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Old 04-30-2013, 07:35 AM   #19031
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Kenny Chesney. Welcome to the Fishbowl.

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Old 04-30-2013, 07:42 AM   #19032
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Helloween - Keeper of the Seven Keys Part 1 & 2
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Old 04-30-2013, 08:10 AM   #19033
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Paolo Conte - Via con me




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Old 04-30-2013, 08:20 AM   #19034
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Nicki Minaj & Cassie- boys
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Old 04-30-2013, 03:29 PM   #19035
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Old 04-30-2013, 04:50 PM   #19036
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The Fratellis - Chelsea Dagger

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Old 04-30-2013, 06:26 PM   #19037
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Default Arnold Bax: Symphony no. 7

http://www.youtube.com/watch?v=rtX7UCxBVyo

Conducted by Bryden Thomson with the London Symphony Orchestra.

I. Allegro
II. Lento - In Legendary Mood: Piu mosso - Tempo I
III. Theme and Variations: Allegro - Andante - Vivace - Epilogue

Nearly four years after completing Tintagel, the première of Bax's First Symphony was greeted with the newspaper headline 'Wonderful New Work Performed at Queen's Hall'. Over the following twelve years he wrote five more symphonies, but after completing the sixth in 1934 his compulsion to write music began to wane. He went on, nevertheless, to produce several notable chamber and orchestral pieces, including a Violin Concerto, and it was soon after finishing this in March 1938 that he embarked on his seventh and final symphony. The work had been fully sketched by October, and the orchestration was finished at Morar, on the west coast of Scotland, in January 1939, the very month that saw the death of Bax's beloved Yeats and exactly twenty years after the completion of Tintagel. He originally dedicated the symphony to the conductor Basil Cameron, but when it subsequently became an official commission for the New York World's Fair he was required to change the dedication, which now became 'To the People of America'. It was first played by the New York Philharmonic-Symphony Orchestra at Carnegie Hall on 9th June 1939 under Sir Adrian Boult.

Like all of Bax's symphonies, the seventh is in three movements, the first of which is largely characterised by surging energy and buoyant optimism, as can be heard in the opening paragraph. After a brief pause, the mood becomes more playful, but the music soon reverts to more serious matters. A new, animated woodwind theme characterised by repeated notes leads into a syncopated passage revealing Bax at his most exuberant. Contrast is provided by a rich, lyrical melody first heard on cellos and cor anglais, and the development section is by turns strenuous, wistful and mysterious, but always with an underlying sense of momentum. The recapitulation culminates in the lyrical melody soaring confidently towards a harsh climactic flourish (brass and timpani) before the movement returns to the shadows from which it emerged.

Bax once curiously described the slow movement of this symphony as an 'intermezzo and trio', though intermezzi are not normally as extended and eventful as this one; and in praising Boult's first British performance he wrote that it 'expressed all the heavy summer languor which I meant to convey'. The outer sections may be predominantly languorous, but there are also moments of violent upheaval, as if the dreamlike atmosphere has been invaded by some dark nightmare. The central 'trio' bears the marking In Legendary Mood and features a more purposeful melody beginning on low woodwind against a busy solo violin accompaniment. The climax of the movement is ruthlessly hammered out, but the mood soon reverts to the lazy, unruffled calm of the opening.

'The third movement should start more deliberately', wrote Bax to Boult after hearing a recording of the New York première, '—a real 18FORTY romantic wallow!'. The movement is headed Theme and Variations, and after a rousing prelude the theme is quietly and soberly stated by the cellos and double basses. The variations lead into one another and range in mood from violent to tender, from ebullient to skittish. Bax once said of the final variation (the Epilogue) that it was 'as far as I can go', and indeed, with the advent of war only eight months after he had finished it, he lapsed into a musical silence that was to last until his appointment as Master of the King's Music in February 1942. Although he resumed composition, producing fanfares and marches for state occasions as well as music for the cinema, the stage and the concert hall, Bax never quite recovered the creative impulse that had driven him on during the inter-war years; and never again did he achieve the deeply moving serenity and poise to be found in the closing pages of his final symphony.

(Thanks to GoldieG89 for the upload and the comments)
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Old 04-30-2013, 11:47 PM   #19038
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Colin James - Man's Gotta Be A Stone
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Old 05-01-2013, 01:44 AM   #19039
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Art of Love - Looking Through The Night

Year: 1983



http://www.youtube.com/watch?v=z-wWhSVhzDM
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Old 05-01-2013, 01:52 AM   #19040
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Miami Nights 1984 - Ocean Drive

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