After the phenomenal success of the cycle Eight Inventions for percussion instruments Op. 45, Kabeláč embarked upon another cycle at the request of the ensemble Les Percussions de Strasbourg – EIGHT RICERCARI (written in the years 1966–1967, with minor revisions from 1971). In this case, Kabeláč did not merely aim for a continuation of the previous cycle – he wanted to create a work of a different character, a new and distinctive composition; nor would he allow himself any repetition (in fact, each of Kabeláč’s symphonies is written for a different set of instruments). In Ricercari Kabeláč chiefly makes use of the specific qualities that percussion instruments offer the composer. Ricercari was written for one to six players and again employs Kabeláč’s new proportional notation. The autograph of the work is kept at the Czech Museum of Music in Prague. A copy of the piece was made privately during the composer’s lifetime which was itself duplicated to provide scores for all the ensembles who included this work in their repertoire. The current edition of the score, in practice also used for performance purposes, is therefore the first ever printed edition and corresponds both to the autograph and the meticulous copy made at the time and corrected by the composer.

We've updated this outstanding collection of country songs to include even more of your favorites - 79 in all! Featuring: Always On My Mind * Behind Closed Doors * Could I Have This Dance * Crazy * Daddy Sang Bass * D-I-V-O-R-C-E * Forever And Ever, Amen * God Bless The U.S.A. * Grandpa (Tell Me 'Bout The Good Old Days) * Help Me Make It Through The Night * I Fall To Pieces * If We Make It Through December * Jambalaya (On The Bayou) * Love Without End, Amen * Mammas Don't Let Your Babies Grow Up To Be Cowboys * Stand By Your Man * Through The Years * and more. / Piano

For Viola and Cello.Published 2008.Dedicated to Garth Knox and Rohan de SaramFirst performance: Intrasonus Festival Venice 3 May 2008'This music was composed during my DAAD residency in Berlinin October ? November 2007. If I were to describe it in one sentence I would say that it is based on the idea of 'two things seen/heard as one'.'a2 (a due) is a well-known term to musicians; it is often found in orchestralscores indicating a given passage that is to be played by two instruments of the same family. Although violin and cello could well be regarded as 'first cousins' of the string family the literal implementation of the term a2 as a'compositional strategy' would have been too much (!) for a piece of chamber music consisting of no more than two players. Not surprisingly this never happens in this work; in fact the opposite is true: regardless of how itappears on paper (i.e. on one or two staves) the music for each instrument is constantly based on two layers.'This musical 'interpretation' of the title gives an indication as to how the textural format of the piece operates.However this was by no means the only thought that 'preoccupied' my mind whilst composing this music. Berlin made a profound impression on me. The remnants of the wall in Bernauer StraÃ?e and the cobbled two-stone line tracingthe wall across where it once stood ? a clear reminder of what not so long ago there were two different worlds in one city ? provoked a strikingly dramatic effect. Border death-strip killing and escape to freedom had aparticularly evocative resonance especially of the time when I lived for three years in a remote town in Southern Albania right at the border with Greece. There there was a nameless road whose destination the authorities did notwant you to know but the locals called it the 'death-road'.'In no way programmatic in this context the extra-musical dimension of the principal idea is very much part of the piece. Here the musical and extra-musical

In English-speaking countries ‘Away in a Manger’ is one of the first Christmas songs to be taught to little children. It is a moving song with simple words which makes it easy to understand. The song is also known as ‘Luther’s Cradle Hymn’. This suggests that Martin Luther was the author of the lyrics. According to researchers however this is a misconception – the author is unknown. In England ‘Away in a Manger’ is sung to a different melody than in the USA for example. The ‘English’ melody was composed by W.J. Kirkpatrick. Andrew Mackereth made a touching arrangement of the ‘English’ melody which suits the tender lyrics perfectly.

In English-speaking countries ‘Away in a Manger’ is one of the first Christmas songs to be taught to little children. It is a moving song with simple words which makes it easy to understand. The song is also known as ‘Luther’s Cradle Hymn’. This suggests that Martin Luther was the author of the lyrics. According to researchers however this is a misconception – the author is unknown. In England ‘Away in a Manger’ is sung to a different melody than in the USA for example. The ‘English’ melody was composed by W.J. Kirkpatrick. Andrew Mackereth made a touching arrangement of the ‘English’ melody which suits the tender lyrics perfectly.

In English-speaking countries ‘Away in a Manger’ is one of the first Christmas songs to be taught to little children. It is a moving song with simple words which makes it easy to understand. The song is also known as ‘Luther’s Cradle Hymn’. This suggests that Martin Luther was the author of the lyrics. According to researchers however this is a misconception – the author is unknown. In England ‘Away in a Manger’ is sung to a different melody than in the USA for example. The ‘English’ melody was composed by W.J. Kirkpatrick. Andrew Mackereth made a touching arrangement of the ‘English’ melody which suits the tender lyrics perfectly.

Carrying the Britpop torch where Oasis left off, Beady Eye was formed by Liam Gallagher and other former members of the genre-defining British band following the departure of Noel Gallagher. The band's first album, Different Gear, Still Speeding , has been received with popular and critical acclaim, reaching Gold certification in the UK. Its praise in the press included a review by Simon Goddard of Q who called it 'the strongest record Liam's made' since (What's the Story) Morning Glory? . This official matching songbook includes all the songs from the album including the singles The Roller, Millionaire, Bring the Light and Four Letter Word arranged for Guitar TAB. / Guitare

The piece sets extracts from the philosopher Ludwig Wittgenstein's Tractatus Logico-Philosophicus and is made up of six choral movements including a substantial solo role for countertenor. Between these movements come five interludes for solo clarinet. Wittgenstein himself played the instrument so here is a different projection of aspects of the philosopher. The countertenor's part may be sung in English or German.

Par MATHEOS CHRIS. Here is something for every blues bassist, studying blues patterns and chord progressions. Examples focus on basic patterns, chord progressions, and playing with a band. Covered here are Chicago, New Orleans, Memphis, swing, gospel, zydeco, Texas, and other different styles of blues bass playing. The companion CD features all examples recorded with a professional band. Audio includes band examples with and without bass so students can hear it and play along. 25 examples included, written in bass clef and tab. / Niveau : Débutant / Blues - Solos / Tablatures / Guitare Basse Tablatures

Par SMITH GAIL. Scales are easy and fun when you play them in many different ways including canon, triplet, split, contrary direction and various other ways you may not have tried before. Five finger scales are presented in an unusual format classified by how many black notes are in them. Then the ten easiest scales using the same fingerings are presented. Eventually, all the scales are presented in four octaves in all keys. This is a great way to learn and remember scales. / Niveau : Débutant / Acoustic Music - Technic / Recueil / Piano

Solomotette Zum Dreifaltigkeitsfest Oder Zu Weihnachten. Par MOZART WOLFGANG AMADEUS. A good six years following its first performance in Milan [1773] a second version of Exsultate, jubilate was completed for a performance on Trinity Sunday in 1779. It has survived in a manuscript from Salzburg. This “Salzburg version, ” which was discovered in 1978, differs from the “Milan version” primarily through the use of flutes instead of oboes and also through the use of two different texts for the first aria. In the first version the text refers to Christmas, whereas in the second version it refers to the festival of Trinity. Mozart’s autograph of the Milan version had been thought to be missing since the second world war and it has only been accessible in the BibliotekaJagiellónska in Kraków for a little over a decade. The present new critical edition by Wolfgang Hochstein is the first which could be based on both versions. / Hymnes et chorals / Répertoire / Solo S, 2 Hautbois ou 2 Flûtes Traversières, 2 Cor

Solomotette Zum Dreifaltigkeitsfest Oder Zu Weihnachten. Par MOZART WOLFGANG AMADEUS. A good six years following its first performance in Milan [1773] a second version of Exsultate, jubilate was completed for a performance on Trinity Sunday in 1779. It has survived in a manuscript from Salzburg. This “Salzburg version, ” which was discovered in 1978, differs from the “Milan version” primarily through the use of flutes instead of oboes and also through the use of two different texts for the first aria. In the first version the text refers to Christmas, whereas in the second version it refers to the festival of Trinity. Mozart’s autograph of the Milan version had been thought to be missing since the second world war and it has only been accessible in the BibliotekaJagiellónska in Kraków for a little over a decade. The present new critical edition by Wolfgang Hochstein is the first which could be based on both versions. / Hymnes et chorals / Répertoire / Solo S, 2 Hautbois ou 2 Flûtes Traversières, 2 Cor

Solomotette Zum Dreifaltigkeitsfest Oder Zu Weihnachten. Par MOZART WOLFGANG AMADEUS. A good six years following its first performance in Milan [1773] a second version of Exsultate, jubilate was completed for a performance on Trinity Sunday in 1779. It has survived in a manuscript from Salzburg. This “Salzburg version, ” which was discovered in 1978, differs from the “Milan version” primarily through the use of flutes instead of oboes and also through the use of two different texts for the first aria. In the first version the text refers to Christmas, whereas in the second version it refers to the festival of Trinity. Mozart’s autograph of the Milan version had been thought to be missing since the second world war and it has only been accessible in the BibliotekaJagiellónska in Kraków for a little over a decade. The present new critical edition by Wolfgang Hochstein is the first which could be based on both versions. / Hymnes et chorals / Répertoire / Solo S, 2 Hautbois ou 2 Flûtes Traversières, 2 Cor

Solomotette Zum Dreifaltigkeitsfest Oder Zu Weihnachten. Par MOZART WOLFGANG AMADEUS. A good six years following its first performance in Milan [1773] a second version of Exsultate, jubilate was completed for a performance on Trinity Sunday in 1779. It has survived in a manuscript from Salzburg. This “Salzburg version, ” which was discovered in 1978, differs from the “Milan version” primarily through the use of flutes instead of oboes and also through the use of two different texts for the first aria. In the first version the text refers to Christmas, whereas in the second version it refers to the festival of Trinity. Mozart’s autograph of the Milan version had been thought to be missing since the second world war and it has only been accessible in the BibliotekaJagiellónska in Kraków for a little over a decade. The present new critical edition by Wolfgang Hochstein is the first which could be based on both versions. / Hymnes et chorals / Répertoire / Solo S, 2 Hautbois ou 2 Flûtes Traversières, 2 Cor