#concert pianist from Russia

[chopinski-official]

Dobry wieczór. Since it’s International Women’s Day (albeit not strictly), tonight I would like to draw my followers’ attention to the female pianists and composers who were my contemporaries… Apologies for the lengthiness, evidently there is a lot to be covered.

Clara Schumann 1819-1896

A child prodigy, Clara was taught piano by her father and by thirteen he was taking her on concert tours.

She met Robert Schumann as a child when he came to Leipzig to study law at the university. He took piano lessons from Clara’s father, Friedrich Wieck. When she was 18, he proposed to her. They married in 1840.

The virtuoso went on tours with her husband and earn money by performing and teaching. She was also a gifted composer, however most of her time was spent looking after her family, editing Robert’s music and playing. Clara’s compositions include more than 20 piano works, a piano concerto, some chamber music and several songs.

Fanny Mendelssohn 1805–1847

Composer and pianist, Fanny grew up in Berlin, sharing the same musical education as her brother Felix, with whom she had a close relationship.

Her compositions include a piano trio, a piano quartet, an orchestral overture, four cantatas, more than 125 pieces for the piano and over 250 lieder, most of which were unpublished in her lifetime. Although lauded for her piano technique, she rarely gave public performances outside her family circle.

Owing to her family's reservations and to social conventions of the time about the roles of women, six of her songs were published under her brother's name in his Opus 8 and 9 collections.

Marie Moke 1811-1874

Marie Moke gave her first concert at the age of eight and by the age of fifteen, she was already known in Belgium, Austria, Germany and Russia as an accomplished virtuoso.

She married pianist and piano manufacturer, Camille Pleyel, but they later separated on account of her promiscuity. Heinrich Heine considered her among the greatest pianists “Thalberg is a king, Liszt a prophet, Chopin a poet, Herz an advocate, Kalkbrenner a minstrel, Mme Pleyel a sibyl, and Döhler a pianist.”

Later on, she created the piano school at the Royal Conservatory in Brussels where she taught from 1848 to 1872.

Louise Farrenc 1804-1875

A French composer, virtuoso pianist and teacher, she started playing young and had piano lessons with famous teachers such as Moscheles and Hummel. She studied composition privately with Anton Reicha at the Paris Conservatoire, unable to go to composition classes as a woman. By the 1820s she was touring France, giving concerts.

In 1842 she was made Professor of Piano at the Paris Conservatoire where she stayed for 30 years. For a decade she was paid less than the male teachers. Only after the triumphant premiere of her nonet did she demand and receive equal pay. She wrote a wide variety of piano music, but her chamber pieces are considered to be her best work.

Pauline Viardot 1821-1910

From a musical family (including her older sister, Maria Malibran) Pauline was trained by her father on the piano and in singing.

In her youth she took piano lessons with Franz Liszt and counterpoint and harmony classes with Anton Reicha. However, despite wanting to become a concert pianist, she was directed towards singing by her mother.

Pauline began composing when she was young, but it was never her intention to become a composer. Written mainly as private pieces for her students, her works were still of professional quality and Franz Liszt declared that, with Pauline Viardot, the world had finally found a woman composer of genius. Compositions include her chamber operas Le dernier sorcier and Cendrillon.

Arabella Goddard 1836–1922

Born in France to English parents, at age six Arabella was sent to Paris to study with Friedrich Kalkbrenner. Aged seven she played for myself and George much to our pleasure.

During the 1848 Revolution her family had to return to England; there, Arabella had further lessons with Lucy Anderson and Sigismond Thalberg. She was known for her ability to play recitals from memory.

Arabella was appointed a teacher at the Royal College of Music in 1883. This was the RCM’s first year of operation and Arabella was its first female professor. She composed a small number of piano pieces, including a suite of six waltzes.

Marcelina Czartoryska 1817-1894

Born into the aristocratic Polish family, the Radziwiłłs, Marcelina was taught piano by Carl Czerny in Vienna and by myself in Paris. She gave concerts across Europe, with Franz Liszt, Pauline Viardot and Henri Vieuxtemps.

From 1870 she lived in Kraków, where she gave mainly private concerts and, thanks to her artistic connections, contributed to founding Kraków’s Academy of Music in 1888.

Maria Kalergis 1822-1874

Raised in Saint Petersburg in the home of her paternal uncle, the Tsar's minister of foreign affairs, Maria received a thorough education where she evinced an early musical talent.

She was a student of mine and held salons in Paris whose guests included Liszt, Richard Wagner, de Musset, Gautier and Heine. Later, she became a hostess and a patron of the arts in Warsaw.

She was a co-founder of the Warsaw Musical Institute, now the Warsaw Conservatory and established the Warsaw Musical Society, now the Warsaw Philharmonic. Between 1857 and 1871 she made frequent appearances as a pianist.

On her death, Franz Liszt wrote his Elegy on Marie Kalergi.

[agentfascinateur]

Somewhere there's a hauntingly beautiful symphony where Pavel Kushnir belongs.

Rest in peace 🕊️

Kushnir was born in Tambov, central Russia, where his father Mikhail was a pianist and educator, and his mother a music school teacher. He started playing piano at the age of two and, at just 17, gave a remarkable two-and-a-half-hour concert featuring the 24 preludes and fugues by composer Dmitri Shostakovich. Later that year, he was admitted to the Moscow Conservatory, where classmate Julia Wertman says he cultivated a “dissident image”, often wearing a shabby coat and black clothes, with a half-litre bottle of vodka sticking out of a pocket. Asked in a 2005 interview what composition he would never perform, he replied: "The Russian national anthem."

Arrested for 4 social media posts objecting to the war in Ukraine. Died from a hunger strike in protest. 💜

[rikeijo]

Today's translation #557

Yuri!!! on CONCERT pamphlet, Allegro appasionato

Matsushiba Taku commentary

Piano concerto in B-minor: Allegro appasionato

Part 4.

When I think about the relationship between Victor and Yurio, because they are both from Russia, it's both "teacher and student" relationship and "rival" relationship. At the same time, it's the contrast of the champion, who is already on top and the white hope, whose goal is to reach the top in the future, so I decided it would be meaningful to use B-major and B-minor scale to represent the contrast between them.

But because of that, to perform this composition, you need to use back piano keys a lot, which makes it difficult to play. To explain this in a simple way, positions of the keys don't fit too well with your fingers, that's why it's difficult to perform. Surely, it makes pianists think: "if it would be just one key different, it would be so easy to play".

It's not that B-minor scale isn't used often, because it's difficult to play, however. But it's still a fact that it makes pianists cry. If you play the piano, one highlight of the live performance for sure is to see how the pianist is going to face the difficult B-minor scale. This time Kiana Reid will play the piano, so look forward to her incredible performance.

[ozimagines]

(Got a request involving him so I figured I’d post this first just to lay the groundwork for what I think of him.)

Dating Nikolai Stanislavsky would include…

Want a man who’s Russian, from Russia, and was born in Russia? Have I got the man for you lol

Dude strikes up a conversation with you on the street. He thinks he’s more suave than he is.

Prides himself on being a gentleman. He offers you his seat on the bus.

“So, what is nice girl/guy/person such as yourself doing in a place like this?”

You can’t help but smile at the cliche. You tell him you’re just going to get groceries. He asks if he can come along, showing you his bag as well.

You go shopping, and he compares them to the shops in Russia, missing his home a little but also excited that he can get green apples year round at Walmart.

He’s charming, letting you enter anywhere first and holding the door for you. Making sure he walks in front of you to clear the aisle. Reaching things on shelves you can’t.

He’s old fashioned.

You thank him for everything, and he asks for your humber.

“Might need someone to show me around the city.”😘

He texts you “good morning” and “goodnight” every single day.

You flirt at first. He’s cute in a gentlemanly way.

You don’t start getting serious until he takes you out one day, and give you diamond jewelry that he can’t tell you where he got it from.

You start to understand why he’s so sparse in his details of his background.

When he feels he can trust you, he mentions that you may not want to mention his name to any police. You take the hint but are understandably a little freaked.

He promises you that he’s not there for violence, and you take him at his word.

He takes you in classy dates; bookstores where you get coffee and read, sushi bars where he surprises you with his knowledge of world cuisine, and art galleries that he gets early access to.

You decide to surprise him for a change. You find out there’s a famous Russian pianist in town doing a small concert.

You take him, not telling him what you’re taking him to.

First song is Romance by Dvorak. There’s a violinist there too, and the piano and violin almost seem like they’re talking to each other. Like the romance is between them.

His eyes are closed for the first song, he’s transported back to his home in Russia, when shit wasn’t going sideways, practicing the piano for his mother. 🥰

He grasps at your hands, holding them for the duration of the concert.

He thanks you profusely afterwards, holding your hands, face in your neck, kissing it softly.

He takes you back to his to make love that night.

Stanislavsky doesn’t fuck very often; he makes love.

Candles and soft music and silk sheets.

He kisses all over your body, lips touching every sensitive point, thrusting firmly but gently into you. 🥲

You cohabitate pretty quickly. I think Stanislavsky is pretty domestic.

He can cook like a BEAST.

Memorizes different recipes around the world.

His draniki (дранікі) are seriously orgasmic tho.

His kartoshka (Картошка) are also quite delicious but it’s literally impossible to fuck up anything chocolate.

Reads the paper every morning even though phones exist.

Not big into social media. Like really really on the outs.

When you send him videos you have to text him a link. 😂

Often wears jeans in casual mode. American jeans. Feel way different than the knock offs he’s used to. (Based on my non-American exs’ opinions)

Recreates that photo with you of the solider coming home and kissing that woman in the streets ⬇️

Exceedingly and disgustingly romantic

Like very Eastern European views of love and traditions

Insists on holding the door for you. Will genuinely be butthurt if you don’t let him.

His favorite place to kiss is right behind your ear. It’s intimate and it lets him smell whatever fragrance you’re wearing that day.

Gifts you with things you can use together; pajamas he’d like to see you in, perfumes/colognes for him to smell, puzzles you can work on together.

After dinner every night, you sit on the couch and read together

Not a big TV guy

Often turns on music so he can dance with you; simple waltz’s and such🎵

When he loves you, truly, he tells you.

He’s European, he doesn’t consider it weird to express love that way.

“I have something to tell you. Just sit. I love you. More than all else.”

He gets protective over you too

Not a super violent dude, but he does what he has to for you

Will put himself between you and anything he considers to be a threat.

He calls you Russian pet names, but in English so you can understand: “my beloved”, “little sparrow”, or “mousy”

You call him “Nikki”. He doesn’t like it but he knows you do. ☺️

“Nikki?”

*sigh* “Yes, my wondrously beautiful?”

Has cold feet in bed. I’m sorry, he just does. 🙃

He enjoys being kissed on his collar bone. Turns him on more than anything.

Enjoys going to bed early and waking up early. Loves to see the sunrise.

He proposes to you during a sunrise. You two are having coffee, and you bring him his just right.

Two hits black cane sugar and a splash of goat’s milk (lactose intolerant boi)

While the sun comes over the horizon, he leans in, kisses you, and slips something into your finger

It’s his great great grandmother’s engagement ring, a beautiful starburst emerald in the center.

“Ready for another adventure?”❤️

“I love you, Nikki.”

“I love you too, Y/N”😘

Bonus: I think he’d genuinely be interested in Native American culture. Like genuinely enthralled by their history and resilience. That’s the only way you can get him to watch TikTok is if he’s learning something, but he follows Tia Wood and Shiva Nova. (Or makes you follow them, lol)

[sixty-silver-wishes]

Tumblr's Guide to Shostakovich: Part 1

Hello, and welcome to a multi-part series of posts I'll be uploading weekly called Tumblr's Guide to Shostakovich, an informative and casual approach to the life and works of Dmitri Dmitriyevich Shostakovich (1906-1975), one of the most well-known Russian composers of the Soviet era. I have been researching Shostakovich for the past three years and am very excited to share what I've learned with you all!

Part One- Overview: Who was Shostakovich?

(Yes, he looked like that. Luckily for Tumblr, this series will include plenty of photographs.)

Dmitri Dmitriyevich Shostakovich was born in St. Petersburg, Russia, in 1906, and died in Moscow in 1975. He was a skilled concert pianist and composer of a variety of works, including 15 symphonies and string quartets, three ballets, operatic and vocal pieces, film music, concerti, and other chamber and orchestral works. In the west, he's most well-known for not just his music, but his complicated relationship with the Soviet authorities since 1936, when his opera Lady Macbeth of the Mtsensk District was denounced in the state newspaper Pravda on January 28th of that year. Since his denunciation, Shostakovich attempted to compose within the style of Socialist Realism, or an artistic style that intended to display Soviet political and cultural values and be easily accessible, but many of his works from 1936 to 1953 (the year Stalin died) are often interpreted by scholars to contain "hidden meanings" and messages of dissent. This has made Shostakovich both a popular and a controversial composer among western music scholars, who often debate interpretations of his pieces, as well as details on Shostakovich's personal life and political values.

Shostakovich is a difficult figure to research, not only due to the multiple interpretations that exist of his pieces, but also the differing accounts of the man himself. The most infamous example of this is the 1979 book Testimony, written by Solomon Volkov and claimed to be Shostakovich's own memoirs, as transcribed by Volkov himself. Testimony portrays a bitter, angry Shostakovich, vocal in his dissent towards both the government and the Soviet musical establishment. While some scholars and even some who knew Shostakovich side with Testimony as legitimate, others have argued that Testimony is likely partially, if not completely, fabricated. (It is for this reason that I will not be relying on Testimony as a source in this series, but rather primary accounts from Shostakovich's contemporaries and his own correspondence. Secondary sources will be cited, but primary sources will be referred to whenever possible.)

Speaking of primary sources, they also tend to muddle Shostakovich research even further. Many people knew Shostakovich throughout his life, and many different recollections of him, some of them conflicting, will appear from his friends, family, colleagues, and adversaries. For instance, Isaak Glikman and Lev Lebedinsky were both, at one point, friends of Shostakovich. However, when Shostakovich joined the Communist Party of the USSR in 1960, while Glikman and Lebedinsky agree he did not join the Party willingly, their accounts differ in that Glikman claims Shostakovich reluctantly joined the Party to ensure his own stability, Lebedinsky claims he was tricked into signing the official documents while inebriated. There are some sources, like Galina Ustvolskaya, whose recollections of Shostakovich changed with her opinion on him- as their relationship deteriorated, Ustvolskaya recounts Shostakovich increasingly negatively. And there are some accounts based simply on misremembrance, hearsay, rumours, and speculation. Oftentimes, I find myself having to read accounts from multiple primary sources and deciding which ones are the most consistent, without the satisfaction of finding out concrete truth.

Finally, there's Shostakovich himself. While many of his letters to various correspondents survive and have been published in Russian and other languages, Shostakovich's writing is notorious for its use of sarcasm, tautology, literary allusions, and Russian idioms, making it all the more difficult to interpret in translation or even without Russian cultural background. Shostakovich also had a habit of destroying letters after reading them, so of course, many of the letters we do have are missing crucial context. And of course, he constructed a very official public persona (particularly after 1948) that was remarkably different than his private self, adding to the complexity of discerning his own views and opinions.

However, to me, the thing that interests me the most about Shostakovich was his resilience. He lived through a number of catastrophic historical events, personal attacks, and hardships, all of which are documented in his works, many of which provide both insight into the Soviet historical zeitgeist of the time and Shostakovich's personal situation. And yet, despite everything, he kept composing up until his death, with his last work, the Viola Sonata, the only one whose premiere he did not attend. Much has been said about the "depressing" quality of Shostakovich's works, particularly during his Late Period (1954-75), but a wide scope of other emotions exist within his oeuvre, from his wicked sense of grotesque humour to his deep compassion for life and humanity. Despite popular characterizations, Shostakovich was a complex man whose work only proves to be just as complex the more we study it.

-

Thank you for reading! The next post will discuss Shostakovich's family history and its deep background in revolution.

[the-hero-story]

Because the html formatting doesn't work on mobile (not even on a browser, I checked), I'm posting the whole story here too :)

We were married in the spring. 

No one liked the idea of a spring wedding, least of all my husband, who complained about it as we drove away from the cathedral. It was rotten in Moscow in April, and worse in Petersburg, where the snow hadn’t even begun to melt. I had wanted the wedding at Voronetskoye, the old estate, the lynchpin of our world, but my husband refused: staying in Moscow would be impractical, and God forbid, unfashionable. Because it was his reputation at stake, and not mine, I agreed. 

That summer, after our honeymoon in Paris, we came back to Russia and met my father at Voronetskoye. My father worked in Petersburg, but since my mother died he spent most of his time at the estate, reading and drinking. It was a beautiful place to grieve, a manor surrounded by acres of lush green fields. We arrived in the evening, with an hour to spare; my father’s carriage waited for us at the station. 

If there was any time when the estate looked most perfect, it was, perhaps, evening in early summer. I never looked forward to these trips, yet whenever I came to Voronetskoye I felt as if I was returning home after many years away. It was always frozen in time, fading family portraits hanging on the walls and old heirlooms hiding under canopied beds. My father hadn’t wanted to make it a time capsule; the time had just passed, and the dust had eaten away at everything it could find. 

My husband hated it there. Whenever he left Petersburg he was like a sailor on land. He needed the city air: it was fast, it was relevant, there was always something to do. 

“We’ll go back Saturday,” he had said on the train to Moscow, pinching his mustache as he liked to.

“Father asked us to stay the week. We talked about it earlier today, Vasya. Please, just this one time — you know how lonely he is down there.”

“The man doesn’t own you.”

“Neither do you.” 

Vasily rolled his eyes. “It’s exactly this kind of talk that makes me—”

At that moment the attendant came through with the baby, and we dropped the argument. 

When we got to the manor, it was empty and silent, practically deserted. For a minute, as I climbed the double staircase, suitcase in hand, I thought my father had died. Then I heard my brother’s voice, coming from the drawing room. 

“Kitty,” he called, that old familiar sneer.

“Where’s Father?”

“Upstairs.” Alexis emerged in the doorway, his pale face framed by a mess of black hair. He was flushed, dressed hastily in his robe. “I thought you were in Petersburg.”

“We were. Don’t you have a concert tonight?”

He pulled his lighter from his pocket and took out a cigarette, tapping it against the gilded lid. “Postponed.” The flame flashed before his face, and he took a long drag, looking off towards the corner. “I was practicing all day,” he mumbled. “Had no idea you were coming. 

I knew what his days consisted of. Since he’d been expelled from military school two years ago, he had taken up a career as a pianist. He was a genius at the piano, there was no denying it, but he spent most of his time in bed, God only knows with whom. 

“Isn’t he cute?” he said, gesturing to the baby, who was swaddled in cotton on Vasily’s shoulder. “What’s his name?”

“Maria,” I said. “It’s a girl.”

My brother blushed.

“Father didn’t mention anything to you?” I asked, taking my suitcase and walking towards the stairs. “He wrote to us a month ago.”

“He’s probably forgotten about it by now.”

“Alyosha, he’s been through hell. Try to understand.”

My brother shot a grimace in my direction. “Your room’s in the west wing, isn’t it? Right, I’ll be in the drawing room. Holler if you need anything. I think Father’s in his study — you can go knock if you want.”

Shutting the door behind me, I put my suitcase at the foot of the bed. 

“God, that boy is insolent,” Vasily said, gazing out the musty windows. “Any idea what he did to get himself kicked out of the Cadet Corps?”

“Vasya, we’ve been over this. I’d rather it stayed a mystery.” I brushed a cobweb from the wooden footboard. “It’s his career, not mine. Besides, he does well as a pianist. Lots of attention.”

“I’m sure he likes that.”

“Really, Vasya, drop it. He’s practically a child.”

My father did appear at dinner that night, late and still wearing his uniform. He was a sad sight: his disheveled shirt and his unshaven, once-handsome face. Out of deference, we all stood up as he entered.

“Sit down, sit down,” he said, slowly walking across the room and taking his place at the head of the table. 

We obeyed. The dining hall had never been my favorite room in the manor: it was squat, gloomy, and lined with old portraits and older statues. The heirloom silver tray, which still stood in the corner on a pedestal, had once been as pristine as a mirror; now it was stained, tarnished, and edged with cobwebs. Opposite it was an ancient family portrait from the nineties. It was the best likeness of my mother, the last one drawn before her sickness. She was the spitting image of Alexis; her dark hair curled around her luminous face in intricate coils, her dark, ceaseless eyes gazing at an unseen sky. He had gotten her beauty; I had gotten her heart. 

My brother’s friends were there, a frilly girl called Sonya and a boy named Petr, who had been at school with him before the expulsion. They were strangely cheerful; though Alexis was prone to gloominess and violence, the three of them talked about opera and would not look at me. Vasily and I were left with my father. 

“It’s been so long,” he said, though it had only really been a matter of months. “You look so much older. That new wardrobe… very au courant. How was it in France?”

I had hated France. Paris was overcrowded and obnoxious, but, as Vasily said, fashionable. He was desperate to make a good impression on the world, and Paris was the way to do it: the opera, the Eiffel Tower, the Louvre, the brainless shop clerks who couldn’t figure out how to spell our last name. 

“Lovely,” I said. “It’s so fresh there.”

Vasily nodded. “Paris is a perfect city. We’d stay there all year round if we could.”

My father smiled. “God knows it’s a good time to leave Russia.” He gestured to Alexis and his friends. “Take him with you. He’s wasting his days here, and it’s a terrible place to be young. I want him to live.”

“You’re a pianist, aren’t you, Alexis?” my husband asked, glancing across the table. 

My brother looked up, surprised. “Yes. I play at the Bolshoi Theatre.”

“Why piano?”

“I’m good at it, that’s all.”

I saw my husband smile. “Why don’t you play for us sometime?”

My brother’s eyes flitted over to me and back to him. “Of course,” he said, but sounded ill at ease. “You like music?”

“Mostly just Tchaikovsky.” Vasily set down his fork and fixed my brother with a piercing stare. “Did you start playing before or after you got kicked out of the Cadet Corps?”

A wave of angry embarrassment flashed across my brother’s face. “Before,” he muttered. “Years before.”

In our bedroom after dinner I sat by the window and nursed the baby. Vasily was in the brocade armchair, smoking, the lamplight dancing across his face. 

“Even the paper’s out of date,” he muttered, blowing a cloud of smoke in the air. “We can’t stay here, Kitty.”

“We can leave a day early, if you hate it so much.”

“What, you’re having fun? You don’t have to pretend you like it here just to appease your father. You can’t convince me you really want to spend more than an hour here with that whore brother of yours and his school friends? I swear to God I could kill that boy.”

“Vasya, you agreed to spend one week here with me. As soon as the week is over, we’ll leave, I promise. Lord knows we’ll live the rest of our lives in Petersburg, so let me have this week with my father before he dies.” 

Vasily held up his hands. “As you wish.”

By the time I woke up the next morning, Vasily was gone. He enjoyed an early morning walk; he said the world was most beautiful before sunrise. I sat in bed with the baby, brushing her shock of auburn curls out of her soft face and pinching her chubby cheeks. I had named her after my mother, a last-ditch effort to keep her with me, but the only resemblance was in my baby’s eyes. Even when she was smiling, there was a light in her eyes that seemed to belong to another world, one I knew I would never see. 

Half an hour passed, and there was a knock on the door. It was my brother. 

“Oh, you’ve got little Masha,” he said, peeking around the door. “Can I come in?”

“Yes, of course. Up early?”

“Rather. Couldn’t sleep last night — had all these awful nightmares. Where’s your husband?”

I laughed. “Out walking, I think. Maybe hunting. He left before I woke up. Here, come sit.”

He crossed and settled himself beside me on the bed. “Can I hold her?”

Gathering her linens, I passed the baby to him. He smiled, touching her nose. “Your husband’s rotten, isn’t he?”

“Alyosha, that’s a bit on the nose.”

“But he is.”

I hesitated. “Sometimes it’s hard. Sometimes it isn’t. That’s how marriage is. You’ll understand when you’re married.”

“I don’t want to marry. Seems pretty awful, as far as I can see. Gosh, Kitty, she is cute. How old is she?”

“Two months.”

“It’s a good thing you didn’t look pregnant at your wedding, otherwise all of Russia would’ve been talking about it,” he said. “If they knew—”

“Alyosha, have you just come in here to pick a bone with me?”

My brother rolled his eyes. “Course not. You’re here for the rest of the week, aren’t you? Why’d you come back, anyway?”

“Father asked me.”

He made a face. “Since when did you care what he thinks?”

“I don’t know. Since when do you care about me?”

His cheeks went red, and he got quiet. 

“Not so nice to be interrogated, is it?” I took the baby back — she had started crying. “I came back because I wanted to see Father one last time. Not that he’s on death’s door, but with the way he drinks you never know. I’m sorry, that’s grim. But there it is — that’s the reason. And I suppose I missed it here.” 

“I miss it too, whenever I leave. It’s great here, isn’t it? The huge gardens, the dusty rooms… You could spend the rest of your life just exploring the east wing.” He sat back, looking up at the ceiling. “Isn’t this place funny?”

Behind us, on either side of the bed, a pair of French windows were glowing in the palm of the sun. The curtains, lacy and sheer, were fluttering in the breeze. On the far wall, the paint had begun to chip. It was as if the house itself was dying. 

My husband did not come back for another several hours. When my brother left I heard their voices in the hall, and waited for Vasily to come in, but he never did. Soon the sound faded, and I was alone again. The baby had fallen asleep, and I put her in her crib. By then it was getting brighter, and warmer. There was, for once in my life, no urgency in the air. I found a book in the mahogany bedside table and flipped through it, careful not to crease the spine. The title page said “Katya’s Book” in ugly Russian cursive. My childhood handwriting had never won any awards. 

I got back into bed, the baby in my line of sight, and began to read. It was an old book about a countess escaping from an evil huntsman. She had gotten lost in the woods looking for her dog — an amateurish mistake — and the huntsman had captured her, carrying her over his shoulder like a featherweight piece of cargo. I had annotated it liberally as a child, and enjoyed reading notes such as “this is very stupid” and “why doesn’t she just try climbing out the window?” — notes which, I’m sure, would have amused the poor author. 

The countess had just managed to break out of the house when I heard a strange noise coming from the east wing. It sounded like a scream, an awful scream, like someone’s heart had been ripped open. The halls were silent, then I heard it again. It was my brother’s voice. 

“Dunya,” I called to the maid, who was ironing in the room next door. 

She appeared a moment later. “Yes, Your Serenity?”

“You hear that sound? What is it?”

Pausing to listen, she frowned. “I’m sorry, Your Serenity, I don’t know.”

“Is everything all right?”

“Yes, as far as I know.”

I dismissed her — she was no help — and went back to the book. The countess was deep in the woods now, running for her life. She could hear the huntsman shouting behind her, but in the distance she saw a flickering light. She ran faster and faster, and the light got closer and closer. She was almost there. 

That scream rang out through the manor again. Then a second time. My heart began to drum inside my chest. 

“Dunya,” I hollered. 

“Yes, Serenity?”

“I think my brother’s hurt. Will you stay with the baby while I check?”

“Yes, Serenity.”

Of course, as soon as I left, the whole manor was silent. All I could hear was the dust billowing up from the floor as I walked towards the east wing. As I got closer to his room I heard something else — a persistent moaning that made me blush. Looking through the keyhole, I saw him tangled up with another man: Petr, I thought. Feeling sheepish, I retraced my steps and went outside. 

It was a perfect day. The sun pierced the vast blue sky; a dappling of clouds lined the horizon. The copse behind the manor was a glowing canopy of leaves, green above and green below. Far away, there was the sound of water trickling down a creek. Years had passed since I had last walked through the grounds; everything had been so different when I was a little girl. I remembered the vastness of the sky — gazing up at it while lying in the grass and thinking it could’ve swallowed me whole. 

My mother loved the gardens. Even when she was dying, she used to sit under the old oak tree for hours, needlework in hands. During my French lessons I could look out the windows and see her, smiling and stitching away. She liked to sing as she worked, and I would hear the strains of old folk songs; the words, all in Russian, were almost familiar. Now, standing by the oak, my hand on the chipping bark, I almost heard the song again. 

When I went back in, the manor was quieter than ever. Even the wind had hushed up. The silence was eerie and strange. In my room, Dunya was sitting in the armchair with the baby, softly speaking to her in Russian. I was almost hesitant to disturb her; I loved her round, smiling face beaming down at Masha. But she heard the door creaking, and looked up as I came in. 

“Where’s Vasily?” I said, taking off my jacket. “He came back, didn’t he?”

Dunya shook her head. “No, Serenity. I haven’t seen Prince Golitsyn since morning.” 

“Did he tell you where he went?”

Again she shook her head. “No, Serenity. I hardly saw him before he left.”

“Well, I’ll find him.” 

Back in the east wing, I searched the library and the lounge, but both were empty and decaying. As I walked back towards the center of the manor, I passed my brother’s room — it was silent. 

I knocked on the door and called his name, but there was no response. I thought I heard a fluttering sound, but I couldn’t be sure, and knocked again. I didn’t know why, but I felt a little breathless, almost scared. Curious, I tried the door. It was locked. 

“Alyosha, open the door,” I called. “I know you’re in there.”

Nothing. I rattled the handle. 

“Alyosha, you’re scaring me. I’m not upset with you, I just want to talk.”

I took one of the pins from my hair and stuck it in the lock. It was a dirty trick, one that my friend had taught me when we were both young girls. The lock gave, the door swung open. 

The bed was empty. I thought it was strange, the rumpled sheets and displaced pillows, but stranger things had happened in my brother’s room. I stepped inside, and felt something soft under my foot. It was my brother’s robe. A moment later I saw his face, as placid as ever, his eyes open and unmoving. A thin red line ran across his forehead. He was dead. Beside him was my husband, a hole in the side of his head and a gun in his hand. I leaned down to touch my fingertips to his cheek — his skin was still warm. When I stood back up my petticoat was edged in blood. 

That night, Dunya and I boarded a train for Crimea. She sat across from me, the first time we had ever been equals, and held the baby in her arms. It was dark, but the lamplight slipped over her cheeks and glinted in her eyes.

The train started up. The clicking of the wheels grew louder. I glanced toward the window, feeling the tears in the corners of my eyes. I looked back. A beam of light flooded the compartment: a lamp on a passing platform. The moment was over; the light became weaker, then faded altogether, and we went on, as the landscape danced in the windows and the track slowly split the country in two. 

[opera-ghosts]

OTD in Music History: Pianist, composer, and pedagogue Anton Rubinstein (1829 - 1894) gives his final public concert in St. Petersburg in 1894. With his health failing, Rubinstein moved back to Peterhof shortly thereafter, where he passed away from heart failure at the end of the year.

Rubinstein was undoubtedly one of the most historically consequential Russian musicians in history.

The founder of the famed St. Petersburg Conservatory, Rubinstein was also one of the most celebrated virtuoso pianists of the 19th Century. He was the primary piano teacher of fellow legendary concert pianist Josef Hofmann (1876 - 1957), as well as the primary composition teacher of Pyotr Tchaikovsky (1840 - 1893).

Although he best remembered today for his importance as a pianist and a pedagogue, Rubinstein was also a prolific composer in his own right: He wrote more than 20 operas, the best known being "The Demon" (which continues to hold the stage in Russia). Rubinstein also composed six symphonies, five piano concertos, and a slew of solo piano works and chamber music... although aside from "The Demon," almost none of his music is still heard today...

PICTURED: A c. 1880s photograph that shows the middle-aged Rubinstein coming as close as he ever came to smiling for the camera.

Also shown is an original c. 1850s "carte de visite" photograph showing the young Rubinstein (who always liked to highlight his pronounced facial similarity to Ludwig van Beethoven [1770 - 1827]), as well as an autograph letter that Rubinstein wrote to a colleague in 1859.

In this letter, Rubinstein mentions a performance of Carl Maria von Weber’s (1786 - 1826) opera “Der Freischutz” (1821), and repeatedly references Karl Klindworth (1830 - 1916) -- a piano student of Franz Liszt (1811 – 1886) who went on to have an important career teaching at the Moscow Conservatory and later served as the principal conductor of the Berlin Philharmonic. Klindworth was on such friendly terms with Richard Wagner (1813 – 1883) that he was actually tasked with preparing the piano-vocal scores for several of Wagner's mature operas.

[marwahstudios]

Renowned Austrian Music Artists Visit Marwah Studios

Noida: Marwah Studios recently welcomed celebrated Austrian musicians Silvia Vaterl and Mila Janevska for a special visit and performance, facilitated by the Austrian Cultural forum at the Austrian Embassy in New Delhi. The event, hosted in collaboration with the International Chamber of Media and Entertainment Industry (ICMEI) and AAFT School of Music, aimed to promote cultural exchange and showcase the rich tradition of Austrian classical music.

Michael A Pal Director of Austrian Cultural Forum said Music transcends boundaries, creating connections between cultures and hearts. It is a universal language that unites us in moments of shared emotion and beauty.

Silvia Vaterl, an accomplished pianist, completed her studies with distinction at the Universities of Music and Performing Arts in Graz and Vienna, as well as the Berlin University of the Arts. She further refined her skills at the Royal College of Music in London and the International Academy of Music in the Principality of Liechtenstein. Vaterl holds a master’s degree and has earned numerous accolades from prestigious international competitions, including the Concours Grieg International Piano Competition (Norway), Elena Rombro-Stepanow Piano Competition (Vienna), and the International Schubert Competition for Piano Duos (Czech Republic). Her impressive achievements highlight her exceptional talent and dedication to music.

Mila Janevska, a distinguished vocalist with an honours degree in Vocal Performance from the University of Music and Performing Arts, Vienna, has worked with globally renowned artists such as Thomas Hampson, Hartmut Höll, Laura Aikin, and Cheryl Studer. Janevska has performed in numerous national and international concerts, and her repertoire includes solo performances in Macedonia, Bulgaria, Montenegro, and Russia. She has been recognized for her outstanding contributions to vocal performance, winning several prestigious awards.

Dr. Sandeep Marwah, President of Marwah Studios, and chair for Indo Austrian Film and Cultural Forum expressed his appreciation for the Austrian artists and their contribution to strengthening cultural ties through the universal language of music. “Their visit has enriched our understanding and appreciation of Austrian music, and it serves as an important platform for cultural diplomacy,” he said.

Later all the artists were honoured with life membership of International Film and Television Club of Marwah Studios.

[pianistday1]

How Pianist Day is Celebrated Around the World: Examples and Stories

Pianist Day is a holiday that honors the art and joy of playing the piano, and the pianists who make it possible. It is celebrated every year on November 8th, the birthday of Ivan Manko, a cultural activist, piano music enthusiast, and owner of the piano store chain, who came up with the idea of creating a dedicated day for pianists in 2014.

Since then, Pianist Day has gained popularity and recognition around the world and has received positive feedback and support from both the public and the media. Many people have expressed their appreciation and admiration for piano music and pianists, and have joined the celebration by attending concerts, watching movies, listening to songs, or playing the piano themselves. They have also shared their stories, photos, and videos on social media, using the hashtag #WorldPianistDay, creating a global community of piano lovers.

The celebration of Pianist Day varies from country to country, depending on the culture, tradition, and preferences of the people. Here are some examples of how people in different countries celebrate pianist day:

- In Belarus, the birthplace of Ivan Manko, Pianist Day is celebrated with a series of concerts and events, featuring some of the best pianists in the country. The Belarusian State Philharmonic Society organizes a special concert, where pianists perform classical and contemporary pieces, as well as original compositions. The concert is broadcasted live on national television and radio and attracts a large audience. Pianist Day is also celebrated in schools, universities, and music institutions, where students and teachers play the piano and exchange gifts and greetings.

- In China, Pianist Day is celebrated with a lot of enthusiasm and excitement, as piano music is very popular and appreciated in the country. The city of Shenzhen, where Ivan Manko has a piano store, hosts a grand event, where pianists from different regions and backgrounds perform and compete in various categories, such as solo, duet, ensemble, and improvisation. The event is sponsored by major piano brands and music companies and offers prizes and awards to the winners. Pianist Day is also celebrated in other cities, such as Beijing, Shanghai, and Guangzhou, where piano concerts, workshops, and exhibitions are held.

- In Israel, Pianist Day is celebrated with a lot of creativity and diversity, as piano music reflects the rich and varied culture of the country. The city of Jerusalem, where Ivan Manko has a close friend and partner, hosts a unique event, where pianists play jazz music on the streets, attracting crowds of people who join in the fun and dance. The event is organized by the Jerusalem Jazz Festival and features local and international pianists, who showcase their talent and style. Pianist Day is also celebrated in other cities, such as Tel Aviv, Haifa, and Eilat, where piano concerts, festivals, and parties are held.

- In Russia, Pianist Day is celebrated with a lot of respect and reverence, as piano music is considered a noble and elegant art form in the country. The city of Moscow, where Ivan Manko has a branch of his piano store, hosts a sophisticated event, where pianists play classical music in the conservatory of the Botanical Garden of Moscow State University. The event is called Tropical Classic and features pianists who play in a tropical setting, surrounded by exotic plants and flowers. The event is organized by the Moscow State University and invites guests and dignitaries, who enjoy the music and the atmosphere. Pianist Day is also celebrated in other cities, such as St. Petersburg, Kazan, and Novosibirsk, where piano concerts, recitals, and lectures are held.

These are just some of the examples of how people in different countries celebrate pianist day. There are many more ways and places to enjoy and appreciate the piano and the pianists and to join the global movement of piano lovers. On pianist day, let us celebrate the beauty and significance of this incredible instrument, and the talent and passion of the people who play it. Happy pianist day!

[themculibrary]

Non-Explicit Femslash Masterlist 2

part one

A Bit of Friendly Advice (ao3) - incrxibles wanda/agatha G, 2k

Summary: “Or maybe I could just be myself, more or less.” Agatha stared at Wanda, a seemingly dumbfounded look on her face, causing her to wonder what exactly she’d said wrong. And then, a familiar pale hand was on her cheek.

Set during WandaVision episode 2.

a minor distraction (ao3) - brilligspoons peggy/natasha, peggy/angie T, 3k

Summary: Rumors about an organization experimenting with the super soldier serum bring Peggy Carter to Russia, where she meets a young factory worker named Natalia.

And keep on living (ao3) - judyannhale wanda/agatha T, 12k

Summary: “I’ll find you the whitest picket fence in all of New Jersey.”

A Woman's Touch (ao3) - all_soul peggie/angie T, 59k

Summary: It’s been a week since Peggy saved New York from Dr. Fenhoff, and Dottie is loose in the big city. Regardless of Interim-Chief Jack keeping her off the Underwood case, her fraying relationship with Daniel, and the tightrope that she walks at home with Angie, she’ll find her. Peggy Carter always gets her girl.

Cat Got Your Tongue (ao3) - Meskeet peggie/angie T, 10k

Summary: There’s only two things Peggy’s currently certain about.

One, she’s in love with Angela Martinelli.

Two, she’s a cat.

(Or, the one where Howard Stark turns Peggy into a cat.)

Crescendo (ao3) - Becci Barnes (BeccEEE) natasha/maria G, 1k

Summary: When watching the concert of a famous pianist, Maria and Natasha start talking about music.

Turns out old hobbies die hard, and as they rediscover their passions they find common ground in unexpected ways.

i break wild roses (ao3) - halfmoonsevenstars peggy/natasha, peggy/angie M, 7k

Summary: It’s August 1950 and Peggy Carter, Director of SHIELD, is back in New York for the week, wrangling diplomats and soothing fractured bureaucratic egos by day. By night, Peggy goes out for drinks and dancing with Angie, but it’s a beautiful Russian girl she brings back to the hotel room.

i'm staying at my parents’ house and the road not taken looks real good now (ao3) - hannaenomia maria/natasha N/R, 22k

Summary: Natasha takes The Avengers to her family's farm to recover after their first run-in with the Scarlet Witch and promptly flirts with Maria Hill in front of everyone, whether she admits it or not. (Black Widow comes before Age of Ultron in this storyline)

kidnapped! (ao3) - Sartapaw92 kate/yelena T, 11k

Summary: Kate Bishop takes a break from her superhero duties for a while as she relaxes in her Apartment. Yelena Belova remains active in working for the ill-repute as she likes to be paid. At times, Yelena likes to mess with Kate, mainly over the phone. And at times Yelena likes to bring Kate to assist her with whatever task that Yelena has been given by her Mob Boss. The next job will be no exception.

Kisses Through the Decades (ao3) - aparticularbandit agatha/wanda, wanda/vision M, 38k

Summary: The world is full of various shades of grey – charcoal, smoke, silver, ash, pewter, steel, iron, and so on. For all the black and white, there is relatively little of that. Agnes’s hair trends as dark a grey as the world allows, but even it isn’t a pure black. The closest to that is the ribbon tied tight around her waist, accenting the narrowness of it, the hourglass shape of her. Wanda’s hands have found that waist far many times to count at this point, if only to usher her out of the kitchen when she’s stayed – not past her welcome, because that sounds rude, but…well, past her welcome.

Problem being, of course, that the more Wanda guides her by the waist out of the kitchen and through the back door, the more her hands find a proper place there.

no retreat, no surrender (ao3) - Haywire maria/natasha G, 7k

Summary: After the Avengers send Loki back to Asgard in Thor’s custody, Natasha and Maria run into each other and spend an unscheduled day together, changing their relationship in a fundamental way in the process.

Sun, Sea, And Sand (ao3) - Marv_aka_Kitten_Writes yelena/kate T, 5k

Summary: A day at the beach with Kate turns out to be surprisingly fun for Yelena. After all, what's wrong with sand, sun, surf and saying I love you?

The Sisterhood Of The Ruby Stilettos XXV: A Picnic With Peppery Potato Salad ;) (ao3) - BradyGirl_12 pepper/natasha G, 951

Summary: As spring blossoms, Natasha and Pepper enjoy a picnic in Central Park. :)

the sun and her flowers (ao3) - wandaverse wanda/agatha T, 10k

Summary: Months after Wanda leaves Agatha in Westview, she finds herself coming right back and they agree to a magical partnership. Over the coming year, Agatha comes to slowly fall for the miracle that is Wanda Maximoff. And so, she expresses her truest desires through the only way she knows; the language of flowers.

OR

The story of how two lonely witches find healing and home in each other, told through 5 flowers Agatha gives Wanda and 1 she gives in return.

The Way I Loved You (ao3) - agayturtle wanda/natasha T, 3k

Summary: "It's 2am and I'm cursing your name..."

Wanda and Natasha's relationship didn't last longer than a couple of months, but Natasha can't help but wonder if they made the right choice when they ended things.

or The Way I Loved You by Taylor Swift but it's Wandanat.

this is me trying (ao3) - wlwromanoff (orphan_account) wanda/natasha T, 7k

Summary: i had a feeling so peculiar, that this pain wouldn't be for evermore

as natasha falls into a downward spiral, wanda is there for her.

violets & ink (ao3) - idiotlesbian wanda/natasha G, 6k

Summary: Wanda isn’t really enjoying life at the moment. She’s grieving her family and spends most of her time working in her family’s flowers shop to avoid her feelings.

Until she meets the tattoo artist from across the street, whom she secretly has had a crush on forever.

or

sad florist!wanda meets tattoo artist!natasha

Westview Holiday (ao3) - aparticularbandit wanda/agatha T, 3k

Summary: Wanda and Agatha exert a great deal of magic for a Westview celebration, and Wanda has an idea on how to cool down afterwards.

what they don't see (ao3) - acolonf6 peggy/angie, past peggy/steve T, 22k

Summary: Angie is convinced that her new next door neighbor is a spy, and is determined to find proof of such.

you're a sunflower (ao3) - inwelled (orphan_account) carol/maria, phil/nick T, 3k

Summary: The woman in the doorway is breathing heavily. Her eyes jump around the room until they land on Monica, Goose purring contently in her arms. They seem to skip right over Carol, too concerned with the little girl in the middle of the shop.

The face clicks in her mind and Carol freezes.

It can't be.

[musicarenagh]

Glen Brandon’s Mess:Age: Music, Spirituality, and Rebellion Hey, listen, let me tells you about this talented musician named Glen Brandon but everybody knows him as Ziggy. He's the mastermind behind The Mess:Age: The unique mix of the pop rock with elements of spirituality that is represented in a musical project of the same name. It is unique and it feels like you are listening to something that you have never heard before. “MR W. H. O” is a classic example of what he is all about. It is this laid-back, fun tropical pop song that will make you want to dance but when you pay attention to the lyrics, then the song is actually full of themes of freedom for oneself and criticism of society. Glen is an outstanding creative person originally from London. Not only is he a musician but is also a composer, music producer, and even a sound engineer. You can surely feel the echoes of Bowie and Kate Bush and something reminiscent of Elton John in his songs. I had the amazing opportunity to sit down with Glen and dive into his journey as the creative force behind The Mess:Age. We discussed all the matters starting from childhood and the works that he is currently working on, and let me inform you that he has such incredible perception about the impact of music in the current society. In concrete manner, Glen have the unique ability to use his music to touch the hearts of the people, to provoke their minds and to share the message of love. Join me as we explore the world of The Mess:And finally, age and see how Glen is doing it with his art here, you will definitely not want to miss this! Listen to MR W.H.O below https://open.spotify.com/album/33NvTPzVOwRDy87uSIRR56 Follow The Mess:Age on Twitter Spotify Youtube What is your stage name The Mess:Age , ha ha, i am The messenger Is there a story behind your stage name? Absolutely, you can blame those within par “ liar “ ment for its creation for it is they who are responsible for The Mess Where do you find inspiration? I sometimes channel from the ether or ” holy Spirit “ as on occasions melodies have poured into me when i’m in a relaxed state, either about to sleep , or about to awaken but mainly “ within the physical realm “ from world events and history , or even ignorance within personal family circles or discrepancies within love relationships i like to learn from all man-kinds mistakes and turn them around into something creatively positive, so that in turn within the vibration of my songs, i hopefully will imprint them forever upon ones mind. What was the role of music in the early years of your life? is was like being surrounded at birth, born into an orgy of the greatest musicians, and later when growing up , many now famous friends, expressing their art forms and orgasms, basically i couldn’t live without it. But if you mean whats was my first ever experience it was playing the piano, then later taking up drums. then eventually guitar, I always sang in church as a child growing up as it felt euphoric. Are you from a musical or artistic family? yes my uncle and mother played the piano and on my fathers side they were stage actors singers and performers in east London, my great great great grandma apparently was quite a famous concert pianist who escaped persecution within Russia. Who inspired you to be a part of the music industry? Wow there are many “unique geniuses” throughout musical history and ill name some of them here for you, Kate Bush, David Bowie, Billy Joel, i love that man with my every single breath especially not forgetting Prince, but going back in history Little Richard, Chuck Berry, Johnny Cash, along with the unforgettable most beautiful velvet voice of Nat king Cole, then of coarse in the 60-70s came Deep Purple,The Rolling Stones,Roxy music,Pink Floyd , and another “Hero of mine” Phill Lynott and the Thunderous Thin Lizzy, Van Halen, Queen, Bryan Adams and Steve Perry and Journey just to add on the end. How did you learn to sing/write/to play?

i am self taught , i was brought up in 2 pubs owned by my parents in east London , one of those pubs “in hackney”  had a stage where i performed on occasions playing drums or singing, aged 8 i used to read newspapers sitting at the bar counter “ like on old man”, but understood even then wrong from right in the political Arena, i had a reading age of 16 aged only 8 so my teachers at school explained to my parents early on, hence my knack i suppose for words poems and lyrics [ i used to also read keats ,Oscar Wilde, William Blake,Rudyard Kipling, and not forgetting within the more modern era Spike Milligan. What was the first concert that you ever went to and who did you see perform? The Rock Group Boston, “more than a feeling” then Van Halen and White Snake all within the same month. How could you describe your music? my music is sacred, it speaks only truth from experiences, it is spiritual commercial pop/rock, it is the essence of my vibration, therefore …i love to paint songs. [caption id="attachment_55768" align="alignnone" width="1768"] my music is sacred, it speaks only truth from experiences,[/caption] Describe your creative process. Ohh thats easy , sometimes in the studio it just flows so easily pouring from me fast and furious, but other times i am literally in agony when “living the song” as “physical tears” have fallen onto my piano keys whilst laying down a song track. What is your main inspiration? ha ha another easy one to answer, “LOVE” i only want to spread The Love within Almighty Gods Creation for “ words are more powerful than knives “ What musician do you admire most and why? ohh wow thats a really tuff Q ? there are many, however if you pinned me down in all fairness, i can only answer you within this way, that equally Kate Bush, David Bowie , and Billy Joel are all geniuses within their own unique way, dare i say the word “ Savant “ and the world would be a very sad, empty and lonely place without their tremendous gifts and awe-inspiring input into the musical realm. Did your style evolve since the beginning of your career? yes along my musical journey i have kind of polished my unique sound and being a complete “ non conformist “ i am forever and always will be forever James Dean… Ha Ha “ A rebel with a cause “ Who do you see as your main competitor? a bold statement but id have to say NO ON, as My Music and The Mess:Age are unique. What are your interests outside of music? firstly survival, then i like to lay upon a soft sandy beach, guitar to hand, the scent of flowers blowing through the breeze, and hearing the waves crashing against the rocks, for there is a such a place, for i have been there, and it is a place i that i will never ever forget, and still dream of to this day, it is paradise [ but i wont tell you where  ..ha ha. ] If it wasn't a music career, what would you be doing? i think id already be dead, my life has been quite tough growing up on the streets of east London, therefore without music being my best friend, id be “long gone” but my straight answer would be buying, renovating and selling property. What is the biggest problem you have encountered in the journey of music? breaking down doors of total ignorance and very bias deaf ears. If you could change one thing in the music industry, what would it be? to rid the controlling powers that be, who constantly spew out utter garbage upon the brain washed masses and to set free the unheard and the unseen “ most talented “ heroes who have only suffered in agony and torture witnessing all their crimes. https://open.spotify.com/artist/2Z1MWZZPb2b0dHivQaJUXz Why did you choose this as the title of this project? MR W.H.O speaks for itself, it is the key song track Release taken from my new album entitled AGE OF MESS it is“ A beacon of light “ leading the way to enlighten humanity to bring forth and manifest EDEN for our thoughts are energy, we are creators of our own existence therefore combined, we manifest All matter, therefore sing with pride MR W.

H.O with all your joyous hearts and manifest and become the Vibe that brings forth All what has been stolen from us for the last two thousand years…Paradise on Mother Earth. What are your plans for the coming months? i am currently working in the studio and near completion of my 3rd Album entitled “ SPEED OF LIGHT “ i am also halfway through a forth Album” which is fully written, but currently has no title? Do you have any artistic collaboration plans Not at present, as i am so overwhelmingly busy, as i also create all the artworks for the lyric booklets and song track covers , along with the editing and production of all my videos. What message would you like to give to your fans? after all thats said and done, and your life has just begun. you’l hear somewhere when i’m gone my songs remain, and underneath the setting sun, when you All will sing as one, somewhere when i am long gone …you will remain. The human spirit is immortal , and it is those afraid of dying that never learn to dance. So spread “only love” upon your journey and Smile ” for you are the children of the dawn “  Ziggy X

[dollsdeger]

orchestra

Orchestra (English: Orchestra) is the largest and most complex orchestra type, possessing extremely powerful and extensive musical expression. Orchestras generally perform classical music or accompany operas, and sometimes accompanies popular music. Many modern orchestras also often accompany movies and produce movie soundtracks.Liebespuppen

When an orchestra performs, not all members must participate in the performance process; generally, the number of performers participating in the performance is also different depending on the needs of the performance. Most orchestras do not yet have players on all instruments. For example, many orchestras do not have a regular staff of harpists, saxophone players, pianists, jazz drummers, etc. Therefore, if the work to be performed includes instruments that they do not own, they usually collaborate with independent musicians, so the number of orchestra members is quite flexible.Love Dolls

An orchestra mostly consists of more than 70 performers, and some even have hundreds of performers. A smaller orchestra is also called a "Chamber Orchestra" (English: Chamber Orchestra). Chamber orchestras generally have less than 30 members. In between, there is the so-called "Sinfonietta Orchestra" (English: Sinfonietta Orchestra). , mainly performs works that are larger than real chamber music and smaller than "typical" modern large-scale orchestral works, such as symphonies or concertos of the Baroque or classical music schools in history, and their preparations are performed by medium-sized orchestras of 30 to 50 people.Lebensechte Sexpuppen

Some large orchestras are also called "symphony orchestra" (English: Symphony Orchestra) or "English: Philharmonic Orchestra" (English: Philharmonic Orchestra), and there is no substantial difference between the two titles. Sometimes when there are two orchestras in a city, they can be distinguished from each other, such as the London Symphony Orchestra and the London Philharmonic Orchestra in London, the Vienna Symphony Orchestra and the Vienna Philharmonic Orchestra in Vienna, etc.Sexpuppen mit großem Po

In 1781, the Leipzig Gewandhaus Orchestra was founded. It was an orchestra funded by local businessmen and was the beginning of a citizen orchestra. This kind of orchestra, which belonged to the middle-class citizens and was no longer affiliated with the nobility or the church, developed rapidly with the rise of the middle class in the 19th century. In 1842, the famous New York Philharmonic Orchestra and Vienna Philharmonic Orchestra were established one after another; members of these orchestras could cooperate for a long time and continuously improve their performances. For a long time, the orchestra played mainly for the opera house rather than giving concerts of its own. In the early 19th century, with the emergence of symphony and other musical forms, this situation gradually changed. At this time, some outstanding touring performers such as Paganini wrote concertos specifically to highlight their skills, and held concerts and collaborative performances with the local orchestra, which also indirectly enhanced the independent status of the orchestra. . With the formation of professional orchestras, musical instruments are constantly being improved and standardized.große brüste sexpuppen Woodwind and brass instruments are evolving day by day, and are constantly improving in the direction of being suitable for large-scale ensembles. In the mid-19th century, the French composer Berlioz made great contributions to the advancement of orchestral music. He conducted in-depth research and wrote the first monograph that systematically analyzed orchestral orchestration. At the end of the 19th century, during the late Romantic period, Wagner in Germany, Mahler in Austria, and Rimsky-Korsakov in Russia brought another improvement and evolution to orchestral techniques. Their musicals and symphonies , orchestral works, each created many advanced orchestral orchestration techniques, allowing the orchestra to express majestic momentum and rich and gorgeous colors. At this point, it has the basic prototype of future film scores.

[captainmdhridoyhossain-blog]

[ad_1] Conductor Valery Gergievin 2017. Maxim Shipenkov/AP conceal caption toggle caption Maxim Shipenkov/AP Conductor Valery Gergievin 2017. Maxim Shipenkov/AP Activists who give a boost to Ukraine are protesting a three-concert collection at New York Town's famed Carnegie Corridor this weekend that includes Russian conductor Valery Gergiev. Gergiev isn't just any Russian musician: over time, he has been intently allied with Putin, in a rustic that reveres its classical song heritage and performers. In 2014, he — together with some other classical famous person, celebrity soprano Anna Netrebko — voiced their give a boost to for Putin's movements in Donetsk. (Donetsk may be probably the most spaces which Putin known as an impartial area on Monday, and to which he ordered Russian troops.) In 2013, Putin revived a Stalin-era prize for Gergiev, awarding him the Hero of Hard work of the Russian Federation prize — a 12 months after Gergiev seemed in a Putin election marketing campaign video, proclaiming his give a boost to. Their ties if truth be told return even additional, to when Putin was once a vocal champion of the Mariinsky (previously Kirov) opera and ballet corporations whilst serving as vice mayor of St. Petersburg, and the place Gergiev was once and stays common and creative director. Pianist Denis Matsuev, who can be soloing with the Vienna Philharmonic at Friday evening's efficiency, may be a vocal proponent of Putin, and publicly counseled Russia's annexation of Crimea in 2014. In 2020, the Russian chief tapped him to be a part of a operating team to weigh proposed adjustments to the Russian Federation's charter. The probabilities that Gergiev or Matsuev will if truth be told step down from those scheduled New York concert events are low. Gergiev specifically is a competent ticket-seller — an extremely vital attention at the moment, when global orchestras, together with the Vienna Philharmonic, are simply beginning to emerge from their pandemic-era monetary losses. (The Friday night time efficiency with Gergiev, Matsuev and the Vienna Philharmonic Orchestra is scheduled to be livestreamed by way of member station WQXR.) Against this, the mayor within the Italian town of Milan — house to probably the most global's maximum prestigious opera properties, L. a. Scala — publicly referred to as on Thursday for Gergiev to sentence Russia's invasion of Ukraine. Gergiev is scheduled to guide performances of Tchaikovsky's opera Pique Dame there till March 15 however the mayor mentioned that if Gergiev does not factor the commentary, "the collaboration can be over," in step with the newspaper Il Corriere. [ad_2] #Ukraine #supporters #protest #Russian #Valery #Gergiev #undertaking #Carnegie #Corridor #NPR

[firmsconsultingofficial]

Warren Buffet remembers speaking to a woman who had survived the Auschwitz concentration camp. Auschwitz was a complex of over forty concentration and extermination camps operated by Nazi Germany in occupied Poland during World War II’s Holocaust. 

He asked this woman, “How do you define friendship?”

She said her test was:

“Would they hide me?”

I take friendship very seriously. 

When I was studying to be a concert pianist, I had a friend. We were both 17. We were like sisters and even wrote a song together. You can listen to it here (scroll down to the song). 

There were just a few guys in our mostly all-girls music college of Shatalov where we were students, a prestigious music college in Russia.

And we both managed to desperately like one guy. He wanted to be my boyfriend. I told him, as much as I would absolutely LOVE to be his girlfriend, I could not because it would be hard for my friend since she really liked him. 

When the sanctions were imposed on Russia this year, I dropped everything to move my family to another country. 

I went there for three weeks to set everything up, sort out the documentation, and get everything in motion for them to reallocate. 

As I mentioned to you earlier, this plan did not work out because my sister, her husband, and their son, who were the first wave of people who were supposed to move, eventually went back to Russia.

But I did everything I could to help, at a huge cost (years of savings, not counting the damage to my health from the efforts on top of my usual responsibilities, and stress).

So I take friendship and family very seriously. 

But most friends will only continue being your friend as long as it serves THEM. 

A lot of people you are friendly with are not your friends. 

They “would not hide you.”

It’s important not to have illusions. 

Success requires clarity. 

I spent roughly the first decade or so of my adult life, and the last few years of my youth in this pursuit of a “REAL” friendship. 

Only these “friendships” are most of the time one-sided. 

Benjamin Franklin’s statement comes to mind:

“There are three faithful friends, an old wife, an old dog, and ready money.”

So be careful about the illusions you may have about “who will hide you.” 

And cherish people in your life who maybe are not perfect, not as cool, and may at times drive you crazy with their shortcomings. But you know that they “will hide you” any day of the week.

I am blessed to have people like that in my life.

And my hope for you is that you have such people too.

Our community has an unusual number of such decent and loyal people. It is incredible for me to see the family atmosphere that is created during our coaching calls for programs like The MasterPlan.

Maybe because it takes a rare kind of person to spend time positioning themselves for a higher level of contribution versus doing something way easier like watching football and drinking beer with friends. Not, that you should not do that at times.

If you want to be a part of an exclusive closed small group with some of our most amazing clients, and get coached by Michael and me to help you elevate your level of executive presence, gravitas, and ability to hold the attention of ANY room, apply to join Speak Without Limits. [Applications are closing soon]

Learn more here: https://www.firmsconsulting.com/blog/executive-presence/

Take care,

Kris 

P.S. You can apply directly here: VIP or Elite. 

[werewolvesandaccordions]

Sergey Rachmaninoff is still one of the most well known Russian composers. He was born in 1873 in Oneg, Russia, and died in 1943, Los Angeles. He was also a virtuoso pianist and a conductor, who’s ouvre includes piano pieces, four piano concertos, four sypmhonies, chamber music, and many other genres. In his compositions he continued the tradition of Tchaikovsky’s style which was influenced by Western music, and by the virtuosity of Franz Liszt. Before becoming a musician, he was expected to complete a military school and continue the family tradition, but he enrolled the Moscow Conservatory in 1885. Later in life, he faced challenges which affected his creative spirit, such as long episodes of depression, and the homesickness after his exile from Russia to Switzerland and later, to the USA after the October Revolution in 1917. Many of his compositions reflect these inner struggles, and the longing for his homeland, illustrated by the use of Orthodox Christian chants, the sound of bells, and rhythms inspired by Russian folk music. For this post, I decided to write about an underrated gem: Trio Élégiaque no. 2 op. 9 in d minor for violin, cello, and piano. The reason why I chose this piece is that, in my opinion, that most composers have one tonality which is particularly close to them. In the case of Rachmaninoff, this tonality is d minor. Many of his important works are written in d minor, such as his Symphony no. 1, his first piano sonata, the Piano concerto no. 3, or the Variations on a theme by Corelli. Additionally, the first movement of this trio is the most mature one, predicting the tone of Rachmaninoff’s later works with its exquisite harmonic language and extremly wide range of emotions. The trio was dedicated to the memory of Tchaikovsky, who died unexpectedly in 1893. When composing this trio, Rachmaninoff was only 18 years old, still studying at the Moscow Conservatory. This piece was preceded by the Trio Élégiaque no. 1 in g minor (1892). He could have taken inspiration from Tchaikovsky’s Trio op. 50 in a minor, written for the memory of Nikolai Rubinstein (In the memory of a great artist). It was premiered in 1894. The piece consists of three movements: I. Moderato II. Quasi Variazione III. Allegro Risoluto I think the earliest, most authentic recording of the Trio was made by the Oistrach Trio in 1958, Moscow. The trio performed on concerts from 1940 to 1963, being one of the most excellent chamber music ensambles of their time. The members were the violinist David Feodorovich Oistrach (1908-1974), cellist Sergey Knushewitsky (1908-1963), and pianist Lev Oborin (1907-1974). Noémi Baki-Szmaler, guest editor – @une-barque-sur-l-ocean

musicainextenso: Sergey Rachmaninoff is still one of the most well known Russian composers. He was born in 1873 in Oneg, Russia, and died in 1943, Los Angeles. He was also a virtuoso pianist and a conductor, who’s ouvre includes piano pieces, four piano concertos, four sypmhonies, chamber music, and many other genres. In his compositions…

[tinas-art]

Sergey Rachmaninoff is still one of the most well known Russian composers. He was born in 1873 in Oneg, Russia, and died in 1943, Los Angeles. He was also a virtuoso pianist and a conductor, who’s ouvre includes piano pieces, four piano concertos, four sypmhonies, chamber music, and many other genres. In his compositions he continued the tradition of Tchaikovsky’s style which was influenced by Western music, and by the virtuosity of Franz Liszt. Before becoming a musician, he was expected to complete a military school and continue the family tradition, but he enrolled the Moscow Conservatory in 1885. Later in life, he faced challenges which affected his creative spirit, such as long episodes of depression, and the homesickness after his exile from Russia to Switzerland and later, to the USA after the October Revolution in 1917. Many of his compositions reflect these inner struggles, and the longing for his homeland, illustrated by the use of Orthodox Christian chants, the sound of bells, and rhythms inspired by Russian folk music. For this post, I decided to write about an underrated gem: Trio Élégiaque no. 2 op. 9 in d minor for violin, cello, and piano. The reason why I chose this piece is that, in my opinion, that most composers have one tonality which is particularly close to them. In the case of Rachmaninoff, this tonality is d minor. Many of his important works are written in d minor, such as his Symphony no. 1, his first piano sonata, the Piano concerto no. 3, or the Variations on a theme by Corelli. Additionally, the first movement of this trio is the most mature one, predicting the tone of Rachmaninoff’s later works with its exquisite harmonic language and extremly wide range of emotions. The trio was dedicated to the memory of Tchaikovsky, who died unexpectedly in 1893. When composing this trio, Rachmaninoff was only 18 years old, still studying at the Moscow Conservatory. This piece was preceded by the Trio Élégiaque no. 1 in g minor (1892). He could have taken inspiration from Tchaikovsky’s Trio op. 50 in a minor, written for the memory of Nikolai Rubinstein (In the memory of a great artist). It was premiered in 1894. The piece consists of three movements: I. Moderato II. Quasi Variazione III. Allegro Risoluto I think the earliest, most authentic recording of the Trio was made by the Oistrach Trio in 1958, Moscow. The trio performed on concerts from 1940 to 1963, being one of the most excellent chamber music ensambles of their time. The members were the violinist David Feodorovich Oistrach (1908-1974), cellist Sergey Knushewitsky (1908-1963), and pianist Lev Oborin (1907-1974). Noémi Baki-Szmaler, guest editor – @une-barque-sur-l-ocean

musicainextenso: Sergey Rachmaninoff is still one of the most well known Russian composers. He was born in 1873 in Oneg, Russia, and died in 1943, Los Angeles. He was also a virtuoso pianist and a conductor, who’s ouvre includes piano pieces, four piano concertos, four sypmhonies, chamber music, and many other genres. In his compositions…