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This is the opening movement of the fifth sonata from Sonates pour la flûte traversière avec la basse, Op. 19 by the prolific French Baroque composer Joseph Bodin de Boismortier. These sonatas were originally published in Paris in 1727.
This Scottish reel is attributed to John Cumming by Keith Norman MacDonald in his Skye Collection (1887). Irish collector Francis O'Neill (1922) remarks: “Though plainly of Scotch origin both in name and tone, ‛Cuttie Sark’ is not to be found in any of the old Scotch or Miscellaneous Collections which have been examined. Translated in English, ‛Cutty Sark’ means Short Shirt, or Chemise”.
The Cutty Sark is also the name of one of the most famous “tea clippers” (a type of sleek, fast 19th-century sailing ship, officially designated a “composite built extreme clipper ship”) built, and it is the only ship of its type to survive to the present day.
Today we propose the sixteenth piece from Exercices journaliers pour la flûte (or Tägliche Studien in German, i.e. “Daily Exercises”) by Austro-Hungarian composer Adolf Terschak. It was first published in 1867.
This “old-style air” is the ninth movement of the second of six Concerts à deux Flutes Traversières sans Basse by the French Baroque composer Michel Pignolet de Montéclair. Here the French word concert is a synonym of “suite”, and has nothing to do with the Italian concerto.
This Praeludium in D major is one of 24 pieces attributed to the famous German flutist and composer Johann Joachim Quantz to have survived in a manuscript titled Fantasier og Preludier. 8. Capricier og andre Stykker til Øvelse for Flöÿten af Quanz (“Fantasies and Preludes. 8 Caprices and other Pieces for Exercise for the Flute by Quantz”). This manuscript has been kept in the Giedde Collection (named after its founder, Danish composer W.H.R.R. Giedde) in the Royal Library of Copenhagen, which hosts a fairly comprehensive collection of flute music from the second half of the 18th century.
The earliest known reference to this reel is in William Vickers's 1770 Northumbrian dance tune manuscript, but unfortunately the tune was recorded on one of the 31 pages that have not survived to the present day. Fiddler Brian Conway notes how the tune is sometimes known as “The Tramps”, while Michael Coleman called it “Maun's Fancy” on an unreleased side from his last recording session in 1944.
This is the fourteenth piece from 24 Technische Studien für Flöte (24 Technical Studies), Op. 11, by German flutist Emil Prill. It was first published in Leipzig in 1911.