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.
This Andante is the first movement of a Sonata for Violin and Guitar by the famous Italian virtuoso Niccolò Paganini. It was published in Milan in 1820 as the sixth and last sonata of his Op. 3. Like those of Op. 2, the Op. 3 sonatas are brief, two-movement works of the charming, docile variety meant not for public performance but for private.
The Sonata No. 6 in E minor is the only one of the Op. 3 sonatas to have achieved any real fame; in fact, it has become very well-known as a showpiece and encore.
Thanks to André for suggesting this piece!
This Irish jig is taken from Francis O'Neill's collection Waifs and Strays of Gaelic Melody, published in 1922. O'Neill cites the “Pat. Dunne manuscript” as his source, and remarks that “Mr. Dunne was a farmer of the townland of Kilbraugh not far from Thurles, Tipperary. From his wonderful repertory of dance tunes, generously contributed some years ago, many have been selected.”
This étude is the eleventh piece from the second book of Italian composer Ernesto Köhler's Progress in Flute Playing, Op. 33. The same work was also published in Germany as Der Fortschritt im Flötenspiel, and in France as Le progrès dans l'art de la flûte.
Today we propose the second movement of Italian Baroque composer Arcangelo Corelli's Trio Sonata No. 9 in F-sharp minor, published in 1685.
Thanks to Mario for contributing this piece!
This rondeau is the third 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.
The title probably refers to the Alsatian town of Turckheim in modern-day north-eastern France, located next to Colmar about 20 km east of the Rhine river.
Today we're happy to post a lovely tune by English folk musician Brian Peters.
I suppose this is the one tune of mine that has made the most impression on people. I've heard it played on the harp, fiddle, Northumbrian pipes and concert grand piano, and every version has brought out something different. I tend to treat it as an air rather than a waltz, playing it once as a single-note melody before bringing in gentle chords without the basses. Written in 1992 in a pub in Coleford, a small and slightly eerie town in the Forest of Dean, where I'd arrived too early for the folk club.
A performance of the piece by Brian Peters himself can be found here.
Thanks to Phil for suggesting this tune!