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This jig first appeared in Francis O'Neill's celebrated collection The Dance Music of Ireland, published in Chicago in 1907.
The phrase “one-horned cow” is sometimes used as a metaphor for a still, an apparatus for distilling alcoholic drinks.
Here is another étude by Danish flutist Joachim Andersen. This Andantino in B major is study No. 11 from his Twenty-Four Etudes for Flute, Op. 33.
“Dies Bildnis ist bezaubernd schön” (“This image is enchantingly lovely”) is an aria from the beginning of Act I of Mozart's famous opera Die Zauberflöte, or The Magic Flute. Prince Tamino has just been presented by the Three Ladies with an image of the princess Pamina, and instantly falls in love with her.
Today we propose the opening Adagio from Carl Friedrich Weideman's second Sonata for flute and continuo, published around 1737.
Weideman was a German-born flutist and composer, about whom practically nothing is known prior to the year 1724, when he moved to London. Within a couple years, he became one of the city's leading flutists, and by 1750 he was flute instructor to the later king George III.
Many thanks to Federico for suggesting this piece!
This Irish jig, named after a town in County Limerick, is taken from Francis O'Neill's collection The Dance Music of Ireland, published in Chicago in 1907. O'Neill, who obtained the tune from Limerick fiddler John Carey, remarks that it was at the time “unpublished and new to us”.
This is the fifth étude from Ernesto Köhler's 25 Romantic Studies, Op. 66. Despite its title, it is not very difficult; just start at a moderate tempo and make sure that your fingers move like clockwork, then gradually speed it up.
The exact date of composition for the famous Concerto for two Mandolins in G major is unknown, but it is assumed that Vivaldi wrote it for the students at the Ospedale della Pietà, a home for abandoned children where Vivaldi worked from 1703 to 1740.
The middle Andante is arguably the most famous movement of the Concerto. It is in E minor, with the two mandolins performing throughout over just violins and violas played pizzicato and in unison. The graceful melody is built mostly of overlapping, echoing phrases, with the two soloists coming together only to intensify the emotion at certain points.