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. 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 onguitar. Included are parts for both lute (the part has been adapted from lute tablature to modern notation) and guitar (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 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. 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 onguitar. Included are parts for both lute (the part has been adapted from lute tablature to modern notation) and guitar (capotasto).

Par DYENS ROLAND. Trois mois d'écriture et plusieurs années de doutes et de retouches, ainsi pourrait se résumer le Concerto métis, mon premier concerto et sans doute, encore à ce jour, l'oeuvre qui demeure la plus chère à mon coeur. Créé à Cannes l'année de sa composition (en avril 1990 avec l'orchestre régional P.A.C.A.), ce concerto fut, pendant plusieurs années, uniquement joué par moi-même aux côtés d'orchestres de nombreux pays. L'enregistrement (que j'en ai réalisé en avril 1997 en Arménie) ainsi que l'indispensable réduction de l'oeuvre pour piano réunissent enfin les incontournables conditions pour que le Concerto métis puisse, aujourd'hui, bénéficier d'une 'existence', tant auprès des solistes qu'au sein des conservatoires de musique. Classique dans sa forme (vif-lent-vif, cadence), ce concerto pour guitare et orchestre à cordes en hommage à la divine Ida Presti se caractérise, en premier lieu, par la diversité des 'races' de musiques dont il est traversé de bout en bout, justifiant ainsi son nom sans la moindre ambiguïté. Roland Dyens / Niveau : Difficile / classique / Répertoire / Guitare et Piano

La référence AL27604 de l'éditeur Leduc dont l'auteur célèbre est Tomasi, qui a pour titre Concerto(Guitare Orchestre), a été écrite et composée pour Guitare et plus particulièrement pour Guitare Et Piano. Cette partition musicale appartient à la catégorie Classique. / Guitare Et Piano / Partition

La référence GB3427 de l'éditeur Billaudot dont l'auteur célèbre est Meranger Paul, qui a pour titre CONCERTO 25, a été écrite et composée pour Guitare et plus particulièrement pour Guitare Et Piano. Cette partition musicale appartient à la catégorie Classique. / Guitare Et Piano / Partition

Transcriptions pour le Concerto mettant en vedette le piano jazz de Claude Bolling et la guitare classique de Alexandre Lagoya. / Scores

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.