A Christmas Fantasy on Themes by Bach & Handel-Dans cette fantaisie de Noël Robert van Beringen conjugue avec une inégalable facilité des thèmes des maîtres du baroque Jean-Sébastien Bach et Georg Friedrich Haendel. Le choral Brich an o schönes Morgenlicht n° 12 est extrait de la deuxième partie de l?Oratorio de Noëlde Jean-Sébastien Bach tandis que le récitatif « Voici qu?une vierge concevra et enfantera un fils et lui donnera le nom d?Emmanuel Dieu avec nous » et le Chœur de l?Alléluia sont extraits du Messie de Georg Friedrich Haendel.

A Christmas Fantasy on Themes by Bach & Handel-Dans cette fantaisie de Noël Robert van Beringen conjugue avec une inégalable facilité des thèmes des maîtres du baroque Jean-Sébastien Bach et Georg Friedrich Haendel. Le choral Brich an o schönes Morgenlicht n° 12 est extrait de la deuxième partie de l?Oratorio de Noëlde Jean-Sébastien Bach tandis que le récitatif « Voici qu?une vierge concevra et enfantera un fils et lui donnera le nom d?Emmanuel Dieu avec nous » et le Chœur de l?Alléluia sont extraits du Messie de Georg Friedrich Haendel.

A Christmas Fantasy on Themes by Bach & Handel-Dans cette fantaisie de Noël Robert van Beringen conjugue avec une inégalable facilité des thèmes des maîtres du baroque Jean-Sébastien Bach et Georg Friedrich Haendel. Le choral Brich an o schönes Morgenlicht n° 12 est extrait de la deuxième partie de l?Oratorio de Noëlde Jean-Sébastien Bach tandis que le récitatif « Voici qu?une vierge concevra et enfantera un fils et lui donnera le nom d?Emmanuel Dieu avec nous » et le Chœur de l?Alléluia sont extraits du Messie de Georg Friedrich Haendel.Les sonorités fascinantes de cette œuvre séduiront un large public.

Concerto for String Orchestra - the magnum opus of Grayna Bacewicz (1909-1969) the outstanding composer and violinist - was composed in 1948 and at once became one of the most frequently performed works of this Polish artist. This masterpieceof neoclassicism fascinates as much by its invention and virtuosic briliance as its harmonious combination of formal elements of a traditional nature with new tonal ideas. The form of the three-movement Concerto oscillates between that of the baroqueconcerto grosso and the early classical sonata cycle. The neoclassical tendency is evident above all in the articulation of the musical structure in keeping with the rigours of periodicity and the manner of developing thematic threads derived fromthem while the concertato character of particular movements and the generally linear texture indicate baroque connections. The first movement (Allegro) - in the form of an early classical sonata allegro - begins with a subject with energeticfigurations emblematic for the whole piece and based on a constant pendulum-like semiquaver movement anchored securely on D. It is precisely because of the nature of this subject that Bacewiczs work has been compared to the Brandenburg Concertosby Jan Sebastian Bach The second movement (Andante) while retaining its concertato charakter is at the same time an example of the composers ability to create emotionally serene lyrical moods and her sense of cantilena derived from the spiritof romantic song (a motto-subject presented at the beginning by cello solo). In this movement it is both the process of evolution and the instrumental colouring which constitute the constructional agents forming here a self-containedvalue. In thethird movement (Vivo) the composer returns to her favourite type of music understood as an expression of pure motion in the form of figural motives with infinite transformational possibilities. The spontaneity of the music the constant mutabilityof the tonal situations and the sophisticated acerbic harmonies - as Witold Lutosawski described them - form a colourful mosaic built in the structural skeleton of a sonata rondo. Concerto for String Orchestra is not only proof of thestylizing tendency of the composer but also of an unerring intuition concerning the technical and expressive possibilities inherent in a string instruments ensemble. [Magorzata Gsiorowska translated by Ewa Cholewka]

Arcangelo Corelli Antonio Vivaldi Jean-Sébastien Bach et bien d?autres encore ont exercé une influence majeure et durable dans le développement de la musique baroque. Leurs œuvres sont toujours plébiscitées par le public. Bald Wyntin a rassemblé quelques œuvres majeures du répertoire baroque pour en faire une œuvre originale et surprenante. Let?s rock-baroque !

Arcangelo Corelli Antonio Vivaldi Jean-Sébastien Bach et bien d?autres encore ont exercé une influence majeure et durable dans le développement de la musique baroque. Leurs œuvres sont toujours plébiscitées par le public. Bald Wyntin a rassemblé quelques œuvres majeures du répertoire baroque pour en faire une œuvre originale et surprenante. Let?s rock-baroque !

Arcangelo Corelli Antonio Vivaldi Jean-Sébastien Bach et bien d?autres encore ont exercé une influence majeure et durable dans le développement de la musique baroque. Leurs œuvres sont toujours plébiscitées par le public. Bald Wyntin a rassemblé quelques œuvres majeures du répertoire baroque pour en faire une œuvre originale et surprenante. Let?s rock-baroque !

Par LARUETTE JEAN-LOUIS. D'un petit volume déniché un peu par hasard à la bibliothèque de l'Arsenal a germé, après un jeu de piste passionnant, un opéra-comique : Cendrillon. C'est une ?uvre à tiroir, reflet d'une époque très particulière de la musique française, se glissant entre la fin du baroque flamboyant et le classicisme naissant. Le compositeur mêle des airs célèbres d'opéras (qu'il emprunte à des compositeurs comme Jean-Philippe Rameau, Egidio Duny, les parodiant parfois), à des chants populaires (les vaudevilles qui, par référence au texte original, permettaient le jeu de mot, le double sens) et compose ses propres pièces, qu'il adapte parfaitement au texte du librettiste Louis Anseaume. Rejouée pour la première fois en 2005 en version concert par l'ensemble Les Monts du Reuil à Vincennes, cette Cendrillon de 1759 n'a pas été sans poser beaucoup de questions. Nous tenions à respecter l'esprit d'une interprétation « baroque » attentive, tout en acceptant l'espace de liberté et de création suggéré par le genre. Nos choix s'appuient sur les conseils de musicologues et nous assumons la part évidente d'incertitude inhérente à l'interprétation d'un opéra-comique en vaudevilles de cette période. Soulignons que c'est devant la grande qualité du livret de Louis Anseaume et des airs de Jean-Louis Laruette que nous avons entrepris ce travail : Cendrillon nous dévoile un compositeur sensible qui s'exprime en demi-teintes et nous touche par ses mélodies tendres et délicates./ Répertoire / Conducteur

Karl Kohaut (1726 - 1784) was an Austrian lutenist and composer of Czech descent considered to be one of the last important composers of music for Baroque lute. Although also a violinist active in the Viennese music scene he was most well-known as a lutenist. He composed a total of seven lute concertos during his lifetime. This Concerto in D Major is in three movements: Allegro Andante molto and Tempo di Minuetto. This edition includes the full orchestral score orchestral parts as well as guitar and lute parts. Victor Van Puijenbroeck has adapted the original solo part and included in the set are parts for both lute (the part has been adapted from lute tablature tomodern notation) and guitar (capotasto). Instrumentation: Full Score Guitar (or Lute) - separate parts included for each instrument Violin I Violin II Cembalo/Cello/Contrabass Karl Kohaut (1726 - 1784) was an Austrian lutenist and composer of Czech descent considered to be one of the last important composers of music for Baroque lute. Although also a violinist active in the Viennese music scene he was most well-known as a lutenist. He composed a total of seven lute concertos during his lifetime. This Concerto in D Major is in three movements: Allegro Andante molto and Tempo di Minuetto. This edition includes the full orchestral score orchestral parts as well as guitar and lute parts. Victor Van Puijenbroeck has adapted the original solo part and included in the set are parts for both lute (the part has been adapted from lute tablature tomodern notation) and guitar (capotasto). Instrumentation: Full Score Guitar (or Lute) - separate parts included for each instrument Violin I Violin II Cembalo/Cello/Contrabass

Baroque Style Clarinet Feature with Concert Band-A major piece to feature your Clarinet section! James L. Hosay has used his considerable compositional skill beautifully in creating this exuberant new offering for your band. It’s a great showpiece for your reeds but it leaves no one behind when the fun begins.The Baroque and Classical underpinnings of this original composition open the door for a wonderful educational encounter for everyone while a critically important part of the band gets the special exposure it deserves.Effervescent!

Concerto d?Amore est composé de trois périodes thématiques aux caractéristiques de la musique baroque pop et jazz. L?introduction majestueuse aux allures d?ouverture baroque chemine vers un passage vif et énergique écrit dans le style de la musique pop. L?adagio qui lui succède progresse vers un passage aux inflexions de swing. Concerto d?Amore se conclut par la reprise du motif de l?adagio dont la forme altérée offre une conclusion brillante à cette œuvre richement colorée.

Karl Kohaut (1726 - 1784) was an Austrian lutenist and composer of Czech descent considered to be one of the last important composers of music for Baroque lute. Although also a violinist active in the Viennese music scene he was most well-known as a lutenist. He composed a total of seven lute concertos during his lifetime including this Concerto in F Major No. 2 (not to be confused with his Concerto in F Major No. 1 which is considered the most popular) in three movements: Allegro moderato Andante molto and Tempo di Minuetto. This edition includes the full orchestral score orchestral parts as well as guitar and lute parts. Victor Van Puijenbroeck has adapted theoriginal solo part and included in the set are parts for both lute (the part has been adapted from lute tablature to modern notation) and guitar (capotasto). Instrumentation: Full Score Guitar (or Lute) - separate parts included for each instrument Violin I Violin II Cembalo/Cello/Contrabass Karl Kohaut (1726 - 1784) was an Austrian lutenist and composer of Czech descent considered to be one of the last important composers of music for Baroque lute. Although also a violinist active in the Viennese music scene he was most well-known as a lutenist. He composed a total of seven lute concertos during his lifetime including this Concerto in F Major No. 2 (not to be confused with his Concerto in F Major No. 1 which is considered the most popular) in three movements: Allegro moderato Andante molto and Tempo di Minuetto. This edition includes the full orchestral score orchestral parts as well as guitar and lute parts. Victor Van Puijenbroeck has adapted theoriginal solo part and included in the set are parts for both lute (the part has been adapted from lute tablature to modern notation) and guitar (capotasto). Instrumentation: Full Score Guitar (or Lute) - separate parts included for each instrument Violin I Violin II Cembalo/Cello/Contrabass

Karl Kohaut (1726 - 1784) was an Austrian lutenist and composer of Czech descent considered to be one of the last important composers of music for Baroque lute. Although also a violinist active in the Viennese music scene he was most well-known as a lutenist. He composed a total of seven lute concertos during his lifetime. This Concerto in B-flat Major is in three movements: Allegretto Largo and Tempo di Minuetto. In this edition Victor Van Puijenbroeck has created a piano reduction of the orchestral score and also has adapted the lute part to be played on guitar. Included are parts for both lute (the part has been adapted from lute tablature to modern notation) andguitar (capotasto). Karl Kohaut (1726 - 1784) was an Austrian lutenist and composer of Czech descent considered to be one of the last important composers of music for Baroque lute. Although also a violinist active in the Viennese music scene he was most well-known as a lutenist. He composed a total of seven lute concertos during his lifetime. This Concerto in B-flat Major is in three movements: Allegretto Largo and Tempo di Minuetto. In this edition Victor Van Puijenbroeck has created a piano reduction of the orchestral score and also has adapted the lute part to be played on guitar. Included are parts for both lute (the part has been adapted from lute tablature to modern notation) andguitar (capotasto).