This jig is taken from Francis O'Neill's celebrated collection Music of Ireland, published in Chicago in 1903. His source for this tune was fiddler Edward Cronin, originally from County Limerick.
This allemanda is the second movement of Italian Baroque composer Arcangelo Corelli's Violin Sonata No. 10 in F major, which was originally published in 1700 as part of his 12 Violin Sonatas, Op. 5.
This flute trio is taken from Blake's Young Flutist's Magazine, published in Philadelphia in 1833. It is an arrangement of Giovanni Battista Martini's memorable terzetto “Vadasi via di qua”, also known as “The Tickling Trio”.
This is the seventh piece from the first etude book written by Danish flutist and composer Joachim Andersen, his 24 grosse Etüden für Flöte, Op. 15, first published in Hamburg in 1885.
The first known appearance of this jig in print is found in Francis O'Neill's celebrated collection Music of Ireland, published in Chicago in 1903. “Contentment is Wealth” is a title shared by several jigs, all of which have the first strain in common. Scholar Bruce Olson believed it may have derived from a line in the song “Haste to the wedding”, which goes:
We boast of no wealth, but contentment and health
This is the second movement of Partita No. 1 in D major for solo flute by German flutist and composer Johann Georg Tromlitz, which was first published in Leipzig as part of his Sechs Partiten für Querflöte solo.
This study for two flutes is taken from the celebrated Méthode de flûte by French flutist Jean-Louis Tulou, published in Paris in 1835.
This study in double-tonguing is the twelfth piece from 20 Studi progressivi e dilettevoli per il Flauto (“20 progressive and delightful studies for the flute”) by Italian flutist Camillo Romanino.
The first appearance of this jig is, under the title “Teddy Malo's Jig”, in Ryan's Mammoth Collection, published in Boston in 1883. The title “Welcome to Cork” was introduced by Francis O'Neill in his Music of Ireland (1903).
This sarabanda is the third movement of Italian Baroque composer Arcangelo Corelli's Violin Sonata No. 10 in F major, which was originally published in 1700 as part of his 12 Violin Sonatas, Op. 5.
This duet is taken from Blake's Young Flutist's Magazine, published in Philadelphia in 1833. It is an arrangement of a popular song that Blake attributes to “Sinclair”, probably Scottish singer John Sinclair (1791–1857). It seems unlikely that Sinclair composed the song, but his name was probably associated with it because he brought it to popularity.
This is the first version of the ninth piece from the first etude book written by Danish flutist and composer Joachim Andersen, his 24 grosse Etüden für Flöte, Op. 15, first published in Hamburg in 1885. The indication at the beginning, mit einfachem Zungenstoss, instructs the player to use simple tonguing.
The first appearance of this jig is, under the title “Lafrican's” (which has been suggested might be a corruption of “Lorrigan's”), in Ryan's Mammoth Collection, published in Boston in 1883. The title “The Widow Brady” was introduced by Francis O'Neill in his Music of Ireland (1903).
This is the third movement of Partita No. 1 in D major for solo flute by German flutist and composer Johann Georg Tromlitz, which was first published in Leipzig as part of his Sechs Partiten für Querflöte solo.
This study for two flutes is taken from the celebrated Méthode de flûte by French flutist Jean-Louis Tulou, published in Paris in 1835.
Today we propose the tenth piece from 20 Studi progressivi e dilettevoli per il Flauto (“20 progressive and delightful studies for the flute”) by Italian flutist Camillo Romanino.
The first known appearance of this jig is in Ryan's Mammoth Collection, published in Boston in 1883. Also known as “The Creel of Turf”, this tune is sometimes played in Dorian mode (by adding a C# to the key signature), and sometimes with its parts reversed.
This is the fourth movement of Italian Baroque composer Arcangelo Corelli's Violin Sonata No. 10 in F major, which was originally published in 1700 as part of his 12 Violin Sonatas, Op. 5.
This romantic ballad was composed by English poet, dramatist and songwriter Thomas Haynes Bayly.
Gaily the troubadour touched his guitar,
When he was hast'ning home from the war.
Singing from Palestine hither I come;
Lady love, lady love welcome me home.
The present arrangement for two flutes appeared in Blake's Young Flutist's Magazine, published in 1833.
This is the second version of the ninth piece from the first etude book written by Danish flutist and composer Joachim Andersen, his 24 grosse Etüden für Flöte, Op. 15, first published in Hamburg in 1885. The indication at the beginning, mit doppeltem Zungenstoss, instructs the player to use double tonguing.
“La Bastringue” (a French word for a dance hall) has its origins in an old French tune which might date as far back as the 17th century. It appears set in 6/8 time in a number of 19th-century English collections, such as Wilson's A Companion to the Ballroom (1816), under the title “Voulez-vous danser”.
In French Canada the tune became a “party song” which tells of an older man who wants to dance “La Bastringue” with a girl. He soon finds that he isn't up to the pace, and to save face he tries to beg off by feigning concern for the woman's stamina. She proves equal to the task, though, and the man finally just has to give up.
Thanks to Phil for suggesting this tune!
These two minuets constitute the fourth movement of Partita No. 1 in D major for solo flute by German flutist and composer Johann Georg Tromlitz, which was first published as part of his Sechs Partiten für Querflöte solo.
This study for two flutes is taken from the celebrated Méthode de flûte by French flutist Jean-Louis Tulou, published in Paris in 1835.
This study is the fifteenth piece from 20 Studi progressivi e dilettevoli per il Flauto (“20 progressive and delightful studies for the flute”) by Italian flutist Camillo Romanino.
“Damat Halayı” (usually translated as “Groom Dance”) is a common dance at Turkish weddings, but it is also popular as a party dance, and as a children's dance taught in schools. The exact origins of the tune are unclear. Most Turks think of it as a dance from Thracia (European Turkey), even though some Thracians say it comes from Bulgaria. Strong similarities can also be found with Greek and Macedonian dance tunes.
Thanks to Damla for suggesting this tune!
This is the fifth and final movement of Italian Baroque composer Arcangelo Corelli's Violin Sonata No. 10 in F major, which was originally published in 1700 as part of his 12 Violin Sonatas, Op. 5.
This popular melody, believed to be based on an alpine folk tune, was featured in two of Gioachino Rossini's most famous operas: Cinderella (1817) and William Tell (1829). It is known to many as “A Scottish Soldier”, because of the lyrics added to the tune in 1961 by Scottish singer Andy Stewart.
The present arrangement for two flutes appeared in Blake's Young Flutist's Magazine, published in 1833.
This is the tenth piece from the first etude book written by Danish flutist and composer Joachim Andersen, his 24 grosse Etüden für Flöte, Op. 15, first published in Hamburg in 1885.
This jig is taken from Francis O'Neill's celebrated collection Music of Ireland, published in 1903. O'Neill obtained the jig from Chicago fiddler Edward Cronin.
This polonaise is the fifth and final movement of Partita No. 1 in D major for solo flute by German flutist and composer Johann Georg Tromlitz, which was first published as part of his Sechs Partiten für Querflöte solo.
This study for two flutes is taken from the celebrated Méthode de flûte by French flutist Jean-Louis Tulou, published in Paris in 1835.