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Today we propose the first étude from Joachim Andersen's Twenty-Four Etudes for Flute, Op. 33. This is basically a never-ending run of sixteenth notes, but don't be afraid to breathe!
This Larghetto is the slow central movement of Georg Philipp Telemann's third Canonic Sonata. As with all of these sonatas, the two players play the exact same melody, but one measure apart. Trill endings have been written out, so that you can instantly know which accidentals to play.
“Tre giorni son che Nina” is one of the best-known arias of the Italian Baroque. The lyrics refer to the concern of a man for his beloved Nina, who is in bed seriously ill. This is a common topic in the popular music of the period.
For three long days my Nina, my Nina, my Nina
Upon her bed has lain, upon her bed has lain.
Louder and louder, ye players all, awaken my Ninetta,
Awaken my Ninetta, that she may sleep no more.
Despite the enormous popularity of the air, there are still serious doubts about its attribution. For nearly a century and a half, the air has been attributed to Pergolesi, and it still is, despite the absence of any element linking it with the Italian composer. Since the first known execution of the piece took place in 1749, some scholars consider Vincenzo Ciampi as the most likely author; however, the problem remains open. In particular, the style of the air seems to follow the style of the Neapolitan school, and not that of the Venetian school which Ciampi belonged to.
This aria makes a great encore piece, and it was often used as such by famous violinists Fritz Kreisler and Nathan Milstein.
This minor-mode jig is often attributed to blind Irish harper Turlough O'Carolan (1670–1738), although Donal O'Sullivan in his definitive work on the bard (Carolan: Life and Times of an Irish Harper, 1958) could find no incontrovertible evidence of its origin. To complicate things, there exist a number of versions of the same melody in 18th-century English and Scottish manuscripts, presented under a variety of names.
Today we propose the tenth étude from 18 exercices pour la flûte traversière by French Romantic composer Benoit Tranquille Berbiguier.
After the huge success of the Allegro con brio, here is the second movement of Ludwig van Beethoven's Flute Duo in G major. This stately minuet, all in the key of G major, includes a two-part trio and provides for a return of the initial theme, so that the resulting form is AABBCCDDAB.
Composed circa 1720, this E minor sonata (HWV 379) is Handel's own compilation of movements taken from three other solo sonatas. Confusingly, this extra sonata has sometimes been numbered Op. 1, no. 1a, when in fact it never appeared in Opus 1.
Of the eleven flute sonatas that are traditionally attributed to Handel, this is the only one that appears to have been genuinely intended for the flute, since it is the only one that survives in that form in Handel's own manuscript. Uniquely among Handel's solo sonatas, it falls into five rather than four movements.
The concluding Presto we present today lets the flute sing over a jogging bass line; this, like the second movement (Andante), originated in the Recorder Sonata in G minor (HWV 360, Op.1, No. 2).