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This is the opening movement of Handel's Sonata in G minor for Recorder. The measured tread and hypnotically steady theme of this Larghetto seems to announce that this as a sober sonata. Upon each iteration, however, the melody becomes a bit more ornate, so the movement is not as austere as it may initially seem.
The earliest printing of a tune by the title “The Humors of Limerick” is found in a 1778 collection by Glasgow musician Joshua Campbell. Chicago collector Francis O'Neill writes, in his Irish Minstrels and Musicians (1913), that a special dance was performed to this melody.
This is étude No. 22 from Italian Romantic composer Giuseppe Gariboldi's collection of 30 Etudes faciles et progressives.
Here is a new duet from the first volume of Ernesto Köhler's Forty Progressive Duets. In this piece the main melody is given to the first flute, while the second flute plays more of an accompaniment role.
Published in 1732, the twelve Fantasias for Solo Flute by Georg Philipp Telemann have become a staple of the solo flute repertoire. They were originally written for the transverse flute, but have been enthusiastically embraced by recorder players, many of whom insist that Telemann really wrote them for the recorder.
The third Fantasia is in the key of B minor. It starts off with a few slow and melancholic opening gestures, but soon bursts into a frenetic Vivace, and finally ends with a lively ternary gigue.
Thanks to John for suggesting this piece!
The earliest appearance of this oddly-titled jig is found in the third volume of Edward Bunting's The Ancient Music of Ireland, published in Dublin in 1840. Even in such an old book, the notes call this tune “very ancient”!
This is the fourth étude from Sigfried Karg-Elert's 30 Caprices: a “Gradus ad Parnassum” of the modern technique for flute solo.