Page:The story of the flute (IA storyofflute1914fitz).djvu/153

 marked in Bach's writings, and even, though in a lesser degree, in those of Mozart. A notice in the General Advertiser of October 20th, 1740, announcing "a concerto for twenty-four bassoons, accompanied by a 'cello, intermixed with duets for four double-bassoons accompanied by a German flute," ridicules this predilection.

Many of Handel's flute passages were specially written for Karl Frederick Weidemann (said by Burney to have been a fine player), his principal flautist, who visited England about 1726.

Gluck seems to have been particulary fond of the flute and has written some lovely music for it. He has caught its true characteristics better than any other composer or his time. As a rule his flute passages are simple, though he writes freely up to the top G′′′ or even A′′′. In scenes of melancholy and grief he uses the solo flute with most telling effect. The most notable example is the famous scene in Orpheo, where he employs the flute to express the desolation and solitude of the bereaved Eurydice. This unrivalled passage has been thus described by Berlioz: "On voit tout de suite qu'une flûte devant seule en faire entendre le chant. Et la melodie de Gluck est conçue en telle sorte que la flûte se prête à tous les mouvements inquiets de cette doulour eternelle, encore emprunte de l'accent des passions de la terrestre vie. C'est d'abord une voix a peine perceptible qui semble craindre d'être entendue; puis elle gémit doucement, s'eleve a l'accent du reproche, à celui de la