Aus: Kleine Geistliche Konzerte I. Par SCHUTZ HEINRICH. Tonalité : dorisch - Moller, Martin (Trad. ) - SWV 285 / Musique religieuse / Répertoire / Solo T (S) et Orgue

d-Moll. Par SCHUTZ HEINRICH. Tonalité : d-Moll - Horn, Paul / Kittel, Christoph (Arr.) - Lunn, Jean (Trad.) - deest/ Répertoire / Solo S (T), 2 Violons et Orgue

d-Moll. Par SCHUTZ HEINRICH. Tonalité : d-Moll - Horn, Paul / Kittel, Christoph (Arr.) - Lunn, Jean (Trad.) - deest/ Répertoire / Solo S (T), 2 Violons et Orgue

Ton Van Bergeyk launched his career as a musician during the late 1960s playing blues Harp and Ukulele in a duo setting, but he then switched to the acoustic Guitar and quickly learned and mastered the instrument using fingerstyle techniques. He started to transcribe and arrange classic ragtime compositions for fingerpicking Guitar and was discovered by Stefan Grossman during a tour in Holland. Stefan produced Ton's first solo album, Famous Ragtime Guitar Solos, in 1973. This contained 14 of Ton's arrangements of classic ragtime pieces and became a best seller. In 1975, Ton's second solo album, Guitar Instrumentals To Tickle Your Fingers, was released containing transcriptions and arrangements of novelty rags, early jazz and popular tunes of the 1930s and 1940s. In 1980, Ton's third solo album was released and continued his exploration of arrangements for solo fingerpicking Guitar, this time with a repertoire covering jazz, blues, contemporary pop and country and even Mexican folklore. This album was titled Lulu's Back In Town, Hot Guitar Solos. Ton also participated in several anthology projects, i.e. Novelty Guitar Instrumentals, I Got Rhythm, Masters of Ragtime Guitar, The Entertainer and How To Play Ragtime Guitar. All of Ton's albums are available as CDs as well as direct downloads from Stefan Grossman's Guitar Workshop, (www.guitarvideos.com) and include tab PDF booklets on the CDs. Ton recorded the audio lesson series Fingerstyle Jazz Guitar to teach phrase by phrase and measure by measure some of his most requested arrangements. This second volume presents Ton Van Bergeyk's renditions of Duke Ellington's Jubilee Stomp and Take It Easy, Thelonious Monk's classic Blue Monk and the George Gershwin standard I Got Rhythm. / Niveau : Facile / Tablatures / Guitare Tablatures

Ton Van Bergeyk launched his career as a musician during the late 1960s playing blues Harp and Ukulele in a duo setting, but he then switched to the acoustic Guitar and quickly learned and mastered the instrument using fingerstyle techniques. He started to transcribe and arrange classic ragtime compositions for fingerpicking Guitar and was discovered by Stefan Grossman during a tour in Holland. Stefan produced Ton's first solo album, Famous Ragtime Guitar Solos, in 1973. This contained 14 of Ton's arrangements of classic ragtime pieces and became a best seller. In 1975, Ton's second solo album, Guitar Instrumentals To Tickle Your Fingers, was released containing transcriptions and arrangements of novelty rags, early jazz and popular tunes of the 1930s and 1940s. In 1980, Ton's third solo album was released and continued his exploration of arrangements for solo fingerpicking Guitar, this time with a repertoire covering jazz, blues, contemporary pop and country and even Mexican folklore. This album was titled Lulu's Back In Town, Hot Guitar Solos. Ton also participated in several anthology projects, i.e. Novelty Guitar Instrumentals, I Got Rhythm, Masters of Ragtime Guitar, The Entertainer and How To Play Ragtime Guitar. All of Ton's albums are available as CDs as well as direct downloads from Stefan Grossman's Guitar Workshop, (www.guitarvideos.com) and include tab PDF booklets on the CDs. Ton recorded the audio lesson series Fingerstyle Jazz Guitar to teach phrase by phrase and measure by measure some of his most requested arrangements. This volume presents his renditions of Jelly Roll Morton's Kansas City Stomp and King Porter Stomp, the classic American Songbook tunes If I Had You, Moonlight Serenade / Niveau : Facile / Tablatures / Guitare Tablatures

In G Major. Par DVORAK ANTONIN. The performance material available up till now for Dvorák’s sun-filled cheerful Symphony No. 8 has been notorious for its myriad mistakes. The challenge of correcting it has now been taken over by the editor Jonathan Del Mar. He has taken into account the engraver’s copy, which was actually discovered in a rubbish bin at Novello’s in 1964. Its title page bears the words “Copied from my original manuscript” in Dvorák’s hand. This source proves that many of the readings contained in the first edition and faithfully adopted in all subsequent editions, were simply slips of the copyist’s pen. This new edition with score and orchestral parts in an enlarged format is accompanied bya detailed Critical Commentary on the sources and alternative readings. It also contains important facsimile pages to clarify problematical readings. Score and orchestral parts in an enlarged format Informative Foreword (Eng/Cz/Ger) and Critical Commentary (Eng) on sources and alternative readings With facsimile pages/ Répertoire / Violoncelle (Partie Séparée)

Choralkantate. Par REGER MAX. Reger´s cantata for Good Friday, based on the famous Passion hymn by Paul Gerhardt, was composed in 1904 and belongs to a group with 4 further choral cantatas – Reger´s independent and most comprehensive contribution to a key family of protestant church music. The Carus edition of these works is intended to make Reger´s choral cantatas accessible for musical practice and musicological reasearch for the first time in a modern critical edition. In order to encourage the spread of Reger´s choral works in the anglo-saxon countries, a singable English translation has been added./ Répertoire / Solo à (S ou T), Choeur SATB, Hautbois, Violon et

Choralkantate. Par REGER MAX. Reger´s cantata for Good Friday, based on the famous Passion hymn by Paul Gerhardt, was composed in 1904 and belongs to a group with 4 further choral cantatas – Reger´s independent and most comprehensive contribution to a key family of protestant church music. The Carus edition of these works is intended to make Reger´s choral cantatas accessible for musical practice and musicological reasearch for the first time in a modern critical edition. In order to encourage the spread of Reger´s choral works in the anglo-saxon countries, a singable English translation has been added./ Répertoire / Solo à (S ou T), Choeur SATB, Hautbois, Violon et

Choralkantate. Par REGER MAX. Reger´s cantata for Good Friday, based on the famous Passion hymn by Paul Gerhardt, was composed in 1904 and belongs to a group with 4 further choral cantatas – Reger´s independent and most comprehensive contribution to a key family of protestant church music. The Carus edition of these works is intended to make Reger´s choral cantatas accessible for musical practice and musicological reasearch for the first time in a modern critical edition. In order to encourage the spread of Reger´s choral works in the anglo-saxon countries, a singable English translation has been added./ Répertoire / Solo à (S ou T), Choeur SATB, Hautbois, Violon et

Kantate Zum 1. Advent. Par TELEMANN GEORG PHILIPP. The Advent cantata Machet die Tore weit has long been one of the most frequently performed of Telemann’s sacred works. Among the copies of this cantata which have been handed down is a copy by J. S. Bach which bears testimony to the high respect he paid to his then more celebrated colleague from Hamburg: It is a copy of the score in the hand of the Thomaskantor which was made for a performance in Leipzig on Avent Sunday in 1734 [therefore during the same period as the first performance of Bach’s Christmas Oratorio]. Of the four solo singers the soprano and bass, each of whom has an aria, are indispensable. The brief alto solos in the opening chorus can be sung by a member of thechoir, and the tenor recitative can be sung by the soprano soloist./ Répertoire / Solistes S (A) TB, Choeur SATB, 2 Hautbois, 2 Viol

Par VANHAL JOHANN BAPTIST. The unbroken popularity of Vanhal's sole double bass concerto in competitions and for practice and concert purposes is reason enough for us to publish the work in Breitkopf Urtext. The new edition profits from Tobias Glöckler's experience of many years. As with the other great double-bass concertos of the classical Viennese repertoire (Dittersdorf, Hoffmeister), Glöckler arrives at convincing solutions. He began by filtering out a solid musical text from the source (which was not always free of contradictions) that was supplied with many additions. The disposition of the solo part required detailed knowledge of performance practice, since the work was written in the historical Viennese double bass tuning, and a few passages cannot be played without difficulty on a modern instrument. As with Dittersdorf and Hoffmeister, the piano reduction makes it possible to use three different double-bass tunings (solo, orchestral and Viennese). Moreover, it contains the editor's virtuoso cadenzas as well./ Répertoire / Violoncelle ou Contrebasse (Partie Séparée)

Par PINKHAM DANIEL. American composer, organist and harpsichordist, Daniel Pinkham (1923-2006) studied the Organ and music theory at Phillips Academy in Andover before studying at Harvard. His Christmas Cantata is an exciting addition to the choral repertoire. Pinkham was famously moved by a concert in Andover given by the Trapp family singers in 1939, soon after they had escaped Austria. He quoted, 'Here, suddenly, I was hearing clarity, simplicity. It shaped my whole outlook. ' Pinkham ''s career saw him teach at the Boston Conservatory and the New England Conservatory of Music, as well as being organist of King''s Chapel inBoston for 42 years. His compositions varied from symphonies to art songs, althought predominantly his music was religious in nature, frequently incorporating a choir and Organ. Christmas Cantata represents Pinkham ''s influence of 20th-Century trends, often embracing plainchant, joining Stravinsky and Hindemith''s revival of early music. For all aspiring choirs seeking varied modern repertoire, Christmas Cantata provides an exciting performance work./ Répertoire / Ensemble de Cuivres et Voix

Kantate Zum 1. Advent. Par TELEMANN GEORG PHILIPP. The Advent cantata Machet die Tore weit has long been one of the most frequently performed of Telemann’s sacred works. Among the copies of this cantata which have been handed down is a copy by J. S. Bach which bears testimony to the high respect he paid to his then more celebrated colleague from Hamburg: It is a copy of the score in the hand of the Thomaskantor which was made for a performance in Leipzig on Avent Sunday in 1734 [therefore during the same period as the first performance of Bach’s Christmas Oratorio]. Of the four solo singers the soprano and bass, each of whom has an aria, are indispensable. The brief alto solos in the opening chorus can be sung by a member of thechoir, and the tenor recitative can be sung by the soprano soloist./ Répertoire / Solistes S (A) TB, Choeur SATB, 2 Hautbois, 2 Viol

Kantate Zum 1. Advent. Par TELEMANN GEORG PHILIPP. The Advent cantata Machet die Tore weit has long been one of the most frequently performed of Telemann’s sacred works. Among the copies of this cantata which have been handed down is a copy by J. S. Bach which bears testimony to the high respect he paid to his then more celebrated colleague from Hamburg: It is a copy of the score in the hand of the Thomaskantor which was made for a performance in Leipzig on Avent Sunday in 1734 [therefore during the same period as the first performance of Bach’s Christmas Oratorio]. Of the four solo singers the soprano and bass, each of whom has an aria, are indispensable. The brief alto solos in the opening chorus can be sung by a member of thechoir, and the tenor recitative can be sung by the soprano soloist./ Répertoire / Solistes S (A) TB, Choeur SATB, 2 Hautbois, 2 Viol

Par DVORAK ANTONIN. The profound impression it makes on us is due in part to the sequence of variations on a death motif that seems to have been borrowed from the beginning of the second Kyrie from Bach's Mass in B minor. Written in 1890, it was commissioned by the publisher Novello for the Birmingham Music Festival and premiered there under the direction of the composer on 9 October 1891. For this performance, Dvorák used a copy of the score which he had personally examined and which later served as the engraver's copy. The Dvorák scholar Klaus Döge succeeded in tracking down its location and evaluating this important source for the first time. It contains the 'Fassung letzter Hand' and, moreover, offers valuable insights into Dvorák's conducting workshop. It served as the principal source for the Breitkopf Urtext edition./ Répertoire / Violoncelle (Partie Séparée)