This is the prelude to the third of the Il pastor fido sonatas, first published in 1737 and traditionally attributed to Antonio Vivaldi. The actual composer, Nicolas Chédeville, made a secret agreement with Jean-Noël Marchand to publish a collection of his own compositions as Vivaldi's Op. 13. Chédeville supplied the money and received the profits, all of which was recorded in a notarial act. This may have been an attempt to give his instrument, the musette, the endorsement of a great composer which it lacked.
The only known appearance of this Scottish reel in print is in Harding's All-Round Collection of Jigs, Reels and Country Dances, published in New York in 1905. We transposed the melody from C major to D major to better fit the range of the flute.
This exercise in double tonguing is the forty-second study from the fourth part of the Méthode pour la flûte by French Romantic flutist and composer Louis Drouet, published in Paris in 1828.
This flute duet is taken from Blake's Young Flutist's Magazine, published in 1833. The melody is attributed to the famoust Italian opera composer Gaetano Donizetti.
This Rondo is the final movement of the second of 5 Divertimentos for three basset horns composed by Wolfgang Amadeus Mozart from 1783 to 1785. These pieces were later rearranged for solo piano and published as the Six Viennese Sonatinas, which is why this piece is also known as the Rondo (Allegro) from Sonatina No. 2 in A major.
This Dorian-mode jig is taken from Francis O'Neill's Waifs and Strays of Gaelic Melody, published in 1922. The tune shares similarities with “The Fairhaired Boy”, from which it probably descended.
This playful Moderato in D major is the fifth piece from a collection of 26 Little Caprices for flute (XXVI kleine Capricen für die Flöte) by Danish flutist and composer Joachim Andersen, published in 1890.