Beethoven - From 10 National Airs for flute and piano. Op. 107 (1819)

Ludwig van Beethoven (baptised 17 December 1770 - 26 March 1827) was a German composer and pianist. A crucial figure in the transition between the classical and romantic eras in classical music, he remains one of the most recognized and influential musicians of this period, and is considered to be one of the greatest composers of all time.
From 10 National for flute and piano, Op. 107 (1818-19)
1. Air tirolien (I bin a Tiroler Bua). Moderato (E♭ major)
2. Air écossais (Bonny Laddie, Highland Laddie). Allegretto, quasi vivace (F major) (5:07)
3. Air de la petite Russie. Vivace (G major) (7:53)
4. Air écossais (The Pulse of an Irishman). Allegretto scherzo (F major) (13:00)
5. Air tirolien (A Madel, ja a Madel). Moderato (F major) (18:15)
6. Air écossais (Merch Megan). Andante commodo (E♭ major) (25:25)
7. Air russe (Schöne Minka). Andante (A minor) (30:31)
8. Air écossais (O Mary, at thy Window Be). Andantino quasi allegretto (D major) (36:38)
Performers unknown. This is from an old LP which I lost plus its information. The only thing I remember is that these are Italian musicians.
Beethoven wrote this piece based on folk-derived melodies. This is one of several sets of pieces that Beethoven wrote that are folk-derived. The piece was for George Thomson, with whom he had a difficult business relationship, a wealthy Edinburgh-based publisher. These variation sets were first published in 1819 in both London and Vienna.
Description by John Palmer [-]
The National Airs with variations, Opp. 105 and 107, are among the last compositions Beethoven pursued for the Scottish publisher George Thomson. Beethoven set about 180 folksongs for the publisher, who commissioned composers throughout Europe for works suitable for amateur musicians. In a letter of December 1817, Thomson advises Beethoven: "You must write the variations in a familiar, easy and slightly brilliant style; so that the greatest number of our ladies can play and enjoy them." A few of the variations, however, tend more toward the brilliant than the easy, with a piano technique similar to that of Beethoven's late piano sonatas. Furthermore, the variations are forward-looking, featuring large-scale structures derived from very simple themes.
Nonetheless, the Airs and their variations are generally easier than other sets of variations by Beethoven, especially the concurrently conceived "Diabelli" variations. The simplicity is at its greatest in the flute part, which usually doubles a line in the piano. Even when the flute gains some measure of independence its material is decidedly subordinate to that of the piano. The addition of the flute was Thomson's idea.