This Vivace is the fourth movement, and third “aria”, of Georg Philipp Telemann's Partita No. 1 in B-flat major, TWV 41:B1, originally published in 1716 as part of the Kleine Kammermusik (“little chamber music”) collection. The original edition indicates that the melody is intended to be played by an oboe, a violin, or a flute.
This Irish jig was collected by Chicago police captain Francis O'Neill from a John Kelly of San Francisco, and included in the collection Waifs and Strays of Gaelic Melody, published in 1922.
This study is the sixteenth piece of a collection of 24 “Caprice-Études” for flute by Theobald Boehm, the German inventor who perfected the modern Western concert flute. It starts off in A-flat minor, with all 7 flats in the key signature, but soon moves to the enharmonic key of G-sharp minor (5 sharps); it then returns to the original key for a few measures, but only to end up in the parallel key of A-flat major. As you can see, studies such as this one were the perfect way for Boehm to prove the playability of his improved instrument in all 24 keys.
This fanfare is the third movement of the first of Jacques-Christophe Naudot's 6 Babioles pour 2 Vieles, Musettes, Flutes-a-bec, Flutes traversieres, Haubois, ou Violons, sans Basse. The French term babiole humbly indicates something of little value or importance, a trifle.
This Largo is the central movement of Antonio Vivaldi's Chamber Concerto in A minor for recorder, two violins and continuo, RV 108. It was composed around 1716.
Thanks to István for suggesting this piece!
This traditional hornpipe tune, probably of English origin, is taken from Harding's All-Round Collection of Jigs, Reels and Country Dances, published in New York in 1905.
This study in thirds is the sixty-second piece from French flutist and composer Louis Drouet's 72 Studies on Taste and Style for the Boehm Flute, published in 1855.