#julian weber

[silkygermanboy]

Source Instagram Story Sophia Weber: 13.09.2023

[manufavs]

Sophia mood Bravertz

[lgbtqreads]

Fave Five: Queer Soccer Romances Starring Student Athletes

Running with Lions by Julian Winters (m/m YA) You Don’t Have a Shot by Racquel Marie (f/f YA) The Passing Playbook by Isaac Fitzsimons (m/m YA – T) I Like Me Better by Robby Weber (m/m YA) Endgame by Zoe Reed (f/f NA)

[dweemeister]

Movie Odyssey Retrospective

The Phantom of the Opera (1925)

By the time French journalist-turned-novelist Gaston Leroux published Le Fantôme de l'Opéra as a serial in 1909, he was best known for his detective fiction, deeply influenced by Sir Arthur Conan Doyle and Edgar Allan Poe. The Phantom of the Opera plays out like a Poe work – teeming with the macabre, painted with one character’s fanatic, violent lust. In serial form and, later, as a novel, Leroux’s work won praise across the West. One of the book’s many fans was Universal Pictures president Carl Laemmle who, on a 1922 trip to Paris, met with Leroux. While on the trip, he read Phantom (a copy gifted to him by Leroux) in a single night, and bought the film rights with a certain actor already in mind.

Laemmle’s first and only choice for the role of the Phantom was about to play Quasimodo in Universal’s 1923 adaptation of Victor Hugo’s The Hunchback of Notre Dame. That actor, Lon Chaney, had subsisted on bit roles and background parts since entering into a contract with Universal in 1912. Chaney, who was about to sign a contract with Metro-Goldwyn-Mayer (MGM), became an instant sensation the moment The Hunchback of Notre Dame hit theaters. Audiences and critics in the early 1920s were simultaneously horrified at the sight of his Quasimodo yet, crucially, felt a profound empathy towards the character.

In his prior films, as well as Hunchback, Chaney separated himself from his fellow bit actors with a skill that almost no other actor in Hollywood possessed: he was also a makeup artist. At this time, actors applied their own makeup – often simple cosmetics or unconvincing facial hair. None of the major Hollywood studios had makeup departments in the early 1920s, and it would not be until the 1940s that each studio had such a department. Chaney, the son of two deaf and mute adults, was also a master of physical acting, and could expertly use his hands and arms to empower a scene. Though already bound for MGM, Chaney could not possibly pass up the role of Erik, the Phantom. Despite frequent clashes with director Rupert Julian (1923’s Merry-Go-Round and 1930’s The Cat Creeps; despite being Universal’s most acclaimed director at this time, Julian was either sacked or walked away mid-production), Chaney’s performance alone earned him his place in cinematic history and, for this film, an iconic work of horror cinema and silent film.

As the film begins, we find ourselves at the Palais Garnier, home of the Paris Opera. The Opera’s management has resigned, turning over the Palais Garnier to new ownership. As the ink dries on the contract and as the previous owners depart, they warn about a Phantom of the Opera, who likes sitting in one of the box seats. Soon after, prima donna Carlotta (Virginia Pearson) receives a threatening letter from the Phantom. She must step aside and allow a chorus girl, Christine Daaé (Mary Philbin), sing the lead role in Charles Gounod’s Faust. If she refuses to comply, the Phantom promises something horrific. Aware of the letter, Christine the next day confers with her loved one, the Vicomte Raoul de Chagny (Norman Kerry), that she has been receiving musical guidance from a “Spirit of Music”, whom she has heard through the walls of her dressing room. Raoul laughs this off, but a series of murderous incidents at that evening’s production of Faust is no laughing matter. Christine eventually meets the shadowy musical genius of the Phantom, whose name is Erik (Chaney). In his subterranean lair, he professes his love to her – a love that will never die.

Rupert Julian’s The Phantom of the Opera also stars Arthur Edmund Carewe as the Inspector Ledoux (for fans of Andrew Lloyd Webber’s musical version, this is the Madame Giry character); Gibson Gowland as Simon Buquet; and John St. Polis as Raoul’s brother, the Comte Philippe de Chagny.

Before extoling this film, one has to single out Mary Philbin and Norman Kerry as the glaring underperformers in this adaptation. Philbin would become a much better actress than she displays here, if The Man Who Laughs (1928) is any indication. Yet, Philbin’s Christine is a blank slate, devoid of much personality and interest. It also does not help that Norman Kerry plays Raoul in a similar fashion. Raoul, in any adaptation of Phantom, tends to be a boring role. But goodness me, for a B-actor who was acclaimed for his tall, dark, and handsome looks and screen persona, he is a charisma vacuum here. During Kerry’s more intimate scenes with Philbin, you may notice that Kerry has a case of “roving hands” when he gets close with Philbin. Philbin, who could not visibly react to these moments on-camera, surreptitiously took Kerry’s hands and held them there to stop the touching.

Philbin is much better when sharing the screen opposite Chaney. Chaney and Philbin both could not stand director Rupert Julian – whom both actors, as well almost all of the crew, regarded as an imposing fraud who knew little about making art and more about how to cut costs (Laemmle appointed Julian for this film in part due to Julian’s reputation for delivering work under budget). There are unconfirmed accounts that after Julian’s departure or removal from Phantom, Chaney himself directed the remainder of the shoot aside from the final climactic chase scene (which was the uncredited Edward Sedgwick’s responsibility). In any case, Philbin’s terror when around Chaney was real. The sets of the Phantom’s lair reportedly spooked her – the subterranean waterways, his inner sanctum. Philbin also received no preparation before the filming of what is now one of the signature moments of the silent film era and all of horror cinema. Her reaction to Lon Chaney’s self-applied makeup – meant to appear half-skin, half-skeletal – was the first time that she saw Chaney’s Phantom in all his gruesomeness. Philbin, freed of the innocent, pedestrian dialogue of the film’s opening act, gifts to the camera one hell of a reaction, fully fitting within the bounds of silent film horror.

There are conflicting records on how Chaney achieved the Phantom’s final appearance. The descriptions forthcoming are the elements that freely-available scholarship generally accepts as true. It appears that Chaney utilized a skull cap to raise his forehead’s height, as well as marking deep pencil lines onto that cap to accentuate wrinkles and his brow. He also raised his cheekbones by stuffing cotton into his cheeks, as well as placing a set of stylized, decaying dentures. Inner-nasal wiring altered the angle of his nose, and white highlights across his face contributed to his skeletal look for the cameras. Cinematographer Charles Van Enger (1920's The Last of the Mohicans, uncredited on 1925's The Big Parade) – who, other than Chaney, was one of the most familiar onset with Chaney’s makeup – claimed that the nasal wiring sometimes led to significant bleeding. Taking inspiration from Chaney’s approach to keeping the makeup artistry hidden from Philbin and others, Universal kept the Phantom’s true appearance a secret from the public and press. The studio advised movie theaters to keep smelling salts ready, in case of audience members fainting during the unmasking scene. According to popular reporting at the time, audience members did scream and faint upon the reveal; a nine-year-old Gregory Peck’s first movie memory was being so terrified of Lon Chaney’s Phantom, that he asked to sleep with his grandmother that evening after he came home.

Lon Chaney’s tremendous performance allows The Phantom of the Opera to soar. Arguably, it is his career pinnacle. Masked or unmasked, Chaney’s Phantom dominates the frame at any moment he is onscreen aside from the film’s final chase sequence. Whether glowering over Christine, majestically gesturing in silhouette, strutting down the Opera House steps during the Bal Masqué, or tucked into the corner of the frame, Chaney’s physical presence draws the audience’s eyes to whatever he is doing. The differences in posture from before and after the unmasking scene are striking – from an elegant specter to a broken, hunched figure (appearing to draw some inspiration from his experience playing Quasimodo two years earlier) seething with pent-up carnality, rage, and sorrow. Chaney’s Phantom garners the audience’s sympathy when he gives Christine the grand tour of his chambers. Look at his posture and hands when he mentions, “That is where I sleep,” and, “If I am the Phantom, it is because man’s hatred has made me so.”  That Chaney can ease through these transitions and transformations – as well as a third transformation, as the Red Death during the Bal Masqué – so naturally, without a misstep, is a testament to his acting ability.

Underneath the tortured and twisted visage of a man who has committed horrific acts is a vulnerable and misguided human being. His dreams, dashed and discarded by all others, have turned to despicable means. The role of the Phantom plays brilliantly to Chaney’s genius: to have audiences sympathize with even the most despicable or despondent characters he played. Chaney accomplishes this despite this film characterizing the Phantom with less sympathy than Leroux’s original novel and the popular Andrew Lloyd Webber musical.

This is already on top of Charles Van Enger’s camerawork; the sharp editing from a team including Edward Curtiss (1932’s Scarface) Maurice Pivar (1923’s The Hunchback of Notre Dame), Gilmore Walker (1927’s Uncle Tom’s Cabin), and Lois Weber.

Weber, who in 1916 was Universal’s highest-paid director, underwent numerous financial difficulties over that decade. One of Hollywood’s first true auteurs and largely ignored in the history of film until recently, Weber formed her own production company with Universal’s assistance in 1917, off the success of Shoes (1916). Through World War I, Weber’s movies were popular until around the turn of the decade, when her “didactic” filmmaking (a result of her devout Christian upbringing) went out of style. Most visibly among Weber’s financial failures of the early 1920s, The Blot (1921) – a movie that scholars and Weber himself considered her best – flopped in theaters. After two hiatuses from filmmaking in the early 1920s, Weber was brought in to conduct the final bits of editing on The Phantom of the Opera before returning to directing under Universal.

Though none of the film’s production designers were yet to hit their peak, The Phantom of the Opera benefitted from having a soon-to-be all-star art department including James Basevi (1944’s The Song of Bernadette), Cedric Gibbons (almost any and all MGM movies from 1925 onward), and Robert Florey (1932’s Murders in the Rue Morgue). Inspired by designs sketched by French art director Ben Carré, the production design trio spared no expense to bring Carré’s illustrations to life and used the entirety of Universal’s Soundstage 28 to construct all necessary interior sets. The set’s five tiers of seating and vast foyer needed to support several hundred extras. So unlike the customary wooden supports commonplace during the silent era for gargantuan sets, The Phantom of the Opera’s set for the Palais Garnier became the first film set ever to use steel supports planted into concrete. Basevi, Gibbons, and Florey’s work is glorious, with no special effects to supplement the visuals. The seventeen-minute Bal Masqué scene – which was shot in gorgeous two-strip Technicolor (the earliest form of Technicolor, which emphasized greens and reds) – is the most striking of all, unfurling its gaudy magnificence to heights rarely seen in cinema.

Universal’s Soundstage 28 was an integral part of the VIP tour at Universal Studios Hollywood for decades. Though the orchestra seats and the stage of the film’s Palais Garnier had long gone, the backside box seats of the auditorium remained. Stage 28 featured in numerous films after The Phantom of the Opera, including Dracula (1931), the Lon Chaney biopic Man of a Thousand Faces (1957), Psycho (1960), Charade (1963), Jurassic Park (1993), How the Grinch Stole Christmas (2000), and The Muppets (2011). The soundstage was also supposedly haunted, with individuals claiming to see a caped figure (Lon Chaney as the Phantom?) running around the catwalks, lights flickering on and off, and doors opening and closing on their own. In 2014, after standing for almost ninety years, Universal decided to demolish Stage 28 so as to expand its theme park. However, the historic set escaped the wrecking ball, as Universal decided to disassemble the set, place it into storage, and perhaps someday reassemble it. It is a fate far kinder than almost all other production design relics from the silent era.

Unlike what was coming out of Weimar Germany in the 1920s in the form of German Expressionism, American horror films had no template to follow when The Phantom of the Opera arrived in theaters. There would be no codification of American horror cinema’s tropes and sense of timing until the next decade. But without 1925’s The Phantom of the Opera, Universal would never become the house of horror it did in the 1930s through the early ‘50s (including the Dracula, Frankenstein, Mummy, Invisible Man, Wolf Man, and Creature from the Black Lagoon series). So, unbound by any unwritten guidelines, 1925’s The Phantom of the Opera – a horror film, but arguably also a melodrama with elements of horror – consumes the viewer with its chilling atmosphere and, from Lon Chaney, one of the best cinematic performances ever, without any qualification. For silent film novices, this is one of the best films to begin with (outside the comedies of Charlie Chaplin, Buster Keaton, and Harold Lloyd). Regardless of one’s familiarity with silent film, The Phantom of the Opera is a cinematic milestone.

My rating: 9.5/10

^ Based on my personal imdb rating. My interpretation of that ratings system can be found in the “Ratings system” page on my blog. Half-points are always rounded down.

For more of my reviews tagged “My Movie Odyssey”, check out the tag of the same name on my blog.

This is the twenty-third Movie Odyssey Retrospective. Movie Odyssey Retrospectives are reviews on films I had seen in their entirety before this blog’s creation or films I failed to give a full-length write-up to following the blog’s creation. Previous Retrospectives include Dracula (1931 English-language version), Oliver! (1968), and Peter Pan (1953).

[iscariotapologist]

okay hi i was wondering if i could ask a super specific question connected to faith? i was raised in non denominational/non religious Christianity but sorta drifted from that in my teen years and was more or less agnostic, and now that I’m 22 I’m returning back to spiritual Christianity and trying to form a personal connection with God. while I was raised to love everyone and treat everyone with kindness, some parts of my community are pretty homophobic/racist, and sometimes it’s very hard to separate my own beliefs with theirs, its so exhausting. there are lots of things im interested in writing about and exploring as I grow as a person. I realized I’m she/they and that those pronouns fit me well, i enjoy quite a lot of straight ships and gay ships and write about both of them, and to express my sexuality i want to write smut and stuff for some self indulgence. I was raised knowing questioning gender and expressing sexuality is a normal human thing. But due to my towns culture and toxic view on gender expression and sexuality I can’t help but feel…guilt? Like on one hand I know it’s normal but on the other hand there’s this level of paranoia and guilt, thinking that God will smite me for writing about sex and gay ships. anyways what I’m asking u is if you’ve ever had that guilt before, and are there ways to challenge that paranoia? If you don’t feel comfortable responding to this that’s fine! If you’re able to thanks so much! Have a good day :)

hi! congrats on the pronouns. yeah in my experience feeling this way about sex/sexuality is extremely common if not ubiquitous among people with a background like this. i'm repressed as hell personally and got a lot of purity culture bullshit as a teenager so i'm definitely familiar with this kind of guilt, and can't say i've worked through it all either. i honestly think the most effective way to combat this is to spend time with people who are not stuck in that mindset, but it sounds like that might be difficult in your situation. until you can do that i would recommend spending time with theology that can help you adjust your perspective; some body-friendly and accessible (as in easy to read) authors i'm fond of are sarah bessey, nadia bolz-weber (specifically her book shameless), and rowan williams (specifically the body's grace essay). if you want to get a little more intense with concepts of sexuality/eroticism and christianity i would recommend closet devotions by richard rambuss and the works of mystics such as mechthild of magdeburg, catherine of siena, and julian of norwich. also song of songs in the bible. also in my reference tag there are some posts with reading lists of a similar theme. i will drop the tags for these authors below so you can check out some excerpts from their work that i've posted or reblogged if you want. good luck!

[erstwhile-punk-guerito]

[triforcevillains]

Leaving Las Vegas (1995)

Ben Sandersson beschließt nach seiner Realisation, dass er ein Versager ist und er in seinem Leben zu viele Fehler begangen hat, dass er Selbstmord begehen möchte. Jedoch möchte er es nicht kurz und schmerzlos tun: Er verkauft all sein Hab und Gut, um an so viel Geld wie möglich zu kommen. Ben reist nach Las Vegas und kauft so viel Alkohol wie nur möglich. In dem gammeligen Motel, das zu seinem letzten Zuhause wird, beginnt sein sich langsam annähernder Selbstmord durch seinen übermäßigen Alkoholkonsum.

Eines Nachts trifft er auf die Prostituierte Sera, die sich sofort in den Alkoholiker verliebt. Die beiden verbringen viel Zeit miteinander und reisen durch Vegas. Ben betont jedoch vermehrt, dass es nichts auf dieser Welt gäbe, das ihn am Leben halten könne. (10/10)

[coloursofunison]

Today, I'm welcoming Juliane Weber to the blog with her series, The Irish Fortune which begins with Under the Emerald Sky #HistoricalFiction #HistoricalRomance #Ireland #BlogTour #BookBlast #TheCoffeePotBookClub

Today, I'm welcoming Juliane Weber to the blog with her series, The Irish Fortune, #HistoricalFiction #HistoricalRomance #Ireland #BlogTour #BookBlast #TheCoffeePotBookClub @Writer_JW @cathiedunn @juliane._.weber @thecoffeepotbookclub #bookbargain

Today, I’m delighted to welcome Juliane Weber, and the Irish Fortune series to the blog. Book 1 is currently on special offer for 99p/99c, so snap it up. Here’s the blurb “Under the Emerald Sky reaches another level in storytelling, the kind where the characters remain with you long after you have closed the book.” – The Historical Fiction Company It’s 1843 and the Englishman Quinton Williams…

[terriblysims]

Andrés Legacy💟

[fauxmantiis]

The New Year’s Starlight Ball ✨

[beckylower]

THE FAMINE THAT SHAPED IRELAND’S HISTORY by Juliane Weber

THE FAMINE THAT SHAPED IRELAND’S HISTORY by Juliane Weber

[wusialaforeva]

Komm zu uns BVB Fans! 🖤💛🐝

Wir leben im delulu Land und es ist schön hier. Schmerzvoll aber schön.

Ich hab einfach mal ein paar ships die ich besonders mag und einfach Chef's Kiss sind aufgeschrieben:

•Reummels (natürlich)

• Jamie und Maxi

• SCHLOTTEYEMI (omg schlotteyemi ist insanely gut)

• Greg und Julian R.

• Bravertz (plus Sophia Weber wenn du es spicy magst) als halbes BVB Ship.

Es lohnt sich, aus meiner Sicht, immer ein Blick auf FC Hollywood 💪🙂‍↕️

omg das ist unsere erste ask are we tumblr famous now?

u are truly tempting me here

reummels love, love, love die fic hier??? hat mich komplett von der sache überzeugt… but like… it‘s over, mein favourite rat boy (respectfully) ist jetzt in LA

von den anderen hab ich bisher nur was von Bravertz gehört, die andere muss ich mal auschecken, fic recommondations are highly appreciated hehe

also mal schauen, vll. wird das hier ja irgendwann noch ein gelb schwarzer account lol

[gasparodasalo]

Carl Maria von Weber (1786-1826) - 8 Pieces for Piano Four-Hands, Op. 60, VIII. Rondo. Scherzando vivace. Performed by Julian Perkins & Emma Abbate, fortepiano.

[nightingale2004]

Twilight next gen: Jessica x Mike vers.

Justin Pax Stanley Newton

Faceclaim: Alex Lange

Justin is the son of Jessica Stanley and Mike Newton. He is also the big brother to two kid sisters Mckayla and Leslie

He works at Newton's Olympic Outfitters like his dad

He plays on the Forks High School football team. He is also on the swim team

He is a bit of a jock but is insanely smart and is a straight A student similar to his mom

Jessica is what she considers "A service to the community"

Jessica is literally involved in everything from neighborhood watch to event planner which keeps her busy and out of the house

Like both of Justin's parents, he is the most popular kid in school and also helpful to his small town community as well

He is also the coach of the football team's assistant

Justin's sisters both also play sports. Mckayla plays soccer, and Leslie does volleyball

Justin hikes and rock climbs like a pro and has been doing it with his dad and a few of his buddies since he was a kid

He is a softie for his sister's and often showers them with endless teasing and tickles (which they love)

Best friends with Angela and Eric's kid and considers her the only real friend he has while others like him because he's popular

Is also considered the class clown

Wants to be a pro football player or rock climbing instructor

☆■☆■☆■☆■☆■☆■☆■☆■☆■☆■☆■☆■☆■

+ Angela x Eric vers.

Fallon Amara Yorkie Weber

Faceclaim: Lola Tung

Fallon is the daughter of Eric Yorkie and Angela Weber. She is also the older sister of her kid brother Julian.

Fallon and Justin have been friends since they were babies due to their parents knowing each other and Justin became like an older brother to her

Fallon's dad is a writer and works for the newspaper in Forks while her mom works as a photographer, and she is also her own boss

Fallon works at the Forks diner, where Justin and his friends come in a lot

Like Fallon's dad, she has a creative writing flame, and like her mom, she has a fantastic artistic eye

Fallon and Justin are complete opposites.

Justin is incredibly popular, social, and active, while Fallon considers herself a shy, introverted, artistic soul

Despite Justin and Fallon's differences, they both are close and thick as theives

Fallon is good friends with Jacob's kids and is invited to the rez a lot to see them.

Fallon loves reading about fiction, old legends, and the supernatural

Despite Fallon not loving sports or anything that has her doing anything physical, she oddly enough loves hiking with Justin, Kimberly, and Ephraim along with going to the beach and watching the packs play against each other with Justin in soccer

She also does yoga in the privacy her room, sometimes with Kimberly

She also shares her mother's lobe for photography

Fallon introduced Justin to Kimberly and her brother, which started out as tense but slowly started becoming a beautiful friendship

Justin and Fallon thought it was gonna be a normal new school year. That was until the new cullen kids came in and started bringing in supernatural drama that involved both Fallon and Justin

[animalcrossingshowdown]

Round 2 most popular villager results:

Round 2 is over, and both New Leaf darling Marshal and New Horizons darling Raymond have been eliminated! Sorry to any of you who had money on either of them taking the whole competition.

Round 3 will begin March 28th. I think round 3 is when the choices are really gonna start getting tough, there are a lot of matchups coming that I think will be very close. After round 3, submissions will open for three villagers to make a comeback, so stay tuned for that!

also it was my birthday today ! lets get some animal parties down in the replies 🦉🧁 🦝

Biggest sweeps (85% and over):

Molly 93.2% / Monty 6.8%

Lucky 90.1% / Lucy 9.9%

Jeremiah 88.6% / Jane 11.4%

Merengue 86.6% / Mint 13.4%

Kiki 86.1% / Kitty 13.9%

Ione 85.9% / Jacques 14.1%

Mitzi 85.7% / Miranda 14.3%

Sasha 85.5% / Samson 14.5%

Sylvana 85.4% / T-Bone 14.6%

Lily 85% / Lionel 15%

Closest Matches (55% and under):

Dom 54.7% / Dotty 45.3%

Ellie 54.4% / Eloise 45.6%

Zucker 54.4% / Zell 45.6%

Viché 54.2% / Victoria 45.8%

Grizzly 54.1% / Gwen 45.9%

Knox 53.8% / Koharu 46.2%

Curt 53.6% / Curlos 46.4%

Pippy 53.2% / Poko 46.8%

Bam 52.8% / Baabara 47.2%

Raddle 56.2% / Raymond 47.4%

Fuchsia 52.3% / Gala 47.7%

Frita 51.7% / Frobert 48.3%

Bow 51% / Boots 49%

Marty 50.6% / Mathilda 49.4%

Shino 50.5% / Sherb 49.5%

Hamlet 50.2% / Hamphrey 49.8%

Middle of the pack:

Petri 84.3% / Penny 15.7%

Bunnie 84.2% / Bubbles 15.8%

Maple 83.9% / Marcie 16.1%

Purrl 83% / Quetzal 17%

Punchy 82% / Puddles 18%

Vesta 81.9% / Ursala 18.1%

Bianca 81.5% / Big Top 18.5%

Ribbot 81% / Rilla 19%

Rolf 80.7% / Rooney 19.3%

Butch 80.1% / Camofrog 19.9%

Sunny 79.9% / Stu 20.1%

Melba 79.1% / Megumi 20.9%

Chrissy 78% / Chow 22%

Lolly 78% / Lopez 22%

Poppy 78% / Portia 22%

Tangy 77.4% / Tasha 22.6%

Coco 76.7% / Cookie 23.3%

Agnes 76.3% / Ace 23.7%

Skye 76% / Snake 24%

Hornsby 75.1% / Huggy 24.9%

Papi 75.1% / Pango 24.9%

Shep 75.4% / Scoot 24.6%

Ankha 74.8% / Anchovy 25.2%

Alice 74.7% / Aisle 25.3%

Pekoe 74.1% / Peck 25.9%

Rodeo 74.1% / Rocco 25.9%

Audie 73.9% / Apple 26.1%

Bob 73.5% / Blanche 26.5%

Cherry 73.1% / Chelsea 26.9%

Cleo 72.6% / Cobb 27.4%

Carmen 72.5% / Canberra 27.5%

Pecan 72.1% / Peaches 27.9%

Reneigh 71.9% / Rex 28.1%

Roald 71.8% / Rio 28.2%

Tad 71.8% / Tammy 28.2%

Kyle 71.4% / Leopold 28.6%

Tom 71.1% / Tucker 28.9%

Daisy 71% / Cyd 29%

Hazel 70.9% / Hans 29.1%

Chai 70.6% / Chabwick 29.4%

Whitney 69.8% / Wendy 30.2%

Pashmina 69.7% / Patty 30.3%

Freya 69.5% / Freckles 30.5%

Kabuki 69.4% / Ken 30.6%

Nana 69.1% / Nate 30.9%

Norma 69% / Nosegay 31%

Fauna 68.9% / Felyne 31.1%

Erik 68% / Epona 32%

Gayle 68% / Genji 32%

Bertha 67% / Bettina 33%

Muffy 66.7% / Nan 33.3%

Cube 66.6% / Cousteau 33.4%

Vivian 66.6% / Wade 33.4%

Bones 66.4% / Boomer 33.6%

Phoebe 66.1% / Pierce 33.9%

Goldie 64.9% / Gladys 35.1%

Tutu 64.9% / Tybalt 35.1%

Chevre 64.8% / Chief 35.2%

Apollo 64.7% / Annalisa 35.3%

Tia 64.7% / Teddy 35.3%

Bruce 64.3% / Bree 35.7%

Lulu 63.7% / Mac 36.3%

Tipper 63.7% / Tiffany 36.3%

Caroline 63.3% / Carrot 36.7%

Ketchup 63.3% / Kid Cat 36.7%

Wolfgang 63.3% / Woolio 36.7%

Goose 63% / Greta 37%

Soleil 62.9% / Spike 37.1%

Beau 62.8% / Bea 37.2%

Clay 62.5% / Claude 37.5%

Ruby 62.5% / Rudy 37.5%

Fang 62.2% / Eunice 37.8%

Amelia 62% / Anabelle 38%

Sprinkle 61.8% / Static 38.2%

Rosie 61.7% / Roscoe 38.3%

Pietro 61.4% / Pinky 38.6%

Diana 60.7% / Dobie 39.3%

Stitches 60.6% / Stella 39.4%

Deirdre 60.2% / Deli 39.8%

Walker 59.9% / Weber 40.1%

Biskit 59.6% / Billy 40.4%

Hugh 59.5% / Iggy 40.5%

Maggie 59.5% / Maddie 40.5%

Opal 59.5% / Ozzie 40.5%

Bella 59.1% / Belle 40.9%

Henry 59.1% / Hopkins 40.9%

Ed 58.9% / Elina 41.1%

Cephalobot 58.6% / Celia 41.4%

Drago 58.6% / Drift 41.4%

Flo 58.4% / Flash 41.6%

Flora 58.4% / Flurry 41.6%

Olivia 58.3% / Octavian 41.7%

Marina 58% / Marshal 42%

Julian 57.3% / Julia 42.7%

Joey 57.1% / Joe 42.9%

Azalea 56.8% / Avery 43.2%

[lesser-known-composers]

Carl Maria von Weber (1786-1826) : Trio for Flute, Cello, and Piano in G Minor Op. 63

Emi Ferguson, Flute

Julian Schwarz, Cello

Peter Dugan, Piano