#Franz Liszt Academy of Music

[opera-ghosts]

Felix Weingartner (1863-1942) was a conductor, composer, pianist and writer. He studied with Franz Liszt and was director of the Vienna Court Opera from 1908-1910, director of the Vienna Philharmonic Concerts until 1927 and director of the Vienna Volksoper from 1919-1924. From 1927-1934 chief conductor and director of the conservatory in Basel. 1935-1936 director of the Vienna State Opera. The photo was taken around 1895.

[scavengedluxury]

Great Hall, Franz Liszt Academy of Music, Budapest, 1983. From the Budapest Municipal Photography Company archive.

[thecryptidcomposer]

Hi!! Do u have any recs for someone who knows practically nothing abt classical music? I've been studying music theory and I feel it's a good genre to learn from :)

sure thing! however, i just want to talk about two things beforehand.

first, classical music differs from other genres of music in that the recording matters. this is because different performers have different interpretations of the music, among other reasons. for this purpose, i have provided my recommendations for recordings with the pieces ill be listing, however i strongly encourage you to find what you like the most.

the second thing i want to talk about is basically me getting into semantics. there are a few different eras of classical music, and they are all stylistically different. the main eras are the baroque era (~1600-1750), the classical era (~1750-1830), the romantic era (~1830-1920), and post-romantic/contemporary classical (~1920-present). i just want to point this out because the stylistic contrast between these eras is quite pronounced, and will help explain some things.

and with my ramblings out of the way, here are my recs!

Baroque:

Antonio Vivaldi - La Folia (Op. 1 No. 12) (Il Giardino Armonico [ensemble])

Johann Sebastian Bach - The Art Of Fugue (BWV 1080) (Joanna MacGregor [pfte.])

Classical

Ludwig Van Beethoven - Symphony No. 3 "Eroica" (Op. 55) (Herbert von Karajan [cond.] w/ Berlin Philharmonic Orchestra)

Ludwig Van Beethoven - Die Große Fuge (Op. 133) (Takács Quartet [str.qt.]) *

Romantic

Ferrucio Busoni - Piano Concerto in C Major (Op. 39) (Marc-André Hamelin [pfte.], Osmo Vänskä [cond.] w/ Lahti Symphony Orchestra) * ***

Franz Liszt - Totentanz (S. 126i) (Steven Mayer [pfte.], Tamás Vásáry [cond.] w/ London Symphony Orchestra)

Moritz Moszkowski - Piano Concerto in E Major (Op. 59) (Markus Pawlik [pfte.], Antoni Wit [cond.] w/ Polish National Radio Symphony Orchestra)

Post-Romantic/Contemporary Classical

Igor Stravinsky - The Rite of Spring (Leonard Bernstein [cond.] w/ New York Philharmonic Orchestra) * **

Dmitri Shostakovich - Symphony No. 5 (Op. 47) (Yevgeny Mravinsky [cond.] w/ Leningrad Philharmonic Orchestra) **

Dmitri Shostakovich - String Quartet No. 9 (Op. 117) (Fitzwilliam Quartet [str.qt.]

Alfred Schnittke - Concerto Grosso No. 1 (Gidon Kremer [vln.], Tatiana Grindenko [vln.], Heinrich Schiff [cond.] w/ Chamber Orchestra of Europe) *

Alberto Ginastera - Piano Sonata No. 1 (Terence Judd [pfte.]) *

Maurice Ravel - Introduction and Allegro, for Harp, Flute, Clarinet, and String Quartet (Skaila Kanga [hrp.], Academy of St. Martin in the fields)

* - this piece is fuckin SPICY. you have been warned.

** - if you're interesting in music history you should look up the backgrounds surrounding these ones

*** - the recording quality is shit

so yeah. i prefer more modern music so i put quite a few more modern works on the list than most people would.

anyways, happy listening!

[histoireettralala]

Camille Saint-Saëns

Paris’s writers and painters were not the only ones in the mid-1880s to feel the pull and tug between the new and the old—or the new and the newer. A certain amount of tension was beginning to emerge within the city’s musical community as well, with the imposing figure of Camille Saint-Saëns standing firmly in the path of whatever threatened tradition.

A brilliant man and a Parisian from birth, Camille Saint-Saëns had been one of the most remarkable child prodigies of his — or any— era. He began piano lessons at the age of two and composed his first piano piece at the age of three. He learned to read and write at a dismayingly young age and then proceeded to vanquish Latin by the age of seven. His first drawing-room recital, at age four, found him confidently playing Beethoven, while his first public concert (in the Salle Pleyel, no less) came at the age of ten.

His prodigious achievements continued through his years at the Paris Conservatory, where he wrote his first symphony. Franz Liszt became a friend and admirer, and Hector Berlioz, another friend and enthusiast, called him “one of the leading musicians of our time.” Disappointingly, Saint-Saëns failed on two occasions to win the Prix de Rome, but the first time it was because he was too young, and the second, because his head-spinning talents seem to have attracted professional jealousy.

One might expect some slowing down as he grew older, but as an adult, Saint-Saëns continued to dazzle. In addition to turning out symphonies, concertos, operas, chamber music, choral works, and compositions for the piano and the organ, he held down the demanding job of organist at the Church of the Madeleine, where he earned the reputation of being among the finest organ virtuosos of the time. With energy and brilliance to spare, he toured as a concert pianist, conducted, and studied geology, archaeology, botany, astronomy, and (no surprise for a musician) mathematics. Later in life he would continue to amaze by his scholarly knowledge of subjects ranging from literature and the theater to philosophy, acoustics, and ancient musical instruments. He wrote poetry and drama, mastered several languages, and by the time of the Franco-Prussian War, he was a veritable national treasure (and by 1881, one of the Academy’s confirmed Immortals).

It was in the wake of the Commune, as Paris was trying to revive itself, that Saint-Saëns helped found the Société Nationale de Musique, with the goal of promoting young French composers —a goal that had a forward-sounding ring. But the vastly cultured Saint-Saëns had little patience with new ideas, at least musically speaking. As the organization’s copresident, he shaped the direction of French music according to his own tastes, which were unquestionably traditional. Indeed, when Debussy’s music became better known, Saint-Saëns would become a severe critic —warning his colleagues that “we must at all costs bar the door of the Institute against a man capable of such atrocities, fit to be placed beside Cubist paintings.’”

Not that anyone, let alone the great Saint-Saëns, had yet heard of Debussy. But at least fate was about to deal the younger man an unexpected favor. Camille Saint-Saëns, who in 1886 debuted what would become one of his most beloved works, the Carnival of the Animals, ran into trouble that same year at the Société, where he was maneuvered out of his long-held leadership post. His main rival within the organization, the composer Vincent d’Indy, engineered the coup and succeeded in putting César Franck in his place (although d’Indy would hold the reins, as secretary). D’Indy was an aristocrat and a royalist, but despite some notable right-wing proclivities managed to produce pupils such as Erik Satie, Arthur Honegger, and Darius Milhaud. And although he had little in common with Debussy, d’Indy would prove to be a reliable champion of music by young French composers, even when he didn’t like what they wrote. Debussy was fortunate, for in this capacity d’Indy would become one of his first supporters.

Mary MacAuliffe- Dawn of the Belle Epoque: the Paris of Monet, Zola, Bernhardt, Eiffel, Debussy, Clemenceau, and their friends.

[budapestbug]

Walking around Budapest, it’s always exciting to imagine the city as it was in its heyday in the late 19th century. For many years, the Matild Palace, guarding the entrance to Elizabeth Bridge with its twin sister, the Klotild, was caked in grime. More recently, it has been festooned in planks and scaffolding, as a painstaking renovation unfolded. Now the Matild Palace is not only a five-star hotel in the Marriott Luxury Collection series but a restaurant, cabaret and sky bar. The atmosphere and image of Pest in the late 1800s were completely changed by the construction of Elizabeth Bridge, and many buildings were demolished. Of the plots left vacant in the 1880s, the two most valuable were bought by the wife of Archduke Joseph Karl, Princess Clotilde, who envisaged elegant palaces standing at the gates of the future bridge. With this in mind, the commission was given to two young, talented architects of the day who had already shown their advance thinking in the design of the New York Palace.The eclectic Klotild and Matild Palaces, which rise like a graceful princess on either side of the road, were designed by Flóris Korb and Kálmán Giergl, the same duo later behind Franz Liszt Music Academy. The most famous craftsmen of the period also worked on the building, namely the renowned trinity of Zsolnay, Gyula Jungfer and Miksa Róth, masters of ceramics, wrought iron and stained glass respectively.The architects quickly built the two mirror-symmetrical palaces in three years, a major feat, especially because they were experimenting with the novelty of an iron structure, The building was so innovative, in fact, that lifts were installed for the first time in Budapest.Business premises, associations and companies were located on the ground floor and mezzanine level of the southern palace, while rented apartments were located on the upper floors. The 48-metre-high corner towers were immediately distinctive. The Habsburgs had three Mathildes: a medieval Bavarian princess, another who set herself alight with a cigarette at the age of 19, and the ninth child of Buda-born Marie Valerie, but there is no evidence that they named the southern building because of any specific one of them.

[abigali1018]

William Hanna and Joseph Barbera: "The Cat Concerto" (1947)

Tom and Jerry are one of those classic beloved animated series, it had its debut in 1940 and became one of the most popular and enduring animated franchises. The series made its debut with the film “Puss gets the boot” in 1940, by MGM studios, to this point the characters still hadn’t earned their names as Tom and Jerry, which they got until 1941 in their second cartoon, titled “The midnight snack”. The series received several Academy Awards for Short film during the 1940s and 1950s, they won seven Oscars in total, and today we are talking about one of those winners, “The cat concerto.”

This series of animations, as well as others made by the same studio, followed a similar pattern in their animation style as others in the era, they went through the storyboard process, character design and layouts, then hand drawing animations on cells, ink and painting, then they would photograph frame by frame and edit them together to create the final film, to end this process they would add the background music and sound effects and voices if needed, this to add the characteristic gags and humor of this series. In this case the short contains the piece Hungarian Rhapsody No.2 by Franz Liszt’s.

The short depicts Tom, a pianist in this case, about to start a concert, he sits and starts playing the piano, while he plays, we see that Jerry has mounted his house inside the instrument, so he begins to be disturbed by the movement the strings make, beginning the classic cat and mouse gag they were so known for, Jerry continues bothering and messing up Tom’s performance while Tom tries to catch him, including various gags and physical humor classic to this animations, in the end, after bothering him Tom ends up getting too tired trying to catch up with the peace after Jerry took control of the piano, so he collapses and the audience applauds Jerry, who is now wearing a dinner jacket.

I found about this animation due to the controversy it had with a very similar cartoon made by Warner Bros, in which Bugs Bunny appears playing the same song and having the same kind of gags, where a mouse appears and disturbs him while he tries to play the piano, I did a lot of research about this but couldn’t really find anything certain about it, it centers primarily around the release dates of this two animations, “Rhapsody Rabbit” was released in 1946, while “The Cat Concerto” was released a year later, so a lot of people assumed this one copied the other, but release dates aren’t all in the animation industry, because we need to have in consideration production and concept, in this case “The Cat Concerto” started production first. So it seems that it was just a big coincidence, because even if the idea is the same the gags and order of things are slightly similar, I really wanted to look more into this but each website has a different theory and no one can give me an exact answer, there’s a theory that technicolor sent the first animation to the wrong studio and that’s how it got plagiarized, but it’s still a theory that I couldn’t confirm.

This short was shown in the Academy Awards and won best animated short film in 1947, it had a pretty good impact and regarding the controversy is still very oved by the fans of Tom and Jerry, and I really liked it, I found in on YouTube and fell into a rabbit hole of the whole which one came first, its really sad that I couldn’t find a certain answer. But regarding of this it remains a pretty fun and classic Tom and Jerry cartoon.

https://tomandjerry.fandom.com/wiki/The_Cat_Concerto

https://www.britannica.com/topic/Tom-and-Jerry

[matthewgstickler]

Budapest: Franz Liszt (22 October 1811 – 31 July 1886) was a Hungarian composer, virtuoso pianist, conductor, and teacher of the Romantic period. He was the equivalent of a rock star in his own time. With a diverse body of work spanning more than six decades, he is considered to be one of the most prolific and influential composers of his era and remains one of the most popular composers in modern concert piano repertoire. This afternoon we had an excellent tour of the music academy named for him.

[sheetmusiclibrarypdf]

Gershwin - Rhapsody in Blue (Piano Solo transcription (Piano Cziffra) sheet music

Gershwin - Rhapsody in Blue (Piano Solo transcription (Piano Cziffra) sheet music

https://rumble.com/embed/v2n4w38/?pub=14hjof

György Cziffra ( Budapest , November 5 , 1921 – Longpont-sur-Orge , France , January 15 , 1994 ) was a pianist Hungarian. In 1968 he became French , adopting the name Georges Cziffra . He is considered one of the best pianists of the 20th century . Son of a gypsy family, his father played in cabarets and restaurants in Paris in 1910 . At the age of five he was already improvising popular tunes in bars and circuses. At the age of nine he was accepted at the Franz Liszt Academy in Budapest, where he studied, among others, with Ernest von Dohnányi . He made his first concert tours at the age of 16. He took part in World War II and was taken prisoner, which is why he could not finish his musical studies. After the war he made a living as a jazz pianist in bars and night clubs. He tried to escape from Hungary which was under the yoke of the Soviet Union , which led him to spend three years in labor camps (1950-1953). In 1956, he won the Franz Liszt prize, a fact that helped him boost his career. The same year, he fled with his wife and their son to Vienna , where he gave a recital that would open the doors of Paris and London . His fame was favored by numerous performances, also in the United States . In 1975, he created the Cziffra Foundation, to support young artists. The French thanked him for his commitment to the creation of a piano competition with his name. After the accidental death of her son in 1981, Cziffra appeared even more rarely in public. Cziffra died in Senlis (France) at the age of 72, of a myocardial infarction resulting from a series of complications also due to lung cancer. The composers he preferably interpreted were, mainly due to his excellent technique, Franz Liszt , Frédéric Chopin and Robert Schumann . A good example of his skill is his interpretation of Grand Galop Chromatique Liszt's . His arrangements for piano also belong to the most difficult works in piano literature. Selected discography Tchaikovsky: Piano Concerto No. 1, 2, and 3, National Orchestra of the French Broadcasting Corporation, dir.: Dervaux n.1, Philharmonic Orchestra, dir.: Vandernoot n. 2 and 3, EMI. Chopin: Anthology: Barcarolle, Bolero, Polish Chants, Impromtus, Polonaises 3 to 7, Polish-fantasy, 2 and 3 Sonata, Tarantelles. EMI. Anthology (2): Ballade nº.4, Piano Concerto nº, 1 Studies 3,10,13,14, Impromtus nº, 1, Nocturne nº. 2, Polonesa nº, 3, Waltz nº,7, Paris Orchestra, dir.: Cziffra fill, EMI. Liszt: Antologia: Rève d'amour , Le ronde des Elves , Sant François d'Assise preaching to the birds , Forgotten Waltz nº, 1, Ballade nº,2, Valse-Impromtu, 2 Poloneses, Apassionata EMI. ( Read the full article

[lamilanomagazine]

“Mozart, l’enfant prodige”: il 23 giugno a Lecco il concerto con la partecipazione della giovanissima pianista He Jun Li

“Mozart, l’enfant prodige”: il 23 giugno a Lecco il concerto con la partecipazione della giovanissima pianista He Jun Li. Venerdì 23 giugno, alle ore 21, all'Auditorium Casa dell'Economia di via Tonale a Lecco, l'Istituto Musicale G. Zelioli di Lecco, gestito per il Comune di Lecco dalla Fondazione Luigi Clerici di Milano, promuove il concerto "Mozart, l'enfant prodige", con la partecipazione della talentuosa pianista He Jun Li, affiancata dal maestro Mauro Bernasconi alla direzione e dalla filarmonica Ettore Pozzoli. I musicisti delizieranno il pubblico con un programma che spazierà dalle composizioni di Mozart, Chopin e Liszt a quelle di Mendelssohn. Durante la serata verranno eseguite opere come le Grandes Études de Paganini n. 5 - La caccia di Franz Liszt, l'Etude op. 10 No.12 e lo Scherzo No.2 in Si bemolle minore, Op. 31 di Fryderyk Chopin, la Sinfonia n° 10 in Si minore, MWV N° 10 di Felix Bartholdy Mendelssohn e il Concerto per pianoforte n. 13 in Do Maggiore, KV 415 di Wolfgang Amadeus Mozart. He Jun Li, nata a Lecco il 18 luglio 2010, ha dimostrato fin da giovane un talento musicale eccezionale. A soli cinque anni ha iniziato lo studio del pianoforte con Isabella Chiarotti presso il Civico Istituto Musicale G. Zelioli di Lecco e oggi continua gli studi con i maestri Isabella Chiarotti e Vincenzo Balzani presso il Civico Istituto Musicale G. Zelioli e la PianoTalents Academy di Milano. La sua straordinaria abilità le ha già consentito di vincere numerosi premi nazionali e internazionali, tra cui il Primo Premio al IV Concorso Internazionale per giovani pianisti Il Pozzolino nel 2018, il Primo Premio all'Orbetello International Piano Competition Junior 2021, il Primo Premio Assoluto al 7° Tadini International Music Competition, il Primo Premio a Piano Talents 2021, il Primo Premio Concorso Pianistico Internazionale "Città di Arona" 2022, il Primo Premio al IX Rome International Music Competition 2022, il Primo Premio al Franz Liszt Center International Piano Competition 2022 e il Primo Premio Assoluto al Champions Keyboard 2022, solo per citarne alcuni. L'ingresso è libero e gratuito: per ulteriori informazioni è possibile visitare il sito.... #notizie #news #breakingnews #cronaca #politica #eventi #sport #moda Read the full article

[pedroam-bang]

Aladar Korosfoi-Kriesch - Pilgrimage To The Source Of Art (1907)

The floor hall of Franz Liszt Academy of Music, Budapest, Hungary

[bespokejoke]

Franz Liszt Academy, Concert Hall, Budapest.

[suetravelblog]

Florian Mitrea Pianist at the Athenaeum Bucharest Romania

Florian Mitrea Pianist at the Athenaeum Bucharest Romania

Florian Mitrea – LIFE.ro British Romanian pianist Florian Mitrea was “born in Bucharest, but has been based in the UK since 2008”. He’s a phenomenal musician! The award-winning soloist received a scholarship at the Royal Academy of Music in London. He’s won prizes at international piano competitions in China, London, New York, France, Scotland, Japan, Germany, and other major cities…

[dweemeister]

“Overture” and “Ship in the Night” from Captain Blood (1935) – composed by Erich Wolfgang Korngold; performed by the National Philharmonic Orchestra under the direction of Charles Gerhardt

Born to a Jewish family in what was then the Austro-Hungarian Empire, Erich Wolfgang Korngold was a piano prodigy who won the acclaim of Gustav Mahler and Richard Strauss. Korngold’s early musical career – in which he later picked up composition at fourteen years old – was firmly in the classical music scene until the 1930s, when he was to adapt some of Felix Mendelssohn’s music for Warner Bros.’ adaptation of A Midsummer Night’s Dream.

Approving of his work in that film, Warners then asked Korngold if he could compose an original score for a swashbuckler movie starring newcomer Errol Flynn and Olivia de Havilland. Korngold declined at first, but then he watched the film. Entranced by the splendor of the production and the chemistry between the leads, he set to work. With some light musical influences from Franz Liszt and structural influences from Richard Wagner (namely, leitmotifs), his score is a heroic work of several leitmotifs that would become the cornerstone of Hollywood film scoring for decades to come.

Captain Blood was nominated for five Academy Awards, although three of those nominations came from write-in votes (a practice no longer possible under Academy rules in final voting). It received nominations in Best Sound and Best Picture, with write-in nominations for Screenplay (Casey Robinson), Director (Michael Curtiz), and Score (Leo F. Forbstein; in the first four years of Original Score’s existence from 1934-1937, the studio’s music department head received the nomination and not the composer).

[opera-ghosts]

Ella Némethy (5 April 1895 – 14 June 1961) was a Hungarian mezzo-soprano who had an active international career in operas and concerts from 1919 to 1948. Némethy studied at the Franz Liszt Academy of Music in Budapest, and privately with Ettore Panizza in Milan. She made her professional opera debut in 1919 as Dalila in Camille Saint-Saëns's Samson et Dalila at the Hungarian State Opera House. She remained a resident artist at that opera house for three decades where she performed a highly varied repertoire; including performances of Amneris in Aida, Brünnhilde in Die Walküre, Götterdämmerung, and Siegfried, Eboli in Don Carlos, Leonore in Fidelio, Kundry in Parsifal, Ortrud in Lohengrin, Santuzza in Cavalleria rusticana, and Venus in Tannhäuser among others. Némethy appeared as a guest artist with several major opera houses around the world, including the Berlin State Opera, the Teatro Colón, and leading opera houses in Italy, Spain, and the United States. A major triumph of her career was performances of Brünnhilde in Wagner's Der Ring des Nibelungen at La Scala in 1937 and 1938. She also sang Brünnhilde for her debut at the Liceu in 1932/1933. In May 1938 she performed the role of Judith in the Italian premiere of Béla Bartók's Bluebeard's Castle at the Maggio Musicale Fiorentino.

[thequeenofthenightgentlyweeps]

With Regards To Hertz

She turns to the piano, fingers hovering over the ebony and ivory keys. With melancholy, she starts playing. The Queen of The Night gently weeps.

Basic Information

Full Name: Aria Pamina Hertz

Nickname/s: Ari, Pami

Meaning Of The Name: 1. Aria - "Song" in Italian 2. Pamina - "Little Honey" in Italian 3. Hertz - "Heart" in German

Birthday: June 21, 1981 ( She is born during Fête De La Musique, or Music Day in Italy )

Zodiac Sign: Gemini, The Twins

Chinese Zodiac: Yin Metal Rooster

Gender: Female

Height: 152.40cm or 5ft

Blood Type: B+

Nationality: She is born in Italy, her mother is Italian, and her father is German

Current Address: Genova, Italy

Hair Color: Platinum Blonde

Eye Color: Silver

Educational Attainment: Enrolled by her aunt to a Catholic School / Orphanage in Genova for girls. Applied later on at a Music Academy in Genova.

Occupation / Affiliation: Piano Major at the Genova Music Academy, Part - time Pianist at the Italian Philharmonic Orchestra.

Other Skill/s: Cooking, Eidetic Memory enhanced during her first year as a musician

Religion: Roman Catholic

***

Notable Public Performances

June 26, 1996 - Performed Sergei Rachmaninoff's Piano Concerto No. 2 Opus 18 in C Minor together with The Italian Philharmonic Orchestra when she was 15. This was Aria's very first public performance, and she gained a scholarship program at Genova's Academy for Music because of this.

July 3, 1996 - Performed Franz Liszt's Liebestraum S541/R211 No. 3: Nocturne in A Flat Major during the graduation ceremony. She gained quite a few followers as the video of her performance was uploaded on the internet and was viewed by many people.

September 27, 1996 - Although not exactly "public", Aria was invited to play in an exclusive event held by an organization called, "Passione" in Naples. She performed pieces from various musicians, such as Claude Debussy, Ludwig Van Beethoven, Wolfgang Amadeus Mozart, and Erik Satie. Only when she turned 19 did she finally find out that Passione is a massive mafia organization from the Don himself, Giorno Giovanna.

January 2, 1997 up until current time of the story - She was able to secure a part - time job as a Pianist / Piano Collaborator at The Italian Philharmonic Orchestra, performing on various Operas and popular Ballets.

June 21, 2000 - During her 19th birthday, she performed the same Rachmaninoff piece on a much bigger audience in Rome where her popularity among classical musicians and afficionados skyrocketed. She also played Gershwin's Rhapsody In Blue, and some of her favorite Claude Debussy pieces.

***

Relationships

Father's Name: Tanzen Hertz

Mother's Name: Aria Anima - Hertz

Sibling/s: N/A

Other Relatives: Known living aunt - Saliera Anima

***

Miscellaneous

Favorite Food(s) / Beverage(s): Bread with Honey, Seafood Pasta, Seafood Pizza, Hot Chocolate, Champagne

Least Favorite Food(s) / Beverage(s): Anything that tastes sour, white wine

Favorite Color: Yellow and Gray

Least Favorite Color: N/A

Favorite Artist/s: Claude Debussy, Sérgio Mendes

Favortie Genre of Music: Classical and Bossa Nova

Favorite Song/s: Clair De Lune, The Girl From Ipanema, The Fool On The Hill

Favorite Movie Genre: Horror, Romance

Favorite Movie/s: Dracula

Favorite Actor / Actress: Gary Oldman, Winona Ryder

Favorite Author: Bram Stoker, Judith McNaught

Favorite Book/s: Dracula and Whitney, My Love

Hobbies: Watching horror movies, reading romance novels

Dream/s: To travel the whole world and play for a much larger audience. Also to be excellent at cooking. She also dreams of one day having a beach side wedding and having an island all to herself and her future husband during their honeymoon. That said, she also wanted to be a good wife and mother someday. At one point in her life, she also wanted to meet her favorite actor, Gary Oldman.

Fear/s: Being consumed by negative feelings, especially that of grudge and / or vengeance. The reason? Her Stand, Queen Of The Night manifests. She fears her own Stand.

***

[writingsfromstarfleet]

Liebesträume - Kira Nerys X Reader

A/N: This is for another Anon, so whomstever you may be, I sincerely hope you like this! And you lot too, you’re all wonderful! :)x

Kira why must you be so beautiful aahh

Music was a passion of yours, and it always had been, many moons before you had discovered your love for science. When faced with the choice of career, your head said to follow your music, your heart said follow your science. You chose science, and that was the beginning of the story that led you to Deep Space Nine.

You were always fascinated with science, specifically quantum mechanics, and it took over your life for a long period of time. Finally deciding on taking it up as a study, you enlisted in Starfleet Academy's science department and was accepted. From there, your studies took up a good 3 years of your life, leaving little room for your music.

Coming to Deep Space Nine was the best thing that had happened to you. Aside from getting to explore your love for science and making friendships that were going to last a lifetime, you also managed to rediscover your love for music, and often you could be found in Quark's holosuite, playing to a room of people. Long gone were the days you'd do that, now you played to yourself in your quarters. Nobody aboard knew you could play the piano or the guitar. Why you kept it a secret, you didn't know.

"So what's everyone doing tonight?" Jadzia asked the group, currently sitting around one of the tables in Quark's. Everyone looked between each other, nobody having any plans for the evening. Julian, Kira, Miles, Keiko, Worf and yourself had no excuses. She grinned.

"Dabo night then?" No one could say no to Jadzia when she had that grin on her face. It was settled between the group; drinks night and dabo.

Excited, your day couldn't have gone any slower, though the time soon came around. On your walk back, you were joined halfway by Kira, her excitement matching your own.

"Ready for tonight, Y/N?" she asked, nudging your arm as you walked. You laughed, shoving her back slightly.

"Absolutely, I hope it's teams, my team's gonna beat yours hands down." She feigned insult at your statement and placed a hand against her forehead with a dramatic gasp.

"Is this a challenge I see before me?" The two of you burst out into laughter, scaring an ensign walking the other way; you only laughed harder. The giggles died down and the rest of the walk was calm, you two talking generalities about your days.

Reaching your quarters, she smiled at you and grabbed your arm.

"Catch you in an hour, Y/N, you better be ready." Kira shot you a wink and a grin, and headed off down the opposite corridor. Looking down and smiling, you turned to enter your room.

Kira and yourself had always had banter, flirty for the most part, and you got on really well together. You couldn't deny she was attractive. Very attractive. When you first met her, you were drawn to her, and once you got to know her, you realised she had the most wonderful personality. Slowly, you knew you loved her.

Entering your quarters, you took a quick shower and dressed yourself. By the time you were finished, you still had twenty or so minutes before you said you'd meet Kira. Looking over at your piano (which you kept hidden behind a curtain) you figured a song or two wouldn't hurt while you waited. Sitting down, you began to play a familiar melody, a melody that turned into three other songs.

Kira stopped outside your door, faintly hearing the sound of singing come from inside, backed by the keys of a piano. She recognised the song from one of Quark's holosuite programmes she'd been dragged into by Julian; it was Liebesträume by Franz Liszt. She never knew you listened to music like that. Kira stood a while longer, before opening your door. Stepping in, the last thing she expected was to see you playing it. Astounded, she stayed still and let you play.

Your song finished, and clocking the time, you rose from your chair and turned around.

"Kira! I-uh.." struggling to find the words due to shock, you stuttered and looked everywhere except at her.

"You never mentioned you were a musician, and a hell of a good one at that." Facing her now, you smiled slightly.

"I guess not, it's not something that's ever come up" you chuckled, scratching the back of your neck in embarrassment. "How much of it did you hear?"

"Enough to recognise it was a Liszt, I never knew you were the romantic type, Y/N," she teased, walking towards you as the door closed. "Who's the lucky person then?"

Your eyes widened and you raised a brow, wondering how you could get out of it.

"The lucky person?" you asked, feigning innocence at her obvious query.

"It's a classical piece, yet you sung. You took the time to write some lyrics to match the melody, I assume there was someone who served as inspiration; those type of songs don't come from just anywhere." She smiled. "You tell me everything, Y/N, I won't snitch."

You looked her in the eye again, sighing. Choosing to reply with actions given you didn't trust your voice, you stepped closer to her and took her face in your hands. When she didn't pull away, you placed your lips on hers and kissed her. Kira kissed you back, wrapping her arms around your torso. The kiss was like magic, and pulling back, you felt like it lasted forever.

"If you can't tell, it was for you" you spoke, breathless, and she looked at you with red cheeks and a small smile.

"I hadn't noticed, care to show me again?" She leaned back in and connected your lips once more.

"We're going to be late, as much as I'm enjoying myself," you laughed out, and she buried her head into your neck as you held her close. "Perhaps we should get going."

"Perhaps you should sit down and show me your music instead, dabo can wait." Kira shot you a look that you could never say no to. Chuckling, you brought her to the bench and sat with her, beginning to play.

Music had always been a love of yours, but now you could share it with the woman you loved, and for that, you were content.