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This is the fourth and final movement of the third of the six Op. 7 flute sonatas with bass accompaniment by French flutist and composer Jean-Daniel Braun, published in Paris in 1736.
Norwegian composer Edvard Grieg first heard this song in 1891, sung by Gjendine Slålien, a dairy maid and folk singer, at her mountain homestead in Vestland. Grieg made the lullaby famous by using its melody in his 19 Norwegian Folk Songs, Op. 66.
Thanks to Leomar for suggesting this tune!
This étude is taken from the first book of Ernesto Köhler's Twenty Easy Melodic Progressive Studies, Op. 93.
Thanks to Bruno for contributing this piece!
This is the opening 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.
César Franck, a Belgian composer, organist and music teacher who lived in France, was one of the great figures in Romantic music in the second half of the 19th century. One of his best known works is the motet setting “Panis Angelicus”, which was originally written for tenor solo with organ and string accompaniment; later arranging it for tenor, chorus, and orchestra, he incorporated it into his Messe solennelle Opus 12.
“Panis angelicus” (Latin for ‛bread of angels’) is the penultimate strophe of the hymn Sacris solemniis written by Saint Thomas Aquinas for the Feast of Corpus Christi.
Make sure you give a good listen to the accompaniment. The organ part of this piece is simply amazing!
This melody was originally written by Scots fiddler and composer Nathaniel Gow as “Nathaniel Gow's Lament for the Death of His Brother”, published in 1792, but was later reset by the Irish as a less sombre jig.
A gallowglass was the name for a mercenary soldier, often Scottish, who in ages past fought in Ireland. The Gaelic word is galloglach, which is a combination of two words: gall, a foreigner, and oglach, a soldier. The term is also taken to mean a warrior who is so loyal to the clan that he is willing to die to protect his chieftain.
Today we propose a little study by British flutist and composer John Clinton. It was first published in London in 1843, as part of his A Theoretical and Practical Essay on the Boehm Flute.