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La gomera download full pc. La gomera download full length. La gomera download full episode. Hey Nessa. superschönes Video von dir. Gerade weil nicht gesprochen wurde. Hast mir dafür einen schönen Eindruck von der Insel vermittelt. Klasse! Und Danke! Vieleicht laufen wir uns dort ja mal zufällig über den Weg. Ich käme jedenfalls aus dem Lachen nicht mehr raus. The solo piano music of Percy Grainger (1882–1961) comprises approximately ninety works, one-third of which are based on music by other composers and range from the anonymous thirteenth-century carol Angelus ad Virginem to George Gershwin’s Love Walked In including pieces by Bach, Dowland, Fauré and Richard Strauss to name but a few. Of Grainger’s own compositions and folk-music settings, a handful of pieces date from between 1897 and 1898 and, apart from one folk-song setting which was written directly for piano solo, the remaining works for this medium were all made after their orchestral or instrumental versions were composed. Grainger’s love-hate relationship with the piano began at the tender age of five: I have always loathed the piano because I consider it an affront to destroy a melodiously conceived idea by trying to fit it into the limitations of two hands and a box full of hammers and strings. His mother Rose was his first teacher and with her the young Percy practised the piano for two hours every day for five years. It was at the suggestion of Dr Henry Michael O’Hara (the doctor who assisted at Grainger’s birth) that Percy was taken to study with Louis Pabst. The chain of events that followed has been well documented elsewhere. Grainger’s début as a pianist took place on 9 July 1894 in Melbourne’s Masonic Hall. It was only ten months later that he gave his farewell recital before leaving Australia to study at Dr Hoch’s Conservatorium of Music in Frankfurt, which at that time was a major centre of piano pedagogy. Here, Percy studied piano with James Kwast and under his tuition was soon proficient enough to play Mozart’s A major Piano Concerto. But it was composition that attracted the thirteen-year-old. His introduction to a group of fellow students (later to be known as ‘The Frankfurt Gang’) inspired him to a spate of musical composition that astonished his new-found friends. Another important element in this was his trip to Scotland in 1900 when he and his mother were treated to a holiday by Karl Klimsch, a lithographer and music-lover who was considered by Grainger to be his only true and worthwhile teacher of composition. The following year, Percy and Rose moved to London and Grainger’s career as concert pianist flourished. After many successful ‘At Homes’, Grainger gave his début solo recital at Steinway Hall in October 1901. His distaste for the life of a concert pianist was only tempered by the fact that it was a means of financial support until his compositions achieved recognition—recognition for which he was still waiting when he died in 1961. His mother’s health and her general well-being also played a part in making it necessary for him to earn money. During these early years in London Grainger’s fame as a pianist spread far and wide. His good looks and boundless energy acted as a passport to success whilst his career was nurtured by Rose who carefully managed his affairs so that he would be able to devote some of his time to composition. His friendship with the financier William Gair Rathbone (1849–1919) led to engagements at his house where Grainger could perform his own works. Rathbone was keenly interested in Grainger as a composer, and it was during this time that the young Percy came into contact with the many composers, artists and musicians who would play their part in his London years. It was his friend and fellow Frankfurt student Roger Quilter who paved the way for Grainger to have his music published, and although Grainger was initially pleased at this prospect he still retained doubts, fearing that he would be misunderstood and that people would not take him seriously. He was persuaded by Willy Strecker of Schott in London to write piano arrangements of his works which Strecker thought would increase sales as well as their popularity. Certain conditions however were included in the publishing agreements which allowed Grainger to design his own covers, and include his English expressions which he thought conveyed precisely how he wanted his music performed. A host of words and phrases appear throughout his scores, such as ‘clatteringly’, ‘hold back slightly’, ‘lingeringly’, ‘slacken slightly’, ‘hammeringly’, ‘easy-goingly’, ‘louden hugely’, ‘very rough, much to the fore’, ‘short and sharp’, ‘harped all the way’, ‘clingingly’ and so on. Despite Grainger’s loathing for the piano he was one of this century’s greatest performers and through his recitals many pieces were introduced to British, Australian, American and European audiences for the first time. The piano was also central to his compositional output and parts for it are to be found in the majority of his ‘room-music’ and orchestral scores. Many of these were also ‘dished-up’ for two pianos, four hands and in some cases two pianos, six hands. His love of the outdoor life and passion for physical activity are all reflected in music which exudes sheer energy and the love of life. Grainger wanted to bring a breath of fresh air into the stuffy atmosphere of the concert hall and his piano writing is full of the open-air spirit, often evoking and emulating some of the sounds of everyday life. Grainger considered himself above all to be a choral composer, but he was able to imbue all the different genres of his compositions with their own special character. It is in his piano pieces, despite all he said about the instrument, that his mastery of counterpoint and musical invention comes ‘to the fore’. Jutish Medley (DFMS No 8) comprises a succession of tunes collected by Grainger during ‘folk-song-fishing’ trips to Jutland with Evald Tang Kristensen in 1922 and 1927. The tunes used are as follows: Choosing the Bride voices a lover’s dilemma in choosing between two sweethearts, one rich, one poor; The Dragoon’s Farewell in which a dragoon sings a heartfelt song before setting out for the wars; Husband and Wife is a quarrelling duet in which the wife finally brings her obstreperous husband to his senses by means of a spinning spindle skilfully applied to his head (at this point Grainger ingeniously combines with and reprises Choosing the Bride); The Shoemaker from Jerusalem, an archaic religious song; and the ballad Lord Peter’s Stable-boy which tells of a maid, ‘Little Kirsten’, who dons male attire because she wants to be a courtier at the Dane-King’s castle. Like Lincolnshire Posy, which is dedicated to the Kings and Queens of the British folk-songs he collected, so likewise Grainger’s medley is an homage to their Danish counterparts with the overall dedication to Tang Kristensen. Although the Jutish Medley exists for orchestra as part of Grainger’s Danish Folk-Song Suite, the piano solo version is one of his most challenging and impressive scores for this medium, and one which makes great demands on the performer. Colonial Song ( Sentimentals No 1) is Grainger’s love-song to his native Australia and was originally conceived for two voices, harp and full orchestra. It is his attempt at writing a song in which he wished to express feelings aroused by thoughts of the scenery and people of his native country and to write a melody as apposite to these as Stephen Foster’s songs are to rural America. Grainger endows his rich melody—the opening of which he acknowledges as being influenced by Brahms—with a folk-song-like flexibility, adding counter-melodies, inner harmonies and a myriad of harmonic digressions, until its sweeping gestures carry us on a tide of emotional heights, passionately yearning for the open spaces of the Australian landscape. Molly on the Shore (BFMS No 19) is based on two Cork reel tunes taken from The Petrie Collection of the Ancient Music of Ireland edited by Stanford and is one of the key pieces around which Grainger’s popularity has revolved. In this setting Grainger strives to imbue the accompanying parts that make up the harmonic texture with a melodic character not too unlike the tune of the underlying reel. The jauntiness, vivacity and love of life are expressed here to great effect and to this Grainger adds a ravishing wind-blown counter-melody of the type at which E J Moeran excelled. Harvest Hymn is a totally original composition and an elaboration on an early melody called ‘Hymny Tune’ representing the apotheosis of hymn-like melodies. Originally conceived for ‘elastic-scoring’, this piano version can also be played simultaneously with all the other versions. This is Grainger’s only use of the word ‘hymn’ as part of a title; the result is a sumptuous piece that tugs at the heart-strings. The Four Irish Dances were originally composed for orchestra by Sir Charles Villiers Stanford (1852–1924) and first performed at a concert by the London Symphony Orchestra in March 1905. Grainger subsequently made free arrangements of them for piano and introduced two of them at a recital he gave on 15 November of the same year. The tunes used by Stanford were all taken from The Petrie Collection, the albums of which were edited by Stanford and from which Grainger was to take the tunes he later incorporated into his settings of Irish Tune from County Derry and Molly on the Shore. The first dance, A March-Jig, is based on two melodies of which the main tune, Maguires Kick, is combined with a jig tune from County Leitrim. The former tune had been used as a marching-air by Irish rebels in 1798. The final number of the set, A Reel, opens and closes with a section based on a rollicking Cork reel engagingly entitled Take her out and air her. This is contrasted with a graceful middle episode built around a winsome melody named The cutting of the hay. Spoon River (AFMS No 1) is an American folk-dance which was heard and notated by Captain Charles H Robinson from a fiddler at a country dance in Bradford, Illinois, in 1857. Robinson sent the tune to Edgar Lee Masters (whose Spoon River Anthology appeared in 1914) because of the likeness of the two titles. Masters in turn passed it to his friend Grainger who made his setting between March 1919 and January 1922. The tune is archaic in character: typically American and yet akin to certain Scottish and English dance-tune types. In setting Spoon River Grainger wrote that he was aiming ‘at preserving a pioneer blend of wistfulness and sturdy persistence’. The tune’s sixteen bars are treated by Grainger in a variety of different harmonizations and he asks that the climax of the piece should be played with ‘fingers, wrist and arm as stiff as possible’. The evergreen and ever-popular Country Gardens (BFMS No 22) can be traced back to an earlier version for two whistlers and a few instruments of 1908. Grainger had been given the tune by Cecil Sharp (who had collected it) with a request to see if he could ‘do anything with it’. Grainger had improvised on the tune at a Liberty Loan piano recital during his time in the US Army as bandsman. It was finally published in 1919 and, as Grainger commented in an NBC interview of 1936, ‘You have been afflicted with it ever since! ’ Its instant popularity secured Grainger a never-ending flow of sales royalties but inevitably it overshadowed his other works and the endless requests for Grainger to perform it at recitals led to his total abhorrence of the piece. Walking Tune (RMTB No 3) started life as a work for wind ‘five-some’ which was based on a little tune Grainger hummed to himself whilst on a three-day walking trip in the Scottish Highlands in 1900. Grainger had just turned eighteen and was deeply in love with thoughts of the Celtic world, having already made settings of Scottish, Irish and Welsh folk-songs. Grainger tells us that: in ending the composition with a mild discord—G, D, B, E, G—I was repeating the formula first used at the end of my orchestral Rustic Dance, composed 1899. In 1899 this was a drastic innovation, but the tonic triad with the sixth of the scale added has since become the expected ending of thousands of orchestrations of popular music. The piano setting dates from 1911. Mock Morris (RMTB No 1) was originally called Always Merry and Bright after the title of the song of that name from Lionel Monckton’s The Arcadians. It dates from 1910 and appeared initially as a work for six or seven single strings. Grainger tells us that ‘no folk-music tune-stuffs at all are used’ and although the rhythmic cast is morris-like, ‘neither the build of the tune nor the general layout of the form keeps to morris dance shape’. Grainger dished it up twice for piano, in both ‘concert’ and ‘popular’ versions, and it seems that the tune came into his head the morning after seeing the musical comedy, although he did admit to cribbing (unwittingly) some bars of a tune from an early Magnificat by Cyril Scott. The title ‘Mock Morris’ was substituted in 1911, about the time he entered into agreements to publish his music. Grainger’s Ramble on Love (‘Ramble on the love-duet from Der Rosenkavalier by Richard Strauss’ FSFM No 4) was begun before 1920 and worked out in 1926/7. Considered by many to be his masterpiece, it is one of the most elaborately notated piano pieces in the virtuoso repertoire. Here the middle pedal is used to great effect conjuring up the sound world of Strauss and, by following the numerous instructions, the performer is assured of bringing out the interpretation. Grainger dedicated this transcription to the memory of his beloved mother who had committed suicide in 1922; her name is enshrined in the title, reminding us of how important she had been to him and how, like the Marschallin of Strauss’s opera who departs from Octavian, she was no longer part her son’s life. Shepherd’s Hey (BFMS No 4) is a setting of an English morris tune collected by Cecil Sharp and given to Grainger about the same time as Country Gardens. The tune of Shepherd’s Hey (which is akin to the North English air The Keel Row) is widely found throughout England. Grainger dished it up for piano twice, in both ‘concert’ and ‘simplified’ versions. In this tricky and inventive setting, four variants of the tune are used, to which are added authentic contrapuntal lines derived from the melody. The ‘Hey’ of the title refers to the step peculiar to morris dancing and the music is subtitled ‘English Morris Dance Tune’, though with the interesting footnote: ‘N. B. This setting is not suitable to dance Morris Dances to’! Irish Tune from County Derry (BFMS No 6) is a tune collected by Miss Jane Ross of New Town, Limavady, County Derry, and printed in The Petrie Collection of the Ancient Music of Ireland. Grainger’s original setting was for unaccompanied mixed chorus (1902). The piano setting dates from 1911 and, like The Sussex Mummers’ Christmas Carol published in the same year, Grainger puts the tune into the tenor register of the piano, producing a very cloying and heart-rending sound. Like Country Gardens, Grainger’s arrangement of Irish Tune and the subsequent performances of his string version widened this melody’s popularity. Handel in the Strand (RMTB No 2) was originally entitled ‘Clog Dance’. Grainger’s dear friend Rathbone (to whom the piece is dedicated) suggested the title because the music seemed to reflect both Handel and English musical comedy (The Strand being its home). In the first sixteen bars, and in their repetition, Grainger makes use of material from an earlier set of variations on ‘The Harmonious Blacksmith’ tune by Handel. For the energetically-minded Grainger adds that the piece is ‘To be played to, or without, clog dancing’. The Hunter in his Career (OEPM No 4) began life as a setting for double men’s chorus and orchestra (1904) and was taken from William Chappell’s Old English Popular Music. The piano version dates from 1928/9 and is a virtuoso transcription which uses the original setting as a point of departure for a tour de force approximately twice as long as the choral setting. This piano ‘dish-up’ is a perfect example of Grainger’s keyboard wizardry, making one reel at the brilliant invention his mind and hands were capable of! Scotch Strathspey and Reel (BFMS No 37) was completed in 1939 and Grainger’s note in the score tells us: If a room-full of Scotch and Irish fiddlers and pipers and any nationality of English-speaking chanty-singing deep-sea sailors could be spirited together and suddenly miraculously endowed with the gift for polyphonic improvisation enjoyed, for instance, by South Sea Island Polynesians what a strange merry friendly Babel of tune, harmony and rhythm might result! My setting of the strathspey mirrors the imagination of such a contingency, using 6 Scottish and Irish tunes and halves of tunes that go well with each other and a chanty that blends amiably with the lot. The underlying tune of the strathspey is The Marquis of Huntly and that of the reel The Reel of Tulloch (Thulichan), whilst the chanty will come as no surprise to listeners. ‘The Gum-Suckers’ March is the fourth movement from Grainger’s largest work for piano, the ‘In a Nutshell’ Suite. It started life around 1905/6 and thematic material relating to it can be found in at least three other works which were begun around the same time ( Colonial Song, Pritteling Pratteling, Pretty Poll Parrot and The Widow’s Party). ‘Gum-suckers’ is a nick-name for Australians hailing from the State of Victoria: the leaves of ‘gum’ (eucalyptus) trees are very refreshing to suck in the parching summer weather. The lively march tune itself is refreshing and is evocative of its composer who was known to have hiked from one concert to another. The Merry King (BFMS No 38) began life as a sketch for chorus (1905 or 1906) and was collected by Grainger from the singing of Mr Alfred Hunt, a working man who hailed from Kirdford in West Sussex. A setting for ‘room-music’ was sketched in 1936 and the piano solo followed soon after. Four verses are set in a sumptuous manner which culminate in an impassioned treatment of the melody in canon leading to a magical final cadence. In Dahomey (Cakewalk Smasher) was inspired by tunes from an all-Negro musical comedy of the same name starring Bert Williams and George Walker, noted exponents of the cakewalk. The only known London performance of this comedy with music by Will Marion Cook occurred at the Shaftesbury Theatre on 16 May 1903 and one must assume that both Grainger and Rathbone were in the audience. Grainger’s jazzy romp quotes from the chorus of Cook’s Brown Skin Baby Mine and to this Grainger mixes a cakewalk piece by Arthur Pryor (a trombone soloist with Sousa’s band). It occupied Grainger for six years, with the final two notes being added in Aden harbour in June 1909. It is a concert rag of huge dimensions which ranges in character from gentle impressionism to wild abandon. Pryor was noted for his trombone glissandi or ‘licks’, here translated into their pianistic equivalents by a cataclysm of virtuosic tricks including glissandi of every known type. The inevitable combination of both tunes has been described as ‘a page of nearly Ivesian dissonance’; ‘encountering this work for the first time is like entering a time machine! ’ Grainger conjures up the sounds of banjo, brass band and other instrumental colours of the period. He dedicated this ‘smasher’ to Rathbone with the enigmatic words: ‘For you have always been so good to it. ’ The work remained in manuscript and was never seemingly offered for publication during Grainger’s lifetime. It was eventually published in 1987 some seventy-eight years after completion. A full history of the genesis of this piece can be found in the published edition (C F Peters, New York). Barry Peter Ould © 1996.

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Terry is survived by his six siblings Darlene, Roger, Sandra, Michael, Katherine and Deborah and their families. He also leaves to mourn, hisÂ daughter Kyla and her husband Brett Murrell, as well the Morton family, the Jager family and many friends. Condolences from all members of go out to Terry’s family. At Terry’s request there was no service and donations can be made to a charity of your choice on Terry’s behalf. Fair winds Jumper RIP Posted in Passings | 5 Comments » The Airborne Social Club in Edmonton will be holding a reunion to commemorate the 45th anniversary of the Airborne Regiment at the Air Museum Edmonton on June 7th, 8th and 9th, 2013. The Reunion will follow the Annual D-Day Ceremony at the Airborne Monument, to be held June 6th, 2013 at Siffleur Falls, Alberta. To register, download the PDF General Information and Registration Form, fill it out and send it to Airborne Reunion 2013, PO BOX 71034, 9308 â€“ 137 Avenue, Edmonton, Alberta T5E6J8 along with a cheque or money order for $75 per person payable to Airborne Reunion. More information is available on the Airborne Social Club website under Events, but pretty much everything you need to know is contained in the PDF General Information and Registration Form. Posted in Airborne Events | No Comments » On the 10th of August 2012 we lost a very good friend and comrade and Canada lost another great soldier and veteran. "Andy" Anderson lost his battle with cancer with his family by his side. We are saddened by his loss and our prayers and condolences are offered to Andy’s family. A good husband, father, soldier and friend, he had the best attitude to life right to his last seconds. He was a Patricia and an Airborne soldier through and through. All who knew him would say we were all blessed to have known him for a few minutes or for many years. Go well friend. Save us a small spot in the RV. Rest in Peace, Andy. My helmet, now a halo Wings replace my chute To fly amongst the eagles No Soldier would dispute No aircraft is needed To take me to the sky Your prayers from below Have lifted me so high My spirit is my engine No need to refuel No runway required A rainbow`s edge will do No need for maps or compasses My angels are my guides Their strength and love have gifted me To soar the sky with pride The heavens here are endless My soulâ€™s now free to roam There is no need to cry my friends This Airborne Trooper found his home. – Unknown Michael Sikora sent a photo of the basic para course from January 1969. I have added it to the Unit Photos section of the site, so click on the image above for more information and to see the photo full size. If anyone else has unit photos collecting dust in a drawer or old album, pull them out, scan them and send them in. Posted in Photos | 1 Comment » Iâ€™ve uploaded a photo of Para Course 9006 courtesy of Jim Nissila. Click on it to see the full size version. I recognize at least four people, how about you? Check it out with the other Unit Photos Posted in Photos | 6 Comments » 2013 will mark the 45th Anniversary of the formation of the Airborne Regiment and as such the Airborne Social Club (Edmonton) is in the process of planning a Reunion to be held at the Air Museum Edmonton for June 7th, 8th and 9th, 2013. The Organizing Committee and members of The Edmonton Airborne Social Club extend an Airborne Brotherhood welcome for all to attend JUMPERS REUNION 2013. This reunion is open to all former members of the Canadian Airborne Regiment, current and former members of Regular and Reserve Force Parachute Units, former members of the Canadian Airborne Centre, Canadian Forces Parachute Maintenance Depot, 1 Canadian Parachute Association, Allied Paratroopers; and all other paratroopers, whether or not they have served in an active parachute role or not. The organizing committee has themed this reunion as "REMEMBERING OUR FALLEN", be it from battle, past or present or whatever means caused our brethren their departure from out ranks. The Reunion will follow the Annual D-Day Ceremony at the Airborne Monument, to be held June 6th, 2013 at Siffleur Falls, Alberta. In addition to the above members themselves, a grateful welcome is extended to all Honorary Club members, wives, spouses and partners of members no longer with us. The attached registration form provided initial information on the reunion. Updated information will be posted on the Edmonton Airborne Social Club website as activities are finalized. Although we are endeavouring to reach as many as possible via all means possible, it is requested that you pass on this information to those you are in contact with and who we may not have contacted. Hope to see you here, Airborne! Download the Registration Form here. Jan de Vries, President of the 1st Canadian Parachute Battalion Association passed away on 27 May 2012, after a fall in which he suffered a serious head injury. Jan and his wife Joanne were planning to be in attendance in Normandy this year to celebrate the 70th anniversary of the 3rd Parachute Brigade and 1st Canadian Parachute Battalion. Janâ€™s battalion was seconded to the 3rd Parachute Brigade of the 6th Airborne Division, commanded by Brigadier Stanley James Ledger Hill DSO, MC. At 0010 hours on 6th June, as a member of â€œCâ€ Company, Jan 20 years old at the time jumped in to Normandy. Jan was wounded by a sniper in July 1944 and evacuated to England but in September after treatment, rather than convalesce, he returned directly to the battalion. He continued the fight with his battalion in the Belgian Ardennes, fought in Holland on the River Maas and jumped into Germany on Operation Varsity in March 1945. Our sincere condolences go out to Janâ€™s wife Joanne and his family. R. I. P. Jumper. Fair winds and soft landings. Posted in Passings | 7 Comments » Roland Oscar Joseph Benoit, known to everyone as Benny, passed away from lung cancer Sept 21st 1988. Benny served his country from 1957 to 1984, much of that with the Airborne. He served in Edmonton from 1971 to 1973, with Special Services from 1977 to 1978 and in Petawawa from 1978 to 1980. He was a strong, hard Airborne soldier who never passed a fault. He enjoyed nothing more than to be in the field and around the troops. Benny was well liked by all who worked with him and is missed by all who knew him. R. Brother. Posted in Passings | 2 Comments » CWO Don Reekie May 8th, 2012 by Rob A well-known Canadian soldier and former Assistant Director of the Royal Nova Scotia International Tattoo has passed away. Don Reekie served in the Canadian Forces from 1951 to 1980. He was the Regimental Sergeant Major of 2nd Battalion, The Black Watch (RHR) of Canada, 2nd Battalion, The Royal Canadian Regiment and the Canadian Airborne Regiment in Edmonton and in Petawawa. He became the Assistant Director of the NS Tattoo in 1981 and remained in that position until his retirement in 2010. He was also the Assistant Director of the Canadian Forces Tattoo that toured Canada in 1985. Funeral arrangements will be announced at a later date. Posted in Passings | 6 Comments » Câ€™est avec regret que nous vous informons du dÃ©cÃ¨s du Sgt Albert DuperrÃ©, CD (ret) dÃ©cÃ©dÃ© le 22 avril 2012, Ã lâ€™Ã¢ge de 71 ans. Le Sgt DuperrÃ© sâ€™est enrÃ´lÃ© dans les Forces canadiennes le 19 septembre 1961. Sa premiÃ¨re mutation fut au 2e R22eR de 1961 Ã 1967. Il quitta pour servir au RÃ©giment aÃ©roportÃ© de 1967 Ã 1976. Durant cette pÃ©riode, il servit outre-mer pour les Nations-Unis Ã Chypres lors de lâ€™invasion turque de 1974. En 1976, il fut transfÃ©rÃ© au 1er R22eR en Allemagne oÃ¹ il y servit jusquâ€™en 1980. Ã€ son retour au pays, il servit 1 an Ã lâ€™Ã©cole de combat avant de prendre sa retraite le 9 juin 1981. La famille recevra les condolÃ©ances le vendredi 27 avril de 19h00 Ã 22h00, ainsi que samedi, le 28 avril de 09h00 Ã 10h00, au complexe funÃ©raire F. X. Bouchard inc., 2258, ave Larue, Beauport, QuÃ©bec, G1C 4A3. Sâ€™en suivras une cÃ©rÃ©monie religieuse Ã 10h30 en lâ€™Ã‰glise de lâ€™Ange-Gardien, 6357, ave Royale RR4, Lâ€™Ange-Gardien, G0A 2K0. Les responsables de la LÃ©gion Royale Canadienne, filiale 249, La Beauce seront prÃ©sent pour lâ€™hommage aux anciens combattants. Le Drapeau RÃ©gimentaire sera mis en berne le 28 avril 2012. It is with regret that we announce the death of Sgt Albert DuperrÃ©, CD (Ret’d) died April 22, 2012, at age 71. Sgt DuperrÃ© joined the Canadian Forces on September 19, 1961. His first posting was 2nd R22eR from 1961 to 1967. He then served with the Airborne Regiment from 1967 to 1976. During this period he served overseas for the United Nations in Cyprus during the Turkish invasion of 1974. In 1976, he was transferred to the 1st R22eR in Germany where he served until 1980. Upon returning home, he served a year in Battle School before retiring on June 9th, 1981. The family will receive condolences on Friday, April 27 from 7pm to 10pm and on Saturday from 9am to 10am at the funeral home, FX Bouchard Inc., 2258 Avenue LarueBeauport, Quebec G1C 4A3. A religious ceremony will follow at 10:30 am in the Church of the Guardian Angel, 6357 Avenue Royale RR4, L’Ange-Gardien, G0A 2K0. Officials of the Royal Canadian Legion, Branch 249, La Beauce will be present for a tribute to veterans. The Regimental Flag will be flown at half mast on April 28, 2012. Posted in Uncategorized | 8 Comments » « Prev - Next ».

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