This is the opening movement of the tenth 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 flute duet appeared in Blake's Young Flutist's Magazine, published in Philadelphia in 1833. “O pescator dell'onda” (“O Fisherman of the sea”) is a traditional Venetian folk song.
Today's piece is the tenth study from 40 Nuovi Studi, Op. 75, by Italian flutist, composer and arranger Luigi Hugues.
This oddly-named jig dates back to the late 18th century. A tune by this name (“Ligurum Cuss”) was the indicated tune for a song by Kane O'Hara for his opera Midas (1762).
In his collection Waifs and Strays of Gaelic Melody (1922), Francis O'Neill remarks:
The expression “Ligrum Cus”, evidently corrupt Gaelic, may be translated “Let go my foot”. It may also relate to the rent question. We can hardly blame the Scotch, while Irish titles in Moore's Melodies present similar difficulties.
“Ligrum Cus” (and its spelling variants) may be an anglicized version of the Irish gliogram cos, gliogram meaning “rattling noise”.
This is the opening movement of Italian Baroque composer Arcangelo Corelli's Violin Sonata No. 2 in B-flat major, which was originally published in 1700 as part of his 12 Violin Sonatas, Op. 5.
This is the third movement of a Flute Duet in E minor by famous German flutist and composer Johann Joachim Quantz, first published in 1759.
This is the eighteenth piece from 24 Tägliche Studien (24 Daily Studies) by German flutist and composer Anton Bernhard Fürstenau, first published in Berlin in 1839.
This catchy jig of unknown provenance appears in the 3rd volume of James Aird's A Selection of Scotch, English, Irish and Foreign Airs, published in Glasgow in 1788.
It is worth noting that in the 16th to mid-19th centuries the term “petticoat” referred to any separate skirt worn with a gown, bodice or jacket. Unlike more recent versions, these petticoats were not underwear, as they were made to be seen.
This is the second movement of the tenth 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 flute trio is taken from James Bond's National Melodies, published in London in 1815. It is a combination of three waltzes, called “Lieber Augustine”, “Hungarian Waltz”, and “Tyrolese Waltz”.
The most prominent of the three melodies, better known as “O du lieber Augustin” (“O dear Augustin”), is a popular Viennese song, supposedly composed by balladeer Marx Augustin in 1679.
Today's piece is the thirteenth study from 40 Nuovi Studi, Op. 75, by Italian flutist, composer and arranger Luigi Hugues.
Popular both in Scotland and in Ireland, this strathspey started appearing in music collections in the early 19th century. One of its earliest appearances is in John Hall's A Selection of Strathspeys Reels, Waltzes & Irish Jigs, dated circa 1818.
In County Donegal, Ireland, the tune is set as a highland and known as “The Cat that Kittled in Jamie's Wig”. This title, referring to a cat that had a litter of kittens in someone's wig, appears to have been an anti-Jacobite reference.
This Vivace is the third movement of Italian Baroque composer Arcangelo Corelli's Violin Sonata No. 2 in B-flat major, which was originally published in 1700 as part of his 12 Violin Sonatas, Op. 5.
This circular canon for two flutes is the final movement of a Flute Duet in E minor by famous German flutist and composer Johann Joachim Quantz, first published in 1759. In the past, this particular movement has sometimes been misattributed to Telemann.
This is the nineteenth piece from 24 Tägliche Studien (24 Daily Studies) by German flutist and composer Anton Bernhard Fürstenau, first published in Berlin in 1839.
This tune is popular in Irish tradition under the names “The Trip to Sligo” and, sometimes, “Lark in the Morning” (but it shall not be confused with another popular jig also called “Lark in the Morning”). However, it is believed to be a composition of Scottish fiddler John Anderson (1737–1808) who published it, as “When I Parted”, in his circa-1790 A Collection of New Highland Strathspey Reels For the Violin or German Flute.
This charming little Adagio in D minor is the third movement of the tenth 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 Scottish air, dating back to the 18th century, has been used as the melody for various sets of lyrics by Robert Burns, Lady Nairne, James Hogg, and Captain Charles Grayre.
In more recent years, the tune has made several appearances in popular culture. The title was used by the Rolling Stones in their 1966 documentary Charlie Is My Darling. A parody of the song can even be heard in the “Charlie X” episode of the classic series Star Trek, in which Uhura sings a special version (with lyrics adapted to the plot) as Spock accompanies her on the Vulcan lyre.
The present arrangement for two flutes is taken from Blake's Young Flutist's Magazine, published in Philadelphia in 1833.
Today's piece is the fifteenth study from 40 Nuovi Studi, Op. 75, by Italian flutist, composer and arranger Luigi Hugues.
This jig is taken from Francis O'Neill's Music of Ireland, published in Chicago in 1903. O'Neill also included it, under the title “Wink and I'll Follow You”, in his later collection Waifs and Strays of Gaelic Melody (1922).
This Adagio is the fourth movement of Italian Baroque composer Arcangelo Corelli's Violin Sonata No. 2 in B-flat major, which was originally published in 1700 as part of his 12 Violin Sonatas, Op. 5.
This simple duet is taken from the celebrated Méthode de flûte by French flutist Jean-Louis Tulou, published in Paris in 1835. Tulou was arguably the most influential French flutist of his time, being both Professor at the Paris Conservatoire, and the principal at the Paris Opera.
This is the twentieth piece from 24 Tägliche Studien (24 Daily Studies) by German flutist and composer Anton Bernhard Fürstenau, first published in Berlin in 1839.
The earliest appearance of this jig in print is in the 3rd volume of O'Farrell's Pocket Companion for the Irish or Union Pipes, published around 1808. Unusually, the collection does not indicate a provenance for this tune, but it is generally assumed that it is of Irish origin.
This is the fourth and final movement of the tenth 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 sometimes appears as an “Allegro” in modern editions.
This arrangement for two flutes of the popular Irish air “Kathleen O'Moore” is taken from Blake's Young Flutist's Magazine, published in Philadelphia in 1833.
My love, still I think that I see her once more,
But alas! she has left me her loss to deplore;
My own little Kathleen, my poor little Kathleen,
My Kathleen O'Moore!
Today's piece is the sixteenth study from 40 Nuovi Studi, Op. 75, by Italian flutist, composer and arranger Luigi Hugues.
The only appearance of this tune in print appears to be in Francis O'Neill's 1922 collection Waifs and Strays of Gaelic Melody. He indicated Chicago fiddler Patrick Stack as his source for this tune.
This Allegro is the third movement of Italian Baroque composer Arcangelo Corelli's Violin Sonata No. 1 in D major, which was originally published in 1700 as part of his 12 Violin Sonatas, Op. 5.
This easy duet is taken from the celebrated Méthode de flûte by French flutist Jean-Louis Tulou, published in Paris in 1835.