#Passacaglia in C Minor

[gwydpolls]

Time Travel Question 49: Assorted Performances III

These Questions are the result of suggestions from the previous iteration.

This category may include suggestions made too late to fall into the correct grouping.

Please add new suggestions below if you have them for future consideration.

[birdstooth]

Lil comic inspired by this artwork by @milaeryn and this scene from probably one of my fav films, Amadeus

🎼🎶✨✨

The sheet music images used:

Passacaglia in C minor, BMV 582

Violin Sonata No. 1 in G minor, BMV 1001

[shakespearesdaughters]

Hi !

I'm also a dark academia lover. Can you share some playlist ides for dark academia vibe

Absolutely!

For classic music: Passacaglia by Handel/Halvorsen; Nocturne by Chopin; Moonlight by Beethoven; Lacrimosa by Mozart; Dining with Lectre by Peter Gundry; Bach's Tocatta and Fugue in D minor. Also Bach's Prelude for Lute in C minor. Basically anything Mozart, Bach, Beethoven, Claude Debussy, Hadyn, Wagner, Chopin, Giazotto, Schumann, and Lizst.

For modern music : Anything by Hozier, The Gang of Youths, songs like The Cult of Dionysus by The Orion Express, and Brutus by The Buttress. Some of Lorde, Ethel Cain, some Lana del Rey, also Sufjan Stevens for his really sad tracks.

For movie soundtracks: Pride and Prejudice 2005, Maurice (1987), Penny Dreadful' (2014 - 2016), Black Swan (2010), Jane Eyre 2011, Portrait of a Lady on Fire 2019, The Theory of Everything (2014), Kill Your Darlings (2013), Ginger and Rosa, Wuthering Heights 2011, Little Women 2019, The Young Victoria, The Duchess, Belle. Just to name a few!

[darkmatter-nebula]

Good Afternoon uwu

I propose a request :p

Colli hears a pipe organ concert.

It was a sunny afternoon in Gravesfield, when the young Star Boy and his beloved Grimwalker, stumble upon a church that is open for concert, the place is half empty and nobody noticed them entering, they take their sit, and awe at the structure of the church, a man approach a console, that looks like a piano filled with keys and switches.

Colli notices the metal pipes spread throughout the church, it starts playing, it is loud but beautiful, it's filled with sound, it feels like the entire building is one big musical instrument.

They can fill the bass on their feet, their chest qnd their bodies, the music style is quite old but so rich in accords, harmony and technic, the man who was playing, used both hand and both feet, like a octopus.

They take the flyer about the concert, it's written J.S.Bach. it was a long song but full of changes, it sounded a bit scary but was wonderful.

[Bach Passacaglia in C minor BWV 582]

Hi, my dear @just-a-random-guy! 👋😊

Thank you for the request!

Drabble: The Pipe Organ Concert

It was a sunny afternoon in Gravesfield. Colli, not unlike his beloved big brother Hunter, was still amazed by the pipe organ concert. The small starboy with otherworldly fluffy lavender hair and a heart of gold had a bright smile on his adorable multi-colored face.

"That was sooooooooo great, Hunter!" Colli beamed as he was floating next to the young Grimwalker. Hunter couldn't help but smile as well. When Colli was happy, Hunter was happy too. The blonde boy held softly Colli's small hand.

Colli's fingers were intertwined with Hunter's. "It definitely was as haunting as it was awesome, Colli!" Hunter wholeheartly agreed and kissed lovingly the kindhearted eternal little boy's freckled cheek. Colli smiled even brighter.

"Today was a good day!" Colli chimed in, his kind red eyes were practically sparkling. Hunter pulled him into a tight yet soft hug. The former Golden Guard's magenta eyes were filled with endless love and adoration for the immortal celestial boy. "Every single day I can spend with you is a good day, Colli."

The End

[tinyshe]

Classical Music that Goes HARD Tracklist: 0:00:00 Vivaldi - The Four Seasons, Concerto No. 2 "Summer": III. Presto * 0:02:40 Jenkins - Concerto Grosso for Strings "Palladio": I. Allegretto Metamorphose String Orchestra, Pavel Lyubomudrov * Violin: Yuliya Lebedenko 0:05:13 Wagner - The Valkyrie: Ride of the Valkyries Brahms - 21 Hungarian Dances, WoO 1: 0:10:12 No. 5 in G Minor, Allegro 0:13:23 No. 1 in G minor, Allegro molto Budapest Scoring Symphonic Orchestra, Peter Pejtsik 0:16:54 Litvinovsky - Pinocchio: X. In fuga dai briganti * 0:18:26 Litvinovsky - Pelléas and Mélisande: III. Galliard. Navire dans la tempête (Galliard. Ship in a storm) 0:21:05 Haydn - Die Worte des Erlösers am Kreuze: IX. Il Terremoto 0:22:51 Litvinovsky - Le Grand Cahier: X. L'Incendie Brahms (arr. Naughtin) - 21 Hungarian Dances, WoO 1: 0:25:10 No. 2 in D Minor, Allegro non assai 0:28:17 No. 21 in E Minor, Vivace 0:29:36 No. 11 in D Minor, Poco andante 0:32:33 Händel - Suite No. 11 in D Minor: III. Sarabande 0:35:22 Händel - Suite No. 7 in G Minor: VI. Passacaglia 0:43:06 Albéniz (arr. Naughtin) - Suite Española No. 1: V. Asturias - Leyenda 0:50:07 Schubert - Erlkönig (The Elf King), D. 328 0:53:45 Bizet - L'Arlésienne Suite No. 2: IV. Farandole Metamorphose String Orchestra, Pavel Lyubomudrov * Mandolin: Anna Ignatova 0:56:52 Mozart - The Marriage of Figaro, K. 492: Overture Budapest Scoring Symphonic Orchestra, Peter Pejtsik 1:01:37 Rossini - William Tell: Overture Budapest Scoring Symphonic Orchestra, Peter Illenyi 1:14:45 Offenbach - Orphée aux enfers: Galop Infernal (Can Can) 1:17:06 Verdi - Aida: Marcia Trionfale (Triumphal March) 1:23:29 Elgar - Pomp and Circumstance March No. 1, Op. 39 No. 1 Budapest Scoring Symphonic Orchestra, Peter Pejtsik 1:29:52 Rossini - La Gazza Ladra: Overture Budapest Scoring Symphonic Orchestra, Peter Illenyi 1:41:20 Strauss - Radetzky March, Op. 228 1:44:03 Rossini - Il Barbiere di Siviglia: Overture 1:51:55 Beethoven - Symphony No. 5 in C minor, Op. 67: I. Allegro con brio 1:59:03 Mozart - Symphony No. 40 in G Minor, K. 550: I. Molto Allegro 2:05:23 Grieg - Peer Gynt Suite No. 1, Op. 46: In the Hall of the Mountain King 2:07:49 Mozart - Requiem, K. 626: III. Dies Irae 2:09:56 Verdi - Requiem: II. Dies Irae Budapest Scoring Symphonic Orchestra, Peter Pejtsik 2:12:29 Dvořák - Symphony No. 9 "From the New World": IV. Allegro con fuoco (Live) Orquesta Reino de Aragón, Ricardo Casero

[ihavenothingtosayandimsayingit]

Discography Deep Dive: GY!BE

Part 3

Slow Riot for New Zero Kanada (1999)

Label: Constellation, Kranky

Producers: Dale Morningstar

Scores

Ranking: 7

Overall Average Score: 2.9

Mixing: 2.5

Pacing: 2.5

Track Ordering: 3

Orchestral/Textural variety: 1.5

Melodic  Ingenuity: 3

Aesthetic Consistency: 5

Stand-out track: Moya

Slow Riot for New Zero Kanada is a huge moment in the early discog of Godspeed. Its long two track arc ebbs and flows gorgeously as a sonic journey checking all the boxes of true Godspeed style: the long minimalistic crescendo built upon evolving and unfurling textures of strings, drums and guitars, with interspersions of "vox pop" field recordings (the extensive interview of Blaise Bailey Finnegan III being the central character). 

Throughout "Moya" (one of the stand-out tracks in Godspeed's canon) we hear gorgeous melodic fragments germinate from the seeds of a twelve-note passacaglia. As this movement builds and transforms, the textures remain rather homogenous. While the pings of the glockenspiel are initially welcomed as a bright touch to the introduction of the twelve-note ostinato they become more awkward and out of place when the texture thickens, especially when they become tremolos. Despite this attempt of textural variety, what remains consistent is exemplary melodic ingenuity and symmetry that is consistent with Godspeed's minimalistic approach to building textures. The twelve-note ostinato doesn't show up in its complete form until 3'45" into the movement. Preceding this is a haunting seven-note motive introduced by the strings. As the twelve-note passacaglia proceeds several countermelodies spin out in a neo-baroque style finally give way to a five-note descent into the requisite field recording moment of "BBFIII". Thus, a twelve-note passacaglia is symmetrically bookended by patterns of seven (at the beginning) and five (at the end): 7+5=12.

Although less poetic than other field recordings, "BBFIII" stands out as a dramatic documentarian style, undergirded by the deft touches of guitar harmonics with a melodramatic string tremolos and drum fills. The inevitable forces of the instruments take over to create a compelling climax of riff-like power chords and four-on-the-floor drumming. This would be a fantastic ending, yet the strings enter again in a coda-like fashion with washed-out reverb more in a neo-baroque style . This seems to be a blurred and all-too-short hazy memory of the opening moments of "Moya." Although aesthetically consistent, this use of coda seems almost perfunctory when heard within the context of Godspeed's innovative endings where entire movements act as dedicated codas. To round off the structure of this diptych, Slow Riot really needs to be a triptych. This would be consistent with the baroque style alluded to throughout (which are often in three parts) and proportional to what is asked of the listener in this sonic journey. The aesthetic and imaginative demands upon the listener in this EP is one of the main reasons why it is included in this discography deep dive. It is simply unfair to attach a diminutive EP label upon this transcendent record. 

Additional Listening

Symphony No. 3, Op.36: A Symphony of Sorrowful Songs, String Quartet no.2 "Quasi una fantasia" Henryk Górecki

Passacaglia in C minor (BWV 582) Johann Sebastian Bach

"Passacaglia" from Peter Grimes Benjamin Britten

[erospendragon]

DUCHESS MELPÔMENE DE OLYMPYA

⚜️

A traição nunca sara.

⚜️

"It's true, Eros, my sweet brother.

But this is Olympya.

Forgiving is not our way."

⚜️

So be it.

⚜️

A ausência de valor moral pode constituir a totalidade do valor de uma nação.

⚜️

"O crepitar do fogo no silêncio

Da noite preservada na placenta do crepúsculo

Do sol

Símbolo maior da esperança

Reemplaçado pelas trevas

Em sua temperança

Aquele entre os mortais que atormenta

O sigilo sem ruídos ou paixões

Das misteriosas e mágicas criaturas nocturnas

Não compreende ser a Morte

A guardiã do escuro cristalino

Aquela que a nada ou ninguém teme

Quem os guarda ciosa

Como vital conselheira

A Morte assim impaciente aos outros espera

Empunhando a crueldade

Com que ostenra sua indiferença

À maldade ímpia"

⚜️

Rainha Marcela de Uppsala

⚜️

A maldade certamente não é construtiva.

Mas edificou o mundo.

⚜️

⚜️

Sister.

"Of course, my love."

⚜️

DUCHESS TÁLIA OF OLYMPYA

⚜️

[vera-dauriac]

Not sure what this is doing all the way down at 36, but this is the most badass song on my Wrapped.

[euriosaparisi]

Bach - Passacaglia and Fuge in C minor | Eric Crees | WDR Symphony Orchestra

[daniela--anna]

JS BACH - PASSACAGLIA & FUGUE (C MINOR) BWV 582 - JONATHAN SCOTT - PIPE ...

Passacaglia e tema fugato in do minore

La passacaglia e tema fugato in do minore BWV 582 è una composizione per organo di Johann Sebastian Bach.

La passacaglia è seguita, senza interruzione, da una doppia fuga. La prima metà dell'ostinato della passacaglia è utilizzata come primo tema della fuga, mentre una versione leggermente modificata della seconda metà viene usata come secondo tema.

Un controsoggetto entra immediatamente dopo. Quando i tre soggetti appaiono simultaneamente, Bach li utilizza secondo il principio della permutazione.

[danzadance]

UMASS Amherst:

UNIVERSITY DANCERS 2010;

12/2 & 12/3.

PASSACAGLIA AND FUGUE (1938)

Choreography:Doris Humphrey

Staging: Jennifer Scanlon and Paul Dennis

Music:Johann Sebastian Bach Passacaglia and Fugue in C Minor

Costumes: Pauline Lawrence

Dancers:

Female Soloist: Jess Chang

Male Soloist: Paul Dennis

Angela Bennett, Mary Rose Blandino, Sierra Boyea, Emma Brown,

Tara Brown, Roger Creel, Tristan Drummond, Mollie Frederiksen,

Hannah Katz, Megan Kelly, Lucy Postell, Justine Picarello,

Clare Schweitzer, Chelsea White

“. . . as an abstraction with dramatic overtones. The minor melody, according to the traditional Passacaglia form, insistently repeated from beginning to end, seems to say “How can a man be saved and be content in a world of infinite despair?” And in the magnificent fugue which concludes the dance the answer seems to mean - “Be saved by love and courage.”... (The dance was inspired by) the need for love, tolerance and nobility in a world given more and more to the denial of these things.”

Doris Humphrey

[petermorwood]

I don’t know what organ Bach’s Passacaglia & Fugue in C Minor was originally played on, but the piece includes some very fancy footwork on the pedal keyboard and in this performance it’s coming out of Some Serious Kit...

Goose the volume. You know it makes sense...

[lesser-known-composers]

Viktor Stepanovych Kosenko (1896 – 1938) - 11 Etudes in the Form of Old Dances, Op.19

0:11 - 1. Gavotte in D-flat major 4:18 - 2. Allemande in B-flat minor 11:24 - 3. Menuet in G major 16:39 - 4. Courante in E minor 20:35 - 5. Sarabande in A minor 26:29 - 6. Bourrée in A major 31:37 - 7. Gavotte in B minor 34:51 - 8. Rigaudon in C major 38:38 - 9. Menuet in E-flat major 43:46 - 10. Passacaglia in G minor 1:02:35 - 11. Gigue in D minor

Natalya Shkoda (piano).

[zhouzongmin-blog]

《The Wild Pear Tree 野梨樹》，昨天趕上了晚場，用三個小時在Nuri Bilge Ceylan錫蘭 的電影裡思考。

巴哈 C小調帕薩卡利亞（BWV 582 ）Passacaglia and Fugue in C minor「C小調帕薩卡里亞舞曲和��格」，由約翰·塞巴斯蒂安·巴哈(Johann Sebastian Bach) 於1708 年至1712 年間創作。大銀幕一直縈回這首音樂，魔幻又悲涼。

存在主義思考、現實憂懼、人性覺醒、虛妄、徒勞、幻滅、互害，這都是 錫蘭 經常著墨的話題，《野梨樹》在人生挫敗的底色裡，讓一個人與周邊的緊張與疏離、掙扎與痛楚歷歷在目，配合 巴哈 的音樂，受難與救贖的意味一直縈繞～

[spookfished]

cmon everybody ^_^ lets all listen to stokowskis arrangement of bachs passacaglia and fuge in c minor!!!!! *runs off and nobody follows me