Today we propose the tenth study from Twenty-Four Etudes for Flute, Op. 21, by Danish flutist Joachim Andersen. It was first published in 1886.
This sarabande is the seventh movement of the fifth 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.
This is the opening movement of the third sonata from Six Sonates pour la Flûte traversière avec la Basse, Op. 44 by the prolific French Baroque composer Joseph Bodin de Boismortier. These sonatas were originally published in Paris in 1733.
This traditional English hornpipe is taken from Thomas Wilson's A Companion to the Ball Room, which was published in London in 1816.
This study in triple-tonguing is the seventh piece from 30 Etüden in allen Tonarten für Flöte (“30 Studies in All Keys for Flute”), Op. 6, by German flutist Emil Prill. It was first published in Leipzig in 1894.
This version for two flutes of the traditional Post Horn Waltz is taken from Blake's Young Flutist's Magazine, published in Philadelphia in 1833. The arrangement is attributed to a “Nicholson”; probably English flutist and composer Charles Nicholson (1795–1837), the author of a number of tutors for flute-playing which were published throughout the 19th century.
This song is sung by Yum-Yum at the beginning of Act II in Gilbert and Sullivan's 1885 comic opera The Mikado.
The Sun, whose rays are all ablaze with ever-living glory,
Does not deny his majesty — he scorns to tell a story!
He won't exclaim “I blush for shame, so kindly be indulgent.”
But fierce and bold, in fiery gold, he glories all effulgent!
I mean to rule the earth as he the sky—
We really know our worth, the Sun and I!
Thanks to Phil for suggesting this piece!