Michel Folz, flutist, composer

By Tom Moore

           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. The later edition of the Fétis Biographie includes a relatively brief biography for a musician whose success is well-documented by notices in the press spanning fifty years.

           Fétis writes:

FOLZ (michel), flutist and composer for his instrument was born in Naples, to Italian parents, on July 16, 1820. A student of his father, likewise a flutist, he made his public debut while still a child, and by the age of eight he had already performed two hundred concerts [later sources translate this as concertos, but this is certainly an incorrect interpretation] in the principal cities of Italy. At ten, he was engaged by the orchestra of the Teatro del Fondo, in Naples; at the age of seventeen he came to Paris, and was received in the competition as the first flutist at the Musical Gymnasium on the Boulevard Bonne-Nouvelle, directed by M. Tilmant[1]. A protégé of Rossini, he toured England and other countries with great success. He published for the flute:

           * Air varié on Casta Diva, from Norma; 

* Fantaisie on the same opera;

* 6 exercices artistiques;

* Pot-pourri valaque;

* Variations on the prayer from Mo?se; 

* on Carnaval de Venise;

* on Carnaval de Naples, variations brillantes sur un air napolitain; 

* Fantaisie on Sarah, by Grisar;

* Fantaisie on a Breton song; etc. etc.

 

           Contemporary documents make it clear that Michel was one of four children, all of them with considerable skill as flutists. A history of the theaters in Modena provides the earliest dated report about the Folz brothers. In this case, the brother is named Paolo, evidently born in 1820, the same year that Fétis gives for Michel.

           “Between the acts of the opera one heard the young Neapolitan, Paolo Folz, ten years old, play, with good success both flute and piccolo[2]”.

           In the following year the Gazzetta in Genoa reports a similar presentation (between acts at the opera house):

           “Teatro Carlo Felice. The Petrelli dramatic company is performing La Restituzione[3]. After the first act, variations for flute by the young boy Folz, scena and cavatina with choruses by Rossini, sung by signora Catterina Vimercati; after the second act, the Pot-pourry for mandolin composed and performed by signor Vimercati, scena with choruses, sung by signora Vimercati, and the third act of the comedy.[4]”

        The next report is not until 1834, but now it is a notice from the Allgemeine Musikalische Zeitung (based in Leipzig), on the appearance of a pair of Folz brothers (Florindo, 11, thus probably born in 1823, and Leopoldo, 8, probably born in 1826), performing at the Teatro della Società, but now in a musical academy, that is, an entire concert, rather than an entr’acte number.

        

        “The two Neapolitan boys, Florindo and Leopoldo Folz, 11 and 8 years old, respectively, are performing on the flute here in a musical academy to applause. Both are not without talent considering their tender years. They have already been heard at the theater in Milan[5].”  

           The Musical World (London) reports the performance in Milan of that year.

           “MILAN. On the 18th of July the Brothers Folz, virtuosi on the flute, gave a concert at the Teatro Canobbiano in which they added much to their fame. The season was by no means favourable for them, the heat being almost insupportable. The consequence of this was that the house was very thinly attended, but the scanty audience expressed their delight in loud and repeated bursts of applause[6].”

                 The Eco (Journal of Sciences, Letters, Arts, Fashion and Theaters), based in Milan, reported on two academies given by the Folz brothers, the first in Lodi, on April 29, the second in Pavia (both cities are close to Milan, to the south)[7]. Noteworthy is that Michel (named Michelino) is mentioned for the first time, and identified as an older brother who has come especially from Naples.

                 “In the Theater in Lodi, Tuesday evening, on the 29th of April past, the two young Neapolitans, Florindo and Leopoldo, brothers, offered an Academy of Instrumental Music which was amazing due to the age of the little professionals, the first, 11 years old, and the second, only 8 years old. These little masters showed an admirably deep knowledge of music and time, the greatest agility in performing the most complicated variations with the sound of the piccolo and the large flute, the clarity of the voices, now suave, now extremely rapid and brilliant, so that such agility in beings of such tender years seemed scarcely credible, but what precocious development of genius and dedicated education can do was sufficiently demonstrated by the young Folz brothers, to universal surprise. The little Leopoldo, in one of the variations, caused two voices to be heard at the same time with his piccolo with such precision and clarity that one who had not seen but only heard would have thought that there were two flutes, and not only one. Oh cara memoria in the opera Amor Marinaro and the Introduction and Theme with variations for piccolo by Mr. Berbiguier performed by the second brother were the pieces that produced the noisiest acclamations.” 

           “PAVIA The two well-known brothers, Florindo and Leopoldo Folz, young boys from Naples, marvelous flutists, recalling the warm welcome that they received from Pavia last April gave at this Theater a second academy. They were joined by their elder brother, Michelino, who had arrived from Naples, and was appearing before the public in Lombardy for the first time. The clarity with which they performed various difficult musical pieces, the surprising facility with which they overcame the most scabrous difficulties, the fine ease with which they presented the most highly developed notes, the clarity of the voices in the most complicated variations, the extension and rapidity   of various scales played with double-tonguing, and the pleasing descents, suavest modulations, soft cadences, brio, agility, precision, and everything was so well joined together that it would have been worthy of the most flattering encomiums, not only for three young boys, the last of which is barely eight years old, but for any more highly trained genius in that type of philharmonic study. It cannot be doubted that these three young men will have the same happy result with the next Academy that they plan to produce in this capital.    

                 At the end of the year, there are two separate reports from Bologna, the first mentioning the “little Folz boy, 8”, that is, Leopold, performing an entr’acte, and the latter an “academy of flute by the Folz brothers” at the grand Teatro Communale.

                 “After another duet from Elisabetta by Rossini performed by signora Pasta and signor Donzelli, the little boy Folz, only eight years old, was a pleasing surprise to the listeners, performing with his piccolo, and with remarkable precision, a theme with variations by Berbiguier[8].”

                 The review of the Academy is the lengthiest so far. The three brothers, Florindo, Leopoldo, and Michelino, all perform.

Academy of Flute by the Folz brothers at the grand Teatro Comunale of Bologna.

            Bologna is not a place for Academies! This is a word only to be heard when some concerto soloist, or some poet arrives: but nevertheless, scattered among the officious apostolic societies, as soon as the humble notice to the Public appears in the pages of announcements, in the columns of notices, then already the concertist, the poet is assured of hundreds of tickets. What a marvel, you say? Is this no longer the country, according to the classic friend of Fiammetta, of good living, of gentility, of sweet blood! We have a recent example in the various concerto soloists on violin, in the improvising poet Cecconi, and the other evening in the concert given by the three Folz brothers, playing flute and piccolo. Among the former we have already said, and more than all, about the celebrated Taddei, that his name alone suffices so as not to require other means to hunt up a large and select public: now, about the latter.   

The theater was simply brilliant. The two older brothers Folz performed works of their own composition; the little one played variations by Berbiguier.

The many hopes raised by Florindo through the great difficulties that he confronted were fulfilled. These great difficulties were admired as generally, as they seemed easy, however, for Michellino (18 years old, who had the honor of being named honorary member of the Accademia Filarmonica of Bologna), with his fine moment sounding like an English horn, the fine effect in the variations in three parts in the style of Scholl, and of Drouet, and above all the simply perfect intonation: his composition of a pot-pourri was found to be gracious, and was given reiterated applause and two calls to the proscenium. The openness of the little Leopoldo with his piccolo brought surprise and delight, whether for the liveliness of one who as a proven artist knows how to present his performance, or for the childish graces with which he acts. The evening was especially diverting through the alternation of various selected pieces with which signora Bottigari, and signors Donzelli and Salvatori were kindly willing to enrich the concert ......[9].

           The final event of the year was reviewed by the Gazzetta di Parma[10].

“On other occasions we have spoken with praise of the two little Folz brothers, flutists. They gave another academy in the Regio Teatro, on the evening of the 31st, and were warmly applauded. A third adult brother, Michelino Folz, recently made a member of the Accademia Filarmonica of Bologna, joined them on this occasions. He is a fine and pleasing player, and also has the merit of composing. He played with great delicacy, suited to the character of his instrument, the theme of his variations: in one of these he made a very clear accompaniment to himself, almost as if two flutes were playing; in another he made a continual and good imitation of an English horn; in yet another he showed off various abilities. He was applauded and perhaps appreciated even more.”

        The month of January, 1835, saw several notices about the young Folz brothers in the Gazzetta Piemontese of Turin, including a detailed review of their academy presented on January 10.

Gazzetta Piemontese, January 7, 1835

The young Folz brothers, one 18, one 12, and the last 8 years old, having just arrived in this Capital, preceded by their fame as fine artists of the flute, will give, on Friday evening, at the Teatro d’Angennes, an instrumental and vocal academy. The pieces to be performed will be announced with a special notice.   

Gazzetta Piemontese, January 9, 1835

The three young Folz brothers from Naples, highly skilled on the flute, not having due to circumstances been able to give their concert announced for tonight, will give it tomorrow evening at the Teatro Sutera at the opera La Sposa Fedele.   

Gazzetta Piemontese, January 12, 1835

ACADEMY OF FLUTE

By the three Folz brothers, from Naples. The Folz brothers, who on Saturday gave the grand flute concert that we had announced, found a fine expedient today. They circulated, in a fine printing, a modest collection of the more or less officious articles from the journals that had spoken of their bravura. This frank expedient does not displease us: it helps them, and it can be helpful for us: for them, who gain exposure among the public; for us, who under the veil of our own thoughts, must repeat to the public its own exorable feelings. But, being faithful to journalism, we did not consult the charitable folio; since we found it easier to give our own impressions, than to borrow inspirations, and go begging for phrases. We will say, then, without further ado, that the concert of the three young men pleased as a whole, and was repeatedly applauded. The little one, who played first, pleased, even through a certain excited impetus, with which he endowed his part. He flutes with considerable frankness, and to perfect the effect, nothing is lacking but the tempering of the years, which gives perfection and emphasis…..  

After him the oldest brother was heard, a young man who presents himself with the charm of the moderns, and in his person has a sort of movement that recalls the prince of wind instrumentalists, the terrible Müller, of ineradicable memory. The manner of the young man has less to do with the old school, and is robust and animated. The passages of canto spianato, often stumbling blocks, in him were particularly pleasing: the cavata was touching; the notes clearly and well articulated. The delighted listener appeared very content, without noting the difficulty or mastery required. The professionals of the flute, great and small (we still have a tiny one) would add their own artistic considerations. But for those who are not familiar with Vogel, Berbiguier, Rabboni and others, would it not be affectation to talk about articulation, single and double tonguing, and such pedantry?

With regard to the final brother, a little boy, full of brio and vivacity, who seemed impatient to devour the notes with his little flute, it wounds us that his little hand will not yet let him play larger instruments, and to try his skills on these. The piccolo that he uses is not an instrument to be heard, solo, in passages of virtuosity and bravura. Destined to hover, as if brushing the music, it is poorly suited to that alternating of octaves, from accompaniment to motive, which constitutes the mastery and delight of the flute. The low tones of the piccolo have something about them that is so weak and indecisive, that it scarcely combines with the lively projection of its other notes. But the boy fulfilled his thorny test in a rather praiseworthy way, and the audience rewarded him with frequent applause.   

The piece with which the two older brothers concluded the Academy, the Andante e Variazioni, seemed to us to be the best-fitted for the instrument and the effect. It gave good evidence of the good taste of the one who wrote it, the talent of those who performed it, and the musical power of the flute. 

           By later that year, however, Michel Folz had already arrived in Paris, and was performing at the Gymnasium mentioned by Fétis.

Last Monday we heard with pleasure, at the musical gymnasium, Sr. Folz, distinguished flutist, in one of the most difficult pieces by the celebrated Drouet[11].   

This is confirmed by the mention of Tilman in the brief note from 1836.

Here are some of the pieces which will be performed at this soirée: new variations on an original theme, composed and performed by the beneficiary; the first trio by Mayseder, by the Tilmant brothers and Mademoiselle Mazel; horn solo, by M. Rousselot; Flute solo by M. Folz[12].

                 In the following year, Michel Folz is heard in an academy, where he is featured in one of the works mentioned in the list given by Fétis.

The concert given by M. Auguste St?pel at the Hotel de Ville will take place Monday, January 23, 1837, at 7 PM. Here is the program:

First part:

1 Ouverture from the Barber of Seville, four-hands, performed by twenty young women on ten pianos at once.    

2 La Glaneuse, music by Elvart, followed by the Jeune Mère, romances sung by M. Richelmi.

3 Duo from Norma (Bellini), sung by Mmes Deligny and Mens.

4 Duo for piano and violin (Schwenke), performed by Mademoiselle Henriette Horenberger, student of M. St?pel, seven years old, and M. Hippolyte Tuffereau, 12 years old, student at the Conservatoire.

5 Variations for the flute on a motive from Sarah, composed and performed by M. Folz.

6 Le Tonnelier, music by Thys, followed by the Femme à Jean Beauvais, by M. Amédée de Beauplan, sung by par M. Chaudesaigues.

7 La Violette, variations brillantes (Herz), performed on ten pianos at once. The Andante will be performed on a solo piano by M. Auguste St?pel fils, and the Adagio by Mademoiselle Emma St?pel.

8.  Les Matelots Bretons, nocturne by Thys, sung by par Richelmi and the author.[13]

 

By 1838, Folz has become honorary flutist to the King of France, a member of the Philharmonic Society of Bologna, and makes his first documented appearance in London, as reported in the Musical World.

He performed some variations in the French style, teeming with conceits, but his tone is good and unexceptionable[14].

He also appears as supporting artist for Madame Bonnias in her performance of the Hummel Septet at the Hanover Square Rooms[15].

           In 1839, Folz, now described as flutist to the King of Naples, presents an evening concert at the Salle de la Loyauté in Brussels, noted in the Neue Zeitschrift für Musik. The critic notes:

           The flute is an instrument which still is only able to achieve some notice with the public through marvels; one who is not capable of producing variations in double-notes, in nothing but trills, with octave leaps in 64th-notes at prestissimo tempo and even faster, can simply stay home. One may say that Mr. Folz possesses all these skills, and yet the hall was empty[16].   

Notices of Folz in 1840 include an “exquisite flute concerto and fantasia by Signor Folz” at the Hanover Square Rooms[17], as well as being listed among those who refused to adopt the Boehm flute in the article on the instrument in La France Musicale[18], and a very complimentary review in that same journal.

Finally, we heard, at the hall of M. Herz, M. Folz, a flutist who possesses a remarkable talent. This artist played several pieces of his own composition with taste, and perfect purity and technique. M. Folz has gone to perform at Reims. We guarantee him a brilliant success[19].   

1841 brings the most extensive note for Michel Folz thus far, in the Revue de Calvados.

 

We cannot conclude this account without saying a few words about the concerts by Messieurs Remy and Folz: in spite of the bad season for concerts, two musical soirées musicales were given this month by two artists of great merit, one as violinist, the other as flutist; we will only speak of the second soirée, which took place in the salons of the H?tel d'Angleterre, and at which the pieces already heard in the first, at the theater, were reproduced.   

M. Remy began by giving us a favorite air by Bériot, arranged by him, and which he played like a truly distinguished artist.   

M. Folz then let us hear some delicious variations of his own composition, on one of the most gracious motives from Anna Bolena, which we enthusiastically applauded. M. Folz then continued with some variations, also of his own composition, very original and very difficult, on a theme by Handel, God Save the Queen. M. Remy sang on his violin a charming composition by M. Folz, La Separazione, an Italian melody; this pure and sweet song, under the bow of M. Remy, moved us strongly, after the  Appassionato, thème varié, composed and performed by M. Remy. These two artists concluded with a ravishing duo of their composition on the most beautiful motives from Norma, by Bellini; this composition has a gripping effect, and was welcomed by unanimous bravos.   

We observed in the playing of M. Folz a power and an inimitable richness of sounds, and a ravishing manner of singing; we say with conviction that M. Folz is the only flutist who has unveiled for us all the richness of this instrument.   

Although we have had occasion to more frequently hear very fine violinists, we have nonetheless admired the beautiful talent of M. Remy, for whom only a little more warmth is needed for him to be ranked among the number of our leading violinists.

We regret, for the public and for the artists, that this soirée could not have been given in a larger locale.   

Could we not make use of the concert hall for foreign artists of known merit; it happens that the refusal for this hall is often attributed to a sentiment which, certainly, is far from existing among us, but for which simply the suspicions is scarcely honorable for those to whom it is addressed, and unhappily it is to their confreres that foreign artists attribute it, although we have more than once had the proof that it was wrong; but this gives a poor idea of our hospitality, and a good reputation is worth more than a golden belt[20].

1842 brings a brief note of a concert in Frankfurt, in which the writer seems to hint at the use of a Boehm-system flute (despite the remarks in La France Musicale from two years before).

 

Frankfurt a M Sept. 24. This coming Tuesday, the 27th, Mr. Michael Folz, flutist from Naples, will present a concert in the Hall of the Müller’sches Haus in which Miss Marr, prima donna of the Court Theater in Dresden, and Mr. Pischeck will participate. English and French periodicals speak very enthusiastically about his performances. He plays on an instrument of entirely new design, which is supposed to be very advantageous, and should be of particular interest for friends of flute playing[21].

By 1845, it is clear that Folz has adopted the new system.

On the second evening on which Belisario was performed, and indeed, one on which we did not know the reason why the orchestra and the stage were in such poor agreement with each other, between the acts the flutist Michele Folz performed on the new Boehm flute a fantasia of his composition on various motives from the Sonnambula, and then some variations on the theme of the popular song D Ciccillo a la fanfarra, also expressly composed by him.  It is useless to try to describe the mastery with which he performed these pieces accompanied by the orchestra, since in this same journal we have on another occasion spoken at length both of his technique and his musicianship. Let us say only that Folz, after having been interrupted several times by bravos, was, at the end of each of these two concerti greeted with considerable applause, and was unanimously called to the honor of the proscenium[22].

At this point there is a long hiatus (1845-1858) in reports regarding Folz, and what does appear is a sort of “novelty” news item, published in a “humorous” journal, and reprinted in another such genre publication (as evident from their respective titles).

 

In Paris, at the hall of the Grand Orient, a grand vocal and instrumental concert was given by Signor Folz of Naples, a well-known flutist. The subject was not only musical, but also literary, dramatic and scientific. A piece for flute and piano entitled Fantaisie on vital electricity was performed to great success. This piece of medical music was announced in the program with the following note. “Signor Folz, deprived for eighteen months of the use of his fingers, after a double fracture of the arm, composed this fantasia as an expression of appreciation for the miraculous healing obtained through the care of Doctor Rebold, inventor of the system of universal application of electricity to the needs of man[23].

By the 1860s, touring flute virtuosos are rare, as evident from the third notice below, and even concert announcements for Folz are scant, let alone reviews.

(1861)

The musical soirée of the flutist Michael Folz will take place next Sunday, December 15, 7 :30 PM in the Salon B?sendorfer with the participation of Lady Anna Müller of the Treumanntheater and the singer Hudovernig[24].

 (1863)

Saal zur Loge Sokrates, T?ngesgasse

Wednesday, December 9, 7 PM. 

Concert von Michael Folz

With the obliging participation of Miss Fr?ulein Hentz, and Messrs. Reau, Heinemeister and Rode.....

 Tickets .... at the Musical Business of CA André, evenings at the box office, 2 fl,[25]  

(1864)

Of the concerts of individual artists, we mention those by two exceptional flutists, namely, Mr. A de Vroye on December 8, and Mr. Michael Folz on December 9.  Chance had it that two important artists on this now rare, and once so beloved instrument, should meet here  [26].

Finally, after twenty years, there is an extensive and enthusiastic review for Folz in 1865, and includes an excerpt of an contemporary review for his concert at the Salle de la Loyauté in Brussels in 1839.

M. Michel Folz has already been heard in Brussels on several occasions, and everywhere his marvelous talent has excited the greatest admiration. Last Sunday, he received the honors of the soirée given by the Société de la Réunion Lyrique.

We have heard many flutists, but we have never been as charmed, as amazed, as we were by M. Folz; he truly rehabilitated this instrument, which has fallen little by little into disrepute in recent times. 

This is not the first time that M. Folz has come to Belgium; while still quite young he performed both in Brussels and in the provinces, and the newspapers of the day, which a collector has preserved, are filled with praise; we reproduce one of these accounts to give an idea of the success which formerly welcomed the young artist: 

We have never seen, unless in the time of M. Malibran, an enthusiasm like that produced by the truly marvelous playing of M. Folz at the concert given Saturday at the Salle de la Loyauté. M. Folz ravished, transported, his large audience, and indeed his talent pushed back the bounds of what was known to be possible on the flute. First he sang like an admirable voice, later we thought that we heard two agile flutes contending together. We avow that we were surprised by the unknown resources which the celebrated artist found in his magnificent instrument. The public acclaimed each piece in such a manner as to demonstrate to M. Folz how great was the sensation produced by his admirable talent[27].

           Folz received two more extensive reviews of his performances in Brussels in 1870, the year in which he would have been celebrating his fiftieth birthday. 

In October:

Several artistic celebrities have come to further increase the legion of those who have chosen Brussel as their place of residence. M Agnesi, the famous bass from the Opéra Italien of Paris, and M. Folz, Neapolitan flutist of great merit. We were able to hear both a few days ago, and we are still impressed by the charm we experienced. The beautiful voice of Agnesi, which has never been so fresh or pure, has gained even more suppleness and roundness. With respect to volubility, he is clearly superior to every tenor and every baritone. An accomplished musician, he sings classical and modern music with equal perfection; in a word he is an accomplished singer. M Folz, whose name would never allow one to guess his Italian origin, is one of the rare concert flutists that one still finds in Europe, and is one of the best. Although, in Brussels, we are a little spoiled with respect to the flute by our excellent virtuosos, Dumon and Léonard, we experienced an infinite pleasure in hearing M Folz. He has effects which are all his own; he does things which are so surprising in the performance of double notes, of staccati, that you are tempted to cry out “impossible!”, and yet M. Folz does all this in the most natural possible way.    Add to this the fact that M Folz composes admirably for his instrument, and you will have the desire to hear him, and will applaud him as we did.[28]

In December:

The need for an anti-classical concert being strongly felt among all the arch-serious events which Brussels has been enjoying for some time, M. Folz has come at the right moment, and if we judge by the crowd which filled the hall of the Cercle artistique on Monday, light concerts still have numerous partisans. One fact to note, however, is that the Cercle, which lends its hall to organizers of every kind of concert, seems to have a weakness for the serious, since it prohibits smoking in the adjacent rooms during the duration of these, while it tolerates it during the others. It seems to us, however, that all concerts should be protected from something so disagreeable. This being said, let us arrive at the program, which had to undergo some changes at the last minute. In the place of Messieurs Agnesi and Tombesi, we had M. Engel, not the king of the harmonium, but another, a tenorino, who gave with a sympathetic voice some couplets from Rigoletto, and the air from Joseph. The rest of the program remained the same:

 – the Cavatina from the Barber, and the Valse des Bleuets sung by Mademoiselle Jeanne Devries.

-       the Fantaisie sur Faust et andante de Lucie arranged and performed by M. Martin Lazare, and three pieces for flute played by M Folz. ............. But the true hero of the festivities, was M. Folz, transporting his listeners with ease and admiration for his flute.

 M. Folz draws from his instrument a sound that is sweet, round, and mellow, and with respect to technique does things that are incomprehensible. One admires and applauds him, without exploring his secrets.[29]

After this I have only found two further notices for Folz, in 1875 (Paris), and 1880 (Liège).

Wednesday evening [Feb. 3, 1875] at the Musical Institute of M. Oscar Comettant, musical soirée given by M. Michel Folz, flutist, with the participation of M Dorelli-Daniele, the tenor Girard, the baritone Rinaldi and the pianist d’Ernesti.[30]

Concert at the Théatre Dec. 14, 1880[31].

No source reports any information about the date of the artist’s death.

WORKS LIST

OP. 1 through 7?

Air varié pour la fl?te avec acct. de piano : sur un motif favori de l'opera Le mauvais ?il, musique de Mlle. L. Puget, op. 8. Bruxelles, Lahou.

L. 482

Artesis Plantijn Hogeschool

Fantaisie pour fl?te avec accompagnement de piano sur la romance Une chanson bretonne de E. Masini. Op. 9

Paris Bernard Latte. 

B.L. 1678

BN Espa?a

Op. 11 and 12?

Fantasia for the flute with an accompaniment for the piano forte on the prayer in Rossini's opera Mose? in Egitto. Op. 13.

London: s.n.

BL

 Favorite waltz for the flute with accompaniment for the Piano Forte. Op. 14.

London: s.n.

BL

Casta Diva ... (de Bellini) varie? pour la Flu?te, etc. [=op. 15 – listed in Schott catalogue]

Paris: s.n.

BL

Fantaisie (grande) pour la fl?te avec acc. de piano sur des motifs de la Norma de (Bellini), op. 16

 Paris : Schott

S. 543 

BNF

BL

Listed in Journal de l'imprimerie et de la librairie en Belgique, Volumes 12-13 (1865 ), p. 70

And in

Journal de l'imprimerie et de la librairie (1866), p. 527

Fantaisie pour la fl?te avec acc. de piano, sur un thème de Mose (de Rossini), op. 17 

Paris : Schott, 

S. 542 

BNF

BL

Variations de bravoure pour la fl?te avec acc. de piano, sur la prière de Mo?se de G. Rossini, op. 18

Paris : Schott, 

S. 544 

BNF

BL

U of Melbourne

Grandes Variations brillantes, pour la fl?te avec acc. de piano, sur un air populaire napolitaim : Io te voglio bene assajes. Op. 19 

Paris : Schott, 

S. 545 

BNF

Yale

BL

Listed in Journal de l'imprimerie et de la librairie en Belgique, Volumes 12-13 (1865 ), p. 70

And in

Journal de l'imprimerie et de la librairie (1866), p. 527

Le Carnaval de Naples, fantaisie pour la fl?te avec acc. de piano op. 20 

Paris : Schott, 

S. 546 

BNF

BL

6 Exercices artistiques pour la fl?te, op. 21

Paris : Schott, 

S. 625 

BNF

BL?

Pot-pourri valaque pour la fl?te avec acc. de piano, op. 22

Paris : Schott, 

S. 626 

BNF

BL

Six exercices artistiques pour la fl?te : op. 23

Milan : G. Ricordi, 

Pl. no.: 82973.

University of Sydney

Six exercices artistiques pour la fl?te : op. 23

Milan : F. Lucca

Dedies à son ami Louis Dorus

Bib. Conservatorio di musica Giuseppe Verdi - Milano -

Bib.  musicale governativa del Conservatorio di musica S. Cecilia - Roma

Six exercices artistiques pour la fl?te composés ... par Michel Folz

Milan : Jean Canti 

Dédiés a son ami Jules Briccialdi

Bib. Conservatorio di musica Giuseppe Verdi - Milano –

OP. 24?

La Rose de Florence : Rêverie pour fl?te avec accomp.t de Piano : op.25 / Par Michel Folz

Milan : F. Lucca

A Monsieur Charles Derbaix

BCM Milan

BCM Rome

Sérénade pour fl?te avec accomp.t de piano : op.26 / Par Michele Folz

Milan : F. Lucca

Dedicated to

M.r Altes Professeur au Conservatoire de Paris

Bib. Conservatorio di musica Giuseppe Verdi - Milano -

Bib.  musicale governativa del Conservatorio di musica S. Cecilia - Roma

OP. 27-35?

Une Soirée a Posilippo : Souvenir de Naples : Caprice pour fl?te avec accomp.t de Piano : op.36 / Par Michel Folz

BCM Milan

BCM Rome

Una [sic] Soire?e a? Posillipo ... Caprice. Op. 36. Transcribed & edited by L. de Lorenzo. [Flute and P.F.].

New York, C. Fischer.

BL

OP. 27-42?

 Bouquet de noce valse pour piano par Michel Folz op. 43

Paris : A. Michel et M. Rosen,

BNF

WORKS WITHOUT OPUS NUMBER

Caprice Etude de Concert pour la flute avec accomp. de piano / Par Michel Folz

Milan : F. Lucca

A son ami Giulio Briccialdi

BCM Milan

BCM Rome

Carnaval de Venise pour la fl?te avec accompag. de piano / Composé ... par Michel Folz

Milan: Jean Canti 

Dedicato al suo amico Joseph K?hler

Biblioteca musicale Gaetano Donizetti - Bergamo

BCM  Milan

La Charmeuse! Polka pour piano par Michel Folz 

Paris: A. Michel, 

BNF

Deux Bagatelles pour flu?te avec accompt de piano sur des airs napolitains.

Milan: F. Lucca.

BCM - Milan

BL

La favorite: mazurka pour piano / Par Michel Folz

Milan: F. Lucca, dep. mar. 1882

BCM Milan

BCM Rome

Morceau de Salon pour flu?te avec accompt de piano, sur un air populaire napolitain.

Milan: F. Lucca

A son ami L. de Santis

BCM Milan

BCM Rome

BL

Nocturne pour flu?te et piano

MS score and part.

Yale

O bel ange dont les ailes, air de Lucie de Lamermoor [de Donizetti], arrange? pour flu?te avec acc. de piano.

Paris, Bernard-Latte.

B. L. 2293 

BNF

Listed in the Bibliographie de la France, 1840, p. 392.

Polka de la Reine : caprice / Par J. Raff ; transcrite pour la fl?te avec accomp.t de piano par Michel Folz

Milan : F. Lucca

BCM Milan

Rigolette, fantaisie pour fl?te et piano, par Michel Folz 

Paris : E. Grecs,

BNF

BL

La Violette. Mazurka pour flu?te avec accompt de piano.

Milan: F. Lucca

A Madame la marquise de Saffray

BCM Milan

BCM Rome

BL

La Violette ! Mazurka pour piano par Michel Folz

Paris : E. Gérard,

BNF

Listed in Journal général de l'imprimerie et de la librairie, Volume 65 (1876), p. 168

Voyage Aérien : polka pour fl?te avec accomp.t de piano / Par Michel Folz

Milan: F. Lucca

A Madame la Comtesse Duchatel

BCM Milan

BCM Rome

Voyage aérien. Polka pour piano par Michel Folz 

 Paris : Sax

[1] Probably Théophile-Alexandre Tilmant (1799-1878), noted violinist and conductor.

[2] Cronistoria dei teatri di Modena dal 1539 al 1871 del maestro Alessandro Gandini....(Modena, 1873), p. 309.

[3] The comedy La Restituzione del portafoglio “translated from the German by Filippo Casari”, published in Naples in 1826. Not an opera, but a play.

[4] Gazzetta di Genova (August 24, 1831).

[5] AMZ, vol. 36 (1834), column 851.

[6] Supplement to the Musical Library (1834), p. 107

[7] L'Eco, giornale di scienze, lettere, arti, mode e teatri, Volume 7 (May 5, 1834), p. 216, p. 336

[8] Teatri Arti e Letteratura, Anno 12.mo, N. 559 – Tom. 22. Bologna, November 27, 1834

[9] Teatri Arti e Letteratura, Anno 12.mo, N. 560 – Tom. 22. Bologna, December 4, 1834.

[10] Gazzetta di Parma, p. 426 (Dec. 17, 1834)

[11] Gazette musicale de Paris, Volume 2 (1835), p. 367

[12] Revue et gazette musicale de Paris, Volume 3 (1836, p. 40)

[13] Revue et gazette musicale de Paris, Volume 4 (1837) p. 40

[14] The Musical World, Volume 8 (1838), p. 147

[15] Madame Bonnias's Concert. A numerous company assembled on Friday evening at the Hanover Square Rooms to welcome this accomplished pianiste on her appearance at her annual concert She proved herself a first rate artist in the performance of one of Thalberg's most difficult fantasias and in the Septet of Hummel in which she was well supported by Barret on the oboe, Baumann on the bassoon, Tolbecque on the viola, the Rousselots on the horn and violoncello, Reinagle on the double bass, and Folz on the flute. The Musical World, Volume 8 (1838),

p. 148

[16] Neue Zeitschrift für Musik: das Magazin für neue T?ne ..., Volume 10 (1839), p. 131

[17] New Monthly Belle Assemblée, Volume 12 (1840) p. 331.

[18] La France Musicale (1840), p. 43.

[19] La France Musicale (1840), p. 155.

[20] Revue du Calvados (1841): p. 398-399

[21] Didaskalia: 1842 (September 25, 1842)

[22] Bazar di novita artistiche, letterarie e teatrali, Volume 5 (June 4, 1845)

p. 192

[23] Farfarello Giornale critico-umoristico ... (Red. F ..... Sala)  (Sept. 15, 1858), p. 198. Also reprinted literally in:

Il Diavoletto: Giornale Triestino (Sept. 26, 1858), p. 1055

[24]Fremden-Blatt (Dec. 13, 1861)

[25] Intelligenz-Blatt der freien Stadt Frankfurt, Part 4 (1863), p. 424

[26] Berichte des Freien Deutschen Hochstiftes zu Frankfurt am Main, Volume 5 (1864) , p. 34

[27] Le Guide Musical: Revue Internationale de la Musique Et de ..., Volumes 11-12 (January 19, 1865),

[28] Le Guide Musical: Revue Internationale de la Musique Et de ..., Volumes 16-17 (Oct. 20, 1870)

[29] Le Guide Musical: Revue Internationale de la Musique Et de ..., Volumes 16-17 (Dec. 1, 1870)

[30] Le Ménestrel, Volume 41 , (Jan. 31, 1875), p. 71

[31] Martiny, Jules, Histoire Du Théatre de Liège Depuis Son Origine Jusqu'à Nos Jours

p. 578

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