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This is duet No. 2 from the first volume of Twenty Easy Melodic Progressive Studies by Italian Romantic composer Ernesto Köhler. The lower voice was originally intended to be played by a teacher, but unlike other duets from the same collection it is not hard to play.
This Sonatina in G major for solo piano is generally attributed to Ludwig van Beethoven. However, since the work was published in Hamburg, Germany after Beethoven's death, its authenticity is doubted. The work comprises 2 movements: the first, in common time, is titled “Moderato”; the second is titled “Romance” and is in 6/8 time.
The earliest appearances of this tune are found in two collections from the year 1858, namely in the first volume of R.M. Levey's The Dance Music of Ireland (published in London) and in the second volume of P.M. Haverty's One Hundred Irish Airs (published in New York).
This is the fifth étude from Sigfried Karg-Elert's 30 Caprices: a “Gradus ad Parnassum” of the modern technique for flute solo.
In the middle of Act I of Mozart's Le nozze di Figaro, Marcellina and Susanna share this brilliant exchange of very politely delivered sarcastic insults. In the end, Susanna triumphs by congratulating Marcellina on her impressive age, and the older woman departs in a fury.
This is the opening movement of Handel's Sonata in G minor for Recorder. The measured tread and hypnotically steady theme of this Larghetto seems to announce that this as a sober sonata. Upon each iteration, however, the melody becomes a bit more ornate, so the movement is not as austere as it may initially seem.
The earliest printing of a tune by the title “The Humors of Limerick” is found in a 1778 collection by Glasgow musician Joshua Campbell. Chicago collector Francis O'Neill writes, in his Irish Minstrels and Musicians (1913), that a special dance was performed to this melody.