Karl Kohaut (1726 - 1784) was an Austrian lutenist and composer of Czech descent considered to be one of the last important composers of music for Baroque lute. Although also a violinist active in the Viennese music scene he was most well-known as a lutenist. He composed a total of seven lute concertos during his lifetime including this Concerto in F Major No. 2 (not to be confused with his Concerto in F Major No. 1 which is considered the most popular) in three movements: Allegro moderato Andante molto and Tempo di Minuetto. This edition includes the full orchestral score orchestral parts as well as guitar and lute parts. Victor Van Puijenbroeck has adapted theoriginal solo part and included in the set are parts for both lute (the part has been adapted from lute tablature to modern notation) and guitar (capotasto). Instrumentation: Full Score Guitar (or Lute) - separate parts included for each instrument Violin I Violin II Cembalo/Cello/Contrabass Karl Kohaut (1726 - 1784) was an Austrian lutenist and composer of Czech descent considered to be one of the last important composers of music for Baroque lute. Although also a violinist active in the Viennese music scene he was most well-known as a lutenist. He composed a total of seven lute concertos during his lifetime including this Concerto in F Major No. 2 (not to be confused with his Concerto in F Major No. 1 which is considered the most popular) in three movements: Allegro moderato Andante molto and Tempo di Minuetto. This edition includes the full orchestral score orchestral parts as well as guitar and lute parts. Victor Van Puijenbroeck has adapted theoriginal solo part and included in the set are parts for both lute (the part has been adapted from lute tablature to modern notation) and guitar (capotasto). Instrumentation: Full Score Guitar (or Lute) - separate parts included for each instrument Violin I Violin II Cembalo/Cello/Contrabass

Par PAULET VINCENT. Une fois esquissées les premières pages de cette partition, il m'est apparu que la musique que je découvrais progressivement pouvait suggérer, par analogie, une succession de déclinaisons lumineuses - je me pris alors à imaginer les métamorphoses d'un paysage (lui aussi parfaitement imaginaire) au gré de l'évolution de la lumière du jour, puis à envisager cette poétique comme celle de la célébration de la Terre et du soleil s'unissant dans un tel spectacle, d'où le titre de l'oeuvre. Cinq mouvements, ou 'poèmes solaires' (ce fut ma première idée de titre) s'enchaînent, dont les indications de tempo sont les suivantes : moderato, presto, moderato, presto, largo puis (sans transition) presto. A posteriori, la lumière d'abord pâle puis progressivement plus intense de la première pièce m'évoque l'aube et l'éclairage déclinant de la dernière un crépuscule - dans cette logique, la relative pesanteur, l'éclat quelque peu 'plombé' du mouvement central, généralement statique, pourra suggérer à son tour l'ambiance lumineuse parfois écrasante de midi, les mouvements intermédiaires apparaissant, quant à eux, comme deux avatars d'une même danse incandescente. L'évolution du discours est toutefois d'ordre purement musical, sa résultante orchestrale mettant, par ailleurs, plus souvent en oeuvre un ensemble de solistes qu'une fusion de masses sonores. Ces 'Noces de lumière', écrites entre l'automne 2004 et le printemps 2006, répondent à une commande passée par la Fondation d'Entreprise Groupe Banque Populaire. Elles sont dédiées conjointement à Laurent Petitgirard, qui, en tant que conseiller artistique de cette Fondation, est à l'origine de l'oeuvre, et à John Nelson, qui, à la tête de l'Ensemble Orchestral de Paris, en dirigea la première audition au Théâtre des Champs-Elysées. Vincent Paulet / contemporain / Répertoire / Orchestre

o.Op. 82 TrV 133- We are grateful to the University of Edinburgh Library Centre for Research Collections for providing us with access to a manuscript of this work. At shelf-mark Mus.M.645 is a set of parts in the hand of an unknown copyist annotated by John Parr (the bassoonist of Sheffield) who also wrote a full score and second copies of the bassoon and bass parts. The score is dated 1930 and the bassoon part 1934. It is here entitled merely 'duet for flute and bassoon with orchestra' and ascribed to R. Strauss.   We are also grateful for advice from Dr Christian Wolf of the Richard-Strauss-Institut in Munich whohave access to a copy of  'der Zweikampf' made by Cl. Schubert but the Richard-Strauss-Archiv in Garmisch-Partenkirchen will not permit them to make a complete copy for us but has permitted sample pages to be copied confirming the identity of the music. They also affirm the considerable doubt as to Richard Strauss being the composer however no other composer has been suggested in his stead.  In the Strauss bibliography a date of composition of 1884 is given when he was twenty years old.   We would also like to acknowledge with thanks the help of Drs Jenny Nex and Lance Whitehead of Edinburgh in deciphering the manuscript and advising on the piano reduction.   In editing the work we have corrected a few evident errors and made the dynamics consistent. There was no given tempo indication in some of the parts but Parr added 'allegro moderato' which is also the tempo indication in the Munich manuscript.  He also suggested the bass pizzicato in most of the polacca but perhaps this was intended only for the double bass should one be present. There are some discrepancies between the Edinburgh score and parts which we have resolved somewhat arbitrarily on musical grounds.  The differences between the Munich and Edinburgh versions are mostly small as far as we can discern; the

London No. 12-Joseph Haydn's 'Eulenburg Pocket Score' is the result of his second trip to England in 1794. This work is one of the still popular from the series of the so-called '12 London Symphonies' (Hob. 1/93 - Hob. 104).The work characterized by musical finesse and various sonic stimuli has the following four movements: I. Adagio - Allegro - II. Allegretto (C major) - III. Menuet: Moderato - IV. Presto. The somewhat unusual epithet 'military symphony' refers essentially to the second and the fourth movement ('Allegretto' and 'Presto') in which the instrumentation is enriched by timpani triangle cymbals and bass drum and thereby the evokes the impression of amilitary band. A 'trumpet signal' especially set in the second movement led to such a characterization. On the value and importance of this G major Symphony the following article from the Allgemeine Musikalische Zeitung of April 1799 reveals: 'It is a little less learned and easier to grasp than some of the other's newest works but new ones Ideas just as rich as they. Perhaps the surprise in music can not be furthered than it is here by the sudden collapse of full Janissary music in the minor of the second movement-since until then one has no suspicion that these Turkish instruments are attached to the symphony. But here too not only the inventive but also the prudent artist shows. Nevertheless the Andante is nevertheless a whole: for in all the pleasing and easy things that the composer in order to infer from the idea of his coup deceitfully brought it into the first part of it it is nevertheless arranged and worked in a march.' The 'Military Symphony' was premiered on March 31 1799 in London.

Par TCHAIKOVSKI PIOTR ILITCH. Quiconque lit, écoute plus. Qui veut vraiment comprendre une composition, utilisation de la partition de l'étude. Les complexités d'une composition sont uniquement sur le score. La Eulenburg audio + score série excelle dans un format facile à lire et prêt/ Répertoire / Orchestre

Par VAUGHAN WILLIAMS RALPH. Durée: 35', Format: ETP small/ Répertoire / Orchestre