All the Earth Sing Forth

Ultimate Guitar Play-Along. The Ultimate Play-Along series gives you everything you need to jam with your favorite songs. The books contain note-for-note tab transcriptions and the CDs feature amazing sound-alike recordings. There are two versions of everysong on the CDs: an instrumental sound-alike recording and an instrumental accompaniment track without guitar so you can play along. When you use the CDs in your Mac or Windows-based computer, the TNT (Tone 'n' Tempo) Changer letsyou easily loop sections for practice, slow tracks down or speed them up without changing the pitch, change the key, and switch back and forth between the full instrumental and play-along tracks. This edition features 8 classics:Another Brick in the Wall (Part 2) (Pink Floyd) ? Don't Stop Believin' (Journey) ? Europa (Earth's Cry Heaven's Smile) (Santana) ? Honky Tonk Women (The Rolling Stones) ? Losing My Religion (R.E.M.) ? Rockand Roll (Led Zeppelin) ? Rock and Roll All Nite (Kiss) ? Tom Sawyer (Rush).

New York is the city which fascinates and inspires Ruders. Time and again he goes back there to work. 'Manhattan Abstraction' (1982) subtitles - a symphonic skyline for large orchestra - was conceived there. Ruders’ Brittish colleague Oliver Knussen defines the piece as: - a performance of an extraordinary Morden-Times-like construction. It is a sort of symphonic sculpture which in the composer’s own words words propels forth from one particular inspiration: the New York profile as seen from Liberty Island one icy cold January day with it’s open clear sky and dazzling sun light. 'Manhatten Abstraction' appears as an amalgam of some of the compositorical habits foundin present pieces. For instance are present here compositorical ideas and melodic loans from 'Capriccio Pian’e Forte' 2nd String Quartet(1979) 'Four Compositions' (1980) and 2nd Piano Sonata(1982). The question at hand is mainly concerned with the enhanced elaboration of Ruders’ use of the classic English change-ringing system: a permuting method pre-determining the order of tone-appearances and /or tone groups; a serial technique in other words. In spite of the rigidly fixed material Ruders somehow manages to chisel out a personal expression by way of emphasising contrasting elements already existing within the material itself. The spiky repetitive sections form a counterpart to a more human violin-solo. This dialectical tension is - as hinted by the title - a symphonic abstraction of a fascinating metropolis; the most beautiful and the ugliest. The subtitle: a symphonic skyline reflects the musical erection of the Manhattan profile which under the clear sky materializes into the most powerful and compelling man-made sculpture on earth. Thus 'Manhattan Abstraction' is a homage to as well as a vision of this giant contraption of concrete glass and chrome.

Opera with a Prologue and four Acts (First version) / Opera in five Acts (Second version) Dialogue versions. Par GOUNOD CHARLES. Charles Gounod’s “Faust” secured its international recognition in the version as an entirely sung opera, which from thenceforth has largely obscured the fact that the work was originally composed with spoken dialogues. The early versions staged prior to the 1869 performance at the Paris Opéra containing substantial unknown material and with dialogues and melodramas are the subject of this new edition. (The third version “version opera” was published in a separate edition BA 8713 in 2016.) Even as the rehearsals were taking place at the Théâtre-Lyrique in 1858, during the first series of performances at the theatre in 1859, furthermore as the 1862 revival was approaching and during the performances on the smaller stage at the Place du Châtelet, there were constant changes and revisions. It is, thus, impossible to identify manifestly definitive versions. Nevertheless, by drawing on the entire source material now at hand (including fascinating material only recently discovered) and on the whole gamut of aspects communicated by the reception, Paul Prévost systematically presents us with a score laid out in two main versions in whose chronology constancy and change become transparent. With all the musical changes having been documented, the result is a practicable score for performances which reveals a still far too unknown “Faust” – a “Faust” that is rooted in the tradition of the opéra comique. Quite a few musical numbers are published as a score for the first time in this edition: the trio for Faust, Wagner and Siebel “À l’étude ô mon maître”, the duet of Valentin and Marguerite “Adieu, mon bon frère!”, Méphistophélès’ air “Maître Scarabée”, Siebel’s romance “Versez vos chagrins dans mon âme!”, Valentin’s air with chorus “Chaque jour, nouvelle affaire”, the chorus of witches “Un deux et trois”, and also seven melodramas whose missing or incomplete orchestration has been written for our edition. It was only recently that the long-lost second part of Faust’s original cavatina “Salut! demeure chaste et pure” was unearthed. Only in details of orchestration do other numbers differ from the well-known pieces./ Répertoire / Opéra