Here is another étude by Danish flutist Joachim Andersen. This Adagio in B-flat minor is study No. 16 from his Twenty-Four Etudes for Flute, Op. 33. It can easily be considered a study in accidentals... don't let all those sharps and flats scare you!
This jig is taken from Chicago Police Captain Francis O'Neill's collection The Dance Music of Ireland, published in 1907.
The tune is probably named after Chicago fiddler Edward Cronin (c. 1838–1918), originally from Limerick Junction, County Tipperary and a weaver by trade. O'Neill thought him one of the two best fiddlers in Chicago and praised his playing and his ability to improvise and to compose music, especially hornpipes. O'Neill traveled 12 miles each way to his house twice a week for two years to learn and transcribe tunes. However, “temperament and professional jealousy brought it all to an abrupt end without apparent cause”, although “when in the humor, no man could be more obliging and liberal with his music”.
This march has been among Sousa's most popular for years, considered by many his best known after Stars and Stripes Forever. It still stands as one of Sousa's most played works, and is performed widely by concert and marching bands alike; it is considered to be an essential piece for band literature.
The Washington Post newspaper claims in its history that this march was written as a tribute to the newspaper and performed by Sousa and his band in 1899. However, the work dates to 1889; moreover, The Washington Post in the march's title referred to the Marine contingent posted in the nation's capital at the time, not to the newspaper. It is true that Sousa performed the march at ceremonies held in 1899 by the newspaper, and the work's title was obviously fitting for the occasion.
This duet is sung by Pamina and Papageno in Act I of Mozart's famous opera Die Zauberflöte, or The Magic Flute. Papageno announces to Pamina that her mother, the Queen of the Night, has sent Tamino to her aid. Pamina rejoices to hear that Tamino is in love with her, and then offers sympathy and hope to Papageno, who longs for a wife to love. Together they sing an ode to love: “In men who feel love, a good heart is not lacking”.
Here is another simple étude from Giuseppe Gariboldi's collection of 30 Etudes faciles et progressives. If you can't reach the low E-C# passage (measures 5-6, 21-22, 45-46), you can play both notes one octave higher.
This lively jig first appeared in Francis O'Neill's collection Dance Music of Ireland, published in Chicago in 1907.
Munster is the largest of the four provinces of Ireland, located in the south west of the island.
Is Flute Sonata in C major, BWV 1033, truly by a Bach? And if so, which Bach? This is one of three “Bach” flute sonatas of questionable attribution; the earliest surviving copy was made by Bach's son Carl Philipp Emanuel, who may simply have been serving as his father's copyist.
The work falls into four movements, in something of the chamber sonata style but without explicitly naming any dance patterns until the ending fourth movement, which is actually a pair of graceful minuets. Typically for this format, the second is capped by a terse repeat of the first.
Here is the third and last movement of Georg Philipp Telemann's sixth Canonic Sonata for two flutes. This lively “Allegro assai” in 3/8 time starts and ends in the key of A minor, but has a central section in the parallel major key of A major.
Here is another étude by Danish flutist Joachim Andersen. This Andantino in A-flat major is study No. 17 from his Twenty-Four Etudes for Flute, Op. 33.
This jig first appeared in Chicago Police Captain Francis O'Neill's collection The Dance Music of Ireland, published in 1907.
When do you write the overture to your opera? According to Italian composer Gioachino Rossini, you should wait for inspiration until the evening before the opening night, because “nothing primes inspiration more than necessity”. Fortunately for him, Rossini was famous for his writing speed. His opera La gazza ladra (literally, The Thieving Magpie) was no exception. It was reported that the producer had to lock Rossini in a room the day before the first performance in order to write the overture. Rossini then threw each sheet out of the window to his copyists, who wrote out the full orchestral parts.
This overture makes a few appearances in Stanley Kubrick's A Clockwork Orange, and has also provided the background score for many television and radio commercials. It also appears during the famous baby-switching scene in Sergio Leone's Once Upon a Time in America.
Appearing at the beginning of Act II, this is the first aria sung by the Countess in Mozart's Le nozze di Figaro. She is very sad, and worried about her husband's infidelity.
O Love, give me some remedy
For my sorrow, for my sighs!
Either give me back my darling
Or at least let me die.
Here is another simple melodic étude from Giuseppe Gariboldi's collection of 30 Etudes faciles et progressives.