Although this tune, also known as “Tarbolton Lodge”, can be heard at Irish sessions, its origins are almost certainly Scottish. In fact, the town of Tarbolton lies in Ayrshire in western Scotland, not far from the banks of the River Ayr. The Scots national poet, Robert Burns, lived with his family of origin near the town for some years when he was a young man.
This sarabande is the third movement of the second of the Il pastor fido sonatas, attributed to Antonio Vivaldi but actually composed by Nicolas Chédeville.
This common-time Allegro is the second movement of Georg Philipp Telemann's Sonata No. 4 in E minor for two flutes or recorders.
Today's piece is a courante (or corrente), and more exactly the third movement of Johann Sebastian Bach's Suite No. 4 for unaccompanied cello.
This double jig is a very popular Irish session tune; so much so, in fact, that it is somewhat hackneyed, leading to some people calling it "My Darling's a Sheep"!
Here is the fourth and last movement of the second of the Il pastor fido sonatas, composed by Nicolas Chédeville but originally published as Antonio Vivaldi's Op. 13.
Thanks to Paolo for contributing this piece!
Today's piece is duet No. 6 from the first volume of Ernesto Köhler's Twenty Easy Melodic Progressive Studies.
Thanks to Bruno for contributing this piece!
This is étude No. 12 from Italian flutist and composer Giuseppe Gariboldi's Twenty Studies, Op. 132. It is a melodious and relatively easy Allegretto in 6/8 time.
This traditional Breton song has been made famous in the 1970s by Alan Stivell's celtic harp rendition. The traditional lyrics start with the story of three young sailors (the tri martolod of the title), but rapidly diverge into a love story.
This is the first movement of Benedetto Marcello's Sonata No. 7, Op. 2. Two early editions of this sonata exist: one for the recorder, published in Venice in 1712; and one for the flute, appeared in London in 1732. Both versions of this sonata are in the key of B-flat major, but the 1732 edition adopted a different numbering, and the present sonata appeared there as Op. 1, No. 6.
Thanks to Paolo for contributing this piece!
Here is the third movement from the fourth of Telemann's Sonates sans Basse à deux Flutes traverses, ou à deux Violons, ou à deux Flutes à bec, or “Sonatas without Bass for Two Transverse Flutes, or Two Violins, or Two Recorders”. This slow movement is marked “Affettuoso”, which in Italian literally means “affectionate”, “tender”, “warm-hearted”.
This is the fourth movement from Johann Sebastian Bach's Cello Suite No. 4. This very peaceful Sarabande is quite obscure about the stressed second beat, which is the basic characteristic of the 3/4 dance, since, in this particular sarabande, almost every first beat contains a chord, whereas the second beat most often doesn't.
This popular session tune, which also goes by the name “Dublin Porter House”, especially in County Kerry, used to be associated with the great Irish fiddler Padraig O'Keeffe. It was already known in County Donegal, Ireland, in the first half of the 19th century, as evidenced by the diary entry of a fiddler named William Allingham, who was employed as a customs officer but whose vocation was traditional music.
Here is the gorgeous second movement of Benedetto Marcello's Sonata No. 7 in B-flat major for recorder or flute.
Thanks to Paolo for contributing this piece!
This binary-form, 2/4-time Vivace is the fourth and last movement of the fourth of Telemann's Sonates sans Basse à deux Flutes traverses, ou à deux Violons, ou à deux Flutes à bec, or “Sonatas without Bass for Two Transverse Flutes, or Two Violins, or Two Recorders”.
Thanks to Raquel for suggesting this piece!
This is étude No. 12 from the first book of Ernesto Köhler's Progress in Flute Playing, Op. 33. It mostly consists of sixteenth notes; make sure to play every note clearly, and pay close attention to articulation.
This traditional Jewish song is one of the most popular wedding processionals. The title quotes the Song of Songs: “Ani l'dodi, ve dodi li”, meaning “I am my beloved's and my beloved is mine”.
Thanks to Cassidy for suggesting this song!
Here is another Largo by Italian Baroque composer Benedetto Marcello. This is the third movement of Sonata No. 7 in B-flat major for recorder or flute.
Here is a new duet from the first volume of Ernesto Köhler's Forty Progressive Duets, Op. 55. This Andante in D major is made up of a very simple melody, accompanied by a series of arpeggios.
This pair of bourrées constitutes the fifth movement of Johann Sebastian Bach's Cello Suite No. 4, BWV 1010. The first bourrée seems to implement a call-and-response illusion with a single line, while the second bourrée offers a lovely contrast with a limpid, quiet succession of quarter notes and textural simplicity.
This tune is often played in a set after The Tarbolton Reel or The Donegal Reel.
Barry O'Neill, in his notes for the LP Wheels of the World, states that the title was known to New York City fiddler Michael Coleman as “The Longford Beggarwoman”. The story goes that Coleman was playing the tune in a taproom and after he finished someone asked him the name, which he gave as “Longford Beggarwoman”. Immediately, a plate sailed across the room and crashed on the wall near his head, followed by an irate woman shouting something to the effect that she was from Longford and they weren't beggars there!
Stephen Foster's musical talent was evident early on. At the age of seven, he came across a flute in a general store, and although he had never seen one before, he picked it up and had mastered it before leaving the store. He was soon proficient on both the flute and the piano. He wrote his first composition, the Tioga Waltz, while attending Athens Academy in Athens, Pennsylvania, and performed it during the 1839 commencement exercises, at the age of thirteen.
Thanks to Monique for suggesting this piece!
This is the second movement of Georg Philipp Telemann's fourth Canonic Sonata for two flutes. It is marked “Piacevole non largo”, which could be translated as “pleasant (but) not slow”.
This 12/8-time étude in C major is taken from the first book of Twenty Easy Melodic Progressive Studies by Italian composer Ernesto Köhler.
Thanks to Bruno for contributing this piece!
The “Sailor’s Bonnet” is the third and last tune of a famous medley by Irish fiddler Michael Coleman, following “The Tarbolton” and “The Longford Collector”, frequently played at Irish sessions down to this day. The first part is often played single, and the second part doubled, totaling eight and sixteen bars, respectively.
This high-spirited polka was written by Johann Strauss II in 1858. The title “Tritsch-Tratsch” may be interpreted as “Chit-chat”, and probably refers to the Viennese passion for gossip. Strauss may also have been referencing the single-act burlesque Der Tritsch-tratsch by Johann Nepomuk Nestroy, which premiered in 1833 and was still in the stage repertoire at the same time the polka was written. Many point out that the title may also have meant his first wife's poodle, also named Tritsch-tratsch, but this etymology remains unsubstantiated.
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.
This gigue is the last movement of Johann Sebastian Bach's Cello Suite in E-flat major. With its quirky rhythms and contrapuntal illusions, this finale prepares us for the glories of the final two suites.
“La victoire est à nous” (“Victory is ours”) was originally an air from the 1783 opera La Caravane du Caire by André Grétry. It was later adapted as a military march by David Buhl, and it was notably played when Napoleon's imperial army, the Grande Armée, captured Moscow in 1812.
Thanks to Steve for suggesting this tune!
This lively three-part gavotte is the fourth of the five movements of Benedetto Marcello's seventh Sonata for recorder or flute.
Thanks to Paolo for contributing this piece!
This Presto is the third and last movement of Georg Philipp Telemann's Canonic Sonata No. 4. It is mostly in the key of D minor, but it features a central section in D major. Although the time signature is 4/4, it is probably more natural to think of it in cut time (2/2).