Welcome to your daily source of free sheet music.
But wait, there's more:
So… Enjoy! And let us know if you have any request by dropping us a message!
Here is the second duet from La scuola del flauto (The School of the Flute) by Italian composer and arranger Luigi Hugues.
Thanks to Paolo for contributing this piece!
This Rondeau for solo flute is taken from Michel Blavet's Premier recueil de pièces (“First collection of pieces”). As you have probably already guessed, this piece is in rondeau (or rondo) form, that is, it is made up of a refrain and a number of episodes (only two in this case, but there could have been more). During performance, the principal theme of the refrain (A) alternates with the episodes (B, C, etc.), creating an ABACA pattern. For obvious reasons, the refrain appears only once in the sheet music, so it's up to the performer to play the various sections in the right order.
This is quite an old tune, dating back at least to the first half of the 18th century. Under the title “The Rakes of Westmeath”, it appears in several collections from that era, the earliest being Burk Thumoth's 12 English and 12 Irish Airs (London, 1746).
Westmeath is the name of a county in central Ireland, now part of the Eastern and Midland Region.
This birdsong-like piece is étude No. 22 from Italian flutist and composer Ernesto Köhler's 25 Romantic Studies, Op. 66.
This Menuet and its accompanying Trio constitute the closing movement of a Sonata in G major written for three flutes by Johann Scherer, a German composer of the 18th century.
This Andante is the third movement of Bach's Flute Sonata No. 5. It begins with an extended introduction by the continuo instruments (usually harpsichord or cello), and once the flute enters with its spacious theme, the bass line repeats fairly steadily. After a variation on the theme in the melody, the final section essentially repeats the movement's opening measures.
In Irish Folk Music: A Fascinating Hobby, early-20th-century Chicago-based collector Francis O'Neill remarks:
An uncommonly fine tune of this class [i.e. slip jig], in three strains, obtained from John Ennis, is “Will You Come Down to Limerick?” Simpler versions are known to old-time musicians of Munster and Connacht, and in Chicago. Ennis had no monopoly of it, for it was well known to Delaney, Early, and McFadden. As an old-time Slip Jig it seems to have been called “The Munster Gimlet,” a singularly inapt title; but when it came into vogue by its song name, we are unable to say.
John Ennis was a Chicago Police patrolman, piper and flute player, originally from County Kildare, Ireland.
One of the earliest appearances of the tune is found in the second volume James S. Kerr's Merry Melodies, published in Glasgow around 1880.