#Violin Sonata in A Major

[culturevulturette]

Up and at 'em!

Franz Benda (1709-86) - Sonata for Violin and Piano in A-Major, III. Presto e scherzando. Performed by Irmgard Huntegeburth, violin, and Mark Nordstrand, fortepiano, on period instruments.

[journalofanobody]

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

[supercantaloupe]

rehearsed some recital stuff with my second today. trio reading went decently (will work better when we actually have the third part playing with us lol) and we settled on which telemann canonic sonata we're gonna do and read through that as well. those plus my concertino should take up about 50 minutes which will be perfect

[jugglingjujube]

I love chaotically dissonant instrumental music. Just feels right in my brain

[maturiin]

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

[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

[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

[gasparodasalo]

Johann Sebastian Bach (1685-1750) - Sonata for Violin and Harpsichord in G-Major, BWV 1019, III. Allegro (cembalo solo). Performed by Trevor Pinnock, harpsichord.

[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