Freeper Canteen - Tunes For Our Troops - 11 July 2015

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

[AZamericonnie]

The FReeper Canteen Presents.....

"Christmas in July"

There's nothing like a few days of blistering 100 degree temperatures to make us wistful for the frosty months of winter. Throw in some high humidity and zero air movement and suddenly shoveling snow, navigating icy sidewalks and bundling up in layers of sweaters, scarves and jackets sounds like a mighty fun time.

It's hot, you're sweaty and longing for some relief from the heat, aren't you? And while thinking about winter, you're probably also dreaming of all those snowy nights of Christmas celebrations? Well well, you can't actually change the season now, but the closest you can get to doing so is reduce the time left for Christmas and celebrate it now, in July. That's what many are doing year after year. An unofficial holiday, Christmas in July imitates the festivities of the actual Christmas and signifies our yearning for the coolness of winter amid the scorching summer months.

Soooo......krank up those A/C's, don your favorite sweater & let's all have some hot cholocolate!

 

Bob Rivers - Osama Got Run Over by a Reindeer	Christmas Jug Band - Santa Lost A Ho
Jeff Foxworthy - Redneck 12 Days Of Christmas	Joe Diffie - Leroy The Redneck Reindeer
Monty Python - Christmas In Heaven	Pearl Bailey - Five Pound Box of Money
Ray Stevens with The Merry Melody Singers - Santa Claus Is Watching You	Stan Freberg with Daws Butler and Orchestra - Christmas Dragnet (Parts I & II)
Stephen Colbert - Another Christmas Song	Yogi Yorgesson - I Yust Go Nuts At Christmas

[Publius]

THE CHAMBER MUSIC OF LUDWIG VAN BEETHOVEN

Sonata for Piano and Cello in A, Op. 69

First Movement

Beethoven spent 1807 and 1808 writing three symphonies and a mass; chamber music wasn’t a high priority. That would change with this piece. With his Third Symphony, he had set the symphony free; with the “Kreutzer” Sonata, the violin; and now he would set the cello free.

It starts with a movement in sonata format marked “allegro ma non tanto,” “quickly, but don’t force it,” in 2/2 and A Major using 6-bar units, not the traditional 4- and 8-bar units of melody. The cello starts with a short passage that contains all the basic ideas of the sonata, and the piano joins to complete the phrase with a cute little cadenza. At the second statement, the cello gets the cute little cadenza. The transitional passage is in a passionate A minor, then E minor, leading into the second subject in E Major. The cello goes into its upper register for this theme. The piano turns majestic, and the cello follows. (This is one juicy passage!) The exposition repeats.

The development spends its time in the minor keys and is quiet and undramatic, except for a furious outburst in the middle.

Lou re-composes his recap, bringing the second subject back in the correct key of A Major.

The coda brings the first subject back in D Major, speeds it up for a grand restatement of the theme before he writes a magical passage for the right hand on the piano that winds it down for an ending that is almost introspective. And then he brings it to a proper conclusion.

Beethoven: Cello Sonata in A, Op. 69, First Movement

[left that other site]

Hi Publius!

(I LOVE the Cello, French Horn, and my electric bass. Something about those low notes really register with me! :-))

[Publius]

You’ll love this sonata. It’s one of the best things he ever wrote.

[left that other site]

It is beautiful! i am enjoying it immensely.

[Publius]

And it only gets better.

[left that other site]

Yes...it does! :-)

[Publius]

THE CHAMBER MUSIC OF LUDWIG VAN BEETHOVEN

Sonata for Piano and Cello in A, Op. 69

Second Movement

This scherzo movement, marked “allegro molto” in 3/4 time and A minor, is quirky, demonic and irresistible. It’s in five parts (A-B-A-B-A), not three, as had been Lou’s custom up to this time. A two-note grupetto with an ostinato beat dominates the movement, and it’s a forerunner of John Williams’ “Jaws” theme, but in triple time. It’s the most radical thing Beethoven had written yet.

It’s also the most controversial, having launched 200 years of arguments over how those two notes are to be played. The argument is whether the curved lines linking the two notes are ties or slurs. A tie is used to show a single note that is held across a bar line, although it can be used for other purposes within a bar. A slur is indicates that both notes are to be sounded, but with different characteristics. (The vocal equivalent I use for this is “Uh-huh.”) On the piano, Beethoven puts a change of finger for the second note, and the argument is that the finger change makes no sense if the second note is simply to be held as a tie; that is, the changed finger keeps the key depressed and doesn’t strike it again. I’ve heard this movement played as ties and slurs, and I accept the argument that it’s a slur; that is, both notes should be sounded on both piano and cello with the second note having a different character than the first. It took me forever, but I found a video where it’s played as a slur.

The sneaky ending always prompts giggles from the audience. It’s a good example of Lou’s sense of humor.

Beethoven: Cello Sonata in A, Op. 69, Second Movement

[Drumbo]

(There's Gonna Be A) Showdown
~ Archie Bell & the Drells ~

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[Kathy in Alaska]

Thanks, spel, for the Saturday Edition of the Salsa Addiction Emergency Room! ((HUGS))

[Publius]

THE CHAMBER MUSIC OF LUDWIG VAN BEETHOVEN

Sonata for Piano and Cello in A, Op. 69

Third Movement

Beethoven still didn’t trust himself to write a slow movement for cello, fearing it would degenerate into sentimental slush. That would take another decade to cure. So for this piece he wrote a slow introduction to the finale marked “adagio cantabile” in 2/4 time. It only lasts half a page.

The finale in sonata format is marked “allegro vivace” in 2/2 and starts quietly, but that first subject is wonderful and beautifully harmonized. The second subject is in E Major, and it’s joyous. The exposition is repeated.

Development goes to the minor before an exuberant C Major, then loses itself in a harmonic maze before finding its bearings with the recap.

Lou re-composes his recap, and everything ends up in A Major where it belongs. The end is exuberant and never fails to bring the house down.

Beethoven: Cello Sonata in A, Op. 69, Third Movement

Next Saturday, it’s the entire “Ghost” Trio, not just the slow movement that I play every Halloween.

[Drumbo]

I'm Your Puppet
~ James & Bobby Purify ~

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[spel_grammer_an_punct_polise]

No prob, Ma! ;-)

[Drumbo]

Can I Get A Witness
~ Marvin Gaye ~

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[Drumbo]

Come See About Me
~ The Supremes ~

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[Drumbo]

Up on the Roof
~ The Drifters ~

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[Drumbo]

Baby It's You
~ The Shirelles ~

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[Drumbo]

Bye Bye Baby, Baby Goodbye
~ Frankie Valli & The Four Seasons ~

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[Drumbo]

Shoo-Be-Doo-Be-Doo-Da-Day
~ Stevie Wonder ~

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[Drumbo]

You're All I Need to Get By
~ Marvin Gaye & Tammi Terrell ~

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[TMSuchman]

BOOM