The earliest appearance of this slip jig is in James Aird's A Selection of Scotch, English, Irish and Foreign Airs, which was published in 6 volumes between 1782 and 1797. The collection actually included two distinct versions, under the titles “The Sailor Lassie” and “Dollie's The Girl For Me”.
This gigue is the fifth movement of the third of the Il pastor fido sonatas, first published in 1737 and traditionally attributed to Antonio Vivaldi. The actual composer, Nicolas Chédeville, made a secret agreement with Jean-Noël Marchand to publish a collection of his own compositions as Vivaldi's Op. 13. Chédeville supplied the money and received the profits, all of which was recorded in a notarial act. This may have been an attempt to give his instrument, the musette, the endorsement of a great composer which it lacked.
This love song was composed by Irish poet, singer, songwriter and entertainer Thomas Moore, who is now best remembered for authoring the lyrics of “The Minstrel Boy” and “The Last Rose of Summer”.
The present arrangement for two flutes appeared in Blake's Young Flutist's Magazine, published in 1833.
Today's piece is the fifth study from Danish flutist and composer Niels Peter Jensen's 12 Etudes for Flute, Op. 25, first published around 1829.
“The Flower o' Dunblane” was first published in the Scots Magazine in March 1808, and since that time no Scottish song has arguably enjoyed among all classes greater popularity. Tune collector Francis O'Neill notes:
Early in the nineteenth century, this song was composed by a modest weaver, Robert Tannahill of Paisley, and was set to an alleged ancient Scottish melody by Robert A. Smith author of the Irish Minstrel, and the Scottish Minstrel. According to Farquhar Graham, editor of Wood's Songs of Scotland, not a few of the airs in the latter work were composed by Smith himself (who composed the “Jesse” air prior to 1816). Whatever the origin of the above melody may have been it has a decidedly Gaelic tonality.
This Allegro is the second movement of a sonata in A minor for flute and keyboard that is thought to have been composed by George Frideric Handel. First published in 1730, the sonata is referred to as Halle Sonata No. 1 (“Hallenser Sonate Nr. 1” in German). It was supposed to be an early work composed by Handel before 1703 in his hometown Halle, but its authenticity is now considered doubtful.
This 6/8-time Amoroso (Italian for “loving”) is the third movement of a Sonata in B minor for two flutes or recorders by a German composer named Johann Christoph Schultze. This is not to be confused with the apparently unrelated composer of the same name who was born in 1733, as this sonata was first published in Hamburg in 1729.
This etude is the sixteenth piece from a collection of 26 Little Caprices for flute (XXVI kleine Capricen für die Flöte) by Danish flutist and composer Joachim Andersen, published in 1890.
In this traditional song, which folklorists classify as a lyric lament, the narrator laments his long sailing trip to California and the thought of leaving his “own true love”, and pledges to return to her one day. Very well known in Britain, Ireland, and America, the song was also used as a sea shanty, especially at the capstan.
“The Leaving of Liverpool” has been recorded by many popular folk singers and groups since the 1950s, including The Clancy Brothers, The Corries, The Dubliners, and The Pogues. It has also been adapted by several artists, most notably Bob Dylan (“Farewell”, 1963). Tom Paxton used the tune as a basis for “The Last Thing on My Mind”, which has been recorded by many artists.
Thanks to Phil for suggesting this tune!
This lively piece is the second movement and first “aria” of Georg Philipp Telemann's Partita No. 5 in E minor, TWV 41:e1, originally published in 1716 as part of the Kleine Kammermusik (“little chamber music”) collection. The original edition indicates that the melody is intended to be played by an oboe, a violin, or a flute.
This duet is taken from Blake's Young Flutist's Magazine, published in Philadelphia in 1833.
Thanks to Eric for pointing out that this is an arrangement of an aria from Daniel Auber's grand opera Gustave III, ou Le bal masqué, which premiered in Paris in 1833.
This study in B minor (with a brief excursion into the major) is the sixth piece from Danish flutist and composer Niels Peter Jensen's 12 Etudes for Flute, Op. 25, first published around 1829.
This Irish slip jig is taken from O'Farrell's Collection of National Irish Music for the Union Pipes, published between 1792 and 1804. The McDonnell of the title appears to have been a gentleman piper who was recorded as having performed on stage in County Cork, Ireland in the 1770s.
This Andante is the closing movement of the fifth of 5 Divertimentos for three basset horns composed by Wolfgang Amadeus Mozart from 1783 to 1785. These pieces were later rearranged for solo piano and published as the Six Viennese Sonatinas, which is why this piece is also known as the “Andante grazioso” from Sonatina No. 4 in B-flat major.
This lively piece is the closing movement of a Sonata in B minor for two flutes or recorders by a German composer named Johann Christoph Schultze. This is not to be confused with the apparently unrelated composer of the same name who was born in 1733, as this sonata was first published in Hamburg in 1729.
Today's piece is the seventeenth study from a collection of 26 Little Caprices for flute (XXVI kleine Capricen für die Flöte) by Danish flutist and composer Joachim Andersen, published in 1890.
This reel, probably of Irish origin, is taken from Harding's All-Round Collection of Jigs, Reels and Country Dances, published in New York in 1905. It was originally in D major, but we transposed it up to G major so that it could fit the range of the flute.
This is the prelude to the fifth of the Il pastor fido sonatas, first published in 1737 and traditionally attributed to Antonio Vivaldi. The actual composer, Nicolas Chédeville, made a secret agreement with Jean-Noël Marchand to publish a collection of his own compositions as Vivaldi's Op. 13. Chédeville supplied the money and received the profits, all of which was recorded in a notarial act. This may have been an attempt to give his instrument, the musette, the endorsement of a great composer which it lacked.
An article entitled “The Martial Music of the Clans”, published in a 1902 issue of The Celtic Monthly, has quite some information about this tune:
The March, or Spaidsearachd, of the [Cameron] Clan is “Piobaireachd Dhòmhnuill Duibh,” or Lochiel's March. This tune is also said to have been played at the battle of Inverlochy, and is the march of the 79th or Cameron Highlanders. I am aware that this tune is also associated with the MacDonalds, who call it “Black Donald Balloch of the Isles' March,” but there are several good tunes that are claimed by more than one clan. It is fair to the MacDonalds to state that this tune is found on paper in Oswald's Caledonian Pocket Companion, published in 1764, where it is called “Piobaireachd Mhic Dhònuil.” The Piobaireacdh setting is to be found in Albyn's Anthology (1816)—where the editor states he transcribed it from a MS. belonging to Captain MacLeod of Gesto. It is quite possible that this pibroch has been used as a Lament, as it possesses all the characteristics of that class of pipe music.
The present arrangement for two flutes, dedicated “to the Cadets at West Point”, is taken from Blake's Young Flutist's Magazine, published in 1833.
Today's piece is the seventh study from Danish flutist and composer Niels Peter Jensen's 12 Etudes for Flute, Op. 25, first published around 1829.
This traditional Irish slip jig first appeared in print in the third volume of O'Farrell's Pocket Companion for the Irish or Union Pipes, published circa 1808.
This Adagio is the third movement of a sonata in A minor for flute and keyboard that is thought to have been composed by George Frideric Handel. First published in 1730, the sonata is referred to as Halle Sonata No. 1 (“Hallenser Sonate Nr. 1” in German). It was supposed to be an early work composed by Handel before 1703 in his hometown Halle, but its authenticity is now considered doubtful.
This Largo is the opening movement of a Sonata in D major for two flutes or recorders by a German composer named Johann Christoph Schultze. This is not to be confused with the apparently unrelated composer of the same name who was born in 1733, as this sonata was first published in Hamburg in 1729.
This study in octaves is the eighteenth piece from a collection of 26 Little Caprices for flute (XXVI kleine Capricen für die Flöte) by Danish flutist and composer Joachim Andersen, published in 1890.
This 2/4-time “jig” is taken from Harding's All-Round Collection of Jigs, Reels and Country Dances, published in New York in 1905. A “straight jig” was a type of duple-time syncopated clog tune popular in the latter 19th century, also called a “sand jig”, particularly used as an accompaniment to stage clog or hornpipe dancing.
This piece is the third movement and second “aria” of Georg Philipp Telemann's Partita No. 5 in E minor, TWV 41:e1, originally published in 1716 as part of the Kleine Kammermusik (“little chamber music”) collection. The original edition indicates that the melody is intended to be played by an oboe, a violin, or a flute.
This duet is taken from Blake's Young Flutist's Magazine, published in Philadelphia in 1833. The melody, which appears to be traditional, had been published along with words by Philip Derrick in 1795.
When at night the village swains
Yield to sleep's bland dotage,
I will trip across the plains
To my Cynthia’s cottage;
Wish her, at the noon of night,
A refreshing sweet good night.
This study in octaves is the eighth piece from Danish flutist and composer Niels Peter Jensen's 12 Etudes for Flute, Op. 25, first published around 1829.
This Irish slip jig was collected by Chicago police captain Francis O'Neill, who included it in his collection Waifs and Strays of Gaelic Melody, published in 1922.
This beautiful piece was kindly contributed to our collection by flutist and composer Anne McKennon.
Sometimes the prettiest melodies are folk tunes. I wrote this waltz in that style. It can be played straight through or the sections can be repeated in any order the player likes. It is dedicated to my first flute teacher, Mary Ellen Potter. She was a big influence in my life and we remained close long after I was her student. I premiered “Planxty Mary Ellen” in concert the day she passed away. This is my tribute to her.
This Allegro is the second movement of a Sonata in D major for two flutes or recorders by a German composer named Johann Christoph Schultze. This is not to be confused with the apparently unrelated composer of the same name who was born in 1733, as this sonata was first published in Hamburg in 1729.