This polonaise-like piece is the thirtieth duet from Trente-six Petits Duos Mélodiques Faciles et Chantants pour deux Flûtes (36 Easy Flute Duets) by French Romantic composer Benoit Tranquille Berbiguier.
Today's piece is the eleventh study from 30 Studi, Op. 32, by Italian flutist, composer and arranger Luigi Hugues.
This Mixolydian-mode march tune is taken from Francis O'Neill's collection Waifs and Strays of Gaelic Melody, published in Chicago in 1922. The second part is somewhat reminiscent of “Yankee Doodle”.
Composed in 1897, Erik Satie's Gnossienne No. 6 for solo piano was only published in 1968. Like Gnossiennes Nos. 4 and 5, the piece was never called a “Gnossienne” by the composer himself, but was arranged and published as such by Robert Caby long after Satie's death.
The original edition calls for a tempo of 66 BPM (also confirmed by the indication that the total duration of the piece should be 1'20"), but many pianists prefer to play this Gnossienne at a much slower tempo.
Like the three original Gnossiennes, this piece contains a few unusual indications: “Avec conviction et avec une tristesse rigoureuse” (“with conviction and with a rigorous sadness”), “Dans une saine supériorité” (“in a healthy superiority”), “Hâve de corps” (“gaunt of body”), “savamment” (“skilfully”).
Thanks to Paul Merkus for contributing this arrangement for flute and piano!
This once moderately popular song was composed in 1822 by Irish pianist Peter K. Moran, who was probably the earliest classical composer from Ireland to emigrate to the United States.
Come hither, thou beautiful rover,
Thou wand'rer of earth and of air;
Who bearest the sighs of the lover,
And bringest him news of his fair.
Bend hither thy light-waving pinion,
And show me the gloss of thy neck;
Oh perch on my hand, dearest minion,
And turn up thy bright eye and peck.
The present arrangement for two flutes is taken from Blake's Young Flutist's Magazine, published in Philadelphia in 1833.
This étude in A-flat major is the twenty-third piece from 24 Etüden zur Förderung der Technik (24 Studies for the Development of Technique), Op. 12, by German flutist Emil Prill. It was first published in Bremen in 1913.
This hornpipe was first printed by Scottish Borders printer James Aird in the first volume of his Selections of Scotch English, Irish and Foreign Airs (Glasgow, 1778). It is variously known as “Tom Tollin's”, “Tom Tulley's”, and “Tom Fowler's”.
Thanks to Phil for suggesting this tune!
This Allegro is the second movement of Italian Baroque composer Arcangelo Corelli's Violin Sonata No. 4 in F major, which was originally published in 1700 as part of his 12 Violin Sonatas, Op. 5.
Thanks to Mary for suggesting this piece!
This Andante is the thirty-first duet from Trente-six Petits Duos Mélodiques Faciles et Chantants pour deux Flûtes (36 Easy Flute Duets) by French Romantic composer Benoit Tranquille Berbiguier.
Today's piece is the thirteenth study from 30 Studi, Op. 32, by Italian flutist, composer and arranger Luigi Hugues.
This lively minor-mode folk song comes from Wales. Towyn is the name of a seaside resort in the County Borough of Conwy, North Wales.
Thanks to Jean for suggesting this tune!
This is the second movement of the fifth sonata from Sonate a flauto solo con cembalo, o violoncello (“Sonatas for solo flute with harpsichord or cello”) by Italian Baroque composer Paolo Benedetto Bellinzani, originally published in Venice in 1720.
This movement has actually no tempo indication in the original manuscript, but it usually appears as an “Allegro” in modern editions.
This ballad was composed by English songwriter William Ball (1784–1869), about whom very little is known.
Good morrow to the morning new!
The fields and flow'rets bright with dew!
Good morrow, shepherd lads, to you!
Good morrow, maidens dear!
Good morrow to our holiday,
And all who list my tuneful lay,
Or join upon her merry way
Your little mountaineer.
The present arrangement for two flutes is taken from Blake's Young Flutist's Magazine, published in Philadelphia in 1833.
This étude in F minor is the twenty-fourth piece from 24 Etüden zur Förderung der Technik (24 Studies for the Development of Technique), Op. 12, by German flutist Emil Prill. It was first published in Bremen in 1913.
This hornpipe is taken from the 3rd volume of James Aird's Selection of Scotch, English, Irish and Foreign Airs, published in 1788. It is named after an ancient bridge built on the site of a ford on the South Esk river, not far from the site where once stood the Abbey of St. Mary, Newbattle. The Rev. J.C. Carrick, writing in his The Abbey of S. Mary Newbottle (1908), explains:
A minor road passed across the park through the monastic village, and over the Maiden Bridge towards Dalkeith, in all probability. A vigorous controversy has been waged over the name of this bridge, which, crossing the South Esk about a mile from the Abbey, so picturesquely reminds one of the Brig o' Doon in Ayrshire. Various antiquarians have held various views about it; but possibly the bridge, whether the work of Roman soldiers or not,—and there was a Roman camp on the hill,— was baptised the “Maiden Brig” after the great historical event so beautifully depicted in the Italian painting which adorns one of the mantelpieces in the drawing-room of the present mansion. Robert Burns sets one of his sweetest songs to the air, “Dalkeith's Maiden Bridge”.
The Robert Burns song that Carrick alluded to is “Sae Far Awa” (sometimes called “My native land, sae far awa”), printed in Johnson's Scots Musical Museum (1796). (Photo by Kim Traynor)
This Vivace is the third movement of Italian Baroque composer Arcangelo Corelli's Violin Sonata No. 4 in F major, which was originally published in 1700 as part of his 12 Violin Sonatas, Op. 5.
Thanks to Mary for suggesting this piece!
This Andante is the thirty-second duet from Trente-six Petits Duos Mélodiques Faciles et Chantants pour deux Flûtes (36 Easy Flute Duets) by French Romantic composer Benoit Tranquille Berbiguier.
In the first part of the piece, you'll have to pay particular attention to putting the accent on the first half of each beat.
Today's piece is the fifteenth study from 30 Studi, Op. 32, by Italian flutist, composer and arranger Luigi Hugues.
First published in 1867, this traditional tune has remained popular in Britain, Ireland, and the United States throughout the years. Tune collector Francis O'Neill writes: “Classed as a street ballad in Halliday Sparling's Irish Minstrelsy, London 1887, the editor adds, in a note on page 366,
Johnny I Hardly Knew Ye ! This favorite old song is here for the first time given complete. It dates from the beginning of the present century (19th), when Irish regiments were so extensively raised for the East India service.
This spirited air almost forgotten in Ireland blossomed into new popularity during the American Civil War, and, after its arrangement by a master hand — Patrick Sarsfield Gilmore — it became a great favorite with military and volunteer bands. Parodies on the original song such as “When Johnny comes marching home again”, “Johnny fill up the bowl” etc., were sung to it by the Union soldiers. After the manner of the “Loobeens” and occupational songs of olden days in Ireland, additional verses were improvised, some possibly crude, yet always mirth-provoking, and well-calculated to keep up their spirits on the march, or relieve the monotony of camp life. The circumstance of its arrangement as above stated no doubt led Adair FitzGerald to refer to it in his Stories of Famous Songs in qualified words:
When Johnny comes marching home again, said to have been composed by the celebrated Patrick S. Gilmore.
The latter, a native of Dublin quite probably had memorized the tune in his youth. The original, it may be observed, included a refrain of four lines not found in the parodies.”
This is the third movement of the fifth sonata from Sonate a flauto solo con cembalo, o violoncello (“Sonatas for solo flute with harpsichord or cello”) by Italian Baroque composer Paolo Benedetto Bellinzani, originally published in Venice in 1720.
We've had a flute-and-piano version of “The Star-Spangled Banner” for the longest time in our collection, but we thought an arrangement for flute duet would also be interesting to have. This particular one is taken from Blake's Young Flutist's Magazine, published in Philadelphia in 1833.
Today we propose the very first study from 24 Tägliche Studien (24 Daily Studies) by German flutist and composer Anton Bernhard Fürstenau, first published in Berlin in 1839.
This is one of the most famous Russian military marches. The Preobrazhensky Life-Guard Regiment was one of the oldest and most elite guard regiments of the Imperial Russian Army. During those times, the march also served as an unofficial national anthem. It has remained popular throughout the years, and has been often used in modern Russia, although it was never officially used in the Soviet Union. Since 1964, it is also used as the slow march of the UK Royal Marines.
Neither the composer nor the age of the tune are known. Judging from an old title of the march, “March of Peter the Great”, some conjecture that it was written in the time of Peter the Great (c. 1700). Some European scholars suggested Swedish authorship, but without any concrete evidence. German sources mention the name of Ferdinand Haase (1788–1851), but the tune probably predates him. Early 20th-century British copies of the march mistakenly attributed it to Ernest Donajowski (1845–1922), who was in fact a publisher, and not a composer.
Thanks to Nathan for suggesting this tune!
This Adagio is the fourth movement of Italian Baroque composer Arcangelo Corelli's Violin Sonata No. 4 in F major, which was originally published in 1700 as part of his 12 Violin Sonatas, Op. 5.
Thanks to Mary for suggesting this piece!
This Romanza is the thirty-third duet from Trente-six Petits Duos Mélodiques Faciles et Chantants pour deux Flûtes (36 Easy Flute Duets) by French Romantic composer Benoit Tranquille Berbiguier.
Today's piece is the seventeenth study from 30 Studi, Op. 32, by Italian flutist, composer and arranger Luigi Hugues.
This march tune is taken from Francis O'Neill's collection Waifs and Strays of Gaelic Melody, published in Chicago in 1922. He writes: “This spirited air enjoyed no little popularity some fifty years ago when a song of that name to be found in Hyland's Mammoth Hibernian Songster was sung to it.”
The tune might be named after Irish-born Liverpool city councillor, publican and philantropist Patrick Byrne (1845–1890), whose colorful character earned him the sobriquet of “Dandy Pat”.
This is the fourth and final movement of the fifth sonata from Sonate a flauto solo con cembalo, o violoncello (“Sonatas for solo flute with harpsichord or cello”) by Italian Baroque composer Paolo Benedetto Bellinzani, originally published in Venice in 1720.
Dating back to the early 19th century, this traditional Irish tune has been the vehicle for numerous songs. The present arrangement for two flutes is taken from Blake's Young Flutist's Magazine, published in Philadelphia in 1833.
Today we propose the second study from 24 Tägliche Studien (24 Daily Studies) by German flutist and composer Anton Bernhard Fürstenau, first published in Berlin in 1839.