Guitar Play-Along-Performed by Christian Reichert guitar Accompaniment: Plovdiv Symphony Orchestra Conductor: Nayden Todorov Manuel Ponce's legendary Concierto del Sur remains one of the undisputed masterworks for guitar and orchestra and is arguably the greatest guitar concerto to emerge from Latin America. It is a vital part of the modern guitarist's repertoire. The concerto's unconventional melodic style and distinctly Latin American feel predominate integrating a near-perfect balance between guitar and orchestra. The writing for the guitar is brilliant forthright and leaves a strong impression on both player and audience. This Music Minus One edition presents a bravura performance of this20th-century classic from virtuoso guitarist Christian Reichert. Study his technique then you stand center-stage with the Plovdiv Symphony Orchestra under Maestro Nayden Todorov for your own Latin spectacular! Includes an authoritative newly engraved solo part printed on high-quality acid-free ivory paper containing the solo guitar part; a digital stereo compact disc featuring a complete performance of the concerto with orchestra and soloist and a second performance minus you the soloist; and a second compact disc containing a full-speed version of the complete version as well as a special -20% slow-tempo version of the accompaniment for practice purposes. The concerto is voluminously indexed for your practice and performance convenience.

E Minor Op. 14 and A Major Op. 8a-Performed by Christian Reichert guitarAccompaniment: Rousse Philharmonic OrchestraConductor: Nayden TodorovFerdinando Carulli born in Naples but largely based in Paris was one of the most influentialfigures in the history of guitar and author of a famous 200-year-old method still in use today. He wrote hundreds of guitar works and these two concerti in E minor and A major rank at the top of his oeuvre! Beautiful melodiesand immense fun for the guitarist. So sit down with the orchestra and play to your heart's content!Contains a newly engraved authoritative printed solo part edited by soloist Christian Reichert; and two compactdiscs containing complete versions of each concerto with soloist; and accompaniments minus you! Also includes a special -20% slow-tempo practice version of the orchestral accompaniments for practice purposes.

The tenth concerto in B minor in L'Estro Armonico (best translated as The Harmonious Inspiration) which is edited here in A minor - for four solo guitars - is one of the most famous in the entire collection -- indeed inVivaldi's entire output. Scored for four solo violins two solo violas solo violoncello and an strings orchestra. Johann Sebastian Bach not only admired Vivaldi's Opus 3; he copied it openly. In a general sense the Vivaldipieces gave impetus to much that is in the German master's Brandenburg Concertos. More particulary six concertos of Vivaldi's Opus 3 were copied by Bach as the basis for six of his concertos: two for 0rgan (BWV 593 and 596 basedon Opus 3 nos. 8 and 11 respectively) three for solo harpsichord ) BWV 978 972 and 976 based on Opus 3 nos. 3 9 and 12 respectively) and one for four harpsichords and orchestra in A minor (BWV 1065 based on Opus 3 no. 10).Bach frequently rewrote concertos scored for one kind of instrument substituting another. It is evident that Bach thought not so much in terms of the violinistic nature of the originals but in their harmonic and rhythmicpotential which could be realized on any instrument. Since Bach has already justified an arrangement of Opus 3 number 10 by the great aesthetic success of his four-harpsichord version it serves to reason that an arrangementfor four guitars is equally valid. Just as Bach preserved everything of the original Vivaldi and added only a few doubling to accomodate the left hands of the harpsichordists so in this version the substitution of guitars is donewith little or no change of original-notes. The arpeggios especially prominent in the second movement lend themselves ideally to guitar playing and the ability of the guitar to play both lyrical lines as well as passage worksuits the violinistic lines and passages of the original.

The composer says: Several musical threads led to my writing this piece of music to celebrate my friend Matanya Ophee?s (AKA MO) 80th birthday - a life lived with the guitar. Jelly Roll Morton once asserted: ?In fact, if you can't manage to put tinges of Spanish in your tunes, you will never be able to get the right seasoning; I call it, for jazz.? Over the last couple of years I moved back to Jelly Roll Morton?s city: New Orleans, home of my adolescence and reacquainted myself with the tinges of Spanish in its rich musical heritage. One of these pieces was the Mardi Gras Mambo, an iconic song frequently played during Mardi Gras and, in David Newman?s reworking of the lyrics, at the New Orleans Saints football games as the Super Bowl Mambo. Uncited sources on both Wikipedia and Essortment say the word Mambo means ?conversation with the gods? in Kikongo, the language spoken by Central African slaves taken to Cuba where it became the name for a musical form and a dance style that developed originally in Cuba in the able hands of Cachao?s (Bassist Orestes Lopez) tune: Danzon Mambo. This rhythmic style became famous in the 1950?s following its use in dance bands in Mexico and through New Orleans to the United States. The infectiousness of the New Orleans re-interpretation of the Mambo?s ostinato bass line and the reaction of people who are readily moved to dance when they hear it spoke to me of dance and celebration. This led me to choose some of this piece?s characteristics and title for this piece: Mambo for MO. As we have progressed on the instrument, some of us may have encountered the four-chord descending minor chord progression known as the Andalusian cadence: i - VII - VI - V in many different genres and guises. After all, it appears in Ray Charles? Hit the Road, Jack, the verse on Good Vibrations by The Beach Boys, Walk, Don?t Run by The Ventures, Runaway by Del Shannon and in that great work arranged and embraced by the Guitar: J.S. Bach?s Chaconne from the Partita in D minor for solo violin, BWV 1004. This bass line derived from a Latin American musical style as reinterpreted in New Orleans, a chord progression that evokes the Flamenco Music of Spain, and my impressions of the sinuous lines of people dancing the Second Line in the streets of New Orleans at Mardi Gras led me to this synthesis as a tribute to a man who has contributed so much in his lifelong efforts for the guitar, its history and lore on the occasion of his birthday! Happy Birthday, Matanya! Carlos Barrientos was born on June 25, 1954 in Tela, Honduras. He began his formal music studies at the National Music Conservatory in Guatemala City, Guatemala C.A. His training with Maestro Elias Barreiro, Director of Guitar Studies at Tulane University, was supplemented with Master Classes with Manuel Barrueco, Leo Brouwer, Juan Mercadal, Michael Newman, Tommy Tedesco and Carlos Barbosa-Lima. He studied composition under the tutelage of Dr. Jerry Sieg, University of New Orleans, and Dr. Roy Johnson, Florida State University. He consulted with Michael D. Martin, Ph.D., Associate Professor of Music, Albany State University, Albany, GA in the creation of a recordings library that reflects Western Art Music and American Jazz for the students at Albany State University. The New York Premiere of the First Movement of his Second Guitar Sonata was dedicated to and performed by Classical Guitarist Maestro Carlos Barbosa-Lima in 2003 at Carnegie Hall. At the request of U.S. Senator Bob Graham one of his compositions, Si Tu Te Vas (If You Go Away), was included on a recording to promote The Everglades Trail. In 2004, at the American Church in Paris, France the World Premiere of his Romance for Flute and Guitar was performed by the award-winning Serenade Duo, flutist Michelle LaPorte and guitarist Gerry Saulter. He has performed with such legendary musicians as Herbie Mann, Donald Byrd and Debbie Reynolds, led an on stage Renaissance Trio in a University of New Orleans production of Shakespeare?s Twelfth Night, and played incidental music for their production of Bertold Brecht?s The Good Woman of Sichuan. He has performed Carulli?s Guitar Concerto in A, Leonard Bernstein?s West Side Story and Marvin Hamlish?s A Chorus Line with the Northwest Florida Symphony Orchestra and Okaloosa-Walton Community College, Niceville, FL, and with the Southern Art Music Ensemble, a Jazz/Latin Fusion Sextet, including an Honors Convocation in Atlanta for Mr. Ted Turner. He has been a guest performer with the Albany State University Jazz Ensemble at The Fletcher Henderson Jr., Macon and Atlanta Jazz Festivals, and played the banjo in the Albany State University /Albany Symphony?s co-production of George Gershwin?s Opera Porgy and Bess.

The Hungarian Dance Csárdás is the best known work by Vittorio Monti (1868-1922) an Ita - lian composer born in Naples, who worked extensively as a conductor and composer in Paris. Originally written for Violin, or Mandolin, with piano or orchestra accompaniment Csárdás was immediately selected by numerous virtuosos who adopted it as a showpiece. Nowadays, it is still widely heard for just about every instrumental combination from various solo instruments, particularly solo violin, to versions for many instrumental combinations from gypsy orchestras through to marching bands. We are proud to publish this fine solo guitar arrangement by the virtuoso Russian guitarist Dimitri Lavrentiev, who resides and teaches in Augsburg, Germany. / Guitare

The composer says: For years, my fellow guitarists have been asking me to compose a solo classical guitar piece that reflects that most American of musical styles?the blues. Their prodding was the motivation for Periwinkle Memories; the inspiration for the piece, however, really came from a maestro of extraordinary skill, and a teacher of even more extraordinary patience, Elias Barreiro, my guitar teacher at the University of New Orleans. I have always tried to emulate in my performances the beauty of his interpretations, and to fuse in my compositions the power and emotion of the blues. The name, Periwinkle Memories was a serendipity. I was struck by the light purplish-blue hue of the periwinkle, and soon learned the history of the funnel-shaped flower (Vinca minor.) Though it now grows wild in parts of the United States it is native to Australia, some consider it an invasive weed, most admire its extraordinary beauty. Common herbicides won?t kill it. The periwinkle is too vigorous and hardy for that. And now it is not merely a begrudged part of the American landscape, it is a vibrant part of the American landscape, elegant, stubborn, and nearly native. Like the blues. And like that young recalcitrant student Maestro Barreiro worked so hard to mold so many years ago. Ogden Nash said, ?One man?s remorse is another man?s reminiscence.? Periwinkle Memories is a celebration of Maestro Barreiro, and of both facets of that adage in me. Carlos Barrientos was born on June 25, 1954 in Tela, Honduras. He began his formal music studies at the National Music Conservatory in Guatemala City, Guatemala C.A. His training with Maestro Elias Barreiro, Director of Guitar Studies at Tulane University, was supplemented with Master Classes with Manuel Barrueco, Leo Brouwer, Juan Mercadal, Michael Newman, Tommy Tedesco and Carlos Barbosa-Lima. He studied composition under the tutelage of Dr. Jerry Sieg, University of New Orleans, and Dr. Roy Johnson, Florida State University. He consulted with Michael D. Martin, Ph.D., Associate Professor of Music, Albany State University, Albany, GA in the creation of a recordings library that reflects Western Art Music and American Jazz for the students at Albany State University. The New York Premiere of the First Movement of his Second Guitar Sonata was dedicated to and performed by Classical Guitarist Maestro Carlos Barbosa-Lima in 2003 at Carnegie Hall. At the request of U.S. Senator Bob Graham one of his compositions, Si Tu Te Vas (If You Go Away), was included on a recording to promote The Everglades Trail. In 2004, at the American Church in Paris, France the World Premiere of his Romance for Flute and Guitar was performed by the award-winning Serenade Duo, flutist Michelle LaPorte and guitarist Gerry Saulter. He has performed with such legendary musicians as Herbie Mann, Donald Byrd and Debbie Reynolds, led an on stage Renaissance Trio in a University of New Orleans production of Shakespeare?s Twelfth Night, and played incidental music for their production of Bertold Brecht?s The Good Woman of Sichuan. He has performed Carulli?s Guitar Concerto in A, Leonard Bernstein?s West Side Story and Marvin Hamlish?s A Chorus Line with the Northwest Florida Symphony Orchestra and Okaloosa-Walton Community College, Niceville, FL, and with the Southern Art Music Ensemble, a Jazz/Latin Fusion Sextet, including an Honors Convocation in Atlanta for Mr. Ted Turner. He has been a guest performer with the Albany State University Jazz Ensemble at The Fletcher Henderson Jr., Macon and Atlanta Jazz Festivals, and played the banjo in the Albany State University /Albany Symphony?s co-production of George Gershwin?s Opera Porgy and Bes

Intouchables a été le film le plus vu en France en 2011. Il cumule plus de 19 millions d'entrées et est le troisième film dans l'histoire du box office français.

Une sélection de 10 titres extraits de la bande originale du succès phénoménal Intouchables.



Ce splendide recueil inclut:

- 5 morceaux pour piano de Ludovico Einaudi

- des chansons interprétées par Thierry Callier, Georges Benson et Nina Simone.

Arrangement pour piano, chant et guitare (accords), intégralité des textes. / Musiques de films

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.

Classical Guitar Arrangements from Bizet's Opera Carmen. One might think that it would be impossible to arrange the music of Georges Bizet?s opera, Carmen, for solo classic guitar, but Néstor Ausqui has done it! While the guitar is an intimate and sweet-sounding instrument, it does not have a broad dynamic range; yet, as Dionisio Aguado proclaimed in his Nuevo Método para Guitarra of 1843, the classic guitar?s expansive palette of tone color gives it the ability to emulate ?a miniature orchestra?. These characteristics make the guitar the ideal instrument to reflect both the character and sensuality of the dances that occur throughout Bizet?s Carmen?Aragonaise, Habanera, Seguidillas, and Danse Bohéme?as well as Carmen?s sober ?Chant de la Mort?. Recommended for the advanced guitarist, Carmen Suite is written in standard notation with extensive digitation and occasional drop-D tuning. In Néstor Ausqui?s Carmen Suite, ??the guitar both sings like a human voice and accompanies itself, giving the work an irrefutable guitar identity. The characteristic feeling manifested in Spanish dance is now expressed through the guitar with a full and defined instrumental singularity.? ? Guillermo Rene? Alvarez Musicologist, Professor at the Instituto Superior de Mu?sica, Universidad Nacional del Litoral-Argentina

Commissioned by the 1974 City of London Festival. premiered by Julian Bream and the English Chamber Orchestra.This is the piano reduction score.

A Spanish work which was originally composed for Guitar and Orchestra is seen here for Guitar and Piano reduction. Book only no solo part.