#Violin Sonata in A Major

[journalofanobody]

Violin Sonata No. 1 in G Major, Op. 78: III. Allegro molto moderato

[maturiin]

save me boccherini sonata for violin and cello in d major: ii, vivace

[carnis-insanis]

Cosmo was wary of Flint's music dreams at first, but seeing his joy alongside Graham reminded him of his own childhood dreams. He couldn't deny joining them on stage—they were never quite satisfied as just a duet.

long overdue art trade with reedenthusiest on twt

[mikrokosmos]

Mozart - Masterpost

For his birthday today (1/27) I compiled all of the blog posts I've written about his music over the years on this blog. There's so much more to write about for a composer with as significant an output as Wolfgang...I hope you enjoy anything you haven't heard yet!

Opera

Abduction from the Seraglio

Masses

Requiem in d minor

Symphonies

Symphony no.25 in g minor

Symphony no.36 in C Major, “Linz”

Symphony no.38 in D Major, “Prague”

Symphony no.41 in C Major, “Jupiter”

Concertos

Piano Concerto no.15 in Bb Major

Piano Concerto no.20 in d minor

Piano Concerto no.24 in c minor

Piano Concerto no.25 in C Major

Violin Concerto no.1 in Bb Major

Violin Concerto no.3 in G Major, “Strasbourg”

Violin Concerto no.5 in A Major “Turkish”

Clarinet Concerto in A Major

Double Concerto for Flute and Harp in C Major

Horn Concerto no.1 in D Major

Piano

Adagio in b minor

Piano Sonata no.8 in a minor

Piano Sonata no.11 in A Major

Piano Sonata no.18 in D Major, “The Hunt"

Sonata for Two Pianos in D Major

Sonata for Piano, Four Hands in F Major

Chamber Music

Clarinet Quintet in A Major

Clarinet Trio in Eb Major, “Kegelstatt”

String Quintet no.1 in Bb Major

String Quintet no.2 in c minor

String Quintet no.4 in g minor

String Quintet no.6 in Eb Major

Piano Quartet no.1 in g minor

Piano Quartet no.2 in Eb Major

Serenade no.10 in Bb Major, “Gran Partita

Divertimento for 2 Horns and String Quartet, “A Musical Joke"

Violin Sonata no.21 in e minor

Misc.

17 Church Sonatas

[literaryvein-reblogs]

Writing Notes: Classical Music Eras

Classical Music - describes orchestral music, chamber music, choral music, and solo performance pieces, yet within this broad genre, several distinct periods exist. Each classical era has its own characteristics that distinguish it from classical music at large.

Eras of Classical Music

Musicologists divide classical music into historical eras and stylistic subgenres. One way to examine classical music history is to divide it into 7 periods:

Medieval period (1150 to 1400): Music has existed since the dawn of human civilization, but most music historians begin cataloging classical music in the Medieval era. Medieval music is known for monophonic chant—sometimes called Gregorian chant due to its use by Gregorian monks. In addition to singing, Medieval musicians played instrumental music on instruments like the lute, the flute, the recorder, and select string instruments.

Renaissance period (1400 to 1600): Renaissance-era music introduced polyphonic music to wide audiences, particularly via choral music, which was performed in liturgical settings. In addition to the lute, Renaissance musicians played viol, rebec, lyre, and guitar among other string instruments. Brass instruments like the sackbut and cornet also emerged during this era. Perhaps the most notable Renaissance composers were Giovanni Pierluigi da Palestrina, John Dowland, and Thomas Tallis.

Baroque period (1600 to 1750): During the Baroque era, classical music surged forward in its complexity. The Baroque era saw a full embrace of tonal music—music based on major scales and minor scales rather than modes—and it maintained the polyphony of the Renaissance era. Many of the instruments used by today's orchestras were common in Baroque music, including violin, viola, cello, contrabass (double bass), bassoon, and oboe. Harpsichord was the dominant keyboard instrument, although the piano first emerged during this era. The most renowned composers of the early Baroque era include Alessandro Scarlatti and Henry Purcell. By the late Baroque period, composers like Antonio Vivaldi, Dominico Scarlatti, George Frideric Handel, and Georg Philipp Telemann achieved massive popularity. The most influential composer to come from the Baroque era is Johann Sebastian Bach, who composed extensive preludes, fugues, cantatas, and organ music.

Classical period (1750 to 1820): Within the broad genre of classical music exists the Classical period. This era of music marked the first time that the symphony, the instrumental concerto (which highlights virtuoso soloists), and the sonata form were brought to wide audiences. Chamber music for trio and string quartet was also popular during the Classical era. The signature classical composer is Wolfgang Amadeus Mozart, although he was far from the only star of the classical era. Joseph Haydn, Franz Schubert, and J.S. Bach's sons J.C. Bach and C.P.E. Bach were also star composers during this period. Opera composers like Mozart and Christoph Willibald Gluck developed the operatic form into a style that remains recognizable today. Ludwig van Beethoven began his career during the Classical era, but his own innovations helped usher in the next musical era.

Romantic period (1820 to 1900): Exemplified by late-period Beethoven, the Romantic era introduced emotion and drama to the platonic beauty of Classical period music. Early Romantic works like Beethoven's Symphony No. 9 set a template for nearly all nineteenth-century music that followed. Many of the composers who dominate today's symphonic repertoires composed during the Romantic era, including Frederic Chopin, Franz Liszt, Felix Mendelssohn, Hector Berlioz, Robert Schumann, Johannes Brahms, Anton Bruckner, Gustav Mahler, Peter Ilyich Tchaikovsky, Richard Strauss, Jean Sibelius, and Sergei Rachmaninoff. Opera composers like Richard Wagner, Giuseppe Verdi, and Giacomo Puccini used Romanticism's emotional power to create beautiful melodic lines sung in Italian and German. The Romantic era also saw the creation of a new instrument in the woodwind family, the saxophone, which would gain special prominence in the century to come.

Modern period (1900 to 1930): The Modern era of art and music came about in the early twentieth century. Classical composers of the early twentieth century reveled in breaking the harmonic and structural rules that had governed previous forms of classical music. Igor Stravinsky defiantly stretched instruments to their natural limits, embraced mixed meter, and challenged traditional notions of tonality in works like The Rite of Spring. French composers like Claude Debussy and Maurice Ravel led a subgenre of twentieth-century music called Impressionism. Others like Dimitri Shostakovich, Paul Hindemith, and Béla Bartók stuck with classical forms like the piano concerto and the sonata, but challenged harmonic traditions. Perhaps most radical was the German composer Arnold Schoenberg who, along with disciples like Alban Berg and Anton Webern, disposed of tonality altogether and embraced serial (or 12-tone) music.

Postmodern period (1930 to today): The art music of the twentieth century shifted starting in the 1930s and continuing into the post-World War II era, ushering in a style of music that is sometimes called postmodern or contemporary. Early purveyors of postmodern music include Olivier Messiaen, who combined classical forms with new instruments like the ondes martenot. Postmodern and contemporary composers like Pierre Boulez, Witold Lutoslawski, Krzysztof Penderecki, Henryk Górecki, György Ligeti, Philip Glass, Steve Reich, John Adams, and Christopher Rouse have blended the lines between tonal and atonal music, and they’ve blurred the lines between classical music and other forms like rock and jazz.

Source ⚜ More: Notes & References ⚜ Writing Resources PDFs

[theyareweird]

Diabolik Lovers: Shu Sakamaki's Character Profile (Requested)

Diabolik Lovers* is a Japanese otome game franchise. In it, a girl is allowed to pick one romantic partner amongst multiple males. Shu Sakamaki is one of these options. Due to this, personal details about the character will be presented in this article. Please note: No fan theories or headcanons (fan interpretations or additions of a fictional story that aren't canon or confirmed to be canon by the creator) will be included in this article. The majority of this information is from the DL Visual Fanbook.

Personal Information

True Name: Ririe (DL game: Dark Fate, Yuma's Route).

Birthday: October 18th

Sign: Libra

Age: 19 [physically, unknown actual age].

Status: Alive

Species: Demon

Race: Vampire

Ethnicity: Japanese

Gender: Male ♂

Height: 180 cm (5'11")

Weight: 65 kg (143 lb)

Dominant Hand: Left

Foot Size: 27.5cm (10.8in)

Blood Type: AB

Hair Color: Blonde

Eye Color: Blue

Occupation: 3rd Year High School Student at Ryoutei Academy and Crown Vamperic Prince [currently]. Cashier [formerly] (DL Drama CD: "Mr. Vampire’s Gloomy Working Lifestyle").

Hobbies: Listening to music [twenty-four/seven], playing the violin [favorite] and sleeping [often].

Favorite Food: Rare Steak

Favorite Gemstone: Citrine

Associated Color: Yellow

Additional Information

Likes: Classical music, ranging from piano to violin.

Dislikes: Hates food that's too sweet.

Fears: Freaky clowns, caterpillars (DL Drama CD: Alice NET Tokuten “The Wicked Sonata of Mushrooms”), and pyrophobia [fear of fire].

Skills: Reading Latin, swordsmanship (DL game: Haunted Dark Bridal, Shu's End. 3), plays the violin and the piano. Is also good at darts (DL anime: Sea. 1, Ep. 3 & DL game: Vandead Carnival, Shu's Story Chap. 4). Finally, he can sing (DL Sadistic Song Vol. 4 Shu's Char. CD).

DL game: Chaos Lineage, Story Chapters.

Items:

Shu always has an MP3 player on his waist. It's attached to a wire, which is wrapped around his neck with earbuds in his ears. The choker-like music player is waterproof. This way, it doesn’t break when it gets wet in the bath.

In the game room, Shu has his own dartboard and darts set (DL Anime Official Fan Book: Shu’s Char. Design).

DL Anime Official Fan Book: Shuu’s Chara. Design.

Taste Checklist ✓

“You want to know my preferences? You must have a lot of time on your hands.”

A weirdo who will look after me.

I hate loud mouths.

A woman who is self-aware isn’t bad.

Take good care of yourself as well.

Deep inside, I’ll always remain a Do-S. (You’ll have to live with this if you want to date him).

To capture Shu's heart, who usually remains indifferent to his surroundings, you have to be the one to take initiative. However, he hates an overly pesky attitude. Trying to approach Shu somewhat carefully is best. All you need to do is be quiet and listen to what he says at the end of the day (DL Visual Fanbook Shu's Char. Profile).

Immediate Family

Karlheinz (Father)

Beatrix (Mother)

Richter (Uncle)

Reiji (Younger Brother)

Laito (First Paternal Younger Half-Brother)

Kanato (Second Paternal Younger Half-Brother)

Ayato (Third Paternal Younger Half-Brother)

Subaru (Fourth Paternal Younger Half-Brother)

History

Shu was born to Beatrix, the second wife of the Vampire King, Karlheinz. He was raised in the Sakamaki Castle located in the Demon World. As the eldest son of the family, Shu's mother focused all her attention on him in order to raise him into an heir. Being a little boy, he felt suffocated by the restrictions and responsibilities placed on him. This eventually led Shu to run away from home.

He used the underground passageways in the castle that connected the demon world to the human world. There, Shu met Edgar, a human boy from a remote village. The two got along well and became best friends. Thus, Shu made a habit of running off to play with him, but he never revealed he was a vampire to him, afraid it would drive him away. (DL game: More Blood, Shu's Route). At one point, Edgar gifted him a german shepherd puppy. Shu promised his friend he would take care of the pup, only for his mother to take the animal away from him (DL anime: Sea. 1, Ep. 7).

Young Shu [left] (Sea. 1, Ep. 7). Little Shu [right] from Maixsu.

One day, Edgar's village was destroyed in a mysterious fire. Despite Shu's protests, he went into the fire and died. Although it wasn't his fault, he blames himself for his friend's death and developed severe trauma from the incident. As a result, Shu is distant with humans and is afraid of fire. (DL game: MB, Shu & Sea. 2, Ep. 19).

Reiji would also bully Shu through mocking jabs that he was useless and couldn't do anything for himself. This, in addition to the consistent pressure from his mother, cased him to withdraw from life. Shu soon lost interest in doing anything except when Reiji provoked him.

Beyond this, he has always had a passion for music since he was young. Once, his father gave him a violin as a gift. Shu believes he lost it, but it was suspected Reiji broke it (DL game: MB, Reiji's Maniac Prologue).

At some point, little Laito ate all the candies in the refrigerator and hid the candies wrappers in Shu’s pant pockets. Thus, Reiji scolded Shu instead of Laito. Shu says he’s still angry at Laito about it (DL 5th Anniv. Book: Shu's Interview).

As teenagers, all of the Sakamaki brothers were required to learn Japanese when moving to Japan. However, Shu is fluent in German because it's the native language of the Demon World.

In high school, Shu failed his exam and had to repeat his senior year. To punch him, his father exiled him to the North Pole. Shu said he had to be careful not to fall into the ocean. Ayato comments it was a real survival trip since Shu had to fight polar bears and was seen scratched when he came back home.

HDB Shu game sprite [left].

Relationships

Yui Komori: Because of his past experience with Edgar, Shu tends to push Yui away at first since humans die too easily. He does this by claiming she's bothersome, talentless, annoying and a waste of time. However, if Yui keeps pestering him to do something for himself [on Shu Routes], Shu will enjoy teasing her about wearing unattractive panties and bras. He shows a more perverted side than Laito because Yui seeks his attention. Shu also calls her lewd or dirty girl.

Reiji Sakamaki: The two brothers have a sour and hostile relationship. This is due to multiple misunderstandings and unfortunate circumstances of their past. In addition, their mother pinned them against each other for her approval. Currently, Reiji will insult everything Shu does if in the vicinity, while Shu will leave the room to avoid dealing with him. Additionally, his secondary rival for the girl he loves is Reiji.

Beatrix: Shu hated the training and restrictions she placed on him because it robbed him of a childhood. However, he did care for her because she mostly used guilt-tripping manipulation on him to make him behave the way she wanted.

Karlheinz: Even though he has received gifts from his father, Shu rarely communicates with him (DL game: MB, Reiji's Dark Epilogue). He doesn't like him because he believes Karlheinz is the main reason for all the burden and lack of freedom he feels.

Laito Sakamaki: Shu holds a grudge against Laito for causing him trouble once in their childhood.

Yuma Mukami: Although all the diaboys are rivals to one another, Shu's biggest rival for the girl he loves is Yuma.

DL game: MB, Shu's End 3.

Kou Mukami: Kou and Shu relatively get along with each other. Due to being friends, in addition to Kou's compliments, Shu once asked if he would like to become his younger brother. Kou rejected the offer because "Ruki is best suited for him."

Shin Tsukinami: Shu once forcefully slept on top of Shin in his wolf form because he wanted to use him as a pillow (DL game: Lunatic Parade, Shuu’s [Sub scenario w/ Shin]).

What do you think? Did you learn something new about Shu's character? Did you like this article? If not, why? Please share with me!

Requested: @yuiasposts

[wsknbfanaccnt]

Hereditary

A They Act As One one-shot

Summary: Seijuro inherits Shiori's illness, Akashi does not. Requested by @japeneselunchtimerush

Warning!: Major character death

"Going easy on me, Seijuro?"

"I could never even dream of such a thing." Seijuro smirked, moving another piece on the board. For once they had nothing to do, and it was a beautiful sunny morning. Today, they decided to play on the grass in their mother's garden.

Clack after clack as the game progressed, and neither wasting a single second. Having played this game against each other for years, nothing could stump the other anymore.

"So boring, Akashi. I'll give you a free turn. Do something else,"

"Now now, Seijuro do not underestimate me. You know the rules of the game, I refuse to change my move." Akashi said with a small smile, Seijuro rolling his eyes.

"Fine then," he snarked at his brother, picking up another piece.

A different clacking was heard this time, one where the piece fell on the wooden board.

Seijuro's hand was shaking rather violently, and with one glance the two immediately knew. Their mother's disease had started, and it chose Seijuro as its victim.

--

He knew his next move. One step and then the other, pushing his legs wth all his might, the ball in his sight. He would win. Despite his chest tightening. Despite his panic. Despite that he was barely able to breath. Despite of his vision slowly going black. He will win.

A dull thud echoed through the gym.

"Seijuro-? Seijuro!! Hey- are you alright?!" Akashi darted to his brother's side, lifting his head off of the ground. Their team surrounded the twins as a player ran off into the infirmary, alerting them about their captain.

"I suggest you go home and rest for a while, maybe 24 hours." Seijuro looked at Akashi in protest, but decided to back down as he saw the look in his brother's eyes.

"Don't worry, I have everything covered from here. I will finish practice and do your work for the day." Akashi said with determination, gently stroking his little brother's arm.

"Rest, please."

"...I will. I'll see you later, Aka-nii."

As the car drove off right outside Rakuzan's main entrance, Akashi took his time getting back to the gym.

--

"Let me know," Akashi went over to the piano and sat down on the bench, playing a few scales for a warm up. The beautiful melody of the instrument, though just simple, provided warmth in their hearts.

"Ready,"

"A," the note on the piano was played, and the violin followed suit. Seijuro adjusted the knobs until it was perfectly in tune.

"Next,"

"D," another note.

"G,"

"You don't have to call it out, you know?"

"I like doing it,"

"E,"

"Perfect."

"Brahms today. Rain Sonata," Seijuro said simply, looking through his sheet music.

"Yes fine.." Akashi rolled his eyes, not even getting a say. But it was the least he could do right now.

And so their instruments danced and sang, their harmonies ringing and their runs precise. But more than that, they were in perfect sync. Not just as musicians, but as twin brothers who knew each other inside out. Who coexist within each of their lives. Who, without the other, is incomplete as is the piece that they performed. Who exist as one.

The violin abruptly stopped as a twang of the string cut their music short. Akashi looked over as Seijuro looked down at his hand, barely able to grip the bow. There was a great silence as the bow dropped to the ground, his hand shaking violently. Seijuro took a deep sigh, bending down slowly to pick the bow up with shaky hands.

"You're tired, Seijuro. We can continue this another time," Akashi went up to him with a small smile, taking the bow and the violin from his hands and resting them inside its case. Seijuro watched him with quiet concern, noticing the plastered smile on his face.

"Come, Seijuro. I believe tofu soup is what's served for dinner tonight..."

--

"Mother, happy birthday," Akashi called out as the two arrived in front of her grave. He took Seijuro's flowers and his own, replacing the old ones on the vase beside her.

"Happy birthday," Seijuro followed suit, smiling as he took a deep sigh. It was clear now that he was sick; the tired eyes, his fragile frame, the paleness of his skin.

"Well, you look more like mother now," Akashi joked, smirking at his brother.

"Why you-!"

"She did have the same symptoms. Now you can tell people that you look more like her," The two looked at each other and laughed softly, Seijuro shaking his head.

"She would be 43 years old now," Seijuro said, taking a deep sigh.

"I wonder what Mother would look like at that age," Akashi thought out loud as he set up the picnic blanket, taking out onigiri and other snacks that they and their mother used to eat together. Seijuro sat down on the blanket, helping his brother.

"No no, you'll tire yourself out,"

"Akashi, I'm not completely helpless yet-"

"I will set everything up. Stay there and don't move," Akashi scolded his brother, Seijuro groaning in annoyance.

The two ate and talked and reminisced their times with their mother, remembering all the happy memories. Both laughs and sad silences were shared between the brothers. As the sun started to set Akashi packed everything up, Seijuro merely staring at his mother's grave.

"Come on, we have to get home," Akashi scolded. He then helped his brother up on his wheelchair, making sure he was comfortable. They made their way back to the car.

"I'll see you soon, mother..."

--

Akashi woke up to the light of Seijuro's lamp across the room.

"Seijuro...? It's late, what are you still doing up..?" he called out, yawning and going over to him. Seijuro didn't respond, scribbling away on his desk.

"Is that- Seijuro...! You don't have to work anymore, Father said so! You'll get tired-"

"Leave me alone."

"Seijuro, go back to sleep right now. Stop pushing yourself, you're already sick-"

"Then what am I supposed to do?!" Seijuro shouted, throwing the pen at the wall. Akashi glanced down at the papers and reports, noticing the horrid handwriting.

"I can't spend the rest of my life rotting away on the bed! I can't do anything, I can't even go to the bathroom on my own, this is the least I can do!" he hissed, frustrated. Akashi sat down on Seijuro's bed.

"I'm sorry, Seijuro..."

"When I die, everything that Father assigns us on a daily basis will be left to you. You have to do twice what you're doing right now. Remember when Mother-"

"Yes, I remember everything Seijuro." Akashi cut him off, clenching his fists.

"I can see it, Akashi. You're slowly shouldering my responsibilities too. That and school, and... me."

"Do not speak of yourself as if you are a burden to me."

"But I am. If I wasn't dying-"

"Will you stop using that word?!" Akashi hissed, silent tears streaming down his face. Seijuro sighed.

"Let me help, Akashi. I am your brother, and we are supposed to be doing this together. Let me help while I still can."

Akashi picked up the pen that dropped on the floor and gave it to Seijuro, then lay down on his bed, awake for the rest of the night.

--

"Aka-nii?"

"Yes?"

"Can... I sleep with you tonight?"

Akashi's heart warmed at his request. He had just finished preparing Seijuro's bed too, but he couldn't resist his baby brother. He brought him to his bed and lay down next to his brother, giving him a gentle hug.

"We have servants, you know. You don't have to take care of me, you have other things to do," Seijuro said weakly, a frown on his face.

"I don't like it. I can take care of you best,"

"Yes, but-"

"Shh. It's late. We should sleep," Akashi scolded his brother, Seijuro pursing his lips. It was silent for a second, aside from feeble breathing.

"Thank you, Akashi."

"For what?"

"Well... everything. We both had a mutual though unspoken agreement that I would be your protector after Mother died... how the tables have turned," Seijuro chuckled weakly.

"Ah well... Think of it another way. We both respond to each other's needs," Akashi said, shrugging a bit.

"...still,"

"You're welcome then, if that's what it takes for you to go to sleep."

"Fine. Goodnight,"

"Goodnight, Seijuro."

"...I love you, brother." the younger one whispered. The older one responded soon after, adjusting his position and holding his brother as they slept.

"I love you too, Seijuro."

The Manor woke up at 8am to the horrid sound of Akashi's cries and wails. Even Masaomi ran to their room, the door bursting open. He froze in place, taking in the sight. The sight of Akashi clutching his twin brother in his arms, sobbing and begging for him to come back.

Seijuro had passed away painlessly in the arms of who he cherished the most. And for him, that was more than he could ever ask for.

Tags and notes:

@chosenimagines

@souls-heart

@padmsanakin

@japeneselunchtimerush

@alor-thes

@sweijuro

AURA WHY THE FUCK DO YOU DO THIS TO ME I HOPE YOURE FUCKING SATISFIED I SWEAR TO GOD

this is the saddest shit ive written in a long fucking while man oh my god

on the other hand bro this is so good and so painful I'm very satisfied

[lesser-known-composers]

Frederick Septimus Kelly (1881-1916) - Violin Sonata "Gallipoli" (1915) in G major

I. Allegro non troppo [00:00] II. Adagio con moto – Allegretto dolente [11:41] III. Ground. Allegretto non troppo [23:20]

Rupert Marshall-Luck, Matthew Rickard

[mozartbachtoven]

Beethoven manuscript - Violin and piano sonata No 10. op.96 in G Major, 1815 / Morgan Library , New York

* Violin Sonata No.10. Op. 96.

Thank you FB @ Lisa Mirren

[cuddlytogas]

it's possible I made an extended playlist to give context to the classical (non-technically speaking) music in OFMD, with the pieces listed in historical/chronological order, and in the context of their full pieces (mostly - I'm not literally going to put entire operas on there, but symphonies and concertos have mostly been finished)

and it's possible that that playlist is ten hours long

and it's possible you can find it on spotify right now, and that below the cut is the full chronology

(edit: corrections welcome btw!!!! i am by no means a music historian, nor have any higher level music education, just a lifelong association and interest <3 if you know better than me, PLEASE let me know so it can be more accurate!)

N: most of the Vivaldi pieces don't really have any dates I could find, so they're just sort of scattered through the first few decades of the 18th century. and yes, technically the opening Corelli isn't in there, but I think putting another La Folia in is important for the context of s2!

1700 - Arcangelo Corelli, Violin Sonata in D Minor, Op 5 No 12 "La Follia"

1703-6 - George Frederic Handel, Keyboard Suite No 4 in D Minor, HWV 437

? - Antonio Vivaldi, Cello Concerto in G Minor, RV 416

1711 - Antonio Vivaldi, Concerto No 11 in D Minor for Two Violins and Cello RV 565

1715 - Georg Philipp Telemann, Sonata for Violin and Basso Continuo in G Major TWV 41:G1

1718-20 - Antonio Vivaldi, The Four Seasons, Violin Concerto in G Minor Op 8

Early/mid C18 - Domenico Scarlatti, Keyboard Sonata in F Major, K 107

? - Antonio Vivaldi, Oboe Concerto in C, RV 452

1720s? - Antonio Vivaldi, Concerto for Two Cellos in G Minor, RV 531

1727 - Johann Sebastian Bach, Ich steh mit einem Fuß im Grabe, BWV 156

1725-35 - Georg Philipp Telemann, Concerto for Recorder and Viola da Gamba in A Minor TWV 52:a1

? - Antonio Vivaldi, Concerto in G Minor, RV 576

1730 - Johann Sebastian Bach, Orchestral Suite No 3 in D Major, BWV 1068

? - Antonio Vivaldi, Piccolo Concerto in A Minor, RV 445

? - Antonio Vivaldi, Trio Sonata in D Minor, RV 63, 'La Follia'

1738 - Johann Sebastian Bach, Harpsichord Concerto No 4 in A Major, BWV 1055

1738-9 - Johann Sebastian Bach, Concerto for Harpsichord, Strings, and Continuo No. 5 in F Minor, BWV 1056

Early/mid C18 - Domenico Scarlatti, Keyboard Sonata in E Major, K 380

1741 - Johann Sebastian Bach, Goldberg Variations, BWV 988

1747 - Johann Sebastian Bach, Musical Offering, BWV 1079

1747-8 - George Frederic Handel, Concerto in F Major, No 16, HWV 305a

1773 - Mozart, Symphony No 25 in G Minor, K 183

1782 - Mozart, String Quartet No 14 in G Major, K 387

1795 - Beethoven, Piano Sonata No 2 in A Major, Op 2 No 2

1792 - Beethoven, Piano Sonata No 3 in C Major, Op 2 No 3

1780 - Mozart, Symphony No 34 in C Major, K 338

1786 - Mozart, Le nozze di Figaro (excerpts)

1810? - Beethoven, Bagatelle in A Minor, WoO 59: Für Elise

1811-12 - Beethoven, Symphony No 7 in A Major, Op 92

1826 - Franz Schubert, Ständchen (Serenade) "Horch, horch, die Lerch!" D 889

1827 - Franz Schubert, 4 Impromptus, Op 90, D 899

1833-4 - Felix Mendelssohn, Lieder Ohne Worte, Book 2, Op 30

1835 - Frédéric Chopin, 12 Études, Op 25 (excerpts)

1838 - Robert Schumann, Kinderszenen, Op 15 (excerpts)

1838 - Franz Liszt, arr., 12 Lieder von Franz Schubert, S 558, No 9

1842 - Frédéric Chopin, Waltz No 12 in F Minor, Op 70, No 2

1871 - August Wilhelmj, arr., Air on a G String

1874 - Giuseppi Verdi, Messa da Requiem (excerpts)

1878 - Antonín Dvořák, String Sextet in A Major Op 48

1888-91 - Claude Debussy, Two Arabesques, L 66

1890 - Claude Debussy, Rêverie, L 68

1888, 89, 90 - Erik Satie, Trois Gymnopédies, Gnossienne No 5, Trois Gnossiennes

[firstlightinthemorning]

César Franck - Sonata for violin and Piano in A Major - Camille Thomas/J...

[asordinaryppl]

A3! Backstage Story Translation - Chikage Utsuki SSR - Today's Star: Toujou - Part 3

!! toujou is from harugaoka quartet; you can find a translation of its event story on yaycupcake! (+ page for the play itself); unless otherwise specified, the music that plays in the background of the play is odeur du printemps (the ost for the play itself)

this is a request by taruchikas, who also provided a video of the story! tysm!

[Buzzer sounds, the curtain lifts]

Izumi: (In a classroom in Private Harugaoka Music School, while the cherry blossoms are still in bloom…)

Toujou (Chikage): “Looks like he’s not here yet–”

Toujou: “... Good grief, did someone leave their scores behind? I sure hope it’s not one of my students.”

Izumi: (The scores on the desk were Beethoven’s Violin Sonata No.5 and Mendelssohn’s Spring Song…)

Izumi: (Vivaldi’s Violin Concerto No.1 from “The Four Seasons”... Feeling nostalgic, Toujou closes his eyes–)

Toujou: “…”

Izumi: (Chikage-san is laughing…? I don’t think that was in the script…)

Toujou: “... “Because I dream, life is bright”, huh.” (1)

Izumi: (... This is one of the scribbles Itaru-san left on the scores. I didn’t think Chikage-san would use it as improv, but it makes for a good transition.)

-

Izumi: (The scene changes back to Toujou’s school days…)

Toujou: “My sound is lonely, huh…”

[Violin playing Mozart’s Spring in G major, Allegro vivace asai]

Toujou: “Just my luck to have this song playing at a time like this.”

-

Toujou: “Room E-LR301… Ah, over there.”

Izumi: (Once he finds the temporary practice room, he hears a violin playing from the other side of the door…)

[Violin playing briefly]

Toujou: “...”

Izumi: (As he was listening, the music stopped, and he entered the room–)

[Door clicking open]

Machida (Itaru): …?

Toujou: “... You forgot to close the soundproof door. You are?”

Machida:  “I’m Machida, a third year. I major in— conducting.”

Toujou: “I’m–”

Machida: “Hibiki Toujou. Third Year. You’re a violin major, right? Ah, congratulations on winning last month’s competition.”

Toujou: “... Thanks.”

Machida: “There’s no one in this school who doesn’t know about the genius that entered the school at the top of his class and has always been on top in grades and competitions.”

Toujou: “... I see.”

Toujou: “By the way, I’m scheduled to use this room for a while starting today.”

Izumi: (They find out the school made a mistake and double-booked the room. Machida tries to give in and leave, claiming he’s not a musician, but…)

Toujou: “… Wait. If you don’t mind, how about we use it together?”

Machida: “I’m saying I don’t mind giving it to you–”

Toujou: “I want to play with you.”

Izumi: (And so, Machida begins accompanying Toujou in his practice.)

-

Machida: “Are these the songs you want to play next? Woah, it’s full of songs that have to do with spring… You’ve got a surprisingly common music taste..”

Toujou: “Then I’ll let you pick, Kanato. I think they’re all good–”

Machida: “... Mozart’s Spring?  If we go with that, we’ll have to get a viola and a cello from somewhere.”

Toujou: “No… This just got mixed with the other scores. If anything, I’m not that good at it.”

Machida: “What do you mean?”

Toujou: “... Right after I joined the school, I heard there was a vacancy in the quartet for a concert, so I applied out of curiosity.”

Toujou: “But no matter what I did, it seemed like my sound was the only one that stood out, and it wouldn’t mesh with the others’... It didn’t go well.”

Toujou: “The members tried to tell me that wasn’t the case—”

Toujou: “That I’m a genius, so it couldn’t be helped.”

Toujou: “... They might have meant it as a joke, but it felt like it was their true feelings.”

Toujou: “Genius… Being called that has always made me feel lonely.  Even if I’m a genius, I’m in no way a wise man.”

Toujou: “After that, I started finding it difficult to play with other people. Especially this song that I played back then.”

Toujou: “But the other day, one of the professors that’s been evaluating me told me, “Your sound is” –”

Machida: “... Lonely?”

Toujou: “——”

Machida: “Whenever I heard your performances as the freshmen’s representative at things like the entrance ceremony, monthly performances or competitions–”

Machida: “I felt like your music could make you, and me as a listener, feel lonely.”

Machida: “Well, I don’t think so anymore.”

Toujou: “... Sorry I made you feel that way.”

Toujou: “I also felt something like that when I heard your violin the day we met.”

Machida: “——”

Toujou: “I wondered what would happen if we played together. I thought that maybe if we added two lonely people together, then just like 1+1, we wouldn’t be lonely anymore.”

Toujou: “That’s why I wanted to play with you.”

Machida: …

Toujou: “After a long time, playing with you made me feel that playing the violin with someone else is fun.”

Toujou: “Kanato, you’re good at conducting and piano accompaniment. But to me, what suits you best is the violin.”

Machida: “... Sorry to disappoint, but I’ve quit the violin.”

Toujou: “What?”

Machida: “I changed majors. From violin to conducting.”

Machida: “I was only doing what my parents had forced me to do, so I couldn’t match everyone else’s enthusiasm or abilities.”

Machida: “So I changed my major to conducting as soon as the second year started.”

Toujou: “Sorry, I didn’t know…”

Machida: “With this many people majoring in string instruments, it couldn’t be helped.”

Toujou: “Then, if you become an orchestra’s conductor one day–”

Machida: “... Sorry to disappoint again. I’ll quit music once I’m done with high school.”

Machida: ““Kanato”... I didn’t like my name, because it felt like a curse that would force me to keep playing music forever.”

Machida: “Despite that, on that day, I suddenly felt like playing. I was in the practice room for the first time in a while when you barged in and caught me—”

Machida: “And so, I kept playing, only in this room.”

Toujou: “... And yet, you’re going to quit?”

Machida: “Unfortunately, my feelings haven’t changed.”

Toujou: “I see…”

Toujou: “In that case, I want you to keep playing in this room until we graduate. You don’t have to force yourself to play if you don’t want to.”

Machida: “... Got it.”

-

[Canon by John Campbell in D major]

Izumi: (The day before the graduation ceremony– Their usual practice room is closed, so the pair decide to play in the classroom instead…)

Machida: “The cherry blossoms are beautiful. Perfectly fitting for a new beginning.”

Toujou: “That’s right.”

Machida: “I wonder if there are cherry blossoms in Germany.”

Toujou: “Well, I wonder…”

Machida: “You said you’re going to a music academy in Germany, but you haven’t even looked that up?”

Toujou: “I’ll look it up later.”

Toujou: “... This will be the last time I ask, but have you really not changed your mind?”

Machida: “... I haven’t. I’m aiming to become a teacher.”

Toujou: “That’s… a pity.”

Machida: “So, what’s our last song going to be?”

Toujou: “Let’s play–”

Izumi: (And so the seasons pass…)

-

Machida: “... Toujou-sensei?”

Toujou: “——”

Machida: “Are you asleep?”

Toujou: “No, I was just reminiscing.”

Machida: “Ahh… This score, eh.”

Machida: “The teacher who is scheduled to perform at the next monthly performance suddenly can’t make it.”

Machida: “The other teachers asked me to talk you into doing it.”

Toujou: “So that’s why you called me here. Is this score part of the negotiations?”

Machida: “I’m just trying to help with the song selection.”

Toujou: “Is that why it’s full of songs that have to do with spring?”

Toujou: “... Alright.”

Machida: “Really?”

Toujou: “But under one condition. I want the song to be Mozart’s Spring.”

Machida: “Heeh, that sounds good. Maybe you can become a wise man the way you are now.”

Toujou: “Then, Machida, I’d like to scout you to become the wise man by my side.”

Machida: “... I am not a wise man, I am a simple teacher.”

Toujou: “... Then, this will have to stay as my dream for now. I read somewhere that life is brighter when you have a dream?”

Machida: “...”

Machida: “... Do your best. I won’t lend you any more help.”

Toujou: “That’s a pity.”

-

Citron: You both did great~!

Chikage: Thanks. You came to watch.

Citron: You said… You were worried about whether you’d be able to sparkle. But your youth came across!

Citron: Also, the violin imitations were perfect. Itaru, you’ve improved at loving~

Itaru: Hate to correct you on this, but you probably mean lying. I did the best I could as a beginner.

Citron: … You two practiced in secret, yes?

Chikage: …

Citron: My eyes can’t be fooled. I can tell just by watching your movements.

Chikage: … I suppose there’s no point in hiding around here.

part 1 | part 2 | part 3

NOTES:

(1) this is a japanese proverb often credited to mozart, but there's no actual english equivalent for it, so i took a try at translating it in a way that fits with the callback later

[rustboxstarr]

🎻You Don’t Have To Say You Love Me🎻

Pairings: Eddie Munson x UndiagnosedAutistic!PlusSize!ViolinPlayer!Orchestra!Harrington!Reader (Goddamn thats a lot)

Plot: When Dustins 15th birthday comes up Eddie is set out on a mission to get Steve to help. Unbeknownst to Eddie, Steve has a younger sister, a very strange, very mean sister. There's something about her, he needs to understand how she became to be so different from her brother, so he's set out on his next mission to get the answers to his questions.

Summary: Dustin receives his surprise party and Eddie is getting on you last nerve.

Chapter warnings: Swearing, use of Y/N, (Read series masterlist for storys warnings, tropes and Reader description, dw they're not major just a few)

Wordcount: 3.1k

A/N: I've decided to do short chapters, for some reason ? Whatever, more idk expens? Thats not the word..

Love yas!

Check out my other works! Series Masterlist

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When Monday came around Eddie chanced a glance at you. He’d spotted you, sat alone at a table near the exit to the busy cafeteria, picking at your food with headphones covering your ears -headphones disturbing the already messy hair atop your head- no doubt connected to a walkman that played classical music, he saw you, for the first time, properly. He was only a few feet away and finally he got to see your face. That frown was still there, resting over your features like a mask, a border for people not to cross, but you didn't look sad or upset in the slightest. 

With your head down bobbing only slightly to the music he got the opportunity to look at you. If he didn’t know you he would never have guessed you played the violin, you definitely didn't look the part, just as he’d thought when he first heard about it. Slightly baggy jeans hugging your thick thighs, rolled up at the cuff to stop you from stepping on the hem with your red dirty Vans, a purple striped t-shirt that was pulled down to cover your round stomach. He’d never really thought about how someone with your hobbies would look or tend to dress, but as he saw you he felt like you were misplaced in your world of classical sonatas, and ancient methods of creating music, it felt naturally like you would be a very serious person, granted he didn't know you, you may very well be a serious person but he would have thought you dressed smart, proper as if always professional, with your back straight and stiff, not hunched over like you were now. 

You had only seen him once, and you clearly hadn’t bothered to greet him in any way, as he thought back to the interaction you hadn’t even spared a glance his way, was it appropriate for him to go say hi? Would you even recognise him? As he pondered over his thoughts, back and forth, considering the possibility that it would be weird, or awkward you tasted a spoonful of the questionable goo on your plate and pulled a face. Just as Eddie decided he would go say hi, maybe ease you into feeling more welcome in the halls of highschool, you pushed your chair back from the table. Dirty vans firm on the linoleum as the chair scraped slightly beneath you. Eddie had barely gotten the chance to lift a finger before he saw you pick up your plate and walk off. 

He felt slightly deflated at his missed opportunity, there was something about you that was intriguing, whether it was that constant unexplainable frown, your choice of clothing, the fact that you played the violin or was Steve Harringtons sister he didn't know, but there was something about you that made him want to understand why you were the way you were, but alas he missed his opportunity. 

–

It was obvious you stayed out of everyone's way and kept to the standard of being invisible when he didn't see you again till Wednesday afternoon. He was currently making his way to fourth period, with time to spare he moasied down the hall to the other side of the building. He laid eyes on you again, rooting through what he assumed was your locker, similar clothing hung over your figure as a charcoal gray, distressed messenger bag clung to your shoulder. 

This was his chance, his chance to introduce himself and get an insight to how you were as a person, so he took it. He stopped near you, sidestepping to avoid bashing into a group of cheerleaders he arrived at your locker. He wasn't sure what to do or say so he opted for standing next to you, awaiting your acknowledgement of him in your vicinity. Nervousness bubbled up in his throat as he stood awkwardly, waiting, and waiting. You, however, paid him no mind to him whatsoever, pulling out a textbook and slipping it into your bag. Finally, after what felt like forever, you closed your locker and stood up straight. You looked at him, he looked at you, you said nothing. He felt a sense of unease as you stared up at him, not budging in your set features depicting a frown. 

“Hi” he shyly opened up the conversation. He had expected you to greet him back, but no such luck, all you did was raise your eyebrows at him, as if he'd said something extremely stupid. “Uh.. I’m Eddie” Steve was right, you were fucking unapproachable. 

“I didn’t ask” your stare was unwavering, pinning him to the ground, despite him being 6 feet and 5 inches tall and you only at 5 feet 7 inches he felt intimidated, as if you had all the power, in a relationship that wasn't even there. 

“Oh, ha ha” he chuckled nervously “Um” he wasn't sure how to answer that “Well uh, we briefly met at Steve’s, I was in his kitchen when you came home, on Friday” 

“So?” still your piercing glare felt like it was staring into his soul. “Well I uh, Ijust wanted to say hi” he explained. “Listen man-” man? he had never once heard a girl refer to him that way in slang, granted, he only knew a few “- I’m really not interested in getting to know any of Steve's loser friends” you spoke. 

“I’m not a friend of Steve’s” for some reason he felt slightly insulted that you would ever be under that impression, that, he, Eddie Munson who was the way he was, dressed the way he dressed and did the things he did would be friends with Steve “The Hair” Harrington. “Yeah, well makes no difference, I don't want to get to know you either way” before Eddie had even the slightest chance to respond to that, you spun around and walked off, down the corridor and out of sight. 

Eddie had experience with people who didn't want to talk to him, he was hated by more people than not but they were boring, basic people, you were far from that, a freak if he were to go by this town's standards, and he didn't even do anything to you! He was perfectly polite, a little nervous, ok a lot nervous but still polite!

No wonder you didn't have friends if that's how you acted everytime someone even spoke a word to you.

Despite all this, being extremely annoyed at your rude way of speaking to him he was still fucking intrested in getting to know you! And he wouldn't let down, he had to befriend you and understand what can create such a strange person, he needed to understand. 

– 

Friday night September the 6th was the evening of Dustin's surprise party, which had been decided to be held at Steve's house, a fact that was in advantage for Eddie, he had hoped anyway. He hadn't expected to see you around them but he thought you might be nearby. 

He sauntered in behind Mike and Lucas around 6 pm to set up for the people arriving 15 minutes before Dustin whose Mom was dropping him off for 7. Carrying bags of party supplies and various snacks which they all dumped in the living room. “So your sister around?” Eddie tried to ask casually, his arms crossed and leaning against the wall next to Steve, both watching Mike and Lucas begin to unpack all the items. Steve scoffed “Why you got the hots for her?” he joked dryly. “Having met her only once I can safely tell you, no I do not, however I am wanting to know so I know what to expect for the evening” he gave a wicked grin referring to your fight the previous Sunday. 

Steve pulled an unamused face “If you must know Munson, she is not around at the moment to grace us with her presence.” 

“Mm, where is she?” Eddie asked, his plan wouldn’t work if you weren't even around for him to try to talk to you. “Why do you care?” Steve stood straight, turning towards Eddie to assess his face. “I don't care.” he shrugged and walked over to help the boys. Even though all he was trying to do was become your friend he still felt as if telling Steve would be some sort of betrayal, even if he didn't like Steve they had gotten to speaking terms the past week. 

The clock showed 7:15, they had surprised Dustin, all wished him a happy birthday and were now in the middle of snacking and chatting to everyone, hearing Dustin tell them all the things he had received for his birthday so far while simultaneously eyeing the table of gifts to his left. From his seat on the couch he saw you step in through the front door and toe your shoes off. Since you'd come home in the middle of it it felt obvious you would say a curt hello or even just look into the room where almost ten people sat but no such luck, you walked straight past the entrance to the living room and up the stairs, so quiet Eddie wondered if he had been the only one to notice your arrival. 

“Ok, presents!” Steve smiled. He had been very clear with the fact that he didn't want to be around Eddie or plan Dustin's party but now that he was here and Dustin was grinning from ear to ear, over the moon that his friends hadn't forgotten his birthday and that they were all here now Steve couldn't help but beam like a proud mama hen. 

Dustin ripped the delicate wrapping paper and squealed in delight with every single gift he opened. “Who’s this from?” he asked as he held up a box with no note or card in sight. “Oh yea, that one’s from Y/N” Steve smiled. You were an asshole, and refused to be anywhere near the party, yet you were still a softie, getting a gift for the kid who somehow had managed to get you to talk to him. 

He had never heard of you before, he had never once heard Dustin mention you, you completely ignored everyone in school including Dustin, just as you had ignored the party and gone straight up to your room and yet, you had gotten him a gift. A gift which it seemed you hadn't even planned on taking credit for, or being around to say your welcome when Dustin thanked you, just as he had the others. Why were you giving him a gift? Did you even know him? You must have, people don’t give gifts to people they don't know, and seeing as it was you he felt sure you definitely wouldn't do that. 

“HOLY SHIT!” Dustin almost screamed when he opened the box, he pulled something out of dark sparkly tissue paper to show the group. In his hand he held an extremely detailed figurine of Conan from the comic The Savage Sword of Conan, it must have cost you a shit tonne of money because it sure as hell wasn't some ordinary figurine you could buy for 20 bucks in the comic book shop. Yet you were not here to give him the gift??

Things became calmer after the giftopening, everyone got comfortable on the two couches, beanbags and arm chairs to watch Dustin's guilty pleasure The Goonies, all snacking on chips and candy, staring at the large screen. Robin, who Eddie barely knew, apparently felt comfortable enough to spread out on Steve's couch, resting her feet on Eddie's thighs while a bowl of popcorn rested on her abdomen. Eddie was quite frankly shocked at the action but was told by Steve that that was simply Robin, comfortable and friendly with everyone, so he paid her no mind as she got comfortable. 

He felt enough time had passed that he had both mustered up the courage to kick his plan into action, but also excuse himself from the room with viable reasoning. He pushed off the couch, removing Robin’s legs and placing them on the plush leather he had recently occupied. “Where you going?” she whispered at the disturbance, “Take a piss” he explained as he stepped over Mikes gangly legs slouching off the laZboy. During his last visit to the Harrington house he had used the toilet, and knew exactly where to go. Walking past the kitchen he opened the door to the bathroom, and closed it. Not stepping inside, he had told Robin he was going to the bathroom, so she and anyone else who overheard had to be under the impression he was actually on the toilet. 

He proceeded to tiptoe across the fluffy worn down carpet in his socked feet, stepping as lightly as he could as to not alert anyone of his whereabouts. He tread with extreme caution up the stairs, making careful work of not making any of the floorboards creak, as he got to the landing he realized he had no idea where he was going. He looked around, scanning the hallway, eyes breezing past bookshelves, family photos, lamps and a cute looking rocking chair, pushed up in a corner, a dim lamp shedding light on the green fabric. All doors were slightly ajar except for one, he took his chance. Treading down the oak wood floors to what must be your bedroom, before he arrived however a collection of pictures caught his attention. There were a rare few family photos, mostly from your’s and Steve's youth, some scenery and an awful lot of pictures of Steve. Steve holding his diploma, Steve looking disgruntled at the desk in Family Video, Steve mid air throwing a basketball into a hoop, Steve with a trofé, but not a single one of you. Had it not been for those family photos it would have looked as if you never existed, didn't live there, wasn't the daughter of Charles and Sharon Harrington. Before he had time to think about it though he was stood outside the closed door. White painted fir wood acting as a heavy metal wall with the anxiousness Eddie felt. He couldn't explain it, but sneaking around Steve's house to discreetly talk to you had him on edge. He took a deep breath, shook his shoulders out and clenched his hands. Thick finger wrapped around the doorknob and turned it, his hip pushing the heavy metal open. 

You sat with your back to the headboard, slim headphones connected to a walkman that laid haphazardly on the comforter, threatening to fall off and thud onto the floor, various cassette tapes littered around it. A book in your hands, immersed in a world of fictional characters in riveting battle, feet planted firmly on the bed to keep your book resting on your knees. Black t-shirt draped over your torso, covering the waistband of a baggy pair of black sweatpants. 

You looked up, annoyed, a look which quickly turned into confusion as you were met with the sight of your brother's stupid friend and not his own face. You quickly put your book aside, pulling your headphones off. Your music was very loud, Eddie wondered how you hadn't blasted your eardrums off as he heard the familiar melody of Hounddog playing softly through the room. “Who are you?” you frowned, scooting back on the bed to sit up straight. Eddie chuckled a scoff, really? “Uh I’m Eddie, we’ve met?” the statement came out as more of a question to rejog your memory. “Okeeey” you began, talking to Eddie as if he'd said something stupid only you knew was stupid “Why are you in my room?” you asked, seemingly annoyed with him. 

Eddie took the chance to close the door behind him as he explained “Thought this was the bathroom”. He took a second to admire your room. Posters of Elvis Presley, Ray charles, Frank Sinatra, various composers and other musical artists hung on every square inch of you walls, a white desk pushed against your only window, littered with various pencils, papers and books, shelves holding a large amount of books as well as action figures and a collection of odd objects. As he continued looking around he noticed a black metal stand for music sheets, papers layered on the shelf, some close to falling over and floating to the gray carpet, a violin case, next to it multiple different violins hanging from stands on the wall. 

“Yeah well the bathroom is down the hall, so leave please” you rolled your eyes. Eddie ignored your request, avoiding it with a “Cool room”, the frown permanently based on your face deepened “You like Elvis?” he smirked slightly, it was very obvious you did, his face stuck out like a sore thumb compared to all the other posters. “Get out” you stated, becoming very annoyed. No one, not a single living soul other than close family had been in your room, you never had anyone in your room, and you didn't want anyone in your room, so the fact that this guy had just waltzed in as if it was his god given right really pissed you off. 

“Don’t worry, I just wanna’ know what it's like to be Steve Harrington’s sister” he widened his eyes at you when he said your brother's name before going back to being in awe of your room. “Fucking unbarable, now get the fuck out” you were getting mad now. Eddie chuckled “Yeah I can imagine” 

“Okey” you pushed yourself off the soft mattress, feet thumping to the floor as you walked over to the man “that's enough” you put your hands on his shoulders and spun him around, forcing him to walk back to your door “Get out now” you pushed him through the doorframe and promptly shut the door in his face.  Despite being kicked out, it was as if time stopped when your fingers grasped onto his shoulders. He didn't even get the chance to fight you on the matter, all he could think about was how you were touching him, how your soft violinist hands grasped onto him so tightly and ordered his body around. It was so extremely strange to think about as he stood awestruck with his face mere inches away from the wood of your door, that you had touched him. What was even stranger was the tingling feeling that seemed to spread from those same shoulders down to his chest, giving him a warming but harsh hug. He frowned at the feeling, that was new, and it was weird. He frowned and shook it off, he’d get you to talk to him eventually and made his way back down the stairs to finish the rest of the movie.

[myargalargan]

A Classical Polinalysis: Ep. 2

Hello friends, Polin stans, and classical music nerds!

Picking up from my episode 1 analysis, I am back with the second installment in the series of episode-by-episode analyses I mentioned when I shared the playlist I made of all the Classical pieces used in Bridgerton season 3.

The tracks on the playlist are all in order of when they appear in the show, and here are all the pieces that were used in episode 2: 

Beethoven’s String Quartet No. 13 in B-Flat Major, Op. 130: VI. Finale. Allegro

Bach’s Violin Concerto No. 2 in E Major, BWV 1042: III. Allegro assai

Mozart’s String Quartet No. 8 in F Major, "Viennese", No. 1, K. 168: IV. Allegro

Mozart’s String Quartet No. 3 in G Major, "Milanese", No. 2, K. 156/134b: I. Presto

Mozart’s String Quartet No. 23 in F Major, "Prussian", No. 3, K. 590: IV. Allegro

Joseph Schuster’s String Quartet No. 2 in B-flat Major: I. Allegro di molto (formerly attributed to Mozart as the "Milanese" (or Paduan) String Quartet No. 2, K. 210)

Beethoven’s Piano Sonata No. 23 in F Minor, Op. 57, “Appassionata”: II. Andante con moto 

All of this music is used over the course of the Full Moon ball, and the choice of music and the scenes each piece of music is paired with turns the ball something of a microcosm for the entire episode. What the hell do I mean by that? 

This episode is all about flirtation, fertility, and passion, and the action in this episode sets into motion some of the major conflicts of the season. We have the Mondriches settling into their new home and attending society events for the first time, the Featherington sisters getting a healthy dose of Sex Ed, Francesca being granted the Queen’s favor, and—of course—Colin and Penelope beginning their lessons and all the tension and drama that brings. So let’s get into how the Classical soundtrack compliments this very meaty episode…

Looking at the track list in order, we’ve got a bit of a composer sandwich (get it? meaty episode? ha-ha-ha?) with Beethoven bread, Mozart filling, and Bach and Schuster toppings. The allegro finale of Beethoven’s String Quartet No. 13, which starts as Colin and Eloise’s conversation about Penelope in the carriage ends, welcomes us to the ball. The second movement of Beethoven’s “Appassionata,” which Francesca is playing when Lady Danbury sneakily invites the Queen to observe, concludes the whole event. But I have a lot to say about both Beethoven pieces, so I’m going to save that for later! To start, I want to talk about the flirtatiousness of the other pieces used during this episode. 😏

The next piece after the Beethoven string quartet is the third movement from Bach’s Violin Concerto No. 2, which plays when Benedict asks Miss Stowell to dance. We only hear the very beginning of the concerto in this episode, but the distinguishing characteristic of a concerto—which is also what I find so flirtatious about this piece—is the back-and-forth between a solo instrument (in this case, a solo violin) and an ensemble (in this case, a chamber orchestra). In particular with shorter pieces like this Bach concerto, which is an energetic two minutes long with concise musical verses, you get the feeling of a lively conversation, where the ensemble has their say, the soloist replies, the ensemble adds another musing, then the soloist replies, and so on. 

I also think this concerto is fun for this scene for a couple other reasons. One, the soloist-ensemble dynamic calls to mind Benedict getting cornered by a pack of ladies. But also, this concerto is in what’s called “ritornello” form, which means that the ensemble repeats the same musical theme every time they come back in, and I love this as a funny little musical illustration of Miss Stowell’s persistence with Benedict—she keeps coming back, over and over, just like that repetitive musical theme! 

The next piece is the fourth movement from Mozart’s String Quartet No. 8, which starts playing right as Portia tells Mr. Finch that his wife is a pastry and continues as Penelope talks with Colin about his writing. This piece actually elides seamlessly into the track from the season 3 OST called “Attempts to Flirt” the moment Colin says he’ll consider letting Pen read more of his writing if she talks to at least one lord that night, which is a fun little tie-in to our theme. And the string quartet is great for this moment between Colin and Pen because of its fugal quality. A fugue—such as Bach’s famous Toccata and Fugue in D Minor, which is used in a ton of films including the original Fantasia—refers to a structure where the musical theme is introduced in different voices or instruments one after another. (Kind of similar to a musical round, like “Row, Row, Row Your Boat,” but not as simplistic.) Like the concerto, there’s a repetition of musical ideas, and those ideas bounce around from instrument to instrument, again creating a sense of lively conversation. Almost as if one person starts to tell a story to a group of friends, and then another person jumps in to say, “Oh, yes, I know what that’s like!” and tells their own anecdote, and so on around the group as the conversation feeds on everyone’s enthusiasm. 

I love this for Pen and Colin’s interaction because it has a similarly flirtatious energy as the concerto, but at the same time it’s more complex than a simple back-and-forth. There’s a layering aspect to a fugue—when a subsequent instrument picks up the theme, that doesn’t mean the first instrument stops playing. I think this has a similar energy to the way good friends who are comfortable and excited together might end up talking over one another or picking up the ends of each other’s sentences. I think it’s also illustrative of the complexity of Colin and Penelope’s relationship, especially at this phase. They’re friends, yes, but other feelings are starting to get all mixed in. They flirt quite easily with each other, but that makes things more complicated. A playful but multi-layered fugue illustrates this pretty well, I think.

Then we have our second Mozart string quartet of the episode, the first movement of Mozart’s String Quartet No. 3, when Eloise inadvertently lets it slip to Cressida that Colin is helping Penelope find a husband. This piece isn’t a concerto or a fugue, but it does still have an interplay between the instruments that, to me, creates a similar effect. There are several moments within this movement where the violin will start the musical line and one of the other instruments will finish it, like passing a baton. Or, again, like lively and comfortable conversation! To me, it feels a little bit like two people winking at one another as they catch each other’s meaning. 

There’s also a fun little bit about two-thirds of the way through the piece where, for not even 30 seconds, the tone of the music changes entirely, to something darker and more dramatic. Musically this part is known as the “development,” which is where the music meanders and does a bunch of interesting things before it returns to the main theme that was introduced in the beginning. This is a very common musical technique, but it doesn’t appear quite so starkly in any of the other pieces used in ep. 2. Since this piece plays during an Eloise and Cressida scene, we could take this darker interlude to be a reflection of Eloise’s relationship with Penelope—how it has taken a dramatic turn but will be righted again before long. We can also look at it through a Polin lens, since Penelope and Colin’s relationship takes a similar trajectory. Either way, I like the idea that there’s a bit of dark foreshadowing in this otherwise playful, flirtatious piece of music.

From there, we have the fourth movement of Mozart’s String Quartet No. 23, which plays as the Mondriches enter the scene. Other than the Beethoven pieces, this is the longest piece used during this episode, and it gets the most airtime. It plays for the entire duration of Benedict’s spiel about how married couples are free from the rules of society because they have already fulfilled their duty. And I love this piece for this moment because it really goes places. This movement has some fugal passages, giving it that same flirtatious quality as the other pieces used this episode, but there’s also moments where the tone gets much more dramatic, moments when the tempo seems to slow or get interrupted, syncopated sections that almost feel cartoonish… The character of the piece is surprising, and it evolves over time, and—I think—it reflects the journey the Mondriches have been on since season 1 and the surprising evolution their life has taken in season 3. And will continue to take! As they figure out how to navigate this new world and learn that it’s not as simple as Benedict made it seem.

Okay, now onto the last bit of sandwich filling, the first movement of Joseph Schuster’s String Quartet No. 2 in B-flat Major, which plays while Lady Danbury leads the Queen away from the main ball and while Eloise’s group of debutantes lament their chance to show off. Is this piece also flirtatious? Yes, I think this piece has a similar quality to Mozart’s String Quartet No. 3, where sometimes musical lines started by one instrument get picked up and finished by another. But another thing I find really interesting about this piece is that it’s a case of mistaken identity. This piece was composed around 1780, but until the 1960s music scholars attributed the piece to Mozart. And to use this piece during this scene is particularly compelling, because it’s the moment that Cressida denies having any good gossip, but also the moment when the gossip about Penelope and Colin begins to spread throughout the ball anyway, which Eloise (and Colin) mistakenly blames Cressida for. There’s also maybe a deeper meta here about mistaken identities that could tie into Cressida’s false claims to the Lady Whistledown name, which is interesting to consider in contrast to this moment at the ball where Cressida—unlike later in the season—chooses to be the bigger person and renounces the lure of gossip in favor of protecting her new friendship with Eloise. 

Which brings us to the final piece of music featured at this ball, the second movement from Beethoven’s Piano Sonata No. 23, the “Appassionata.” Which is of course relevant because Francesca earlier admits to loving it so much during her abbreviated conversation with Lord Petri. Petri describes Francesca’s favorite pieces as “expressive music,” which is fitting for a musical work nicknamed “Passionate.” Francesca also says, “I mostly enjoy the chord progressions,” in response to Petri getting all “can’t you feel it in the music?” and although Petri was talking about the Ries Piano Trios, I like thinking about Francesca’s response in relation to the second movement of the “Appassionata” because that movement is one big theme-and-variation—there’s a musical theme introduced at the beginning, and then that theme is repeated two more times with variations in the melodic structure but always with the same chord progressions.

One thing I love about this piece as the close-out to the ball is the way, with each subsequent variation on the theme, the music builds and builds. It starts out slow and in a low register, and it gets faster and higher pitched as it goes (the part we hear Francesca playing is the fast high part). There’s a really obvious analogy to sex here, which is clear in Petri’s reaction and Francesca’s discomfort with his reaction—which is appropriate because sex is such a major motif in this episode (“Inserts himself? Inserts himself where?”). But there’s also the analogy to the build-up that we’re about to experience at the end of the episode, the way everything Penelope has been through the past couple episodes (couple seasons, really) culminates in that first unbelievably passionate kiss between her and Colin. 

But, more than that! The second movement of the “Appassionata” doesn’t have a true ending—it’s through-composed with the third movement, so that the two are meant to be listened to back-to-back. If you listen to the end of the second movement by itself, you’ll hear a chord that sounds like it’s supposed to resolve to a nice clear ending, but then instead of resolving, that chord is followed by an intriguing, dissonant, kinda jazzy-sounding musical lick. If you didn’t proceed to the third movement right away, musically, you’d be left hanging. (And even once you’re into the third movement, it takes a while for the music to properly resolve.) And I love this! Why do I love this? A while back, I did an analysis of Polin’s theme (from the original score) and wrote a bunch of stuff about how their musical theme, the way we hear it in part 1 of the season, feels unresolved, suspending us in the tension of their uncertain relationship status. We only get proper musical resolution in their theme in part 2, after they’re engaged. So using the second movement from the “Appassionata,” with its false ending, at the conclusion of the Full Moon ball—a ball which encapsulates so much of what’s going on in the episode overall—is such a great way to foreshadow the end of the episode: the build-build-build to the passionate kiss and then—! Leave us hanging as Penelope runs away and Colin’s life starts falling apart around him.  

Speaking of endings…! It’s time to circle back around to the first piece of bread in our Beethoven sandwich, the sixth movement from Beethoven’s String Quartet No. 13…

If you’ve stuck with me this far, hang in there for just bit longer! Maybe take a quick break and grab a snack. ;) 

I thought a lot about the usage of the allegro finale from Beethoven’s Op. 130 in this episode. It’s such an interesting choice, not necessarily because of the music itself, but because of the history of the entire quartet. See, when Beethoven first composed String Quartet No. 13, it had a different final movement. However, at the first performance, that movement received such a negative reaction that Beethoven’s publisher convinced him to write a replacement. The replacement is what’s used in the show. And it has an entirely different character from the original. The new finale is light and cheery, while the original was dense and complicated. The original was panned by critics as being incomprehensible, inaccessible, and difficult to both listen to and play. (Give it a listen. You may find that it makes you deeply uncomfortable 😅 but it’s definitely an experience!) The new finale, on the other hand, is…a dance! It’s bouncy and positively Haydnesque, and completely uncontroversial.

The original was ultimately published as its own work under the title “Grosse Fugue,” as Beethoven’s Op. 133. However, some Beethoven enthusiasts and music scholars will argue that the correct way to play String Quartet No. 13 is with the original ending, the way Beethoven intended. Preferences vary, though, and what this means is…there are two possible, perfectly valid, endings to this piece of music. And each ending has a completely different vibe. 

Do you see where I’m going with this? 😉

This piece plays as we are welcomed into the Full Moon ball, and when I set out to do this analysis, I was originally looking at the allegro finale on its own, trying to find something meaningful in its structure or its harmonies… But I think what’s most interesting about it, in the context of this episode, is that it represents the duality of choice. And there’s a few different layers this could apply to: Eloise and Cressida’s decision whether or not to share the gossip about Colin helping Penelope, Colin’s choice to help Penelope in the first place (and to continue to help her after the journal faux pas)...his choice—at the end of the episode—to kiss her. The Queen's choice of a diamond, even! But if we’re talking about possible endings, then this piece is really setting us up for the ultimate narrative choice between Colin and Lord Debling. And it’s fitting as an introduction to the Full Moon ball because it’s at this ball that Colin gets his first taste of jealousy and competition, and then of course it’s Penelope’s humiliation at this ball that is the catalyst for the kiss that sends Colin into his downward spiral of desperate, all-consuming love. So whereas at the end of ep. 1 Colin may have been able to go about his life acting as though he was unconcerned about whatever feelings he may or may not have had for Penelope at that point, by the end of ep. 2 that’s simply not at all possible anymore. And so the show starts building the foundations of one of Penelope’s possible choices, one of her potential endings. (And I guess whether or not you consider Debling to be a perfectly valid alternative ending depends on what kind of Polin shipper you are. 😉) 

So there you have it: the drama of choice, the sexiness and frustration of building yet unresolved tension, misunderstandings (and, you might even say, the probable pains of friendship), SO much flirting—some easy and straightforward, some ceaseless and unvarying, some deliciously complex… All present at the ball, throughout the episode, and in the Classical soundtrack.

♥

And here's some of the research I did for this post:

Beethoven's String Quartet No. 13: https://www.earsense.org/chamber-music/Ludwig-van-Beethoven-String-Quartet-No-13-in-B-flat-major-Op-130/

Beethoven's String Quartet No. 13: https://www.brentanoquartet.com/notes/beethoven-quartet-opus-130/

Beethoven's String Quartet No. 13: https://www.maramarietta.com/the-arts/music/classical/beethoven/

Bach's Violin Concerto No. 2: https://www.laphil.com/musicdb/pieces/4549/violin-concerto-in-e-major-bwv-1042

Mozart's String Quartet No. 8: https://fugueforthought.de/2018/07/01/mozart-string-quartet-no-8-in-f-k-168/

Mozart's String Quartet No. 3: https://fugueforthought.de/2016/08/27/w-a-mozart-string-quartet-no-3-in-g-k-156/

Mozart's String Quartet No. 23: https://www.talkclassical.com/threads/mozart-string-quartet-23-k590-sq-review.81909/

Schuster's String Quartet No. 2: https://www.earsense.org/chamber-music/Joseph-Schuster-String-Quartet-in-B-flat-major-No-2-KAnh-C2001-K-Anh-210/

Beethoven's "Appassionata": https://www.youtube.com/watch?v=tR706pYvNl0&