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. In this edition Victor Van Puijenbroeck has created a piano reduction of the orchestral score and also has adapted the lute part to be played onguitar. Included are parts for both lute (the part has been adapted from lute tablature to modern notation) and guitar (capotasto). 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. In this edition Victor Van Puijenbroeck has created a piano reduction of the orchestral score and also has adapted the lute part to be played onguitar. Included are parts for both lute (the part has been adapted from lute tablature to modern notation) and guitar (capotasto).

This concerto a new addition to the literature for guitar and orchestra casts the guitar almost as a member of the percussion family from the very beginning explosive in its energy easing into song for its secondtheme.An extensive cadenza takes the soloist to the highest note before plunging into an appropriately hectic ending. A simple (but all the more telling) guitar solo opens and closes the middle movement a nocturne withanother extended cadenza. The movement starts in meditation grows into a broad chorale-like melody and moves into rage before the orchestra intervenes to return to the calm of the beginning. The boisterous and carefree flavourof the last movement sketched while on holiday in Antigua during Carnival gives the concerto its nickname.This riotous and exuberant finale generates an irresistible rumba bringing together themes first heard at thevery beginning of the work particularly the rasqueado strumming and the tamburo percussive effects. The moods and flavour of the Caribbean are very acutely captured not in a tourist photograph but in an obviously loving spiritual portrait.????????????Eduardo?Fern?ndezThe Guitar Concerto ?Caribbean? has been recorded by Eduardo Fern?ndez withthe English Chamber Orchestra conducted by Barry Wordsworth.

Guitar/Piano reduction of work for Guitar and String Orchestra. Premiered by Julian Bream under the direction of the composed in 1955.

Originally written for Guitar and Chamber Orchestra this three-part lyrical concerto is a series of free variations on an original troubadour style melody.