This traditional Irish reel was published in Chicago police officer Francis O'Neill's collection Waifs and Strays of Gaelic Melody, published in 1922. The source for this tune was a Jeremiah O'Reilly from San Francisco, California.
This corrente is the second movement of the second sonata from Sonates pour la flûte traversière avec la basse, Op. 19 by the prolific French Baroque composer Joseph Bodin de Boismortier. These sonatas were originally published in Paris in 1727.
Today we propose an arrangement for flute trio of the first of Wolfgang Amadeus Mozart's Three German Dances, K. 605, composed in 1791.
Thanks to Leighton for suggesting this piece!
Today's piece is the thirty-eighth study from 40 Esercizi per Flauto (40 Exercises for Flute), Op. 101, by Italian flutist, composer and arranger Luigi Hugues.
The origins of this reel date back to the 18th century. It has appeared in many collections, and is known under a number of different titles, including “Comely Jane Downing”, “Haul Away the Hawser”, “Larry Bourn”, “Lord Summer's Reel”.
Johann Sebastian Bach composed the Partita No. 1 in B minor for solo violin, BWV 1002, in 1720. What we present today is a transcription for solo flute of the second movement of this Partita, a double that elaborates on the preceding allemanda. In order to fit the range of the flute, the piece has been transposed from B minor to E minor.
This waltz for three flutes is taken from Blake's Young Flutist's Magazine, published in Philadelphia in 1833. The origins of the piece are unfortunately unknown, but it is clearly unrelated to the waltz of the same name (Neu Wien in German) by Johann Strauss II, which was only written in 1870.
This study, designed to develop perfect evenness when playing chromatic scales, is the fourth piece from 20 Studi progressivi e dilettevoli per il Flauto (“20 progressive and delightful studies for the flute”) by Italian flutist Camillo Romanino.
Tune collector Francis O'Neill remarks:
Popular since its first publication in Bremner's Collection of Scots Reels or Country Dances (1767), “I'll gae nae mair to yon town” has been a fruitful source of variants which circulated under various titles.
This Fantasia in D major is one of 24 pieces attributed to the famous German flutist and composer Johann Joachim Quantz to have survived in a manuscript titled Fantasier og Preludier. 8. Capricier og andre Stykker til Øvelse for Flöÿten af Quanz (“Fantasies and Preludes. 8 Caprices and other Pieces for Exercise for the Flute by Quantz”). This manuscript has been kept in the Giedde Collection (named after its founder, Danish composer W.H.R.R. Giedde) in the Royal Library of Copenhagen, which hosts a fairly comprehensive collection of flute music from the second half of the 18th century.
This plainte (a French term indicating a slow composition with a lamenting character) constitutes the seventh movement of the first 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's piece is the thirty-ninth study from 40 Esercizi per Flauto (40 Exercises for Flute), Op. 101, by Italian flutist, composer and arranger Luigi Hugues.
This pipe tune, a 9/8-time retreat march composed by Pipe Major William Lawrie (also spelled “Laurie”), commemorates one of the greatest and most terrible battles of World War I, which was fought for 140 days between July and November 1916. Lawrie fought in this horrendous battle as Pipe Major of the 8th Battalion, Argyll & Sutherland Highlanders. He died shortly afterwards from illness and injuries sustained in the trenches, but lived just long enough to see his tune meet immediate success.
In spite of its name, the retreat march is not necessarily a tune which would be marched to; often times it would be played as part of the evening ritual in military camps as day duties give way to night ones. It is not linked to the military maneuver of retreating from a battle, but rather to the idea of refuge and safety in the camp.
Thanks to Phil for suggesting this tune!
This gavotte is the third movement of the second sonata from Sonates pour la flûte traversière avec la basse, Op. 19 by the prolific French Baroque composer Joseph Bodin de Boismortier. These sonatas were originally published in Paris in 1727.
This short duet is taken from the Nouvelle Méthode théorique et pratique pour la flûte by the French flutist and composer François Devienne.
Today we propose the very first piece from Exercices journaliers pour la flûte (or Tägliche Studien in German, i.e. “Daily Exercises”) by Austro-Hungarian composer Adolf Terschak. It was first published in 1867.
The earliest appearance of this tune in print is in Francis O'Neill's Waifs and Strays of Gaelic Melody, published in 1922. The reported source for this melody is one of O'Neill's collaborators, Chicago Police Sergeant James O'Neill, originally from County Down, Ireland.
Johann Sebastian Bach composed the Partita No. 1 in B minor for solo violin, BWV 1002, in 1720. What we present today is a transcription for solo flute of the third movement (or second movement, depending on whether you count the doubles as separate movements) of this Partita, the corrente. In order to fit the range of the flute, the piece has been transposed from B minor to E minor.
Today we propose an arrangement for flute trio of the second of Wolfgang Amadeus Mozart's Three German Dances, K. 605, composed in 1791.
Thanks to Leighton for suggesting this piece!
This is the last study from 40 Esercizi per Flauto (40 Exercises for Flute), Op. 101, by Italian flutist, composer and arranger Luigi Hugues.
The earliest appearance of this tune in print is in Francis O'Neill's Waifs and Strays of Gaelic Melody, published in 1922. The reported source for this melody is one of O'Neill's collaborators, Chicago Police Sergeant James O'Neill, originally from County Down, Ireland.
This Presto in B minor is one of 24 pieces attributed to the famous German flutist and composer Johann Joachim Quantz to have survived in a manuscript titled Fantasier og Preludier. 8. Capricier og andre Stykker til Øvelse for Flöÿten af Quanz (“Fantasies and Preludes. 8 Caprices and other Pieces for Exercise for the Flute by Quantz”). This manuscript has been kept in the Giedde Collection (named after its founder, Danish composer W.H.R.R. Giedde) in the Royal Library of Copenhagen, which hosts a fairly comprehensive collection of flute music from the second half of the 18th century.
This birdsong-like piece is taken from Act III of Tchaikovsky's famous 1890 ballet The Sleeping Beauty. It is, without a doubt, one of the most charming and well-known numbers in classical ballet.
The main protagonists of this Andantino are two flutes, which in the original score are supported by a clarinet and pizzicato strings. What we propose today is the two unaltered flute parts; as it turns out, they make a very nice flute duet, even without accompaniment.
Thanks to Lucia for suggesting this piece!
Today we propose the second piece from Exercices journaliers pour la flûte (or Tägliche Studien in German, i.e. “Daily Exercises”) by Austro-Hungarian composer Adolf Terschak. It was first published in 1867.
The earliest known appearance of this tune in print is in Francis O'Neill's Waifs and Strays of Gaelic Melody, published in 1922. The reported source for this melody is one of O'Neill's collaborators, Chicago Police Sergeant James O'Neill, originally from County Down, Ireland.
This Largo is the fourth movement of the second sonata from Sonates pour la flûte traversière avec la basse, Op. 19 by the prolific French Baroque composer Joseph Bodin de Boismortier. These sonatas were originally published in Paris in 1727.
The renowned Philadelphia musician Francis Johnson composed this march for Joseph Cowell's 1824 revival of the melodrama The Cataract of the Ganges, or the Rajah's Daughter. A virtuoso of the keyed bugle and the violin, Johnson is remembered as the first African American to give public concerts, and as the first African American composer to have his works published as sheet music.
The present arrangement for three flutes appeared in Blake's Young Flutist's Magazine, published in Philadelphia in 1833.
This is the very first piece from 24 Technische Studien für Flöte (24 Technical Studies), Op. 11, by German flutist Emil Prill. It was first published in Leipzig in 1911.