This “Etude sans fin” (“Endless study”) is taken from the celebrated Méthode de flûte by French flutist Jean-Louis Tulou, published in Paris in 1835.
This agitated piece is the twenty-eighth étude from Sigfried Karg-Elert's 30 Caprices: a “Gradus ad Parnassum” of the modern technique for flute solo.
This tune was originally printed simply as “Silver-mines” in O'Farrell's Collection of National Music for the Union Pipes (c. 1800). The Jackson of the title was the famous 18th-century gentleman piper Walker ‛Piper’ Jackson, but judging from early printings this association only came to be during the 19th century.
Today's piece was kindly contributed to our collection by its composer, Paul Merkus from the Netherlands.
“Song4You” is an attempt on my part to write something floaty: a powerful tune based on a descending bass line, intended for the flute with piano accompaniment. This contrasts with a lyrical middle section, strongly inspired by the “Quando corpus morietur” from Joseph Haydn's Stabat Mater with its long lines and repeating chords.
In terms of structure, the piece is based on a fairly classical chord progression with initially a falling, running bass. Over time, the piano accompaniment shows more diversions to play an important role in the middle section with the ever-shifting harmonies above the slow solo line. In the reprise the theme returns brightly in a higher register, with some extra accents in the piano accompaniment.
This flute duet, combining two independent waltzes, is taken from Blake's Young Flutist's Magazine, published in 1833.
Today's piece is the twenty-first study from 40 Nuovi Studi, Op. 75, by Italian flutist, composer and arranger Luigi Hugues.
The earliest appearance of this tune in print is as “The Church of Dromore” in Francis O'Neill's Music of Ireland (1903). Many variants have since emerged under various titles, including “Ryan's Favorite”, “The Killaloe Boat”, and “The Lilting Banshee”.
The Danse des sauvages is arguably the most famous piece from Jean-Philippe Rameau's 1735 opera Les Indes galantes (“The Amorous Indies”). It is part of the fourth and final act, “Les Sauvages” (“The Savages”), which is set in North America and was inspired by Native American music. In particular, Rameau claimed to have based this piece, whose original title is “Danse du grand calumet de la paix” (“Dance of the grand peace pipe”), on the dances performed by two Native Americans from Louisiana, which he witnessed in Paris in 1725.
Thanks to Marian for suggesting this piece!
This short Andantino for two flutes is taken from the celebrated Méthode de flûte by French flutist Jean-Louis Tulou, published in Paris in 1835.
This is the twenty-fifth étude from Sigfried Karg-Elert's 30 Caprices: a “Gradus ad Parnassum” of the modern technique for flute solo.
This cowboy music standard has gone by many different names, notably including “Cowboy Love Song”.
From this valley they say you are going.
We will miss your bright eyes and sweet smile,
For they say you are taking the sunshine
That has brightened our pathway a while.
So come sit by my side if you love me.
Do not hasten to bid me adieu.
Just remember the Red River Valley,
And the cowboy that has loved you so true.
Both the melody and the lyrics have very uncertain origins. According to Canadian folklorist Edith Fowke, there is anecdotal evidence that the song was known in at least five Canadian provinces before 1896. This finding led to speculation that the song was composed at the time of the 1870 Wolseley Expedition to Manitoba's northern Red River Valley.
The earliest known written manuscript of the lyrics bears the notations “Nemaha 1879” and “Harlan 1885”, possibly referring to either two counties in Nebraska or to two towns in Iowa.
The song was brought to its greatest popularity by Texan Jules Verne Allen's 1929 recording titled “Cowboy's Love Song”. Allen himself thought the song was from Pennsylvania, perhaps brought over from Europe.
Thanks to Elan for suggesting this tune!
This tune was composed by British writer and musician Ignatius Sancho (1729–1780), and was first printed in his Twelve Country Dances for the Year 1779.
Bushy Park is the second largest of London's Royal Parks, after Richmond Park. The name was assigned by King Henry VIII in 1529, when he established it as deer-hunting ground.