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This is the eleventh study from German flutist and composer Caspar Kummer's 32 Etudes amusantes et instructives, Op. 129, first published in 1858.
This is the opening movement of a Flute Duet in A minor that the famous German flutist and composer Johann Joachim Quantz composed in 1759.
This is the fourth and last movement of Georg Philipp Telemann's Sonata in F minor for bassoon (or recorder) and basso continuo. It's marked “Vivace”, which is Italian for “lively”, so it should be played at a lively tempo. As always, however, remember to play it slowly when you first sight-read it, even if you feel capable of rushing through the whole movement at performance tempo (which is highly unlikely for most people!).
This 9/8-time jig is taken from Chicago Police captain Francis O'Neill's collection The Dance Music of Ireland, published in 1907. The tune had previously appeared, untitled, in the mid-19th century music manuscript collection by County Cork uilleann piper and Church of Ireland cleric James Goodman.
Today we present the ninth study from Italian composer Giuseppe Gariboldi's Etudes mignonnes (Dainty Studies), Op. 131.
This is the final movement of Georg Philipp Telemann's fifth Canonic Sonata for two flutes. As with all of these sonatas, the two players play the exact same melody, but (in this case) two measures apart.
The second suite derived from Bizet's incidental music for L'Arlésienne opens with a Pastorale, originally the prelude to Act 2 of the play, and the most complete bit of music Bizet had composed for L'Arlesienne that he hadn't already used in the first suite. This broad Andante evokes the rolling Provençal countryside with a simple theme subjected to several treatments and interspersed with gentle, rustic woodwind passages. The middle Andantino notably features the flute and the piccolo as the solo instruments.
Choosing a tempo is not an easy task here. Most editions of the incidental music and of the suite indicate quarter = 54, so this was probably originally marked by Bizet himself. Nonetheless, today the piece is commonly played much faster, at about 80 beats per minute.