FReeper Canteen - Tunes For Our Troops - 12 Oct. 2013

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

[AZamericonnie]

 

 

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~ Tunes For Our Troops ~

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~ Support The Artists ~
 

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Warning: Not all the music you hear below will be appropriate for children! Please click with caution! Thank you!

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Tunes For The Troops     **Artist Showcase** John McLaughlin's Mahavishnu Orchestra is considered by many to be the greatest Jazz-fusion group of all time. The group was formed in late 1970-early 1971 by McLaughlin, a brilliant guitarist with a jazz-rock pedigree that included work with the Graham Bond Organisation in the mid-60s, and with the electrified Miles Davis on his landmark "Bitches Brew" LP in 1969. The original Orchestra included Jan Hammer (later to score TV's "Miami Vice") on keyboards, Jerry Goodman on violin, Rick Laird on bass, and Billy Cobham on drums. They released two fabulous studio albums, Inner Mounting Flame and Birds of Fire, along with a disappointing live album, Between Nothingness and Eternity. A reformation of the group in 1974 brought Jean-Luc Ponty on board to play violin, along with a host of new supporting musicians (which McLaughlin went on record as saying was the "real Mahavishnu Orchestra"). The Orchestra faded into the sunset in 1975 with the release of the excellent Visions of the Emerald Beyond album, as McLaughlin went on to greener pastures, including a wealth of solo work and further collaborations with Miles Davis and Carlos Santana. In 1984, McLaughlin reformed the Mahavishnu Orchestra with Bill Evans on saxophones, Jonas Hellborg on bass, Mitchel Forman on keyboards, and original member Billy Cobham on drums. Cobham participated in the sessions for their self-titled 1984 album, but was replaced by Danny Gottlieb for live work, and Jim Beard replaced Mitchel Forman for the latter period of this band's life. This band's overall sound was different from the original Mahavishnu Orchestra, in particular because of McLaughlin's extensive use of the Synclavier synthesiser system. All music is removed on Monday. Thanks to all the DeeJay's for their time & effort providing entertainment for the Troops! *Canteen Mission Statement* Showing support and boosting the morale of our military and our allies military and the family members of the above. Honoring those who have served before.

 

The Inner Mounting Flame	Birds of Fire
The Lost Trident Sessions	Between Nothingness and Eternity
Apocalypse	Visions of the Emerald Beyond
Inner Worlds	Mahavishnu
Adventures in Radioland

[Kathy in Alaska]

Good evening, Mac...*HUGS*...ready for the weekend?

Feeling better yet? How was your commute?

More rain here.

[spel_grammer_an_punct_polise]

It is my pleasure, duty, honor and responsibility to post music for the TROOPS even if it is like spitting in the eye of you-know-who in the White Hut! ;-)

[Kathy in Alaska]

LOL! At least we are here. *sigh* We can make do with virtually nothing but our “friends” and “family”.

[left that other site]

Hi Everybody!

((((HUGS)))

[Drumbo]

I Never Cry (Live)
~ Alice Cooper ~

I Never Cry
~ Poison ~

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[Kathy in Alaska]

Aloha and good afternoon, Hawaii...((HUGS))...hope you’ve got some sun.

More rain here, most of the day, but the sun is peeking out a bit just now.

[Drumbo]

Salt In My Tears
~ Martin Briley ~

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[Publius]

For four years, Lou Beethoven put the piano sonata on the back burner while he wrote a symphony (#2 in D), a piano concerto (#3 in C minor), a wonderfully advanced violin sonata (the “Kreutzer”) and a lot of small pieces. He was busy performing, and working on a grand symphony (#3 in E-flat, the “Eroica”). Like so many, Beethoven was seduced by the success of Napoleon, and he vacillated several times on the idea of attaching the French emperor’s name to his new symphony.

In 1802, Lou had written a suicide note known to history as the Heiligenstadt Testament. Beethoven’s deafness had been slowly encroaching on him, and he now understood that his condition would never improve but only worsen. Had he pulled the trigger at age 32, he would have been remembered as the composer of two symphonies, three piano concertos, six string quartets and a lot of sonatas for various instruments. It would have been a decent legacy, and the book on Beethoven would have been that he’d had great potential but didn’t quite live up to it. The only thing that kept Lou going was his art – and his art was about to make a quantum leap.

In 1804, Lou finally returned to the piano sonata. His new piece, the Piano Sonata in C, Op. 53, is known as the Waldstein Sonata because of its dedication. It’s in three movements, although the slow second movement is marked as an introduction to the rondo finale, which would make it a two-movement piece. The balance was changing in Lou’s output. The first movement of a sonata would no longer be the heart of the piece. Now it would be the finale. He was aiming for a new simplicity, where that simplicity would disguise great art.

The first movement is marked allegro con brio, “quick with enthusiasm”, one of Lou’s favorite markings, in 4/4 time. It requires the pianist to play rapidly in the bass register very quietly, which is quite difficult. It either comes out too loud or the articulation is sloppy. I asked pianist Adam Neiman, a fellow Ayn Rand fan, how to get that effect, and he suggested brushing the keys with the fingers rather than striking them. It works, but you have to get it just right or it comes out too loud. This is not an easy piece! There is also the shock of the new. From the first bars, it is clear that this is a different Beethoven.
The first subject leads into tremendous tonal instability, which is something you would expect in a development section. At 1:35, he brings in his second subject, not in the expected key of G Major, but the remote key of E Major.
At 3:08, he repeats the exposition.
At 5:38, it’s development time. This is a sizeable development, and if you think the tonal instability in the transitional passage in the exposition was something, wait until you hear this. Having worked over the first subject, Lou works over the transitional passage and manages to avoid working over the second subject. Using the key of G Major, he builds up to his recapitulation.
At 7:34, you breathe a sigh of relief as he resolves the tension by recapping in the tonic key of C Major.
His transitional passage should bead to the second subject in C Major, but he opts instead for the remote key of A Major – you think! But this is all just a ruse. A Major leads to A minor and now to C Major. We’re home at last.
But not for long! At 10:17, he begins his coda in the remote key of D-flat Major, a half tone up from the tonic, a key shift known as the “Neapolitan”. This is a very long and tonally unstable coda. He stops it cold, brings back the second subject in C Major sweetly, and then takes the first subject into a bravura ending that sounds a bit forced.

His second movement is in F Major, 6/8 time and is marked adagio molto, “very slowly”. It’s labeled as an introduction, rather than as a movement proper. It’s short on paper, but sounds long because of its speed. It has the sound of the opera house about it, a cross between a recitative and an aria. Settling carefully into C Major, it moves without interruption into the finale.

This is the heart of the sonata, a movement of almost ethereal beauty and utter simplicity. It’s a rondo marked allegretto moderato, “a bit quick and moderate”, in 2/4 time. The left hand crosses over the right to play the theme in the far treble.
There is a dark move into A minor, but the sun comes out in C Major as the first theme repeats.
It gets dark again as he shifts to C minor. He reprises the theme in A-flat and works his way slowly back to C for the first theme at 22:00. He cadences in G and then does something amazing. He winds it down, perhaps to a quiet end, but then...
...he goes off into a long coda in 2/2, marked prestissimo, “like a bat out of hell.” He changes key with abandon and finishes with a fine bravura end.

This is a 1977 video of the late Chilean pianist Claudio Arrau, who is one of my favorite Beethoven interpreters.

Beethoven: Piano Sonata in C, Op. 53

[ConorMacNessa]

Good evening, Kathy!

*HUGS*

I'm feeling better - didn't need to use Naproxen today - legs are still weak.

Morning commute was a piece of cake - evening commute was an ordeal. We've had rain the last several days - expected to have more tomorrow and Sunday. On my way out of town this evening, Rock Creek was less than a foot below the banks - flood warnings in place until later this evening.



EAGLES UP! Sunday 13 October 2013 at 0900 – WWII Memorial on the National Mall!

Genuflectimus non ad principem sed ad Principem Pacis!

Listen, O isles, unto me; and hearken, ye people, from far; The LORD hath called me from the womb; from the bowels of my mother hath he made mention of my name. (Isaiah 49:1 KJV)

[luvie]

LOVE YOU CANTEEN DJ'S!!!
Thanks for your hard work!
GodBlessUSA; mylife; AZAmericonnie; Kathy In Alaska; Ms.Behavin;EsmeraldaA; ConorMacNessa;acad1228; LibertyValance; Cindy; Starwise; 50mm; iron munro; publius;
spel_grammer_an_punct_polise;
Drumbo (and me)

YOU ROCK OUT LOUD!!
God bless our troops!!!

Thanks for a great thread
and all your hard work, Connie!
Aw...my "heart" is a casualty of Fotki's move!
Sorry...you have to imagine it. :)

[Kathy in Alaska]

Quit again...

I’ m going home.

Sent from my iPad

[ConorMacNessa]

Good evening, Maestro!

WALDSTEIN!!!!

Ausgezeichnet!!



EAGLES UP! Sunday 13 October 2013 at 0900 – WWII Memorial on the National Mall!

Genuflectimus non ad principem sed ad Principem Pacis!

Listen, O isles, unto me; and hearken, ye people, from far; The LORD hath called me from the womb; from the bowels of my mother hath he made mention of my name. (Isaiah 49:1 KJV)

[Publius]

It’s one of his very best, a groundbreaking sonata that kicks off his middle period.

[ConorMacNessa]

SAFE PASSAGE, KATHY!!!



I HAVE YOUR SIX!!!

"Riamh nár dhruid ó sbairn lann!"

Genuflectimus non ad principem sed ad Principem Pacis!

Listen, O isles, unto me; and hearken, ye people, from far; The LORD hath called me from the womb; from the bowels of my mother hath he made mention of my name. (Isaiah 49:1 KJV)

[ConorMacNessa]

GOD BLESS AND PROTECT OUR TROOPS AND OUR BELOVED NATION!



The Star Spangled Banner – Verse Four
(Click)

Oh! thus be it ever, when freemen shall stand
Between their loved home and the war's desolation!
Blest with victory and peace, may the heav'n rescued land
Praise the Power that hath made and preserved us a nation.
Then conquer we must, when our cause it is just,
And this be our motto: "In God is our trust."
And the star-spangled banner in triumph shall wave
O'er the land of the free and the home of the brave!

Please let me know by Freepmail if you would like
to be admitted to or released from my music ping list

Genuflectimus non ad principem sed ad Principem Pacis!

Listen, O isles, unto me; and hearken, ye people, from far; The LORD hath called me from the womb; from the bowels of my mother hath he made mention of my name. (Isaiah 49:1 KJV)

[luvie]

USAF Concert Band~Armed Forces Medley

WE LOVE YOU ALL!!!



Proper Way To Listen To Classical Music
Video

[Publius]

Hey, Luv.

(HUGS)

Super wallerin' music tonight!

[spel_grammer_an_punct_polise]

Dudess! ;-)

I hope that all is well with you and yours!

(((( HUGS ))))

[luvie]

I can hardly wait to have the down time to get to waller and relax! Thanks for the heads-up! :)

((((hugs))))

[luvie]

Dude!

It IS well!

Are the bosses treating you well? :D