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Connie: La Dimension Latina - Tú Pagarás, ( You Will Pay/You Are Going To Pay )

Welcome to the Salsa Addiction Emergency Room!

We are all in critical condition here!

The music page will open in a new window. There is the option of clicking on individual songs or clicking the Jukebox link. If you choose the Jukebox link then the page can be minimized while you continue surfing:

Friday Night Salsa for 08-01-2014 for the TROOPS and their supporters everywhere!

Here is a list of the songs in the Jukebox:
Artist/s - Song Names:
Humberto Ramirez - El Ministro
Humberto Ramirez - En La Soledad
Humberto Ramirez - Four
Humberto Ramirez - Hasta Decir No Mas
Humberto Ramirez - Herencia
Humberto Ramirez - La Barandilla
Humberto Ramirez - La Perla
Humberto Ramirez - Maria Cervantes
Humberto Ramirez - Mienteme
Humberto Ramirez - My Funny Valentine
Humberto Ramirez - Nicas Dream
Humberto Ramirez - Olas Y Arenas
Humberto Ramirez - Paradise
Humberto Ramirez - Round Midnight
Humberto Ramirez - San Juan Ritual
Humberto Ramirez - So What
Humberto Ramirez - Someday My Prince Will Come
Humberto Ramirez - Straight No Chaser
Humberto Ramirez - To the King
Humberto Ramirez - Transcendental
Humberto Ramirez - Tutu
Jesus Pagan Y Su Orquesta - Salsa De La Mata
La Dimension Latina - Tostao Y Colao
La Dimension Latina - Tu Pagaras
La Dimension Latina - Ven Bernabe
La Dimension Latina - Yo No Fui
Luisito Rosario - Casino Rueda
Manny Oquendo Y Libre - Bailala Pronto
Maria Victoria Y Su Latin Son - Chuchy
Nils Fischer - Pancho ( Radio Edit )
Nils Fischer - Que Pollo Mujer Picando de Vicio
Nils Fischer - Que Va Guaracha y Bemb Cachondea
Nils Fischer - Que Va ( Radio Edit )
Nils Fischer - Tremendo Coco ( Radio Edit )
Nils Fischer - Ye No Tengo Amigos
Nils Fischer - Yo Vine Pa Ver ( Radio Edit )
Sonora La Calle - Se Le Fue El Avion
Tony Canales - Rumba Para Los Rumberos

SEATTLE CHAMBER MUSIC FESTIVAL

SATURDAY, AUGUST 2, 8 PM PDT (11 PM EDT)

Beethoven: Septet in E-flat, Op. 20

When I told the story of the Schubert Octet three weeks ago, I mentioned how the root of that piece was Beethoven’s Septet. This was a massively popular piece and still brings people to concerts. It’s scored for violin, viola, cello, bass, horn, bassoon and clarinet. Beethoven distrusted popular tastes, and he came to dislike the piece because so many of the “unwashed” liked it.

It starts with a slow introduction marked “adagio”, “at rest”.
At 1:25, the sonata movement starts, marked “allegro con brio”, one of Lou’s favorite directions. I’m sure you remember your Professor Publius lessons, so I’m not going to dissect it.

The second movement in A-flat, marked “adagio cantabile”, “at rest and songlike”, begins at 10:57. It’s in the tradition ternary (A-B-A) format. The “B” section, started by the horn, is in C Major.

In third place is a minuet in E-flat at 20:47. It’s in the traditional format: AA-BB-CC-DD-AB.

When Schubert wrote his Octet, he attempted to one-up Beethoven in the use of instruments (eight versus seven) and the number of variations in the theme-and-variations movement (seven versus five).
The theme, marked “andante”, “a walking pace”, starts at 24:02 in B-flat Major. Remember the rule for theme-and-variations: The harmony supporting the theme must remain constant, but everything else is permitted to vary. One variation should be in the opposite mode (major versus minor).
Variation #1 at 25:00 features the strings alone, working around the theme.
Variation #2 at 25:56 features the strings with the theme while the winds make comments finishing the theme.
Variation #3 at 28:59 features the winds breaking the theme into canonic pieces while the strings provide discrete support.
Variation #4 at 28:01 is in E-flat minor with the violin tracing a filagree around the theme while the winds take it directly.
Variation #5 at 29:03 returns to the major with the strings and the winds taking turns with the theme.
The coda at 30:42 finishes it off cleverly.

Lou had problems with the popularity of the scherzo, marked “allegro molto e vivace”, “very fast and lively”. He heard it everywhere: on the piano, no doubt played poorly, as he walked past someone’s house; played by the resident quartet, perhaps a little better in quality, as he walked past a restaurant. The worst moment came when he heard it played on a hurdy-gurdy. He remarked, “I wish I had never written the damn thing!” I have this mental image of Lou saying, “May God strike me deaf if I have to hear it again!” It’s exuberant and sheer fun, and you can see why it captured everybody’s attention. It begins at 31:35, and the format is AA-BB-CC-DD-A-B.

The finale at 34:43 begins with a slow introduction marked “andante con molto alla marcia”, “very much a walking pace like a march”. It’s in the minor, but with a gently mocking tone. It’s just too sad to be serious.
The finale itself begins at 35:44 and is marked “presto”, “pedal to the metal.” It’s in sonata format. Remember your lessons! At the recap, the violinist improvises a cadenza at the fermata, a correct use of period performance practice.

Beethoven: Septet in E-flat, Op. 20