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This Dorian-mode jig is taken from Francis O'Neill's collection Dance Music of Ireland, published in Chicago in 1907. His source for the tune was accordion player Johnny O'Leary, from the Sliabh Luachra region of the Cork-Kerry border.
George Petrie (1855) had previously identified the melody as “a Munster jig”, and remarked that “it had a peculiar kind of dance”.
This is the twentieth étude from Sigfried Karg-Elert's 30 Caprices: a “Gradus ad Parnassum” of the modern technique for flute solo.
This is the opening Allegro of a Sonata in G major written for three German flutes by Johann Scherer, a German composer of the 18th century.
Thanks to Joyce Kai for suggesting this piece!
It was with “Semper Fidelis” that John Philip Sousa had his first runaway hit, in the process creating what is arguably the prototype for the great American march. Sousa wrote the march in 1888, in response to a request by President Chester A. Arthur for something more appropriate than “Hail to the Chief” for use at official functions. Unfortunately, Arthur died without ever hearing “Semper Fidelis”.
Sousa considered this to be his “most musical” march, and it became the official march of the U.S. Marine Corps, whose motto “Semper Fidelis” is Latin for “Ever Faithful”.
This variant of the famous “Greensleeves” tune is taken from Chicago Police Captain Francis O'Neill's collection The Dance Music of Ireland, published in 1907.
This is étude No. 19 from Ernesto Köhler's 25 Romantic Studies, Op. 66. Can you imagine insects dancing?
This is duet No. 9 from the first volume of Twenty Easy Melodic Progressive Studies by Ernesto Köhler. It is composed of three parts: an Allegretto moderato, a plaintive (flebile) central section, and a final restatement of the opening theme.