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This flute duet is taken from Blake's Young Flutist's Magazine, which was published in Philadelphia in 1833.
La dame blanche (The White Lady) is an opéra comique in three acts by French composer François-Adrien Boieldieu. It was first performed in 1825.
This Fantasia in B minor is one of 24 pieces attributed to the famous German flutist and composer Johann Joachim Quantz to have survived in a manuscript titled Fantasier og Preludier. 8. Capricier og andre Stykker til Øvelse for Flöÿten af Quanz (“Fantasies and Preludes. 8 Caprices and other Pieces for Exercise for the Flute by Quantz”). This manuscript has been kept in the Giedde Collection (named after its founder, Danish composer W.H.R.R. Giedde) in the Royal Library of Copenhagen, which hosts a fairly comprehensive collection of flute music from the second half of the 18th century.
This reel is taken from Francis O'Neill's collection Waifs and Strays of Gaelic Melody, published in 1922. His source was the Rice-Walsh manuscript, a collection of music from the repertoire of Jeremiah Breen, a blind fiddler from North Kerry, Ireland.
This study is the seventh piece from 24 Technische Studien für Flöte (24 Technical Studies), Op. 11, by German flutist Emil Prill. It was first published in Leipzig in 1911.
These two minuets constitute the fourth movement of the second 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. The first minuet features a petite reprise, a small section that is to be repeated (usually with added ornamentation) at the very end of the piece. The overall structure of the movement is therefore AABCBCDDEEABCC'.
This is an arrangement for flute and piano of the second piece from Franz Schubert's 4 Impromptus for piano, D.935, which he composed in 1827.
Thanks to Phil for suggesting this piece!
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According to John Glen's volume Early Scottish Melodies (1900), this tune is a composition of James Greig, a teacher of dancing in Ayrshire, in south-west Scotland. The melody must date back at least to the mid-18th century, as it appears in the Gillespie Manuscript of Perth (1768).