Tune of the Day: Dance of the Insects
This is étude No. 19 from Ernesto Köhler's 25 Romantic Studies, Op. 66. Can you imagine insects dancing?
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This is étude No. 19 from Ernesto Köhler's 25 Romantic Studies, Op. 66. Can you imagine insects dancing?
This is duet No. 9 from the first volume of Twenty Easy Melodic Progressive Studies by Ernesto Köhler. It is composed of three parts: an Allegretto moderato, a plaintive (flebile) central section, and a final restatement of the opening theme.
Today's tune was kindly contributed to our collection by guest composer Paul Merkus.
This simple yet enjoyable atmospheric piece opens with a soothing melody accompanied by seventh chords in the piano, followed by a contrasting, faster intermezzo in triple meter. The opening theme returns in the end, albeit in a different key and with subtle variations.
This jig first appears in Francis O'Neill's collection Dance Music of Ireland, published in Chicago in 1907.
The title probably refers to Chicago police Sergeant and uilleann piper James Cahill, a member of O'Neill's Irish Music Club in Chicago at the turn of the 20th century and a contributor of tunes to the O'Neill volumes. O'Neill writes:
Sergeant Cahill, unassuming as he was, possessed many quaint tunes from County Kildare, where he was born, and besides being an Irish piper, he was an expert wood-turner. In a shop in the basement of his residence he made many chanters equal to Taylor's work in tone and finish. Even as a reed-maker he had few equals, and what was still better, his liberality and assistance were never appealed to in vain.
This “very lively, sparkling” étude is the nineteenth piece from Sigfried Karg-Elert's 30 Caprices: a “Gradus ad Parnassum” of the modern technique for flute solo.
This is the fourth and last piece from the first of the two suites taken from the incidental music that Georges Bizet composed for Daudet's theatrical play L'Arlésienne. this “Carillon” features a repeating bell-tone pattern on the horns, mimicking a peal of church bells. It is interesting to observe that the central Andantino is an actual flute duet in the original arrangement.
Thanks to Leah for suggesting this piece!
Telemann's Fantasia No. 5 for Solo Flute is in the key of C major. It starts with a Presto in which the flutist seems to play both the melody and a pedal tone. This fast introduction alternates twice with a slow Adagio, then leaves the place to the fugato writing of the second movement, an Allegro in 9/8 time. Another Allegro, this time in the style of a canarie (a fast dance from the Renaissance and Baroque eras), ends the Fantasia.