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This jig is taken from Francis O'Neill's celebrated collection Music of Ireland, published in Chicago in 1903. In a 1906 letter to Alfred Percival Graves, O'Neill identifies his source for this tune:
A police patrolman, Michael Raverty, from Tyrone, my partner on duty thirty years ago, “shortened the night” by quietly whistling “The Mountaineers,” March No. 1,030 in Collection.
Here is another melodious study from Giuseppe Gariboldi's Vingt petites études, or Twenty Studies. This one covers the G-major scale, fast triplets and large intervals.
Tremendously popular for his extended stage works during the reign of Louis XIV, Jean-Joseph Mouret today is remembered only for this fanfare, lasting less than two minutes. Oddly, it became associated with the pomp and glory of England, not of France, when in 1971 WGBH radio announcer Robert J. Lurtsema proposed it as the theme for Masterpiece Theatre, WGBH-TV's repackagings of BBC historical dramas for broadcast on American public television.
The piece, taken from Mouret's first Suite de Symphonies (Fanfares for Trumpets, Kettledrums, Violins and Oboes), is a popular musical choice in many modern weddings.
This gavotte is the third movement of the fourth of the six Op. 7 flute sonatas with bass accompaniment by French flutist and composer Jean-Daniel Braun, published in Paris in 1736.
This jig is taken from Francis O'Neill's collection Music of Ireland, published in Chicago in 1903. It had previously appeared under the title “Old Walls of Liscarroll” in Ryan's Mammoth Collection (Boston, 1883), although with the first strain in minor mode and a few minor differences in the second strain.
Kilmallock, a town of less than 2000 residents in south County Limerick, was during the middle ages the third largest city in Ireland. The ruins of a Dominican friary, built in the 13th century but sacked by Cromwell's forces in 1648, are still visible today, as well as the remains of the medieval walls which encircled the settlement.
This étude, No. 6 of the first book of Ernesto Köhler's Progress in Flute Playing, is a nice exercise in octave-jumping, but also contains arpeggios and short chromatic runs. After a development of the ideas stated in the introduction and a repetition of the initial theme, the piece ends in a fast coda, marked “Vivace”.
This is the fourth and final movement of a sonata in B-flat major for two flutes by the German Baroque composer and music theorist Johann Mattheson. It was published in Amsterdam in 1708.