This study is the nineteenth piece from 20 Studi progressivi e dilettevoli per il Flauto (“20 progressive and delightful studies for the flute”) by Italian flutist Camillo Romanino.
This jig is taken from Francis O'Neill's celebrated collection Music of Ireland, published in Chicago in 1903. O'Neill obtained the tune from fiddler James McFadden, originally from the province of Connaght.
This is the opening movement of Italian Baroque composer Arcangelo Corelli's Violin Sonata No. 11 in E major, which was originally published in 1700 as part of his 12 Violin Sonatas, Op. 5.
This Scottish song, set to lyrics by Richard Ryan, is one of many ballads popularized by singer John Sinclair in the early 1800s. The word een is Scots for ‛eyes’.
O, saw ye the lass wi' the bonnie blue e'en?
Her smile is the sweetest that ever was seen,
Her cheek like the rose is, but fresher, I ween,
She's the loveliest lassie that trips on the green.
The present arrangement for two flutes appeared in Blake's Young Flutist's Magazine, published in Philadelphia in 1833.
This is the eleventh piece from the first etude book written by Danish flutist and composer Joachim Andersen, his 24 grosse Etüden für Flöte, Op. 15, first published in Hamburg in 1885.
The first known appearance of this jig is in Robert Petrie's A Collection of Strathspeys, Reels and Country Dances, published in Edinburgh in 1790. It then quickly started appearing, both as a dance and as a tune, in numerous publications and musicians' manuscripts in the 1790s and the early decades of the 19th century.
This catchy Allegretto is the opening movement of Partita No. 2 in G major for solo flute by German flutist and composer Johann Georg Tromlitz, which was first published in Leipzig as part of his Sechs Partiten für Querflöte solo.
This study for two flutes is taken from the celebrated Méthode de flûte by French flutist Jean-Louis Tulou, published in Paris in 1835.
Today we propose the very first study from 26 Übungen (26 Exercises) by German flutist and composer Anton Bernhard Fürstenau, first published in 1835. It is important that the so-called “Scotch snap” (an accented short note followed by an unaccented long note) be rendered clear to the listener, which can partly be accomplished by means of a short break before each short note.
This jig is taken from Francis O'Neill's celebrated collection Music of Ireland, published in Chicago in 1903. Father W.K. Dollard was a fiddler and flute player from St. John's, New Brunswick, where he was the rector of a parish. While he was visiting Chicago in 1901, he attended gatherings of the Irish Music Club, where O'Neill obtained a few tunes from him.
This Allegro is the second movement of Italian Baroque composer Arcangelo Corelli's Violin Sonata No. 11 in E major, which was originally published in 1700 as part of his 12 Violin Sonatas, Op. 5.
This duet is taken from Blake's Young Flutist's Magazine, published in Philadelphia in 1833. It is an arrangement of one of the many ballads that brought singer John Sinclair (1791–1857) to popularity back in the day.
The spring time of year is coming, coming,
Birds are blithe, are blithe and gay,
Insects bright are humming, humming,
And all the world is May, love,
And all the world is May.
This “angry” study is the twelfth piece from the first etude book written by Danish flutist and composer Joachim Andersen, his 24 grosse Etüden für Flöte, Op. 15, first published in Hamburg in 1885.
This jig is taken from Francis O'Neill's celebrated collection Music of Ireland, published in Chicago in 1903. O'Neill obtained this particular tune from Edward Cronin, whom he considered one of the two best fiddlers in Chicago.
This is the second movement of Partita No. 2 in G major for solo flute by German flutist and composer Johann Georg Tromlitz, which was first published in Leipzig as part of his Sechs Partiten für Querflöte solo.
This short study for two flutes is taken from the celebrated Méthode de flûte by French flutist Jean-Louis Tulou, published in Paris in 1835.
Today we propose the second study from 26 Übungen (26 Exercises) by German flutist and composer Anton Bernhard Fürstenau, first published in 1835.
This jig is taken from Francis O'Neill's collection The Dance Music of Ireland, published in Chicago in 1907.
This short Adagio in C-sharp minor is the third movement of Italian Baroque composer Arcangelo Corelli's Violin Sonata No. 11 in E major, which was originally published in 1700 as part of his 12 Violin Sonatas, Op. 5.
Today we propose an arrangement for two flutes of the popular Jewish folk song “Hava Nagila”. Many thanks to Anne McKennon for contributing this arrangement!
This chromatic study is the thirteenth piece from the first etude book written by Danish flutist and composer Joachim Andersen, his 24 grosse Etüden für Flöte, Op. 15, first published in Hamburg in 1885.
English organist Thomas Morley composed this madrigal around the year 1600, using a love poem from William Shakespeare's comedy As You Like It (Act V, Scene III):
It was a lover and his lass,
With a hey, and a ho, and a hey nonino
That o'er the green cornfields did pass.
In spring time, the only pretty ring time,
When birds do sing, hey ding a ding a ding;
Sweet lovers love the spring.
Thanks to Phil for suggesting this tune!
This is the third movement of Partita No. 2 in G major for solo flute by German flutist and composer Johann Georg Tromlitz, which was first published in Leipzig as part of his Sechs Partiten für Querflöte solo.
This study for two flutes is taken from the celebrated Méthode de flûte by French flutist Jean-Louis Tulou, published in Paris in 1835.
Today we propose the third study from 26 Übungen (26 Exercises) by German flutist and composer Anton Bernhard Fürstenau, first published in 1835.
This jig is taken from Francis O'Neill's celebrated collection Music of Ireland, published in Chicago in 1903. It is one of many popular session tunes that have crept into non-Irish traditions.
This Vivace is the fourth movement of Italian Baroque composer Arcangelo Corelli's Violin Sonata No. 11 in E major, which was originally published in 1700 as part of his 12 Violin Sonatas, Op. 5.
It is believed that this tune was originally the melody to a traditional song from Tyrol (a region in modern-day western Austria and northern Italy). A group of singers from Zillertal, known as the Rainer Family, brought the song to England in 1827, where it was arranged and brought to popularity by Bohemian piano virtuoso and composer Ignaz Moscheles.
The present arrangement for three flutes appeared in Blake's Young Flutist's Magazine, published in Philadelphia in 1833.
Today's piece is the sixth study from 30 Studi, Op. 32, by Italian flutist, composer and arranger Luigi Hugues.
Thanks to Claire for contributing this piece!
It seems extremely likely that this Irish jig descended from “Dunkeld House”, which was written by the famous Scots fiddler-composer Niel Gow around the 1770s.
The present version of the tune is taken from Francis O'Neill's The Dance Music of Ireland, published in Chicago in 1907.