This article focuses on flute players that lived in Rome during the first half of the 18th century, such as English flutist Robert Valentine, active in Rome, and Filippo Ruge, Italian flutist active in France.

Roman flute players and flute players in Rome in first half of the Eighteenth Century: Filippo Ruge and Robert Valentine

Context

The early 18th century witnessed a fascinating interplay of musical influences in the city of Rome, shaped by the contributions of notable flutists from England, Italy and France; the stay of flutist Jacques Hotteterre “le Romain” in the Ruspoli household as flute master is famous, as confirmed by documents preserved in the Vatican Secret Archives^[1].

This article mainly explores the dynamic cultural exchange between Italy and France, focusing on the influences of English composer Robert Valentine in the Roman music scene and the impact of Italian composer Filippo Ruge in France.

During this period, Rome served as a vibrant hub for artistic expression, attracting musicians from various European countries. English flutist Robert Valentine emerged as a prominent figure within the Roman music scene; a few years later, Italian flutist Filippo Ruge made his mark in the city of Paris, becoming a driving force in the dissemination of Italian music and the Italian musical style. Ruge's compositions, infused with the distinctive Italian flair, captivated the French audience, and left a lasting impact on the development of French musical traditions.

Robert Valentine (b. Leicester, c1680; d ? 1735-40)

Robert Valentine, an influential musician of the 18th century, hailed from the esteemed Valentine family that held prominence in the musical landscape of Leicester, England, around 1670. He was the fourth son of Thomas and Sarah Valentine, and it is likely that he was baptized on January 16, 1673/4, although the only definite mention of Robert is found in his father’s will in 1684/5.

Due to his inability to secure a position as a town musician, Robert Valentine relocated to Rome during the latter years of the 17th century. By 1707, he had established himself as a proficient musician, skilled in both the flute and oboe. His integration into the musical circles of Rome is evidenced by his Op.1 trio sonatas, composed during this period, which suggest that he had received some form of Italian training. In 1708, Handel’s Oratorio “La Resurrezione” was performed at the Ruspoli Palace. The inclusion of a musician named Valentino, likely referring to Robert, as an oboist suggests that he was recognized as a performer in one of Rome’s most esteemed musical gatherings, associated with the Ruspoli family and Cardinal Pietro Ottoboni^[2].

He continued to occasionally secure engagements as an oboist at the Ruspoli Palace from 1708 to 1710, during which he published a second set of solos for flute and bass, op. 3.

During his time in Rome, it is highly probable that Robert Valentine encountered both Corelli and Handel. Similarities between Valentine’s compositions and Corelli’s style can be observed, indicating his familiarity with Corelli’s works. However, Valentine showcased his own distinctive, personal style, using elements from Corelli’s compositions to captivate the listener’s attention before venturing into his own original direction.

Valentine was probably present in Rome in 1714, as suggested in a letter penned by the young Locatelli that mentions a musician named “Valentino,” presumably referring to Robert. However, there is insufficient concrete evidence to fully support this claim.

Little is known about Valentine’s later endeavors, but it is possible that he may have worked in Naples, as one of his concertos can be found in a manuscript collection of sonatas and concertos by Neapolitan composers^[3].

There are no references to Robert Valentine’s concert appearances in the London newspapers of that era, and no existing legal documents confirm his death in London. Nevertheless, it is widely believed that he eventually returned to London and made an appearance there in 1731. This belief finds support in one of Alessandri’s footnotes to J.S. Mayr’s article on Locatelli^[4]. The publication of Valentine’s complete works by John Walsh further reinforces this hypothesis.

Filippo Ruge (b. Rome, c.1725; d? Paris, after 1767)

Filippo Ruge, also known as Rugge, Rugi, Ruggi, Rouge, and Romano, was a prominent Italian composer and flutist.
He also potentially resided in London during Walsh’s publication of five sets of his chamber pieces for flute between 1751 and 1754. By 1753, Ruge, accompanied by his wife, a singer, had established himself in Paris, where his name made its debut in the Paris press in March of that year when he performed one of his own flute concertos as a soloist in the Concert Spirituel. The program also featured a symphony by “Romano,” undeniably composed by Ruge. During this period, Ruge and his wife were active performers in the renowned musical salon of La Pouplinière.
After 1755, Ruge arranged a series of concerts at his residence on rue Platrière, where he also imparted music lessons. In July 1755, he published Au Dessert, a collection of six vocal duets, and in August of the same year, he obtained a general privilege for instrumental compositions for several years. The subsequent year witnessed the release of Sei sinfonie op.1, among which the fourth symphony featured a programmatic movement titled ‘la tempesta’ (the storm). These symphonies, including a later one titled ‘la nova tempesta,’ garnered considerable success at the Concert Spirituel.

Between 1757 and 1761, it is plausible that Ruge entered the service of the Marquis of Seignelay^[5]. A manuscript collection discovered near the ruins of the Seignelay chateau comprises approximately 40 flute compositions by Ruge, as well as a thematic catalogue in his handwriting, providing the incipits of 111 symphonies and overtures, including five of his own. Evidently, Ruge brought a substantial repertoire of Italian music from Rome, which constituted the majority of his concert appearances and was further disseminated through the publication of Sei sinfonie de vari autori italiani with Venier in 1757. Following his last known composition, Duetti a due flauti traversi o due mandolini o due violini, published by Grangé in 1767, historical records of Ruge’s activities cease.

Ruge played a crucial role in spreading Italian music and the Italian musical style in 18th-century France.
His symphonies exemplify the Italian pre-classical tradition; the fast-slow-fast sequence of movements is maintained, with the slow movements often displaying appealing lyricism. In his flute compositions, melodic expressiveness takes precedence over technical virtuosity.
Although contemporary references to Ruge as a flutist are scarce, his appearance as a soloist at the Concert Spirituel implies a remarkable level of technical proficiency.

Bibliography

Casularo, E, (2013) Roberto Valentini “celebrato sonatore di flauto e compositore in Roma di opere per quell’instromento” Falaut, Anno XV, n. 59

Casularo, E, (2014) Di me Filippo Ruge: le composizioni per flauto di Filippo Ruge conservate nel fondo Ruge-Seignelay (prima parte) Falaut, Anno XVI, n° 63 (con CD integrato)

Casularo, E, (2015) Di me Filippo Ruge: le composizioni per flauto di Filippo Ruge conservate nel fondo Ruge-Seignelay (seconda parte) Falaut, Anno XVII, n. 64

Casularo, E, (2017) Un concerto inedito per flauto traverso di Robert Valentine, Falaut, n. 3

Franchi, S. (2010). Possibili valenze storico-ideologiche dell’attività musicale romana durante il soggiorno di Händel (1706–1708). na.

Delius, N. (2001) preface to Filippo Ruge, Capricci per flauto traverso, S.P.E.S, Archivium Musicum , Firenze

Giannini, T. (2007). [Review of Il Flauto in Italia, by C. Paradiso]. The Galpin Society Journal, 60, 256–259. [http://www.jstor.org/stable/25163919]{.underline}

Lazzari, G, (2003). Il flauto traverso, storia, tecnica, acustica con Il flauto del novecento di Emilio Galante, Manueli EDT/SIdM, Torino.

Mayr, J.S. (1875), Biografie di scrittori e artisti musicali bergamaschi nativi ed oriundi … raccolte e pubblicate con note dal prof Ab. A. Alessandri con aggiunta degli scrittori musicali bergamaschi del P. Vaerini, Bergamo, 177f

Medforth, M. (1981)._ The Valentines of Leicester: A Reappraisal of an18th-Century Musical Family_. The Musical Times, 122(1666), 812–818. [https://doi.org/10.2307/961247]{.underline}

Sadie, S., Tyrrell, J., & Grove, G. (2001a). The New Grove Dictionary of Music and musicians (Vol. 21). Macmillan u.a., London

Valentine, R. (1721) Sonates à deux dessus opera quinta, accomodées à la flûte traversière par M. Hotteterre,… et se peuvent exécuter sur les autres instrumens de dessus. (n.d.). Gallica. [https://gallica.bnf.fr/ark:/12148/btv1b8538420r?rk=42918;4#]{.underline}

References

Franchi, S. (2010). Possibili valenze storico-ideologiche dell’attività musicale romana durante il soggiorno di Händel (1706–1708). na. pp. 117 ↩︎
Medforth, M. (1981). The Valentines of Leicester: A Reappraisal of an 18th-Century Musical Family. The Musical Times, 122(1666), 812–818. https://doi.org/10.2307/961247 ↩︎
Naples Conservatory MS 38.3.12, dated 1725 ↩︎
Mayr, J.S. (1875), Biografie di scrittori e artisti musicali bergamaschi nativi ed oriundi … raccolte e pubblicate con note dal prof Ab. A. Alessandri con aggiunta degli scrittori musicali bergamaschi del P. Vaerini, Bergamo, 177f ↩︎
Sadie, S., Tyrrell, J., & Grove, G. (2001a). The New Grove Dictionary of Music and musicians (Vol. 21). Macmillan u.a., London, p. 876 ↩︎

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