This highly-syncopated study is the twenty-fourth piece from 26 Übungen (26 Exercises) by German flutist and composer Anton Bernhard Fürstenau, first published in 1835.
This folk song is a variant of the early-19th-century ballad “The Braes of Balquhither” by Scottish poet Robert Tannahill and Scottish composer Robert Archibald Smith, which was in turn most likely based on an 18th-century traditional air. The adaptation into the modern version of “Wild Mountain Thyme” was performed by Belfast musician Francis McPeake (1885–1971), who first recorded it with his family in the 1950s. Tannahill's original lyrics include a number of phrases that McPeake carried over into his song, including the lines “Let us go, lassie, go” and “And the wild mountain thyme”.
Thanks to Mark for contributing this arrangement for three flutes!
This Andante is the fourth piece from a collection of 20 Capricci by Italian composer Saverio Mercadante. It is not certain when these caprices were composed, but scholars tend to associate them with Mercadante's early years in Naples, between 1811 and 1814.
This lovely rondeau is the third and last movement of the second Sonata for two flutes included in the Nouvelle Méthode théorique et pratique pour la flûte by the French flutist and composer François Devienne.
Today we propose the third piece from 15 Etudes modernes, élégantes et progressives by Italian Romantic flutist Giuseppe Gariboldi.
The earliest known appearance of this jig is in Francis O'Neill's celebrated collection Music of Ireland, published in Chicago in 1903. O'Neill found this as an unnamed and unpublished tune, and said it was a favorite with his contemporary Chicago musicians Delaney, Early and McFadden. In Irish Folk Music he writes: “A German bandmaster from Troy, New York, was so pleased with its rhythm that it fills a favorite place in his repertoire. To impress a German leader favorably is high honor indeed for an Irish jig.”
This the second movement of Partita No. 5 in E minor 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 is the sixth piece from XXIV Duets for two German Flutes, Adapted to the Capacity of all Degrees of Performers, composed by English flutist Lewis Granom and first published in London in 1747.
In a performance setting, this piece is intended to be played sandwiched between two instances of the preceding Duet No. 5.
Today we propose the twenty-fifth study from 26 Übungen (26 Exercises) by German flutist and composer Anton Bernhard Fürstenau, first published in 1835.
It is an enharmonically altered version of study No. 13 from the same collection.
This jig is taken from Francis O'Neill's celebrated collection Music of Ireland, published in Chicago in 1903. It is probably much older, though, as O'Neill found an elaborate four-part version in McGoun's Repository of Scots and Irish Airs (c. 1800) under the title “Gillan na Drover”.
This Allegretto is the fifth piece from a collection of 20 Capricci by Italian composer Saverio Mercadante. It is not certain when these caprices were composed, but scholars tend to associate them with Mercadante's early years in Naples, between 1811 and 1814.
This duet is the opening movement of the second Sonata for two flutes included in the Nouvelle Méthode théorique et pratique pour la flûte by the French flutist and composer François Devienne.
Today we propose the fourth piece from 15 Etudes modernes, élégantes et progressives by Italian Romantic flutist Giuseppe Gariboldi.
The earliest known appearance of this tune is in the American collection Howe's 1000 Jigs and Reels, published in Boston around 1867. Francis O'Neill called it “a grand and spirited double jig”, and included it in three of his classic Irish tune collections.
This minuet and its accompanying variations constitute the third and last movement of Partita No. 5 in E minor 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 minuet is the seventh piece from XXIV Duets for two German Flutes, Adapted to the Capacity of all Degrees of Performers, composed by English flutist Lewis Granom and first published in London in 1747.
Today we propose the twenty-sixth study from 26 Übungen (26 Exercises) by German flutist and composer Anton Bernhard Fürstenau, first published in 1835.
It is an enharmonically altered version of study No. 14 from the same collection.
The earliest known appearance of this jig is in Francis O'Neill's celebrated collection Music of Ireland, published in Chicago in 1903.
There are two places named Ballycastle in Ireland: one is a small town in County Antrim (Northern Ireland), the other a village in County Mayo. It is uncertain which one the title refers to.
This triplet-based Allegretto is the sixth piece from a collection of 20 Capricci by Italian composer Saverio Mercadante. It is not certain when these caprices were composed, but scholars tend to associate them with Mercadante's early years in Naples, between 1811 and 1814.
This duet is the opening movement of the third Sonata for two flutes included in the Nouvelle Méthode théorique et pratique pour la flûte by the French flutist and composer François Devienne.
Today we propose the fifth piece from 15 Etudes modernes, élégantes et progressives by Italian Romantic flutist Giuseppe Gariboldi.
The earliest appearance of this jig in Irish collections is in Francis O'Neill's Music of Ireland, published in Chicago in 1903. However, the tune is probably older, as very similar melodies (such as “The Sylph”) can be found in English manuscripts dating from the early 19th century.
Banbridge, located in County Down about 15 miles south of Belfast, was once an important stop on the Dublin to Belfast stagecoach route. It features a very unusual main street, rising to a steep hill before leveling out. In 1834 an underpass, commonly known as “The Cut”, was built to prevent horses with heavy loads from fainting before reaching the top of the hill.
This the opening movement of Partita No. 6 in C 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 march is the eighth piece from XXIV Duets for two German Flutes, Adapted to the Capacity of all Degrees of Performers, composed by English flutist Lewis Granom and first published in London in 1747.
Today we propose the eighth study from 26 Übungen (26 Exercises) by German flutist and composer Anton Bernhard Fürstenau, first published in 1835.
This jig, commemorative of the Duke of Wellington, England's Napoleonic Wars hero, is taken from Francis O'Neill's collection Music of Ireland, published in Chicago in 1903. O'Neill identifies “Wellington's Advance” as an Ulster tune, and says it was “unknown in the Southern provinces” of Ireland.
This is the seventh piece from a collection of 20 Capricci by Italian composer Saverio Mercadante. It is not certain when these caprices were composed, but scholars tend to associate them with Mercadante's early years in Naples, between 1811 and 1814.
This duet is the central movement of the third Sonata for two flutes included in the Nouvelle Méthode théorique et pratique pour la flûte by French flutist and composer François Devienne.
Today we propose the sixth piece from 15 Etudes modernes, élégantes et progressives by Italian Romantic flutist Giuseppe Gariboldi.
The earliest known appearance of this jig is in Francis O'Neill's celebrated collection Music of Ireland, published in Chicago in 1903. O'Neill obtained this tune from Chicago Police Patrolman John Kennedy, who in turn had learned it from his father.