This piece is the twenty-ninth duet from Trente-six Petits Duos Mélodiques Faciles et Chantants pour deux Flûtes (36 Easy Flute Duets) by French Romantic composer Benoit Tranquille Berbiguier.
This beautiful piece was written by Romantic flutist and composer Johannes Donjon (1893–1912). It is a more advanced piece than Donjon's more famous “Pan”. The accompaniment was originally for harmonium, a small organ, but is usually played on piano these days.
This jig is taken from Francis O'Neill's collection Music of Ireland, published in 1903. The oldest appearance of the tune is probably in the Patrick McDonald Collection of 1784, under the title “Posadh peathar In bhain” (“John Bain's Sister's Wedding”). The melody seems to be based on an old Scottish strain known as “My Home” (“Mo Dhachaidh”).
Scottish singer Belle Stewart's comic song “The Bonnie Wee Lassie frae Gourock” employs this tune, although it is an adaption of music hall star Harry Lauder's “Piper MacFarlane” (1906).
This étude in E-flat major is the twenty-first piece from 24 Etüden zur Förderung der Technik (24 Studies for the Development of Technique), Op. 12, by German flutist Emil Prill. It was first published in Bremen in 1913.
This arrangement for two flutes of the popular Irish tune “Kate Kearney” is taken from Blake's Young Flutist's Magazine, published in Philadelphia in 1833.
Composed in 1889, Erik Satie's Gnossienne No. 5 for solo piano was only published in 1968. Like Gnossiennes Nos. 4 and 6, the piece was never called a “Gnossienne” by the composer himself, but was arranged and published as such by Robert Caby long after Satie's death. The piece is somewhat uncharacteristic of the other Gnossiennes not only in its upbeat style, rhythms and less exotic chordal structures, but also in its use of time signatures and bar divisions.
Thanks to Paul Merkus for contributing this transcription for flute and piano!
This harp air is said to have been composed for a Scottish patron by early 17th century Ulster-born harper Rory Dall O'Cahan, who traveled into Scotland and long played for the great families of that country. Recent research, however, raises the question whether he ever really existed.
The tune was reworked a century later by blind Irish harper Turlough O'Carolan (1670–1738) and later used for the Irish song “Maire beil ata h-Amnair”. Several early Scottish versions of the melody appear in the Balcarres Lute Manuscript, compiled in 1694. The present settings is taken from O'Farrell's Pocket Companion for the Irish or Union Pipes (1806).