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This Allegro in A major is the thirteenth étude from 18 exercices pour la flûte traversière by French Romantic composer Benoit Tranquille Berbiguier.
This charming piece is perhaps the best known of all English madrigals, and is the prototype of the pastoral-style madrigal, complete with references to nymphs, springtime, and dancing. It was composed by English organist Thomas Morley, and published in 1595.
This march was composed in 1848 by Austrian composer Johann Strauss Sr. It was dedicated to the Austrian Field Marshal Joseph Radetzky von Radetz, and became quite a popular march among soldiers. Despite its military nature, the tone of the piece is rather festive than martial, in accordance with its dedicatee's exuberant personality and popularity in the ballroom as well as the battlefield.
When the march was first played, in front of Austrian officers in attendance, they promptly clapped and stomped their feet when they heard the chorus. This tradition is carried over today: when the march is played as the last piece of music at the Vienna New Year Concert, the conductor turns to the audience to conduct their clapping instead of the orchestra!
This jig is first found in R.M. Levey's 2nd collection of The Dance Music of Ireland, published in London in 1873. It is closely related to the more famous “The Rakes of Kildare”.
Castlecomer is an old town in the north of County Kilkenny, Ireland, dating back to the Middle Ages. It has been associated with the coal mining industry since the 17th century.
Here is another étude by Joachim Andersen. This common-time Allegro moderato in E minor is study No. 4 from Twenty-Four Etudes for Flute, Op. 33.
This aria is sung by Pamina in Act II of Mozart's famous opera The Magic Flute. Pamina tries to speak with her beloved Tamino, but since Tamino must suffer the test of silence, he silently refuses to answer, and Pamina believes he no longer loves her.
Ah, I feel it, it has disappeared
Forever gone love's happiness!
Nevermore will come the hour of bliss
Back to my heart!
The present arrangement is taken from a collection of numbers from the opera published in 1792, a publication that is not listed in the Köchel catalogue.
Debussy dedicated his 1908 piano cycle Children's Corner to his five-year old daughter, writing in his dedication: “To my beloved little Chou-Chou, with the tender excuses of her father for that which follows”. The composer's sentiments were presumably an acknowledgment of the inevitable loss of innocence that comes with growing up, but his words take on a darker, more prophetic, hue in hindsight: only a decade later, Debussy was dead, and his daughter was to follow him next year.
The fifth piece in the suite, titled “The Little Shepherd”, is a witty piece in a pastorale style. It tells a story of a young shepherd, playing his pipe, dancing around the meadow, resting by a tree, and finally falling asleep. The expressive simplicity of the piece is conveyed by imitating soliloquy on shepherd's reed pipes which alternates with accompanied dance tunes.