale di matrimonio) and 1829 (Guillaume Tell) Gioachino Rossini (1792–1868) composed no less than 39 operas, many of them opere buffe, comic operas, two of which, i.e. Il barbiere di Siviglia (The Barber of Seville) and La Cenerentola (Cinderella) can still be found regularly in the repertoire of many of today's opera houses. Rossini's operas were immensely successful all over the world – long after the premiere of his last opera – making him for a long time the uncrowned King of Italian Opera. C. Eugène Roy (approx. 1790–1827) was a French musician who had acquired some standing as a flageolet virtuoso and in other areas.2 In accordance with the increasing demand and prevailing taste of the time, he arranged and published a number of works of various composers for the French flageolet3, including this publication, which appeared in Paris around 1819 under the title RECUEIL / des plus beaux Airs / de Rossini / arrangés pour deux Flageolets / par C. ROY. / … The addition of "1 Suite." suggests that one or even several further volumes may have been planned or possibly even published. The two part-books owned by the editor are essentially free from errors, but contain the usual inaccuracies regarding the placement of slurs and ties, which I corrected on the basis of parallel passages and, in very few cases, by consulting the full scores available in the IMSLP4. In the same way, I was able to correct some passages with problematic harmonies and resolve some unclear points. I left the original musical text largely unaltered, although the idea of making the rather plain second part more interesting by introducing a slightly more virtuoso character held some appeal.
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Publishernumber:
G12041
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903171
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