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This jig is taken from Francis O'Neill's collection Music of Ireland, published in Chicago in 1903. O'Neill obtained the tune from Chicago Police Sergeant James Cahill, a uilleann piper originally from County Kildare, Ireland.
This is étude No. 20 from Italian Romantic composer Giuseppe Gariboldi's collection of 30 Etudes faciles et progressives.
This Presto is the third and last movement of Georg Philipp Telemann's Canonic Sonata No. 4. It is mostly in the key of D minor, but it features a central section in D major. Although the time signature is 4/4, it is probably more natural to think of it in cut time (2/2).
The “Combination March” was Joplin's second published march. Appeared in 1896, it demonstrated the composer's ability to assemble well-structured themes, and is not all that far off from the ragtime he would be writing in short order. Joplin had been traveling with his Texas Medley Quartette (actually double that since there were eight members) and secured publication in Temple, Texas during their tour. The context of the title is unclear, whether Joplin is referring to a combination of styles or ideas, or the group with which he was playing.
Thanks to Guido from Brazil for suggesting this piece!
This jig was entered twice into the mid-19th-century music manuscript of Irish uilleann piper and cleric James Goodman, set in two different keys. Around the same time, the tune appeared in R.M. Levey's First Collection of the Dance Music of Ireland (1858).
A version for the Northumbrian small-pipes entitled “Puddle the Butter” was printed in 1913 by collector Cecil Sharp, originally from the music manuscript collection of the Crawhall family.
This is the second étude from Sigfried Karg-Elert's 30 Caprices: a “Gradus ad Parnassum” of the modern technique for flute solo.
Today's piece was kindly contributed to our collection by its composer, Cheryl Cleveland-Kannianen. It is an arrangement of “Wayfaring Stranger”, a beautiful and haunting traditional melody with unclear beginnings. It likely has its origins in the African American Spiritual, but also contains elements of a Scottish Ballad and influences from the German hymn tradition.
This work is appropriate for an intermediate flute trio or flute choir. The arrangement is written for three flutes, but violin may also work well, especially for Flute 3 with a few minor octave adjustments.
Dr. Cheryl Cleveland-Kannianen is a retired scientist who is now pursuing a Music Degree at Meredith College in Raleigh, NC, with a focus on arranging and composition. Cheryl has been a participant in various flute choirs within the Raleigh Area Flute Association (RAFA) for over a decade.