#Violin Sonata in A Major
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usunezukoinezu · 1 year ago
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culturevulturette · 1 year ago
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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.
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journalofanobody · 8 months ago
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Violin Sonata No. 1 in G Major, Op. 78: III. Allegro molto moderato
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supercantaloupe · 2 years ago
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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
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unspokenmantra · 8 months ago
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jugglingjujube · 2 years ago
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I love chaotically dissonant instrumental music. Just feels right in my brain
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maturiin · 1 year ago
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save me boccherini sonata for violin and cello in d major: ii, vivace
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lesser-known-composers · 8 days ago
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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
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mozartbachtoven · 2 months ago
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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
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cuddlytogas · 7 months ago
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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
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firstlightinthemorning · 4 months ago
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César Franck - Sonata for violin and Piano in A Major - Camille Thomas/J...
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gasparodasalo · 2 months ago
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Johann Sebastian Bach (1685-1750) - Sonata for Violin and Harpsichord in G-Major, BWV 1019, III. Allegro (cembalo solo). Performed by Trevor Pinnock, harpsichord.
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asordinaryppl · 7 months ago
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A3! Backstage Story Translation - Chikage Utsuki SSR - Today's Star: Toujou - Part 3
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!! 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
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rustboxstarr · 1 year ago
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🎻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.
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myargalargan · 4 months ago
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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? 
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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&
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posttexasstressdisorder · 1 month ago
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Tuesday, 12-03-24, 8am Pacific
'Mornin', everyone. Mr. Baggins here with our Morning Coffee Music, selections to get us in gear and in good cheer. Let's start this morning off with our daily three Preludes and Fugues played by Harpsichordist Malcolm Hamilton. Today we hear Preludes and Fugues Nos. 10, 11, and 12 from Book 2 of WTC.
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Next, we hear another of the performances that Guiomar Novaes recorded in 1956, and was issued as side 2 of A Music Appreciation disc issued by The Book of the Month Club in 1957. This time she is playing Beethoven's Sonata No. 26 Op. 81a, in E flat major "Les Adieux". This is as definitive a performance of this piece as has ever been recorded. The poise, the grace and control in this are eye-opening, and yet it is as warm-hearted as anyone could make Beethoven be!
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Next is a treat: a performance from March 21, earlier this year, by the UT Wind Symphony of Malcolm Arnold's "Four Scottish Dances", arranged for only winds by Paynter.
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Next we hear the Philadelphia Orchestra, with Eugene Ormandy at the helm, in a performance of the piece Sergei Rachmaninoff dedicated to them, his Symphonic Dances, Op. 45, and the "Paganiniana" Op. 65, of Alfredo Casella. Another historic reference recording that has withstood the test of time!
We turn to the music of Schubert next, a very early recording featuring Sergei Rachmaninoff at the piano and Fritz Kreisler on violin, playing Schubert's Violin Sonata in A Major, D 574, in a historic recording from 1928, reissued on LP in several different incarnations.
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Lovely, isn't it? The fact that we can hear these two in a performance that is nearly 100 years old is mind boggling. We even have Rachmaninoff playing his own concertos, all from 1925 to 1929! Let's jump ahead a few decades to the mid-late '50s and hear another of Chopin's Scherzos, played by Vladimir Horowitz, from his glory days in the 1950s at RCA. We hear the Scherzo No. 2 in B-flat Minor, Op. 31, recorded in 1957.
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And I thought we might wrap today's Morning Coffee Music up with a couple of lovely songs, sung by Elisabeth Schwarzkopf, from her Carnegie Hall Recital of November 25, 1956. We hear Mozart's song "Abendempfindung", K. 523 and then Richard Strauss' "Wiegenlied" (Cradle Song), op. 41, nº 1. George Reeves is the Accompanist.
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And with that gorgeous little melody still hanging in the air, we bring today's Morning Coffee Music to a close. I do hope you've enjoyed the selections this morning! Mr. Baggins signing off for now, but I'll return at 2pm Pacific with your Afternoon Stack of Classic Wax!
Until then, be kind, babies, be kind.
Baggins out.
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