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Posted on 07/04/2014 5:57:58 PM PDT by AZamericonnie
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Love that pic Megs! *Hugs*
Nice Chet Charles! *Hugs*
Hope you had a great Independece Day AAC! *Hugs*
Hi Kathy, I closed the office for the 4th & for today as well. I need to recharge my batteries! lol
I do hope your enjoying a long weekend as well! *Hugs*
The theater was packed & a standing ovation from the audience after the film. Inspiring!
God bless America!
I heard that in some theaters, people are spontaneously singing the national Anthem.
That’s a MOVIE!
I can soooo see that happening ML.
So glad you gave yourself a couple days off. You’ve been working so hard. I hope you get some good help soon. *HUGS*
Things have been pretty rough lately....intense at work and Mom intense when I get home.
Today I found her crying, in her chair in the living room, about “it’s catching up to me. I can’t remember anything”. She’s 89.
I’ve spent the last 2 hours working with her on Outlook email. We have been making notes about every step. I can’t let her give up like my Dad did. She will sit in her chair and die. Email is her lifeline to her friends.
I told her to call me immediately if she runs into trouble and we will work it out now. So if I disappear, I’m helping with her email. I just asked how she was doing and she said she already sent one email and is working on another. d:o)
yes.
I don’t go to the movies anymore, but in this case i might make an exception.
Well that's a heart breaker & perhaps we will be there one day as well.
Fortunalty for her she has a loving, devoted daughter in you to help with the later years.
At her age & sending e-mails....she's doing darn good!
Oh yes dear....make an exception on this movie! And take tissues cuz I bet your a patriotic sapp like me! lol
This is one of the greatest warhorses in the chamber repertory. As I put it to the late Toby Saks, founder and 30 year Artistic Director of the festival, “It puts asses in seats.” Concerts that feature this piece routinely sell out. Over the next 45 minutes, you’ll hear why.
It was written by the young, athletic Johannes Brahms, years before got fat, grew the full-face beard, and traded in his four-packs-a-day for Cuban stogies. (“They’re rolled on the thighs of fifteen year old virgins,“ he would tell his cronies when he passed them out.)
Haydn introduced sonata format with two subjects in the exposition. Schubert added a third subject, and in this piece Brahms adds a fourth and fifth subject. As a result, the exposition is so long that he doesn’t bother with repeat markings.
It starts quietly in G minor, in 4/4 and marked “allegro”, with a theme that turns pensive and then breathtaking.
At 1:46, the second subject enters in D minor with the cello taking the lead, followed by the piano.
At 2:47, the violin and viola play the next subject in unison, symphonic style, while the piano and cello work around it. That tune is one of the juiciest things Brahms ever wrote.
At 3:32, the newest subject is in D Major, and it’s even juicier. The piano and viola introduce it while the cello supports it and the violin stays silent for the moment. Then the violin jumps in, and the moment is glorious. He liquidates it by using the main motif of the first subject broken into pieces by the strings in unison against arpeggios on the piano, a kind of self-development
At 5:45, you think he’s going to repeat the exposition, but he quickly takes off on the development. He breaks up the first subject into more segments with strings against piano. He liquidates this by disconnecting the concept of key and softening it
At 8:17, he brings back the earlier D Major subject in G Major.
He recaps at 9:15. Deleting the subjects he worked with in the development, he goes into the unison passage, then takes the earlier D Major subject and hands it to the strings in G minor, but very quietly.
The coda begins at 12:14, and it builds to an amazing climax before ending quietly and a bit sullenly.
These videos feature four of the greats: Emmanuel Ax on piano, the late Isaac Stern on violin, Jamie Laredo on viola, and Yo-Yo Ma on cello.
After such a heavy first movement, Brahms opts for an intermezzo, rather than a scherzo in second position. He’ll save the fun for the finale. He marks it “allegro ma non troppo”, which means “quickly, but don’t push it.” It’s in 9/8 time, which here is barred as three groups of three. It’s in ternary format and C minor.
It starts with a swinging, almost swaggering, air. The strings are all played “con sordino”, i.e. with mutes. At 1:54, it really swings. It ends serenely in C Major.
At 3:08, the “trio” section jumps into A-flat Major for an “animato” passage putting the piano on arpeggios while the strings take the theme. At 3:43, he switches into D Major where the strings carry the theme, and the piano plays rhythmic games within nine-to-the-bar. Then it’s back to A-flat.
The first section repeats.
At 7:45, he writes a coda in C Major based on the middle section.
This movement, in E-flat Major and marked “andante con moto”, is in 3/4 time, but he fills in the eighth notes, which makes it a kind of slow minuet. It’s in ternary format. The strings take the theme while the piano plays an eighth note underlay.
At 3:45, the middle section, marked “animato”, is a march in 3/4 time and C Major. Schumann and Brahms knew how to make something like this work. It’s a march of little tin soldiers, and it’s charming. (When Arnold Schoenberg orchestrated this quartet, he turned this middle episode into a march of the local Storm Troopers through the Jewish quarter of town; it’s in really bad taste.) Then it jumps into A-flat before settling back to C Major.
At 6:03, it disintegrates and returns to the first section via C Major.
At 8:51, the coda wraps it up with the violin soaring into the stratosphere. That tune will just break your heart the way Stern plays it.
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Here is a list of the songs in the Jukebox:
Artist/s - Song Names:
DJ El Chinos Solar Latin Club-Volume 2 - Abuelos
DJ El Chinos Solar Latin Club-Volume 2 - Fango
DJ El Chinos Solar Latin Club-Volume 2 - Lo Que Me Gusta De Ti
DJ El Chinos Solar Latin Club-Volume 2 - Me Vas A Acabar
DJ El Chinos Solar Latin Club-Volume 2 - Momentos Robados
DJ El Chinos Solar Latin Club-Volume 2 - Para Que Volver
DJ El Chinos Solar Latin Club-Volume 2 - Tu Tienes
DJ El Chinos Solar Latin Club-Volume 2 - Wonderful Life
Jack Costanza - Milestones
Jack Costanza - Montiki
Jack Costanza - Nana Sere
Jack Costanza - Quimbara
Jack Costanza - Work Song
Johnny Blas - Cool Blas
Johnny Blas - Gianna
Johnny Blas - Skin And Bones (Reprise)
Johnny Blas - Skin And Bones
Johnny Blas - Something Within Me
Johnny Blas - Yo No Se
Pibo Marquez Y Su Descarga Criolla - Senor Sereno
Robin Jones And King Salsa - Este Es Mi Nombre
Robin Jones And King Salsa - Giant Steps
Robin Jones And King Salsa - Hit The Source
Robin Jones And King Salsa - June
Robin Jones And King Salsa - Mi Songo
Robin Jones And King Salsa - Mozambique Callejero
Robin Jones And King Salsa - Mozambique PaGozar
Robin Jones And King Salsa - Muneca
Robin Jones And King Salsa - Sonando
Robin Jones And King Salsa - Tremendo
After leaving his parents’ waterfront dive in Hamburg, Brahms had spent his early professional career traveling around Europe with the showboating gypsy violinist Eduard Remenyi as “The Ed & Jo Show”. As a result, Brahms knew his gypsy music and Hungarian dances. All that hard work paid off now.
Fasten your seat belts for some real fun.
This movement returns to G minor and is marked “presto”, which means it’s to be played very rapidly. It’s in 2/4 time, and Brahms also marks it “rondo in the gypsy style”. This is the movement that brought people to their feet when Clara Schumann premiered it. There is nothing else quite like it in the chamber repertory.
It starts off with an initial theme in G minor.
At 1:02, the second theme in B-flat major is a run on the piano while the strings play pizzicato. I have this image of Brahms giggling insanely when he wrote this passage.
At 1:57, he brings back the initial theme, but shortened.
At 2:28, he brings in his third theme in G Major, marked “meno presto”. It’s a Hungarian czardas.
At 3:15, he brings in his fourth theme in E minor, an extension of the czardas idea.
At 4:49, he returns to the second theme, but in G Major. He uses it as a buildup to the return to the czardas.
At 5:37, we’re back to G minor for a buildup to a piano cadenza that is Brahms’ idea of a gypsy violin passage written for piano. Emmanuel Ax schmalzes it up beautifully.
This is followed by a buildup to a return to the initial theme. But this time he marks that theme “molto presto”, which means “put the pedal to the metal.” Audiences always go nuts at the end, and now you’ll understand why.
Thanks Prof for the chamber music! *Hugs*
(HUGS)
Always happy to introduce a little beauty into people's lives. The Brahms piece is a lot of good, clean fun.
World War I was in its final days when Igor Stravinsky teamed up with a French-Swiss author who translated the Russian folk tale “The Runaway Soldier and the Devil” into French. The standard English translation is by Michael Flanders of the famous Flanders-and-Swann duo of the Fifties. It’s the story of a soldier who trades his fiddle with the Devil in return for unlimited economic gain.
The piece was written for three actors, chamber septet and dancer. It will probably be done with one actor and no dancer in the Seattle production.
I played a role in getting this piece selected for the festival. Back in 1990, the Santa Fe Chamber Festival went on the road and did this piece in Seattle with two actors, one as narrator and one as the Devil. The actor who played the Devil did so with an Irish brogue, which brought the house down. If you’ve ever seen “My Own Private Idaho”, Gus van Sant’s version of Shakespeare shot in Portland, OR, the actor who played the Devil played Falstaff in van Sant’s movie. I met him at a party in West Seattle in 1992.
The Seattle Chamber Music Festival has programmed the short suite from this piece many times over the decades. It’s fun, but since 2003 I’ve been begging them to do the complete one-hour piece as Stravinsky wrote it. I’m getting my wish this year.
There is no need to explain the piece and take it apart, so I’m not going to play the pedant this time. Set aside an hour, play this video, and enjoy a young composer as he turns a Russian folk tale into art with an occasional belly laugh.
Man, watch that cellist saw! (That’s Yo-Yo Ma, I believe)
The piano player has a page turner. I don’t know if the others had assistants.
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