#Johann Strauss Ball

[tiarascrowns]

Le Beau Danube Bleu Tiara by Karl Lagerfeld & Swarovski

Since the 1950's Swarovski has worked with an international designer to create an iconic tiara to be worn at the Vienna Opera Ball. In 2017 they paired with fashion icon Karl Lagerfeld to design a diadem in honor of the 150th anniversary of the "The Blue Danube" waltz by Austrian composer Johann Strauss II. The beloved waltz is now considered the unofficial national anthem of Austria and is renowned worldwide.

The tiara has "a mix of classic and modern influences, meticulously crafted from a mix of 394 Swarovski crystals in clear and sapphire hues, and finished with five Swarovski crystal pearls, the tiara is elegant and timeless, with a distinctive essence that is uniquely Karl Lagerfeld." (1)(2)

[samwoodsonblog]

I got bored here, and I manually counted (or rather, I rummaged through the archive and looked at each of the 479 existing compositions in detail) how many opuses Johann Strauss II wrote in Russia. There were 66 of them. Of these, about 60 were written in Pavlovsk, the rest in St. Petersburg.

upd: I will definitely make a post in which I will describe in detail which opus was written when and where of these 66.

PS: considering that in Pavlovsk, Schani wrote several polkas/balls, etc., dedicated to Satan, demons and Lucifer, I am not surprised at the number 66 at all.

[myplaylists-angeli]

That Playlist, Explained

The main focus of this playlist is to function as some sort of soundtrack for the cricket tournament on Weston’s arc. I’m not entirely sure how much the songs are historically accurate (aka “was this composition bopping in the local victorian theaters of that time (1889)?”) but let’s work with what we have: my passion for classical music.

Now my initial expectation was writing down the compositions names and writing what was my plan by choosing them… and somewhere after Pomp and Circumstance I had completely lost the plot and just begun narrating/summarizing the chapters. But the actual meanings are at the end if you want to skip it!

★ [Spoilers for the end of the arc!!] ★

1. Giselle: Act I - Entrée du Prince (Prince’s Entrance), by Adolphe Charles Adam [1841]

We open with the “Prince’s Entrance” at the ceremony of June 3rd in Weston, where the house representatives are yet to be presented. This is our little intro before the great show!

2. Pomp and Circumstance: March No.1, by Edward Elgar [1901]

Now enter the houses and their teams! 

“Their overwhelming physical prowess and teamwork are second to none… absolute champions! Top of the World: the Green Lions, the Knights!” 

 “Captivating spectators with their elegant plays…  a garden of fine plays! Brilliant Eden: the Scarlet Foxes, the Dramaturges!” 

“The House team, they say, throw their opponents into confusion by unpredictably tricky plays… a swarming of specters! Ghost Legion: the Violet Wolves, the Monk Sages!”

“They aim for an opportunity to win the championship with their strategic game plans… attack of the cornered rats! God-Only-Knows: the Sapphire Owls, the Academics!”

So come and enjoy for the ceremony of the Inter-house Cricket Tournament of 1889 is at the heights of its fire.

3. The Planets, Op. 32: 4. Jupiter - the Bringer of Jollity, by Gustav Holst [1914]

The first game is Sapphire Owls vs Scarlet Foxes. It’s epic, it’s joyful and we’re off to an impressive start with Soma’s cricket abilities, Edgar’s ~Crimson Rose Tornado!~ and Harcourt being himself. 

The game is impressive and it seems like everything is going in favor for the Scarlet Fox house…

4. The Four Seasons: Winter, by Antonio Vivaldi [1723]

… until it wasn’t. With a chilling sensation that creeps even the most sensible regions of one’s stomach, Bard’s horrendous meat-pie and Ciel’s plan dominate the game and guarantee the first victory for the Sapphire Owls!

5. Swan Lake: Act III - Spanish Dance, by Pyotr Illych Tchaikovsky [1877]

Going to the other side of the campus, a match between the Green Lions and the Purple Wolves. Cheslock makes a great move with his Rushing Violet Vapour — Purple Burnout!! and it’s highly effective until Herman hits it back. Victory to the Green house! And the cherry on top is… whatever the hell Gregory is doing on the field. Art goth kids, I swear to God…

6. Sun and Earth: Scene IV - “Winter” Polka, by Josef Bayer [1888]

Ciel gives his team a motivational speech: “Let’s win this! For us and for the Red House too!” (oh my, what a gentle boy!).

Now it’s official: the finale, Lions against Owls! But that will take a little while, so rest yourself and enjoy the show!

7. Radetzky March, by Johann Strauss I [1848]

Sebas… I mean, Master Michaelis puts his cheering orchestra in place to cheer for the Owls. And things seem to be going pretty well for the Owls, as they manage to hit the ball and mark the first points. There’s a flashback of Ciel explaining their strategy: every strong chord from the march, it’s a cue for the ball that’s coming!

8. L’Arlésienne Suite - No.2: 4. Farandole, by Georges Bizet [1872]

Here comes Edward for the bowl! He applied Cheslock’s move (Rushing Violet Vapour — Purple Burnout!!) and made a hit. And also cuts to Edward’s life flashback~ He doesn’t hold back, he doesn’t lose hope! Edward puts effort in everything he can do to come a little close to the geniuses he admires — even if Herman recognizes that this is no mid Midford on the field…!!

9. Concerto For 2 Violins in A Minor, L’estro Armonico: I. Allegro, by Antonio Vivaldi [1711] 

And on the other side of the field, enter the Headmaster and exits Sebastian from the orchestra. But unfortunately this left the Blue House in a bad spot without its musical cues and “cheering”... that’s it until Ciel makes up a new strategy! Now there’s something wrong with the Green House players — hm, and we’re informed that Sebastian thought it would be a good idea to invite Lau?

10. The Nutcracker: VI. Chinese Dance, by Pyotr Illych Tchaikovsky [1892]

Oh. So that’s why. A Surprise Brazen Harem of Woman!! — Ciel, or rather, Lau’s move for the Blue House. And the poor owl boys and their even poorer eyesight don’t even have a clue on what’s going on. That’s it… until Maurice raised a cry about their strategy. Time for a new plan, Ciel!

11. La Campanella, by Niccolò Paganini [1838] 

And Sebastian is still desperately trying to find the running Headmaster! 

While at that, a flashback reveals Ciel had news instructions for the Owls team. In a complex physics dynamic that’s too complicated to be summarized here (without copying a whole paragraph from the manga, that is), Lawrence makes a hit. You can see all Blue House players from here, in a new move: The Sword in the Stone~!!

12. Dance of the Goblins, by Antonio Bazzini [1852]

Now it’s Ciel’s time to bowl again — and Sebastian is on the search. And Ciel’s ball trajectory is… well, physically questionable against all laws of nature… but it’s within the rules, so shut up.

13. Pictures at an Exhibition: The Great Gate at Kiev, by Modest Mussorgsky [1874] 

The field complains about the foul nature of this move but Herman comes to the Blue House’s defense: “for the owl has come with might and main to hunt the lion”! (in his words)

14. 1812 Overture, by Pyotr Illych Tchaikovsky [1880]

But Ciel’s trick is still troublesome for a lot of Green House players, in a matter of mind manipulation and Over-the-Edge Tactics!! Devilish, indeed. Terrific, also. Now is Edward on the bat and he managed to make a six — now it’s on Lawrence’s hands. 

And later is in the… air? BUT NO! The ball has fallen directly into the wicket?! So Lawrence was literally up to something! — the field crowd melts at the sight. It’s the ~Hunter in the Dark~~!, sneaky and deadly as an owl. Now enters Herman in all his glory and preparation. Brain vs Brawn, afterall! The discussion of generations of human genes!

Lawrence throws but Herman takes the hit epicly, to the point of throwing it back so hard it could have BLOODY DESTROYED someone’s head in the crowd. That’s: Sword Excalibur!! 

At last, Ciel gives a pep talk to Lawrence to regain his confidence in himself and the game for the Blue House. Winning or losing… may he bowl without any regrets.

(pls put on 9:40 from here) 

In another epic set of panels — that’s it, scenes — Lawrence bowls one more time… but oh no, Herman accidentally hits Ciel while preparing to bat. As other Green House player comes to the field, Ciel seizes his eye on the ball and ends up throwing it right into the wicket! Umpire and it’s out!

The match is over: VICTORY to the Blue House! (put music on 12:30)

As if imaginary canons blow their shots into the distance, every single student on the field comes together to jump Ciel onto their shoulders. Finally, after so much effort and time, the Sapphire Miracle happens yet again! And by the hands of a second generation of Phantomhive? Incredible! One hell of a winning match!

And here comes Master Michaelis to rescue a wounded Ciel from his team’s hands to receive treatment. But the boy is the most happy about his house winning and finally being recognized as capable as anyone else. So sweet, this little boy! An absolute angel in disguise had come for the Blue House’s cause…!!

15. Devil’s Trill: III. Allegro assai, by Giuseppe Tartini [1713~1740]

… well, that was the expectation.��

Sebastian treats Ciel’s wound while a little bit of explanation unfolds. They really said “fake it until you make it”, all in good faith for the wellness of their investigation. Remarkable? Remarkable. Still in this moment of calmness before the party — and then, a storm — they discuss some important things.

16. Die Entführung aus dem Serail: Act 3. “Bassa Selim lebe lange”, by Wolfgang Amadeus Mozart [1782]

I guess you can see them now, the “Little-Lord Cox” and the boat with his teammates, sailing through the Thames river in front of Windsor Castle, while good ol’ Vicky watches the English youth bestowing another glory to the country’s name… and maybe falling straight into the water can be a good sign? It is the most elegant display of nerdy behavior if I say myself — I would probably get the same ending. 

So may the festivities begin!

17. In the Dark of the Night (Epic Version), by Alala

Oh. What is this? Perhaps… do I hear a twist coming up? About the Headmaster? About the P4? Or maybe, there’s someone else behind in the darkness? Well, this is talk for another day. Don’t take yourself too seriously. You’re so under bloody pressure, mate!

★★★★★

Now, here, what the compositions are meant to be:

1. Giselle: Act I - Entrée du Prince (Prince’s Entrance), by Adolphe Charles Adam [1841]

Due to the regal and pompous status of Weston College, I thought using Giselle’s Prince Entrance would go very well as an intro.

2. Pomp and Circumstance: March No.1, by Edward Elgar [1901]

Pomp and Circumstance is a solemn and popular British march known throughout the whole world, especially for their movements. I thought it was only fitting that the houses would enter at such timing. 

But it’s not historically accurate!

3. The Planets, Op. 32: 4. Jupiter - the Bringer of Jollity, by Gustav Holst [1914]

Holst’s Jupiter had this Scarlet Fox feel to it that I couldn’t simply ignore, so here we are! But it’s not historically accurate either!

The Four Seasons: Winter, by Antonio Vivaldi [1723]

Technically this was meant to symbolize the Purple House but as I was reading and it became that whole debacle about Bard’s pie, I thought Winter’s ominous sound would go better with it lol

Swan Lake: Act III - Spanish Dance, by Pyotr Illych Tchaikovsky [1877]

And this one is now symbolizing Purple House’s game. I wish we saw more of them…

Sun and Earth: Scene IV - “Winter” Polka, by Josef Bayer [1888]

Not a big meaning for this one. I think it was in my spotify favorites list and it sounded nice. Also it’s funny to think it comes before the main story lol

Radetzky March, by Johann Strauss I [1848]

This one actually appears in the manga/anime!

L’Arlésienne Suite - No.2: 4. Farandole, by Georges Bizet [1872]

I don’t understand much of Bizet but this also sounded nice and proper for this scene.

Concerto For 2 Violins in A Minor, L’estro Armonico: I. Allegro, by Antonio Vivaldi [1711] 

Also no big plan for this one but it’s a nice intermission for the next big thing that’s about to happen. 

The Nutcracker: VI. Chinese Dance, by Pyotr Illych Tchaikovsky [1892]

C’mon. Like… c’mon. Someone had to. With this context?? Obvious disclaimer that this isn’t actual Chinese instrumentalization or music. Funny enough, it’s a couple of years “futuristic” for the story, so also not accurate.

La Campanella, by Niccolò Paganini [1838] 

I like La Campanella and it goes amazing with this scene. 

But also, there were rumors at Paganini’s time that he had made a pact with the devil for his violin skills. Although it is theorized that probably his “mephistopheles-like” appearance and long fingers may be results of Marfan syndrome or Ehlers–Danlos syndrome — also a complicated lifestyle as a musician.

Dance of the Goblins, by Antonio Bazzini [1852]

I never heard of this one before but as I was listening (and obviously looking at the title), I thought it would fit perfectly with this situation. After all, if Sebastian is a hell of a butler, Ciel is one boy of a goblin.

Pictures at an Exhibition: The Great Gate at Kiev, by Modest Mussorgsky [1874] 

Mussorgsky is very grandiose in his compositions, especially in the Pictures at an Exhibition, so I thought it fit Herman’s speech. 

1812 Overture, by Pyotr Illych Tchaikovsky [1880]

This is a known battle overture with literal cannons with it and it screamed “that last part at Owls vs Lions game” with all its chaos, violence, epicness and victory at the end. 

Devil’s Trill: III. Allegro assai, by Giuseppe Tartini [1713~1740]

It’s… almost self-explanatory by the title. But for those who don’t know, Tartini had a nightmare/dream once that the actual devil showed up to his, in his bed, to simply play the violin and made the most complicated, devilish-structured but perfect music on the instrument. Tartini spent the rest of his days trying to replicate the sound of his dream, “without success” in his words.

Die Entführung aus dem Serail: Act 3. “Bassa Selim lebe lange”, by Wolfgang Amadeus Mozart [1782]

It came like a nice addition since the next major arc, the Emerald Witch, is in Germany. Plus, it’s one of my favorite Mozart’s songs from the Amadeus movie — alongside Symphony 45 Allegro, Dies Irae and Confutatis. 

17. In the Dark of the Night (Epic Version), by Alala

No, think of another slender, sinister and bony-like guy we have seen before… 

[czolgosz]

"put a song for every letter in your url and tag the amount of people in your url"

thank you @eeuwigestilte for tagging me in this ^_^

you will notice quite a bit of artist repetition:

violin concerto in a minor (kolja blacher & cologne chamber orchestra)

i'm simply crazy over you (sam ash & louise macmahon)

come josephine in my flying machine (ada jones & billy murray)

they start the victrola (billy murray)

oui oui marie (arthur fields)

rhapsody in blue (leonard bernstein & columbia symphony orchestra)

the honeysuckle and the bee (belle davis)

after the ball (george j gaskin)

les amants de paris (édith piaf)

k-k-k-katy (billy murray)

i'm afraid to come home in the dark (billy murray)

narcissus (victor concert orchestra)

glüwürmchen idyll (will kalinka & paul godwin orchestra)

margot coeur gros (édith piaf)

an der schönen blauen donau (andré rieu & johann strauss orchestra)

cri du coeur (édith piaf)

he'd have to get under—get out and get under (billy murray)

i'm goin' to settle down outside of london town (billy murray)

non, je ne regrette rien (édith piaf)

eden blues (édith piaf)

20 tags: @ahotjanuary @bumblingest-bee @busg @crescentmp3 @dilbobloggins @drinkthemlock @dualclock @freddiegoesmetal @koiketto @locomotivefan @magnoliae @orangegloom @porciaenjoyer @riddled-forensic @spring-heeledjack @strangestcase @thereddenedking @troyandabedsnewapartment @verae @wiredalienvampire

[opera-ghosts]

OTD in Music History: Historically important composer Johann Strauss, Sr. (1804 - 1849) -- aka "Johann Strauss The Elder" -- is born in Vienna. Strauss Sr. was famous for the various forms of "light" music (namely waltzes, polkas, and galops) which he helped to popularize in Vienna alongside his friend and colleague, Joseph Lanner (1801 - 1843). He thereby set the foundation for his own sons -- Johann Jr. (1825 - 1899), Josef (1827 - 1870), and Eduard (1835 - 1916) -- to follow in his footsteps and create a multi-generational musical dynasty. Strauss Sr. is perhaps best known today for composing the "Radetzky March" (named after Czech nobleman Joseph Radetzky von Radetz), and he first established his reputation when he began conducting at the “Sperl,” a popular Viennese dance hall, in the early 1830s. By 1834, he was appointed bandmaster to the 1st Vienna Militia Regiment, and the following year he was made Director of the Imperial Court Balls. He then undertook a series of wildly successful concert tours across Europe. Suffice to say, he was a very busy man... but not too busy to acquire a mistress, with whom he had a whopping eight children. Perhaps not surprisingly, this ultimately led him to abandon his first family. Ironically, this proved to be a very fortuitous development for the history of "classical" music: up to that point, Strauss Sr. had staunchly refused to allow any of his sons to pursue careers in music. Johann Jr. was commanded to study banking; Josef was destined for a military career; and Eduard was expected to join the Austrian consulate. But that all changed when Strauss Sr. abandoned the family -- suddenly, the boys were freed up to pursue their musical passions. Johann Jr. quickly struck up his own band, and soon began competing with his father... PICTURED: A rare copy of the first edition printed piano-reduction score for Strauss Sr.'s "Festlieder Waltz" (Op. 193 c. 1845), which he signed on the front cover.

[vilyanenyavilya]

A Kiss At Midnight In Time

Characters/Relationship: Loki/Sylvie

Rating: Teen. Word Count: 1300. Tags: Romance, Reuniting, Waltz, New Year’s Eve

Summary: (Post Loki S1): Loki finds Sylvie at a masquerade ball New Year’s Eve 1977. What else would he do but ask for a dance?

—

Loki held a flute of champagne and looked around the room. The TVA had tracked Sylvie using her temporal signature or whatever nonsense to that night, New Year’s Eve 1977, on Earth in London. Loki dressed in a tuxedo, complete with ruffled white shirt and black bow tie, and headed out with Mobius at his side. It had taken convincing and some magical memory sharing, but Mobius was his friend again. He was across the room, looking as well.

It was a masquerade ball - tuxedos, evening gowns, masks. Loki had chosen a mask of such a dark green it was almost black, plus it had a bit of a shimmer and a golden snake looped around the eyes. The ballroom was in an old building with high ceilings, chandeliers, and decorative moldings on the walls. It was outfitted with paper streamers and balloons in gold and black and one wall of the room had glass doors to a large balcony that overlooked the city.

Sylvie had to be somewhere. Loki’s eyes searched the room. There, there.

Loki’s breath caught. He didn’t take his eyes off a blonde woman with a simple black mask, but she was wearing a crown of gold horns - one was broken. To the room they’d seem part of the mask, but Loki knew better.

Sylvie was wearing a gown of rich emerald green sequins with a slit up the right side. She moved some and Loki saw her bare leg. Oh. Her arms were also uncovered and there was so much skin that he hadn’t seen before. He wished to touch her everywhere. Oh yes. His grip on the champagne flute tightened.

It also revealed her wearing black combat boots and that made Loki smile. She liked to be comfortable, so of course she refused heels.

Loki made his way across the room, weaving and darting through the crowd of people and high cocktail tables on the side of the dance floor. He had so many questions. Was she okay? Did she mean to send him where he ended up or was the destination an accident because the timelines already fractured? What was she doing in 1977? Would she join him and Mobius in preparing for the variants of He Who Remains? Did he mean anything to her? Did the kiss mean anything? Could they kiss again? Could they kiss everyday? Without tears? Could they have a cuddle and watch a sunset? Could she put her hands on his shoulders again as he held her waist? Loki could wait for clothes to come off, he wanted to get it right. He could move slow. He wanted it to be real.

All of the questions were on the tip of his tongue, but once he was in front of her and her shocked eyes met his and the orchestra began a waltz, The Blue Danube by Johann Strauss II, different words came out.

“Would you care to dance, my lady?”

Sylvie’s eyebrows furrowed and her nose wrinkled. Loki’s heart sped up. It was a moment before she said, “Let’s have at it then.”

The champagne flute in her hand vanished at the same time as his - Sylvie’s magic. Loki held out his hand and bowed as he would at a court function in Asgard. She had an amused smirk and grabbed it.

He had to get this right. He led her onto the dance floor as the waltz continued through its beginning. Perfect. Except she furrowed those eyebrows again - oh. She didn’t know how to dance a waltz, having grown up in apocalypses so hadn’t had the Midgardian experiences Loki had.

“Put your left hand on my shoulder.”

As she did, Loki placed his right hand on the middle of Sylvie’s back, careful to not touch her bare skin that was revealed by a deep V of her dress. He had to move slow.

Loki raised his left hand, “Now we hold hands.”

“Sure is a lot of touching.”

“It’s a dance. Now follow me.”

Loki led her amongst the other dancers and she quickly picked it up. Loki dared to press his body closer and a hint of red appeared on her cheeks. Oh he liked that look on her very much. Loki had just about eleven minutes of the song to sweep her off her feet. He moved them to the ebb and flow of the music. There were no words between them - only the music, their bodies, and the dance.

The masks kept some level of barrier as they made eye contact, but it was still intense. Loki felt as his heart would burst, he never wished for it to end. He could hold her in his arms for eternity.

Except the song had to end. Loki knew the end of it was approaching, so he led Sylvie off the dance floor to the balcony doors and opened them telekinetically. Sylvie rolled her eyes but didn’t say anything as he closed the doors behind them.

The quiet roar of a city on New Year’s Eve came from below, and still they didn’t say anything, only held hands. Loki was at a loss for words for once. She was there, in front of him. They danced a waltz.

Sylvie took off her mask. “That was the second most romantic experience of my life.”

“Second, what was the first?” Loki frowned and took off his own mask. He wanted to be on the top of all her lists. The good ones, to be specific.

“The tablecloth.”

Loki smiled. Oh he was. He was the top of the list. “It was a blanket.”

Sylvie shrugged, “Not very cozy.”

“I can do better.”

“You’ve done good.” Her face fell a little, “You didn’t want that throne after all.”

“I don’t. I want you to be okay.”

“I’m working on that.”

There were so many things to say, to ask, but Loki settled on one. “Can I help?”

Sylvie shook her head, “It’s something I have to do on my own.”

Loki’s heart sunk lower than he thought possible. He looked away. It hurt. “Oh.”

“I want you to be okay too.” She squeezed his hand.

Loki’s heart tentatively hoped at the touch and her words. People did have to take care of themselves, but there could be support, yes? Friends, family… a lover. Loki wanted to be all of them for her.

There was a countdown coming from inside and Loki could hear the crowd yell, “Ten!”

Sylvie said quietly, “I’m sorry.”

“Accepted. I’m sorry as well.” Loki still held her hand and she made no move to let go. That was good progress.

“Eight!”

She added, “We could try to be okay, next to each other.”

“Six!”

Loki’s heart hoped even more, but the situation felt fragile, like if he held on too hard it would crush in his grasp, “Perhaps even together.”

“Four!”

Sylvie smiled a little, cautious. “Together.” Then her gaze flicked to his and back to his eyes. “A kiss at midnight’s supposed to be lucky.”

“Two!”

Yes. He desperately wanted a happy kiss with her. Loki smirked then, “We better not miss the opportunity.”

“One!” Cheers went up inside, signifying midnight had struck.

Sylvie tilted her head up and Loki met her in the middle. Fireworks were in the sky as they kissed and their masks fell to the stone of the balcony. Loki moved his free hand to her waist and she moved hers to his shoulder. They moved as close as they could get, pressing their bodies close.

Loki’s heart was full of hope and promise. They could do anything together, he was so sure of it. Even protect the multiverse, but that could wait for its own time. At that moment it was only them and their kiss at midnight.

FIN

[hunty627]

Coming up soon on Little Einsteins: New Missions, it was the anniversary of when June and Rocket danced together at the glass slipper ball. They were gonna go dancing tonight to celebrate, but there was trouble! Big Jet has stolen June’s glass slipper and Rocket’s gold crown! Will they stop Big Jet before the dance starts this evening? Find out in this upcoming episode of Little Einsteins: New Missions. the stolen slipper and crown! Featuring the art “Evening snow at Mount Hira” by Utagawa Hiroshige and the music “The Blue Danube Waltz” by Johann Strauss.

[slowlyjoyfulcat]

Masters of Melody: A Journey Through the Lives and Legacies of Famous Composers

Introduction:

Music has been a timeless expression of human emotions and creativity, and behind many of the world's most enchanting compositions are the brilliant minds of famous composers. These maestros have left an indelible mark on the world of music, shaping its evolution across centuries and genres. In this article, we will embark on a journey through the lives and legacies of some of the most renowned composers in history.

Ludwig van Beethoven (1770-1827):

One of the greatest and most influential composers of the Classical and Romantic eras, Ludwig van Beethoven's music transcends time. Despite facing personal challenges such as hearing loss, Beethoven composed some of the most iconic works, including the Ninth Symphony and "Moonlight Sonata." His innovative use of form and emotion paved the way for the Romantic movement in music.

Wolfgang Amadeus Mozart (1756-1791):

A child prodigy who began composing at the tender age of five, Mozart is synonymous with musical genius. His prolific output includes over 600 works, ranging from operas and symphonies to chamber music and piano sonatas. Mozart's timeless compositions, such as "Eine kleine Nachtmusik" and "The Magic Flute," showcase his unparalleled gift for melody and harmony.

Johann Sebastian Bach (1685-1750):

A cornerstone of Baroque music, Johann Sebastian Bach's intricate compositions are a testament to his technical brilliance. Known for his mastery of counterpoint and polyphony, Bach's works, such as the "Brandenburg Concertos" and the "Mass in B Minor," are considered masterpieces that laid the foundation for Western classical music.

Pyotr Ilyich Tchaikovsky (1840-1893):

Tchaikovsky's emotionally charged and expressive compositions have made him a staple in the world of Romantic music. Famous for his ballets, including "Swan Lake," "The Nutcracker," and "Sleeping Beauty," Tchaikovsky's ability to convey deep emotions through orchestration has left an enduring impact on the world of classical music.

Johann Strauss II (1825-1899):

Known as the "Waltz King," Johann Strauss II popularized the waltz and operetta in 19th-century Vienna. His infectious melodies, as heard in compositions like "The Blue Danube" and "Die Fledermaus," continue to be celebrated at traditional balls and concerts. Strauss's influence extends beyond his time, as his waltzes remain a staple in classical repertoire.

Conclusion:

The world of classical music owes much of its richness and diversity to the brilliance of famous composers who dared to push the boundaries of creativity. From the intellectual complexities of Bach to the emotional depth of Beethoven, each composer has left an indelible mark on the musical landscape. Their timeless works continue to resonate with audiences worldwide, reminding us of the enduring power of music to evoke emotion, inspire, and connect us across generations.

[pollybert]

Casino Zögernitz

All long as I remember Casino Zögernitz has been closed. Built in the 19th century this Biedermeier property saw Johann Strauss organizing concerts in the garden, and balls were held in the richly decorated hall. Casino Zögernitz has a rich history that ended sometime in the ’70s. Happily enough it got revived and will see concerts again. The renovations also included a restaurant. The interior…

[10minuttv]

Vienna Concert 3 – PREMIERE of the world's first Princess Orchestra

On December 2 at 8 p.m. at the Polish Philharmonic “Sinfonia Baltica”. Wojciech Kilar in Słupsk at John Paul II street will host a bestseller on the Polish music scene – a concert of the world's first Princess Orchestra with a program entitled Vienna Concert 3. We cordially invite you to this extraordinary event!

The Vienna Concert 3 – A NEW PROGRAM – Princess Orchestra These are the greatest, timeless and forever close to the hearts of music lovers – immortal arias and duets, as well as the most famous waltzes and polkas by Johann Strauss, the greatest hits of Viennese operetta and countless musical surprises from all over the world. There will be no shortage of musical jokes and skits.

This evening, the Artists will prove that music connects generations and knows no boundaries! Vienna Concert 3 – NEW PROGRAM – The Princess Orchestra is a combination of classical form and craftsmanship with youth, charm, verve and unprecedented musicality of the artists performing this unique spectacle.

Performers include: Anna Ciereszko, Karolina Jędrzejczyk, Sylwia Frączek, Agnieszka Grabowska, Sławomir Naborczyk, Aleksander Kruczek, Tomasz Tracz, Andrzej Tulik, Piotr Łukaszczyk and Maciej Gogołkiewicz. The Princess Orchestra also includes dazzling creations by artists, beautiful ball gowns of soloists and the first Princess Orchestra in the world performing this extraordinary spectacle. The artists will take you to a fairy-tale world. Here, everyone can swing to the rhythm of the music and sing the most beautiful melodies with us.

The Princess Orchestra also includes dazzling creations by artists, beautiful ball gowns of soloists and the first Princess Orchestra in the world performing this extraordinary spectacle. The artists will take you to a fairy-tale world. Here, everyone can swing to the rhythm of the music and sing the most beautiful melodies with us.

Photo credits: © Agencja Tomczyk

[postalvalhalla]

Memorial Waltz

Wearing a light blue ball gown, Lady Gygax the lich danced a waltz, to the strains of Johann Strauss II.

"Once a year," she said, "this is my little ritual. I do this in the name of Treybahn the Terrible, Professor Edwin Kristoff Bergmann, and Felrune Carnivax the Steady - all past associates of mine." She grinned, as only a skeleton can. "My house is built over my mausoleum, you see. All of these were enemies who swore to dance on my grave, and they never got the chance…."

[princesssarisa]

"Cinderella" adaptation review: Sinderella Külkedisi (1971 Turkish film)

I overlooked this film during my overview of Cinderella adaptations last year, but better late than never!

This Cinderella was one of three Turkish fairy tale films that were produced in 1971 as vehicles for the famous 16-year-old actress Zeynep Değirmencioğlu, “the Turkish Shirley Temple.” The other two were versions of Snow White and The Wizard of Oz. While the production is low-budget and far from Hollywood quality, it’s still worth a viewing for fairy tale lovers, both for its earnest charms and for the creative twists it brings to the classic story.

Despite the distinctly Middle Eastern terrain of the filming locations, the colorful costumes are Western in style: they generally evoke a stylized late medieval or Renaissance era, except for the ladies’ slender, sleeveless ballgowns, which have more of an 1890s Belle Epoque appearance. Yet the characters��� names are Turkish. Most of the time, Cinderella is called by her traditional name in Turkish retellings, “Külkedisi” (“ash cat”), but interestingly, the Western “Cinderella” is used as a name she assumes for her “princess” persona at the ball. Meanwhile, the pretty but obnoxious stepsisters have the ironically romantic Turkish names of Tatlı Pınar (“sweet fountain”) and Ay Işğı (“moonlight”). There are also two “exotic” dream sequences where Cinderella imagines herself living far away with the Prince, first in a Romani camp and then in a desert land, which provide a showcase for Romani and Middle Eastern costumes and dance. The musical score is sometimes Turkish in style, but at other times it makes use of Western classical music, most notably Johann Strauss’s Blue Danube Waltz for Cinderella’s dance with the Prince at the ball.

The screenplay’s blend of tradition and original ideas is just as striking as the blend of Turkish and Western aspects. This version of Cinderella is abused by an especially melodramatic Stepmother, who gives her outlandish punishments such as no milk for a week just for spilling a little, or no sleep for three days for a small disobedience, all the while lavishing affection on her own spoiled daughters. But Cinderella takes comfort in friendships with animals, including a flock of doves who sort rice for her, and with fellow human outcasts, a crippled shepherd boy named Sarp and three kindly dwarf women. Meanwhile, at the royal palace, the Prince pines for love of a maiden he sees in his dreams every night, who of course looks just like Cinderella: in a sequence showing his latest dream, she appears to him as an elusive, scantily clad water nymph. As for the Fairy Godmother, she appears in three guises. First as an old beggar woman to whom Cinderella gives her own bread; then as an ancient sorceress in a mountain lair, whom the Prince visits for advice and who assures him that his dream girl is real and nearby; then finally in her true form as a beautiful fairy dressed in white, who turns a pumpkin into a coach, a dog into a coachman, and rabbits into footmen for Cinderella. She also gives ballgowns to the three dwarf women so they can serve as Cinderella’s ladies-in-waiting, and at the ball, they find romance of their own with the king’s three dwarf jesters. At the climax of the story, as in many other versions, the Stepmother locks up Cinderella rather than let her try on the glass slipper. But Sarp, the dwarf women, and the flock of doves come to the rescue, find the key, and set her free.

Despite being weighed down by an oversized blonde wig, Zeynep Değirmencioğlu is an appropriately sweet, endearing Cinderella. She’s surrounded by a strong supporting cast, including Sertan Acar as a romantically melancholy, strikingly blue-eyed Prince, Hikmet Gül as the larger-than-life Stepmother, and Suna Selen, who in Değirmencioğlu’s other fantasy films played her antagonist (the evil Queen in Snow White and the Wicked Witch of the West in The Wizard of Oz), here departing from type as the Fairy Godmother. Meanwhile, the costumes and special effects all look slightly cheap and artificial, but as in many low-budget fairy tale films, this somehow adds to the production’s charm.

This Cinderella is a humble, imperfect effort, but it’s still an enjoyable, creative variation on the tale, as well as an intriguing example of fairy tale film from outside of the Western world.

@faintingheroine, @ariel-seagull-wings, @superkingofpriderock

[nyxshadowhawk]

Dark Royalty Core Playlist

People seemed to really like the Beltane playlist so I thought I’d post more of my playlists! I started making this one when I learned that the Dark Royalty Aesthetic was a thing, and I am so happy that it is a thing! It’s now one of my favorite aesthetics, and it got me into more traditional classical music. This is intended to be a “master playlist” -- some of these pieces are taken from oliviaalee on youtube, but many are favorites of mine.

“Masquerade - Ballet Suite: 1. Waltz” by Aram Khachaturian, London Symphony Orchestra, et.al. “Expectation” by Herold Kittler, Nikolai Sergeyev, et.al. “Leopoldine” by Ez3kiel “An Extraordinary Tale” by Peter Gundry “Ghost Waltz” by Abel Korzeniowski “Dance of the Damned” by Peter Gundry “Lestat’s Recitative” by Elliot Goldenthal “Amur Waves” by Max Kyuss, Nikolai Nazarov, et.al. “Gnossienne no. 1″ by Erik Satie, Alena Cherney “Tocka” by Оркестр "Классика" “Midnight Waltz” by Adam Hurst “The Secret Garden” by Adrian von Ziegler “The Second Waltz” by André Rieu, Johan Strauss Orchestra “An Embassy Waltz” by Mickymar Productions Ltd and Failbetter Games  “Tonight Ve Dance” Peter Gundry “Gramophone” by Eugen Doga “Merry-Go-Round of Life” by Joe Hisaishi “Cinderella, Op. 87, Act 1: No. 19, Cinderella’s Departure for the Ball” by Sergei Prokofiev, André Previn, London Symphony Orchestra “Valse sentimentale, Op. 51, No. 6″ by Pyotr Ilyich Tchaikovsky, Josef Sakonov, et.al. “Wood Carving Partita” (cover) by Tim Stoney “Danse macabre, Op. 40: Poème symphonique d’après une poésie de Henri Cazalis” by Camille Saint-Saëns, Rudfunk Sinfonieorchester Berlin, et.al. “Legacy of Sorrow” by Nox Arcana “Nocturnal Waltz” by Johannes Bornlöf “Incantato” by Adam Hurst “A Midsummer Night’s Dream, Op. 61: Scherzo No. 1″ by Felix Mendelssohn, Staatskapelle Berlin, et.al. “Serenade for Strings in E, Op. 22: 2. Tempo di valse” by Antonín Dvorák, Academy of St Martin in the Fields, et.al. “The Shadow’s Bride” by Peter Gundry “Nocturne No. 20 In C Sharp Minor, Op.posth” by Frédéric Chopin, Alice Sara Ott “Ghost Bride” by Adrian von Ziegler “Suite Gothique, Op. 25: I. Introduction et choral” by Léon Bollëmann, Michael Phol “2 Romanian Rhapsodies, Op. 11: Rhapsody No. 1 in A Major” by George Enescu, Heinz Rögner et.al. “Bagatelle No. 25 in A Minor, "Für Elise", WoO 59” by Ludwig van Beethoven, Lang Lang “The Nocturnal” by Peter Gundry “Piano Sonata No.14 In C Sharp Minor, Op.27 No.2 -"Moonlight": 1. Adagio sostenuto” by Ludwig van Beethoven, Daniel Barenboim “Insomnies” by Ez3kiel “Dance of Gold” (cover) by Tim Stoney, Kristin Naigus, et.al. “Parliament of Owls” by Agnes Obel “An Amalgamation Waltz 1839” by Joep Beving “Dance of Pales” (cover) by Tim Stoney *** “Symphonie Fantastique, Op. 14 (Episode de la vie d'un artiste) : II. Un Bal (A Ball)” by Hector Berlioz, Tbilisi Symphony Orchestra et.al. “Ritual” by Adam Hurst “Forest Tale” by Wilhelm Becker, Nikolai Nazarov, et.al. “The Awakening” by Peter Gundry “Ceremonial Spell” by Adrian von Ziegler “Autumn Moon” by Eternal Eclipse  “Phantastic Dance No. 1″ by Dmitri Shostakovich, Christian Funke, et.al. “Waltz of Souls” by Adam Hurst “Agnus dei” by Samuel Barber, Roderich Kreile, et.al. “14 Romances, Op. 34: No. 14, Vocalise” by Sergei Rachmaninoff, Jan Vogler, et.al. “Holberg Suite, Op. 40: IV. Air” by Edvard Grieg, Staatskapelle Dresden, et.al. “Gaspard de la nuit, M. 55: No. 3, Scarbo. Modéré in B Major” by Maurice Ravel, Cecile Ousset “Waltz” by Eugen Doga “Dorian’s Theme” by Charlie Mole “Children's Corner, L. 113: IV. The Snow is Dancing” by Claude Debussy, Peter Rosel “Duo in G Major: II. Air” by François Couperin, Barbara Sanderling, et.al. “No.9 - Finale - Swan theme (Andante)” by Pyotr Ilyich Tchaikovsky, Royal Philharmonic Orchestra  “Organ Sonata in C Minor: I. Grave - Larghetto” by Julius Reubke, Michael Pohl “Requiem for the Gods” (cover) by Wayne Strange, Chad Schwartz “Death Waltz” by Adam Hurst “Lacrimosa” by Wolfgang Amadeus Mozart, Lisa Beckley, et.al. “Weeping Willow” by Gabrielle Aapri “Eternal Slumber” by Yonder Dale “Midnight Masquerade” by Nick Murray “The Vampire Masquerade Organ Version” by Peter Gundry “Cloak and Dagger” by Eternal Eclipse “Appassionata” by Rolf Lovland, Secret Garden “String Quartet No. 14 in D Minor, D. 810 "Death and the Maiden": II. Andante con moto - Arr. Gustav Mahler” by Franz Schubert et.al. “Reflections” by Toshifumi Hinata “Mariage d’Amour” by Jacob’s Piano “Carnival of the Animals: XIII. The Swan” by Camille Saint-Saëns, Yo-Yo Ma “Victor’s Piano Solo” by Danny Elfman “Sofia’s Waltz” by Carvajal “The Nutcracker, Op.71, TH.14 / Act 2: No. 14a Pas de deux: Intrada” by Pyotr Ilyich Tchaikovsky, Mariinsky Orchestra, et.al.

Spotify Link:  https://open.spotify.com/playlist/3yFvAGB5xdoOELbmiJ136U?si=1d1f15e826ac445b

[budapestbug]

The most beautiful concert hall in Budapest, located along the Danube Promenade in Pest, was completed in 1864, replacing an earlier concert hall (designed by Mihály Pollack) destroyed in the Hungarian War of Independence in 1848-1849. The first Redoute was opened in January 1833 with a grand ball, yet, for all merriments, it was also a venue of the highest culture – the only concert hall in Pest at the time. Both Johann Strauss the Elder and the Younger and Ferenc Erkel performed here several times. It was also here that Ferenc Liszt gave the first concert after the great flood of 1838 for charity. The Redoute however was to have a short career; in May 1849, it fell victim to the the artillery fire of the invading Austrian troops. In 1859 Frigyes Feszl was commissioned to design a new building, with which he sought to create a Hungarian style. The new edifice, now called Vigadó, was opened in 1864. Redoute’s style is best described as Oriental and Hungarian Art Nouveau mingling with romance and a rich addition of uniquely pleasing details, down to perfection. The architect was Frigyes Feszl, while Károly Lotz and Mór Than, star artists of the age, have painted the ballad themed-frescoes of the interior. The façade of the palace is decorated by the Hungarian Coat of Arms and the likenesses of outstanding figures in Hungarian history. After the Austro-Hungarian Compromise of 1867, the city leased the Vigadó, which then hosted a variety of programmes, including city council meetings. Two or three decades following its opening, the Vigadó had a busy schedule of balls. Its managers thought up all kinds of ways to make their programme stand out among others. They thus put up ice balls, fancy-dress parties with characters from the novels of Mór Jókai or pageants of the events of Hungarian history. The most luxurious ball to be hosted at the Vigadó was the one organized by the National Rowing and Sailing Association in 1870, with a rich order of dances, lavish props, a sailor-suit military band, and a goldfish pool. The most noteworthy ball was the one commemorating István Széchenyi, known in Hungary as “the greatest Hungarian”. In 1867 Emperor Franz Joseph attended the banquet hosted by the Vigadó in honour of his coronation, and it was also here that Budapest was born by the merger of the old cities of Pest, Buda and Óbuda (old Buda). The Vigadó also hosted performances by the likes of Johann Strauss Jr., Mascagni, Dvořak, Debussy, and Arthur Rubinstein. Ernő Dohnányi had his first solo concert here. Béla Bartók and Annie Fischer made their debuts here in 1905 and 1932 respectively. Richard Strauss conducted from the rostrum of the Vigadó several times, and Prokofiev also appeared on its stage as a pianist. Beside classical music, jazz had also founds its way into the Vigadó programme. Teddy Sinclair conducted the Savoy Orphée band with a flashlight as a baton in 1928, and an outstanding twenty-four-piano jazz concert was organized here by the Saxon Concert Office in the spring of 1937. The building of the Vigadó was seriously damaged in World War II. In 1968, construction work started with several of its parts demolished for complete transformation. To improve acoustics, prism lamps in a plaster casing were affixed to the ceiling, lowering headroom by five metres. The rebuilt Vigadó was opened to the public on 15th March 1980. The main auditorium of the Vigadó now shines in its original beauty, the frescos and sculptures, the main staircase, the lobby and the music room have been fully restored to their former grandeur. This jewel of the Danube bank was also provided with new spaces: a lecture and an exhibition hall on the fifth floor and a terrace on the sixth floor with a magnificent view of Buda. World-famous performers to appear on the stage of the new Vigadó included György Cziffra, Dénes Kovács, Eszter Perényi, Miklós Szenthelyi, and Sviatoslav Richter. Ken-Ichiro Kobayashi conducted the Hungarian State Symphony Orchestra here as well.

[kenzsza]

i exist for love: a patrochilles playlist

1. prelude - the blasting company

2. smother - daughter

3. first love/late spring - mitski

4. bonfires - slime girls

5. the sea - joey pecoraro

6. patient is the night - the blasting company, chris isaak

7. smoke signals - phoebe brigers

8. out like a light - the honeysticks, rick montgomery

9. lanterns lit - son lux

10. why didn’t you stop me? - mitski

11. silk (favored nations remix) - giselle, favored nations

12. heavenly - cigarettes after sex

13. white ball - miracle musical

14. favors - wilderado

15. everlasting arms - vampire weekend

16. and the waltz goes on - andre rieu, johann strauss orchestra

17. persephone - tamino

18. little dark age - mgmt

19. exist for love - aurora

20. achilles come down - gang of youths

21. found love in a graveyard - veronica falls

22. come what may - nicole kidman, ewan mcgregor

23. no more happy endings - weird inside

[taunuswolf]

MEINE VORBILDER, IDOLE, HELDEN ODER MENSCHEN, DIE ICH SEHR SCHÄTZE

Natürlich ist diese Liste nicht vollständig. Sicherlich könnte ich sie um viele Persönlichkeiten erweitern. Besonders bei Künstlern, Schriftstellern, Musikern und Schauspielern kämen sicherlich noch viel mehr bewundernswerte Menschen zusammen, die mein Leben mitbegleitet haben. Bei den eher unbekannten Namen habe ich die Funktion in Klammern daneben geschrieben. Einige Namen sind Legendengestalten oder biblische Figuren, zum Beispiel Heilige (HL). Menschen, die ich zum Beispiel während meiner Zeit als Redakteur oder anderwärtig persönlich kennen gelernt habe, sind zum Beispiel auf der Tumblr-Seite fett gekennzeichnet. Unter der Rubrik (Vormärz) versteht man die frühen Akteure der Demokratiebewegung, die leider nicht zum Zug kamen und stattdessen einem autokratischen System weichen mussten, die als Pseudodemokratie bis heute anhält. Im Klartext: Deutschland verträgt keine echte Opposition.  

A: Jeanne d´Arc, Hannah Arendt, Ernst Moritz Arndt, Bettine von Arnim, AC/DC, Johann Valentin Andreae (Rosenkreuzer), Alexandra (Sängerin), König Arthus, Adele, Hirsi Ali, Charles Aznavour,    

B: Hugo Ball (Schriftsteller), Marianne Bachmeier (Mutter Courage), Sebastian Bach, Gottfried von Bouillon (Kreuzritter), Friedrich Barbarossa, Clemens von Brentano (Dichter), G.L. von Blücher, F.W. von Bülow (Preußische Generäle der Befreiungskriege), Hildegard von Bingen, Beatles, Carl Ludwig Börne (1848ziger), Robert Blum (1848-Rebell), Ludwig van Beethoven, Arnold Böcklin, Max Brodt, David Bowie, Thomas Bernhard, Wilhelm Busch, James Baldwin, M. A. Bakunin (Anarchist), Boetius (Philosoph), Buena vista social Club, Josef Beuys, Samuel Beckett, Sebastian Brandt (Humanist)        

C: Cicero, Paul Celan, Carl von Clausewitz (Oberst Befreiungskriege), Leonard Cohen, M. Caravaggio, John Cassavetes (Regis.), Karl August von Cohausen (Archäologe), Charlotte Corday (Rebellin 1790), Robert Crumb, Eric Clapton, Lowis Corinth, Joe Cocker, N.S. Chruschtschow, Sean Connery.        

D: Denis Diderot (Aufklärer), Albrecht Dürer, Bob Dylan, Carl Theodor von Dalberg (Aufklärer), Dante, Dido (Sängerin), Alexander Dubcek, Doors,    

E: Max Ernst, Hl. Elisabeth, Enya, Eisbrecher (Band), Michael Ende, Umberto Ecco, Joseph von Eichendorff,    

F: Gottfried Fichte, Ernst Fuchs, Friedrich der Große, Georg Forster, Caspar David Friedrich, Fleetwood Mac,  

G: Theo van Gogh, Franzisko de Goya, Gottfried Grabbe, Che Guevara, Siddharta Gautama, Karoline von Günderode (Dichterin), Georges I. Gurdjief (Mystiker), Matthias Grünewald, Artemisia Gentileschi (Malerin), Gandalf, Brüder Grim, Grimmelshausen, Ralf Giordano (Journalist), Green Day (Band), Florian Geyer (Rebellenanführer), A.N. von Gneisenau (General Befreiungskriege), M.S. Gorbatschow.      

H: Hagen, Hermann Hesse, Peter Handke, Hölderlin, Heinrich Heine, E.T.A. Hoffmann, Gottfried Herder, Friedrich Hecker (1848-Rebell), Händel, Villard de Honnecourt (Gotik-Baumeister), Michel Houellebecq, Homer, Herodot, Klaus Heuser (BAB), Gorge Harrison, Andreas Hofer, Johnny Hallyday (Franz. Sänger), Friedensreich Hundertwasser, Werner Herzog, Elmar Hörig (Kultmoderator), Ulrich von Hutten (Humanist), Victor Hugo, Harro Harring (Vormärz),      

I: Jörg Immendorff, Henryk Ibsen, Isaias (Prophet),  

J. Jesus, Johannes der Täufer, Johannes der Evangelist, Jeremia (Prophet), C.G. Jung (Psychologe), Jennies Joplin, Friedrich Ludwig Jahn (Turnvater)

K: Karl Kraus, Theodor Körner, Franz Kafka, Frida Kahlo, Gustav Klimt, Charlotte von Kalb (Muse), Lee Krasner (Künstlerin), Rainhard Karl (Bergsteiger), Peter Keuer (Grünen-Gründer), Alfred Kubin,  

L: Lukas, John Lennon, David Lynch, Flake Lorenz, Andreas von Lichnowski (1848ziger), Cyprian Lelek (1848ziger), Georg C. Lichtenberg, Gotthold Ephraim Lessing, Lanzelot, M.V. Llosa (Schriftsteller), Annie Lenox, Königin Luise, Ludwig A.W. von Lützow (Befreiungskriege), M. Lafayette (Fr. Staatsmann und Aufklärer) Franz Liszt, Led Zeppelin, Hanns Lothar (Schauspieler)

M: HL. Maria, HL. Maria Magdalena, Marcus, Matthäus, Matthäus Merian, Maria Sybilla Merian, Amadeus Mozart, Bob Marley, Edward Munch, Claude Monet, Albertus Magnus (Scholastiker), Merlin, Alma Mahler-Werfel (Muse), Meister Eckard (Mystiker), Moody Blues.    

N: HL. Nikolaus, Novalis, V. Nabokov (Schriftsteller), Ningen Isu (Band), Nirvana, Agrippa von Nettesheim (Alchimist), Hannah Nagel (Künstlerin),    

O: Josef Maria Olbrich (Jugendstilbaumeister), Rudolf Otto (Religionswissenschaftler), Oomph (Band), Oasis, Mike Oldfield,  

P: Platon, Plotin, Pythagoras (Philosophen), Jean Paul, Plinius, Parzival, Tom Petty, Daniel Powter, Procol Harum, Pink Floyd,  

Q: Queen,

R:  Peter Paul Rubens, Rembrandt, Josef Roth, Ramstein, Philipp Otto Runge, Ludwig Richter, Rio Reiser, Ritter Roland, Rainer Maria Rilke, Erasmus von Rotterdam, Eric Rohmer, Ulrich Roski (Sänger), Rolling Stones, R.E.M. Lou Reed, Chris Rea, Petra Roth (Ex-OB Frankfurt/M)

S: Johann III Sobieski (polnischer König), Sunzi (chinesischer Philosoph), August Schöltis (Schriftsteller), Lou von Salome (Muse), B. Smetanar, Carlos Santana, Sappho (Dichterin), Schopenhauer, Helmut Schäfer (Staatsminister im Auswärtigen Amt) Sokrates, Egon Schiele, Madame de Stael, August Strindberg, Richard Strauss, Philipp Jacob Siebenpfeiffer (Vormärz), Helmut Schmidt, Subway to Sally (Band), Karl Ludwig Sand (Vormärz)    

T: B. Traven (Schriftsteller), A. P. Tschechov, Ivan Turgenjev, Ludwig Tieck (Romantiker), HL. Judas Thaddäus, Hermes Trismegistos (Philosoph), P.I. Tschaikowski, William Turner, Lars von Trier (Regisseur)  

U: Peter Ustinov, Ludwig Uhland, Siegfried Unseld (Verleger),

V: Luchino Visconti, Leonardo da Vinci, Velvet Underground, Vitruv, Vercingetorix, Francois Villon (Dichter), Walter von der Vogelweide, Robert Vogelmann (Menschenrechtsaktivist)    

W: Wim Wenders, Richard Wagner, Otto Wagner (Jugendstilbaumeister) Wagakki-Band, Sara Wagenknecht, Ludwig Wittgenstein (Philosoph), Georg August Wirth (Vormärz),

X: Xhol (Band)    

Y: Neil Young, Yvonne (Aktivistin der Gegenöffentlichkeit)

Z: Heinrich Zille, Carl Zuckmayer, Frank Zappa,