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This 7/16-time piece, to be played as fast as possible, is the twenty-fourth étude from Sigfried Karg-Elert's 30 Caprices: a “Gradus ad Parnassum” of the modern technique for flute solo.
Here is the second duet from La scuola del flauto (The School of the Flute) by Italian composer and arranger Luigi Hugues.
Thanks to Paolo for contributing this piece!
This Rondeau for solo flute is taken from Michel Blavet's Premier recueil de pièces (“First collection of pieces”). As you have probably already guessed, this piece is in rondeau (or rondo) form, that is, it is made up of a refrain and a number of episodes (only two in this case, but there could have been more). During performance, the principal theme of the refrain (A) alternates with the episodes (B, C, etc.), creating an ABACA pattern. For obvious reasons, the refrain appears only once in the sheet music, so it's up to the performer to play the various sections in the right order.
This is quite an old tune, dating back at least to the first half of the 18th century. Under the title “The Rakes of Westmeath”, it appears in several collections from that era, the earliest being Burk Thumoth's 12 English and 12 Irish Airs (London, 1746).
Westmeath is the name of a county in central Ireland, now part of the Eastern and Midland Region.
This birdsong-like piece is étude No. 22 from Italian flutist and composer Ernesto Köhler's 25 Romantic Studies, Op. 66.
This Menuet and its accompanying Trio constitute the closing movement of a Sonata in G major written for three flutes by Johann Scherer, a German composer of the 18th century.
This Andante is the third movement of Bach's Flute Sonata No. 5. It begins with an extended introduction by the continuo instruments (usually harpsichord or cello), and once the flute enters with its spacious theme, the bass line repeats fairly steadily. After a variation on the theme in the melody, the final section essentially repeats the movement's opening measures.