#chopin complete works

[ohchopin]

x

[blueiscoool]

Lost Chopin Music Uncovered in ‘Thrilling’ Discovery

A curator at a museum in New York City has discovered a previously unknown waltz written by Frédéric Chopin, the first time that a new piece of work by the Polish composer has been found in nearly 100 years.

The waltz, written on a small manuscript measuring about 4 inches by 5 inches, was first discovered by curator Robinson McClellan in 2019, who then sought outside expert help, according to a statement from the Morgan Library & Museum on Monday.

“He found it peculiar that he could not think of any waltzes by Chopin that matched the measures on the page,” reads the statement.

“Chopin famously wrote in ‘small forms,’ but this work, lasting about one minute, is shorter than any other waltz by him,” adds the statement.

“It is nevertheless a complete piece, showing the kind of ‘tightness’ that we expect from a finished work by the composer.”

McClellan asked Chopin expert Jeffrey Kallberg, associate dean for arts and letters at the University of Pennsylvania, to help authenticate the waltz. “Extensive research points to the strong likelihood that the piece is by Chopin,” according to the statement.

This research included analysis by paper conservators who found that the paper and ink match those that Chopin normally used.

The Morgan Library & Museum believes that the fact that the manuscript is so small could mean that it was meant to be a gift that the recipient would have kept in an autograph album.

Chopin was known to sign manuscripts that were gifts, but this one is unsigned, which the museum says suggests that he ultimately decided against giving it away.

“This newly discovered waltz expands our understanding of Chopin as a composer and opens new questions for scholars to consider regarding when he wrote it and for whom it was intended,” said McClellan in the statement.

“To hear this work for the first time will be an exciting moment for everyone in the world of classical piano.”

“Our extensive music collection is defined by handwritten examples of the creative process and it is thrilling to have uncovered a new and unknown work by such a renowned composer,” said Colin B. Bailey, museum director, in the statement.

The discovery of an unknown piece of work by Chopin has not happened since the late 1930s, according to the museum.

The Polish composer was born in 1810 and was best known for solo piano pieces.

Chopin died in Paris, France, at the age of just 39. He’s one of Poland’s most famous sons, and his name adorns the airport serving the capital Warsaw, as well as parks, streets, benches and buildings.

His works and image are ubiquitous across the central European country, and his residences bear unmissable plaques. Busts and statues of his likeness are dotted across several major cities.

Even his heart, preserved in alcohol after his death in 1849 is sealed into a wall of Warsaw’s Holy Cross Church.

But recent suggestions about Chopin’s private life collided awkwardly with Poland’s staunchly conservative traditions – and caused some to question whether the story of Chopin that Poles are told from a young age is true.

According to a Swiss radio documentary released in 2020, the composer had relationships with men, and those relationships were left out of history by successive historians and biographers; a potentially thorny charge in one of Europe’s worst countries for LGBTQ rights.

By Jack Guy.

Chopin - Waltz in A Minor (Discovered in 2024) - Played by Lang Lang

[glass--beach]

hi do you like ok computer (1997)

because i really just don't get it (especially as the second-best album of all time) but i reeeally want to & i respect your opinion on that a lot

yea that album kinda changed the course of my life lol. wall of text incoming

first - don’t let rym or aoty or whatever tell you what’s good and what isn’t, everybody’s got their own taste & criticisms that go against the grain are very important!! i will say anything that’s that consistently highly rated across different websites & publications is probably undeniably significant and worth listening to. whether listening feels like discovering a new favorite or sitting through a history lesson is where taste comes in. it’s important to interrogate the canon too as there is an enormous amount of implicit bias in what even gets in front of critics and in the metrics they grade music by. review aggregate sites have democratized this process a bit & all the good and bad of democracy has come with that lol.

so, the album gets praised for a couple of reasons - its innovative production, its commentary on the historical zeitgeist, and the pop appeal of much of the songwriting.

production - the album makes heavy use of cutting edge effects units, digital editing, computer trackers, sampling, and even features little bits of voice synthesis. most of it is stuff that had existed in music before radiohead, artists like aphex twin (and much of the rest of warp records’ 90s catalog) and bjork were ahead of the curve in a lot of the aesthetic aspects of okc and had influenced radiohead a lot, which is even more evident on their followup kid a. radiohead was not breaking new ground in using these sounds, but they were among the first to put it all in a rock context, taking cues from the weirder cuts on the beatles’ white album, the experimental “krautrock” band can, and miles davis’ classic jazz fusion album bitches brew.

context - radiohead had grown up during the decline of much of the social democratic programs that had helped to facilitate the education and performing careers of much of their early influences such as joy division and the smiths. by the time okc was being written they had lived through the austerity of the thatcher era, the fall of the soviet union, and now were watching the labour party turn increasingly neoliberal under tony blair. there was a general sentiment in the west that the progress of history had slowed or even stopped in favor of the neoliberal order. at the same time, tech was booming and computers were starting to find their way into more aspects of daily life. the album imagines a boring dystopia, where machines are rabidly advancing but humans are stuck in stasis. a major connecting theme is infrastructure - the airbag through which thom yorke is “born again,” the “cracks in the pavement,” the family politics that separate romeo and juliet in exit music, the mechanical voice of fitter happier giving contradictory directions for maintaining the status quo. even the escapist fantasy of no surprises comes in the form of carbon monoxide. and then, the record ends with the “ding” of an appliance that has completed its task.

songwriting - the band’s previous album the bends really is a pop masterpiece. i recommend it to anybody who wants to get into radiohead but doesn’t vibe with their later work. okc expands that compositional style through, for one thing, the more apparent influence of classical music on tracks like paranoid android or the Chopin homage exit music; let down even features polymetric layering characteristic of Steve Reich. it also features some songs that are too good to even need to push the envelope much, like karma police or one of my favorites, no surprises, which seems to reference the beach boys’ wouldn’t it be nice or the velvet underground’s sunday morning.

to be honest, i like okc mostly because it really spoke to me at a formative time in my life, when i was like 15 and felt heavily disconnected from the world around me. the album deals with those feelings in a very different context but it’s a feeling many people can relate to for many different reasons - i was closeted in a conservative culture, not a depressed british rock star lol. it also was an excellent gateway into many of the bands’ influences, who are also favorites of mine now. most people who love the album don’t really go as deep as i like to with understanding it, but maybe what i said here will give you something else to listen for, idk. maybe you just gave me an excuse to infodump about an album i love lol :)

[nyeigneous]

Garth Igneous 加什·伊格尼斯

Age：45 年龄：四十五岁

Birth: 20/05/1893 生日：一八九三年五月二十日

Height：188cm 身高：一百八十八厘米

Build：Emaciation 体型：消瘦

Sexuality：Homosexuality 性取向：同性恋

Appearance:

He has short blond hair, light blue eyes, and an aggressive pointed nose.

There is a huge scar on the right forehead. A tattoo on the inside of his left forearm but is damaged by a scar. Both forearms were covered with scars made by knife. In addition, there are countless scars on his body, some of which are left by knife, some of which are left by wolves.

金褐色短发，浅蓝色眼睛，有着一个咄咄逼人的尖鼻子。

他的右侧额头有一个巨大的伤疤。

左臂内侧有一个纹身，但是已经被疤痕破坏掉了。他的每条胳膊内侧都布满了刀子划伤后留下的疤痕。除此之外他的身上也布满了数不清的伤疤，有些是自残留下的，还有一些是被狼咬伤留下的。

Personality:

Garth is a neurotic, selfish, arrogant, and cunning man. His good family background and rich knowledge make him have the arrogance to master everything, so once the development of things is not expected, he will lose his temper like a child.

加什是个神经质，自私，傲慢又狡猾的人。

他的良好的出身和丰富的知识储备让他有着一种对一切都尽在掌握的傲慢，所以一旦事情的发展不在他的意料之中，便会像孩子一样发脾气。

His mind is not complicated, but it is this straightforward way of thinking that makes it easier for him to do impulsive and reckless things.

他的心思并不复杂，反而正是这种单刀直入的思维方式让他更容易做出冲动和不计后果的事情。

He often overreacts to others.

他经常对别人的言行反应过激。

Because of bipolar disorder, almost all his shortcomings are magnified, making him a completely uncontrollable madman.

在患上躁郁症之后，他所有的缺点几乎都被放大了，令他变成了一个完全不可控的疯子。

Weapons and skills:

Shotgun, hunting knife, poison bait; Good at tracking, anti-reconnaissance, setting traps, and piss his partner off.

双管霰弹枪，猎刀，毒饵；

擅长追踪，反侦察，设置陷阱，还有惹毛自己的同伴。

重要的人：安德烈·别列科夫

宝贵之物：浪琴狩猎者腕表（安德烈送给他的）

恐惧之物：极光；骑马

Important people: Andre Berekov Precious things: Longines hunter's watch (Andre gave it to him)

Fear: aurora; riding

Other：

吸烟很多；Smoking a lot;

情绪激动时会过度呼吸��Excessive breathing when excited;

酒量很差；Poor drinking capacity;

画画很好；Good at painting;

写日记；Keeping a diary;

喜欢用口哨吹肖邦的降E大调夜曲九号第二首；He likes to whistle Chopin nocturnes op.9. no2;

小时候被父母逼迫学过钢琴，虽然很痛恨钢琴，但是弹得不错；When he was a child, he was forced by my parents to learn the piano. Although he hates the piano, he plays it well

人物历史History:

北方口音Northern accent

加什的父母是是来自伯明翰的地质学家和生物学家，他们是典型的守旧并且固执的知识分子。 受到父母的影响，加什有着丰富的博物学知识，以及英格兰北方口音。 

Garth's parents are geologists and biologists from Birmingham, UK, they are typically old-fashioned and stubborn intellectuals. Influenced by his parents, Garth has rich natural knowledge and a northern English accent.

在1900年左右淘金热时期，伊格尼斯夫妻带着18岁的大儿子赫尔，16岁的女儿利兹和10岁的加什来到阿拉斯加进行调研。与他们同行的还有26岁的詹森·斯坦福斯，作为孩子们的家庭教师。年幼的加什正是需要父母的时候，但是夫妻俩的工作非常繁忙，便将照顾加什和教他读书写字��任务全权交给了詹森。

During the gold rush around 1900, Mr. Igneous and his wife come to Alaska with their 18-year-old son Hull, 16-year-old daughter Liz and 10-year-old Garth for research. Along with them is Jason Stamford, 26, a tutor for the children. The young Garth is in need of his parents, but the couple's work is very busy, they entrust Jason with the task of taking care of Garth and teaching him to read and write.

温柔的人 A mild person

詹森是一个才华横溢的年轻人，本职专业是古生物学，曾经是加什父亲的学生。他性格随和有耐心，但是因为患过小儿麻痹症，他的左腿肌肉萎缩，只能靠手杖行走，同时还有各种并发症，导致他虚弱而瘦小。但是这并没有影响他的温柔和对生活的热爱。这些美好的品德同时也深深地影响了加什。

Jason is a talented young man with a major in paleontology. He was once a student of Garth's father. Because of polio, his left leg muscles atrophy and he can only walk with a walking stick. Various complications lead to his weakness and emaciation. But this does not kill his tenderness and love of life. These beautiful virtues also deeply influenced Garth.

加什小时候体弱多病，不喜欢户外活动，因此除了上课，他也有大量的时间跟詹森相处，两人像手足和父子一样促膝长谈，读书，学习钢琴，亲密关系与日俱增。在加什18岁那年，他大胆向詹森袒露了自己炙热而迷茫的倾慕之情。詹森也很喜欢这个好学而热情的男孩，但是职业道德让他拒绝了男孩。因为詹森也是一名同性恋，他没有指责加什非同常人的性取向，而是鼓励他勇敢做自己，不要违背自己的意愿。

As a sickly child, Garth does not like the outdoors, so he spends a lot of time with Jason in addition to attending classes. The two talk like father and son, read books and learn the piano, and their bond grows.

When Garth turns 18, he boldly confesses his hot, confused admiration to Jason. Jason also likes the studious and enthusiastic boy, but the work ethic makes him turn him down. Jason, who is also gay, does not criticize Garth's unusual sexuality, but encourages him to be himself and not go against his will.

但是这些事都被加什的父母看在眼里，他们辞退了詹森。加什与父母大吵了一架。

But Garth's parents see all this, and they fire Jason. Garth has a big fight with his parents.

詹森回到曼彻斯特的老家之后身体状况堪忧，但是一直跟加什保持着密切的书信来往，给年轻人的困扰和疑惑以中肯而温柔的建议。三年后，加什22岁那年，詹森怀着遗憾离世。

Jason returns home to Manchester in poor health, but keeps up a close correspondence with Garth, offering gentle advice on the young man's troubles and doubts. Jensen died three years later, when Garth is 22.

逃婚 To escape a marriage

1919年，加什25岁，关于自己的职业和专业规划问题，他跟父母进行了一场非常激烈的争吵。他的父母已经详细地为他安排了工作和婚事，要求他迎娶当地投资商的女儿，以获得学术上的经济支持。但是加什冲动地向父母表明了自己的性取向以及对自由的渴望。他的父母非常生气，认为是詹森给自己儿子灌输了不好的想法。一怒之下加什收拾行李离家出走。

In 1919, when Garth is 25 years old, he has a very heated argument with his parents about his professional planning. His parents have arranged work and marriage for him in detail and ask him to marry the daughter of a local investor in order to obtain academic financial support. Garth impulsively tells them his sexual orientation and desire for freedom. His parents are very angry, abuse Jason for instilling bad illusion into his son. In a rage, Garth packs up and leaves home.

在这件事前半年左右，加什的父母认识了来自美国南部的安德森·黑斯廷斯（27岁），这位英俊而富裕的年轻人正在为自己的事业寻找地质学以及生物学领域的专家的协助，他衣着华丽，谈吐得体，很快就得到了加什全家人的认可。两个年轻人就此相识了，并且私交甚密。

Half of year ago, Garth's parents meet Anderson Hastings (27) from the south of the US. This handsome and wealthy young man is looking for the assistance of experts in geology and biology for his career. He is gorgeous in clothes and spokes appropriately and is soon recognized by the Ignoneus family. The two young people meet and become intimate.

加什离家出走之后理所当然的去投奔了安德森，他很快就带着加什踏上了去往苏联出差的游轮。两人开始热恋。

Garth runs away from home and goes to Anderson. Anderson soon takes Garth on a cruise ship to the Soviet Union for a business trip.

安德森对于自己性取向从不隐藏，并且向外人介绍Garth为自己的男友。这些行为令Garth感到安全，他以为这是安德森认真对待自己的表现。但是Garth没想到的是，自己只是安德森炫耀的资本。

Anderson never hides his sexual orientation and introduces Garth as his boyfriend which makes Garth feel safe. But what Garth doesn't expect is that Anderson just takes him as a property could show off.

另外，安德森还是一个非常有控制欲的情场老手，他认为爱情只是交易，他提供奢华的生活条件，而男孩们只要听他的安排就好。他认为Garth寻找精神伴侣的想法非常无聊且没有意义。

In addition, Anderson is a control freak playboy. He believes that love is only a trade. He provides his boyfriends with luxurious living conditions, and the only thing the boys need to do is following his arrangement. He thinks that Garth's idea of finding a spiritual partner is very boring and meaningless.

白月光Bright moonlight

在那个年代，通过学术研究项目来洗钱的现象逐渐在有钱人的圈内流行起来。而安德森带着Garth去见的人，大部分也是这类执绔子弟。游轮上的日子花天酒地且奢靡混乱，Garth对这种气氛感到无助且厌恶，安德烈·别列科夫（23岁）也就是在这段时间内出现在他面前的。

In that time, the phenomenon of money-laundering through academic research projects becoming popular among the rich. Most of the people Anderson takes Garth to see are such dandies. The days on the cruise ship are extravagant and chaotic. Garth feels helpless and disgusted at the atmosphere. Andrei Berekov (23) appears during this time.

安德烈是那群苏联学者团里最安静的一个，大家都在喝酒应酬的时候他会找个安静的角落独自写写画画。相识之后Garth很快发现安德烈像自己一样也是对这场所谓学术旅行抱有错误的期待的人，并且，他在植物学上的知识令Garth震惊（虽然安德烈的口音给两人的沟通带来了不小的困难）。

Andrei is the quietest member of the group of Soviet scholars. While everyone drinks and socialize, he would sit in a quiet corner and write alone. Garth finds out that Andre, like himself, is also the one who has false expectations for this so-called academic trip. Moreover, Garth is shocked by his knowledge of botany (although Andre's accent makes it difficult for them to communicate).

跟安德森完全相反的是，温文尔雅的安德烈总能看到Garth灵魂上的闪光点，他尊重他的每一个灵感和观念，并将其演变成一场场友好而意义非凡的学术讨论。这几乎就是Garth一直在追求的关系状态。

Contrary to Anderson, the gentle Andre can always see the flash in Garth's soul. He respects every inspiration and idea of Garth and can turn every chat into a friendly and meaningful academic discussion. This is the kind of relationship state that Garth has been pursuing.

与此同时，Garth与安德森的关系在逐渐瓦解。安德森自顾自地将Garth引荐给学术圈名人，用钱打通渠道让Garth发布未完成的论文，擅自为他安排好了一切，Garth只要做一个不用思考的精致男孩去谄媚安德森就可以。这所有的一切都违背了Garth的原则。一次次的争吵并没有让他们互相理解，最终两人分手。

At the same time, the relationship between Garth and Anderson is disintegrating. Anderson arranges cocktail party bender to introduce Garth to celebrities in the academic circle. He buys ways for Garth to publish his unfinished paper and plans everything for him without authorization. The only thing Garth needs to do is being a good boy to flatter Anderson. All this violates Garth's principles. They row again and again and break up.

这之后安德烈正式开始追求Garth，将他介绍给自己的家人，并且在白俄罗斯的老家一起生活了一段时间。后来，两人决定前往爱丁堡大学进修植物分类学。

Then Andre and Garth fall in love. He introduces Garth to his family and live together in his hometown in Belarus for some time. Later, the two decide to go to the University of Edinburgh for master's degree in plant taxonomy.

一年半之后，两人研究生毕业，安德烈在毕业典礼上向Garth求婚。两人偷偷交换了戒指之后，踏上了前往北极圈的旅行。

A year and a half later, they graduate. Andre proposes to Garth at the graduation ceremony. After secretly exchanging rings, the two men embark on a trip to the Arctic Circle.

极光中的骑行 Riding under the aurora

婚后三年，两人旅行来到了加拿大育空地区，与另外一伙皮草猎人小队起了争执，被对方发现了恋人关系之后，遭到了恶意的报复。安德烈被殴打致死，割下生殖器之后尸体被悬挂在树上，并在脖子上挂着“我是鸡奸者”的牌子示众。加什则被监禁起来，被迫在极夜的漫天极光中看着恋人的尸体一天天被乌鸦啃食殆尽。几天后他凭借最后一口气逃了出去，骑马朝着南方一路狂奔，最终得救。

In 1923, the two men come to Yukon, Canada, and have a dispute with another group of fur hunters and they are maliciously retaliated. Andre is beaten to death. After being cut off his genitals, his body is hung in a tree and displayed with an "I'm a sodomite" sign around his neck. Garth is imprisoned and forced to watch his lover's body being eaten by crows in the aurora of the polar night. A few days later, with his last breath, he escapes, rides all the way south, and is finally saved.

育空疯狗The mad dog of Yukon

这段噩梦般的经历对他的打击非常之大，残酷的折磨也给他的右侧头皮部分留下了丑陋的巨大伤疤。他患上严重的躁郁症，自残，并且有自杀倾向。他曾经非常温和并且幽默，现在变成了一个臭名昭著的人，并且得到了一个育空疯狗的绰��。

This nightmare experience is a great blow to him, and the cruel torture leaves a huge ugly scar on his right scalp and countless scars on his body. He suffers from serious bipolar disorder, self-mutilation, and suicidal tendencies. He used to be a very gentle and humorous man, but now he has become an infamous one and gets the nickname of Yukon mad dog.

有传闻说，失去理智的加什找到了当年折磨他的狩猎小队并且用极其残忍的手法报复了他们，但是因为精神问题，警察让他只在监狱里待了很短的时间，他便重获自由。但是这也只是传闻而已。没人知道加什到底做了什么。人们只是再也没有在育空地区见到过那些人。

It is rumored that Garth finds the hunting team that hurt him years ago and retaliated against them with extremely cruel methods, but, the police let him stay in prison for only a short time because of his mental problems.

 It's just a rumor. No one knows what Garth does to them. People just never see those people again in the Yukon.

危险游戏 Dangerous game

尽管加什的精神问题非常严重，行为也非常不可控，但是不可争议的是他是这一带地区最杰出的猎狼专家。1932年，他被邀请加入一支狩猎小队，他们计划南下去狩猎大型毛皮猎物。

Although Garth's mental problems are very serious and his behavior is very uncontrollable, it is indisputable that he is the most outstanding wolf hunting expert in this area. In 1932, he is invited to join a hunting team. They plan to go south to hunt large prey for fur.

初冬季节，加什遇到了身为守林员的哈特。哈特毫���怜悯的攻击将小队逼出了林区，同时，这个阴沉而凶悍的护林员吸引了加什的注意。他觉得，能杀死他，抑或被他杀死都是不错的事情。

In early winter, Garth meets Hart, a forest ranger. Hart's merciless attack drives the team out of the forest, while the gloomy and fierce ranger attracts Garth's attention. He thinks it is all good to kill him or be killed by him.

加什很快发现，尽管这个护林员的攻击非常凶猛并且极具威胁性，但是他似乎并不是真正想要他们的命。加什离开了队伍，独自回到木屋附近，开始用主动攻击的方式试探哈特的耐心的底线。哈特几乎是马上回应了他的攻击。然而像加什想的一样，哈特并不打算杀掉他——每一次射击都擦着他的脸颊飞了过去，只有几厘米的距离。

Garth soon finds that although the ranger's attack is fierce and threatening, he doesn't seem to really want to kill them. Garth leaves the team, returns to the cabin alone, and begins to test Hart's patience by taking the initiative to attack. Hart responds to his attack almost immediately.

As Garth thought, Hart does not intend to kill him - each shot wipes his cheek and flies over, only a few centimeters away.

加什几乎一下子就沉迷在了这场危险的游戏当中。哈特的反应让他十分满意——他的反击不会真正的对自己构成威胁，其中的威胁性又能让他兴奋起来。尽管他自己也清楚，这种病态的情绪源于当年他面对死亡时在心里留下对的心理阴影，这让他恐惧，狂躁，想哭又想笑，但是却是唯一能让自己感觉到活着的时刻。

Garth almost immediately indulges in this dangerous game.

Hart's reaction satisfies him - his counterattack would not only really pose a threat to himself, but also could excite Garth. Although Garth himself knows that this morbid emotion originates from the psychological shadow leaves in his heart when he faces death, which makes him afraid, manic, want to cry, want to laugh, it is the only time that he could feel alive.

怪人组合Freak couple

然而这场荒诞而危险的对决并不是以某一方的死亡为结局。在一个初雪天，哈特把加什逼到了绝路，但是他没有扣动扳机，只是问他为什么这么做。加什又哭又笑，说自己想死。哈特转身离开了。

However, this absurd and dangerous duel does not end with the death of one party. On a snowy day, Hart forces Garth to a dead end, but he doesn't pull the trigger, just askes him why he does it. Garth cries and laughs, says he wants to die.

Hart turns and leaves.

加什想不通为什么哈特有那么多次机会杀死他却没有下手。仇恨和恐惧在他的心里已经燃烧了太久，将他内心世界的草原烧得一片焦黑。然而从那天起，他能感觉到，一束光穿过黑烟照了进来，有什么东西在重新慢慢地萌芽。

Garth couldn't figure out why Hart has so many chances to kill him but doesn't do it. Hatred and fear have been burning in his heart for too long, burning the grassland of his inner world to black. However, from that day on, he could feel that a beam of light comes in through the black smoke, and something is slowly sprouting again.

重新建立信任的过程非常漫长。但是他们并没有什么细致的沟通和交流，对那场莫名其妙的枪战也只字不提。两个怪人只是共享一堆篝火，简单地说两句话，然后便自然而然的一起行动了。加什知道自然界也有不少很奇怪的搭档，比方说渡鸦和豺，蜜鸟和蜜獾。有的搭档甚至能终生在一起行动，即使一方死亡，另一方也不会再找新的搭档。也许他俩也是这样的动物吧。

The process of rebuilding trust is very long.

They do not have any detailed communication and exchange and do not mention the inexplicable gun battle. The two freaks just share a bonfire, say a few words, and then naturally act together.

Garth knows that nature also has many strange partners, such as raven and jackal, Greater Honeyguide and honey badger. Some partners can even act together all their lives. Even if one party dies, the other will not find a new one. Maybe they are such animals, too.

[bbcphile]

ooh, tell me about Dihua rival pianists for the wip title meme?

Thanks for the ask, @where-the-water-flows!

This is probably the least fleshed out of all of my WIPs and the most vibes-based!

Basically, this AU came to my mind one day because of @momosandlemonsoda’s Dance the Silence Down, because one chapter mentioned that LXY had played Chopin and he would sometimes start fingering passages of it without realizing it. And suddenly, my brain had outlined LXY’s repertoire list for a solid decade (and yes, there’s a lot of Chopin, and also Liszt–very flashy, fast treble fingerwork, and very passionate/emotional but also with some of Liszt’s Hungarian Rhapsodies, incredibly playful and flirtatious) and thoughts about how LLH would avoid all that and when he let himself play at all (which was almost never), it would be Ravel, Debussy–stuff that is still very hard but not as flashy and much more water-themed, laid back and atmospheric. From there, I realized DFS would absolutely be incredible at Rachmaninoff (I am SO jealous of how big his hands are! He could play so many of the chords that I can’t even try anymore or I dislocate my thumbs!) and very dramatic works (think Tchaikovsky’s piano concertos or “Pictures at an Exhibition”) but would probably absolutely love more dissonant and modernist works like some Bartok pieces, or Prokofiev’s Toccata.

Even beyond questions of repertoire and how it suits their temperaments, I’m intrigued by this AU because musicians, especially pianists, can absolutely have the sort of dedication to/obsession with music that LXY and DFS both have with martial arts, complete with over-the-top-rivalries, piano competitions can easily be the equivalent of sword duels, and I am now obsessed with the idea of LXY/LLH and DFS doing a piano duet. (I would definitely need to have them do a duet on a single piano instead of just doing two piano duets and to find one that has them crowding in each other’s space the most because that would be fun and is also a great opportunity for sexual tension that I have never seen portrayed in media before!)

Do I know the plot, beyond that they were rivals who were also on the cusp of a relationship before LXY withdrew during the finals of a competition due to injury–which he thought DFS had caused–and disappeared? Not yet! Just that it would involve DFS finding LXY again (as LLH) and LLH trying to learn that music can be a part of his life even if he’s not competing or a professional pianist.

[sabinahahn]

Frédéric Chopin (1810–1849)

George Sand noted his work habits:

"His creation was spontaneous and miraculous. He found it without seeking it, without foreseeing it. It came on his piano suddenly, complete, sublime, or it sang in his head during a walk, and he was impatient to play it to himself. But then began the most heart-rending labour I ever saw. It was a series of efforts, of irresolutions, and of frettings to seize again certain details of the theme he had heard; what he had conceived as a whole he analysed too much when wishing to write it, and his regret at not finding it again, in his opinion, clearly defined, threw him into a kind of despair. He shut himself up in his room for whole days, weeping, walking, breaking his pens, repeating and altering a bar a hundred times, writing and effacing it as many times, and recommencing the next day with a minute and desperate perseverance. He spent six weeks over a single page to write it at last as he had noted it down at the very first."\

Sand tried to convince Chopin to trust his initial inspiration, but he was loath to take her advice, and became angry when disturbed. “I dared not insist,” Sand wrote. “Chopin when angry was alarming, and as, with me, he always restrained himself, he seemed almost to choke and die.”

From Daily rituals by Mason Currey

#dailyrituals #inktober #fredericChopin @masoncurrey

[study-with-aura]

Wednesday, February 28, 2024

Today was a much better day! Also, I was very excited because for the first time since I first learned it a year or two ago, completing the square finally made sense to me. I have no idea how I never understood it until now. All I had to do was divide the x factor by 2 then square it and add that square to both sides of the equation. It's so simple! In other words, I had a lot of fun working on Geometry today because I was thrilled that it finally made sense.

In other news, I accidentally wrote my Biology assignment in my World History notebook. I am not sure how since my Biology notebook is larger than my World History notebook, but it happened. It was three full pages worth of writing, so that is not getting copied over. When I realized what I did, I laughed it off because I was shocked and amused that I had done that.

Tasks Completed:

Geometry - Reviewed completing the square + learned about general equations of circles + practice + honors work

Lit and Comp II - Reviewed Unit 19 Vocabulary + read chapter 29 of Emma by Jane Austen + reviewed figurative language terms + sentence types quiz (non-graded) + read through my next project (due next Tuesday)

Spanish 2 - Learned about passive voice + completed passive voice assignment

Bible I - Read Joshua 22

World History - Looked at a map of the Western Front + read about trench warfare + read a couple of articles (Angels of Mons and Chlorine Gas)

Biology with Lab - Completed global trends quiz + wrote a paragraph about what I would do to help solve one of the world's problems

Foundations - Read the definition of responsibility + completed Lumosity daily brain workout + completed identifying fact from opinion in advertising activity

Piano - Practiced for one hour

Khan Academy - Completed High School Geometry Unit 7: Lesson 3 (already assigned) + completed World History Unit 6: Lesson 3 (part 1)

CLEP - None today

Duolingo - Studied for 15 minutes (Spanish, French, Chinese) + completed daily quests

Reading - Completed Heartstopper: Volume 1

Chores - None today

Activities of the Day:

Extracurricular robotics course

Personal Bible Study (Genesis 31)

Ballet

Variations

Journal/Mindfulness

-

What I’m Grateful for Today:

I am grateful to live somewhere where I have access to clean water, fresh, local foods, and low air pollution.

Quote of the Day:

We can’t know what’s going to happen. We can just try to figure it out as we go along.

-Amy and Roger’s Epic Detour, Morgan Matson

🎧Ballade No.1 in G minor, Op.23 - Frédéric Chopin

[opera-ghosts]

Jenny Lind - THE "METHOD."

The voice was a brilliant and powerful Soprano, combining the volume and sonority of the true Soprano drammatico — to which class of voices it unquestionably belonged — with the lightness and flexibility peculiar to the more ductile and airy Soprano sfogato, with the characteristic tenuity of which it had, however, nothing in common.

Its compass extended from B below the stave, to G on the fourth line above it — in technical language, from b to G ; that is to say, a clear range of two octaves and a sixth.

The various registers of this extended compass were so skilfully blended into one, by the effect of art, that it was impossible for the most delicate or attentive ear to detect their points of junction. In fact, after the completion of its cultivation under the guidance of Signer Garcia, the entire voice became one homogeneous whole, so even in its calibre, that the notes were avowedly sung without a thought as to the best way of "placing" them.

Certain regions, however, possessed marked aesthetic qualities, very clearly distinguishable, though they could be modified, at will, in accordance with the demands of the passages into which they were introduced. For instance, three notes of the middle register, were invested, in piano passages, with a veiled tone of ravishing beauty — as in the long-drawn A, in the middle register, which forms the opening note of Casta diva. These three notes were more seriously iu jured than any other region of the voice, by the hard work and faulty method of production that had been forced upon Mdlle. Liud before her journey to Paris. It is well known to every experienced Maestro di Canto, that more voices are injured by the attempt to sing these three important notes in the lower instead of in the middle register, than by any other error of production whatever ; and there can be no doubt that it was this error that caused so much trouble to Mdlle. Lind, who, notwithstanding the beautiful tone by which the notes in question were afterwards characterised, assured Froken Signe Hebbe * that she believed that they " never became quite right."

Of the F# so much admired by Mendelssohn, the A above it, brought prominently forward in a syncopated passage in the same slow movement of Casta diva, and the same A, with the C above it, used as the first two notes in the Taitzlied aus Dalelcarlien, we have already spoken in former chapters.

It was remarkable that these exceptionally high notes, though brilliant beyond description, when used at their full power, could be reduced to a pianissimo as perfect as that of the veiled tones of the middle register. The pianissimo, indeed, was one of the most beautiful features of Mdlle. Lind's singing. It reached to the remotest corner of the largest theatre or concert-room in which she sang ; it was as rich and full as her mezzo forte ; yet it was so irnlj piano that it fell upon the ear with the charm of a whisper, only just strong- enough to be audible. The reader will not have forgotten that Her Majesty regarded this pianissimo as one of the most beautiful characteristics of Mdlle. Lind's singing, and that, in the letter , Chopin spoke of its " charm " as " indescribable."

A wholly different effect — though bearing a certain sort of analogy to this — was produced in the Koricef/ian Echo Song by a pecuhar tightening of the throat, which Madame Goldschmidt once tried to explain to the writer, though the process was so purely subjective that she said it was almost impossible to describe it in words. The effect produced so nearly resembled that of a natural echo, reverberated from the opposite wall, that it never failed to mystify an audience before which it was presented for the first time.

The notes, C, D, E, F, G, A, marked (g) in our diagram, were noticed by Mdlle. Lind, at a very early period, as the best notes of her voice. And judging, from their position in the scale, that her voice was intended by Nature to develope into a Soprano of exceptional height, she practised these notes, with the semitones between them, more diligently than any others, with the full determination to extend the process until the tone of the remaining portions of the voice became as rich, as pure, and as powerful, as that of the six notes which she regarded as forming the fundamental basis of the whole. How fully she succeeded in carrying out this intention we know already ; and it is scarcely too much to say, that it was to this firm resolve, and the clear foresight which prompted it, that her ultimate success is mainly to be attributed.

Mdlle. Lind's voice was not by nature a flexible one. The rich sustained tones of the soprano drammatico were far more congenial to it, than the rapid execution which usually characterises the lighter class of soprano voices. But this she attained also, by almost superhuman labour. Her perseverance was indefatigable. Among the Cadenze with which she was accustomed to embellish Jier favourite Airs was one adapted to a Movement from Beatrice di Tenda, introducing a scale passage ascending chromatically to the upper E flat, and then descending in the same manner. She once, while at the zenith of her career, told Froken

Signe Hebbe that she had practised this passage all her life, but that it was only quite lately that she had succeeded in satisfying herself with it ; adding, that she never allowed herself to indulge in singing such difficult passages before the public, until she had thoroughly mastered them, but preferred simplifying them to running the risk of an imperfect rendering of the notes.

Another remarkable feature in Mdlle. Lind's singing was the shake, which she delivered, at will, either with unapproachable brilliancy, or in the form of a whisper, more like the warbling of a bird than the utterance of a human voice.

Though it is necessary that a perfect shake should always begin with, and lay the metrical accent continuously upon, the written note, it is notorious that most shakes fail through want of attention on the part of the singer to the upper auxiliary or unwritten note. The general tendency is to let this note gradually flatten, until, in very bad cases, the distance between the two notes is diminished from a tone, to little more than a semitone. So well is this fact known, that the late Mr. Cipriani Potter once told the writer how he had been taught, in his youth, to separate the notes so widely that " a cocked hat could be thrown between them." Mdlle. Lind devised a cure for this corrupt delivery of the shake. In teaching, she legem by impressing the upjjer note upon the ear, as the most important, both as to strength and duration, at this early stage of the process ; leaning, as it were, upon it, and slurring up to it from the lower interval. She employed for this purpose, first, the leap of a fifth, then that of a fourth, and so on, until she reached the semitone, continuing the shake exercise between the two intervals, ivhatever their distance, for some time, before proceeding from the wider intervals to a lesser one ; always adhering to the upper note as the most important one ; and always making beginners practise it with extreme slowness.*

The following exemplification of this particular exercise, written, by herself, a few years ago, for the guidance of a young vocalist, has been found among her music : —

At a later period of instruction, the notes marked {a) and (b) were to be omitted, and the succession of intervals blended into one continuous exercise, thus : —

But it was not until after considerable advance had been made, that the exercise was allowed to be sung with any degree of quickness.

When, at last, after diligent practice, the perfect shake was attained, it was sung with the rhythmic accent on the real or written note, thus : —

not thus : —

The various effects we have here attempted to describe would have been impossible, but for that skilful management of the breath of which we have before had occasion to speak when treating of Mdlle. Lind's studies under the guidance of Signor Garcia. Her chest had not the natural capacity of Mdlle. Alboni's, or Signor Enbini's ; but she renewed her breath so rapidly, so quietly, so cleverly, that the closest observer could never detect the moment at which the lungs were replenished ; and, by the outside world, her extraordinary sustaining power was attributed to abnormal capacity of the lungs. The apparent ease with which she attained this difficult end was due to an artfully-studied combination of the processes technically termed "costal" and "clavicular" and " davicular * breathing " ; in the first of which — used only after the completion of a distinct phrase of the vocal melody — the lower part or " base " of the lungs, freed from the last remains of the previous breathy is refilled, to its utmost capacity, without undue precipitation, yet with sufficient rapidity to answer all practical purposes ; while in the second — used for the continuation of phrases too long for delivery within the limits of a single inspiration — the lungs are neither completely emjjtied, nor completely refilled^ but replenished only, by means of a gentle inhalation, confined to that portion of the organ which lies immediately beneath the davicuJce, or collar-bones. The skill wdth which these two widely different processes were interchanged, when circumstance demanded their alternate employment, was such as can only be acquired by long and unwearied practice, untrammelled by prejudice either for or against any special method W'hatever ; and it is not too much to say, that it was to the sustaining power, acquired by this careful management of the breath, that Mdlle. Lind owed her beautiful pianissimo, and that marvellous command of the messa di voce which enabled her to swell out a crescendo to its utmost limit, and follow it, without a break, by a diminuendo which died away to an imperceptible point, so completely covering the end of the note that no ear could detect the moment at which it faded into silence.

And no less complete was Mdlle. Lmd's command over the difficulties of articulation than over those of vocalisation pure and simple. Her delivery of the difficult — we had almost said, impossible — passage in the grand Scena from Der Freischiitz — Tduscht das Licht des Monds mich nicht ! f — though so clear and distinct that not a syllable lost its full meaning, was nevertheless so soft and smooth that it could scarcely have been surpassed in Italian. We do not hesitate to say that she was the only great singer by whom we have heard tliis famous crux surmounted without a trace of harshness in the delivery of the words. On one occasion Madame Birch-Pfeiffer left her, alone, practising the word zersplittre (" to shiver to pieces "), on a high B flat, in the opening Recitative in Norma; and, returning several hours afterwards, found her still practising the same word. And she continued to practise it, until she succeeded in pronouncing it quite perfectly on the high note, though few even of the best German vocalists attain a better pronunciation than zerspldttre. But she never erred in the delivery of even the most difficult word in any language whatsoever. So perfect was the mastery she exercised over larynx, throat, lips, tongue, teeth, soft palate, each and all, that never a syllable was stifled at its birth, never a vowel-sound corrupted in its passage through the longest groups of mingled leap, arpeggio, or scale. It was this high quality that lent so potent a charm to the complicated " divisions," the rapid passages of ftoritura of which Lablache, in describing them to Madame Grisi, said that " every note was a pearl." The purity of the vowel-sound, by which the pearls were strung together, secured their perfect equality of tone and timbre ; and, whether the most rapid notes were sung legato, or staccato, they either ran on velvet, or rang out sharply and clearly as the touch of a m.andolme. The tecJmique, in either case, was absolutely faultless, and its perfection was entirely the result of hard work, indefatigable practice, unwearying study. To the end of her career, she never sang in the evening without preparing for the performance by practising for . a long time, earlier in the day — generally, a mezza voce, to avoid fatiguing the voice unnecessarily, but, never sparing the time or trouble. And herein lay the secret of her victory over difficulties which tempt so many less courageous aspirants to despair.

Undoubtedly, the " method " thus diligently cultivated was, in many points, subjective. Mdlle. Lind felt, but could not always explain, the principles upon which she worked. We possess, however, a letter written by her to Fraulein von Jaeger, which enters into some particulars connected with our present subject of consideration, so curiously interesting, that we cannot refrain from publishing them, though the communication bears a date far later than that at which the purely narrative portion of our work comes to a close.

" Ems, June 8, 1855. " And what is my good Gusti doing ? Is she working as industriously as ever at her singing ? " The chief thing that I have to say, today, concerns that part of Friedrich Schmitt's ' Singing-school ' of which you wish for an explanation.*

" I do not think you have rightly understood the point. Eead the paragraph again, and it will surely become clearer to you.

" Naturally, he does not mean that you are to attack a note twice ; but that, before you sound the note, the larynx must be properly prepared in the position in which the forthcoming sound lies, whether high or low. The result of this is a firm attack ; and, as soon as you have sounded one note, you must spring so nimbly on all those above — or below it — that no rift can be detected between the sounds ; and, in this way, the completion of the phrase is accomplished without a break. For instance, the notes

must so hang together that they make one whole ; and this results from binding and striking them, at one and the same time — ^if I may so express myself — though it is almost impossible to explain this clearly in words. But I have often spoken to my Ousti about this, and shown it to her. It lies in the flexibility of the larynx, and must therefore be practised. Sing your exercise, then, so that this flexibility of the throat may be quickly developed. The attack of the single notes will thus be improved ; and the string of notes will follow."

Madame Goldschmidt is quite right, when she says that " it is almost impossible to explain this clearly, in words." No one knew, better than she did, that the best ' Singing-schools ' that ever were published are useless without the aid of a teacher ; for until she found a teacher in Signer Garcia, she wandered daily farther and farther from the true path, until, in the end, her voice but narrowly escaped from utter destruction. When once the truth was pointed out to her, her quick perception and unerring musical instinct enabled her to grasp it at a glance ; and, when once she began to practise upon true principles, the difficulties she had formerly experienced with regard to the method of voice-production were at an end.

On one point she always insisted very strongly. She had an innate hatred of the contortions with which so many vocalists of inferior order disfigure their features when delivering the passages they wish to render most impressive. She was never satisfied with a song, unless the singer " looked pleasant." She regarded singing as a beautiful gift of Nature ; a gift for which those who possess it should feel truly thanlvf ul, and proclaim their thankfulness by the expression of their features. She had a horror of careless articulation, even in speaking. And she felt firmly persuaded that the practice of singing, on the true " method," tended to the invigoration of the body, and especially of a weak chest. She even thought that the lives of many persons with a tendency to consumption might have been prolonged, if they had learned to breathe, and sing, in the right way — an opinion which is held by many medical authorities of highest reputation, and the correctness of which is undoubtedly proved by recorded facts.

So deeply penetrated was Madame Goldschmidt with love for her Art, and faith in its ennobling influence, that, to the end of her life, she took the keenest interest in promoting its instruction, upon the true and well-tried principles of the pure Italian School.

The following letter to the late Mr. H. C. Deacon, in whose method of instruction she felt great confidence, is one of the last she wrote upon the subject : —

" Wynd's Point, Colwall, Malvern, July 31st, 1885. " Dear Mr. Deacox, " It was very kind of you to let me know about the Examinations.* I am glad to hear that my sheep did not badly. If would put her mind into her work she might become a singer. " I can but do my best ; and, with my enormous experience, and a life's study, I ought to be able to bring out singers. " Singing is as much moral and mental as it is mechanical. It is the combination of those qualities which alone can form the master and pupil. " I hope you and Mrs. Deacon are better, and that you will now have some rest. " Yours sincerely, " J. L. GOLDSCHMIDT."

We can scarcely close our present chapter more profitably than by presenting our readers with a summary of the work performed by Mdlle. Lind, in connection with the Operatic Stage, between her first appearance in Der Freiscliutz, on the 7th of March, 1838, and her last, in Rolerto il Diavolo, on the 10th of May, 1849 — a period of little more than eleven years, during which she appeared in 30 Operas, 677 times.

Jenny Lind the artist, 1820-1851 : a memoir of Madame Jenny Lind Goldschmidt, her art-life and dramatic career, from original documents, letters, MS. diaries, &c., collected by Mr. Otto Goldschmidt by Holland, Henry Scott, 1847-1918; Rockstro, W. S. (William Smyth), 1823-1895

[elektrischemaidchen]

Lisztober #16: Paris, Ville de l'amour

‘I would like to make to song for Lisztober #16.’ ‘Okay, sure. But why... so suddenly?’ ‘Just because.’ ‘Can you at least put in a bit of Chopin-discovers-Paris and @franzliszt-official?’ ‘Absolutely.’ ‘It would be nice if it had a bit of a Moulin Rouge flair, with Freedom, Beauty, Truth & Love. ’ ‘Hmmm.’ ‘You’re up to something.’ ‘Hm.’

Scary Spice-Maidchen is back for good. ;) This is, indeed, so scary, I don't even know what to write about it. And: I doubt that those were @chopinski-official's exact words, to be honest ;)

This one was tough. So tough that we sat in the studio until well past midnight last night (and today is Lacelove's birthday) because the recording contained two technical errors we couldn't get out. That's how much we love each other. And since a complete re-recording at 1 a.m. would probably have cost us the original drive of the song and our nerves, we unfortunately don't have to present you the most perfect version today. At least we were able to correct one mistake.  That annoys our inner perfectionist, but the time pressure, the time pressure. (Normally we would spend two months working on something this complicated, but this time we only had two nights.)

By the way: Happy birthday, Honeybunny! Thank you for doing this with me, even though we're both obviously going mad ;) You are the greatest person in the world! And, God protect our souls, she owns a TD-3 now xD

Paris This is hell Paris is a Moloch Every third person here is an artist One in two is an arse...hole Everyone here is armed With sheet music to the tooth They steal your tunes To go round the world themselves In her salon, at the cool La Comtesse That's where they all meet And get on later Into the trap together Paris This is hell Paris is a Moloch Every third person here is an artist One in two is an arse...hole The  broad next to me Smokes in my face again That’s what all the fuzz is about The highly priced „Madame Sand“-Finesse Every evening There are the same „Free absinthe! - faces Every strumpet thinks she's the greatest Poet Over here a kiss on the hand Then another souper You're all so mega fancy Oh, I could puke When I see them! Paris This is hell Paris is a Moloch Every third person here is an artist One in two is an arse...hole You can get syphilis From the sink alone Vive la Bohème This must be the city of love [Hey! Did anyone ever tell Franz Liszt that he was a musical voyeur who polluted the salons of the world with his posturing, his falseness, his egocentricity, like a mangy jackal?] [Yes, Debussy.] [ Good!]

[posttexasstressdisorder]

Wednesday, 11-20-24, 7pm Pacific

And a blustery good fall evenin' to all, Mr. Baggins back with a set sure to soothe your achin' nerves and help ease us all into a good night. I thought we might start the evening with a little nod to this afternoon's set with Lenny and The New York doing Bizet's Carmen Suites, from their classic '73 recording on Columbia Masterworks.

And sticking with Carmen for a minute, here is soprano Rise Stevens, with her steamy reading of The Habañera, from Carmen. Decades ago, one afternoon while working in the record store on The Drag, an older woman came in with her daughter and we started talking music. Turns out she was the widow of one of the music professors who was a Beethoven expert. We started talking sopranos and she leaned forward and said in a conspiratorial tone "Rise Stevens was the Best Carmen!" Here she is with The Met Opera Orchestra.

Vladimir Horowitz was very much a "solo artist", and made very few concerto recordings in his long career, and even fewer chamber music recordings. Here he is in a rare performance with violinist Nathan Milstein, of the Brahms Sonata No. 3 in D minor, Op. 108. A truly historic recording made in 1950 in NYC.

Let's stay with Brahms, and hear Lenny with The Vienna in their recording of Brahms' 2nd Symphony, from the 1982 live complete set on DG.

And as an encore, let's hear their absolutely definitive reading of Brahms' Academic Festival Overture. Again, from 1982, live.

Let's revisit Marriner and The Academy and their Schubert symphony series. Here is Symphony No. 2 in B-flat Major, D125.

Chopin composed two piano concertos, and they were actually published out of sequence. Here is the Concerto No. 2 in F minor (actually the first written) in a truly rare recording, made LIVE on October 9, 1958 with our Brazilian friend Guiomar Novaes at the piano in Carnegie Hall, with LENNY conducting the NYPO. Bask in the glow!

And let's hear Mme Novaes in an encore of the F-minor Fantasie, from 1953.

And here she is with Chopin's Barcarolle, or "Boat Song", from that one superlative album she made for Decca in 1963.

That's all the space for tonight's program, I hope you enjoyed this evening's selections! This is Mr. Baggins signing off for now. I'll be back at 8am with your Morning Coffee Music.

Until then, dream sweet dreams, babies, dream sweet dreams.

Baggins out.

[catovyen]

Time to ramble & store my ClassicaLoid OC and shit in this blog ✨

These are the new ones I have planned!

Arkheloids, using the old name of Classicaloids, were created by Kyougo Otowa, after he created Wagner and Dvorak. However they don’t affiliate with the Classicaloids – some have interacted with them. Some of the Arkheloids live on Debussy’s yacht, such as; Debussy, Paganini, Ravel, Satie, Boccherini, Vivaldi, and Shostakovich… accompanied by one human; Cathe, who is forced to be included on their adventures exploring.

✨ HAYDN

Meet Haydn who is an ArkheLoid! So far I only have colored her normal form, but I have designed her Musik form. She only speaks in German and she is a soprano singer! Haydn shows affection to everyone + Mother figure. Would listen to your problems. Always surprises her friends during their birthday. She loves to be called “Mama Haydn” if her close ones are comfortable with calling her that, it would melt her heart.

✨HANDEL

Handel is a ArkheLoid who works as a Lawyer, and he is the oldest among all of the ArkheLoids.

His eyes are sensitive to light, he wears sunglasses most of the time. Able to read people, and sometimes provide emotional support.

His Musik power is able to harmonize other Classicaloid’s Musik. This also allows him to control other’s Musik. Only he can stop everyone’s abilities. There is also another that allows him to use another Classicaloid's Musik against themselves. His transformation catchphrase is "let the cadence of my words resonate within the chambers of your soul" (In German: Lass den Kadenz meiner Worte in den Kammern deiner Seele widerhallen.)

I have no sketches or concepts yet. But I can only vision him being 6'6 ft and wears something formal/dark academia themed.

✨SHOSTAKOVICH

“Who the fuck is Hairy Paw Her?”

He is stoic and shy, unless you talk about soccer. No worries, he’s very polite. Occasionally, he plays card games with Boccherini. He fidgets his hands a lot, and he twitches too. Most likely to be found using a laptop to create his piece or playing games (if he's on land). Communicates with Chopin through the internet, they never saw each other in real life. They would often play online co-op games.

I have no complete reference for him yet, but I have sketched out the concept. It may change in the future.

I am currently working on a one-shot comic of him and it involves Chopin too! 16/18 pages has been sketched out and it will only be in monochrome colors, so stay tuned if you are curious to read the comic. 🕺✨

✨ VIVALDI

One hit wonder: the sequel (4 seasons).

He is an ArkheLoid with a slender and feminine body type. His hair color is dyed depending on the season he is in (mint, yellow, orange, or white color). Owns a camera, he brought it everywhere (especially when he’s traveling).

I have no concepts/sketch for him yet.

✨ANCENE CATHE

Cathe is a human who is involved with ArkheLoid's shenanigans. Before she is an independent comic creator, she worked at Arkhe's Talent Agency as an Art Director. For years working on Arkhe, she got fired due to “lack of creativity” and "inefficiency" (she intended to do that).

Cathe easily gets seasick, and she has thalassophobia. It is a challenge for her to stay in Debussy's yacht for the ArkheLoid's voyage.

✨ANZU MIZUMOTO

Anzu, who is Cathe's best friend, works at Arkhe's Talent Agency as the receptionist (night shift) -- on some occasion, she works as the canteen’s waitress. She is that person who has a crush on everyone she talks to, but her feelings towards them only last for a few days. Secretly reads smut to keep her up at her night shift. Cathe’s best friend, she also has a crush on her - and Cathe is too dumb to notice it.

I have no concepts of her yet. However, I can only imagine that she wears formal clothes (suit and skirt), appears to be taller than Cathe.

✨ OTHER OC NAVIGATION

Debussy

Paganini

ArkheLoids (OUTDATED)

[wonda-fhr]

WIP not wednesday anymore.

Thanks for tagging @just-a-tiny-goldfish

I'm on a trip at the moment and don't have access to my works.😮‍💨

But there is a little something that is saved on my phone. After all, I can't travel completely without stories.😏

A little thing for the gossip girls, Ryder and David. Therefore @westealtoys feel yourself tagged. 😁

------

Ryder watches with amusement as David talks to Emma about French pastries, even though he only wanted to order breakfast.

"How did you get this connection to France?" He asked as Emma disappeared into the kitchen.

"I have no idea. Chopin was drawn to France, maybe that's why."

"The guy whose music you like so much?

David chuckled and tried to find an explanation. "The famous componist whose works ... oh forget it. Yes, the guy whose music I like."

"Oh boy, it's probably better that my taste in music doesn't affect my food."

The idea immediately got David bursting out laughing.

[pianocat939]

Hallo! Could I have a headcanons for donnie with s/o who is genius like tony stark?

Alert: I almost know nothing about Iron Man except for the fact he made his own gear, is smart, and can do some blasting with his armour.

Donnie with Intelligent MC

Has mixed feelings.

You're probably wondering, wouldn't he be all glad? Well my friend, as someone who has been deemed intellectual all their life, I think he would both love it but be annoyed at specific points.

As this most likely has more confusion, the reason I believe he would be annoyed at times is that he likes being the knowledgeable one sometimes.

He loves giving people information about things, even if they don't completely understand him. But when they know everything or expect a similar thing, it discourages the love of wanting to share occasionally.

Now onto the more enjoyable aspect of things, he enjoys you understanding his language and inventions. It makes things simpler and much more peaceful than the confused faces his brothers always have.

He definitely speaks anything and everything about his findings and research to you, oftentimes being succumbed to his work.

Definitely the type of person to share you articles and random facts in chat (my family chronically does that help-).

Nonfiction/educational book recommendations for sure.

Istg you guys are playing word board games to see who can lose first.

Watching documentaries when you're absolutely bored is a must.

I'm basically projecting at this point-

——————————————————

I get so pissed sometimes when I'm trying to talk about my knowledge of music and they suddenly start adding in stuff. Like shush and let me talk about Chopin's composition style with no interruptions.

- Celina

[naranjapetrificada]

Ooooh thank you for playing with me! I enjoyed your answers!

You write both Ed and Stede beautifully, but I totally get what you mean about getting into Ed's hornet's nest!

Funny, I don't really listen to music as I write because I get too distracted, but I love linking songs to scenes. Weird.

Awww... I'm freakishly proud that my words could make you cry. You'll never know how much your comments and support mean to me.

I made myself cry when I finished AWoTT because I hate the last few chapters. They did a real disservice to the story because I rushed and tried to write something readers would like instead of what I'd done for most of it. On top of that, I ruined the Buttons/Jeanne d'arc ending because I worried that it would seem like I was ripping off the show. They were both supposed to turn into birds. I can't face trying to fix it. (If you haven't read the end, don't waste your time, and if you did and were disappointed we are on the same page.)

Eeek! Sorry for the ramble... xoxoxo

Before I get to the actual reply to this ask: if y'all haven't been treated to A World of Tempestuous Things, one of the top-five best fics in the fandom, I'm gonna need you to drop everything and read it the way I did whenever I got a notification that a new chapter had been posted.

Re: the ask itself:

I'm sorry you're dissatisfied with how it turned out but if it's any consolation it felt like a fitting end to me! The first time I tried to read the final chapter I literally couldn't for all the tears in my eyes because I knew it was ending. I no longer have a neutral relationship with any of the songs you used for the section titles, especially "Don't Dream It's Over" because god if that didn't just get at the root of everything I felt about the fact that your fic existed. I miss your versions of Ed and Stede terribly and it's gonna be a tall order for anyone but David Jenkins to make them half so indelible to me. I felt like I was watching actual people I loved sail away forever.

I started reading it around when it was halfway through I think? It shouldn't have immediately worked for me when I first started. I was burning out a bit on reunion fics and I thought of myself as someone who didn't love when fics had too many OCs and those OCs got a lot of time in the story, not to mention my strict no-WIP rule, but whatever made me read it must have been fate or something. That and the reflectiveness of the characters and the times the prose knocked me off my feet and the usually gutting historical interstitials (I still think about/am haunted by the Chopin one at least once a week) and the lines I took screenshots of to send to my therapist. It's so much greater than the sum of its parts, and fiction like that can change things about a person's preconceived notions and personal tastes forever.

If I tried to list the things about it that are going to stay with me well, it would literally be easier for everyone if I just c/p the entire fic into this reply. It felt like such a journey that readers got to go on with both the characters and with the story on a like, metatextual level? It completely changed my relationship with high-quality WIPs. Now that I'm writing my first longfics I'm thinking about character and framing devices and POV voice in entirely new ways because I was fortunate enough to get the chance to read it. It's criminal that it's not in the top 5 most read fics in the fandom and I will not stop recommending it until that happens.

Even if you're not happy with the ending I think your readers are. This reader certainly is. And if you did want to go back and change it someday I have zero doubts that I'll be happy with that too. The fandom is richer for having your work in it.

[greenhousethree]

Chasing... first chapters out now!

“Elbows in, Ginny. Stagger your grip a bit more, you need the broom to really feel what you want from it.” Her eyes watered as she completed the first circuit, cold air expanding her lungs, exhalations sparkling before dissipating into the pale morning. Part of her wondered whether, if she stayed out here long enough, flew enough laps, the pitch would eventually return to the way she’d seen it last: wild and overgrown, off-limits. Empty.

A journey toward adulthood, career, and purpose. A Quidditch story.

Happy birthday to our Weasley Queen! Celebrating with the prologue and first chapter of Chasing, a multi-chapter navigation of life, sport, and identity in a world reeling from war.

Canon compliant, post-DH, Ginny Weasley POV.

Playlist can be found here. 💫

Songs for Chapter One: The Hare - The Gloaming Nocturne No. 6 in G Minor, Op 15 No. 3 - Frédéric Chopin Where I'm Going - The Wild Reeds

[maicenaconmate]

Imagine that you are Lucile (George Sand) and your best friend suddenly stops listening to you because @franzliszt-official passed by.

A Chocolate for a Kiss (Chopin x Liszt)

Alternate Universe: High School. Completed in English and in Spanish also