This Affettuoso is the central movement of a Flute Duet in C major by famous German flutist and composer Johann Joachim Quantz, first published in 1759.
Today we propose the tenth study from 24 Tägliche Studien (24 Daily Studies) by German flutist and composer Anton Bernhard Fürstenau, first published in Berlin in 1839.
The earliest known appearance of this jig is in the 3rd volume of O'Farrell's Pocket Companion for the Irish or Union Pipes, published in London around 1808. It is believed to have derived from a similar 18th-century tune, now known as “Morgiana in England”.
This is the third movement of the seventh 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 early-19th-century cavatina (short song) is based on a subject from La Preciosa, a 1821 dramatic theater composition 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 1833.
This study is the twenty-seventh piece from 30 Studi, Op. 32, by Italian flutist, composer and arranger Luigi Hugues. The direction col semplice colpo di lingua, which is found at the beginning, instructs the player not to use double tonguing.
“The White Blanket” (“An Súisín Bán”) is the name of both a contemporary and traditional Irish set dance. What is probably the earliest version of the melody appears in John and William Neales's Collection of the Most Celebrated Irish Tunes (Dublin, 1726). Many different variants of the tune have appeared ever since.
This is one of the best known songs by Swedish composer, poet and entertainer Carl Michael Bellman. It was originally published in his 1790 collection Fredman's Epistles. The song is named after its first verse, which can be translated as “Mark how our shadow”.
Thanks to Helena for suggesting this piece!
This Presto is the third and final movement of a Flute Duet in C major by famous German flutist and composer Johann Joachim Quantz, first published in 1759.
Today we propose the eleventh study from 24 Tägliche Studien (24 Daily Studies) by German flutist and composer Anton Bernhard Fürstenau, first published in Berlin in 1839.
This melody was originally composed by Scottish accordionist Iain McLachlan in 1958 as a pipe lament for a local doctor, under the title “Dr Mackay's Farewell to Creagorry”. Creagorry is a town on the Outer Hebridean island of Benbecula, where Iain and his family lived.
In 1963, the tune was used as the theme for the BBC miniseries The Dark Island, and it became so popular that the name stuck. Like the song, the show was set in Benbecula, though it was mostly filmed on South Uist.
Thanks to Marion for suggesting this tune!
This is the third movement of Italian Baroque composer Arcangelo Corelli's Violin Sonata No. 6 in A major, which was originally published in 1700 as part of his 12 Violin Sonatas, Op. 5.
This lively flute duet is taken from Blake's Young Flutist's Magazine, published in Philadelphia in 1833.
Unfortunately we were unable to track the origins of this melody. All we know is that the title is French for “The Toy”. If you recognize the tune, please let us know!
This study is the twenty-eighth piece from 30 Studi, Op. 32, by Italian flutist, composer and arranger Luigi Hugues.
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 is the fourth and last movement of the seventh 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.
On the occasion of Black History Month, we are happy to propose this original arrangement for two flutes of the well-loved spiritual “I Know It Was the Blood”, kindly contributed to our collection by Diana Irving.
Today we propose the twelfth study from 24 Tägliche Studien (24 Daily Studies) by German flutist and composer Anton Bernhard Fürstenau, first published in Berlin in 1839.
This jig is taken from the third volume of James Aird's A Selection of Scotch, English, Irish and Foreign Airs, published in Glasgow in 1788.
This Adagio in F-sharp minor is the fourth movement of Italian Baroque composer Arcangelo Corelli's Violin Sonata No. 6 in A major, which was originally published in 1700 as part of his 12 Violin Sonatas, Op. 5.
This Allegro is the opening movement of a Flute Duet in D major by famous German flutist and composer Johann Joachim Quantz, first published in 1759.
This study is the twenty-ninth piece from 30 Studi, Op. 32, by Italian flutist, composer and arranger Luigi Hugues.
The earliest known appearance of this tune is in Burk Thumoth's Twelve English and Twelve Irish Airs, published in London in 1743.
The name of the tune may come from a poem called “The Fingallian Dance”, written around 1650. Fingallian is an extinct language formerly spoken in the county of Fingal, Ireland. It is thought to have been an offshoot of Middle English, which was brought to Ireland during the Norman invasion, and was extinct by the mid-19th century.
This is the opening movement of the ninth 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 piece was originally a march in the 1803 musical drama Rob Roy by English composer John Davy (1763–1824). The present arrangement for two flutes appeared in Blake's Young Flutist's Magazine, published in Philadelphia in 1833.
This is the thirteenth study from 24 Tägliche Studien (24 Daily Studies) by German flutist and composer Anton Bernhard Fürstenau, first published in Berlin in 1839.
The earliest known appearance of this lovely tune in print is in John Clinton's collection Gems of Ireland: 200 Melodies, first published ca. 1840.
This is the opening movement of Italian Baroque composer Arcangelo Corelli's Violin Sonata No. 3 in C major, which was originally published in 1700 as part of his 12 Violin Sonatas, Op. 5.