(The Four Seasons)-Antonio Vivaldi (1678-1741) stands with Handel and J.S. Bach as one of the titanic figures of late Baroque composition. Not only was he lauded as a composer of vocal and instrumental works both sacred and secular he was without serious competition the most prolific composer of his age. In addition to hundreds of vocal works includingforty-nine operas he composed five hundred concertos. The Four Seasons are probably the best known of his concerti with the second movement

(The Four Seasons)-Antonio Vivaldi (1678-1741) stands with Handel and J.S. Bach as one of the titanic figures of late Baroque composition. Not only was he lauded as a composer of vocal and instrumental works both sacred and secular he was without doubt the most prolific composer of his age. In addition to hundreds of vocal works including forty-nine operas he composed five hundred concertos. The Four Seasons are probably the best known of his concerti with the second movement Largo portraying time spent by a roaring fire listening to the rain pounding against the window. This new arrangement for brass band retains all the warmth of the original.

(The Four Seasons)-Antonio Vivaldi (1678-1741) stands with Handel and J.S. Bach as one of the titanic figures of late Baroque composition. Not only was he lauded as a composer of vocal and instrumental works both sacred and secular he was without doubt the most prolific composer of his age. In addition to hundreds of vocal works including forty-nine operas he composed five hundred concertos. The Four Seasons are probably the best known of his concerti with the second movement Largo portraying time spent by a roaring fire listening to the rain pounding against the window. This new arrangement for brass band retains all the warmth of the original.

Doc Watson was a legendary performer who blended his traditional Appalachian musical roots with bluegrass country gospel and blues to create a unique style and an expansive repertoire. His flatpicking style elevated the acoustic guitar to solo status in bluegrass and country music and whose interpretations of traditional American music profoundly influenced generations of folk and rock guitarists.Doc was born in Deep Gap North Carolina on March 3 1923 into a family already rich in musical tradition. His mother Annie Watson sang traditional secular and religious songs and his father General Watson played the banjo which was Doc's first instrument as well.In 1953 Doc met Jack Williams a local piano player and played rockabilly/swing music for seven years a period and a style that he later revisited in the album Docabilly. But he also continued to play acoustic traditional music with his family and with his banjo playing neighbor Clarence Tom Ashley. In 1960 spurred by the growing folk revival folklorists Ralph Rinzler and Eugene Earle came south to record Ashley and heard Doc Watson in the process. These sessions resulted in Doc's first recordings Old-Time Music at Clarence Ashley's.In 1961 the Friends of Old-Time Music invited Doc Ashley Clint Howard and Fred Price to perform at a now-legendary concert in New York City and one year later Doc gave his first solo performance at Gerde's Folk City in Greenwich Village. From then on he was a full-time professional playing a wide range of concerts clubs colleges and festivals including the Newport Folk Festival and Carnegie Hall.In the late 1960s Doc was joined on the road by his son Merle who provided both musical and emotional companionship; with Merle playing guitar and banjo and serving as partner and driver the father-son team expanded their audience nationwide. Sadly Merle died in 1985 from a tractor accident.A series of over 50 remarkable recordings including collaborations with Flatt & Scruggs Chet Atkins and

This composition is taken from the well-known Secular Cantata for Bass Voice Amore Traditore. In playing over this Cantata the writer was impressed by the sparkling vivacity and brilliance of the Cembalo obbligato in theBass Aria.This piece makes an excellent study for strengthening the individual fingers and can be practised in various rhythms.Lass dich nimmer von der liebe berücken.

In 1732 Giovanni Battista Pergolesi composed a setting of the Vespers in honor of St. Emidius Naples’s patron saint and protector against earthquakes. All that has survived are the introit Domine ad adjuvandum and three psalm settings: Dixit Dominus Laudate and Confitebor.Malcolm Bruno’s reconstruction consists of Pergolesi’s Hymnus Magnificat several short instrumental interpolations and the contrafactum of a secular cantata for the Salve Regina thereby presenting a full cross-section of Pergolesi’s artistic evolution. The reconstructed Vespers ranges from the early Confitebor with its allusions to Vivaldi to the late Salve Regina with its reminiscences of thefamous Stabat Mater; from contrapuntal choral writing to operatic arias; and from the magnificently scored Dixit to the almost intimate Laudate.The present edition follows the original sources as closely as possible and contains an appendix with detailed notes on performance practice.Performance material available for hireEffective reconstruction of a full-length workCross-section of Pergolesi’s sacred musicClear and easy-to-play piano reduction