#Johann Strauss Ball

[inks-writing-space]

Serotonin~ Klaus Mikaelson x Reader

~~~~~~~~~

3.7k words: You are a witch getting invited to a party at the Mikaelson compound. There you dance with a certain hybrid who invites you into his study for later…

Warnings: smut, blowjob, kinda enemies to lovers, dirty talk, eastereggs for my austrian friends, Klaus being a horny bastard and a dom, a little kinky but not a lot, and a tension filled dance…

A/N: AHHH I GOT MOTIVATION AGAIN!!! I used to write on Ao3 but immigrated to Tumblr…I started to write again and I am so happy. Might not be my best one shot be I think it’s alright.

~~~~~~~

Your hand was trembling in fear, or like your mother called it, doing funny things. But that was only natural. To say you weren't nervous would be a lie and a bad one as well. You had been a part of the whole Vampire Drama since the day you arrived in this world and the danger, hiding and lying had taken a toll on you. Not that you would have minded. You were a thrill seeker, and a drama queen on top of that. Someone like that appreciates the thrill and the unknown. Still you didn't know if you were able to make tonight. Not in terms of surviving, you were quite skilled at that, but more on a mental level.

The Mikaelson's were hosting a party and you were invited. You hadn't seen them in a long time, and you would have loved to keep it that way. You didn't like Klaus very much, nor Elijah, nor Kol. The only one you got along with was Rebekah, but it wasn't worth putting up with her brother's just for her company. As a witch you had far better things to do. Ignoring an official invitation by the Originals wasn't one. It would be considered impolite and you couldn't afford having them as your enemy. Not after you had seen what they were able to do to witches like you or even vampires, who were there own kind.

This is why you were now standing infront of your mirror taking in the sight of yourself in the dress you had gotten for your eighteenth birthday. This had been a few years ago but it still fitted like back then. It was sparkling red and where it should be touching the ground red roses were knitted into it, a protection spell by your mother. Two gloves were reaching up to your elbows hugging your skin tightly. You had put your hair up in two thin braids on each side, coming together in the middle, while you had curled the rest of the hair and let it fall down. Your red eye shadow was matching the dress, and with a colorless lipgloss and mascara your look was completed.

You sighed one last time, before you grabbed your purse and headed off to the compound.

You were always shocked by how skilled the Mikaelson's were in hosting balls and parties and other stuff, but you knew they never did anything without a reason, and you knew inviting you wasn't a nice gesture. Still you smiled at Elijah who was welcoming the guests. He smiled back as you offered him your hand, he took it and implied a kiss onto your glove.

"It's good to see you, welcome back," he said. Anyone else would have taken that as a compliment, but you knew better.

"Elijah," you say the smile still plastered on your lips not quite reaching your eye's. Elijah noticed that too and raised an eyebrow but didn't comment at it, turning to other guests.

You knew it would probably be the worst decision to get drunk in a place full of vampires who weren't really found of you, but your nerves were getting the better of you and that's how you found yourself with your third drink in your hand already feeling a little lightheaded.

"Have you become an alcoholic in the time you were gone, or are you trying to drown some lovesickness?," a voice behind you asked and you shooted the rest of your drink before turning around looking into a pair of blue-green eyes.

"Niklaus," you said letting the name roll of your lip, "I doubt the only reason to drink are alcoholism and lovesickness."

He smiled, ignoring your comment, "Oh my dear, when did we go back to the formalities? Just call me Klaus," he said and you sighed realizing how much he enjoyed the banter you too had and always have had.

"Do you need a drink in your hand to answer me or are you just going to stand there with your mouth open for the rest of the night?," he asked and you immediately closed your mouth and swallowed down a sarcastic remark, reminding yourself why it was a bad idea to insult an Original.

"Why am I here Klaus?," you finally managed to press out and he sighed offering you his arm.

"I'd love to show you." You shook your head.

"I won't follow you into a creepy basement or some, just tell me." He smiled a little and accepted your wish surprisingly. "Then dance with me. I'd like to explain it to you without unnecessary listeners."

You considered it for a second, glad he had given you the illusion of a choice before taking his hand and letting him guide you onto the dance floor.

The Emperor Waltz started playing and you had to chuckle, "How ironic,“ you commented, Klaus chuckled.

"I swear this wasn't on purpose." You looked at him as you two started to dance. He had his hand on your waist, but didn't touch it as if he tried to keep a respectful distance. You couldn't say the same for you, your hand was holding on for dear life on his shoulder, while he guided you across the parquet your fingers of the other hand interlinked.

"Our family needs extra protection," Klaus said while twirling you around. You raised an eyebrow, holding his gaze trying not to look down at your feet.

"The Originals. Why would they need extra protection, I thought you all are immortal and having your own witches," your voice was laced with sarcasm and Klaus chuckled his grip on your hand growing a little tighter. He was now also touching your hip.

"I was told you own a Grimoire with special protection spells," you swallowed the music growing intenser. Where had he heard that? And when was this damn dance finally over?

"It's ten minutes long," Klaus said dryly almost as if he had read your thoughts. You looked at him.

"Why would I give you the book leave alone speak the protection spell."

"Because you don't have that much of a choice," he said dryly, the music lowering a little and his mouth went next to your ear, "Or do you really want to test me, little witch?"

You shook your head, "I can give you the Grimoire, I don't want to call you or your family my enemies." Klaus chuckled, "Intelligent witch. Always on the right side, aren't you?"

The music swelled again and you protested as Klaus sped up your movements, "Oh come on what is up with this Austrian dances?," you asked annoyed.

"Aww, for a witch who has seen the monarchy of Austria-Hungary rise and fall you are awfully bad at dancing to their music," Klaus said amused and you shrugged.

"I wasn't in Europe during that time. I assume you were?" Klaus nodded slightly, "I was trying to find the Doppelgänger or what was left of her."

"Katherine wasn't in Bulgaria at that time. I doubt she stayed anywhere for long," you said yelping as he lifted you for a second.

"And if I knew that before I would have left her country and returned to England sooner." You looked away, trying to concentrate on his steps. You did not want to form a connection with him. He chuckled slightly.

"Eyes on me. That's necessary for a waltz."

"I think you are lying," you mumbled but looked back at him.

"You know that you look amazing in that dress, right?," he asked and you nodded confidently. "I like it as well. Thanks for noticing I guess."

You saved yourself of stepping on his feet and Klaus smiled, "I always notice. Why don't you come to my room in a few hours when this party is over, and we discuss the details of you handing me the Grimoire?" You bit your lip but nodded as the dance was slowly coming to an end. You knew you had to go through this sooner or later and you didn't really mind.

„Perfect,“ he said letting you go again, "Oh and sweetheart?“ You turned to him raising an eyebrow, "If you run I‘ll find you.“

~~~

A few hours and drinks later you finally stepped into Klaus‘s office. To your surprise he was alone without Elijah or any other sibling. He smiled at you, obviously relieved that you came.

"Glad you didn’t try to run,“ he said, his voice low as he stood up and approached you walking like a predator mocking it's prey.

You nodded, your heart racing, although you weren't quite sure why, yes you were scared of him, but the alcohol seemed to make it even worse. „Listen I‘ll give you the Grimoire but after that I never want to hear a word from any original ever again," you said quickly so you didn't have to think about how his curls looked especially good today. At your words Klaus raised an eyebrow, "Really? From none of us?“

"Feel offended?"

A smug smile crossed his face, "Well yea, I'll miss a witch who has a lot of power in my life."

You smiled joylessly, "Well you bet that I won't miss the original who tried to suppress me."

"Aw you are so innocent aren't you?," Klaus asked, his voice laced with sarcasm and a shiver ran down your spine. He chuckled, "I watched you the whole night you know, you are such a brave girl attending a party at the home of the Originals. Everyone kept their distance because they are scared you'll break like a glass doll the second they even try to address you. They all buy your good girl act hook, line and sinker, but not me."

Klaus smiled cruelly, "You are neither innocent nor a good person, are you, doll?"

You swallowed, not quite sure what to answer. Klaus's proximity was making you more nervous than it should, but Klaus was waiting for your response and you wanted to give it to him.

"I never said I was," you finally answered, and he chuckled darkly.

"No, because I know you aren't. I can ignore all the lives you took, and all the sacrifices you made. But do you really think you can hide how much your heart rate increases every time I come near you? I wanted you here to talk about the Grimoire, but now I have someone who seems to enjoy my company a lot," he eyed your form up and down taking in every inch of you, "Or am I wrong?"

You swallowed the alcohol clouding your judgement, your body aching and not wanting to lie anymore. You shook your head, "No, you are not," you whispered your voice hoarse and goosebump started to build on your body.

"Look at you," he smiled, "All I have to do is whisper a few pretty words and you melt right in front of me, isn't that cute?"

The worst part was that his words made everything you felt so much worse. It felt like bubbles were building inside of you, like the champagne had started to have his own personality. But it wasn't the alcohol or the drinks in you, it was a real shiver that went over your spine when Klaus talked to you like that. Ugh you hated vampires.

Klaus took a step closer, his chest now almost pressing against yours, his hand was on your hip in an instant and he turned you around. "Listen closely, doll. I do not like witches," his hand wandered to your neck and a jolt went through your body, "You might be hot, but believe me you are not an exception at all. And if you do even so much as to try and hurt my family...," Klaus squeezed your neck a little more.

"Great," you said, your voice a little shaky, but you tried to regain back your usual composure, "And now we should have sex." You did not know why you said this. Maybe because Klaus was so close you could feel his breath against your neck. Or maybe because his hand was applying the perfect amount of pressure around your throat. Or maybe because his threat was super fucking hot.

Klaus chuckled behind you, his lips gracing over the shell of your ear, pressing a soft kiss to it, before he continued tracing his lips over your neck, his hands wandering up the sides of your body.

"If you insist. I never was one to deny a pretty woman an opportunity to release all of her pent up pressure." His hand moved to the zipper on the back of your dress, and pulled it down, slowly and considerate, "Although I like to tease them from time to time," he chuckled as he felt your uneasiness mixed with anticipation. You didn't turn around as the dress fell to the floor, and his fingers opened your bra sliding it off your shoulders.

At this point your body was already trembling and shaking and the fact you were so excited and ready only amused Klaus more. He clicked softly with his tongue. "I haven't even touched you yet and you are already a trembling mess. I am excited about what else I'll be able to get from you."

He turned you around quickly looking you up and down. You decided to take the initiative, at least for the moment, and kissed him. First you had to stand on your tiptoes to reach the Hybrid's face but once he noticed your struggle his hands grabbed your ass and placed you onto his table. His hand grabbed your chin roughly as he broke the kiss, "I am gonna show you exactly what can happen if you decide to behave and work for me," he smirked slightly, "I'd hate to show you the other side."

"Aren't you a softie," you joked and with a growl Klaus had you pressed onto his table. You could feel paper and a few pens beneath you as he lightly slapped you across the face. Not to hurt, but to warn.

You bit your lip not even in the slightest intimidated by his presence anymore, not when the option to be attracted to it was there. You pulled his head down kissing his lips and grinding your hips against him. He pressed them down, preventing you from moving, as he slowly kissed down your neck, stopping to nip and suck on it while he plastered your collarbones with bruising kisses. It hurt, but the pleasure quickly overtook and you had to suppress a moan, remembering that downstairs was a party full of vampires.

Klaus chuckled as his tongue licked over the peak of your breast and swirled around it, "Don't be shy darling," he whispered his voice hoarse, "Let them hear." You moaned as he bit down on your nipple drawing blood from you, and your hands pulled on his hair as he did the same to the other side. He obviously wanted to be in control, but you were having none of that, you quickly pulled his face back up and rolled you two around so you were now straddling him. Having wanted this for so long you were not eager to wait. You quickly disposed of his shirt before unclasping his jeans.

Klaus watched you and chuckled, before he lifted you up without any effort, and sped you both towards the big chair in the corner. He quickly pressed you down to your knees and shook his head almost mockingly as you tried to stand up again. He clicked with his tongue disapprovingly, "Eager little girl, you are lucky I am in a giving mood today, otherwise I'd make you beg for what you want," he chuckled and a shiver ran through your body. He chuckled, "Seems like you'd be a fan of that, wouldn't you?"

The question was rhetoric and you didn't answer. He left out a soft laugh as he saw your dazzled face, his grip in your hair growing stronger pulling you towards his groin, "Do you wish for an instruction handbook, or do you know what to do?," he mocked you his voice growing darker, and his eyes flashed yellow his werewolf side coming out, as you pulled his suit pants down and he kicked them away.

Beneath his boxers you could see his cock getting hard and realized how big he was. You wetted your lips, trying to regain your composure as you steadied yourself on his thighs as you touched him a little through them until you decided to take matters into your own hands and pulled it down.

You slowly licked a path down his length pressing your tongue flat against him, licking up his precum eagerly. You looked up through your lashes meeting his demanding gaze, his grip in your hair got tighter and more demanding. You wanted to tease him a little more but his grip in your hair tightened and you only had time to relax your jaw before he started to fuck your mouth. Klaus growled and moved his hips in sync with your mouth, pushing himself deeper. His cock pushed deep into your throat and you gagged, but that only made him twitch. You looked up at him and noticed him locking eyes with you as he sped up his movements.

Tears escaped your eyes, at the rough and brutal pace he had set. He wanted to pull off, but you knew it only needed a little bit more effort, so you grabbed his balls with your hand, massaging them while you sucked on his cock. You felt him shudder and his cock twitch as he pulled out and released himself, his cum spilling over your body. You looked down at yourself and Klaus growled satisfied. Your face was stained with the mascara and his thumb stroked over your cheekbone, almost tender for a second. He smiled down at you, awaiting your next move.

"You are so pretty, all painted in my cum," he mumbled, patting his lap. You didn't even hesitate a second, taking off your remaining panties before you climbed into his lap. He still wore a shirt and after you relished a little in the fact that you were completely naked, while he was clothed, you pulled his shirt over his head tossing it aside, with a smirk. You bit your lip admiring his biceps, and trailing your fingers down his chest. Klaus groaned approvingly as you started to kiss his neck, determined to leave a Hickey.

He chuckled and pulled away slightly, "It will heal in a second," he reminded you and you rolled your eyes, "I do love to try to make it last, tho," you whispered into his ear and moved slowly against his leg.

He groaned slightly, the sound of your wet pussy sliding against this naked leg obscene, and the fact he was enjoying it so much only made you want him more.

"There is one thing you don't know about me," Klaus whispered back, "I am not really a patient man," he said before he grabbed your hips and pulled you up lowering you on his cock without hesitation, "Now ride me properly, before I show you what happens to teasing little whores."

You slapped him slightly, before you started to grind against him, "Don't call me whore," you hissed and he chuckled gripping your ass helping you to find a pace.

"Oh but why not, love?," he asked innocently, "Do you think every girl just gives themselves to someone like me?"

"I would say probably more than you could count," you said and sped your pace up a little, your thighs were burning, but you were determined to show no weakness, having him like this felt powerful. You wrapped your arms around his throat, "Or am I wrong?," you whispered and he grinned suggestively.

"No, you certainly aren't wrong with your assumption, but it still doesn't change a thing," he said and smacked your ass lightly to get you to grind even faster. You felt tired, but decided to not stop, planting his arms on his shoulders trying to move faster.

"Yes, that's right, fuck yourself on my cock," he groaned as you lifted yourself up and down quicker. One hand stayed up on your waist steading you, the other was wrapped around your throat in an instant cutting off your airwave. You groaned slightly, the adrenaline that the oxygen deprivation sent through you was delicious and made you want to stay in this position forever.

Klaus growled as your pussy tightened around him, "Please," you whispered your limbs burning, not able to keep up the pace. He pressed his hips upwards and took your waist lifting you up and down with no effort, as if you were the lightest thing in the world.

"Cum," he commanded and his demanding tone was everything you needed to be sent over the edge. You fell forward, your forehead hitting his shoulder as your high crashed over you. Klaus chuckled and held onto you stroking your back soothingly, as you came down from your high. He trusted upwards into you a little bit more before he came as well, spilling himself inside you.

"Aww, is my little witch tired?," he asked with a smile as he looked at you. He turned you around pulling out, his gaze roaming over you hungry. You were completely spend, his cum from earlier still sticky on you, he smiled kissing down your neck, his teeth grazing over your pulse point. You whimpered looking up from under him and he ran his fingers through your hair, suddenly pulling it back. His grip was rough and his eyes golden, as he sank his fangs into your neck.

You groaned and tried to relax as he drew blood from you, but the pleasure and pain were battling and you couldn't help but grab his head, tugging at his hair. You weren't even sure what you were trying to do, if you wanted him to bite harder or let go. Maybe a mixture of both. He chuckled letting go of you, and you looked him in the eyes as you traced the dark veins under his eyes.

He licked up the remaining blood and you couldn't help but shiver under his tongue. "Come on love," he growled into your ear, "Let's get you cleaned up and continue this little game."

[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.

[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.

[lorenzlund]

Kunst zusammen mit Liebe bewegt enorm! Gerade die Männer immer weltweiten!! das noch-Können (der Männer) plus the ass (engl., der Hintern oder Po) plus 'at' (engl., bei). Nah an etwas dran sein, oder geradezu kleben. Auch an jemandem. can (engl.). -kun-. die Mittelsilben. die Lüge erneut sehr große des doppelt-veranlagten Mannes. Auch beim oder im Liebesfilm wie ihn sogar Hollywood oft dreht. 'Von Winden verweht'. 'Romeo & Julio'. Ball y Wood. mal Er Ei. Am Er Ei can. *Eier. Bück(en) Er. *Bücher. (Po) man tic(s). *romantisch (der Roman)

'Kunst ist immer auch ein Spiegel' Zur bald stattfindenden Kunst-Ausstellung: 'Es wird den Wandel geben'. Johann Strauss' 'Elektra': Rache als Selbstzweck'. Stromstösse (von außen dem Körper wiederholt gegebene, auch stärkere). Das Opernhaus. 'Als Richterin verdonnere ich Sie zur Hinrichtung auf dem elektrischen Stuhl verurteilt und im Sitzen!!'

Frauen und deren wiederholte Sichtweise gerade bezüglich sehr vieler auch Männer. der Mann ab 60. der Opa (german). the oldie (engl.).

der auch Brite. a Bi-ride. Ritte, sie haben. (deutsch).

Prinz William (of England) sendet Morgen-Grüsse aus dem Manöver englischen nach Deutschland,, insbesondere Dresden dürfte er meinen. (*eine in Dresden erscheinende Zeitung am heutigen Dienstag, mitsamt auch Foto, das ihn dabei zeigt)

der Off Ei tier oder Soldat höhere, (englische wie deutsche).der In (some) ders. Indien. Po-land. the army. Arm (am) Ei.

Deutsche als behauptete heutige Offiziere beim Universum (Schutztruppen für die Erde bestimmte). Sowie der an einen von ihnen gerichtete Vorwurf früherer Schauspielkunst und gelegentlicher Mitwirkung, auch eigener, an/In sogenannten schlechten Filmen.

'Schlechte/r St(r)eifen gedrehter' (*sogar auch: heimlicher. In einem Fall wie dem kann er wiederholt seitens sogar auch anderer entstehen oder durch Dritte). 'Casa Blancas'. ('Blanke Hintern' auf deutsch oder Hintern die Weißen gehören). Mit Bogart und der Dietrich. Als Beispiel.

*auf den Po schlagen wollen, anderen. der (As)'S hau. Ihn vor mitlaufenden Kameras anderer wiederholt selber auch darstellen oder spielen. (80/90er).

g(ay) (a)r(s) une Part - Ei(er) Bewegung. Grüne. der Friedrich ars Erz. ars all in : Wahlen. freie. 'die eigene Auswahl'. '20 Prozent der erwachsenen Männer in Deutschland sollen unter de press Aktionen leiden als Krank-Er-thing. (die Erkrankung körperliche). Endsilbe -ung/trad. Bedeutung

'Feliz Navi (den) Dad! Frohe glückliche Weihnachten!!' persönliches Glück haben (andere).

*(Sieben Fremd-Sprachen zur selben Zeit erlernte ich während auch noch meines Studiums als ganz junger Student in Bremen. Dazu gehörten neben dem auch Spanischen sowohl das Russische wie selbst auch das Chinesische).

the rod + wein(en), jemanden zum Weinen bringen (auch beabsichtigt), der auch Glühwein. Popo Lad(ung) eine volle, sie abkriegen. die sogar Weihnachts-Schokolade vom Weihnachtsverkaufsstand. the male rod. or stick. etw. zum Erglühen bringen.

'Die Zahl von selber auch an Depressionen erkrankten Bürgern in Deutschland sie ist am Sinken'.

('Gemeinsam nach erneuten Lösungen suchen, es vorhaben'.)

*Gerade in den Innenstädten, in Bahnhofsnähe und um Weihnachten herum tut sie das derzeit dann wohl immer ganz besonders schnell. So meine Vermutung!! Selbst der spanische König schickte mir heute via Morgenzeitungen erstmalig Grüsse nach Dresden so, direkt vom Hofe, schien es mir. Gekleidet war er dabei in sogar gleich der Generalsuniform der Spanier. Nach bereits schon auch William of England als Prinz, der es erst gestern tat, auch in Uniform.

'USA vermitteln Waffenstillstand zwischen Hisbollah und Israel'

'Wie echte oder originale Sachsen noch wirkt selbst auch ihre Gruppe oder eher winzige Demonstrationszug auf diesem Dresdener Marktplatz auf mich überhaupt so nicht wieder auch!!' ('Freie Sachsen' sehen u.a. in den USA einen ihrer Haupt-Gegner)

'Trotz der erneut mir gegebenen ganz dringlichen Warnung: Ansehen dürfen, zumindestens für kurze Zeit, möchte ich mir ihre Gruppe vielleicht dennoch einmal können! Wenn ihrs mir also auf Seiten meiner Bewacher erlaubtet!' *das US-Baseball-Käppi oder Mütze mit aufgedrucktem plötzlichem Sachsen-Motto. Oder Sporthemd. Der oder angeblicher 'politischer Rechter' sehr starker. Und die gleicnzeitig mitanwesende Polizei, die zu keiner Zeit dagegen einschreitet. 'Der Name unseres Lebensmittel-Großunternehmens und Händlers steht für sowohl klim(m)-A (rs)-Schutz wie Tierwohl' *der uns plötzlich geschenkte sogar erstmalige Einkaufsgutschein oder auch die Bezahl-Karte. Auf einem gestrigen Kleinstadt-Rathaus (bei Dresden gelegen) war er mir großzügig beim Abschied mitgegeben worden - anstelle anderer Leistungen. 'Den eigentlich von ihnen gewollten oder beantragten Pass, gänzlich neuen, sie erhalten ihn durch uns entweder am Freitag, vielleicht aber auch erst dem Montag, somit also vielleicht erst auch nach dem Wochenende. Damit sie an ihr Konto wieder herangelangen unter anderem, wie sie sagten!'

[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…."

[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

[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

[rosesnink]

Meet Countess Celestine

“I am the Countess of Edgewater whether you like it... or not!” 

ABOUT CELESTINE 

Full Name: Celestine Adele Sinclaire, neé Walker 

Meaning behind the name: Heavenly

Birthday: 2nd of November, 1796

Status: Dead (as in today) alive (as in 1816)

Nickname: Delia (by her mother) my dove (by Mr. Sinclaire) 

Age: 20

Parents: Mary Walker (deceased) Vincent Foredale (deceased)

Sibling(s): Harry Foredale (half-brother) Edmund Marlcaster (adoptive brother)

Further Family: Henrietta Foredale (step-mother) Dominique Foredale (paternal grandmother) Theresa Sutton (sister-in-law) Briar Daly (sister-in-law)

How old they appear: 20

Weight: 65kg

Skin Type: Caucasian

Religion: Protestant 

Sexuality: Bisexual

Hair color and lenght: Brown hair, goes till her waist

Taste in clothes: Sophisticated, to the nines, embellished and proper for the occasion

Music: Mozart, Johann Strauss I, Verdi

Good habits: Nurturing, quick-witted, brave, intelligent and steadfast

Bad habits: Proud, petty and reserved

Guilty pleasure: Concerning amount of sweets

Hobbies: Reading, embroidery, play the pianoforte, recite poetry and dancing

Deepest fears: Losing everything and everyone she has

Love Interest: Ernest Sinclaire (husband)

Child(ren): Vincent Sinclaire, Lydia Sinclaire, William Sinclaire, Annette Sinclaire & Percival Richards-Sinclaire (adoptive son)

Actual Residence: Edgewater Estate

Allies: The Crown, the Sinclaires, the Foredales, the Dalys, etc 

Enemies: Tristan Richards, Gideon Payne, Henrietta Foredale

Goals: Honour Edgewater’s legacy 

Backstory

Celestine was born on a Sunday morning within the singing of the birds and raised with her mother Mary Walker for nearly twenty years. For five years, she ran the estate on her mother’s stead and managed it successfully until on March 1816 her mother died of an unknown illness, revealing that her father was indeed alive and was the earl of Edgewater and was waiting for her. She forgave her mother and promised to do right by her on her deathbed. 

During the series

Celestine moved within the week to the Edgewater Estate and was equally disliked and intrigued among the ton. In there, she met her father Vincent Foredale, the earl and the two of them had a loving relationship despite their time apart. He named her lady of the house and the heir of the estate, however, in order to truly inherit, she had to marry someone of rank. 

She went to London to partake in the season’s hottest event: the marriage market. During the season, she learned the basics of a lady of the high socialite and slowly fell in love with who would be her future husband, Ernest Sinclaire. The two of them declared their love on the duke’s ball, on the last event of the season before the weddings. However, before she could shout it to the five skies, she found herself locked in an engagement with the Duke of Karlington, whom she despised greatly and openly despite her politeness towards him. 

During months she schemed against him secretly while holding pretense of being content with the engagement, until her beloved challenged the duke to a duel, where he was injured and the two of them were apart for days. She accompanied her ���fiance’ to Bath, where she uncovered his true motives of killing the royal family and take the crown for himself. With the information and proof at her hands, she exposed him on her wedding day and he was arrested with charges of treason and locked in the Tower of London. 

Now free of the duke, she and Mr. Sinclaire got publicly engaged at last, but her ‘deceased’ brother came back with intentions of taking the estate himself, and what was worse, he had a friend who he had met on his espionage days in France to quash any other threat to the Crown by Napoleon and during weeks she investigated him to find out that the Count was planning to kill Queen Charlotte and the Prince Regent, the future George IV, on her very own wedding day. That day, she duelled alonside her new husband Gideon Payne and exposed him again and he was too locked in the Tower of London. 

After the series

On her first Christmas as countess, she decided to give her stepmother the benefit of the doubt, no matter how reluctant she was with it. 

Soon, in 1818 she found herself pregnant of her first child, the heir of both estates, Vincent Sinclaire. For years, she was a loved and admired countess and became popular within the ton and proved to be above her heritage and she and her husband were known to be giving and just, helping the poorer and giving them roof, food and a job. 

She was a patron of the arts and held patronage to several artists, one of them her dear friend Annabelle Parsons, and raised her children equally and lovingly, proving to be an incredible mother. 

In 1872, she passed away, week apart from her husband. She had a peaceful death: she read a book and she fell asleep, dreaming of running around Edgewater’s fields and holding her husband in her arms, finally reunited. She never woke up from that dream. She came to be an example for many future countesses and was very much loved among nobles and gentry alike. 

[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