Today's piece is the fourteenth study from the fourth part of the Méthode pour la flûte by French Romantic flutist and composer Louis Drouet, published in Paris in 1828.
This jig is taken from Francis O'Neill's collection The Dance Music of Ireland, published in 1907.
The first part of the tune is in C major, while the second and third parts are in D, and are sometimes played in Dorian mode rather than in major (this is easily accomplished by ignoring the two sharps in the key signature).
This Allegro is the opening movement of the second of 5 Divertimentos for three basset horns composed by Wolfgang Amadeus Mozart from 1783 to 1785. These pieces were later rearranged for solo piano and published as the Six Viennese Sonatinas, which is why this piece is also known as the Allegro from Sonatina No. 2.
This fanfare is the fourth movement of the fourth of Jacques-Christophe Naudot's 6 Babioles pour 2 Vieles, Musettes, Flutes-a-bec, Flutes traversieres, Haubois, ou Violons, sans Basse. The French term babiole humbly indicates something of little value or importance, a trifle.
The jumpy Andante in A-flat major we present today is the seventeenth piece from Danish flutist and composer Joachim Andersen's Twenty-Four Etudes for Flute, Op. 30.
This old Irish tune goes by various names: “The Old Barndoor”, “The Galbally Farmer”, “Let us leave that as it is”, and others.
The word ‘Rakes’ stems from the Old Icelandic word reikall, meaning “wandering” or “unsettled”. However, in 18th and 19th century usage the term ‘rake’ was used to denote unruly and spirited young gentlemen. Kildare is a County in the Mid-East of Ireland.
The tune appears in many collections of Irish music, but its earliest appearance in print is in the first volume of R.M. Levey's The Dance Music of Ireland (1858), where it is called only “A jig”. Irish music collector Francis O’Neill, however, believes the tune to be much older, and claims it descends from an ancient march melody called “Get Up Early”.
American versions of this tune have been collected in New England and Michigan. In England, it is sometimes used as a tune for Morris dancing.
This 3/8-time Moderato is the opening movement of Sonata No. 1 in C major from the collection of six sonatas titled Il pastor fido (“The Faithful Shepherd”).
This collection has always been attributed to Antonio Vivaldi until recently. According to modern scholars, however, in 1737 French composer Nicolas Chédeville made a secret agreement with Jean-Noël Marchand to publish a collection of his own compositions as Antonio Vivaldi's Il pastor fido. Chédeville supplied the money and received the profits, all of which was attested to in a notarial act by Marchand in 1749. This may have been an attempt to give his instrument, the musette (a sort of bagpipe), the endorsement of a great composer which it lacked.
This flute duet is taken from Blake's Young Flutist's Magazine, published in 1833. “Claudine Lived Contented” was originally a song with music by English composer and violinist William Shield, which he apparently composed for Thomas Dibdin's 1807 comic opera Two Faces Under a Hood.
This Allegro is taken from the fourth part of the Méthode pour la flûte by French Romantic flutist and composer Louis Drouet, published in Paris in 1828.
This double jig is taken from Francis O'Neill's The Dance Music of Ireland: 1850 Gems, published in 1903. O'Neill said he acquired this tune from a Mr. Gillan, a retired businessman living in Chicago. It seems that Gillan was visiting his boyhood home in Ireland when he heard of a celebrated fiddler nearby, a Mr. Peter Kennedy. Gillan obtained the tune from Kennedy, but when he returned to Chicago he kept it closely guarded, only allowing it to be played on special occasions for particular friends. Knowing of the existence of the tune, O'Neill contrived with Gillan's daughter, who agreed to help him obtain it, and while O'Neill engaged Gillan in conversation, the daughter slipped upstairs and copied the melody, which she later gave to O'Neill. O'Neill made sure the tune was distributed to the Chicago Irish musical community, where it became quite popular.
This Gavotte en Rondeau is the third movement of French Baroque composer Jean-Marie Leclair's Sonata for violin or flute and continuo in C major, Op. 1 No. 2. The first edition of this sonata was published in Paris around 1723.
This Sarabande is the fifth movement of the fourth of Jacques-Christophe Naudot's 6 Babioles pour 2 Vieles, Musettes, Flutes-a-bec, Flutes traversieres, Haubois, ou Violons, sans Basse. The French word babiole humbly indicates something of little value or importance, a trifle.
The “Andante sostenuto” in F minor we present today is the eighteenth piece from Danish flutist and composer Joachim Andersen's Twenty-Four Etudes for Flute, Op. 30.
This Scottish fling is taken from Harding's All Round Collection, published in 1905. The tune is well known in the North of England, and many musicians have composed variation sets to it. The song was written by poet William Mickle around 1769, and first published in 1776 under the title “The Mariner's Wife”.
For there's nae luck about the house,
There's nae luck ava;
There's little pleasure in the house,
When our gudeman's awa.
(The word gudeman is Scots for ‛husband’.)
Here is a new tango arrangement for flute and guitar. This “Creole tango” was composed by the famous Argentinian singer and composer Ángel Villoldo, often nicknamed “the father of tango”.
The romance “Je pars demain” (“I'm leaving tomorrow”) is sung by Adolphe in Act I of the 1826 opera comique Marie by French composer Ferdinand Hérold.
The present arrangement for two flutes is taken from Blake's Young Flutist's Magazine, published in 1833, in which it appears simply as “Marie”.
Today's piece is the sixteenth study from the fourth part of the Méthode pour la flûte by French Romantic flutist and composer Louis Drouet, published in Paris in 1828.
This traditional Irish jig appears in Francis O'Neill's Waifs and Strays of Gaelic Melody, published in 1922. The tune comes from the manuscripts in the possession of Chicago Police Sergeant James O'Neill, originally from County Down, Ireland.
This is the opening movement of Georg Philipp Telemann's Partita No. 4 in G minor, TWV 41:g2, originally published in 1716 as part of the Kleine Kammermusik (“little chamber music”) collection. The original edition indicates that the melody is intended to be played by an oboe, a violin, or a flute.
This pair of minuets constitutes the closing movement of the fourth of Jacques-Christophe Naudot's 6 Babioles pour 2 Vieles, Musettes, Flutes-a-bec, Flutes traversieres, Haubois, ou Violons, sans Basse. The French term babiole humbly indicates something of little value or importance, a trifle.
The study in E-flat major we present today is the nineteenth piece from Danish flutist and composer Joachim Andersen's Twenty-Four Etudes for Flute, Op. 30. It carries the character indication “Con anima”, which in Italian literally means “with soul”.
This lively Irish reel in B-flat major is taken from Harding's All-Round Collection of Jigs, Reels and Country Dances, published in New York in 1905. Ballinasloe is one of the largest towns in County Galway, Ireland.
This minuet is the second movement of the second of 5 Divertimentos for three basset horns composed by Wolfgang Amadeus Mozart from 1783 to 1785. These pieces were later rearranged for solo piano and published as the Six Viennese Sonatinas, which is why this piece is also known as the minuet from Sonatina No. 1 in C major.
This waltz was originally written for solo piano by New York-born composer Charles Gilfert (1787–1829). The present arrangement for two flutes appeared in Blake's Young Flutist's Magazine, published in 1833.
This study in triplets is taken from the fourth part of the Méthode pour la flûte by French Romantic flutist and composer Louis Drouet, published in Paris in 1828.
This old Irish jig is taken from the circa-1806 tune collection O'Farrell's Pocket Companion. It has also been published under the titles “Huggerth the Puss” and “Watch! Watch! Forward! Forward!”, and is probably related to the jig “The Gold Ring”.
This gavotte-like Allegro is the second movement of Sonata No. 1 in C major from the collection of six sonatas titled Il pastor fido (“The Faithful Shepherd”).
This collection has always been attributed to Antonio Vivaldi until recently. According to modern scholars, however, in 1737 French composer Nicolas Chédeville made a secret agreement with Jean-Noël Marchand to publish a collection of his own compositions as Antonio Vivaldi's Il pastor fido. Chédeville supplied the money and received the profits, all of which was attested to in a notarial act by Marchand in 1749. This may have been an attempt to give his instrument, the musette (a sort of bagpipe), the endorsement of a great composer which it lacked.
This “gracious” piece constitutes the opening movement of the fifth of Jacques-Christophe Naudot's 6 Babioles pour 2 Vieles, Musettes, Flutes-a-bec, Flutes traversieres, Haubois, ou Violons, sans Basse. The French term babiole humbly indicates something of little value or importance, a trifle.
The Adagio in C minor we present today, a study in acciaccaturas, is the eighteenth piece from Danish flutist and composer Joachim Andersen's Twenty-Four Etudes for Flute, Op. 30.
This military-influenced dance tune of American origin is taken from Harding's All-Round Collection of Jigs, Reels and Country Dances, published in New York in 1905.
This gigue is the fourth and final movement of French Baroque composer Jean-Marie Leclair's Sonata for violin or flute and continuo in C major, Op. 1 No. 2. The first edition of this sonata was published in Paris around 1723.