This rhythmically varied Vivace is the opening movement of the fifth of 12 sonatas for flute and continuo that Italian composer Pietro Antonio Locatelli published in Amsterdam in 1732.
This cheerful (“gay” in Old French) piece is the sixth movement of the fifth of six Concerts à deux Flutes Traversières sans Basse by the French Baroque composer Michel Pignolet de Montéclair. Here the French word concert is a synonym of “suite”, and has nothing to do with the Italian concerto.
Today we propose the ninth study from Twenty-Four Etudes for Flute, Op. 21, by Danish flutist Joachim Andersen. It was first published in 1886.
The earliest known appearance of this tune is in William Vickers's 1770 Northumbrian music manuscript, where it is attributed to “Morgan”. It is one of four tunes in his large manuscript collection attributed to him, although the tune is not attributed to Morgan in any other publication.
This hornpipe was once quite well-known, but is not heard often today. It might be named after the 18th-century comic actor, Ned Shuter (1728–1776).
This song is sung by Yum-Yum at the beginning of Act II in Gilbert and Sullivan's 1885 comic opera The Mikado.
The Sun, whose rays are all ablaze with ever-living glory,
Does not deny his majesty — he scorns to tell a story!
He won't exclaim “I blush for shame, so kindly be indulgent.”
But fierce and bold, in fiery gold, he glories all effulgent!
I mean to rule the earth as he the sky—
We really know our worth, the Sun and I!
Thanks to Phil for suggesting this piece!
This version for two flutes of the traditional Post Horn Waltz is taken from Blake's Young Flutist's Magazine, published in Philadelphia in 1833. The arrangement is attributed to a “Nicholson”; probably English flutist and composer Charles Nicholson (1795–1837), the author of a number of tutors for flute-playing which were published throughout the 19th century.
This study in triple-tonguing is the seventh piece from 30 Etüden in allen Tonarten für Flöte (“30 Studies in All Keys for Flute”), Op. 6, by German flutist Emil Prill. It was first published in Leipzig in 1894.
This traditional English hornpipe is taken from Thomas Wilson's A Companion to the Ball Room, which was published in London in 1816.
This is the opening movement of the third sonata from Six Sonates pour la Flûte traversière avec la Basse, Op. 44 by the prolific French Baroque composer Joseph Bodin de Boismortier. These sonatas were originally published in Paris in 1733.
This sarabande is the seventh movement of the fifth of six Concerts à deux Flutes Traversières sans Basse by the French Baroque composer Michel Pignolet de Montéclair. Here the French word concert is a synonym of “suite”, and has nothing to do with the Italian concerto.
Today we propose the tenth study from Twenty-Four Etudes for Flute, Op. 21, by Danish flutist Joachim Andersen. It was first published in 1886.
This hornpipe is taken from Francis O'Neill's collection Waifs and Strays of Gaelic Melody, published in Chicago in 1922. O’Neill says of his source: “James Whiteside, the ‘Bard of Bray’, County Wicklow, was a genius—scholar, poet, musician, composer. Born in County Monaghan in 1844, he retired after 40 years service as a schoolteacher at Bray. His playing of the violin won two first honors at two Feiseanna [traditional Gaelic festivals].”
This Largo is the central movement of the fifth of 12 sonatas for flute and continuo that Italian composer Pietro Antonio Locatelli published in Amsterdam in 1732.
This piece was originally an arrangement for voice and piano of a tune from Mozart's celebrated opera Don Giovanni, with words by Irish poet Charles Wolfe.
Go, forget me: why should sorrow
O'er that brow a darkness fling?
Go, forget me; and tomorrow
Brightly smile and sweetly sing;
Smile -though I shall not be near thee,
Sing -though I shall never hear thee.
May thy soul with pleasure shine,
Lasting as the gloom of mine.
The present transcription for two flutes appeared in Blake's Young Flutist's Magazine, published in Philadelphia in 1833.
This is the eighth piece from 30 Etüden in allen Tonarten für Flöte (“30 Studies in All Keys for Flute”), Op. 6, by German flutist Emil Prill. It was first published in Leipzig in 1894.
This Irish hornpipe is taken from Francis O'Neill's collection Waifs and Strays of Gaelic Melody, published in Chicago in 1922. O'Neill cites the “Pat. Dunne manuscript” as his source.
This is the second movement of the third sonata from Six Sonates pour la Flûte traversière avec la Basse, Op. 44 by the prolific French Baroque composer Joseph Bodin de Boismortier. These sonatas were originally published in Paris in 1733.
This gigue “in the French style” is the eighth movement of the fifth of six Concerts à deux Flutes Traversières sans Basse by the French Baroque composer Michel Pignolet de Montéclair. Here the French word concert is a synonym of “suite”, and has nothing to do with the Italian concerto.
Today we propose the eleventh study from Twenty-Four Etudes for Flute, Op. 21, by Danish flutist Joachim Andersen. It was first published in 1886.
This hornpipe is contained in the circa-1890s music manuscript collection by London dancing master Patrick D. Reidy, originally from Castleisland, County Kerry. Reidy was employed to demonstrate and teach Irish dancing at Gaelic League events in London around the turn of the 20th century, and is credited with introducing the country dances Walls of Limerick and Siege of Ennis into the repertory. He was also a correspondent with the famous tune collector, Captain Francis O'Neill of Chicago.
Reidy credits this tune as “a grand hornpipe by Michael Buckley Shanahan”, although his attributions seem to refer to his sources rather than to the actual tune composers.
This Allegro is the third and final movement of the fifth of 12 sonatas for flute and continuo that Italian composer Pietro Antonio Locatelli published in Amsterdam in 1732.
This piece was originally sung as a duet in the 1803 musical drama Rob Roy. The present arrangement for two flutes appeared in Blake's Young Flutist's Magazine, published in Philadelphia in 1833. Although the piece is marked as “Scotch” in this collection, the music was actually written by English composer John Davy (1763–1824). It is true, however, that Davy drew heavily from familiar Scottish songs, which makes sense considering that the work was about the famed Scottish folk hero Rob Roy MacGregor.
Forlorn and broken hearted,
I weep my last adieu,
And sigh o'er joys departed,
That time can ne'er renew
This is the ninth piece from 30 Etüden in allen Tonarten für Flöte (“30 Studies in All Keys for Flute”), Op. 6, by German flutist Emil Prill. It was first published in Leipzig in 1894.
This traditional Irish hornpipe is taken from O'Farrell's Collection of National Irish Music for the Union Pipes, published between 1792 and 1804.
This Adagio is the third movement of the third sonata from Six Sonates pour la Flûte traversière avec la Basse, Op. 44 by the prolific French Baroque composer Joseph Bodin de Boismortier. These sonatas were originally published in Paris in 1733.
This gigue “in the Italian style” is the ninth movement of the fifth of six Concerts à deux Flutes Traversières sans Basse by the French Baroque composer Michel Pignolet de Montéclair. Here the French word concert is a synonym of “suite”, and has nothing to do with the Italian concerto.
Today we propose the twelfth study from Twenty-Four Etudes for Flute, Op. 21, by Danish flutist Joachim Andersen. It was first published in 1886.
This Irish hornpipe was collected by Chicago police captain Francis O'Neill, who included it in his collection Waifs and Strays of Gaelic Melody, published in 1922.
This Largo is the opening movement of the sixth of 12 sonatas for flute and continuo that Italian composer Pietro Antonio Locatelli published in Amsterdam in 1732.
This piece was originally part of the 1821 opera Der Freischütz (usually translated The Marksman or The Freeshooter) by German Romantic composer Carl Maria von Weber.
The present arrangement for two flutes is taken from Blake's Young Flutist's Magazine, published in Philadelphia in 1833.