This Allegretto for two flutes is the third piece from Twelve Divertimentos for Two German Flutes by Matthias von Holst (1767–1854), the great-grandfather of Gustav Holst (of The Planets fame).
This is the twenty-ninth study from 58 Esercizi per flauto (a.k.a. First Exercises for Flute, or Die ersten Übungen für Flöte) by Italian Romantic flutist and composer Giuseppe Gariboldi.
Today's tune was kindly contributed to our collection by its composer, piper Roddy Campbell from the Outer Hebrides, Scotland. About the title of the piece, he writes:
This was a 22-foot motor-boat we had on Loch Etive when we had a property in North Connel. Master mariners we were not!
This is the opening movement of Johann Joachim Quantz's Sonata in B-flat major for flute and continuo, QV 1:161. It is one of many works for flute that Quantz composed for his student and patron Frederick II, King of Prussia.
This lovely duet is the eighth piece from François Devienne's XXIV Duos faciles pour deux flutes à l'usage des commençans (24 Easy Duets for two flutes for use by beginners). It was first published in Leipzig around 1800.
This is the thirtieth study from 58 Esercizi per flauto (a.k.a. First Exercises for Flute, or Die ersten Übungen für Flöte) by Italian Romantic flutist and composer Giuseppe Gariboldi.
The earliest known appearance of this tune is in a 1843 issue of Henry Hudson's The Dublin Monthly Magazine, under the title “The Night of Fun”. It was then included in numerous collections as “The Maid on the Green”. Collector Francis O'Neill wrote:
I believe it was known all over Ireland as well as at my boyhood home, until I visited Ireland in 1906, and found that the competitors at the Munster Feis seemed to be unacquainted with it.
Cape Breton fiddlers sometimes call the tune “Trip to Dublin”, by which name the jig was called in Köhler's Violin Repository of Dance Music (1885).
Today we present the fifth of 12 caprices included in French flutist and composer Charles de Lusse's L'art de la flûte traversière, first published in Paris in 1760.
This minuet for two flutes is the fourth piece from Twelve Divertimentos for Two German Flutes by Matthias von Holst (1767–1854), the great-grandfather of Gustav Holst (of The Planets fame).
This is the thirty-first study from 58 Esercizi per flauto (a.k.a. First Exercises for Flute, or Die ersten Übungen für Flöte) by Italian Romantic flutist and composer Giuseppe Gariboldi.
Today's tune was kindly contributed to our collection by its composer, piper Roddy Campbell from the Outer Hebrides, Scotland. About the title of the piece, he writes:
Sometimes pupils/students keep in touch with me after they move on. Cailean Masterton was one such student, and when I later heard he and his wife Kirsten had produced a baby boy, the new tune I happened to be putting the finishing touches to when I heard the news became — yes, you've guessed it.
Today's piece is a gentle, song-like solo in the Romantic style. It was contributed to our collection by Australian composer Rosie Williams.
This rondo for two flutes is the ninth piece from François Devienne's XXIV Duos faciles pour deux flutes à l'usage des commençans (24 Easy Duets for two flutes for use by beginners). It was first published in Leipzig around 1800.
This is the thirty-second study from 58 Esercizi per flauto (a.k.a. First Exercises for Flute, or Die ersten Übungen für Flöte) by Italian Romantic flutist and composer Giuseppe Gariboldi.
The earliest known appearance of this catchy jig is in Francis O'Neill's Music of Ireland, published in Chicago in 1903. His source for this tune were the playing partners of Chicago police Sergeant James Early and John McFadden, a piper and fiddler from adjoining counties in the province of Connacht.
This is the central movement of Johann Joachim Quantz's Sonata in B-flat major for flute and continuo, QV 1:161. It is one of many works for flute that Quantz composed for his student and patron Frederick II, King of Prussia.
This minuet for two flutes is the fifth piece from Twelve Divertimentos for Two German Flutes by Matthias von Holst (1767–1854), the great-grandfather of Gustav Holst (of The Planets fame).
This is the thirty-third study from 58 Esercizi per flauto (a.k.a. First Exercises for Flute, or Die ersten Übungen für Flöte) by Italian Romantic flutist and composer Giuseppe Gariboldi.
Today's tune was kindly contributed to our collection by its composer, piper Roddy Campbell from the Outer Hebrides, Scotland. The title is Scottish Gaelic for “Rose Cottage”; according to the author's notes, this is “Daughter Marianne and Douglas's bolthole in Port Charlotte, Islay.”
Today we present the sixth of 12 caprices included in French flutist and composer Charles de Lusse's L'art de la flûte traversière, first published in Paris in 1760.
Today we propose the tenth piece from François Devienne's XXIV Duos faciles pour deux flutes à l'usage des commençans (24 Easy Duets for two flutes for use by beginners). It was first published in Leipzig around 1800.
This is the thirty-fourth study from 58 Esercizi per flauto (a.k.a. First Exercises for Flute, or Die ersten Übungen für Flöte) by Italian Romantic flutist and composer Giuseppe Gariboldi.
The earliest known appearance of this Mixolydian-mode jig is in Francis O'Neill's collection Music of Ireland, published in Chicago in 1903.
Today we propose an evocative piece for flute and piano, kindly contributed to our collection by Australian composer Rosie Williams.
This “Allegro agitato” for two flutes is the sixth piece from Twelve Divertimentos for Two German Flutes by Matthias von Holst (1767–1854), the great-grandfather of Gustav Holst (of The Planets fame).
This is the thirty-fifth study from 58 Esercizi per flauto (a.k.a. First Exercises for Flute, or Die ersten Übungen für Flöte) by Italian Romantic flutist and composer Giuseppe Gariboldi.
Today's tune was kindly contributed to our collection by its composer, piper Roddy Campbell from the Outer Hebrides, Scotland. He writes:
Members of Gaelic choirs are expected to show some competence in the language. To that end the Comunn Gaidhealach has put in place an Olympian system of Bronze, Silver and Gold cards and ruled that each competing choir must have a certain percentage of each. My wife Jean, whose father spoke Gaelic but who was herself denied the opportunity of learning it, was over the moon when she was awarded her Bronze Card while a member of Còisir Ghàidhlig Bharraigh.
Today's piece was kindly contributed to our collection by guest composer Paul Merkus.
The “Considérations” for flute and piano is a larger piece featuring a long build-up from small to large. It begins with the exposition of the main theme with a simple accompaniment in a movement of quarter notes. The theme is then repeated with a more lavish accompaniment and a slightly different conclusion that turns into a first intermezzo with an ostinato tapping motif in the tenor voice. After this, the main theme returns, this time with decorative allusions and a modulating transition to a more exuberant character. The contrast is great with a second, now much quieter intermezzo, which begins in a minor key (with a chromatically descending bass line) but gradually starts to resemble the main theme, which then makes itself heard again. This time, however, with a richly modulating accompaniment in triplets. The piece closes grandly with a powerful accompaniment of full and often alternative chords (with occasionally driving bass motifs), culminating in a coda with again a chromatically descending bass line and a closing cadence full of diminished chords.
Today we propose the eleventh piece from François Devienne's XXIV Duos faciles pour deux flutes à l'usage des commençans (24 Easy Duets for two flutes for use by beginners). It was first published in Leipzig around 1800.
This is the thirty-sixth study from 58 Esercizi per flauto (a.k.a. First Exercises for Flute, or Die ersten Übungen für Flöte) by Italian Romantic flutist and composer Giuseppe Gariboldi.
This popular folk Irish song has been played throughout the world since at least the 1860s, and possibly much longer. Typically set in a minor key, it is nonetheless generally played in an upbeat style reminiscent of a party's atmosphere.
The origins of both the tune and the lyrics of the song are unclear. In Folk Songs of the Catskills (1982), edited by Norman Cazden, Herbert Haufrecht and Norman Studer, there is a reference to John Diprose's songster of 1865 attributing “Lannigan's Ball” to D. K. Gavan with music by John Candy. It also mentions that the tune was previously known as “Hurry the Jug”. In 1863, William Pond & Co. published the song in an arrangement by Charles William Glover, attributing the words to Tony Pastor and the music to Neil Bryant of Bryant's Minstrels.