I’ve put the version for two flutes first, not because I think this should be the definitive one while the single-flute version is a merely a fall-back option, but because I don’t want you to assume that the piece is primarily for one flute, with an alternative version for people who happen to have a spare flautist knocking around with nothing to

I’ve put the version for two flutes first, not because I think this should be the definitive one while the single-flute version is a merely a fall-back option, but because I don’t want you to assume that the piece is primarily for one flute, with an alternative version for people who happen to have a spare flautist knocking around with nothing to do. Both versions work well, but since single-flute-and-harp pieces are fairly common, I thought it would be nice to present you with a 2-flute version first. (The recording only plays this 2-flute version, by the way.)

“Albert” in the title of this piece is a reference to Domenico Alberti, after whom the distinctive Classical accompanimental bass line is named - the Alberti bass (not to be confused with the differently pronounced actor Alfie Bass). Even though Alberti possibly didn’t come up with the particular playing pattern himself, he did use it so extensively in his compositions that Mozart and his contemporaries thought it was worth copying in their own piano pieces; and it provides the rolling quaver accompaniment played by the harp in this piece.

Poor old Domenico (1710-1740) only lived for thirty years, so he deserves to be commemorated. I’m just trying to do my bit here.

The “Strolling” is because that’s what the piece feels like: it’s just a nice cheerful jaunt along the Promenade...