News in Slow French

There's no hiding behind a slow blues. That's the bad news. The good news is you don't need fancy fretwork, blazing technique, nuclear effect racks, or a giant Marshall wall to pull it off either. All you need is soul, a pair of good ears and a versatile vocabulary of slow blues lines and moves. You bring the former to the table and Anthony Stauffer will deliver the latter in this collection of 50 Slow Blues Licks You MUST Know.

Big names include Neil Patel, Ezra Firestone, James Schramko, Laura Betterley, Carl White, Tim Ash as well as business gurus Kevin Harrington and Kevin O’Leary. Digital Marketer presents T&C Summit 2014 (Traffic & Conversion Summit) LIVE from San Diego in partnership Ryan Deiss, Perry Belcher, and special guests Kevin Harrinngton, Kevin O'Leary, Neil Patel, Roland Frasier, Richard Lindner, Kamal Ravikant, Justin Rondeau, Tim Ash, Jake Larsen, and Tim Hayden, Gulliver "Thor" Giles.

This is a collection of absolute gems. The one-movement Concerto by Fauré is the only movement to have survived from an original three-movement violin concerto, and Saint-Saëns’s Morceau de concert was originally intended as the first movement of his third violin concerto. Lalo’s Fantaisie norvégienne, with its utterly gorgeous slow movement, was to become the inspiration behind Bruch’s Scottish Fantaisie, and Guitare is an early encore piece for violin and piano (later orchestrated by Gabriel Pierné) that Lalo (himself a violinist) wrote for his own use. Guiraud, who taught composition to both Debussy and Dukas, wrote the haunting Caprice for Sarasate, and the Poème by Canteloube shows much of the charm he is now so famed for through his Chants d’Auvergne.

Ensembles specializing in the French Baroque have been busy resurrecting music that's both of interest to specialists and a lot of fun for anybody discovering that much of this repertory makes good party music – just as it did when it was composed. Boismortier was a composer from Lorraine who went to Paris and made good by pleasing well-situated patrons with attractive, somewhat kaleidoscopic music that was well suited to the needs of the instrumentalists they employed. Included on the rather confusingly titled Boismortier: Sonates pour basses are pieces for low-register instruments – viola da gamba, cello, and bassoon, as well as several pieces of perhaps didactic nature, with unspecified and thus adaptable instrumentation.