FReeper Canteen - Tunes For Our Troops - 16 June 2012

Our Troops Rock!!!!! | The Canteen DJ's

[Kathy in Alaska]

God Bless you good, Mac. Good night and rest well. Thanks for helping honor our troops, past and present. Thank you for your service to our country.

Drive carefully to and fro....have a good day.

[Drumbo]

I Go To Rio
~ Pablo Cruise ~

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[luvie]

ROAD TRIP!!

Eddie Rabbitt~Drivin' My Life Away

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[luvie]

You’re always welcome, Kathy! It’s an honor to do this small thing for those who do so much for their country!

Thank YOU for all you do for them...and for us! ((((hugs))))

[AZamericonnie]

Lyle Lovett is such an interesting individual to me Drumbo. Love his music since the very beginning of his stuff.

[Drumbo]

Going Down To Mobile
~ Savoy Brown ~

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[Publius]

In early 1865, Mama Brahms died. She had come to sense that the purpose of her life and marriage to a beer fiddler seventeen years her junior was to give Johannes Brahms to the world. Almost immediately, Jo began sketches for the “German Requiem”. This was not to be a Catholic requiem mass, but a Protestant conception consisting of biblical verses set to music, a concept pioneered by Bach.

But first Brahms got down to work, finishing his cello sonata. The first two movements had been written down a few years earlier, but the finale presented a problem. Brahms chose a rather thorny, academic solution. He turns back to Bach and writes a fugue, which is multiple counterpoint. This is tough on the performers, and sometimes it is even difficult for audiences. Mathematicians love it, however, because counterpoint is all about numbers. Just listen to that fugal subject played forwards, backwards, upside down, in different keys and different speeds. This recording was made in the Thirties and features two monumental giants of their respective instruments.

Brahms: Cello Sonata in E minor, Op. 38, third movement

[luvie]

Now? :)

[luvie]

Now? :)

[luvie]

Now? :)

[luvie]

Now? :)

[Liberty Valance]

http://www.youtube.com/watch?v=rDXzLeFUkpc&feature=related
Paul Simon - Graceland

[Boogieman]

You’re very welcome and *hugs* back at ya!

[luvie]

ROAD TRIP!!

Down To The Bone~17 Mile Drive

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please go to the top of the thread.

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[Kathy in Alaska]

Thanks, Publius, for more Brahms for all to enjoy. ((HUGS))

[mylife]

Some technical shizzle~~ Boom Boom

[Publius]

Well, gosh and shucks.

((HUGS))

Thanks.

All excited about "True Blood"?

[luvie]

ROAD TRIP!!

Eric Clapton~Further On Up The Road (Live)

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Please ping any DJ to any song requests
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[Publius]

In the area of chamber music, Johannes Brahms was a revolutionary. Who would have thought of combining piano, violin and (French) horn in a chamber work? Brahms went one step further by writing the part for the old, obsolete valveless horn that had been swept away decades earlier by the modern valved horn. He also went back to the Baroque church sonata format where the movements are organized slow-fast-slow-fast. He understood that in writing for horn that there is the temptation to write hunting horn calls. But Brahms disciplines himself to avoid that until the finale. This gives the horn a completely different character.

I managed to locate all four movements of this trio with three giants of their respective instruments.

The first movement in organized A-B-A-B-A, and it’s sad and rather contemplative. At 2:25 the B section comes in at a faster clip in G minor. The use of a seventh chord at 3:42 is absolutely chilling. The A section returns in abbreviated form at 4:03 with a change in leadership among the instruments. The B section returns at 5:15, but this time in B-flat minor. When the seventh returns at 5:55, you’re ready. The A section arrives at 6:19, but in G-flat Major. This is only a diversion because Brahms brings you back to the home key of E-flat at 7:15. He winds it down slowly with an end that is not so much happy, but resigned.

Brahms: Trio for Piano, Violin and Horn, Op. 40, first movement

In second position, Brahms places a scherzo in E-flat Major, and now it’s time for fun. At 1:00 he goes into the remote key of B Major in the kind of seamless modulation (key change) that only Brahms could get away with. At 1:44 it’s back to E-flat. The middle “trio” section of the scherzo shifts to A-flat minor, and it once again becomes pensive. At 4:45 the scherzo returns.

second movement

At the discussion with the musicians at the Seattle Chamber Music Festival about the slow movements of Brahms, this one came up as one of the greats. It’s marked “slow and sad”, and it’s like coming home to an empty house after the funeral of your spouse and children. It’s a three handkerchief piece. It starts in E-flat minor, and at 2:00 the horn leads into a short and slow fugue. This in turns picks up speed to a passage at 3:18 that builds to a return of the first subject at 4:08. At 6:45, grief and anguish set in, and also rage. At 7:17 the emotional numbness returns, and it ends as bleakly as it began.

third movement

Brahms needs to dispel the sadness, and now he writes the only movement in the piece that is in sonata format. Having avoided hunting horn calls, he writes a movement where the horn line is almost nothing but hunting horn calls. It’s a fox hunt set to music.

The first subject is full of “tallyho” and horses in motion. At 0:44 the second subject comes in and features a short passage at 1:25 that sounds like they’ve stopped to water the horses. The exposition repeat begins at 1:43. The development starts at 3:15, and the recapitulation comes at 4:29 where we’re back to full gallop. After watering the horses at 6:53, he races into the coda.

fourth movement

[Kathy in Alaska]

Thanks, unique, for the wavers.

Luv.....the hat trick.....#50, #100, #150!!