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This is étude No. 8 from Ernesto Köhler's 25 Romantic Studies, Op. 66. Make sure not to insist on the eighth-notes that come after a triplet, and try to play the piece wittily but clearly.
This is duet No. 5 from the first volume of Twenty Easy Melodic Progressive Studies by Ernesto Köhler. As for all duets of the collection, the second flute part is meant to be played by the teacher.
Thanks to Bruno for contributing this piece!
The B-minor sonata is the greatest and most difficult of Bach's flute works. Its historical significance, technical demands and timeless beauty, bring it to the forefront of his compositions and takes the rightful place as a staple in the solo flute literature.
The third movement of J.S. Bach's B-minor Sonata for Flute and Harpsichord is in two parts, beginning with a fugal presto that leads straight into a gigue-like section which is most notable for its witty syncopations and technical demands.
This jig is taken from Francis O'Neill's collection The Dance Music of Ireland, published in 1907. O'Neill obtained this version of the tune from the manuscripts of Timothy Downing, a gentleman farmer of Tralibane, County Cork, who taught O'Neill the rudiments of the flute when the latter was a boy during the 1860s.
At one time, three halfpence a day was referred to as the common wage for an ordinary laborer or soldier.
This is étude No. 16 from Italian Romantic composer Giuseppe Gariboldi's collection of 30 Etudes faciles et progressives.
Here is another duet from 55 Easy Pieces by French Baroque composer Joseph Bodin de Boismortier'. This is a bourrée, so it should be played as if to accompany a quick double-time dance.
When this rag was first published in 1908, it was evident to many that it was based on the same format of Joplin's first big hit, “Maple Leaf Rag”, which was published nine years earlier. Indeed, in the opening section “Sugar Cane” is stylistically identical to its famous predecessor. But it still rings with originality, in spite of the detractors. One of those was his now-estranged publisher John Stark, who derided Joplin's efforts of the time in personal notes. He postulated that Joplin's “spring of inspiration had run dry”, and seemed to show little compassion for the composer that had helped build his empire. Just the same, Joplin rags sold no matter who published them.