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This 10/8-time étude is the seventh piece from Sigfried Karg-Elert's 30 Caprices: a “Gradus ad Parnassum” of the modern technique for flute solo.
Here is another piece from the first volume of La scuola del flauto (The School of the Flute) by Luigi Hugues. This duet prominently features some long chromatic passages.
Thanks to Paolo for contributing this duet!
After beginning his musical career, Italian flutist and composer Ernesto Köhler moved to Vienna at the age of twenty, and then, in 1871, on to Saint Petersburg. He remained in Saint Petersburg for the rest of life as a member of the orchestra of the Imperial Opera. The “Souvenir Russe” for flute and piano was clearly dedicated to his Russian experience. Starting from a slow theme in minor key, the piece then evolves towards a lively Allegretto, passing by two flute cadenzas.
The earliest appearance of this jig is found in the third volume of Edward Bunting's The Ancient Music of Ireland, published in Dublin in 1840. Bunting collected the tune in 1802 from an old harper from County Leitrim named Charles Byrne (also called Charley Berreen), who is believed to have been born around 1712.
Today we propose étude No. 24 from Italian Romantic composer Giuseppe Gariboldi's collection of 30 Etudes faciles et progressives.
This binary-form Vivace in D major opens the first of Belgian Baroque composer Jean-Baptiste Loeillet's Six sonatas of two parts, made on purpose for two German flutes, first published in London in 1720.
The Seguidilla aria forms part of Act I of the famous French opera Carmen by Georges Bizet. The beautiful gypsy, Carmen, sings it in an attempt to seduce her captor, the soldier Don José, into going with her to her friend Lillas Pastia's inn.
After Bizet's death, this number was also included by Ernest Guiraud in Carmen Suite No. 1, the only movement of the suite that began as an aria.
More generally, a seguidilla is a quick triple-time Castillian folksong and dance form, whose name is a diminutive of seguida, from seguir, i.e. “to follow”.