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Today we propose an arrangement for flute trio of the second of Wolfgang Amadeus Mozart's Three German Dances, K. 605, composed in 1791.
Thanks to Leighton for suggesting this piece!
Johann Sebastian Bach composed the Partita No. 1 in B minor for solo violin, BWV 1002, in 1720. What we present today is a transcription for solo flute of the third movement (or second movement, depending on whether you count the doubles as separate movements) of this Partita, the corrente. In order to fit the range of the flute, the piece has been transposed from B minor to E minor.
The earliest appearance of this tune in print is in Francis O'Neill's Waifs and Strays of Gaelic Melody, published in 1922. The reported source for this melody is one of O'Neill's collaborators, Chicago Police Sergeant James O'Neill, originally from County Down, Ireland.
Today we propose the very first piece from Exercices journaliers pour la flûte (or Tägliche Studien in German, i.e. “Daily Exercises”) by Austro-Hungarian composer Adolf Terschak. It was first published in 1867.
This short duet is taken from the Nouvelle Méthode théorique et pratique pour la flûte by the French flutist and composer François Devienne.
This gavotte is the third movement of the second sonata from Sonates pour la flûte traversière avec la basse, Op. 19 by the prolific French Baroque composer Joseph Bodin de Boismortier. These sonatas were originally published in Paris in 1727.
This pipe tune, a 9/8-time retreat march composed by Pipe Major William Lawrie (also spelled “Laurie”), commemorates one of the greatest and most terrible battles of World War I, which was fought for 140 days between July and November 1916. Lawrie fought in this horrendous battle as Pipe Major of the 8th Battalion, Argyll & Sutherland Highlanders. He died shortly afterwards from illness and injuries sustained in the trenches, but lived just long enough to see his tune meet immediate success.
In spite of its name, the retreat march is not necessarily a tune which would be marched to; often times it would be played as part of the evening ritual in military camps as day duties give way to night ones. It is not linked to the military maneuver of retreating from a battle, but rather to the idea of refuge and safety in the camp.
Thanks to Phil for suggesting this tune!