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This is the fourteenth study from German flutist and composer Caspar Kummer's 32 Etudes amusantes et instructives, Op. 129, first published in 1858.
This is the third movement from the sixth of Telemann's Sonates sans Basse à deux Flutes traverses, ou à deux Violons, ou à deux Flutes à bec, or “Sonatas without Bass for Two Transverse Flutes, or Two Violins, or Two Recorders”.
Here we are again with a new Fantasia for Solo Flute. This is No. 8, and it's in the key of E minor. It starts off with a slow, elegant Allemande full of large intervals. You will also find some rarely-heard chromatic lines, which give a very peculiar character to this movement. Rameau once wrote that the key of E minor is never merry, even in an allegro. His remark is certainly apt here: the central Spirituoso is way too agitated to be considered happy. The last movement is in the style of a Polonaise, a Polish dance in which the second beat should be played softer than the first one, and the third beat should gently lead to the next measure.
An early version of this tune first appeared in the 2nd edition of John Playford's Dancing Master (London, 1652) as “Winifred's Knot, or Open the Door to Three”.
The melody must have become popular in Ireland, because Smollett Holden later included it in his Collection of Favourite Irish Airs (London, 1806).
Today we present the twelfth study from Italian composer Giuseppe Gariboldi's Etudes mignonnes (Dainty Studies), Op. 131.
This Largo in G major is taken from Belgian Baroque composer Jean-Baptiste Loeillet's second book of Six sonatas of two parts, made on purpose for two German flutes, first published in London in 1720.
Thanks to Joyce Kai for contributing this piece!
This lively dance in 6/8 time is the last movement of Sonata No. 1 in C major from the collection of six sonatas titled Il pastor fido (“The Faithful Shepherd”).
This collection has always been attributed to Antonio Vivaldi until recently. According to modern scholars, however, in 1737 French composer Nicolas Chédeville made a secret agreement with Jean-Noël Marchand to publish a collection of his own compositions as Antonio Vivaldi's Il pastor fido. Chédeville supplied the money and received the profits, all of which was attested to in a notarial act by Marchand in 1749. This may have been an attempt to give his instrument, the musette (a sort of bagpipe), the endorsement of a great composer which it lacked.
Thanks to Béatrice for suggesting this piece!