Popularity of the Flute
Macfarren in 1837 found in the Isle of Man sixteen flute-players to a single violoncellist and clarinetist. Special journals, such as The Flutists' Magazine and The Flutonicon (1842), containing music and critical notices of the great players of the day, were issued by Mr. James for the delectation of the countless amateurs of the instrument. Whole operas were transcribed for two, or even one flute. Schopenhauer mentions in his Table-Talk that he possessed all of Rossini's operas arranged for the flute, and that he played them for an hour daily; luckily he never required—or even permitted—any one to listen to him! The Musical Monthly for 1820 complained that accompaniments "for the German flute" were added to every piece of music. The climax was reached about 1820-50. It was followed by a decline in popularity. Of late, however, there has been a very perceptible increase of interest taken in the flute, due in a great measure to the skill and high artistic standard of some of the present-day solo players, and to the good class of compositions favoured by them. Several notable soloists have given successful flute recitals in London and elsewhere; their programmes have included much really good music, and the public are discovering that, as Hamlet says, "There is much music, excellent voice, in this little organ."
The most obvious feature of the flute is the limpid sweetness and clearness of its tone. This liquid sound is quite peculiar to it; even the organ cannot exactly reproduce it. It rather resembles the human voice,
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