The earliest known appearance of this melody is in Francis O'Neill's celebrated collection Music of Ireland, published in Chicago in 1903. It is a member of a rather large 6/8-time tune family with numerous variants, possibly named after Francis O'Neill's eldest sibling, Philip.
This is the third movement of Partita No. 4 in A 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 duet is the opening movement of the first Sonata for two flutes included in the Nouvelle Méthode théorique et pratique pour la flûte by the French flutist and composer François Devienne.
This is the seventeenth 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 German direction “auch staccato auszuführen” at the beginning simply means “also to be played staccato”.
The earliest known appearance of this jig is in Francis O'Neill's celebrated collection Music of Ireland, published in Chicago in 1903.
This Largo is the first piece from a collection of 20 Capricci by Italian composer Saverio Mercadante. It is not certain when these caprices were composed, but scholars tend to associate them with Mercadante's early years in Naples, between 1811 and 1814.
This duet is the second piece from XXIV Duets for two German Flutes, Adapted to the Capacity of all Degrees of Performers, composed by English flutist Lewis Granom and first published in London in 1747.
Today we propose the twentieth study from 26 Übungen (26 Exercises) by German flutist and composer Anton Bernhard Fürstenau, first published in 1835.
The earliest known version of this jig is in Francis O'Neill's celebrated collection Music of Ireland, published in Chicago in 1903. O'Neill obtained if from an Edison recording by fiddler James Carbray from Québec, Canada, who later moved to Chicago.
These two minuets constitute the fourth movement of Partita No. 4 in A 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 duet is the second movement of the first Sonata for two flutes included in the Nouvelle Méthode théorique et pratique pour la flûte by the French flutist and composer François Devienne.
This is the eighteenth 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 Dance Music of Ireland, published in Chicago in 1907. In Irish Folk Music (1910), O'Neill writes:
One often wonders why a popular tune passes current for years without a name among non-professional Irish musicians. Nothing is more common than to be told on making inquiry, “I never heard the name of it,” and seemingly nothing concerned them less than the name as long as they could play a tune to suit their fancy. Such was the case with the fine old traditional tune, the “Merry Old Woman.” None of our best performers had any name for this favorite jig, so it could not be permitted to remain nameless any longer. By dint of persistent investigation we eventually learned that it was known as the “Walls of Enniscorthy.” Few double jigs equal it. None excel it and I’m inclined to believe that it is one of “Old Man” Quinn's tunes preserved to us by Sergeant Early. A variant of this jig I find appears in Dr. Joyce's late work under the name, “Rakes of Newcastle-West,” but in a much simpler setting.
This Allegro is the second piece from a collection of 20 Capricci by Italian composer Saverio Mercadante. It is not certain when these caprices were composed, but scholars tend to associate them with Mercadante's early years in Naples, between 1811 and 1814.
This duet is the third piece from XXIV Duets for two German Flutes, Adapted to the Capacity of all Degrees of Performers, composed by English flutist Lewis Granom and first published in London in 1747.
Today we propose the twenty-first study from 26 Übungen (26 Exercises) by German flutist and composer Anton Bernhard Fürstenau, first published in 1835.
The earliest known appearance of this jig is in Francis O'Neill's celebrated collection Music of Ireland, published in Chicago in 1903.
This polonaise is the last movement of Partita No. 4 in A 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 duet is the third movement of the first Sonata for two flutes included in the Nouvelle Méthode théorique et pratique pour la flûte by the French flutist and composer François Devienne.
Today we propose the very first piece from 15 Etudes modernes, élégantes et progressives by Italian Romantic flutist Giuseppe Gariboldi.
In his 1910 collection Irish Folk Music, Chicago police officer Francis O'Neill relates that while he was walking his patrolman's beat on a summer evening in 1875 he chanced to hear “the strains of a fiddle coming through the shutters of an old dilapidated building on Cologne street”.
The musician was an old man named Dillon, who lived alone, and whom I had seen daily wielding a long-handled shovel on the streets. His only solace in his solitary life besides his dhudeen [clay pipe] was “Jenny”, as he affectionately called his fiddle. A most captivating jig memorized from his playing I named “Old Man Dillon” in his honor.
O'Neill says “inferior versions” were subsequently found under the name “A Mug of Brown Ale”, which he thinks was the original title. The earliest publication of the tune appears to be in R.M. Levey's mid-19th century collection as “The Mug of Brown Ale”.
This tune and its accompanying variations are taken from Der Fluyten Lust-Hof (“The Flute's Pleasure Garden”), a collection of music for recorder by Jacob van Eyck, one of the best-known Dutch musicians of the 17th century. First published in 1644, it is the largest collection of music for a single wind instrument ever published by a single composer.
The title “Doen Daphne d'over schoone Maeght” is usually translated as “When Daphne, the most beautiful maiden”.
Thanks to James for suggesting this tune!
This minuet is the fourth piece from XXIV Duets for two German Flutes, Adapted to the Capacity of all Degrees of Performers, composed by English flutist Lewis Granom and first published in London in 1747.
Today we propose the twenty-second study from 26 Übungen (26 Exercises) by German flutist and composer Anton Bernhard Fürstenau, first published in 1835.
The earliest known appearance of this jig is in Francis O'Neill's celebrated collection Music of Ireland, published in Chicago in 1903. More recently it has also appeared under the title “Farewell to Ballinahulla”.
This Andante is the third piece from a collection of 20 Capricci by Italian composer Saverio Mercadante. It is not certain when these caprices were composed, but scholars tend to associate them with Mercadante's early years in Naples, between 1811 and 1814.
This Adagio is the second movement of the second Sonata for two flutes included in the Nouvelle Méthode théorique et pratique pour la flûte by the French flutist and composer François Devienne.
Today we propose the second piece from 15 Etudes modernes, élégantes et progressives by Italian Romantic flutist Giuseppe Gariboldi.
The earliest known appearance of this jig is in Francis O'Neill's celebrated collection Music of Ireland, published in Chicago in 1903. O'Neill's source for the tune was William McLean, who “played it in marching time on the Highland pipes”. McLean was Scottish, born in Ross-shire early in the 1800s, and met O'Neill around 1875. O'Neill says that although classed as a double jig, this “was evidently a clan march”.
This the opening movement of Partita No. 5 in E minor 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 is the fifth piece from XXIV Duets for two German Flutes, Adapted to the Capacity of all Degrees of Performers, composed by English flutist Lewis Granom and first published in London in 1747.