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This is the tenth study from German flutist and composer Caspar Kummer's 32 Etudes amusantes et instructives, Op. 129, first published in 1858.
This Presto is the final movement of a Flute Duet in G major that the famous German flutist and composer Johann Joachim Quantz composed in 1759.
“Grave” is an Italian adjective which could mean “heavy”, or “severe”; when used as a tempo indication, it directs to play at an extremely slow and solemn pace.
This particular movement is the first of Handel's Sonata in E minor for flute, Op. 1, No. 1b. This work should not be confused with the other flute sonata E minor, No. 1a, which is actually a compilation of Handel's favorite movements from his sonatas. The sonata we are presenting today, instead, was originally written in D minor for the violin, and subsequently transcribed by the composer himself for the Baroque flute.
The rhythm of this piece may look a bit complex at first glance; you must remember, however, that this is meant to be played very slowly. After having listened to the recording, you will see that it is not that difficult after all.
This slip jig is taken from Francis O'Neill's collection Music of Ireland, published in Chicago in 1903. According to Breandán Breathnach's Folk Music and Dances of Ireland (1971), “Jerry Houlihan” belongs to a cycle of tunes originating in the 17th century, or possibly even earlier.
Today we present the eighth study from Italian composer Giuseppe Gariboldi's Etudes mignonnes (Dainty Studies), Op. 131.
This is the central movement from Georg Philipp Telemann's fifth Canonic Sonata for two flutes. As with all of these sonatas, the two players play the exact same melody, but one (as in this case) or more measures apart.
Telemann's seventh Fantasia for solo flute is in the majestic key of D major. The opening movement, rightly marked “Alla Francese”, has the attitude of a French overture, and sports a series of regal dotted rhythms, which are usually played in a very incisive manner. A rondeau in 3/8 time follows, which culminates in a repetition of the initial rhythmic pattern. A ternary-form Presto closes this Fantasia in worthy manner, reverting back to 4/4 time and introducing a very fast, brilliant final theme.