This study on key modulations is the forty-third piece from the fourth part of the Méthode pour la flûte by French Romantic flutist and composer Louis Drouet, published in Paris in 1828.
According to musicologist Samuel Preston Bayard, this tune dates from around 1760 or earlier, and has since been a favorite among both fiddlers and fifers. The title is the first line of poet Robert Burns's song “O Let me in this ae Night”, whose lyric was given final form in 1795.
The more famous tune “The Muckin' O' Geordie's Byre” appears to be a variation of this melody.
Here is a new tango piece arranged for flute and guitar. This “Creole tango” was composed in 1904 by the famous Argentinian singer and composer Ángel Villoldo, often nicknamed “the father of tango”.
This “sweet” (dolce, in Italian) piece is the third movement of a Sonata in G major for two flutes or recorders by a German composer named Johann Christoph Schultze. This is not to be confused with the apparently unrelated composer of the same name who was born in 1733, as this sonata was first published in Hamburg in 1729.
This 3/8-time Allegretto in A major is the seventh piece from a collection of 26 Little Caprices for flute (XXVI kleine Capricen für die Flöte) by Danish flutist and composer Joachim Andersen, published in 1890.
This Union song from the times of the American Civil War is sung to on an even older melody, namely that of George Alexander Hodson's song “The Poachers” (or “The Lincolnshire Poacher”).
Thanks to Hugo for suggesting this tune!
This nice Allegro is the fifth movement and fourth “aria” 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.
The song “O This Is No My Ain Lassie” was written in 1795 by Scottish national poet Robert Burns, but the melody was taken from an earlier Jacobite rebellion song, titled “This Is No My Ain House”.
The present arrangement for three flutes is taken from Blake's Young Flutist's Magazine, published in 1833.
This study on key modulations is the forty-fourth piece from the fourth part of the Méthode pour la flûte by French Romantic flutist and composer Louis Drouet, published in Paris in 1828.
According to New York musician and researcher Don Meade, the title “Lilies of the Field” was an invention of Irish button accordion player Paddy O'Brien (born 1945). The melody is, however, much older, and had already been recorded by accordion player Peter “P.J.” Conlon in 1929, under the title “Kitty in the Lane”. The tune also carries resemblances to the Scottish reel “Come to Your Tay”, which dates back at least to 1880.
Thanks to Heather for suggesting this tune!
This Adagio is the opening movement of the last of 5 Divertimentos for three basset horns composed by Wolfgang Amadeus Mozart from 1783 to 1785.
This 6/4-time Vivace is the fourth movement of a Sonata in G major for two flutes or recorders by a German composer named Johann Christoph Schultze. This is not to be confused with the apparently unrelated composer of the same name who was born in 1733, as this sonata was first published in Hamburg in 1729.
This study in triplets is the eight piece from a collection of 26 Little Caprices for flute (XXVI kleine Capricen für die Flöte) by Danish flutist and composer Joachim Andersen, published in 1890.
This popular pipe march in the key of A Mixolydian was composed by Pipe Major John M. Mackenzie of Campbeltown, Kintyre, Scotland. Although composed as a march, according to Paul Stewart Cranford most Cape Breton fiddlers usually interpret the piece as a jig.
Thanks to Ronald for suggesting this tune!
This Allegro is the second movement of the third of the Il pastor fido sonatas, first published in 1737 and traditionally attributed to Antonio Vivaldi. The actual composer, Nicolas Chédeville, made a secret agreement with Jean-Noël Marchand to publish a collection of his own compositions as Vivaldi's Op. 13. Chédeville supplied the money and received the profits, all of which was recorded in a notarial act. This may have been an attempt to give his instrument, the musette, the endorsement of a great composer which it lacked.
This flute duet appears in Blake's Young Flutist's Magazine, published in 1833. The piece was originally composed circa 1826 by German-born American pianist Christopher Meineke. The Emperor Nicholas of the title is almost certainly Nicholas I of Russia, who had just become emperor in 1825.
This study in G major is the forty-fifth piece from the fourth part of the Méthode pour la flûte by French Romantic flutist and composer Louis Drouet, published in Paris in 1828.
The original version of this study was written for flutes that could reach the G below low C (G3 in scientific pitch notation), like the modern alto flute; it was, however, notated in concert pitch, while the alto flute is a transposing instrument. For simplicity, we decided to simply transpose the piece up an octave, so as to make it playable on the regular concert flute while preserving the original key.
This traditional Scottish song was not included in many tune collections. Its earliest appearance that we know of is in an anonymous manuscript dated 1639.
Joy to the person of my love,
Although she doth me disdain.
Fix'd are my thoughts and may not remove,
And yet I love in vain.
Two beautiful recent recordings of the song are the ones by the Baltimore Consort (On the Banks of Helicon, 1990) and by Owain Phyfe (Sweet was the Song, 1995).
Thanks to Phil for suggesting this tune!
This Largo is the third movement of a sonata in B minor for flute and keyboard that is thought to have been composed by George Frideric Handel. First published in 1730, the sonata is referred to as Halle Sonata No. 3 (“Hallenser Sonate Nr. 3” in German). Its authenticity is uncertain; in fact, of the three “Halle” sonatas, it is the best candidate for not having been composed by Handel, although if it wasn't, it is an extremely good imitation of his style.
Thanks to Cesar for contributing this piece!
Today's piece is the opening movement of a Sonata in A major for two flutes or recorders by a German composer named Johann Christoph Schultze. This is not to be confused with the apparently unrelated composer of the same name who was born in 1733, as this sonata was first published in Hamburg in 1729.
This Moderato in E major is the ninth piece from a collection of 26 Little Caprices for flute (XXVI kleine Capricen für die Flöte) by Danish flutist and composer Joachim Andersen, published in 1890.
This tune appears in Chicago police officer Francis O'Neill's collection Waifs and Strays of Gaelic Melody, published in 1922. O'Neill comments:
An excellent double jig called “Tumble the Tinker” was printed for the first time in the enlarged edition of O'Neill's Irish Music for Piano or Violin, issued in 1915. It was obtained from John McFadden, a clever traditional Irish fiddler of Chicago, who until then had forgotten the tune since last leaving his native Mayo some forty years before. Since its publication as stated, a spirited second finish has been developed. As varied in the present setting, “Tumble the Tinker”, heretofore so little known, is assuredly worthy of preservation, and enhanced publicity.
This piece is the sixth movement and fifth “aria” 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.
“Go Where Glory Waits Thee” was written by the famous Irish poet and songwriter Thomas Moore (1779–1852). Moore's poem was later set to a traditional Irish melody, known as “The Maid of the Valley”.
Go where glory waits thee,
But while fame elates thee,
Oh! still remember me.
When the praise thou meetest
To thine ear is sweetest,
Oh! then remember me.
The present arrangement for two flutes appeared in Blake's Young Flutist's Magazine, published in 1833.
This study in ornaments is the forty-sixth piece from the fourth part of the Méthode pour la flûte by French Romantic flutist and composer Louis Drouet, published in Paris in 1828.
Jean de Paris is the title of a French comic opera with music by François Adrien Boieldieu, “The French Mozart”, first performed in Paris in 1812. This tune, which began as a comic song and is contained in several 19th-century musicians manuscripts, was introduced as a march in the British Rifle Brigade, 95th Regiment, in 1842. The melody has later also been used for a single step dance in the North-West England morris dance tradition, where it is popular under the title “I'm Ninety-Five”.
This minuet is the second movement of the fifth 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. 3 in D major.
Today's piece is the second movement of a Sonata in A major for two flutes or recorders by a German composer named Johann Christoph Schultze. This is not to be confused with the apparently unrelated composer of the same name who was born in 1733, as this sonata was first published in Hamburg in 1729.
Today's piece is the tenth study from a collection of 26 Little Caprices for flute (XXVI kleine Capricen für die Flöte) by Danish flutist and composer Joachim Andersen, published in 1890.
The first appearance of this melody in print is in The Petrie Collection of the Ancient Music of Ireland (Dublin, 1855) under the Gaelic title "Glugur an Mheadair", which translates as "Gurgling/Splashing of the Churn". The same tune is also known under a few other names, including “A Fig for a Kiss” and “The Old Dutch Churn”.
This sarabande is the third movement of the third of the Il pastor fido sonatas, first published in 1737 and traditionally attributed to Antonio Vivaldi. The actual composer, Nicolas Chédeville, made a secret agreement with Jean-Noël Marchand to publish a collection of his own compositions as Vivaldi's Op. 13. Chédeville supplied the money and received the profits, all of which was recorded in a notarial act. This may have been an attempt to give his instrument, the musette, the endorsement of a great composer which it lacked.