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).
This is the eighth 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 is the first movement from the first of Tre duetti concertanti per due flauti (“Three concertante duets for two flutes”) by Italian composer Saverio Mercadante. It was first published around 1818. The word concertante denotes a piece of music containing one or more solo parts, typically of less prominence than in a classical concerto.
Many thanks to Lutz Kutscher for contributing this piece!