#c: erlkönig.

[cinzanohq]

NOME COMPLETO: Lucifer Wolfgang Dvořák.

CODINOME: Erlkönig.

IDENTIDADE DE GÊNERO E PRONOMES: Agênero, ele/dele.

DATA DE NASCIMENTO E IDADE: 13/11/1977, 46 anos.

NACIONALIDADE E ETNIA: Tcheco, branco.

FACECLAIM: Hugh Dancy, ator.

TEMPO DE TREINAMENTO: 14 anos.

OCUPAÇÃO: Professor de Técnicas de Auto-Defesa + Professor Responsável pela Arcilla.

EXTRACURRICULARES: Responsável pelo Clube Cultural de Balé.

MORADA: Arcilla.

PLOTS DESEJADOS: Todos.

CONTA: czn_erlkonig

OOC: +18

SINGULARIDADE

Unseelie Ruler. Mimetismo faérico, que permite ao usuário utilizar-se das habilidades das fadas, mais especificamente, daquelas tradicionalmente vistas como pertencentes à Corte Unseelie. A Corte Unseelie é composta por aqueles inclinados ao ocultismo e ao obscuro, sendo associados à bruxaria e ao diabo. As fadas perversas estão sempre prontas para infligir danos e perdas.

BIOGRAFIA

TW: abuso psicológico, violência física, violência doméstica, homicídio, morte, patricídio.

O genitor de Lucifer não era Asmodeus, embora também não pudesse ser considerado prole de uma figura divina e benevolente. Filhos de Deus (um deus, qualquer deus), nenhum Dvořák poderia ser. Oberon era um homem cruel, porém abençoado com uma singularidade poderosa demais. Seus olhares vazios conseguiam invadir com facilidade os pensamentos de quem ousasse olhar para ele diretamente, ultrapassando qualquer barreira psíquica ou física. Erodir barreiras era o que Oberon sabia fazer — justamente por isso, mesmo ao estar do lado dos mutantes criminalizados, o homem não sofreu por sequer um instante. Por onde quer que passasse, deixava um rastro de temor: ninguém tinha coragem para denunciá-lo, pois ninguém conseguiria arcar com o prejuízo das verdades que Oberon guardava em sua torre de marfim.

Lucifer era apenas mais uma de suas peças — nada mais do que um peão, é claro. Desde seu nascimento, Oberon tomou controle de sua mente, moldando-o para satisfazer suas necessidades. Lucifer nunca teve privacidade, nem sequer nos confins de seu próprio âmago. Graças às habilidades maternas, não demorou muito para que Oberon notasse a singularidade de seu primogênito: a voz doce capaz de convencer qualquer um a cometer loucuras era mais do que indicativa dos traços faéricos. Sendo assim, Oberon impulsionava a si mesmo ao conseguir favores e formar tratos ao dominar corpo e espírito de seu próprio filho, manipulando-o como se mera marionete fosse por inúmeros anos.

O jovem Dvořák cresceu enfraquecido, partes de sua mente e alma se distorcendo em criaturas monstruosas. Não possuía paz, e também não tinha alguém com quem pudesse contar. Qualquer ato de rebeldia era punido de forma desproporcional, originando cicatrizes físicas, para além de toda a mágoa alimentada em seu cerne. Aos dez anos, Lucifer já queria acabar com tamanha agonia — seu pai, é claro, conseguia detectar toda aquela insatisfação, tomando aquilo como sinal para intensificar o controle e finalizar o que havia começado: a destruição da humanidade de sua única prole. Assim, teria o vassalo que sempre havia desejado.

Os anos de tortura se prolongaram, enquanto a magia de Lucifer se desenvolvia de forma desordenada e caótica. Sendo forçado a usar de seus poderes pela figura paterna, sendo também peça e objeto de negociação, seu estado físico e mental atingiu seu limite — após anos de abuso, um momento de descontrole e de gana foi o suficiente para que esfaqueasse Oberon por mais de cinquenta vezes. Apesar da violência brutal de seus atos, Lucifer esteve sempre em plenas capacidades mentais naquele momento: o mais lúcido que estivera em vinte e cinco anos.

Foi assim que conheceu Corvo — um dos homens que Lucifer já sabia estar no rastro de Oberon. Uma troca foi feita naquele instante: com Lucifer tendo terminado seu trabalho, Corvo lhe guardou sob suas asas, lhe ensinando tudo que Lucifer sabe atualmente. Após fortalecer-se, Lucifer passou a frequentar o Instituto Cinzano no ano de sua abertura, graças a conexões de Corvo. Após sua graduação, que demorou mais do que o normal graças ao seu histórico, optou por permanecer ali como professor. Atualmente, leciona Auto-defesa e é o responsável por sua antiga casa, a Arcilla.

LISTA DE PODERES

Empatia: O usuário pode interpretar totalmente as emoções, humores e temperamentos dos outros, permitindo-lhes entender os sentimentos mais profundos de terceiros mesmo que estes não sejam demonstrados. Entretanto, por tratar-se de uma habilidade passiva, não existe como desligá-la. Sendo assim, o usuário está eternamente escravizado pelos sentimentos de outrem, de modo que seu próprio humor e estado psíquico é afetado por aqueles que lhe cercam.

Zoolingualismo: O portador se comunica e compreende os animais, transcendendo as barreiras linguísticas entre espécies: o indivíduo pode entender os pensamentos, sentimentos e intenções dos animais, bem como se comunicar com eles de forma efetiva. Isso inclui desde animais domésticos, como cães e gatos, até animais selvagens e exóticos. O zoolingualismo permite ao portador obter informações valiosas dos animais, além de estabelecer uma conexão mais profunda e empática com o reino animal. No entanto, existem algumas limitações para essa habilidade. Nem todos os animais podem se comunicar verbalmente, o que pode exigir que o portador interprete sinais não verbais e comportamentais. Além disso, animais com inteligência limitada ou diferentes sistemas de comunicação podem ser mais difíceis de compreender completamente. O zoolingualismo também não confere controle mental sobre os animais, sendo apenas uma ferramenta de comunicação e compreensão mútua.

Persuasão: O usuário possui habilidades de sedução impecáveis e um fascínio encantador que pode ser usado para seduzir, encantar, persuadir e manipular de maneira fácil e eficiente qualquer pessoa, de modo a manipulá-las para obter informações ou conseguir o que deseja. No entanto, tal poder de persuasão não abrange qualquer controle físico ou mental. Sendo assim, está completamente à mercê da resistência, experiência e força de vontade da pessoa alvo.

Encantamento de comidas e bebidas: Comidas ou bebidas produzidas diretamente pelo usuário podem receber encantamentos, geralmente de caráter maligno. Tais alimentos podem causar cegueira temporária e indigestão, enfraquecendo o alvo por tempo determinado e curto. Caso a alimentação do alvo seja feita constantemente por meio de iguarias encantadas, sua saúde pode se deteriorar aos poucos, ao mesmo tempo em que o indivíduo cria um vício em tais manjares. Sintomas característicos de abstinência podem ocorrer, e a recusa do indivíduo em consumir alimentos naturais pode resultar numa inanição. Tudo isto, é claro, no longo termo.

Dívida nominal: Em muitas histórias, acreditam-se que as fadas possuem a capacidade de manipular ou controlar indivíduos através de seus nomes. Sendo assim, quando o verdadeiro nome completo de alguém é ofertado ao usuário, este ganhar um poder limitado sobre ela. Por exemplo, o usuário consegue ter acesso a informações pessoais sobre a pessoa ou sobre o seu passado. Esta perda de privacidade pode deixá-lo vulnerável à sua interferência ou manipulação. Entretanto, o usuário não possui qualquer escolha sobre quais informações irá aprender: elas apenas serão registradas em seu cérebro, sem sequenciamento lógico, e, muitas vezes, de forma incompleta.

Asas: Permite que o usuário voe pelos céus ao materializar asas, proporcionando vantagens como mobilidade rápida, acesso a áreas de difícil alcance e a capacidade de evitar ataques terrestres. No entanto, a habilidade de voar requer energia mágica constante. Deste modo, fica impossibilitado o voo por longas distâncias ou a uma velocidade muito exacerbada. Para além disto, é uma atividade de alto custo energético, drenando as energias do usuário e podendo até lhe causar dores musculares na região das costas.

Voz hipnótica: Permite que o portador controle e influencie as mentes dos outros por meio do seu doce domínio vocal. Sendo assim, o indivíduo pode projetar sugestões irresistíveis a tão somente uma pessoa por vez, sendo obedecido com enorme velocidade caso o ambiente o permita (ou seja, interferências externas ainda podem destruir o efeito deste poder). A voz hipnótica pode ser usada para persuadir, manipular ou até mesmo subjugar as pessoas, tornando-as vulneráveis à vontade do usuário. No entanto, essa habilidade tem suas limitações, já que sua eficácia pode variar de acordo com a resistência mental e emocional das pessoas alvo, e seus efeitos são drasticamente reduzidos caso a voz seja usada excessivamente em sequência com a mesma pessoa. Além disso, a voz hipnótica não pode ser usada para controlar diretamente as ações físicas de alguém, apenas influenciar suas decisões e comportamentos mentais.

Manipulação faérica: O usuário pode criar e destruir fadas, controlando-as de modo que estas cumpram suas ordens, ajudem-no em situações diversas, ataquem inimigos, e obtenham informações sobre um determinado local ou pessoa. O número de fadas geradas é correspondente à energia gasta pelo usuário, e seu uso contínuo pode causar a drenagem de seus poderes.

Manipulação Emocional: Permite que o usuário manipule as emoções e os sentimentos das pessoas, animais e outras criaturas. Tal habilidade apenas pode ser utilizada para seres em imediata proximidade ao usuário e não seria viável para uso massificado (ou seja, com muito esforço, seria possível alterar, de forma simultânea, as emoções de cinco pessoas, mas não de uma multidão ou exército). Além disso, indivíduos com um forte autocontrole emocional ou com proteções mágicas podem ser mais resistentes a essa habilidade.

Círculos de fada: O usuário é capaz de criar e usar círculos de fadas, os quais possuem muitas propriedades mágicas, mas são considerados perigosos para os mortais. Quando aprisionados em um destes círculos, as vítimas podem acabar dançando até a exaustão, ficando paralisadas ou adormecendo, enlouquecendo ou perdendo a noção do tempo. Ademais, ao tentar destruir um anel de fada, má sorte pode ser invocada como uma maldição temporária. Para funcionar como armadilha, requer que a vítima entre no círculo para que ele seja ativado. Para além disto, as vítimas podem ser resgatadas se um estranho as encontrar a tempo e puxá-las para fora do círculo, embora isso corra o risco de elas também ficarem presas. De forma semelhante, amuletos projetados para afastar a magia das fadas protegem contra esses anéis.

Juramentos e contratos: O usuário estabelece contratos mágicos com prazos determinados que não podem se prolongar por mais de uma semana. Deste modo, o usuário consegue obter favores, serviços ou informações valiosas em troca. No entanto, nenhum contrato é eterno, nem muito menos imune a inadimplência. Sendo assim, por mais cautelosa que seja a construção de tal juramento, brechas sempre existirão, possibilitando, de algum modo, o rompimento do acordo. Caso isto ocorra, o contrato não cumprido pode prejudicar ou enfraquecer o usuário.

Ilusionismo: O portador cria e controla ilusões vívidas e convincentes, enganando os sentidos das pessoas ao seu redor. Com essa habilidade, o indivíduo pode projetar imagens, sons e sensações falsas, criando uma realidade alternativa para seus alvos. No entanto, as ilusões estão limitadas ao plano mental e não podem causar danos físicos reais. Além disso, pessoas com fortes habilidades de concentração ou poderes mentais podem ser menos suscetíveis às ilusões. O uso prolongado das ilusões também pode exigir um esforço mental considerável do portador, além de requisitarem uma quantidade significativa de energia mágica. Por fim, as ilusões não têm substância física e podem ser dissipadas facilmente se detectadas.

Roubo de identidade: Com essa habilidade, o usuário pode assumir a aparência física e características de outra pessoa. Isso lhe confere vantagens, como se infiltrar em locais de difícil acesso ou enganar inimigos. No entanto, essa habilidade requer uma concentração intensa e um profundo conhecimento da pessoa que está sendo imitada, e seus efeitos não duram por mais de uma hora seguida, tendo, também, longo tempo de recarga. Além disso, o usuário não adquire as habilidades ou conhecimentos da pessoa imitada, apenas a aparência física.

Magia obscura: O usuário consegue canalizar energia mágica das trevas para realizar feitiços poderosos, de modo a causar danos significativos aos oponentes. Embora não seja necessariamente magia "má", as artes das trevas tendem a se concentrar na destruição; prejudicando, amaldiçoando e complicando a vida de outras pessoas enquanto avançam o próprio estado do usuário. Como parte disso, o usuário necessita adotar técnicas e práticas mágicas que tradicionalmente seriam vistas como tabus. As desvantagens são que a mágica escura pode corromper a mente e a alma do portador, levando-a a tomar decisões moralmente questionáveis ou, até mesmo, causando danos irreversíveis a sua sanidade.

Maldições: O usuário pode lançar uma maldição, um efeito sobrenatural negativo, sobre uma pessoa, com duração máxima de seis meses. Os efeitos exatos podem ser quase qualquer coisa que o usuário desejar, variando de pequenos aborrecimentos a uma doença grave, embora não possa ocasionar uma morte, seja direta ou indiretamente. Entre os efeitos mais comuns estão o infortúnio e várias doenças. Como necessitam de uma dose elevada de magia obscura, drenam a energia vital do usuário, provocando-lhe imensa letargia e afetando sua sanidade de modo equiparável ao mal causado ao seu alvo.

[mikrokosmos]

The Gothic in Classical Music History (1760s-1920s)

Intro Back in high school I fell in love with two things; classical music, and Edgar Allan Poe. I’ve always loved Halloween, October, spooky things, ghost stories, horror and slasher movies, etc. And I always loved finding classical music that was also spooky, or dark, or evocative of the same eerie experience of a cold and foggy October day. Thinking about these memories made me want to put together a short list of Gothic Classical music.

But what do I mean? There is no true “Gothic music” as in a specific movement in classical history, because the traditional Gothic refers to literature. Not all art movements have corresponding trends in all mediums. Even so I thought it would be fun to say, if there was such a thing as Gothic music, what would that include?

18th Century

John Henry Fuseli - The Nightmare (1781)

Music of the 1760s-1790s, corresponding with the first wave of “Gothic Novels” in the English language. Some names in this era include Horace Walpole (The Castle of Otranto), Ann Radcliffe (The Mysteries of Udolpho, The Italian) and Charles Brockden Brown (Wieland). The closest we have to music of this same era would be in the Sturm und Drang style. Sturm und Drang (Storm and Stress) was used to describe music written in a minor key that was restless, agitated, intense, emotional, and more extreme than the typical expectations for restraint and lightness/clarity, music that aristocrats in powdered wigs and velvet and lace could relax with. Strong changes of emotion and more emphasis on subjectivity, reflected by sudden modulations and pulsing rhythms.

The most famous piece that I associate with Sturm und Drang is Wolfgang Amadeus Mozart’s “little” g minor Symphony no.25, K.183 (1773). It is famously used in the opening of Miloš Forman’s Amadeus (1984). It is a fun piece, and that opening movement is full of fire, and probably the young Mozart having fun (he wrote it at 17. If you ever want to lower your self esteem, look up what music Mozart wrote at your current age.). Another major work would be Joseph Haydn’s “Farewell” Symphony no.45 (1772), written in the very unusual for the time key of f# minor. And of course, even though he comes later, anything Ludwig van Beethoven published in a minor key has a lot of muscular passion to it, and his early/classical era of the 1790s is no joke. Check out the final movements of his Piano Trio no.3 in c minor and his Piano Sonata no.1 in f minor, or his most famous early sonata, the Pathetique.

But if the Sturm und Drang style and Gothic genre also emphasize the disturbed and the psychological, we can include programmatic works that do the same. Mozart’s opera Don Giovanni (1788) has an incredible moment in the finale. The sociopathic hedonist is confronted by the ghost of the man he murdered in the first act, who possesses a statue and confronts Don Giovanni with his sins. Don Giovanni doesn’t repent, so he is dragged into hell with a chorus of demons. Always a good reminder that Mozart wasn’t the eternal child who wrote pretty melodies.

19th Century

Caspar David Friedrich - The Abbey in the Oakwood (1810)

Music of the early 19th century corresponds better with Gothic fiction because Romanticism in art brought greater interest in the supernatural, in the subjective, in emotional reactions to the universe… major names in fiction include the poetry of Lord Byron (Darkness), Mary Shelley (Frankenstein, The Last Man), and Sir Walter Scott (The Bride of Lammermoor). Greater emphasis is put on the anxiety of the unknown, supernatural fears beyond our control.

Of all Franz Schubert’s songs, Erlkönig (1815) best exemplifies the Gothic (and this is a bold claim because I only know about a fraction of Schubert’s extensive song output). In it, a father and son are riding on horseback. The son is sick with fever. As they ride, the son cries out that he can hear the Elf King calling out to him, some evil spirit or demon that wants to take the son’s life. The father tries to calm him down, but the Elf King gets closer and closer. By the time they reach home, the son has died. Was the Elf King real? Was the son hallucinating from fever? How literal should we take this text? The ambiguity of subjective experiences and how we interpret and understand reality is a major theme in Gothic fiction.

Many famous German operas lean into the supernatural and magical. In this period we get Carl Maria von Weber’s Der Freischütz (1821), considered to be the first Romantic opera. In it, our main character Max who needs to win a shooting contest so he can be allowed to marry his lover, Agathe. He is given a gun that can shoot magic bullets by another forrester Kaspar (who has his own plans). Kaspar tells Max to meet him in the “Wolf’s Glenn” in the woods at midnight for more magic bullets. In the Wolf’s Glenn, Kaspar calls for a spirit, the Black Huntsman Samiel, to help him curse the other characters, offering Max’s soul in exchange. Making deals with demons/the devil was another fascination in Romanticism.

Legends of a diabolical nature were springing around great musicians. At the end of the 1700s, Giuseppe Tartini wrote his most famous composition, the “Devil’s Trill” Violin Sonata in g minor which is full of virtuosic passages. Tartini claimed that the Devil appeared to him in a dream, and that he sold his soul in exchange for the Devil to be his servant. He handed the Devil his violin, and the Devil “…played with such great art and intelligence, as I had never even conceived in my boldest flights of fantasy. I felt enraptured, transported, enchanted: my breath failed me, and I awoke” Source

Similar stories came about with violinist Niccolò Paganini, who astonished the audiences of the early 19th century with his (for the time) otherworldly technique, dazzling them with scales and leaps and scratches the likes of which you can hear across his 24 Caprices for solo violin. A young Franz Liszt was at one of Paganini’s concerts and he was enthralled and inspired to become the “Paganini of the Piano”. He too would dazzle audiences with his percussive intensity, glittering arpeggios, and dreamy modulations to possess women with the spirits of hysteria and other dated misogynistic diseases. Cliche to say but before Bieber Fever, before Beatlemania, there was Lisztomania.

The sense of Faustian bargains comes through in the pieces Liszt wrote after Goethe’s Faust. The Faust Symphony (1857) includes a movement for Mephistopheles, the demon/ the Devil that bargains with Faust. The Mephistopheles movement has no original theme, but takes and corrupts the themes of Faust and his lover Gretchen into a mocking tone. Later on, Liszt was inspired to write a tone poem “The Dance in the Village Inn” or Mephisto Waltz no.1 (c.1862). He also wrote it for piano around the same time. The story has Mephistopheles taking Faust to a wedding in a village and playing the violin so madly, the partygoers are intoxicated by the music and go off dancing in the woods. Emotions taking over and making one act irrationally was another fascination in Gothic fiction.

Liszt would go on in his later years writing a few more Mephisto waltzes, with a lot of forward thinking harmonies and piano writing, unfortunately not as popular. Mephisto waltz no.2 (1881) has moments that make me think of Debussy, and the third (1883) has glittering and ethereal moments. But the best example of Liszt’s interest in the Gothic would be his earlier concert piece Totentanz (1949), or Dance of Death (Danse macabre). In it, the piano and orchestra play out variations on the Medieval chant Dies Irae, always reminding us of the inevitability of death. The variations depict skeletons dancing wildly all while the Mephistopheles at the piano unleashes his seductive tones.

The Dies Irae chant goes across our pop culture, with one famous iteration being a synthesized version of passages from Hector Berlioz’s Symphonie fantastique that Wendy Carlos wrote for Stanley Kubrick’s The Shining (1980) after Stephen King’s novel of the same name. And it was Berlioz’s symphony that enchanted audiences in 1830 with new, titanic sounds beyond what orchestra music had been before. In the story of the Symphonie fantastique, an artist has tried to overdose on opium after feeling rejected by unrequited love, but instead he has a vivid drug induced nightmare where he is sentenced to be beheaded via guillotine, which was still a traumatic living memory for the Parisian audience. He then sees himself among ghosts and monsters during a witches’ sabbath, the lovely woman’s beautiful theme is distorted into a grotesque mockery, the Dies Irae comes back among the cackling. It was a new degree of imagination expected from the audience. Later, Berlioz would depict demons in Pandæmonium (the Capital of Hell in Dante’s Inferno) at the end of his Damnation of Faust.

Through the mid to late 19th century we get authors of Gothic literature such as Edgar Allan Poe, Elizabeth Gaskell, Emily and Charlotte Brontë, Nathaniel Hawethorne, and Victor Hugo. We also get two more operas that have Gothic themes. First is Richard Wagner’s The Flying Dutchman (1843). In this opera, a ship on the North Sea collides with the Ghost Ship of the Flying Dutchman who is cursed to sail the seas forever, but is allowed to come ashore once every seven years and if he can find a wife, he will be freed. I’m sure you can guess how this opera ends. The overture is often played in concert for a condensed version of Wagnarian thunder and romance. The next important opera is Giuseppe Verdi’s Macbeth (1847), because Shakespeare was being revived and translated in different languages across Europe and Verdi loved his plays. In the opera, Macbeth comes across a chorus of witches that foretell his success and downfall. He is too ambitious and goaded by Lady Macbeth, plans to take the throne through deception and murder. Lady Macbeth is later haunted with phantom blood on her hands which only she can see. And Macbeth succumbs to his inevitable fate.

We also get two significantly “Gothic” pieces of orchestra music. They are both tone poems, which also reflects the concert goers’ tastes. The one that has always been a quintessential “Halloween classical” piece is Camille Saint-Saens’ Danse Macabre (1875), opening at the stroke of midnight (softly evoked by the harp), a violin shrieks out the tritone (the “Devil’s interval” which the Romantics thought meant was cursed by the superstitious Medievals, really it was an idiom for “hard to use in music”) and introduces ballroom music along with the clacking bones of skeletons dancing in the graveyard (evoked by the xylophone). The skeletons dance through the night until the rooster crows at dawn.

The other great Halloween concert piece is Modest Mussorgsky’s Night on Bald Mountain (1867) which depicts another witches sabbath, this time on St. John’s Night, a major holiday in Slavic Eastern Orthodox culture. Walt Disney’s Fantasia (1940) would help bring this poem to life with an animated phantasmagoria of ghouls and skeletal horses and other demons flying around the mountainous demon Chernoberg.

[Here I want to give a quick shoutout to Cesar Franck’s Le Chasseur maudit (The Accursed Huntsman), a tone poem about a Count who doesn’t go to church one Sunday, and instead rides around to whip peasants for his own amusement, so demons drag him to hell. Not nearly as famous a concert piece as the others mentioned in this list but it has colorful orchestration so you should check it out.]

The initial idea for Fantasia was for Disney to repopularize Mickey Mouse by writing him into an animated version of Paul Dukas’ The Sorcerer’s Apprentice. The original poem by Goethe was a classic that Paul Dukas set to music in 1897. In it, we hear the Sorcerer leave his Apprentice to clean the floors of his workshop. The Apprentice uses magic to bring a broom to life so it can do the chores for him. The Broom mindlessly pours buckets of water all over the floor, and the Apprentice isn’t good enough with magic to stop it. He chops it up into pieces with an ax, but they regenerate into several brooms which go back to marching water in. The Sorcerer returns to clean the mess and scolds his Apprentice. This charming tale has a darker and more diabolically fun tone in Dukas orchestra.

20th Century

Harry Clarke - Illustration for "Masque of the Red Death" (1919)

In the same exact year of Dukas’ tone poem, we get Bram Stoker’s Dracula. At this turn of the century other major names include Gaston Luroux (The Phantom of the Opera), Robert Lewis Stevenson (Dr. Jekyll and Mr. Hyde), Henry James (The Turn of the Screw), Oscar Wilde (The Picture of Dorian Gray). At this time, there are a few more pieces that continue trying to evoke Gothic subject matter. One comes from Gustav Mahler’s Symphony no.7 (1905), sometimes dubbed “Song of the Night”. Two of the symphonies five movements are titled “Nachtmusik” (night music), the first is more in line with Gothic anxiety and spookiness than the second which is more like a serenade. But the most Gothic movement is the Scherzo which sits in the middle of the symphony and is like a Viennese ballroom full of dancing corpses and skeletons as waltz music decays with them.

A surprising example (at least, because of how relatively obscure it is) comes from Claude Debussy with parts of an opera based on Poe’s The Fall of the House of Usher that he worked on between 1908-1917. Not too much a surprise on the one hand because French translations of Poe’s work became popular and influential. On the other hand Debussy is more known for evocative sound pictures, unique musical colors, and subtlety. Perhaps he was drawn to symbolist and psychosexual interpretations of The House of Usher, the same interests that preoccupied him with his only finished opera Pelleas et Melisande. Roger Orledge reconstructed the opera and tried to stay true to Debussy’s style, so what we do have is passable and as shadowy and vague as his other orchestral masterpieces.

Maybe the hardest work to recommend (but I do recommend regardless, give it a chance) is a Modernist song cycle for chamber ensemble. Arnold Schoenberg’s Pierrot Lunaire (1910) uses freely chromatic atonality to give a demented color of psychosis experienced by Pierrot, personified version of a stock character for old Commedia dell Arte plays, a clown who over time became the “sad clown”. Maybe a precursor to the demon from Stephen King’s It, or the demented clowns and jesters that laugh at the madness of the cosmos across Thomas Ligotti’s short stories.

This was only meant to be a small overview of works that could fit my own view of the Gothic in music. There are more examples I could include, so as a hint toward today, I’ll end with a piece that was written about a century ago, yet sounds as if it could have been written today. Henry Cowell’s The Banshee (1925) is a short piano piece, so if you can, at least listen to this one. Instead of playing with the keys like you’re “supposed to”, Cowell asks the performer to drag their fingers along the wires directly. This creates disturbing reverberations and scratching sounds that tingle the back of your neck, that feel like the otherworldly cry of a Banshee.

Happy Halloween.

[estcaligo]

Made this list while I was in the mood

Classical music pieces that I associate with twst characters

* these pieces are available to listen to on youtube. Perhaps I will make a video with them one day. But I doubt it. * I apologize for any mistakes, it was a lot of information to digest * updated because I forgot to add Presto for Malleus, sorry!

Malleus - Vivaldi - The Four Seasons - "Summer" - 1 Allegro Non Molto and 3 Presto (I mean of course these ones. Add evil overblot laugh here too.) ok also Schubert - Erlkönig (The Elf King), D. 328

Sebek - Prokofiev - Romeo and Juliet, Suite No. 2, The Montagues and Capulets "Dance of the Knights" (it's just him. period.) or Rachmaninov - Musical Moment No.4 in E minor or Rachmaninov - Prelude in C Sharp Minor (Rachmaninov for Sebek in general lol)

Silver - Grieg - Peer Gynt, Suite no. 1 "Morning mood" or Debussy - Clair de lune (from "Suite bergamasque") (Yes, basic, but it fits so so much so)

Lilia - Chopin - Fantaisie impromptu in C-Sharp minor, Op. 66 (first notes - Lilia's evil grin, then whimsical nature and the whirl of memories of countries he has been to. When it goes hard, it's cooking, some violence, and then when it gets gentle, it's when he remembers Silver's childhood. Then he softens in general but also reminds us about his playful nature and strong character.)

Idia - Vivaldi - The Four Seasons - "Winter" - 1 Allegro Non Molto (resembles how Idia speaks when he's getting confident and how his character, in general, opens up. And kinda gives me his genius vibes)

Ortho - Graun - Gigue in B-Flat minor (sounds like super-fast calculation is going on. But also, some notes sound like random signals and/or signs of creativity/sudden thoughts in AI) also Chopin - Etude Op. 10 No. 5 (Black Keys)

*Erik Satie for Octa in general. Gives me mysterious underwater vibes*

Azul - Satie - Gnossienne No. 1 and Gymnopedie no.1 also kinda Chopin - Nocturne Op. 9 No. 1 (pondering, deep in thought, underwater, calculating, but also melancholic…)

Jade - Satie - Gnossienne No.3 (such big Jade vibes)

Floyd - Liszt - Mephisto Waltz No. 1 (hehe)

Leona - Haydn - Symphony No. 49 in F minor ' La Passione ' (it's long, but it's worth listening. I just imagine Leona's character and lore in general here)

Jack - Händel - Suite no. 11 in D minor. Sarabande (not really sure about this one. But it gives me 'strength and determination and values' vibes today)

Ruggie - Mozart - Symphony No. 40 in G minor, IV. Allegro assai (reminds me how he can adapt and be different if needed. Also, it sounds quite boisterous, like Ruggie is going fast, fast, fast and earning a lot, lot, lot!)

Kalim - Mozart - The Marriage of Figaro, K. 492: Overture (specifically wanting to throwa feast)

Jamil - Chopin - Waltz in E minor, Op. Posth. (he's so skillful and makes it look like he's not even trying, but he's super hardworking. Also, some parts sound like his occasional emotional outbursts) also - Chopin - Prelude in E Minor (I can't explain it, but it's just Jamil for me. I feel so sorry for him - he's such a cool and talented (and handsome) guy, and such destiny mgd. Or maybe I'm just in a melancholic mood today)

Vil - Vivaldi - The Four Seasons - “Spring” - 1 Allegro (won't be original meh. like there're so many classical pieces that fit Vil but I don't really wanna bother here so)

Rook - Mozart - Le Nozze di Figaro: "Non più andrai, farfallone amoroso" (instrumental) (ookay it was hard with Rook because I think a lot fits him but I'll stop with this one or I'll never finish this list)

Epel - Litvinovsky - Pelléas and Mélisande: III. Galliard. Navire dans la tempête (Galliard. Ship in a storm) (unrelated but my life is divided into before seeing Epel in Book 7 dreams and after)

Riddle - Beethoven - Symphony No. 5 in C Minor, Op. 67 I. Allegro con brio (duh. basic but c'mon. it suits him)

Ace - Litvinovsky - Suite for Strings "Le Grand Cahier": IV. Nos Etudes (yes that's how I feel Ace)

Deuce - Tchaikovsky - The Nutcracker Suite, Op. 71a: March of the Toy Soldiers (Deuce the honour student edition)

Cater - Beethoven : Sonatina in F Major plus "a glimpse of a depressed real Cater" one - Chopin - Mazurka in A minor, Op.17, No.4

Trey - Beethoven - Sonata No. 8 in C Minor Pathetique, Op. 13 (Adagio cantabile) (I tried to find someting "normal" meh so went with this today)

Special mentions

Rollo - Mozart - Requiem, 3 Dies Irae Bach - Toccata and Fugue in D Minor, BWV 565 Orff - Carmina Burana: Fortuna imperatrix mundi. O fortuna (super super obvious but c'mon it's basically canon)

Baul - Wagner - Ride of the Valkyries (ya Baul has big Wagner vibes for me)

Grim - Edvard Grieg – In the Hall of the Mountain King (the escalation lol)

[friend-crow]

Classical you say?

i tend to like faster pieces but here, enjoy the music:

enjoy!

Ooh, thank you! It never occurred to me to look for an instrumental version of Erlkonig! I think I still need more of a slow simmering dread type of piece, but I've saved some of these to my classic playlist.

I will never be able to unassociate that last song with 90's diamond commercials.

[fucktheark]

(some) creepypasta/marble hornets music hcs :)

these are mostly from my own playlist they aren't accurate at all this is just 4 funsies lololol

also i highly doubt anyone will even see this post but if u do drop a song rec plz im struggling finding new music </3

tim (specifically him cs masky is too busy going apeshit 4 music)

old man music but like cool old man music (this is just what my father listens to LOL)

thinks he's got peak taste and snickers at everybody else's song choices

breathe - pink floyd

pet sematary - ramones

the chain - fleetwood mac

aerials - soad

lover, you should've come over - jeff buckley

hoodie

i pulled this out of my ass tbh but imagine 80s fan brian

kinda likes lil peep but would never tell a soul cs he thinks he's too old for it

doesn't rly share his music with anyone bcs he's afraid they're not gonna clown him for it

she's in parties - bauhaus

the brightside - lil peep

the ghost in you - psychedelic furs

messages - a flock of seagulls

hotel california - the eagles (cz y not)

jane

i never rly obsessed over her so this is js based on the vibes i get from the art i've seen of her (so pretty bruh)

echolalia - faetooth

nine while nine - sisters of mercy

closet - fleshwater

engine no. 9 - deftones

frigid and spellbound - spectral wound

nina

no way totally unexpected music

i think eventually she grew out of screamo and scene but never rly let emo go entirely

acid - ghost town

get away with murder - jeffree star (yikes)

what you need - bmth

freaxx - brokencyde (she's been in love with this album since it came out)

vampires will never hurt you - mcr

jeff

i like think that after what he did to his family he just kinda checked out from earth and stopped keeping up with most pop culture, so he's still listening to the same music he did back then.

peak edgy middle schooler vibes

never tires of his playlist

every now and again he comes across something new and gets obsessed with it immediately and probably forever

yen - slipknot

makedamnsure - taking back sunday

don't go - bmth

tourniquet - marilyn manson

crewcabanger - chelsea grin

toby

I-C-P FOREVER WITH THE JUGGALOSSSSSS

still enjoys twiztid even after the beef but secretly because it makes him feel like a poser

also likes jeff buckley but feels kinda cringe for it

the stalker - icp

house of mirrors - icp

my 1st time - dark lotus

2nd hand smoke - twiztid

grace - jeff buckley

liu

same reasoning as jane i know like nothing about this dude and even less about sully so i'm not even gonna attempt .

i fw his vibe tho

eye - smashing pumpkins

the man who sold the world - nirvana

heaven - talking heads

the sickness - imminence (he's gotta be a lil emo come on)

siamese twins - the cure

eyeless jack

this one is kinda hard tbh but considering his hypersensitivity to sound, i feel like he wouldn't enjoy anything too noisy

likes songs with a lot of bass because he can feel the bass reverberating through his body when he wears headphones

soft/airy vocals!!!! he hates screaming

doesn't rly stick with a specific genre just whatever makes his ears tingle lol

a forest - the cure

dark stone - holy fawn

hide and seek #1 - plastic tree

the thing - pixies

collabo - june freedom

BEN

bitch spends so much time on the internet he discovers new music every day

listens to everything but tries to flex the really obscure shit he finds in the depths of youtube (he wants to be cool but it's kind of pathetic.)

his playlist is MASSIVE and a mess, he usually has to skip through half of it before finding something he actually likes

i don't know why but he'd be into haunted mound

plays the majora's mask soundtrack when he can't think of anything to listen to

husqrider - turnabout

fentanylism - opiated devilsperm

starting over - lsd and the search for god

gou zin zan goku - deviloof

ugliest - $uicideboy$

laughing jack

he's old af and probably doesn't get modern music tbh

classical music it is

and opera

i'm not gonna make a whole playlist but he really loves erlkönig because of the story lol

[tinyshe]

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

[serenaew]

Serena's Masterlist: Filk

Last updated 28/12/2023

Harry Potter

[Filk] Sing for you in the dead of night (T, Snarry, complete)

[Filk] Game Over (T, Snarry, complete, TTO Dracula the Musical: Zu Ende)

[Filk] Nocturne (G, Snape x OC, complete)

[Filk] Old Lord Voldy (had a soul) (T, TMR / gen, complete)

[Filk] Embers and Soot (G, no characters, complete, multivoice)

Phantom of the Opera (all media)

Voiceteam Triumphant (G, gen, complete, multivoice)

[Filk] This World Is Mine! (T, Carlotta / gen, complete)

[Filk] Podfic Home (G, complete)

The Sound of Music

[filk] Ea-Nasir's Favourite Things (G, Mesopotamian RPF tto My Favourite Things, complete, multivoice)

[Filk] I've been bamboozled by ebay-Nasir! (G, xkcd, complete)

Assorted fandoms / tto

[Filk] From the life of a C. elegans researcher (G, Science fandom, complete)

[Filk] podfic podfic filk (G, the llama song, complete)

[Filk] (Voiceteam) Over the Rainbow (G, tto Over the Rainbow, complete, multivoice)

[Filk] I like the Voiceteam (G, tto I like the Flowers, complete, multivoice)

Blaviken [filk] (T, The Witcher, complete)

Poison & Win(?) (T, This Is How You Lose The Time War, complete, multivoice)

[Filk] Proem: Helen, Achilles and the Great War of 1,200 BC (G, Greek Mythology, complete, multivoice)

[Filk] The Flan-King (G, Voiceteam filk tto Erlkönig (Schubert), complete)

Details under the cut!

Harry Potter

[Filk] Sing for you in the dead of night (T, HP: Snarry, complete)

Summary: In which Harry sings his heart out, Severus responds in kind, and they try to make it safely out of Hell. Additional Tags/Warnings: HP:EWE, original tune, Inspired by Orpheus and Eurydice 

[Filk] Game Over (T, Snarry, complete)

Summary: As the war ravages on, they meet again, years after Snape's betrayal. Additional Tags/Warnings: AU (from DH), Unresolved sexual tension, filk, inspired by Dracula the Musical, Ambiguous / open ending

[Filk] Nocturne (G, Snape x OC, complete)

Summary: Flute solo filk (fanmusic), written for EtherealTrail's Snapebang fic Remedial Venom. Additional Tags/Warnings: flute solo, original music, Romanticism, Impressionism, Dark Academia

[Filk] Old Lord Voldy (had a soul) (T, TMR / gen, complete)

Summary: About the creation of Voldemort's Horcruxes, tto Old MacDonald. Additional Tags/Warnings: Crack

[Filk] Embers and Soot (G, no characters, complete, multivoice)

Summary: An a cappella mashup song of Chim Chim Cheree (Mary Poppins) x Once upon a December (Anastasia) x In Noctem (Harry Potter). Additional Tags/Warnings: Filk, mashup, a cappella, original arrangement

Phantom of the Opera (all media)

Voiceteam Triumphant (G, gen, complete)

Summary: You are compelled to sing. Voiceteam filk tto Masquerade. Additional Tags/Warnings: Voiceteam 2023

[Filk] This World Is Mine! (T, Carlotta / gen, complete)

Summary: What if Carlotta strived for universal domination? Additional Tags/Warnings: Crack, space opera, self-aggrandisement, tto This Place Is Mine (Yeston / Kopit)

[Filk] Podfic Home (G, complete)

Summary: Wherever podfics play I know I'm home Europodfriends filk tto Home (Yeston/Kopit) Additional Tags/Warnings: Europodfriends 2023

The Sound of Music

[filk] Ea-Nasir's Favourite Things (G, Mesopotamian RPF, complete)

Summary: A complaint about the world's most (in)famous ancient copper merchant, set to music. Additional Tags/Warnings: inspired by xkcd 2758: My Favorite Things, tto My Favourite Things

[Filk] I've been bamboozled by ebay-Nasir! (G, xkcd, complete)

Summary: A complaint about ebay, inspired by above filk. Additional Tags/Warnings: inspired by xkcd 2758: My Favorite Things, tto My Favourite Things

Assorted fandoms / tto

[Filk] From the life of a C. elegans researcher (G, Science fandom, complete)

Summary: About my favourite model worms, tto "Row your Boat". Additional Tags/Warnings: C. elegans

[Filk] podfic podfic filk (G, tto the llama song, complete)

Summary: The podfic version of "llama llama duck". Additional Tags/Warnings: tongue twisters galore

[Filk] (Voiceteam) Over the Rainbow (G, tto Over the Rainbow, complete)

Summary: Voiceteam filk tto Over the Rainbow! Additional Tags/Warnings: Voiceteam 2023

[Filk] I like the Voiceteam (G, tto I like the Flowers, complete)

Summary: We all like the Voiceteam. Additional Tags/Warnings: tto I like the Flowers, Voiceteam 2023

Blaviken [filk] (T, The Witcher, complete)

Summary: Jaskier walks into a bar, after "Rare Species"... Additional Tags/Warnings: Possibly unrequited Geralt / Jaskier Serena's Notes: I took more of an advisory role in this, but that doesn't stop me from loving how it came out!

Poison & Win(?) (T, This Is How You Lose The Time War, complete)

Summary: About the final poisoned letter from Red to Blue. Additional Tags/Warnings: tto Posion & Wine (The Civil Wars)

[Filk] Proem: Helen, Achilles and the Great War of 1,200 BC (G, Greek Mythology, complete)

Summary: A venerable Greek P(r)oem where everybody got three epithets. Additional Tags/Warnings: Iliad, tto Prologue (Natasha, Pierre and the Great Comet of 1812)

[Filk] The Flan-King (G, Voiceteam filk, complete)

Summary: A Flanfilk inspired by Flan and Goethe's Erlkönig. The filk of [Poem & Podfic] The Flan-King. Additional Tags/Warnings: flan, tto Erlkönig (Goethe & Schubert)

[jacquemart]

Man I was waiting for this post to make the round. Some more well known pieces.

Unknown Composer

Greensleeves

Johann Sebastian Bach

Air Prelude in C-major Suite No.1 For Cello Badinerie

Georg Friedrich Handel

Halleluja Sarabande in d-minor

Antonio Vivaldi

Summer 3rd mov. Winter 1st mov.

Wolfgang Amadeus Mozart

Symphony 40 1st mov. Piano Concerto 21 Andante Pioano Sonata in C-Major Queen of the Night Figaro Ouverture Requiem Lacrimosa

Luigi Boccherini Minuetto

Joseph Haydn Cello Concerto 1 in C-Major

Ludwig van Beethoven

Symphony 6 1st mov. Symphony 7 2nd mov. Symphony 9 2nd mov and of course 4th mov. Ode to Joy Moonshine Sonata 3rd mov. Pathetique Sonata 2nd mov. and 3rd mov. Tempest Sonata 3rd mov.

Franz Schubert

Serenade Improptu 4 Op 90 Erlkönig

Hector Berlioz

Symphonie Fantastique - Dream Of A Witches Sabbath

Guiseppe Verdi

Va, Pensiero Aida, Marcia

Giachino Rossini

Ouverture to Barber of Seville

Frederic Chopin

Nocturne 2 Etude Winterwind Etude Tristesse Fanatasy-Improptu Great Walz Brilliante Minute Waltz Waltz in C#-minor Heroic Polonaise Ballade 1 Prelude in E minor

Niccolo Paganini

Caprice No. 24 La Campanella

Vittorio Monti

Czardas

Robert Schumann

Childhood Scenes From Foreign Lands and Poeple and Dreaming Forest Scene Farewell

Felix Mendelssohn

Songs Without Words No. 6

Johannes Brahms

Hungarian Dance Walz in A flat Major

Johann Strauss II Ouverture to Die Fledermaus Radentzky March Tritsch Tratsch Polka

Georges Bizet

Habanera

Franz Liszt

Liebestraum Hungarian Rhapsody No. 2 and No.6 La Campanella Paganini for Piano Etude Un Sospiro

Classical Pieces You've Probably Heard but Might Not Remember the Name

William Tell Overture- Rossini (Most famous part at 8:45, but why not listen to the whole thing?) I’m adding hints, at least to the ones I recognized culturally. This one is “go, horsey, go!”

Also Sprach Zarathustra- Strauss Slow, dramatic entry scene, IN SPAAACE.

Eine Kleine Nachtmusik- Mozart People running out of a fancy wedding or something. Also known as DUN, dun DUN, dun DUN dun DUN dun DUUUUN.

Symphony 94, Mvt. 2 “Surprise Symphony”- Haydn ?

Toccata and Fugue in d Minor-Bach Halloween organ!

Nocturne Op. 9 No. 2- Chopin Picture a tiny old woman playing piano in a sunlit room with lots of flower vases, about the spill the tragic secrets of her past to some timid young visitor.

Rondo alla Turca- Mozart the babysitter from The Incredibles: “Time for some COGNITIVE ENRICHMENT!”

Sinfonie de Fanfares: Rondeau- Jean-Joseph Mouret Royalty is coming. Or someone is getting married. Or royalty is getting married. Also the PBS Masterpieces theme.

The Four Seasons: Spring- Vivaldi (I just linked to the whole thing because it’s great) Again, someone is getting married, but this one is strings instead and a lot less frumpy.

Jesu, Joy of Man’s Desiring- Bach That one that amateur guitarists love where the notes are all up and down but all the same length. Also used in movie weddings.

O Fortuna (from Carmina Burana)- Carl Orff SONG OF DOOM. Also song of “baby on fire!” in The Incredibles.

Funeral March- Chopin ?

Orpheus in the Underworld: Infernal Galop (A.K.A. Can Can)- Offenbach Well, ���aka can-can” says it all.

Pomp and Circumstance (You probably graduated to this)- Elgar Oh yes, Baaaa dun dun dun duun duuuuun… Also if you were a bandie you had to play it for 3 years before graduating to it.

Gayane: Sabre Dance- Aram Khachaturian Comically hectic productivity, a circus clown juggling while standing on a ball, or perhaps a rapidly-approaching termite infestation. Could go any way, really.

A Midsummer Night’s Dream: Wedding March- Mendelssohn The song movies play right AFTER they both say “I do.”

Carmen: Les Toreadors- Bizet I can’t be the only one who remembers when ‘Hey Arnold’ did this. “Bullfights and swordfights, rolling in manuuure!”

The Ride of the Valkyries- Wagner Good song for a naval battle I guess? I can only think of the mini golf course I went to as a kid with the creepy castle on Hole 18 that played this.

Für Elise- Beethoven That one every amateur piano player loves to play because the beginning is just E and E-flat over and over. Also ballet and piano recital scenes in movies.

Dance of the Hours- Ponchielli Hello mudda, hello fadda, here I am at, Camp Granada…

Rigotello: La Donna e Mobile- Verdi More than a few sophisticated movie villains (or snobby good guys) have this playing on a Victrola. Also, tell me you don’t picture Pavaroti no matter who’s actually singing.

Night on Bald Mountain- Mussorgsky ?

Romeo and Juliet: Love Theme- Tchaikovsky More movie-love, usually building up to admitting they live each other.

Entry of the Gladiators- Julius Fucik I have one word for you: CIRCUS.

Lakmé: Flower Duet- Delibes OMG ALIAS. Nadia’s spy  backstory in Film Noir!

Peer Gynt: In the Hall of the Mountain King- Greig Mischievous Tiptoeing in Movies song. Also something growing out of control, slowly at first and then quickly, and (comically) exploding.

Rodeo: Hoedown- Copland The title says it all tbh.

Peer Gynt: Morning Mood- Greig Sunrise/waking up Movie Song du jour.

New World Symphony Mov. [2][4]- Dvorak Well now I’m thinking of “An American Tail” and I’m crying…

Ave Maria (You knew this, but did you know that it was by Schubert?) Nothing to add. I’m not a music snob, really, but if you didn’t know this, YOU SHOULD.

Canon in D- Pachelbel This is the one that the pretty Trans-Siberian Orchestra Christmas song comes from. :-)

Add others if you want! Have fun!

[sheetmusiclibrarypdf]

Heartbreaking Schubert: Der poetischste Musiker, der je gelebt hat? (1797-1828)

Der poetischste Musiker, der je gelebt hat?

Es ist schwer, Liszts Einschätzung Schuberts zu widersprechen, der in seinem kurzen Leben seine erstaunliche Begabung für melodische und harmonische Erfindungen einsetzte, um viele dauerhafte Meisterwerke zu schaffen.

Schuberts Kompositionen

Er komponierte mehr als 600 Lieder, die die Kunst des deutschen Liedgutschreibens auf eine neue Ebene heben, sowie sieben vollendete Sinfonien, Kammermusik und Klaviersonaten. Dennoch hat man das Gefühl, dass Franz Schubert (1797-1828) gerade erst anfing, seine immense Begabung auszuschöpfen und die von Beethoven geerbte Musiksprache weiterzuentwickeln, die er mit einer erstaunlichen Begabung für melodische und harmonische Erfindungen verband. Schubert war nie ein großer Interpret, und er war immer ein freiberuflicher Komponist, der sich auf das verließ, was er durch Aufträge und Gagen verdienen konnte. Nur ein Bruchteil seiner Musik wurde zu seinen Lebzeiten veröffentlicht, und erst nach seinem Tod wurde die Größe seiner Leistung international anerkannt. https://youtu.be/IpteIfoeDTs Wer der klassischen Musik zum ersten Mal durch Disneys unvergängliche Fantasia begegnet ist, wird ein ziemlich klebriges Arrangement von Schuberts Ave Maria gehört haben, das den Film beendet; es wird auch in Beyoncés Lied Ave Maria zitiert . Sie können den langsamen Satz seiner Klaviersonate in A in Tori Amos' Star Whisperer hören oder das Thema aus dem zweiten Satz seines Klaviertrio in Es-Dur, das sich durch Busta Flex's Hip Hop Forever zieht. Seine riesige Produktion wird regelmäßig nach Filmmusiken durchsucht – eine der jüngsten war Greta Gerwigs Little Women (2019), die eine Reihe seiner Stücke enthält. Im Fernsehen war seine Musik in Serien von Sherlock Holmes bis Foyle's War und sowohl in Inspector Morse (dem C-Dur-Streichquintett) als auch in seinem Vorgänger Endeavour zu hören, während die 90er-Comedy-Serie Waiting for God das Finale des Forellenquintetts verwendete seine Themenmusik.

Schuberts Leben Nur wenige Komponisten führten ein so ereignisloses Leben wie Schubert offenbar. Er reiste selten weit außerhalb der Stadt Wien, wo er als 12. Kind eines Schulmeisters im Bezirk Lichtental geboren wurde. Er begann mit acht Jahren Geige zu lernen, spielte Bratsche im Streichquartett seiner Familie und begann, Stücke für die Gruppe zu komponieren; im Alter von 11 Jahren gewann er ein Chorstipendium am Imperial College. Zu seinen Lehrern gehörte Antonio Salieri, die graue Eminenz der Wiener Musik zu Beginn des 19. Jahrhunderts, der dem Jungen privaten Kompositionsunterricht gab. Neben Streichquartetten, seinen ersten Klavierstücken und Liedern schrieb Schubert auch für das Hochschulorchester. Seine Erste Sinfonie wurde 1813 vollendet.

Ende 1813 kehrte er in das Haus seiner Familie zurück – seine Mutter war im Jahr zuvor gestorben –, um an der Schule seines Vaters zu arbeiten und Privatunterricht zu geben, während er noch bei Salieri studierte. Schubert traf eine junge Sängerin, Therese Grob , für die er eine Reihe von Werken komponierte, aber er wurde durch ein Gesetz daran gehindert, sie zu heiraten, das von zukünftigen Ehemännern verlangte, nachzuweisen, dass sie über die finanziellen Mittel verfügten, um eine Frau zu ernähren. Er fand die Plackerei des Unterrichtens hart, aber er komponierte mit einer unglaublichen Geschwindigkeit. Vor seinem 20. Lebensjahr hatte er fünf Symphonien, vier Messen, sechs Opern (meist unvollendet), drei Streichquartette, drei Klaviersonaten und etwa 300 Lieder geschrieben. Schubert-Gedichte Einer der Auslöser für Schuberts explosionsartiges Songwriting war seine Entdeckung Goethes im Jahr 1814: Seine Vertonung von Gretchen am Spinnrade aus Faust war vielleicht sein erstes großes Lied. Es folgten schnell weitere zu Goethe-Texten, wie Erlkönig und Heidenröslein. Der Schriftsteller war damals der Fahnenträger der deutschen Romantik, und Schubert sollte, wie zuvor Beethoven, maßgeblich am musikalischen Übergang zwischen Klassik und Romantik beteiligt sein.

Schubert fand Freunde in Wiener Literatur- und Musikkreisen und verließ 1816 sein Elternhaus, um mit einem befreundeten Dichter, Franz von Schober, im Zentrum der Stadt eine Wohnung zu teilen. Sein Ruf begann zu wachsen und er komponierte fieberhaft weiter – Orchester- und Chorwerke sowie weitere Lieder, darunter einige seiner berühmtesten wie An die Musik und Die Forelle (Die Forelle), die beide aus dem Jahr 1817 stammen . In dem zwei Jahre später entstandenen Forellenquintett wurde das Lied zum Thema einer Reihe von Variationen, und 1824 verwendete Schubert ein weiteres Lied von 1817, Das Tod und die Mädchen, in seinem bekanntesten Streichquartette in d-Moll. https://youtu.be/WBoKzfjf1ko In diese Zeit fallen auch die Anfänge der Schubertiaden , geselliger Abende in Privathäusern, gesponsert von wohlhabenden Gönnern, bei denen sich Schubert und seine Freunde trafen, um Gedichte zu lesen und Aufführungen seiner Musik zu hören. Der Komponist, der – kaum 1,60 m groß – den Spitznamen Schwammerl “ „ trug, war der Pianist. Diese Versammlungen erregten auch die Aufmerksamkeit der Wiener Polizei, die nach den napoleonischen Kriegen nach revolutionären Aktivitäten Ausschau hielt, und Schubert und vier seiner Freunde wurden festgenommen. Er wurde gerügt und freigelassen. Obwohl sich die beiden Komponisten erst 1822 trafen, ist Beethovens Einfluss in den Klaviersonaten dieser Zeit und insbesondere in der Sechsten Symphonie deutlich , die die Leichtigkeit und Mozart'sche Anmut der früheren Symphonien durch eine viel dramatischere Absicht ersetzt.

Der einsätzige Quartettsatz, all das, was Schubert 1820 als geplantes Streichquartett in c-Moll fertigstellte, versprach, seine Instrumentalmusik auf eine völlig andere Ebene zu heben, aber Schubert sehnte sich dennoch nach breiterer Anerkennung und widmete ihm in den frühen 1820er Jahren einen Großteil seiner Energie Opern schreiben. Zwei von ihnen, Die Zwillingsbrüder und Die Zauberharfe , wurden 1820 ohne großen Erfolg aufgeführt, während die ehrgeizigeren Alfonso und Estrella und Fierrabras abgelehnt wurden – Rossinis Opern waren in Wien der letzte Schrei, und die deutsche Oper war eindeutig aus der Mode gekommen. 1823 wurde Schubert gebeten, die Bühnenmusik für das „große romantische Drama“ Rosamunde zu schreiben. Das Stück selbst verschwand schnell, aber seine Partitur bleibt eines seiner beliebtesten Konzertwerke. Die Unvollendete Symphonie , die beiden vollendeten Sätze seiner achten Symphonie, entstanden ebenfalls in diesem Jahr, kurz vor der Wanderer-Fantasie , seinem virtuosesten Klavierwerk. Wie der Quartettsatz scheint die Sinfonie neue musikalische Welten zu eröffnen, die Schubert damals nicht weiter erforschen konnte (oder wollte). Vermutlich um 1823 erkrankte Schubert an Syphilis, ob dies jedoch fünf Jahre später die Todesursache war, ist unklar, ebenso wie seine Sexualität immer noch Gegenstand heftiger Debatten ist. Er litt fast sein ganzes Leben lang an Depressionen, und er war in diesem Jahr sicherlich sehr krank, zu einer Zeit, als sein Ruf wuchs und einige seiner Lieder endlich veröffentlicht worden waren. Aber sein Einkommen aus Aufträgen und etwas Unterricht blieb mager. Schuberts letztes großes Orchesterwerk und sein letztes großes „öffentliches“ Statement als Komponist war die „Große“ C-Dur-Symphonie, die zu seinen Lebzeiten nicht aufgeführt wurde. Auch die beiden Liederzyklen Die schöne Müllerin und Winterreise, beide nach Gedichten von Wilhelm Müller, gehören in diese Zeit und führten zu neuen Ausdruckshöhen einer Form, die Beethoven weniger erfunden hatte ein Jahrzehnt früher. Aber vielleicht liegt die Essenz Schuberts in der zutiefst persönlichen Instrumentalmusik aus seinen letzten Lebensjahren, Musik, die dem Vergleich mit den späten Werken Beethovens standhält (bei dessen Beerdigung Schubert 1827, knapp 20 Monate vor seinem eigenen Tod, Sargträger war ). But perhaps the essence of Schubert is contained in the intensely personal instrumental music from the final years of his life, music that stands comparison with the late works of Beethoven (at whose funeral Schubert was a pallbearer in 1827, just 20 months before his own death). Zu diesen letzten Meisterwerken gehören die beiden Klaviertrios, das G-Dur-Streichquartett , die C-Dur-Fantasie für Violine und Klavier , die f-Moll-Fantasie für Klavierduett und das C-Dur-Streichquintett , Klavierstücke (die beiden Sätze von Impromptus ) und die Reihe von Expansive Klaviersonaten, die in der großen Trilogie der Werke in c-Moll , A-Dur und B gipfelt . Schubert heute Die Wertschätzung für Schubert wuchs im Laufe des 19. Jahrhunderts stetig, da seine Musik zunehmend veröffentlicht und aufgeführt wurde. 1838 wurde Robert Schumann die Partitur der Neunten Symphonie in Wien gezeigt und nahm eine Kopie mit nach Leipzig, wo Mendelssohn die erste öffentliche Aufführung dirigierte. Liszt beschrieb Schubert als „den poetischsten Musiker, der je gelebt hat“, während Berlioz, Dvořák und Bruckner von seinem Orchesterwerk beeinflusst wurden. Und die Tradition des Liedschaffens, die Schubert wie kein anderer begründete, zog sich wie ein roter Faden durch die deutsche Musik bis ins 20. Jahrhundert. Beste Leistungen Schuberts Sinfonien gehörten zum Repertoire fast aller großen Dirigenten des 20. Jahrhunderts, von Furtwängler bis Abbado, ebenso wie seine Streichquartette von allen führenden Ensembles gespielt wurden, vom Busch-Quartett über das Quartetto Italiano bis zu den Takács, während unter den vielen herausragenden Darbietungen des Streichquintetts auf CD die bekanntesten Isaac Stern, Paul Tortelier und Pablo Casals sind. Zu den großen Schubert-Pianisten gehören Artur Schnabel , Rudiolf Serkin , Alfred Brendel , Radu Lupu, Mitsuko Uchida und Andras Schiff . Männliche Interpreten der Lieder und Liederzyklen werden angeführt von Dietrich Fischer-Dieskau und Fritz Wunderlich Matthias Goerne, Christian Gerhaher , Ian Bostridge und Christoph Prégardien , ihrem Beispiel folgen . Die Liedzyklen sind keine reine Männerdomäne; Brigitte Fassbaender hat die Winterreise hervorragend aufgenommen. Eine andere großartige Mezzosopranistin, Christa Ludwig , machte mit vielen Liedern wertvolle Recital-CDs, ebenso wie Sopranistinnen wie Elly Ameling und Barbara Bonney . Und wer sich durch alle Songs durcharbeiten möchte, der muss bei Hyperions monumentaler Gesamtausgabe fündig werden.

Laden Sie Schuberts Noten (und viele mehr) aus unserer Bibliothek herunter.

Download Schubert's sheet music (and many more) from our Library.

Read the full article

[arinewman7]

Der Erlkönig (The Elf King) Moritz von Schwind c. 1830

*

Der Erlkönig (The Erf-King)

by Johann Wolfgang von Goethe, 1782

*

Who’s riding so late where winds blow wild

It is the father grasping his child;

He holds the boy embraced in his arm,

He clasps him snugly, he keeps him warm.

*

“My son, why cover your face in such fear?”

“You see the elf-king, father?

He’s near! The king of the elves with crown and train!”

“My son, the mist is on the plain.”

*

‘Sweet lad, o come and join me, do!

Such pretty games I will play with you;

On the shore gay flowers their color unfold,

My mother has many garments of gold.’

*

“My father, my father, and can you not hear

The promise the elf-king breathes in my ear?”

“Be calm, stay calm, my child, lie low:

In withered leaves the night-winds blow.”

*

‘Will you, sweet lad, come along with me?

My daughters shall care for you tenderly;

In the night my daughters their revelry keep,

They’ll rock you and dance you and sing you to sleep.’

*

“My father, my father, o can you not trace

The elf-king’s daughters in that gloomy place?”

“My son, my son, I see it clear

How grey the ancient willows appear.”

*

‘I love you, your comeliness charms me, my boy!

And if you’re not willing, my force I’ll employ.’

“Now father, now father, he’s seizing my arm.

Elf-king has done me a cruel harm.”

*

The father shudders, his ride is wild,

In his arms he’s holding the groaning child,

Reaches the court with toil and dread. -

The child he held in his arms was dead.

*

translation by Edwin Zeydel, 1955

[echosong971]

@certified-memelord

would you expect anything less from a musician? :)c

AND SPEAKING OF MUSIC, here are other piano pieces I both think are just fantastic and that I also think P should learn to play alongside La Campanella:

Saint-Saëns - Danse Macabre

Schubert - Erlkönig

Rachmaninoff - Piano Concerto No. 2, I. Moderato

Chopin - Etude Op.10 No.4 "Torrent"

Vivaldi - Winter (The Four Seasons)

Beethoven - Sonata No. 17 Tempest 3rd Movement

Beethoven - Sonata No. 23 Appassionata 3rd Movement

...do y'all think P knows how to read sheet music?

Like, he can play the piano—and he ends up being very skilled at it—but I also know people who can play piano very well that have NO idea how to read sheet music

And (unless I'm blind) I don't see sheet music on the piano while he plays...so....

[theimpossiblescheme]

little pan and jelly darling : playlists for asparagus and jellylorum (for @the-cat-at-the-theatre-door)

01. well did you evah – bing crosby and frank sinatra | 02. sloom - of monsters and men | 03. big black car - gregory alan Isakov | 04. let it ride - gordon lightfoot | 05. auf der heide blüh'n die letzten rosen - thomas hampson | 06. night and day - diane krall | 07. lazy place - caravan palace | 08. they say it’s spring - erin mckeown | 09. sighing softly - matt kahler and doug pawlik | 10. catch another butterfly - john denver | 11. erlkönig op. 1, d. 328” - daniel norman | 12. two - sleeping at last | 13. cucurrucucu paloma - caetano veloso | 14. dance with my father - luther vandross | 15. children and art - george abud | 16. francesca da rimini, op. 32: IV. allegro vivo - pyotr ilyich tchaikovsky | 17. your song - elton john | 18. i gotta crow - mary martin | 19. a story short (suite b) - rachel portman [listen]

01. try to remember - julie andrews | 02. great mass in c minor (“laudamuste”) - anne sofie von otter | 03. home - edith whiskers | 04. she’s got a way - billy joel | 05. the lullaby of the bells - edward ward | 06. i’m old-fashioned - ella fitzgerald | 07. this women’s work - kate bush | 08. orpheus - sara bareilles | 09. i will - mitski | 10. é strano! ... ah, fors' è lui/sempre libera - margareta niculescu | 11. passing afternoon - iron and wine | 12. liz on top of the world - jean-yves thibaudet | 13. c’est le printemps - tatiana eva-marie and avalon jazz band | 14. a sunday kind of love - etta james | 15. qué será, será - doris day | 16. the place where lost things go - emily blunt | 17. dolcissimi baci - gloria banditelli and roberto abbondanza | 18. traveling song - ryn weaver | 19. amas veritas - alan silvestri [listen]

[luthienne]

Do you listen to classical music/Piano/Instrumental? If yes can you suggest me some?🤍

classical music is my whole life. my highest highs, my lowest lows, everything in-between. a few of my favorites, categorized by mood:

music that wrecks me:

tomaso antonio vitali: chaconne in g minor

ludwig van beethoven: string quartet no. 15 in a minor

arvo pärt: cantus in memory of benjamin britten / spiegel im spiegel

gregorio allegri: miserere mei, deus

frédéric chopin: nocturne in g minor / prelude in d-flat major

franz schubert: trio no. 2, op. 100, andante con moto

ludwig van beethoven: symphony no. 3, mvt ii

j.s. bach: toccata and fugue in d minor: ii. fugue

johannes brahms: ein deutsches requiem: ii

music that brings me back:

ludwig van beethoven: moonlight sonata: iii. presto agitato 

henri vieuxtemps: violin concerto no. 5 in a minor: iii. allegro con fuoco

antonio vivaldi: violin concerto in e minor

j.s. bach: harpsichord concerto in d minor / piano concerto in a minor: iii

ludwig van beethoven: symphony no. 7: ii. allegretto

camille saint-saëns: introduction and rondo capriccioso

niccolò paganini: violin concerto no. 2 in b minor: iii. “la campanella”

franz schubert: quartet no. 14 in d minor (“death and the maiden”)

edvard grieg: piano concerto in a minor, op. 16

pyotr ilyich tchaikovsky: the nutcracker: scene xiv - pas de deux

music that makes me yearn:

w.a. mozart: piano concerto no. 21 in c major, k. 461: ii. andante

ludwig van beethoven: piano concerto no. 5 in e-flat major, op. 73: ii. adagio / sonata “pathetique” op. 13: ii. adagio cantabile

g.f. handel: sarabande in d minor, hwv 437

j.s. bach: adagio from concerto no. 3 in d minor

ludwig van beethoven: piano concerto no. 3 in c minor, op. 37: ii. largo

erik satie: gnossiennes

claude debussy: suite bergamesque, clair de lune, no. 3

franz liszt: liebestraum no. 3, notturno

gabriel fauré: après un rêve

frédéric chopin: nocturne in c-sharp minor / nocturne in b-flat minor

w.a. mozart: piano concerto no. 23: ii. adagio

franz schubert: 4 impromptus, op. 90, d. 899: no. 3 in g-flat: andante

christoph willibald von gluck: dance of the blessed spirits, orfeo ed euridice

music that feels like a dark fairy-tale:

béla bartók: romanian folk dances, sz. 56 - iii. 

claude debussy: children’s corner, l. 113: iv. the snow is dancing

hildur guðnadóttir: leyf��u ijósinu 

christoph willibald von gluck: melodie, orfeo ed euridice

gabriel fauré: pavane op. 50

jean-philippe rameau: le rappel des oiseaux

camille saint-saëns: le carnaval des animaux: aquarium

jean sibelius: nocturne op. 51, no. 3

heinrich wilhelm ernst: grand caprice on schubert’s der erlkönig, op. 26 

pyotr ilyich tchaikovsky: swan lake (suite), op. 20: i. scene (swan theme)

franz schubert: schwanengesang: ständchen, d. 957

music that reminds me of dusty practice rooms, quiet cobblestone streets after the opera, and resonant cathedral bells:

w.a. mozart: piano sonata in c-major, k. 545: ii. adagio 

w.a. mozart: piano sonata no. 11, k. 331: i. theme (andante grazioso)

ludwig van beethoven: piano sonata in g-major, op. 49, no. 2

franz schubert: impromptu op. 142, d.935: no. 3 in b-flat, var 3

w.a. mozart: deh vieni non tardar, le nozze di figaro

j.s. bach: invention 1 / invention 6 / goldberg variations

stephen heller: 30 études mélodiques et progressives: op. 46, no. 8

j.b. cramer: 60 selected studies: étude no. 10

arcangelo corelli: concerto grosso in g minor: ii. allegro

some devastatingly beautiful soundtracks and instrumental pieces:

sufjan stevens: untitled (all delighted people side d - ep) 

ólafur arnalds: improvisations /  loftið verður skyndilega kalt / erla’s waltz 

max richter: three worlds - music from woolf works

hildur guðnadóttir: strokur / torrek / Þoka / elevation 

keaton henson: romantic works / la naissance

coeur de pirate: pilgrims on a long journey / leave your castle

dario marianelli: atonement / pride and prejudice

abel korzeniowski: evgeni’s waltz / come, gentle night

yann tiersen: comptine d’un autre été, l’après-midi 

and some vocal shout-outs:

g.b. pergolesi: stabat mater

j.s. bach: quia respexit, magnificat in d major

a. scarlatti: mentro io godo, il giardino di rose

g.f. handel: ombra mai fu, serse

w.a. mozart: in quali eccessi…mi tradi, don giovanni

gaetano donizetti: il dolce suono, lucia di lammermoor

vincenzo bellini: casta diva, norma

w.a. mozart: requiem in d minor

[serenaew]

Serena's Masterlist: Non-HP works

Including HP crossovers.

Last updated 28/12/2023

Overview

Anastasia x Harry Potter x Mary Poppins

[Filk] Embers and Soot (G, no characters, complete, multivoice)

Bredlik

Mantolik (G, Chinese bredlik translations, complete)

Doctor Who

Hear Me Out (T, Graham & 13, complete)

Emelan

[podfic] tea at midnight (G, Trisana & Briar, complete)

[podfic] Dear (G, gen, complete)

[podfic] speak with my own voice (G, gen, complete)

[podfic] The Night Is Still Young (G, gen, complete)

Galaxy Quest

[podfic] SMOF (G, complete)

Greek Mythology

[Filk] Proem: Helen, Achilles and the Great War of 1,200 BC (G, complete)

Merlin (TV)

[Podfic] Mud (T, Merlin x Arthur, complete)

Meta-fandom, if nowhere else

[Filk] podfic podfic filk (G, the llama song, complete)

[Filk] (Voiceteam) Over the Rainbow (G, tto Over the Rainbow, complete, multivoice)

[Filk] I like the Voiceteam (G, tto I like the Flowers, complete, multivoice)

[Filk] The Flan-King (G, Voiceteam filk tto Erlkönig (Schubert), complete)

Original Work

What's in the Dark? [podfic] (T, Original Work (Werewolf game), complete)

Percy Jackson Universe

[Podfic] The Lost Gods (T, Thalia & OC, complete)

Phantom of the Opera (all media)

Voiceteam Triumphant (G, gen, complete, multivoice)

[Filk] This World Is Mine! (T, Carlotta / gen, complete)

[Filk] Podfic Home (G, complete)

Science Fandom

[Filk] From the life of a C. elegans researcher (G, Science fandom, complete)

Small Podcast Fandoms

Tremor [podfic] (T, Down - Definitely Human, complete)

On your mind [podfic] (G, The Real Adventures of Jonny Quest, complete)

The Sound of Music

[filk] Ea-Nasir's Favourite Things (G, Mesopotamian RPF, complete)

[Filk] I've been bamboozled by ebay-Nasir! (G, xkcd, complete)

Star Wars: The Clone Wars x The Muppets

[Podfic] We are all luminous beings (G, gen, complete)

This Is How You Lose The Time War

Poison & Win(?) (T, Blue/Red, complete)

The Witcher

Blaviken [filk] (T, Geralt / Jaskier, complete)

Expand for more details on individual elements.

Details

Anastasia x Harry Potter x Mary Poppins

[Filk] Embers and Soot (G, no characters, complete, multivoice)

Summary: An a cappella mashup song of Chim Chim Cheree (Mary Poppins) x Once upon a December (Anastasia) x In Noctem (Harry Potter). Additional Tags/Warnings: Filk, mashup, a cappella, original arrangement

Bredlik

Mantolik (G, Chinese bredlik translations, complete)

Summary: 两份 Bredlik 翻译。(Two Bredlik translations into Chinese.) Additional Tags/Warnings: Inspired by Tang Poetry, Podfic

Doctor Who

Hear Me Out (T, Graham & 13, complete)

Summary: At the end of Episode 7, series 12, the Doctor avoids the topic of Graham’s cancer disease, stating her social awkwardness. As a doctor of (amongst others) medicine, and especially as The Doctor, she really could have done better! So here is my version of what she could have said and done. Additional Tags/Warnings: Mentions of Cancer, Grief/Mourning, Episode: s12e07 Can You Hear Me?, script format

Emelan

[podfic] tea at midnight (G, Trisana & Briar, complete)

Summary: Tris shook the hand she was still holding out to him. Little Bear, obediently off the bed, whined a little. “Up.” Briar squinted up at her. “It’s cold out there.” “It’s damp in there. You’d think you’d run up a mountain, not had a nightmare.” Podfic of tea at midnight by dirgewithoutmusic. Additional Tags/Warnings: short & sweet, podfic

[podfic] Dear (G, gen, complete)

Summary: A selection of letters to and from Trisana Chandler during her four years at Lightsbridge. Podfic of Dear by KiaraSayre. Additional Tags/Warnings: epistolary, podfic

[podfic] speak with my own voice (G, gen, complete)

Summary: Laima Greenfinch, interviewing Trisana Chandler for the Lightsbridge Gazette, Watersday, 23 Hearth Moon, 1046 K.F. Podfic of speak with my own voice by AlexSeanchai. Additional Tags/Warnings: interview format, podfic

[podfic] The Night Is Still Young (G, gen, complete)

Summary: Four nights during the social season at the Citadel. Podfic of The Night Is Still Young by ivyspinners. Additional Tags/Warnings: fluff, podfic

Galaxy Quest

[podfic] SMOF (G, complete)

Summary: In this fandom, there are things you don't talk about. Podfic of SMOF by hollimichele. Additional Tags/Warnings: Fandom Allusions & Cliches & References

Greek Mythology

[Filk] Proem: Helen, Achilles and the Great War of 1,200 BC (G, complete)

Summary: A venerable Greek P(r)oem where everybody got three epithets. Additional Tags/Warnings: Iliad, tto Prologue (Natasha, Pierre and the Great Comet of 1812), filk

Merlin (TV)

[Podfic] Mud (T, Merlin x Arthur, complete)

Summary: In which Merlin and Arthur are trudging through the muddy woods. Podfic of Mud by ProdigyBlood. Additional Tags/Warnings: Muddy kisses, Banter, Fluff and Humor, Flirting, Self-Indulgent, Merthur fun, Merlin's insults, Clotpole, Arthur is a royal ass, merlin loves it, all the mud, One Shot, Arthur loves Merlin really, Cute, Merlin's a cocky bastard

Meta-fandom, if nowhere else

[Filk] podfic podfic filk (G, the llama song, complete)

Summary: The podfic version of "llama llama duck". Additional Tags/Warnings: tongue twisters galore

[Filk] (Voiceteam) Over the Rainbow (G, tto Over the Rainbow, complete, multivoice)

Summary: Voiceteam filk tto Over the Rainbow! Additional Tags/Warnings: Voiceteam 2023

[Filk] I like the Voiceteam (G, tto I like the Flowers, complete, multivoice)

Summary: We all like the Voiceteam. Additional Tags/Warnings: tto I like the Flowers, Voiceteam 2023

[Filk] The Flan-King (G, Voiceteam filk tto Erlkönig (Schubert), complete)

Summary: A Flanfilk inspired by Flan and Goethe's Erlkönig. The filk of [Poem & Podfic] The Flan-King. Additional Tags/Warnings: flan, tto Erlkönig (Goethe & Schubert)

Original Work

What's in the Dark? [podfic] (T, Original Work (Werewolf game), complete)

Summary: The quiet small town of Narfolk is suffering a series of gruesome murders. Is it due to werewolves or just some wild animals? Either way, something has to be done, someone needs to be blamed. Additional Tags/Warnings: Major Character Death, Horror, Suspense, Dark Comedy, mob justice, semi-improvised, Werewolves, paranormal podcast, might be a bit melodramatic, but like… in a fun way!

Percy Jackson Universe

[Podfic] The Lost Gods (T, Thalia & OC, complete)

Summary: A cushy house-sitting job, a mysterious journal, a creepy guy at a pool, and... a rescue crew with arrows and wolves? Suddenly, this summer job had gotten a whole lot more interesting. Podfic of the fic The Lost Gods by hiddendruid. Additional Tags/Warnings: includes slavic mythology, podfic

Phantom of the Opera (all media)

Voiceteam Triumphant (G, gen, complete, multivoice)

Summary: You are compelled to sing. Voiceteam filk tto Masquerade. Additional Tags/Warnings: Voiceteam 2023, filk

[Filk] This World Is Mine! (T, Carlotta / gen, complete)

Summary: What if Carlotta strived for universal domination? Additional Tags/Warnings: Crack, space opera, self-aggrandisement, tto This Place Is Mine (Yeston / Kopit), filk

[Filk] Podfic Home (G, complete)

Summary: Wherever podfics play I know I'm home Europodfriends filk tto Home (Yeston/Kopit) Additional Tags/Warnings: Europodfriends 2023, filk

Science Fandom

[Filk] From the life of a C. elegans researcher (G, Science fandom, complete)

Summary: About my favourite model worms, tto "Row your Boat". Additional Tags/Warnings: C. elegans

Small Podcast Fandoms

Tremor [podfic] (T, Down - Definitely Human, complete)

Summary: “I don’t need sass, I need… I need… something else!” Marion pulled Sam away before he could reply with yet more sass — or worse, offer the agitated Captain a drink. A multivoice recording of a Tremor by LenaLawlipop Additional Tags/Warnings: Charlie Dresden / Marion Straker, Episode 11, emotional hurt/comfort

On your mind [podfic] (G, The Real Adventures of Jonny Quest, complete)

Summary: Hadji was quiet on the way back to the hotel. He couldn’t meet Jessie’s eyes in the car, or after. A multivoice recording of On you mind by KDHeart Additional Tags/Warnings: Whump, Past Mind Control, Awkward Tension, Episode Tag

The Sound of Music

[filk] Ea-Nasir's Favourite Things (G, Mesopotamian RPF, complete)

Summary: A complaint about the world's most (in)famous ancient copper merchant, set to music. Additional Tags/Warnings: inspired by xkcd 2758: My Favorite Things, tto My Favourite Things

[Filk] I've been bamboozled by ebay-Nasir! (G, xkcd, complete)

Summary: A complaint about ebay, inspired by above filk. Additional Tags/Warnings: inspired by xkcd 2758: My Favorite Things, tto My Favourite Things

Star Wars: The Clone Wars x The Muppets

[Podfic] We are all luminous beings (G, gen, complete)

Summary: Some Jedi are more force sensitive than others. And then there's the Jedi who aren't so much force-sensitive as straight up force beings who have somehow acquired a physical body. The clone troops roll with it. A multivoice podfic of We are all luminous beings by MarbleGlove. Additional Tags/Warnings: filk

This Is How You Lose The Time War

Poison & Win(?) (T, Blue/Red, complete)

Summary: About the final poisoned letter from Red to Blue. Additional Tags/Warnings: tto Posion & Wine (The Civil Wars) , filk

The Witcher

Blaviken [filk] (T, Geralt / Jaskier, complete)

Summary: Jaskier walks into a bar, after "Rare Species"... Additional Tags/Warnings: Possibly unrequited Geralt / Jaskier Serena's Notes: I took more of an advisory role in this, but that doesn't stop me from loving how it came out!

[southcarolinawoman]

Julius Sergius von Klever, Erlkönig c. 1887

[leggeteconme]

I was tagged by the lovely @questwithambition! Thank you ^^

Rule: name a song for each letter of your username

L - La donna è mobile (Giuseppe Verdi, Rigoletto)

E - Evening At Lafitte’s (The Squirrel Nut Zippers)

G - Gloria (J. S. Bach, Mass in B Minor)

G - Glorification de l’élue (Igor Stravinsky, Le Sacre du Printemps)

E - Eusebius (Robert Schumann, Carnaval)

T - The Cage (Vera Sola)

E - Einsame Blumen (Robert Schumann, Waldszenen)

C - Cemetery Gates (The Smiths)

O - Oh Madeleine (The Mudbugs)

N - Nobody (Hozier)

M - Madonna io v’amo et taccio (Philippe Verdelot)

E - Erlkönig (Franz Schubert)

This was hard! It’s a little eccentric, but here we are ^^

I’m not tagging anyone in particular, but if you want to do this feel free to say I tagged you :)