This aria in rondeau form is the third movement of the fourth sonata from Six Sonates pour la Flûte traversière avec la Basse, Op. 44 by the prolific French Baroque composer Joseph Bodin de Boismortier. These sonatas were originally published in Paris in 1733.
This is the third movement of the sixth of six Concerts à deux Flutes Traversières sans Basse by the French Baroque composer Michel Pignolet de Montéclair. Here the French word concert is a synonym of “suite”, and has nothing to do with the Italian concerto.
Today we propose the seventeenth study from Twenty-Four Etudes for Flute, Op. 21, by Danish flutist Joachim Andersen. It was first published in 1886.
This very popular hornpipe is found in a large number of English printed and manuscript collections. The earliest appearance seems to be in the 5th volume of Thompson's Compleat Collection of 200 Fashionable Country Dances, published in 1788.
The title probably refers to Sergeant-Major Philip Astley, credited with creating the first circus in London in the second half of the 18th century and regarded by many as the “father of the modern circus”.
This Largo is the opening movement of the seventh of 12 sonatas for flute and continuo by Italian composer Pietro Antonio Locatelli, originally published in Amsterdam in 1732.
This flute duet appears in Blake's Young Flutist's Magazine, published in 1833. It is an arrangement of a piece from Cinderella, the 1831 English-language adaptation of Rossini's La Cenerentola by Irish violinist and composer Michael Rophino Lacy.
This tarantelle is the fourteenth piece from 30 Etüden in allen Tonarten für Flöte (“30 Studies in All Keys for Flute”), Op. 6, by German flutist Emil Prill. It was first published in Leipzig in 1894.
This is a well-known Devon folk song about a man called Tom Pearce, whose horse dies after someone borrows it to travel to the fair in Widecombe with his friends. Its chorus ends with a long list of the people traveling to the fair. Some research suggests that the names originally referred to real people. As the last name in a long list, “Uncle Tom Cobley and all” has come to be used as a humorous colloquialism meaning “anyone and everyone”.
Tom Pierce, Tom Pierce lend me your grey mare
All along, down along out along lee
For I wants for to go to Widdicombe Fair
With Bill Brewer, Jan Stewer, Peter Gurney, Peter Davy
Dan'l Widden, Harry Hall, Old Uncle Tom Cobley and all
Old Uncle Tom Cobley and all
Thanks to Jean for suggesting this tune!
This is the fourth and final movement of the fourth sonata from Six Sonates pour la Flûte traversière avec la Basse, Op. 44 by the prolific French Baroque composer Joseph Bodin de Boismortier. These sonatas were originally published in Paris in 1733.
This minuet is the fourth movement of the sixth of six Concerts à deux Flutes Traversières sans Basse by the French Baroque composer Michel Pignolet de Montéclair. Papillon is the French word for “butterfly”.
Today we propose the eighteenth study from Twenty-Four Etudes for Flute, Op. 21, by Danish flutist Joachim Andersen. It was first published in 1886.
The earliest appearance of this English country dance tune is found in the 5th volume of Compleat Collection of 200 Favourite Country Dances by Samuel, Ann & Peter Thompson, published 1788. The melody was developed into a hornpipe in Scotland under the title “The Colosseum”.
This Allegro is the second movement of the seventh of 12 sonatas for flute and continuo by Italian composer Pietro Antonio Locatelli, originally published in Amsterdam in 1732.
Today's piece is taken from Blake's Young Flutist's Magazine, published in Philadelphia in 1833. It is a catch, meaning that all parts repeatedly play the same melody starting at different times.
Unfortunately we were unable to track the origins of this melody. If you recognize the tune, please let us know!
This is the fifteenth piece from 30 Etüden in allen Tonarten für Flöte (“30 Studies in All Keys for Flute”), Op. 6, by German flutist Emil Prill. It was first published in Leipzig in 1894.
This hornpipe is taken from Francis O'Neill's collection Waifs and Strays of Gaelic Melody, published in Chicago in 1922. O'Neill's source was a Jerry O'Reilly from San Francisco. Liscarroll is a village in County Cork, Ireland.
This is the opening movement of the fifth sonata from Six Sonates pour la Flûte traversière avec la Basse, Op. 44 by the prolific French Baroque composer Joseph Bodin de Boismortier. These sonatas were originally published in Paris in 1733.
This passepied is the fifth movement of the sixth of six Concerts à deux Flutes Traversières sans Basse by the French Baroque composer Michel Pignolet de Montéclair. Moucheron is the French word for “gnat”.
Today we propose the nineteenth study from Twenty-Four Etudes for Flute, Op. 21, by Danish flutist Joachim Andersen. It was first published in 1886.
This hornpipe is taken from Francis O'Neill's collection Waifs and Strays of Gaelic Melody, published in Chicago in 1922. The cited source was a Chicago musician named John “Jack” E. O'Neill.
This Largo is the third movement of the seventh of 12 sonatas for flute and continuo by Italian composer Pietro Antonio Locatelli, originally published in Amsterdam in 1732.
This popular glee was written by Henry Harington, an 18th-century English physician, author and composer who also served as the mayor of Bath.
The present arrangement for three flutes is taken from Blake's Young Flutist's Magazine, published in Philadelphia in 1833.
This is the sixteenth piece from 30 Etüden in allen Tonarten für Flöte (“30 Studies in All Keys for Flute”), Op. 6, by German flutist Emil Prill. It was first published in Leipzig in 1894.
A “cotillion” (from the Old French “cottilon”, meaning “petticoat”) is a tune that was used for an early 18th-century dance of the same name – a forerunner of the quadrille. These dances, which were used to introduce young ladies into society in 18th-century France, were first introduced into London in the 1760s, then later into the USA in the 1770s.
The “Chain Cotillion” appears in several American music manuscripts of the late 18th century. In modern times, it has been popular for martial use by various Revolutionary and Civil War fife-and-drum reenactors.
Thanks to Phil for contributing this 4-part version of the tune.
This is the second movement of the fifth sonata from Six Sonates pour la Flûte traversière avec la Basse, Op. 44 by the prolific French Baroque composer Joseph Bodin de Boismortier. These sonatas were originally published in Paris in 1733.
This prelude is the sixth movement of the last of six Concerts à deux Flutes Traversières sans Basse by the French Baroque composer Michel Pignolet de Montéclair. Here the French word concert is a synonym of “suite”, and has nothing to do with the Italian concerto.
Today we propose the twentieth study from Twenty-Four Etudes for Flute, Op. 21, by Danish flutist Joachim Andersen. It was first published in 1886.
This air was composed by the famous Irish harper Turlough Carolan (1670–1738). It was later adapted by Thomas Moore in his Irish Melodies as “The Young May Moon”.
This Allegro is the fourth and final movement of the seventh of 12 sonatas for flute and continuo by Italian composer Pietro Antonio Locatelli, originally published in Amsterdam in 1732.
This song, based on the Welsh melody “Ar Hyd y Nos” and with words by English novelist and poet Amelia Opie, was published in 1811.
Here beneath this willow sleepeth,
Poor Mary Anne!
One whom all the village weepeth,
Poor Mary Anne!
He she lov'd her passion slighted,
Breaking all the vows he'd plighted;
Therefore life no more delighted
Poor Mary Anne!
The present arrangement for two flutes appeared in Blake's Young Flutist's Magazine, published in Philadelphia in 1833.
This is the seventeenth piece from 30 Etüden in allen Tonarten für Flöte (“30 Studies in All Keys for Flute”), Op. 6, by German flutist Emil Prill. It was first published in Leipzig in 1894.