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This Irish reel was collected by Chicago police captain Francis O'Neill, who included it in his collection Waifs and Strays of Gaelic Melody, published in 1922. The first part of the tune is similar to that of “The Factory Lass”.
Today's piece is the thirteenth study from 40 Esercizi per Flauto (40 Exercises for Flute), Op. 101, by Italian flutist, composer and arranger Luigi Hugues.
This “dialog” is the opening movement of the fourth 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.
Thanks to Marco for suggesting this piece!
This rondeau is the fifth movement of Amusement militaire, a suite for solo instrument (“musette, vielle, flute and oboe” according to the original edition) and continuo by the French Baroque composer Nicolas Chédeville.
As with several other Op. 6 movements, the title probably refers to a German town; possibly Sankt Wendel, which is located near the current French border about 30 km north-east of Saarbrücken.
This jig is one of the most enduring and popular pieces in the Irish repertoire, and has even spread to other genres. It is, for example, a staple for contra dancing. Connaught (or Connacht) is one four provinces of Ireland (along with Leinster, Munster, and Ulster), named for the ancient tribe who lived there, the Connachta.
Probably the earliest appearances of the tune in print is in R.M. Levey's The First Collection of the Dance Music of Ireland, published in London in 1858.
This is the very first piece from 24 Etudes mélodiques, Op. 110 by German flutist and composer Caspar Kummer. This collection has also been published in English as 24 Melodic Exercises.
This lively flute duet is taken from Blake's Young Flutist's Magazine, published in Philadelphia in 1833. The origins of the tune are unfortunately unknown.