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This jig first appeared in Francis O'Neill's collection The Dance Music of Ireland, published in Chicago in 1907. It was obtained from an Edison recording by fiddler James Carbray, from Québec, Canada, who later moved to Chicago, and since the tune was previously unnamed, O'Neill named it in honor of his source.
This is étude No. 14 from Ernesto Köhler's 25 Romantic Studies, Op. 66. As the title suggests, it is intended to be a study in double tonguing, a fairly advanced technique which enables flutists to repeat the same note rapidly, but may take a lot of practice to master.
This basic flute duet in G major is taken from Volume I of Ernesto Köhler's Forty Progressive Duets. In this piece the main melody is given to the first flute, while the second flute plays an accompaniment role.
This is the fifth and last movement of Handel's Sonata in C major for Recorder. It's a jaunty Allegro with a very active bass line, and a solo melody that lends itself well to ornamentation. The piece is made up of two sections, of 16 and 48 bars respectively.
This lively jig first appeared in George Petrie's The Complete Collection of Irish Music, published in London in 1905. Petrie notes this is “A Munster single jig from Ned Goggin. From (the Irish collector) Mr. Joyce”.
This is the seventeenth étude from Sigfried Karg-Elert's 30 Caprices: a “Gradus ad Parnassum” of the modern technique for flute solo. It is marked “Leggero veloce, giocoso”, which translates as “Light, fast and playful”.
This is the fourth and final movement of an A-minor sonata composed by Jean-Baptiste Loeillet around 1710. Originally written for recorder and continuo, the work has subsequently been arranged for two flutes.