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This prelude is the sixth movement of the last of six Concerts à deux Flutes Traversières sans Basse by the French Baroque composer Michel Pignolet de Montéclair. Here the French word concert is a synonym of “suite”, and has nothing to do with the Italian concerto.
This is the second movement of the fifth sonata from Six Sonates pour la Flûte traversière avec la Basse, Op. 44 by the prolific French Baroque composer Joseph Bodin de Boismortier. These sonatas were originally published in Paris in 1733.
A “cotillion” (from the Old French “cottilon”, meaning “petticoat”) is a tune that was used for an early 18th-century dance of the same name – a forerunner of the quadrille. These dances, which were used to introduce young ladies into society in 18th-century France, were first introduced into London in the 1760s, then later into the USA in the 1770s.
The “Chain Cotillion” appears in several American music manuscripts of the late 18th century. In modern times, it has been popular for martial use by various Revolutionary and Civil War fife-and-drum reenactors.
Thanks to Phil for contributing this 4-part version of the tune.
This is the sixteenth piece from 30 Etüden in allen Tonarten für Flöte (“30 Studies in All Keys for Flute”), Op. 6, by German flutist Emil Prill. It was first published in Leipzig in 1894.
This popular glee was written by Henry Harington, an 18th-century English physician, author and composer who also served as the mayor of Bath.
The present arrangement for three flutes is taken from Blake's Young Flutist's Magazine, published in Philadelphia in 1833.
This Largo is the third movement of the seventh of 12 sonatas for flute and continuo by Italian composer Pietro Antonio Locatelli, originally published in Amsterdam in 1732.
This hornpipe is taken from Francis O'Neill's collection Waifs and Strays of Gaelic Melody, published in Chicago in 1922. The cited source was a Chicago musician named John “Jack” E. O'Neill.