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This 11/8-time étude is the seventh piece from Sigfried Karg-Elert's 30 Caprices: a “Gradus ad Parnassum” of the modern technique for flute solo. The marking “Un poco mosso, umoristico” means “A little agitated, with humor”.
This is the third movement of an A-minor sonata written by Belgian Baroque composer Jean-Baptiste Loeillet of Gant around 1710.
Telemann's sixth Fantasia is in the key of D minor. It starts off with a lyrical slow movement marked “Dolce” (which is Italian for “sweet”), divided into two parts, each repeated. Therefore, if you plan to add Baroque embellishments, it is better to save them for the repeats. The middle movement is a fast Allegro in fugal style, which leads into a rapid “Spirituoso” resembling a rondeau.
This tune has been widely disseminated across the British Isles, as well as in new England, though its origins appear to be Irish. It is at least as old as uilleann piper and cleric James Goodman's mid-19th-century music manuscripts.
To make things more confusing, there are numerous different tunes called “Lady of the Lake”, as well as a country dance, but this particular jig doesn't seem to be associated with any of them, in spite of its popularity.
This is étude No. 10 from Ernesto Köhler's 25 Romantic Studies, Op. 66. It alternates a 2/4-time Allegro in G major and a light Waltz in D major.
This is flute duet No. 14 from the second volume of Ernesto Köhler's Forty Progressive Duets, Op. 55. In this piece the second flute does not merely accompany the first one: they both share the main melody.
The opening movement of Bach's Flute Sonata No. 4 is actually more of a “Presto”, although it begins with a measured “Andante” introduction. The flute plays nonstop throughout, and when it launches into the cadenza-like Presto proper, the accompaniment is reduced to a single, suspenseful, long-held chord. It's immediately clear that the flute part of this movement could easily stand alone.
Here are the following movements: Allegro, Adagio, Menuetto I and II.