#and scherzo repeats

[walks-the-ages]

whats But i love you ! - you silly little girl- from?

That one's a repeat on the list, its from Scherzo, which is one of THE greatest Eighth Doctor audios by Big Finish of all time!

All i will say is that it is a psychological horror/thriller episode and that you can start listening to Eight and Charley Pollard's adventures together with "Storm Warning" !

Scherzo is part of an unofficial "trilogy" in my mind of complete, utter, out-of-the-ballpark (and out of left field) audios

Neverland -> Zagreus -> Scherzo

Zagreus is a multi doctor story of extreme wackiness and jumpscares, and its also 5 hours long and lots of wonderland fun.

Scherzo is set directly after the extreme events of Zagreus :)

[ID: a gif of Disney's Alice In Wonderland, showing Alice falling down the rabbit hole. End ID]

[gotyouanyway]

ok this is just my meta writer-brained interpretation and idk how well it works but bear with me - and take this with a grain of salt bc it’s been a couple months since i listened to the last or the next life

but i think one way to make sense of the mechanics of the divergent universe is to understand that the universe itself functions like a story, and the arc never keeps its hands and feet inside the fourth wall.

maybe a reason why the universe loop seems to be only a few months long but contains seemingly eons of cultural development across the zones is because it IS only a few months, and those eons of development exist in a sort of compressed, inaccessible state between the tangible, traversable zones - they are the parts of a story that come before the scene you’re watching, but you will never directly experience. they’re real events, they HAVE to be real as a prerequisite to the reality you’re seeing, but they are real in a way that you can’t actually touch and that *takes up no time* in the physical narrative.

in that way the zones are like scenes in a play, which the doctor charley and c’rizz traverse and experience, but they can’t access the parts of their history that happened before they physically got there. those prior events are real and evident in the universe (to c’rizz they are lived, experienced reality!) but only the events they’re there for (and we the audience are there for) actually take up any time. the only reason i say the loop is months long and not ~10 hours of audio is because it’s not ENTIRELY meta ofc, the fourth wall is still there even if it’s kind of wonky.

but this weird story-reality is how the timelessness in the divergent universe works- the zones/time periods exist concurrently and side by side spatially like multiple sets on a stage, with all those precursor events happening in the utter non-time backstage. and maybe this helps make sense of the time-loop in a timeless universe, if we think of it as a spatial journey through the loop instead of a temporal one. they move from the tube to the desert to bortresoye and walk right back around to where the zone with the foundry touches the scherzo zone, like flipping back to the first page of the script.

(speaking of script, this meta interpretation also tracks with how the same scenes can be repeated with different characters like rassilon and the kro’ka in the scherzo tube - same dialogue, different actors)

and so the divergents, whether or not they have any understanding of this, act as the writers of the story controlling when and where and how events are staged. we never actually encounter them iirc so they seem to exist a bit outside of everything and control the narrative (until rassilon screws everything up- lmao). the last/bortresoye zone is their microcosmic play within a play like the dumb show in hamlet, summarizing the key structure of the story. caerdroia is…. well i didn’t really get that far but this post is long enough already

but again critically i think this is all done with one foot outside the fourth wall- it’s not metaphorical, the universe actually works this way in part because it is a story (in contrast to the doctor’s native universe, which is a fictional universe and not a story). if that makes any sense at all. maybe it doesn’t explain every technical detail of the universe, but the arc relies so heavily on meta understanding of itself in terms of story and medium that i think meta universe mechanics kind of fit

[raisinchallah]

you know its weird i think listening to eighth doctor adventures has sort of solidified in my mind that i think what makes a doctor for me is just as much the concepts and themes and overarching like similarities and vibes that kinda connect into feeling like part of a greater whole more than idk an individual performance to me like big finish doesnt feel like it has a specific style or flavor or identity in the same way like i do really like a lot of the early eighth doctor adventures theyre fun and experimental but i think i like the ones that are all the most different or out of place and i dont feel like theres anything that particularly ties it together conceptually like even idk the fifth doctors eras a mess but its got this sorta ever present feeling of doom and like things keep going wrong and this sorta overwrought soap operatic tone to the companion stories its dabbling in that seeing how these are smashed about even in quite bad stories is quite interesting and both sides feel somewhat wrapped up in the final two episodes that planet of fire is the last gasp and experiment with this like slightly baffling insane soap opera tone and then caves of androzani really pays off the increasing sense of doom and like nothing goes right etc like idk i find that fun and fascinating theres these other outside things that impose a style upon the era and that i feel like i am only compelled by a doctor if im compelled by their era and of course different doctors can contain multiple eras like 4 and 7 or like 9 feels of the same era as 10 etc etc but idk like there are some fascinating repeated themes in like chimes of midnight and scherzo but thats just rob shearman idk what connects them to like invaders from mars besides all being some of the most effective uses of the audio format idk cant place it exactly but i feel to me i enjoy individual 8 stories more than i enjoy the entire thing if that makes sense like i have a worm in my brain that makes me a bit too fascinated with the fifth doctors era despite it being kind of terrible but that worms not activating for 8 completely idk feels similar for charley i feel i dont really know what her whole deal is like not that individual classic who companions are known for their depth or anything but they do often pick specific interesting gimmicks that are also quality writing shorthand for how a character may react to specific situations and idk charley does not have a gimmick that leads to unique or interesting reactions outside of her more personal stories like chimes of midnight and scherzo i mean scherzo is so good on its own it kind of invents an entire charley pollard thats like so good just in that audio that it can almost stand alone a pinnacle of insane companion writing that in 90 minutes u get something crazier than like two seasons of clara and 12 which tbh huge accomplishment masterful towering concept but idk her use in other audios often leaves a lot to be desired..

[recapitulation]

hi lexi ❣️ i saw you french horn posting and it made me think about how much i loved the french horn when i was a kid so i would love to know if you have recommendations for some french horn listening ok go 🎤

JESS 🫶🫶🫶🫶 you looked into my mind and found the question I most wanted to be asked at all times.... 💕💌💕💌💕

my fav horn concerto is gliere, especially the second movement... it's so full of warmth and feels like a hug 🫶 or maybe a kiss... 😳

when I tell you I'm fucking obsessed w the tcherepnin horn quartets I mean I am still to this day getting chills after years of listening on repeat... especially the first one! the peacefulness here is beyond words imo

richard strauss concerto!!! captivating from the immediate beginning!!

franz strauss concerto!! back when I used to run this was one of my favorites to run to 🏃‍♂️

the opening of bruckner symphony 4 is one of my favorite horn moments ever and the symphony as a whole is one of my favorites! bruckner is famous among horn players for knowing how to utilize the horn 🫶

speaking of famous among horn players 😏 mahler 5 is a horn player favorite and I would reccomend listening 10 thousand times if you haven't already!! it has many many many romantic, sweeping horn solos!

haha did you think I would finish this list without saying mahler 2. MAHLER 2!!!!!!! seriously genuinely and for real this piece changed my fucking life. it is famous for its ending for a reason it fucks severely. and there's so so so many good horn parts bc mahler was a fucking genius.

I will link the very ending of mahler 2 bc it gives me chills every time but I will say the emotional payoff is probably not as great if you aren't already familiar w all of the themes as he layers them all together so I would reccomend listening from the beginning!!!

[mariacallous]

6 SONGS ON REPEAT🎵🎵

Tagged by @ibetteracethatinterview

Tagging @thefoxconfessor @queenofnots @standuptragicomedy @venusofsuburbia @ravenkings @frankenshane

[dream-this-nightmare-over]

Explanation of Endeavour episodes' titles

i have come to notice many episodes were named with peculiar titles alluring to episode theme with undertone of dark academia symbolism, drawing words from mythology, music, art, culture, which adds to sense of elevated academia mannerism of whole narrative and setting.

I will not be commenting on how the name fits the story, for i do not wish to spoil anyone anything.

Fellow endeavour fans, feel free to add any other peculiar observation.

Season 1

ep.2. Fugue - In music, a fugue is a contrapuntal compositional technique in more than two voices, built on a subject that is introduced at the beginning in imitation and which recurs frequently in the course of the composition. (wikipedia)

-a musical composition in which one or two themes are repeated or imitated by successively entering voices and contrapuntally  developed in a continuous interweaving of the voice parts. (merriam webster)

*i think that is that choir singing that builds up and always plays in background throughout the series

Season 2

ep.2. Nocturne -  work of art dealing with evening or night especially : a dreamy pensive composition for the piano

Season 3

ep.4. Coda - a concluding part of a literary or dramatic work; serves as conclusion to events that need to be rounded out.

Season 4

ep.2. Canticle - a hymn or chant, body of text in bible or in Divine Comedy or other work that rhymes and it is one distinguished part of work; like chapter in book, but it rhymes.

ep.3. Lazaretto - quarantine for those with contagious illness;  A lazaretto is a quarantine station for maritime travelers (from east that came to Venice mostly hence Lazaretto Island) Historically, lazarettos were used to control outbreaks of cholera and plague found on board visiting ships.

Season 5

ep.6. Icarus - boy who flew too high to sun so his wings made of wax melted and he fell into ocean and died. his father who made him wings to escape from minotaur's labyrinth, but boy ignored the warning striving for higher

Season 6

ep4. Degüello - spanish battle music, song that conveys hate and complete destruction of enemy without mercy, it also marks bringing an end to struggle that has been threatening to upend the familiar and safe, the return to normal

Season 7

ep2. Raga - traditional indian music

ep.3. Zenana -in muslim and hindu homes part of a house for the seclusion of women

Season 8

ep.2. Scherzo - in music composition type; short, lively piece of classical music which is usually part of a longer piece of music

-in british English it also means a joke, a prank (idk if this is true)

ep.3. Terminus (lat.) - the end of a railway or other transport route, or a station at such a point; a terminal.

-an extreme point of something

-a final goal : a finishing point

Season 9

ep3. Exeunt (lat.) - instruction written in a play indicating that a group of actors leave the stage

[official-knock-out]

On Repeat

Thanks for tagging me @timelordfreya !

go to 'on repeat'/heavy rotation playlist on spotify/apple music, throw it on shuffle and share the first 10 songs you get

1.) Scherzo Di Notte - Yoko Shimomura 2.) In Your Room - Zephyr Mix - Depeche Mode 3.) S&M - Rihanna 4.) Dangerous - Depeche Mode 5.) The Archadian Empire - Hitoshi Sakimoto 6.) Mary On A Cross - Ghost 7.) Halo - Depeche Mode 8.) Master and Servant - Depeche Mode 9.) Surrender - Depeche Mode 10.) Hysteria - Muse

Anyone who wants to do this can! I'm interested to see!

[aura-acolyte]

Off-Screen Event: Ballroom Brawl

This is an off-screen event. That means nobody is present for it but the characters mentioned.

(Music Box: Battle Scherzo from Fullmetal Alchemist: Brotherhood (composed by Akira Senju))

The four combatants left in the ballroom stared at the Lucario in shock. He had Mega Evolved on his own. No trainer or keystone in sight.

“He Mega Evolved on his own? But how?” Riley asked, perplexed. 

“I have spent decades honing my Aura.” The Lucario growled. “None of you could hope to stand against me.”

Before any of them had a chance to respond, the Lucario fired an Aura Sphere at them. Luckily they were able to dodge out of the way, just barely, avoiding taking any damage. The throne behind them, on the other hand, was not so lucky.

“Well, two can play at that game!” Mare shouted.

She threw aside the sword and raised her arm, tapping the keystone embedded in her Mega Ring. Simultaneously, the keystone and the Mega Stone in Kyoshi’s armband glowed with power. Mare thrust her arm straight upwards.

“Kyoshi! Mega Evolve!” 

Much like the Unknown Lucario, Kyoshi was surrounded by a shell of hardened energy (don’t question it) emblazoned with the Mega Evolution symbol. The shell exploded apart, releasing a wave of energy that caused everyone to stumble. There were now two Mega Lucario on the battlefield.

“The power of Aura flows through me!” Kyoshi shouted.

The two rushed at each other at shocking speeds. They threw rapid punches and kicks at each other, neither letting up and neither being able to land a hit. As they fought their Auras flared up to the point where they were visible to the naked eye.

Mare looked at Riley and Mosa. “Come on, we’ve gotta help her!”

“Too risky.” Riley replied. “We could hit Kyoshi by accident.”

Mare grit her teeth. Kyoshi was doing great out there but this Lucario clearly had more experience. If nobody stepped in to help she’d tire out eventually and lose the fight.

“That Lucario thinks I’m somebody else because of my Aura.” Riley said, rubbing his chin. “If we can get him to open his eyes maybe he’ll see I’m not who he thinks I am and stop fighting.”

“How are we supposed to do that?” Mare asked. “He’s been relying on his Aura Vision this whole fight I don’t think we’ll be able to make him stop.” “We could if we rendered his Aura Vision useless.” Mosa said using the same telepathy Kyoshi and the unknown Lucario had used.

Riley nodded. “Yes, if we could overload his Aura Vision that would force him to open his eyes.”

“I reiterate: how are we supposed to do that?” Mare said.

“We need to create an Aura Field.” Riley said. “One big enough to cover this entire room.”

“A what?” Mare asked.

“An Aura Field.” Riley repeated. “It’s like Terrain moves but for fighting types.”

“Ooohhh.” Mare said, comprehending. “Wait, won’t that just power him up?”

“Yes but the downside of Aura Field is that it renders Aura Vision useless because everything is Aura.” Riley explained. “Which is fine for most fighting types cause they don’t have Aura Vision. But not so great for Lucario.”

“Sounds like we have a plan then.” Mare said.

As if on cue, Kyoshi was flung away by the unknown Lucario… straight into one of the thrones. Probably no big loss. The “royals” were rich as fuck they could replace it. And if they tried to make her do it, Mare could always borrow money from Steven again.

“And not a moment too soon.” Mosa said.

“Kyoshi!” Mare shouted to the disoriented Lucario. “No time to explain why but we need to create a massive Aura Field!”

“But I haven’t taught you how to do that yet.” Kyoshi replied.

“Well, you can teach me now.” Mare said.

All four allies quickly huddled together. They raised their hands in the air.

“Okay, now focus on spreading your Aura outwards.” Kyoshi explained.

“Gotcha.” Mare said. “Let’s do this.” They all focused. Spheres of Aura manifested above them. And then… the spheres turned into beams. They fired upwards, hitting the roof and spreading out, covering every inch of the room.

While they were occupied the unknown Lucario had been charging at them. But as soon as the room was covered, he stopped.

“What is…” He spluttered. “I can’t see… everything is Aura.”

For the first time in recent memory, the Lucario opened his eyes. As he gazed upon the four figures standing before him, he was hit with a realization.

“You are not Sir Aaron.” He said. His Mega Evolution fell away, returning him to his normal state.

[anybodybutlebron]

IL GOVERNO DEI POCHI OD IL NUOVO CHE AVANZA?

Benvenuti alla dodicesima edizione della nostra gloriosa lega, contrariamente al colore eccentrico della carrozzeria di una macchina che non si ha il coraggio di ordinare per il timore che sia stanchevole, nessuno di noi ha abbandonato la propria franchigia approfittando del fiorente mercato secondario della fanta-squadre. Vi ringrazio per l’impegno costante e la dedizione che avete mostrato in tutti questi anni. E questa non sarebbe una nuova ed eccitante stagione senza il power ranking di inizio anno!

CREMONA BIG CREAMERS: Lore ha la squadra giusta per sconfiggere l’oligopolio che ha dominato in tutti questi anni ed iscrivere un nome nuovo alla lista dei vincitori, i Big Creamers hanno molte parti intercambiabili che una volta sarebbero stati chiamati doppioni ma che incarnano alla perfezione l’NBA dei giorni nostri dove tutti devono sapere fare tutto e contribuire in ogni categoria.

CREMONA 3 TITANS: Mario invece rappresenta la vecchia guardia che non vuole cedere e si iscrive alla caccia del quarto titolo. Oltre alla consueta conoscenza sconfinata dei giocatori, da settimane studia la nuova piattaforma e la conosce meglio degli stessi programmatori. E come se non bastasse, interrogato al termine del draft, ha dichiarato con tracotante fiducia: “ho preso quelli che volevo!”

DARK SIDE: potrei dire che Stefano si merita il podio per aver finalmente contribuito alla nostra gloriosa lega scrivendo un gustoso articolo di analisi delle tipologie delle scelte, ma la realtà è che dopo la finale persa l’anno scorso i Dark Side sono finalmente usciti dall’oscurità e si ripresentano ai nastri di partenza con una formazione infarcita di sapienti produttori di statistiche.

DEPORTIVO LA CORUNA: per anni Ciccio ha lottato contro l’astinenza dei playoff, poi quando siamo arrivati nella doppia cifra dei nostri campionati anche lui ha infranto la barriera della doppia cifra delle vittorie. Libero dal peso di dover raggiungere la post season ha deciso di puntare grosso su alcune scommesse che se si dovessero avverare potrebbero regalargli il bottino pieno.

TEAM GUARNERI: la squadra di Giuseppe è stata costruita come una vera e propria franchigia NBA di una volta, con ogni giocatore nel proprio ruolo, presi con certosina puntualità al momento giusto, anche i Lakers di Winning Time non avrebbero una sola chance, e questa è l’ennesima dichiarazione d’amore nei confronti del gioco della palla a spicchi, non ci resta che vedere se l’ortodossia possa ancora pagare ai giorni nostri.

READY FOR GO HOME: “l’ennesima brillante stagione regolare, l’ennesimo imbarazzante collasso nei playoff”: no, questa non è la brillante disanima del Commissioner ma quello che tocca sentire a Ferro durante ogni singolo draft, con cipiglio infastidito quest’anno però Francesco rispondeva allo sfortunato interlocutore: “la pietra rimane pietra e tu non vinci nemmeno nella regular season”. Sarà questo nuovo atteggiamento che lo porterà lontano quando le partite pesano di più?

BEOGRAD JUGOSLAVIA: Anche Roberto ogni anno deve sopportare sempre le stesse battute: chi di noi non gli ha chiesto almeno una volta se sceglierà Bird o Magic? Roberto con classe risponde sempre a tutti, anzi si presta allo scherzo e non si lascia scappare Thompson e Paul, ma l’esperienza è insostituibile per costruire una solida regular season, e mentre tutti noi scappavamo dalle ginocchia di Kawhi, lui al terzo giro se l’è sornionamente accalappiato.

G FORCE: ok l’oligopolio, ok l’approccio analitico alla stagione, ok Scoot il playmaker più forte della prossima decade ma niente finora ha spezzato la maledizione del repeat: nessuno è mai riuscito a vincere back to back, sarà forse per la quattordicesima posizione al draft o per un connaturato senso di appagamento; Dario ci prova riunendo l’indimenticata stella di Utah con il Finnisher che ha preso il suo posto, sarà sufficiente il voodoo Jazz?

MILAN HOOKERS: Maffo si è ritrovato tra le mani il Greek Freak clamorosamente precipitato fino alla quinta posizione e lo ha sapientemente affiancato da alcuni dei giovani più promettenti come Anfernee, Walker e Jabari, sono però Zach e James che ci preoccupano: le giunture del primo e il carattere del secondo non lasciano presumere nulla di buono.

NEW YORK KNICKERBOCKER: “ma mi vuoi dire che vuoi ergerti ad imparziale censore della nostra gloriosa lega per pretendere di scrivere con obiettività dei roster e poi penalizzi una squadra solo per colpa di Lebron?” “Si!” Purtroppo quest’anno tocca ad Andrea subire l’annuale tracollo nel ranking che la presenza di Curry e dell’unicorno biancoverde non giustificherebbero in alcun modo.

RASTA SUPERSONICS: Giacomo da un lato è membro della triade che forma l’oligopolio e meriterebbe un posizionamento molto più favorevole, d’altra parte o domina o ramazza nel torbido dei bassifondi della classifica e leggendo i nomi di questa infornata protendo per la seconda ipotesi, o forse arrivati a questo punto del ranking mi faccio solo guidare dal mio rinomato carattere ripiccatorio e non gli perdono lo scippo del mio giocatore preferito dall’emisfero down under.

LAGUNARO MARISCOS: Ale sostiene che non fosse in autopick, non possiamo che apprezzare l’impegno a non mancare il draft nonostante gli impegni, però non potrà non aver percepito gli improperi che venivano vocalizzati ogni volta che sfruttava l’intero tempo a sua disposizione prima di proclamare la propria scelta, però anche basta con questi giudizi dispettosi e allora mi permetto di far notare che i Mariscos arriveranno dove andranno i Suns e quello che hanno fatto vedere l’anno scorso non era particolarmente incoraggiante.

FRANCOFORTE LINCI: non vieni al draft sfruttando la solita trita e ritrita scusa, parti in autopick perché come comunichi fin troppo candidamente dichiari che ti eri dimenticato, parli di non ben precisati inconvenienti tecnici cercando di incolpare la nuova piattaforma quando nessun altro ha palesato il minimo problema, l’unico modo per riscattarti sarebbe un giuramento inscindibile di partecipazione al draft 2024, nel breve invece hai bisogno di una iniezione di chili e centimetri per riequilibrare il roster più leggerino che ci sia.

PIG AND SUSHI: mettersi la maglia di un giocatore e riuscire a prenderlo: Check! Credere che il Chet sia in qualche modo destinato a durare più di una settimana: pura ingiustificata faciloneria! Semplicemente come in questo power ranking, hanno avuto la meglio le emozioni e le simpatie più che la fredda logica dei numeri ed il fantasy basket non è un sonetto infiorettato dai sentimenti ma un trattato di teoria di scienza applicata.

[afactaday]

#aFactADay2023

#937: in 1903-4, Mahler initially wrote his sixth symphony with the fast Scherzo movement second and the slower Andante moderato movement third, which was a slightly unconventional choice. then in 1906, he decided to conduct it with the Andante after the Scherzo, sparking over a century of heated debate over which order was better, which Wikipedia goes as far as to describe as a controversy. after his death, his wife sent a telegram to a conductor saying "Erst Scherzo dann Andante". some conductors continued with the revised order devoutly, while many reverted to the original, and arguments are continually traded, in far too much detail and anger to be repeated here, for another century.

they should call this the Hundred Year War. oh that name's already taken? hm ok... "Symphony Wars: the Phantom Movement"? or "Return of the Scherzi"? i'm sorry i tried

[walks-the-ages]

[ID: two images

Image #1: an edited meme image about experts in a field vastly overestimating what is common knowledge to non-experts between two stick figures now edited to say "Doctor Who canon is second nature to us Tumblr Whovians, so its easy to forget that the average person probably only only knows about the 1996 Paul Mcgann TV Movie and one or two Big Finish audios."

"And Divided Loyalties, of course"

"of course"

The bottom of the image is unedited and reads "Even when they're trying to compensate for it, experts in anything wildly overestimate the average person's familiarity with their field."

Image #2: the Good place meme of "the time knife" now edited to say "yeah yeah, the Torvic rock murder, we've all heard it." End ID]

Random Obscure Doctor Who media/lore/spinoffs/etc that are inscrutable to the average whovian:

The EDAs

Faction Paradox

Scherzo

Paul Mcgann eats a rat

Chimes of Midnight

Zagreus sits inside your head and eats you when you're sleeping

Looms

The Infinity Doctors

Venusian Lullaby

A human being who is/becomes a TARDIS

The War In Heaven

Barbara Benedetti as the Seventh Doctor in 1984

The book of the war ($500+ on ebay/free on the internet archive)

Star Trek Next Generation Crossover

Eight and Ten team up to battle evil alternate universe Rose Tyler

The Doctor and the Brigadier travel in the TARDIS together and befriend some Daleks on Skaro

The Time Lords have been casually erasing criminals (or anyone they deem too dangerous to their ideals including physical or biological appearance/workings) from the entire continuity of history and memory . Just. because they can.

BBV

DW2012

Le Docteur Omega

But i love you ! - you silly little girl-

Scream of the Shalka

This list includes some fan content or completely seperate and public domain mentions. And some repeats.

If you recognize them all, congrats

[bigjoe11]

OAD Ultrafidelity Vajra Power Amplifier Review

https://www.enjoythemusic.com/magazine/equipment/0423/OAD_Ultrafidelity_Vajra_Power_Amplifier_Review.htm This was also demonstrated in the echoed repeated staccato of the Scherzo, where Ashkenazy’s left hand mirrors his right. The musical tension was conveyed perfectly by the Vajra. When Ashkenazy then sustains some of the notes a little longer, the gorgeous resonances of the Steinway filled my…

[gotyouanyway]

sorry i don’t feel like editing this to make it coherent rn but the divergent universe arc has time loops within time loops but no concept of time at all, events that repeat inevitably without caring who fulfills the essential roles, and microcosms of itself existing like fractals inside it cycling through birth --> death over and over while still being part of the larger cycle of the universe itself. and the timelessness/circularity of it sometimes even affects the structure of the story itself (the fable in scherzo that didn’t really make sense until tnhof).. everybody in that universe is everybody else at some point, every event is repeated both within a single universe cycle and when the whole thing resets, and all these small occurrences echo throughout the universe somehow. like, the changing of roles with repetition of dialogue in tnhof is repeated on a larger scale when the universe resets and rassilon and the kro’ka are stuck in the evolution chamber. even the voice stealing in tnhof is like the sound creature stealing their voices in scherzo. certain words and phrases follow them through the universe like “all things must die”. how does anyone act normal about any of this! themes of repetition taken to mindfuck extremes!

[sarahtheflutist]

Brahms began composing his last symphonic masterpiece at a mountain retreat in 1884, about a year after completing the Third Symphony.  Brahmsians often label it as the composer’s “magnum opus,” although the German Requiem competes for that designation.  It was composed specifically for the Meiningen Court Orchestra, led by his friend Hans von Bülow, rather than for Vienna.  Brahms was concerned from the outset about the work’s accessibility, but audiences responded enthusiastically.  It is quite serious and even tragic.  Although the third movement competes with the finale of the Second Symphony for sheer exuberance, this only emphasizes through contrast the severity and strictness of the finale.  The chains of thirds introduced in the first movement, as well as the emphasis on the note C in all four movements, characterize the symphony.  Bülow, only half-jokingly, remarked after the first movement was played on two pianos at a private gathering, “For the whole movement I had the feeling that I was being given a beating by two incredibly intelligent people.” 

It is the only one of Brahms’s symphonic first movements to avoid repeating the exposition, although the development begins with the first theme in its original form.  The second movement is known for its suggestions of the Phrygian mode.  The first two movements also have notably unusual final cadences.  The only third movement in the symphonies that actually sounds like a scherzo is paradoxically the only one to avoid the three-part scherzo-like form.  The introduction of the triangle is the only time in the symphonies that a percussion instrument other than timpani is used.  Although it seems anomalous, the movement does have clear references to the other three, even suggesting the theme of the finale’s variations in the alternating high and low chords in the coda. 

The extraordinary finale is a passacaglia  or chaconne (Brahms used the latter term), a form common in the early eighteenth century.  It is a series of 30 continuous variations on an eight-bar stepwise rising theme.  Said to be derived from a Bach cantata (specifically Cantata #150), Brahms gives the theme its essential character by making the fifth note and its harmonies chromatic (outside the E-minor scale).  The variations can be split into four sections roughly corresponding to the first theme group, second theme group, development, and recapitulation of sonata form (used in all three of the other movements).  The brief coda ends the symphony with a powerful impact. 

Though intellectually and emotionally somewhat challenging, the symphony’s greatness was already acknowledged by Brahms’s death a decade later.  The orchestra is of standard size, with double woodwind, four horns, two trumpets, and timpani.  Contrabassoon, piccolo, and triangle are used in the third movement.  Three trombones (and contrabassoon) are used in the fourth movement.

[werewolvesandaccordions]

Ravel – Piano Trio in a minor (1914) I didn’t make a post for Ravel’s birthday because I was on vacation, but while I was gone I watched the ocean from my hotel room and drank Mexican spiced coffee and was listening to this piece. Even though Ravel was considered among the forefront of Modernist composers, he was a bit more conservative than some. He loved Mozart and considered his music to be Mozartian – not because of harmony or development, but because of balanced phrases and repeats, which is something that composers like Debussy and Stravinsky completely did away with. He wrote this piano trio faster than he’d written any of his other great works during the summer of 1914, fueled by the desire to enlist in the war, and afterward he wrote to Stravinsky, “The idea that I should be leaving at once made me get through five months’ work in five weeks! My Trio is finished.” He wrote the work while spending the summer in Basque country. His mother was Basque and he identified strongly with this heritage, and at the time he was drafting a piano concerto of Basque themes that would be a nationalistic piece. He abandoned that project, but the influence still held over this trio, especially the first movement which is based on a Basque dance, a zortziko. It opens with a melody that sounds as if it were a direct transcription of a guitar piece, with a lot of strumming on a low E, before the strings come in and comment. Side note, while Ravel loved Mozart, he claimed to hate Beethoven, mostly because Beethoven was ‘everywhere’ at the time and also because he, like the other French composers of the day, were sick of German standards dominating in Europe as “the” standards for “good music”. So instead of following forms that broke down melodies and used them for the structure of the work, and had these melodies developing this way, French musicians liked to keep melodies the same but color the harmonies differently. So here we get the main melodies going through a river of harmonic colors and new textures, plucking in the strings, going to different registers of the instruments, and stretching chords out and displacing the notes octaves apart, playing around in a space that is dominated by modal writing. And it is incredible to hear the main melody go on a journey where the texture and drama gets more and more intense, until resolving in a serene coda. The second movement is like a scherzo, but Ravel calls it a pantoum, which is a type of poem that was popular with children at the time where lines were repeated in mixed order. Here, Ravel tries to recreate the sensation by having a simple motif in the strings repeat over and over like a kaleidoscope while the piano plays a slow dramatic choral. The effect is strange, creating the sensation of listening to two different pieces – one fast, one slow – being played over each other at the same time. The passacaglia opens with a long pentatonic melody, then the cello comes in playing in a full minor scale, then the violin helps fill it with sevenths and finally the piano fills out more to fill the soundscape with ninths and elevenths, intervals that Ravel absolutely adored and used throughout all of his output. Here it is like listening to the development of musical theory, starting with the basics and then growing more and more colorful and ‘unstable’ over a solid base. The last movement is the most intense and large scale, the sound world is borderline symphonic with how it pushes and pulls at the instruments’ abilities. It opens with a beautiful glassy melody in the piano over shimmering strings. It soon breaks out into the intense moments, a grand flourish all the way to the coda. Movements: 1. Modéré 2. Pantoum: Assez vif 3. Passacaille: Très large 4. Final. Animé

mikrokosmos: Ravel – Piano Trio in a minor (1914) I didn’t make a post for Ravel’s birthday because I was on vacation, but while I was gone I watched the ocean from my hotel room and drank Mexican spiced coffee and was listening to this piece. Even though Ravel was considered among the forefront of…

[tinas-art]

Ravel – Piano Trio in a minor (1914) I didn’t make a post for Ravel’s birthday because I was on vacation, but while I was gone I watched the ocean from my hotel room and drank Mexican spiced coffee and was listening to this piece. Even though Ravel was considered among the forefront of Modernist composers, he was a bit more conservative than some. He loved Mozart and considered his music to be Mozartian – not because of harmony or development, but because of balanced phrases and repeats, which is something that composers like Debussy and Stravinsky completely did away with. He wrote this piano trio faster than he’d written any of his other great works during the summer of 1914, fueled by the desire to enlist in the war, and afterward he wrote to Stravinsky, “The idea that I should be leaving at once made me get through five months’ work in five weeks! My Trio is finished.” He wrote the work while spending the summer in Basque country. His mother was Basque and he identified strongly with this heritage, and at the time he was drafting a piano concerto of Basque themes that would be a nationalistic piece. He abandoned that project, but the influence still held over this trio, especially the first movement which is based on a Basque dance, a zortziko. It opens with a melody that sounds as if it were a direct transcription of a guitar piece, with a lot of strumming on a low E, before the strings come in and comment. Side note, while Ravel loved Mozart, he claimed to hate Beethoven, mostly because Beethoven was ‘everywhere’ at the time and also because he, like the other French composers of the day, were sick of German standards dominating in Europe as “the” standards for “good music”. So instead of following forms that broke down melodies and used them for the structure of the work, and had these melodies developing this way, French musicians liked to keep melodies the same but color the harmonies differently. So here we get the main melodies going through a river of harmonic colors and new textures, plucking in the strings, going to different registers of the instruments, and stretching chords out and displacing the notes octaves apart, playing around in a space that is dominated by modal writing. And it is incredible to hear the main melody go on a journey where the texture and drama gets more and more intense, until resolving in a serene coda. The second movement is like a scherzo, but Ravel calls it a pantoum, which is a type of poem that was popular with children at the time where lines were repeated in mixed order. Here, Ravel tries to recreate the sensation by having a simple motif in the strings repeat over and over like a kaleidoscope while the piano plays a slow dramatic choral. The effect is strange, creating the sensation of listening to two different pieces – one fast, one slow – being played over each other at the same time. The passacaglia opens with a long pentatonic melody, then the cello comes in playing in a full minor scale, then the violin helps fill it with sevenths and finally the piano fills out more to fill the soundscape with ninths and elevenths, intervals that Ravel absolutely adored and used throughout all of his output. Here it is like listening to the development of musical theory, starting with the basics and then growing more and more colorful and ‘unstable’ over a solid base. The last movement is the most intense and large scale, the sound world is borderline symphonic with how it pushes and pulls at the instruments’ abilities. It opens with a beautiful glassy melody in the piano over shimmering strings. It soon breaks out into the intense moments, a grand flourish all the way to the coda. Movements: 1. Modéré 2. Pantoum: Assez vif 3. Passacaille: Très large 4. Final. Animé

mikrokosmos: Ravel – Piano Trio in a minor (1914) I didn’t make a post for Ravel’s birthday because I was on vacation, but while I was gone I watched the ocean from my hotel room and drank Mexican spiced coffee and was listening to this piece. Even though Ravel was considered among the forefront of…