#love his piano concerto in f

[the-importance-of-being-wilde]

Gershwin

[fruitssalad]

hits u with the blood bound stare…

my friends and I finally came up with a plot for these guys, so i had to paint my toreador poet Aurel 🥰…

he’s maybe a little emotionally unstable and disconnected from reality but being blood bound for the last half century or so would do that to you. He’s in a toxic relationship with his husband/sire Jaime and loves to spoil their adopted nosferatu daughter Lydia ..

he romanticizes everything, his situation, Lydia’s situation, Jaime as a whole. Occasionally finding himself obsessed with the drama and tragedy of mortal lives to inspire his new work 🥰🥰 he’s just got a lot of feelings!!🥰🥰🥰

[ihavemanyhusbands]

Wrapped Around Your Finger

Hannibal Lecter x Fem!Reader

Also on AO3

Summary: Hannibal decides to switch things up a bit, relinquishing his power to you.

WC: 1.8k words

Warnings: SMUT! (18+ only, minors dni), light bondage, femdom-ish? (not really tho lmao), oral (f receiving), p in v, unprotected sex (don't do it at home), that's all I can think about so lmk if I missed anything!

------

Rachmaninov's Piano Concerto No.2 drifted out of the living room speakers. Outside, there was a thunderstorm, rain falling heavily and ceaselessly, the wind howling. There would be glimpses of lightning between the drapes, and you counted the seconds before the low growl of thunder would follow. 

There was a fire in the hearth – yes, a hearth! You were dating a very fancy guy , after all – crackling softly. The room smelled pleasantly of firewood and old books and him. You had a glass of white wine in one hand, your body loose and languid, warm all over. 

It was simply the perfect night to stay in.

You were slightly bent over, looking at a section of his book collection. Cookbooks were the vast majority, which wasn't surprising, but your interest was also piqued by tomes on art history, natural sciences, and even anatomy. 

You picked one up at random and leafed through it absently. Dr. Lecter -- as you sometimes still liked to refer to him -- was such an exciting man, knowledgeable on things that you had never even imagined. He had undoubtedly expanded your palate, but you had to admit he'd expanded your mind quite a lot too.

You wore no pants, only the shirt Hannibal had been wearing earlier, which just barely reached your knees. He was down to his briefs, lounging on a chaise and absolutely devouring you with his gaze.

"Are you going to read to me?" Hannibal asked, directing your attention back to him. 

Though his tone was teasing, he secretly wished that you would. He did love your mellifluous voice, especially when reciting sonnets. Or moaning his name to the wind, like a ravenous wolf called to the full moon.

You blushed, a bit timid that you'd been caught so utterly distracted. "Sorry, just poking around..."

He smiled, feeling a little smug. "Find anything interesting?"

“Hard not to.” You said, approaching and swinging one leg over him, straddling his hips. 

His free hand immediately came to rest on your thigh, thumb tracing fire on your skin. 

Your voice hitched as you added, “Y-you know, you can tell a lot about a man by what he has in his home.”

“Oh? And what have you discovered about me?”

You chuckled, setting down your glass. “You like to ask a lot of questions.” You leaned down to plant a kiss on his lips, adding, “And you like being in control.”

“I suppose I do,” he returned the kiss with fervor, swiping his tongue over your bottom lip. You shuddered against him, and he pressed closer to you. 

“Oh, but that reminds me…” he continued, suddenly pulling away. “I’ll be right back.”

You plopped down on the chaise as he got up and headed down the hall to his bedroom. You watched his muscular back as he retreated, biting your lip. You felt a little lightheaded from the sudden influx of arousal, so you lay back, rubbing your thighs together. He always knew how to get you going, but he did have a bit of a tendency to be a tease. He wasn’t like Will, who loved getting straight to the point.

Not that you were complaining about either of them.

When Hannibal came back into the room, he handed you a black box. There was a piece of paper with your name on it on top, and you traced your fingers over his refined penmanship. Your eyes then widened, and you couldn’t help but panic a little bit at the prospect of forgetting something important. 

“A gift?” You squeaked.

“Of sorts,” he smirked, utterly devious.

“What for? Oh, Hannibal, you shouldn’t have.”

“Just open it, darling.”

So you did, sliding the top off to reveal the last thing you had expected – lengths of crimson-colored rope. Not just any rope either, but silk rope, the expensive-looking kind. You blinked, momentarily shocked, but when you looked up at him, his smirk had only grown.

“I thought we could do something fun– turn the tables a bit.” He purred, kneeling before you. “You have been such an angel with me, and perhaps it is time I surrendered to you.”

“And you want me to…” you trailed off, eyes flicking down to the ropes in your lap.

His eyes were a bewitching flame that kept you captivated. “Yes, sweetness. And perhaps next time, they can go on you. It’s only fair, you know?”

“Are you sure?” 

“One hundred percent.”

You smiled, all sharp teeth ready to sink into his divine flesh. You captured his lips in a fierce kiss, pressing yourself flush against him. You felt his teeth graze your lower lip, making heat pool in your belly.

When you pulled away, you tied his arms behind his back, one resting over the other. You figured you’d keep it simple tonight, even if you were already imagining all of the patterns you wanted to tie all over his body. You could make him into an utter masterpiece – not that he wasn’t already one.

You kissed his neck and up to the back of his ear, feeling his chest heaving against yours. 

“You okay?” You whispered against his skin, and he nodded.

Your eyes roamed over him, your hands soon following, sliding over the expanse of his chest. Up to his shoulders, down his arms. Then they stopped at the edge of his briefs, fingers teasing the elastic.

“This is all mine, isn’t it?” You said, biting your lip.

“Yes, my darling, all of me,” he breathed, and his breath hitched as your hand wandered lower, cupping his length over his briefs. “And what parts of you will you give to me?”

“The tastiest bits, of course,” you smiled, and his eyes mirrored the hunger you felt. “Stay on your knees for me, will you?”

Stepping back, you ever-so-slowly began to unbutton the shirt you wore. He was unable to tear his gaze away from you and all the skin you were revealing. You still had Will’s teeth marks on your inner thighs, now a faded pink and yellow. His eyes lingered on this detail, and he swallowed hard. 

You let the shirt fall off your body, pooling on the hardwood floor. Next, your thumbs hooked on the sides of your underwear, a little lacy black number you knew he loved. Your hips swayed as you pulled it down ever so slightly, looking coy as you teased him.

He strained against the ropes, wanting to touch you, to retaliate for this delicious torture you were making him go through. But he needed to be good, he reminded himself. He was rather enjoying how things were unfolding, after all. 

You felt a sudden thrill at watching him squirm, loving that you had such an effect on him. Your underwear also fell to the ground, and you approached him slowly, a mischievous glint in your eye. 

“So, would you like a taste?” You asked huskily.

In response, he eagerly leaned forward, which made you chuckle a little. You bent down until your lips were only a hair’s breadth apart, and you whispered, “Can you say please?”

“Please,” he breathed, and you pulled back a little as he tried to kiss you. “Please, I want to taste all of you.”

Satisfied, you planted a quick, chaste kiss on his lips before standing back up. You ran a hand through his hair, pulling his head back a little. Then, leaning on one of his shoulders, you draped your leg over his other shoulder, pulling him closer.

In the next moment, his face was buried in your cunt. He was absolutely ravenous, licking you with an almost trance-like gusto. He shifted against his bindings once more, wanting to add his hands into the mix, but to no avail. His frustration only fueled him on, and you dug your hands into his hair once more.

Arching your back, you completely lost yourself to the sensation, baring the column of your throat to the skies as your eyes fluttered closed.

“That’s it, right there,” you encouraged, words melting away into a moan.

You let out a shuddering breath as his tongue began to trace slow circles around your most sensitive spot. Then his teeth were then added into the equation, adding just enough pressure to make lightning bolts of pleasure shoot through you. Almost involuntarily, you began to rock your hips, seeking more, more, more.

Greedy thing, he thought to himself, both amused and absolutely bewitched. He hummed deeply in approval, and that coil in your stomach wound tightly, just on the brink of snapping.

“H-Hannibal,” you breathed, muscles tensing. “I-I’m gonna…”

With a keening wail, you stumbled over the edge, heat rippling throughout your body. Your legs turned to Jelly as you gripped his hair tighter, grinding your cunt against his face with wild abandon. He moaned deeply, utterly lost in the all-encompassing feeling of you. You panted, your movements slowing as you rode out the aftershocks, coming down from your high. 

You straightened, pulling your leg back and letting go of his hair. He smiled up at you beatifically, the lower half of his face glistening. He loved the sight of you trembling like that, face and chest flushed, eyes glassy with stars. How you would feign demureness after orgasm, as if ashamed to have displayed such carnality; Such wantonness. 

We are made of flesh and fault, he recalled you saying once. 

A moment later, when you were feeling much more merciful, you untied him and lightly massaged his arms. But he immediately descended upon you, kissing all over your body – adoring every inch of you. Your thighs gripped his hips, urging him closer, and he happily complied. When he sank into you, it felt like two pieces of a puzzle finally coming together, where they belonged.

You clung to him, digging your nails into his biceps. Your eyes once more fluttered close, but he immediately said, “No. Look at me.”

You complied, gazing into those intense amber eyes of his. “Good girl,” he praised with a small smile, giving you a quick kiss. 

The words were like a flame licking over your skin. He could feel you clench around him, which elicited a low moan. He went harder, faster, his pace losing control. You could tell he was close, and you stretched up to kiss him, biting his bottom lip. His muscles tensed and he cursed under his breath, your name soon following. He reached his own climax, holding you close to him.

Then the two of you lie sprawled on the floor, breathing hard, limbs tangled. Your head lay on his chest, listening to the rapid beating of his heart. You kissed him on the ribs, right atop it, and sighed contentedly.

“So, about the next time we do this…” you trailed off, a playful edge to your tone.

He chuckled, stroking your hair. “Oh, you have no idea what I have in store for you.”

--------

[writtenonreceipts]

Rowaelin Month Day Two: Spies/Heist @rowaelinscourt

Month Masterlist // AO3 Link

Inspired mostly by Leverage but also White Collar

Will be a mix of being set in the US and with Terrasen being a real place bc I can be more lenient with history and art and such this way.  Just go with it.

Summary: She’s a thief with only one thing on her mind: finish the job and move on.  When she’s asked to break into Terrasen’s Museum of Art, Celaena has her doubts.  Mostly because she’d much rather be grifting her way across Europe.  But when she learns what needs stealing?  Well…her schedule clears right up.  Enter the client, a pain in her ass.

Warnings: None, ~3.6k words

.*.*.*.*.

The Too Far Gone Job (Part One)

There was a subtly to her job that no one quite understood.  It wasn’t surprising this day in age, but Celaena was a bit insulted by it all the same.  Too often people were so precocious and proud in themselves that they failed to recognize that beauty was in the details.  Many things took a great deal of care to be done properly.  A brain surgeon didn’t rush in with a scalpel after hardly reading scans.  A gymnast would spend hours and years perfecting that one little twist to bring the perfect flip.

And a thief?  Well, a thief would take her time with understanding every intimate detail of her target before attempting a break-in.  The Mortimer Wyrdlock for example was the best, most secure safe in the world.  Built with seismic sensors as well as heat sensors, biometric scans, and thick, metal that no mere handheld saw could touch—it was suicide to even try and get close.

Celaena always put her faith in the underdog.

Concerto No. 4 in F Minor played through the grand halls of Terrasen’s Museum of Art.  She’d always preferred this concerto to the others mostly for the violin.  For the feeling it evoked for the way it always felt like there was a game afoot, a secret to be held, all with the slow building crescendo.  It was beautiful.  Once, she’d been able to play it on the piano, rather compellingly if she could say so herself.  That was before she’d been ushered into her current lifestyle.

All of the things she loved about the song were only emphasized by the marble and vaulted ceilings of museum.  And even though the song was still just an afterthought to cover the chatter and scuffing feet of the party, Celaena could appreciate all the subtle nuances of the song.  Glorious and powerful.

She weaved through the many bodies meandering about the hall.  Most, if not all, were too consumed with the expensive champagne and caviar floating around them.  It was far too easy to pick a target in all the men (and women) surrounding her.  Especially the senator that was already drunk with his fancy watch hanging out in the open like that.  Of the string of Eyllweian diamonds that another woman wore.  So easy.

But she had a plan.

And it only seemed right that this plan be executed here.  It had been ages since she’d stolen something from this museum.  Twelve years to be exact.  She’d been twelve and pressed to execute a flawless grift. 

The architecture of the building was flawless, truly.  The vaulted ceilings, the tall windows that stretched along the walls to look over the Oakwald Mountains.  It created an atmosphere of elegance and finesse.  It was one of the oldest buildings in all of Terrasen, one of the last remaining from the war. 

Which made it the perfect target.

Celaena fingered her glass of champagne as she moved through the masses of people.  She could have spoken to a few of them, that was what she loved most about a job.  The grift.  The subtle machinations she made to ease a mark into doing what she wanted.  It wasn’t lying and it wasn’t stealing, it was merely encouragement. It helped that most of her marks were bastards and the very thing that was wrong with society.  Usually.  Most of the time she just wanted the shiny things. (Alright so it was lying and it was stealing, but could you really blame her?).

Truth be told, she was just a little distracted by all the beauty surrounding her.  There were the vases from Mesopotamia, the old book of King Brannon, the Darcus blades.  She really wanted to steal those, but it would almost be too easy.  All she needed to do was flirt with the security guard doing a terrible job to blend in with the party.  The poor thing was in a cheap suit and poorly done tie…how had he gotten approved for this job?  It would almost be mean to target him.

Celaena moved through the party with ease, setting her champagne flute on a passing tray, only acknowledging the server with a small nod, the server barely offered a smile.  A strand of Celaena’s red hair fell over her eyes and she flicked it back casually.  Her dress clung to her frame, thin as she was.  She allowed her own confidence to carry her when she felt weak.  Because she was more than capable of this task.  In all her years of the grift, her appearance and the way she interacted with those around her proved to be the surest way to get a job done properly.

So, Celaena wore her too thin frame to her advantage and became what everyone expected: daddies little girl slumming her way through a party. 

She was invisible when she wanted to be which let her slip down an un-manned hall.

The archived vault of the museum often held the more private items.  Those that were not to be displayed without express permissions of certain clients.  Celaena’s target for tonight actually was one such item.

It was far too easy to slip down a service staircase.  She’d gotten her hands on a universal scanner so she could hack various systems with ease.  Usually if she was doing her job right, the mark was opening doors for her.  Unfortunately for her, tonight she needed more finesse and isolation.

Holding the skirt of her dress in one fist, Celaena moved down the stairs.  Her research on the museum told her that most of the below staff would be dismissed for the Gala above.  There would be one historian finishing up cataloging and a security guard to keep them company.  The security guard would have a simple enough rotation, likely only venturing on rounds once every thirty minutes.  This area was even better secured then upstairs, the guard needn’t worry about a thief like her.

Celaena couldn’t help but smirk at the thought.

She wished she could be back upstairs mingling and grifting.  It was what she preferred.  She liked putting on that mask, liked slipping away into another persona, liked pretending she was anything but herself.

As she turned down a one of the halls, she checked the small signal reader she’d stuffed into her bra.  Her comms had remained silent all night, not surprising.  But she’d thought there would have been at least something.

Four steps forward to a small alcove where the old diaries of some old white man were held.  Two breaths.  Duck back out and then left and straight.

The Mortimer Wyrdlock stood before.  The chrome fixtures glinted in the overhead lights leaving the safe looking like something out of any thief’s wet dream.  Elide was going to kill her for this.

“Hello, beautiful,” she murmured.  The safe really was deserving of all sorts of praise.

A soft noise came from the other side of her comms.

“Anything you’d like to add?” she said, keeping her voice low.

Nothing.

Celaena rolled her eyes and approached the safe.  The lovely little beastie practically called her name.

She stayed in her little alcove waiting a beat, two.  Down one of the other halls she heard the subtle conversation of the historian and security guard in one of the labs.  Unsurprising, she’d encouraged a meeting between them last week, prompting a friendship.  A small little hack into their lives revealed them both to be bird enthusiasts.  A little nudge here and there and they were automatic best friends. 

She wished it were that easy for her.  Making friends.  But what could she do?  Tell someone what she really wanted to do was bungee off the Eiffel tower?  Break into the Louvre?  Steal one of Terrasens national treasures?

No one understood her on that level.  Not anymore.

She approached the keypad lock of the safe and set to work. 

Elide had worked a system override into the scanner that Celaena smuggled in with her.  All she needed to do was hook it up to the safe and let the code do the work.  That would take getting a wire into the system.  Something that Celaena wasn’t the most comfortable with.  Maybe she should have tried the flirting and grifting route…but the client had been clear on the way the job should go.  They couldn’t even have a hint of anyone being manipulated and used.  Rude, honestly.  People were used and coerced every day.  Tricking someone into giving her the Ring of Mab didn’t seem so problematic when you really thought about it.

Celaena made contact to the keypad.

Her handheld device ran through a string of numbers and binary as it worked.  Gooseflesh rose on her skin, but that was to be expected.  Before the Gala, Celaena had made sure the heating system when down to alter the heat sensors readings.  It also helped that the sequins of her dress were heat reflective and had been tested to throw off certain sensors.

As she continued to work, Celaena didn’t want to think about how long it had been.  Usually she didn’t have to, but in this case, she was on the clock.

Her fingers flew over the screen as she manipulated the numbers just as Elide had taught her.  It was simple enough, but if she ran into any walls or blocks, Celaena had no idea what she would do.  She knew the basics to get what she needed and wanted on any other job, but the Mortimer?

As her heart pulsed in her throat, Celaena punched in the last sequence she needed.

She couldn’t help but hold her breath as she waited for the system to respond.  She was taking too long.  She knew she was taking too long.  Even with the chill of the room, she could still feel sweat collect along the back of her neck.

And then the cogs began turning.

As the vault swung open on silent hinges, Celaena allowed herself to take a breath.  She certainly didn’t get the same charge out of this as Elide.  Give her a cocktail and a trust fund baby any day.

She didn’t bother worrying about her fingerprints as she pulled the vault door open further.  Those had been burned off as a birthday gift when she was twelve.  And consistently afterwards.  Eventually most of her prints stopped regenerating and only the pinky finger of her left hand and middle finger of her right were legible.  She’d learned to adapt the way she touched and handled things. 

Inside, the vault wasn’t as spacious as the movies made scenes like this appear.  Even though it was nearly seven feet tall and five feet wide, there were still shelves that lined the walls and smaller casements for various items.  Once Celaena entered she felt constricted over the small space.  Pushing those sentiments aside, she went straight to the back of the vault where her target was clearly laid out.

The Eye of Elena, to some, was a simple necklace.  Easy in design without too many adornments and gems.  But the story behind it was what was truly remarkable.  Once, it was said to have belonged to an ancient queen who had worn it as a shield of protection and power.  This queen lived under many names, many faces, and led to the redemption of her kingdom from invaders.  The legends said it was magic and the hand of the gods.  Historians said she was a brilliant tactician with skilled generals (while also indicating that there was no way a woman could have accomplished all that she had done).  Celaena liked believing in the greater legends.

The glass case of the Eye was what made the Mortimer Wyrdlock so special.  It had personalized individual sections for specific items that could be adjusted to various parameters.  The sight of the necklace though, sitting on that satin pillow with a gold light shining down on it—it sparked a bit of rage within her.  The necklace didn’t belong to the museum and it didn’t even belong to her client.

And here she was stealing it.

The card inside the case indicated the donator it was on loan from.  On loan.  More like coerced.  Everyone felt intitled to something just because it glittered in the light. The original owners had indeed donated it to the museum, with the promise of getting it back.  But Celaena had seen the drawn-out documents between lawyers and directors insisting that it belonged to the museum.  That the owners had forfeited their rights to the necklace due to the smallest of red tape, coercion.  Control.  Lies.

The necklace didn’t deserve to be treated this way.  Strange to say about a necklace but true none the less.

This case used biometrics to open which was a little tougher to hack, but they’d been prepared for that.  It only took a few keystrokes to trick the technology to accept Celaena’s eye scan and the case popped open.

In her comm, Celaena heard a small cough.  She rolled her eyes.

“You could have done this yourself, retrieval specialist,” she murmured, knowing the comm could pick up just about any soft-spoken sound she made. “Give me five.”

Nothing on the other line.

Celaena took that as a victory and went to work.  Carefully, she opened a small drawstring bag lined with traces of led and dropped it in the necklace.  And the card.

She tucked the sachet in a secret pocket along the lining of her dress and replaced the lid.  She made her way back out of the vault before pausing at the doorway.  She ran her hand along the edge and allowed a little smirk to play on her lips.  Her work would run for just a moment longer.

.*.*.

The alarm went off just as Celaena left the archival stairwell.  She let the door shut behind her and slipped into the crowd of guests that were being ushered out of the museum.  Protocol stated that all guests were subjected to a search before and after leaving.  The good thing about being a thief and a grifter?  The rules didn’t apply to her.

She ducked into a storage closet just past the Van Goh exhibit to find a duffle bag already waiting for her.  Inside was an extra server uniform, pair of black shoes, and a taser.  She made the change of clothes quick and smooth, just as she’d practiced.  The sachet and necklace went in her bra and the scanner to an ankle holster.  Thankfully the uniform dictated flared pants for women and not a skirt.

From there it was easy to blend in with the catering crew and then disappear into the night.  Truly, some people were really unobservant.

When she ducked into an alley a few blocks away, it was the first time that Celaena took a breath.  A deep breath that filled her lungs.  It wasn’t clean or clear, but she was breathing and she was free.

Just thirty yards away waited a plain white van with the decals of a plumbing company.  She was about to make her way to it when she heard a scrape come behind her.

Spinning, Celaena’s hand went to the taser in her pocket.  She really wanted to tase someone.

“Well done,” a deep voice said from the shadows. “Only took you an hour.”

“You sound surprised,” she replied, fingers still reaching for the taser.  “You should know better than to underestimate me.”

It really was insulting when people doubted her…even if most of what anyone knew about her was based on rumor.

The man only hummed in response.  He came a few steps closer before stopping.  The pale lights of the street lamps barely permeated the night, but it was enough to get a decent look at him.  She’d only met him once before, heart rumors of him aside from that.  Well, their meeting had been less of a meeting and more of a shower of bullets.  She recognized him all the same.

His silver hair, his large build, the sharp angles of his face.  Tonight, he wore dress pants and a black shirt rolled to the elbows, leaving powerful forearms on display.  He was a force to be reckoned with, a fighter, a killer.

Everything about Rowan Whitethorn screamed danger.  Celaena knew better than to trust him.  But for this particular job, she wouldn’t regret being selfish.

“Oh, I’m not a fool, Rowan said.  He held out a hand. “Which is why I’m here.  My necklace?”

Celaena sneered at him. “My payment?”

“Transferred.  Don’t you trust me?”  He smirked at her, coming just a step closer.

Did he have to be so big?  And as much of an asshole as he was?

“I don’t trust anyone.”

“You can check your accounts, it’s all there.”  Rowan didn’t look at all worried or concerned over her lack of faith.  Instead, he merely waited as she pulled out her phone (which was essentially the scanner she’d used for her thievery) and checked her account as prompted.  It was all there.  All hundred thousand.  She was honestly a little surprised he’d kept his word.

Celaena said nothing as she took the necklace from her bra and walked it toward him.

“Can I know what your plans are for it?” she asked, tone neutral and even.

“No,” he said.  He adjusted one of his sleeves, making sure the cuff stayed rolled up properly. “Just know that it’s going to well taken care of.  You don’t need to worry.”

Celaena dropped the sachet into Rowan’s hand and he returned the comm she’d given him for the night. “As long as you know about the curse.”

Rowan raised a brow before he opened the bag to peek inside. “Curse?”

“Sure,” she shrugged and took a slow waltz in a circle around him. “The old queen who slaughtered an army who dared try to steal from her?  She still haunts that necklace, you know.”

Rowan didn’t bother acknowledging her.  He only tucked the necklace in his pocket. “Aren’t you a little old for ghost stories?”

“Nope.”

She stopped in front of him once again and clasped her hands behind her back. “Sleep well, Mr. Whitethorn.  I hope your dreams are nightmarish and bloody.”

“Try not to miss me too much,” he said in reply.

Celaena spun on her heel and headed to the van.  She didn’t look back until she was already pulling the driver’s door open.  When she had settled herself in the driver’s seat and looked through the windshield, the alley was empty.

Scrubbing a hand down her face, certainly smudging any remnants of her make-up, Celaena drew in a deep breath.  It had been a long night and was only going to get longer.  It didn’t help that she had a massive headache brewing behind her eyes.  She waited a few more minutes to make sure the alley was empty before reaching into the other side of her bra, drawing out another black baggie.

Upending the bag, a display card and golden necklace fell into her lap.  The necklace she’d given Whitethorn was an exact replica of the original.  A damn good replica if her supplier knew what they were doing.

Celaena glanced at the card and made a small promise to herself, and her family.  She would get the necklace back to its proper owners.  And then maybe she could finally be herself again.

Donated by the Ashryver-Galathynius Family

She ran her nails along her hairline before she tugged the red wig from her head and tossed it to the back of the van just as the passenger door opened.

“Next time I get to break into the fancy safe and do the stealing,” Elide said as she clambered in.  She still wore her server’s uniform of white and black, her hair pinned in a tight bun. “I hate people.”

“Sure. Next time.”

“How beautiful was the Mortimer?” Elide asked, a small pout forming on her lips. “Did you see how the wiring connected?  How did the scanner do on the hack?  Did I program it right?”

“It was big and black and a safe,” Celaena said.  She yawned and shook out her blonde hair until it fell around her shoulders. “You took a little longer tripping the alarm then I thought you would.”

Elide pulled a face. “Because I don’t set alarms off.  Looks like you tricked the client.”

“For now,” Celaena said.  She passed the necklace and her phone to her friend. “Transfer the payment so he can’t take it back when he notices the switch.”

“You think someone can hack an account I set up in the first place?” Elide let out a mirthless laugh. “Oh sweet honey child.”

Celaena rolled her eyes and started the van. “Just do it.  Let’s get back to base.”

“Home, it’s your home,” Elide insisted.

Except it wasn’t a home.  It hadn’t felt like a home in so long that she wasn’t even sure what the word meant.

“Whatever,” Celaena said. 

She pulled out onto the road and began the trek across the city.  She made sure they weren’t being tracked or followed, that would put a damper on the evening.  She’d rather be across the country before Whitethorn realized she tricked him.

Her plan wasn’t exactly foolproof.  Steal a priceless artifact and what?  Give it back to the rightful owners?  What would they do with it except give it back to the rightful owners who would then be hit with insurance fraud.  She’d been impulsive and reckless.  Moreso than she usually was.

But she would think about that later.  For now, she would just revel in having the necklace in her possession.

*.*.*.*.

Not gonna lie, am really excited about this one! I hope you enjoy it! It'll be three parts total, the other two parts coming on other days during the month. Thanks for reading, reblogs and comments are appreciated!

[myargalargan]

A Classical Polinalysis: Ep. 2

Hello friends, Polin stans, and classical music nerds!

Picking up from my episode 1 analysis, I am back with the second installment in the series of episode-by-episode analyses I mentioned when I shared the playlist I made of all the Classical pieces used in Bridgerton season 3.

The tracks on the playlist are all in order of when they appear in the show, and here are all the pieces that were used in episode 2: 

Beethoven’s String Quartet No. 13 in B-Flat Major, Op. 130: VI. Finale. Allegro

Bach’s Violin Concerto No. 2 in E Major, BWV 1042: III. Allegro assai

Mozart’s String Quartet No. 8 in F Major, "Viennese", No. 1, K. 168: IV. Allegro

Mozart’s String Quartet No. 3 in G Major, "Milanese", No. 2, K. 156/134b: I. Presto

Mozart’s String Quartet No. 23 in F Major, "Prussian", No. 3, K. 590: IV. Allegro

Joseph Schuster’s String Quartet No. 2 in B-flat Major: I. Allegro di molto (formerly attributed to Mozart as the "Milanese" (or Paduan) String Quartet No. 2, K. 210)

Beethoven’s Piano Sonata No. 23 in F Minor, Op. 57, “Appassionata”: II. Andante con moto 

All of this music is used over the course of the Full Moon ball, and the choice of music and the scenes each piece of music is paired with turns the ball something of a microcosm for the entire episode. What the hell do I mean by that? 

This episode is all about flirtation, fertility, and passion, and the action in this episode sets into motion some of the major conflicts of the season. We have the Mondriches settling into their new home and attending society events for the first time, the Featherington sisters getting a healthy dose of Sex Ed, Francesca being granted the Queen’s favor, and—of course—Colin and Penelope beginning their lessons and all the tension and drama that brings. So let’s get into how the Classical soundtrack compliments this very meaty episode…

Looking at the track list in order, we’ve got a bit of a composer sandwich (get it? meaty episode? ha-ha-ha?) with Beethoven bread, Mozart filling, and Bach and Schuster toppings. The allegro finale of Beethoven’s String Quartet No. 13, which starts as Colin and Eloise’s conversation about Penelope in the carriage ends, welcomes us to the ball. The second movement of Beethoven’s “Appassionata,” which Francesca is playing when Lady Danbury sneakily invites the Queen to observe, concludes the whole event. But I have a lot to say about both Beethoven pieces, so I’m going to save that for later! To start, I want to talk about the flirtatiousness of the other pieces used during this episode. 😏

The next piece after the Beethoven string quartet is the third movement from Bach’s Violin Concerto No. 2, which plays when Benedict asks Miss Stowell to dance. We only hear the very beginning of the concerto in this episode, but the distinguishing characteristic of a concerto—which is also what I find so flirtatious about this piece—is the back-and-forth between a solo instrument (in this case, a solo violin) and an ensemble (in this case, a chamber orchestra). In particular with shorter pieces like this Bach concerto, which is an energetic two minutes long with concise musical verses, you get the feeling of a lively conversation, where the ensemble has their say, the soloist replies, the ensemble adds another musing, then the soloist replies, and so on. 

I also think this concerto is fun for this scene for a couple other reasons. One, the soloist-ensemble dynamic calls to mind Benedict getting cornered by a pack of ladies. But also, this concerto is in what’s called “ritornello” form, which means that the ensemble repeats the same musical theme every time they come back in, and I love this as a funny little musical illustration of Miss Stowell’s persistence with Benedict—she keeps coming back, over and over, just like that repetitive musical theme! 

The next piece is the fourth movement from Mozart’s String Quartet No. 8, which starts playing right as Portia tells Mr. Finch that his wife is a pastry and continues as Penelope talks with Colin about his writing. This piece actually elides seamlessly into the track from the season 3 OST called “Attempts to Flirt” the moment Colin says he’ll consider letting Pen read more of his writing if she talks to at least one lord that night, which is a fun little tie-in to our theme. And the string quartet is great for this moment between Colin and Pen because of its fugal quality. A fugue—such as Bach’s famous Toccata and Fugue in D Minor, which is used in a ton of films including the original Fantasia—refers to a structure where the musical theme is introduced in different voices or instruments one after another. (Kind of similar to a musical round, like “Row, Row, Row Your Boat,” but not as simplistic.) Like the concerto, there’s a repetition of musical ideas, and those ideas bounce around from instrument to instrument, again creating a sense of lively conversation. Almost as if one person starts to tell a story to a group of friends, and then another person jumps in to say, “Oh, yes, I know what that’s like!” and tells their own anecdote, and so on around the group as the conversation feeds on everyone’s enthusiasm. 

I love this for Pen and Colin’s interaction because it has a similarly flirtatious energy as the concerto, but at the same time it’s more complex than a simple back-and-forth. There’s a layering aspect to a fugue—when a subsequent instrument picks up the theme, that doesn’t mean the first instrument stops playing. I think this has a similar energy to the way good friends who are comfortable and excited together might end up talking over one another or picking up the ends of each other’s sentences. I think it’s also illustrative of the complexity of Colin and Penelope’s relationship, especially at this phase. They’re friends, yes, but other feelings are starting to get all mixed in. They flirt quite easily with each other, but that makes things more complicated. A playful but multi-layered fugue illustrates this pretty well, I think.

Then we have our second Mozart string quartet of the episode, the first movement of Mozart’s String Quartet No. 3, when Eloise inadvertently lets it slip to Cressida that Colin is helping Penelope find a husband. This piece isn’t a concerto or a fugue, but it does still have an interplay between the instruments that, to me, creates a similar effect. There are several moments within this movement where the violin will start the musical line and one of the other instruments will finish it, like passing a baton. Or, again, like lively and comfortable conversation! To me, it feels a little bit like two people winking at one another as they catch each other’s meaning. 

There’s also a fun little bit about two-thirds of the way through the piece where, for not even 30 seconds, the tone of the music changes entirely, to something darker and more dramatic. Musically this part is known as the “development,” which is where the music meanders and does a bunch of interesting things before it returns to the main theme that was introduced in the beginning. This is a very common musical technique, but it doesn’t appear quite so starkly in any of the other pieces used in ep. 2. Since this piece plays during an Eloise and Cressida scene, we could take this darker interlude to be a reflection of Eloise’s relationship with Penelope—how it has taken a dramatic turn but will be righted again before long. We can also look at it through a Polin lens, since Penelope and Colin’s relationship takes a similar trajectory. Either way, I like the idea that there’s a bit of dark foreshadowing in this otherwise playful, flirtatious piece of music.

From there, we have the fourth movement of Mozart’s String Quartet No. 23, which plays as the Mondriches enter the scene. Other than the Beethoven pieces, this is the longest piece used during this episode, and it gets the most airtime. It plays for the entire duration of Benedict’s spiel about how married couples are free from the rules of society because they have already fulfilled their duty. And I love this piece for this moment because it really goes places. This movement has some fugal passages, giving it that same flirtatious quality as the other pieces used this episode, but there’s also moments where the tone gets much more dramatic, moments when the tempo seems to slow or get interrupted, syncopated sections that almost feel cartoonish… The character of the piece is surprising, and it evolves over time, and—I think—it reflects the journey the Mondriches have been on since season 1 and the surprising evolution their life has taken in season 3. And will continue to take! As they figure out how to navigate this new world and learn that it’s not as simple as Benedict made it seem.

Okay, now onto the last bit of sandwich filling, the first movement of Joseph Schuster’s String Quartet No. 2 in B-flat Major, which plays while Lady Danbury leads the Queen away from the main ball and while Eloise’s group of debutantes lament their chance to show off. Is this piece also flirtatious? Yes, I think this piece has a similar quality to Mozart’s String Quartet No. 3, where sometimes musical lines started by one instrument get picked up and finished by another. But another thing I find really interesting about this piece is that it’s a case of mistaken identity. This piece was composed around 1780, but until the 1960s music scholars attributed the piece to Mozart. And to use this piece during this scene is particularly compelling, because it’s the moment that Cressida denies having any good gossip, but also the moment when the gossip about Penelope and Colin begins to spread throughout the ball anyway, which Eloise (and Colin) mistakenly blames Cressida for. There’s also maybe a deeper meta here about mistaken identities that could tie into Cressida’s false claims to the Lady Whistledown name, which is interesting to consider in contrast to this moment at the ball where Cressida—unlike later in the season—chooses to be the bigger person and renounces the lure of gossip in favor of protecting her new friendship with Eloise. 

Which brings us to the final piece of music featured at this ball, the second movement from Beethoven’s Piano Sonata No. 23, the “Appassionata.” Which is of course relevant because Francesca earlier admits to loving it so much during her abbreviated conversation with Lord Petri. Petri describes Francesca’s favorite pieces as “expressive music,” which is fitting for a musical work nicknamed “Passionate.” Francesca also says, “I mostly enjoy the chord progressions,” in response to Petri getting all “can’t you feel it in the music?” and although Petri was talking about the Ries Piano Trios, I like thinking about Francesca’s response in relation to the second movement of the “Appassionata” because that movement is one big theme-and-variation—there’s a musical theme introduced at the beginning, and then that theme is repeated two more times with variations in the melodic structure but always with the same chord progressions.

One thing I love about this piece as the close-out to the ball is the way, with each subsequent variation on the theme, the music builds and builds. It starts out slow and in a low register, and it gets faster and higher pitched as it goes (the part we hear Francesca playing is the fast high part). There’s a really obvious analogy to sex here, which is clear in Petri’s reaction and Francesca’s discomfort with his reaction—which is appropriate because sex is such a major motif in this episode (“Inserts himself? Inserts himself where?”). But there’s also the analogy to the build-up that we’re about to experience at the end of the episode, the way everything Penelope has been through the past couple episodes (couple seasons, really) culminates in that first unbelievably passionate kiss between her and Colin. 

But, more than that! The second movement of the “Appassionata” doesn’t have a true ending—it’s through-composed with the third movement, so that the two are meant to be listened to back-to-back. If you listen to the end of the second movement by itself, you’ll hear a chord that sounds like it’s supposed to resolve to a nice clear ending, but then instead of resolving, that chord is followed by an intriguing, dissonant, kinda jazzy-sounding musical lick. If you didn’t proceed to the third movement right away, musically, you’d be left hanging. (And even once you’re into the third movement, it takes a while for the music to properly resolve.) And I love this! Why do I love this? A while back, I did an analysis of Polin’s theme (from the original score) and wrote a bunch of stuff about how their musical theme, the way we hear it in part 1 of the season, feels unresolved, suspending us in the tension of their uncertain relationship status. We only get proper musical resolution in their theme in part 2, after they’re engaged. So using the second movement from the “Appassionata,” with its false ending, at the conclusion of the Full Moon ball—a ball which encapsulates so much of what’s going on in the episode overall—is such a great way to foreshadow the end of the episode: the build-build-build to the passionate kiss and then—! Leave us hanging as Penelope runs away and Colin’s life starts falling apart around him.  

Speaking of endings…! It’s time to circle back around to the first piece of bread in our Beethoven sandwich, the sixth movement from Beethoven’s String Quartet No. 13…

If you’ve stuck with me this far, hang in there for just bit longer! Maybe take a quick break and grab a snack. ;) 

I thought a lot about the usage of the allegro finale from Beethoven’s Op. 130 in this episode. It’s such an interesting choice, not necessarily because of the music itself, but because of the history of the entire quartet. See, when Beethoven first composed String Quartet No. 13, it had a different final movement. However, at the first performance, that movement received such a negative reaction that Beethoven’s publisher convinced him to write a replacement. The replacement is what’s used in the show. And it has an entirely different character from the original. The new finale is light and cheery, while the original was dense and complicated. The original was panned by critics as being incomprehensible, inaccessible, and difficult to both listen to and play. (Give it a listen. You may find that it makes you deeply uncomfortable 😅 but it’s definitely an experience!) The new finale, on the other hand, is…a dance! It’s bouncy and positively Haydnesque, and completely uncontroversial.

The original was ultimately published as its own work under the title “Grosse Fugue,” as Beethoven’s Op. 133. However, some Beethoven enthusiasts and music scholars will argue that the correct way to play String Quartet No. 13 is with the original ending, the way Beethoven intended. Preferences vary, though, and what this means is…there are two possible, perfectly valid, endings to this piece of music. And each ending has a completely different vibe. 

Do you see where I’m going with this? 😉

This piece plays as we are welcomed into the Full Moon ball, and when I set out to do this analysis, I was originally looking at the allegro finale on its own, trying to find something meaningful in its structure or its harmonies… But I think what’s most interesting about it, in the context of this episode, is that it represents the duality of choice. And there’s a few different layers this could apply to: Eloise and Cressida’s decision whether or not to share the gossip about Colin helping Penelope, Colin’s choice to help Penelope in the first place (and to continue to help her after the journal faux pas)...his choice—at the end of the episode—to kiss her. The Queen's choice of a diamond, even! But if we’re talking about possible endings, then this piece is really setting us up for the ultimate narrative choice between Colin and Lord Debling. And it’s fitting as an introduction to the Full Moon ball because it’s at this ball that Colin gets his first taste of jealousy and competition, and then of course it’s Penelope’s humiliation at this ball that is the catalyst for the kiss that sends Colin into his downward spiral of desperate, all-consuming love. So whereas at the end of ep. 1 Colin may have been able to go about his life acting as though he was unconcerned about whatever feelings he may or may not have had for Penelope at that point, by the end of ep. 2 that’s simply not at all possible anymore. And so the show starts building the foundations of one of Penelope’s possible choices, one of her potential endings. (And I guess whether or not you consider Debling to be a perfectly valid alternative ending depends on what kind of Polin shipper you are. 😉) 

So there you have it: the drama of choice, the sexiness and frustration of building yet unresolved tension, misunderstandings (and, you might even say, the probable pains of friendship), SO much flirting—some easy and straightforward, some ceaseless and unvarying, some deliciously complex… All present at the ball, throughout the episode, and in the Classical soundtrack.

♥

And here's some of the research I did for this post:

Beethoven's String Quartet No. 13: https://www.earsense.org/chamber-music/Ludwig-van-Beethoven-String-Quartet-No-13-in-B-flat-major-Op-130/

Beethoven's String Quartet No. 13: https://www.brentanoquartet.com/notes/beethoven-quartet-opus-130/

Beethoven's String Quartet No. 13: https://www.maramarietta.com/the-arts/music/classical/beethoven/

Bach's Violin Concerto No. 2: https://www.laphil.com/musicdb/pieces/4549/violin-concerto-in-e-major-bwv-1042

Mozart's String Quartet No. 8: https://fugueforthought.de/2018/07/01/mozart-string-quartet-no-8-in-f-k-168/

Mozart's String Quartet No. 3: https://fugueforthought.de/2016/08/27/w-a-mozart-string-quartet-no-3-in-g-k-156/

Mozart's String Quartet No. 23: https://www.talkclassical.com/threads/mozart-string-quartet-23-k590-sq-review.81909/

Schuster's String Quartet No. 2: https://www.earsense.org/chamber-music/Joseph-Schuster-String-Quartet-in-B-flat-major-No-2-KAnh-C2001-K-Anh-210/

Beethoven's "Appassionata": https://www.youtube.com/watch?v=tR706pYvNl0&

[posttexasstressdisorder]

Monday, 12-16-24, 7pm Pacific

'Evenin', all...Mr. Baggins back with you, and I'm bringing some music to soothe your achin' nerves and help ease us all into a good night. We start this evening off with another of Haydn's piano concertos from that excellent set by Massimo Palumbo and the Austrian Chamber Symphony, conducted by Ernst Theis. We hear the Piano Concerto No. 2 Hob.XVIII:2.

Let's stay with Haydn for moment, but switching to Fritz Reiner conducting NOT the Chicago, but his own orchestra, "The Fritz Reiner Symphony Orchestra" in Haydn's Symphony No. 101, The "Clock" Symphony. Recorded September 1963, only two months before his death on November 15, 1963.

Now let's hear Fritz conducting The Robin Hood Dell Orchestra, with Pianist William Kapell, in Rachmaninoff's Rhapsody on a Theme of Paganini. Recorded June 27, 1951. Truly the best performance of this piece ever!

Next we turn to a performance of Mozart's Symphony No. 25 in G minor, K. 183/173dB, by Lenny and The Vienna. A live concert recording from October, 1988.

Now we reach back to August 30, 1956 for this wonderful peformance by Rudolf Serkin at the piano, with the Marlboro Festival Orchestra conducted by Alexander Schneider, of Mozart's Piano Concerto No. 12, K. 414

And since I noted above that Fritz Reiner died on November 15, 1963, we'll hear another of his very last recordings, made in the days following the sessions of the Haydn "Clock" above. Here is Haydn's Symphony No. 95 in C minor, Hob.I:95.

Let's listen again to Reiner/Chicago's unsurpassed recording of Mussorgksy/Ravel's Pictures At An Exhibition, made in 1958.

Now we hear Vladimir Horowitz in his 1955 recording of the Sonata No. 3 in F-sharp minor, Op. 23 of Scriabin. This is one of Scriabin's most accesible works, quite beautiful, profound in spots. Horowitz never recorded any live performances of it, coming as it did in 1955, it coincided with Horowitz retreat from the stage from 1953-65. This was actually recorded by the RCA Engineers in Horowitz' 94th St. home!

And I thought we might hear Mme. Novaes in her wonderfully soothing performance of Chopin's 'Berceuse' (lullaby/cradle song) in D-flat Major, Op. 57, as a final selection this evening...a nice little send-off to dreamland.

And with that lovely work, our program draws to a close. I do hope you've enjoyed the selections this evening, and possibly heard something new to your ear. Mr. Baggins signing off for now, I will return at 8am Pacific with our Morning Coffee Music.

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

Baggins out.

[mitchelljoni]

i am fucking loving your fic but i don’t know much about this kind of music, do you happen to have a playlist? i would love to listen

omg Yes lol this is the ideal ask to receive....firstly so glad ur enjoying the fic. secondly, i am by no means an expert (classical music is not my...forte) but this is just stuff i like/i think most people enjoy/know...it's not an exhaustive list. it is probably impossible to make an exhaustive list!! I am sure there are millions of people out there who could do a better answer to this qn (some of them will probably see this) so im mostly just gonna link the pieces that are mentioned (so far) in the fic and then maybe a few of my Favs...

mentioned in the fic

George Gershwin, Concerto in F (what Rhaenyra is set to play for the King's Landing concert) - this recording with Jon Nakamatsu on the piano and the Rochester Philharmonic is probably the best one (it's the first one I ever heard I think) but a personal fav of mine is Andre Previn with the LSO

George Gershwin, Rhapsody in Blue (what everyone bitches is better than the Concerto in F lol) - again, Previn does a lovely version of this, Jon Nakamatsu's is also great, and I would be remiss not to mention Leonard Bernstein's version

Tchaikovsky, Symphony No 6 ('Pathétique') (what they are rehearsing at the beginning) - just linking the NY Philharmonic conducted by Bernstein because it's soooooo cool that you can deadass just watch it on Youtube...

Edvard Grieg, Piano Concerto in A Minor, Op 16 (what Rhaenyra tells Viserys she wants to play for the tour/she told Alicent she was always going to play w her conducting) - I think Alice Sara Ott's interpretation is mega, I tend to listen to her playing w the Bavarian Radio Symphony Orch but couldnt find it in my v cursive search on YT so the link is to her with the Danish National Symphony Orch

Sergei Rachmaninoff, Piano Concerto No 2 in C Minor (what Rhaenyra was playing at the Eyrie that she then got up and stopped playing) - you almost definitely know this one!!!! The music from the second movement is aggressively interpolated into All by Myself by Eric Carmen lol. Ive linked a Khatia Buniatishvili version (of the second movement) bc it's like...perfect imo also she looks amazing. not the point but still

Sergei Rachmaninoff, Piano Concerto No 3 in D Minor (what Alicent suggests that Rhaenyra plays for the Sunspear concerts) - this is basically famous for being like the hardest piano concerto in history!!! it rocks. every movement is a banger. linked Yuja Wang bc noooo one is doing it like her. also, another slayful dress moment!

Tchaikovsky, Piano Concerto No 1 in B Flat Minor (what Alicent also suggests Rhaenyra plays but Viserys rejects) - another Alice Sara Ott win...

Mozart, Piano Concerto No 21 in C Major (what Alicent remembers watching Rhaenyra playing etc) - loveeee this recording:)

Chopin, Nocturnes (what Alicent finds a copy of in the practice room) - honestly I just went ahead and linked all of them. pick your fav! probably the 22nd is not in this compilation but that's bc no one likes it and everyone thinks it's not rlly his since they found it later :/ awkward

Beethoven, Piano Concerto No 5 in E Flat Major ('Emperor') (what Rhaenyra played however many years ago that Alicent pretended to have never heard) - I think Hélène Grimaud plays this especially well so it's the one i linked. oldie but a goodie! but really any are good

Bach, Prelude 1 in C Major (first of Rhaenyra's soul-soothing classics) - Lang Lang <3

Bill Evans, Peace Piece (second of Rhaenyra's soul-soothing classics) - this is jazz, which I am actually FAR more equipped to talk about, but i have for some reason shackled myself to writing about classical music so....anyway she doesnt mention it by name but shes talking about Peace Piece. everybody DOES dig bill evans

Claude Debussy, Rêverie (third of Rhaenyra's soul-soothing classics) - Lang Lang x2 <3

Jules Massenet, Meditation from Thaïs (fourth of Rhaenyra's soul soothing classics) - honestly this piece is such a classic lol. everytime i hear it im like Wow Religious Experience much??? anyway it's actually from an opera (Thaǐs) so some versions have some quiet vocalising in the bg. which is nice if it's ur bag tbf. ive linked a nicola benedetti version bc i love her and also bc this one is just piano and violin which is what i envisioned w alicent and rhaenyra

vaguely mentioned in the fic/will be shortly

Felix Mendelssohn, Violin Concerto in E Minor, Op 64 (Rhaenys's solo violin appearance)

Edward Elgar, Cello Concerto in E Minor (Addam's solo cello appearance, one of my favourites in the world!)

Franz Liszt, Les préludes

Franz Schubert, Symphony No 9 in C Major

Jean Sibelius, Symphony No 1 in E Minor

Florence Price, Symphony No 3 in C Minor

Leonard Bernstein, Candide

ones i just like (this is not a list of the world's most exceptional classical music. i just like these ones)

Maurice Ravel, Pavane pour une infante défunte

Antonín Dvořák, Silent Woods

Dmitri Shostakovich, Piano Concerto No 2 in F Major and also all his jazz suites. love him

Like anything by Philip Glass

Hector Berlioz, Symphonie fantastique, Op 14

Felix Mendelssohn, Violin Concerto in E Minor, Op 64

Mahler!! All of Mahler!!

ive left out like the biggies like swan lake and the planets and mozart's symphony no 40 etc bc i feel like you will come across those v quickly...also i am actually a choral singer so I havent gotten into all that bc my playlist of THAT music is genuinely 8 hrs long which would need a whole other post.

so TLDR: this is a weird, selective, and not at all representative list of music you might want to listen to. Enjoy !

lol but in all seriousness, if u end up wanting to get into classical music, just sticking on any classical radio station is usually a good way to go, BBC Radio 3 is EVERYTHING to me, shes v important<3 also, in terms of streaming services, most are honestly p rubbish when it comes to classical music but apple music have a 'classical' app which is like the only decent way to stream classical music without literally wanting to scream in confusion imo. so if u happen to have apple music it comes w ur subscription and is good! ok i hope this helps and once again glad ur enjoying da fic :)

[supercantaloupe]

CONCERTI PLEASEEEEE the one (1) piece(s) of classical music i can name is vivaldi's four seasons violin concertis (concertos?) and they are my favorites i listen to them so often they are wired into my brain. and i STILL can't tell the seasons apart because i am immune to telling apart instruments :) but anyway really would love to see your list ALSO please please ramble on about topics of your choice that's one of my favorite things you do!!

okayokay. hmm

for violin concerti i have to give it up to brahms. i wasn't much of a brahms vln cto guy until i had to do it twice in orchestra in two years and then it grew on me. but also i'm an oboist and i'm biased because the middle movement is practically an oboe concerto as much as it is a violin concerto. anyway i also like tchaikovsky's violin concerto, mendelssohn's, and mozart no. 3. it will probably be more fruitful to ask a violinist for more suggestions because i don't listen to these very much but i know i have violin player mutuals so i'm calling on them to drop in the comments lol

PIANO CONCERTI. this is the other instrument that has like one million concerti out there. some of my favorites are beethoven 5 "emperor", tchaikovsky 1, and gershwin concerto in f :) (loooove the gershwin concerto). rhapsody in blue is sort of concerto like but it's not strictly a concerto i think. also shoutout to the ravel left hand piano concerto -- a very unique piece! he wrote it for a piano player who lost his right hand in world war i.

Lower strings - stamitz viola concerto! enough viola jokes, society has moved past the need for mean spirited viola jokes, it's a good instrument and this concerto is great. dvorak and saint-saens's cello concertos are about as standard and great as the come, but i think elgar is also great (even though it's not a style i usually prefer!). and as for bass, there's basically nothing as iconic as the bottesini concerto.

winds - i love me a good clarinet concerto. mozart's clarinet concerto (which was actually originally written for basset clarinet, an old type of clarinet with a slightly lower range and mellow tone) is classic and wonderful, but so are weber's clarinet concerti (i like no. 2!). the mercadante flute concerto is a lovely piece, i don't think it gets played that often but it's great. and the ferdinand david concertino for trombone!! really great. there are admittedly a lot of great concertos out there for horn, trumpet, bassoon, flute, etc. that i just don't know (sometimes i hear them on the radio but i don't catch the composer or work title)...but there's a lot out there, you can really just poke around until you find stuff you like

oboe - yes of course this gets its own section. you have asked an oboist for her choice of concertos. i am so biased here it's not funny. Anyway let's go chronological shall we. Starting with the marcello concerto. i think it usually gets played in d minor but i play it in c minor. do NOT @ me. next up is the mozart concerto which is pretty much just flat out required for every oboist to know if they want to do ANYTHING remotely professional in the world of oboe performance, it is THE standard rep for us. also do not @ me about not including the mozart flute concerto earlier because THAT'S THE SAME PIECE!! the flute concerto is just oboe concerto transposed up a step. LAME! anyway moving on. josef fiala is a kind of little known classical composer who has a few oboe concertos, i'm a fan of basically all of them. then there's my FAVE the kalliwoda concertino in f, it's so good, i played it for my senior recital. then getting into the 20th century there's the vaughan williams concerto which...i go back and forth on how i feel about it. it's lovely to listen to but it kicked my ass when i tried to learn it and i gave up on movement ii. also this isn't oboe but it's english horn which is like oboe's big brother, donizetti has an english horn concertino which i really like too, although finding out that it's disputed whether it should be in F or in G rocked my world (especially after i had gotten used to playing it in G and then tried it once in F and it broke my brain. i can't accept that it might be better in F...i can't...)

and then some WILD CARDS that i want to shout out because they're fun. the first two are double concertos: the mozart flute and harp concerto! and the fiala english horn and clarinet concerto! i think this combo is so weird and unique and great, i would LOVE to play this some day though i doubt that will ever happen.

you've heard of double concertos well now get ready for QUADRUPLE concerto. vivaldi wrote a concerto for four violins in b minor and it kind of rules. bach also arranged this for four harpsichords in a minor so you might also find that version. it took me forever to figure out who actually wrote the damn piece because i'd heard it both ways in multiple places

penultimate mention goes to the grunge oboe concerto, which attempts to answer the age old question, what if oboe music was emo/metal music. and then the final mention goes to this guy's specific performance of a vivaldi recorder concerto

[ask meme]

[houseofwomn]

Ballroom Playlist & Moodboard

I’m so happy to finally be able to post this! My secret pal was @noesapphic for the @choicesfandomappreciation event! Below I made a fancy schmancy mood board and a wee ballroom playlist I’d like to imagine Marianna and Ernest dance to :’) I hope you like it!  (Weird little music history fact: Mozart was a…humorous guy. He wrote poems and letters about farts…to his FAMILY who also loved the occasional fart joke). *Another fun fact! Sonata No. 16 in C Major is used a lot in Choices stories as background music. I am ninety-nine percent sure haha.

Sonata No. 16 in C Major, Mozart

Sauteuse in Dm/F

The Sussex Waltz, Mozart

Badinerie, Bach

The Skaters’ Waltz, Andre Rieu

The Blue Danube Waltz, Strauss

Ave Maria, Bach

Étude Op. 25, No. 1 in A-flat major, Chopin

Ballade No. 4 in F Minor, Chopin

Piano Concerto No. 1 in C Major, Beethoven

Poco Sostenuto - Vivace, Beethoven

Symphony No. 4 in C Major (‘Jupiter’), Mozart

Eine Kleine Nachtmuski, Mozart

[littlest-bugz]

🌊 — Is there a certain song you associate with your system / any of your alters? If so, what is it? Feel free to explain why you associate it.

-red heart anon ❤️

Red Heart Anon! It's good to see you around again :)

It took some time to write this one up bc I had to figure out what songs I associate with us and certain alters. Especially as it is me front, and I'm not the most musically inclined of us.

However, I've collected a handful of songs.

The Whole System song: Vivaldi Variation (Arr. on Piano from Concerto for Strings in G minor, RV 156 by F. Christl)

This one was chosen by 🐛.

👁️‍🗨️ [he/it/xe] : My Ordinary Life by The Living Tombstone

He loves this song so much. It's pretty absurd how much xe does tbh.

⛪ [he/him] : Sleep Paralysis by Elita

It reminds me of him. I've never seen him listen to this song, it definitely isn't his flavor of music, but it suits him.

👻 [he/him] : Monster by Dev

A song that 🐛 was listening to around the time 👻 split. He loves it tbh

☠️ [he/him] : Con Clavi Con Dio by Ghost

My favorite Ghost song. I love this band and this is my favorite song

💙 [he/him] : As It Was by Harry Styles

It's his vibe, cant describe it other than that. It's just who he is as a song.

🐛 [they/he] : Brave as a Noun by AJJ

He always sings this song when he's going thru a rough patch. It's in a playlist he made called [story of my life] so I figured it was a good pick

🎸 [she/her] : Gossip (ft. Tom Morello) by Måneskin

It sounds like her. It just reminds me of her vibe iykwim?

💣 [he/him] : Bosses Linking With Bosses by Babyface Ray, Veeze

It's his favorite song. That's the only reason why I associate it w/ him

[afterthegreatunknown]

Anwhistle Family Breakdown

(Or, a self-reference post to help me keep track of the OCs I created for the Anwhistle Family, alongside the Canonical Anwhistle Family, and Others)

Golden (Quiet) Generation Anwhistles

Anwhistle By Blood

A: the A stands for Aengus. The eldest of his siblings, Aengus is well-respected within VFD. But well-respected doesn’t mean Aengus is well-liked. Whistling Song Specialty: Rocky Road to Dublin

S: the S stands for Seachnall. The Black Sheep of his family (and VFD) through actions that weren’t approved of. If given the choice, he would do it again. Whistling Song Specialty: Maggie Mae

U: the U stands for Una. A lovely woman who many men wanted to marry, Una has high standards that only one man met; someone her family disapproved of. Whistling Song Specialty: When Irish Eyes Are Smiling

Anwhistle by Marriage

E, or Q: the E stands for Enrique, with the Q standing for his nickname of Quique. An immigrant from Mexico, Enrique risked the Anwhistle Family’s ire for his love for Una, and thought it worth marrying her.

A: the A here stands for Audrey. A fierce woman who supported Seachnall’s actions. She called out the Anwhistles and other families (mainly Baudelaires, Denouements, and Snickets) as cowards and hypocrites over it.

(Original) Schism Generation Anwhistles

Anwhistle by Adoption

F: the F stands for Francisca. A woman who adores opera, she is Aengus’ daughter. She marries C (Clovis) Baudelaire, who she less than adores. Whistling Song Specialty (being adopted doesn’t mean she can’t whistle): Tchaikovsky’s Piano Concerto No. 1

Anwhistle by Birth

I: the I stands for Ira. The first son of Seachnall and Audrey. Ira is a polite-speaking marine biologist with goals that aim high. Whistling Song Specialty: Dvorak’s Symphony No. 9 (New World Symphony), Fourth Movement.

G: the G stands for Gale. The second son of Seachnall and Audrey, Gale is a jack-of-all-traits who loves film-making. Whistling Song Specialty: Beethoven’s Symphony No. 9, Fourth Movement (Ode To Joy)

Z: Also known to some as O, which stands for Ocho (Eight). The only child of Una and Enrique, Z tried his best to protect his childhood friend, who still lives in Village of Fowl Devotee, and his family safe from VFD, but failed. It’s a failure that sends Z to his deathbed. Whistling Song Specialty: Étude Op. 10, No. 3 (Tristesse)

Anwhistle by Marriage

B: the B stands for Belladonna. A formidable woman who lives up to the flower she’s name after in order to do the right thing. B, despite Gale’s many warnings, always tries to to vindicate Seachnall’s actions (which she believed as correct) to certain VFD Families, to usually no results.

D: Formerly known as D. Snicket. D’s loyalty to VFD, for they helped her and her siblings escape their terrible guardian, pales in comparison to her loyalty for the family she started with Z, as well as the Snickets. D will do anything to keep her family safe, and most importantly, alive.

Proven False Rumor Anwhistle

‘H’ Anwhistle: Now, Seachnall prior to his marriage to Audrey, was something of a flirt and womanizer. After marrying, Seachnall stopped his Casanova ways and remained true to Audrey. Due to Seachnall’s Black Sheep status and that some VFD families were still polite and friendly to him (mainly the Quagmires, Widdershins, and Montgomery Family), a cruel rumor spread that Seachnall cheated on Audrey, and 'H' is his lovechild. The rumor was proven false because Audrey found the culprit who started it, and Audrey got him to confess publicly after threatening to expose his own affair to his wife.

Sugar Bowl Generation Anwhistles

Anwhistle by Birth

Gregor Anwhistle: the oldest son of Z and D Anwhistle, Gregor is an almost soft and baritone-ish speaking man that takes people by surprise when revealing his volatile nature. 100% judge Seachnall’s actions that lead to him becoming the Black Sheep, even though Gregor admits he would have done the same. Whistling Song Specialty: Bourrèe Fantasque

Helen Anwhistle: the Original H. Anwhistle, daughter of Z and D Anwhistle. Helen died at the age of three in her VFD recruitment. In a universe where she lived, Helen wins the heart of a non-hesitating submarine captain. Also, in this universe, Helen’s Whistling Song Specialty is The Garland Waltz from Tchaikovsky‘s The Sleeping Beauty ballet.

Isaac ‘Ike’ Anwhistle: The youngest son of Z and D. Anwhistle, Ike was a curious child growing up, and his curiosity transformed into (reckless) bravery. Ike is one the few people who doesn’t extend the ire/ban of Seachnall’s onto his descendant. Whistling Song Specialty: Beethoven's Fourth Quartet (Beethoven’s String Quartet No. 4)

F: the F here stands for Felix. The son of Gale and Belladonna Anwhistle, Felix is a traveler, going everywhere and anywhere. While having a decent relationship with Ike, Felix moved his family to New England to escape the ire/judgement of the other Anwhistles/certain VFD Families. Whistling Song Specialty: Piano Sonata No. 14 (Moonlight Sonata).

Anwhistle by Complications

Hector: the son of Victor Cuervo (Z’s childhood friend) and María Carmen Aguilar. Legally name Hector Aguilar, his informal full name is Hector Cuervo-Aguilar (Land of District law states only one surname can be on a birth certificate, and Aguilar was chosen). In a universe where he wasn’t recruited, Hector still gets roped up into the canonical unfortunate events. Whistling Song Specialty (because he too, can whistle): La Llorona

Anwhistle by Marriage

Josephine: Formerly Josephine Gonzalez-Swayer. Despite her bravery and fearless nature, Josephine is above all else, a cautious woman. Josephine always prioritizes safety first. Such safety is why she convinced Ike to allow and accept Felix and his family’s move to New England.

M: the M stands for Miriam. An adventurous woman who joined Felix on his travels. They later married in their time in Greece (Miriam’s suggestion). Miriam likes Ike and Josephine, for they treat Felix as his own person, and not as an extension of Seachnall’s actions.

Anwhistle Relatives

Beatrice Baudelaire: the daughter of Clovis and Francisca Baudelaire nee Anwhistle, she is the second cousin to Gregor and Ike through Francisca (being Z’s first cousin). Clovis and Francisca Baudelaire love their daughter, but not one another, and the two had one too many verbal fights at home that has Beatrice being ashamed of being a Baudelaire, especially as a child. Beatrice as such enjoyed visting Gregor and Ike’s home, taking those visits as a temporary sanctuary from her parents. Whistling Song Specialty: Mozart's Fourteenth Symphony (Symphony No. 14)

Jacques, Kit, and Lemony Snicket: the children of E and Jacob Snicket, they are the first cousins to Gregor and Ike through E. Snicket (being D Anwhistle’s sister). Jacques and Kit have little memories of Helen to where they forgot about her existence. Lemony in contrast, never have memories of Helen, thinking the Anwhistle Siblings are Gregor and Ike (and later Hector). Gregor prefers the company of his cousin Jacques, while Ike prefers the company of his cousin Kit. Lemony is equality like by them. Whistling Song Specialty: None.That said, Jacques can whistle.

Next Generation Anwhistles

Gideon Anwhistle: the first son of Felix and Miriam, he’s a sixteen-year-old who looks very polite, especially with his hexagon glasses, though he has a hidden anger that shows itself on occasion. Gideon has an interest in the paleontology field: paleobotany, the study of plant fossils. Whistling Song Specialty: Rhapsody in Blue

Elijah Anwhistle: the second son of Felix and Miriam, he’s a fourteen-year-old who sometimes let curiosity get the better of him. Elijah excels in sports (mainly swimming, canoeing, tennis, and baseball), but his real interest is art. Specifically, the traditional mediums of color pencils, markers, and inks. Whistling Song Specialty: Helter Skelter

Clementine ‘Clem’ Anwhistle: the last child of Felix and Miriam, as well as their only daughter. An energetic ten-year-old who loves creating buildings and decorating room interiors, be it on paper or on the computer due to having games that allows Clem do what her heart wants to make. Whistling Song Specialty: Walking on Sunshine

Regarding Beatrice and Lemony’s Engagement...

When Beatrice and Lemony announced their eventual short-live engagement, some people within the Anwhistle Family and Baudelaire Family wondered if it was legal. After all, Beatrice is a second cousin through the Anwhistles through her adopted mother F, and Lemony is a first cousin through the Anwhistles through D. and E being sisters.

Turns out Beatrice and Lemony before dating (hell, even before they asked each other on their first date), did their research.

By the Land of District’s law that the City follows, Beatrice and Lemony are able to date and marry. Beatrice’s relationship to the Anwhistle Family is a second cousin, meaning they don’t share a direct relative. While Lemony’s relation to the Anwhistles is a first cousin, because Beatrice has no Snicket relation through blood or adoption, the law doesn’t consider their relationship as incest in any way or form.

(Violet in TBB being force to married Olaf despite it being incest through adoption was through a loophole of the law of a minor being able to marry via permission from a guardian [or parent].)

[pepimeinrad]

After the intermission we'd continue with season 2:

12. Keyboard Suite in D Minor, HWV 437: III. Sarabande (Georg Friedrich Händel) Welcome to season 2! The Sarabande heard while Stede fights Izzy is actually the one from the soundtrack, but Händel's shows up too, later in the episode. And again a few more times on the OST and in another version at the end of 2x07. Since it's woven through much of S2 I think it fits at the start of the second half very well.

13. Suite No. 3 in D Major, BWV 1068 – II. Air (on a G String) (Johann Sebastian Bach) I could have put this in the first half too since it's already heard in 1x02, but since it shows up more often in S2 and is an important part in Stedes letter-writing, I've put it here instead. For more insight go and find an analysis by Tumblr user amuseoffyre! ;)

14. Concerto For Two Violins And Cello In D Minor, Op. 3, No. 11, RV 565: III. Largo e spiccato (Antonio Vivaldi) Seawitch Buttons getting his tools from Auntie in 2x02 - and it's reused in 2x05 in convos between Ed+Fang as well as Lucius+Izzy. Another rather slow and pensive one, this second half of the concert starts a bit like season 2... tough but interesting.

15. Symphony No. 7 in A Major, Op. 92 - II. Allegretto (Ludwig van Beethoven) Speaking of tough and interesting, it gets more intense with this Beethoven that plays in 2x02... Ed+Izzy+gun... whew. The first 20 minutes of this second half... difficult, just like I found the first few eps of S2. But the music's great!

16. Symphony No. 25 in G Minor, K. 183 - I. Allegro con brio (Wolfgang Amadeus Mozart) Let's escape the tough part of the concert/season like the crew escapes the Red Flag - with this bit of Mozart. I loved the way this was used in 2x03 and I keep loving the crew. Another long one, but I enjoy Mozart enough to want to have the whole thing here.

17. Kinderszenen, Op. 15 - 7. Träumerei (Robert Schumann) Another one that could have been put in season 1, or at least earlier than here, because it already showed up again in 2x03, but to me the most striking use of this is the 'I love everything about you' scene in 2x04. Most other times after only a few bars of this we went into Satie and never heard much of it. In 2x04 it's really big!

18. "Ständchen/Serenade" - Schwanengesang, D 957 No. 4 (Franz Schubert) This one plays quite a few times in 2x05, mostly to illustrate Lucius' state of mind. I was pretty proud that I recognized it as a Schubert piece on my first watch and without any research. Coming up: again a point where I'd rather not have two pieces of the same composer back to back, but it fits best that way.

19. 4 Impromptus, Op. 90, D. 899 - No. 4 in A-Flat Major: Allegretto (Franz Schubert) Ed getting rid of his leathers (confession: I'm not much a fan of them and would have liked him to leave them there...) and getting breakfast in bed for Stede. Lighter than the most of the pieces in this half, and I think that's needed. Like the scene was the main bright spot of 2x07. (I'm only a bit taken out of it, because a part of this piece reminds me of "Wien und der Wein", some Schlager that also stole parts from a Josef Strauss composition...)

20. Waltz Op. 70 No. 2 in F minor (Frédéric Chopin) A short and cute piece that's in the background of Jim getting Olu to talk to Zheng. Mostly on here because I'm a huge fan of waltzes and need one Chopin in this concert.

21. Concerto in E minor per Flautino, RV 445: III. Allegro (Antonio Vivaldi) Another Vivaldi to (almost) finish it off. Here we have Stede and Zheng (and Ed) fighting the English at various points, it scores the hilarious parts on the beach and gets interrupted by Nina Simone for the sweet parts. A nice lively one for the half-finale.

22. (finale, encore, bonus, whatever, it needs to be there!)

Stede Dream / Gnossienne No. 5 I can't have the concert not ending with Gnossienne No. 5. It's so integral to the show and Stede/Ed! So I need a version that's different from the earlier piano-one, and we have that on the OST! Pity that the track is only 58 seconds long, for the finale I need a longer version that includes Ed's cello and lots more of the piano accompanied by strings as we hear it in 2x08 when they read the letter together. Someone would have to compose/arrange that for this all to work...

OFMD Soundtrack Concert

I spent a huge part of my last week looking at the OFMD soundtrack in detail and love the music used in both seasons (OST, post 1920s-songs (Miles From Nowhere is my absolute favourite) and "classical" pieces (mainly for orchestra and/or piano)). It's been a bit of an obsession actually, and I can't stop imagining a big concert of all of my favourite "classical" (and baroque etc, I know) pieces... if only I had an orchestra and venue at my disposal... the 22 tracks (20 really) add up to about 100 minutes. The list of things I'd have them play under the cut:

A Pirate's Life (Mark Mothersbaugh) Yeah, alright, I won't have Joel Fry there to sing it and it isn't a classical piece. But I would want the concert to start like the show, with this. A bit of a gimmick, someone with a guitar just doing this small bit to get everyone in a pirate mood. The last thing all the way down will also be from the OST, more on that when I get to it.

2. Concerto for Recorder and Viola da Gamba in A Minor, TWV 52:A1: I. Grave (Georg Philip Telemann) This is the one piece that always gets me nostalgic for season 1. This is early Stede and his early crew, I always have his voice in my head while listening to this. One of THE OFMD pieces for me, also because it's reused in episodes 1x07 and 2x05.

3. Symphony No. 34 in C, K.338 - 2. Andante di molto (Wolfgang Amadeus Mozart) This one is used once in 1x02 and twice in 1x03 - I was debating if I should include it since it's so long and only a small part of it is actually heard in the show. I've added it because I really like it and do find it iconic in those scenes - Stede finding his brand! (and because I feel it fits with the flow of the concert)

4. Sonata No. 2 in A major Op. 2 No. 2, - III. Scherzo - Allegretto (Ludwig van Beethoven) On to episode 1x04 where we get to hear quite a bit of this one over Stede and Mary having to get married. Another very nice piece that always transports me straight into that episode. Overall the soundtrack mixes orchestra- and piano-pieces quite colourfully, which would be reflected in my concert too (would need a very able pianist for it!).

5. Sonata in E Major, Kk. 380 (Domenico Scarlatti) They've gotten rid of the Spanish! I love the whole lighthouse sequence a lot (Wee John makes me laugh every last time) and the crew's joy is transported very well in this piece. Another one where the quotient "bit played on the show/length of the piece" is not that big, but another one that I just really like and find fitting to include.

6. Concerto in A Major, BWV 1055: III. Allegro ma non tanto (Johann Sebastian Bach) Welcome on the fancy ship of not so fancy people... episode 1x05 is one of my very favourites and that whole environment of the french ship is very well represented in this piece I think. There are loads more pieces in the episode that I haven't been able to identify, but I think this one here is the most striking anyway.

7. Gnossienne No. 5 (Erik Satie) Yes, I'm putting this here. There are more than half a dozen other points in the show where this lovely tune is heard, but I want to place it at the 'you wear fine things well' part. To calm down after the fast paced party from before. To make everyone think of that moon that's way too big. And this is the spot where the piano-version of this is heard for the first time anyway.

8. Concerto for 2 Cellos in G Minor, RV 531: I. Allegro (Antonio Vivaldi) Bit of a jump from 1x05 to 1x09, but the episodes inbetween had little material for a concert like this (where there'd be no one to sing Mozart's "Voi, che sapete", that's also why Verdi's "Dies Irae" isn't there either). I love the crew and their various excuses - and find this to be a fun piece that needs to be there. One thing that I've read several times that irks me: I'm still searching for the piece that's playing in 1x03 where Stede almost dies and Blackbeard attacks the Spanish. People say it's this one here, but I've listened to it so often and am SO sure that that's not it. Don't know what is, though.

9. Arabesque, No. 1 in E Major (Claude Debussy) Mary living her best life! I love that we got to see that and love her and her fellow widows a lot. I'm not quite happy with having two Debussy's back to back, but like this piece and like thinking of Mary too much to leave it out.

10. Rêverie, L. 68 - Rêverie (Claude Debussy) I'm a sucker for 'oh shit, I love them!'-flashback-montages and the one set to this piece is a beauty! Another bit that I've watched so often that I see it all in my mind while listening to this. The part where the show jumps to Ed and his flashback to 'you wear fine things well' (like 2:04) always kills me.

11. The Four Seasons - Summer in G Minor, RV. 315: I. Allegro non molto – Allegro (Antonio Vivaldi) We say goodbye to season 1 with another Vivaldi, one that took ages for me to recognize in the show. I knew it was supposed to be there while Stede starts his Fuckery and Kraken!Ed abandons the crew, but for a very long time was sure that that wasn't really it (and a bit of doubt remains). Well, the slow parts are definitely in the show, just to my ear the fast parts sound different. Anyway, it also shows up in 2x06 and needs to be in my concert.

After this we'd have the intermission - and part two will be in a reblog because I've run out of links in this post.

[theaesesthetic]

the whiplash i got from putting my music library on shuffle and going from you’ll be back to

bach’s concerto for two violins in d minor, mvt. 1 (suzuki book 5)

[violettduchess]

Congratulations again and again XD You're a star! If it would be alright, may I request Mozart + Red Tulip, please?

A/N: Part of my 500 Follower Celebration🎉

Mozart x f!Reader

Fluff

Word Count: 977

A red blanket spread across bright green grass under a cornflower blue sky. Bold colors, bright colors. You look at the man you love as he lies on his side, his head of silver hair almost luminous in the sunlight. A man of understated pale blue and silver and white and gray, a sharp contrast to the world around you. Sometimes you wonder if he is truly here, his spectral beauty almost too much for this plane of existence. Your hand travels to your neck at the thought, fingers touching skin that is still tender from earlier that morning and the love-mark of his fangs. It reassures you. He is here. And real. And yours.

He is currently propped up on one elbow, absently toying with a few grapes. You can tell by the way his violet eyes aren’t focused that he isn’t really here. His body may be present but his mind is wandering in its own dream-space, lost in music only he can hear, building symphonies and concertos while you mundanely decide which jelly to put on your croissant. 

You know his heart well enough to leave him to his dreaming, leaning back on your palms and enjoying the view over the rolling green hills dotted with over-exuberant daisies. Your attention is pulled away from the idyllic scene by something small and blue bobbing its way toward you. A large butterfly with cobalt wings edged in black is fluttering toward your picnic. You hold your breath as it lands, first on the wicker handle of your basket and then it flaps its way in a lazy zig-zag to land right on your bent knee. Squashing the impulse to gasp, you remain very still as the butterfly takes its respite, gossamer wings slowly folding and unfolding on a loop, a ballerina stretching before her next dance. Up close, you can see the tiny, delicate black veins that run through the shocking blue of its wings. A living jewel right in front of you. The wings open and close one more time and then without warning it takes off, fluttering away as unexpectedly as it came.

You can’t help it. Delight and excitement finally are allowed to escape as you burst into elated laughter. Mozart snaps to attention, as if he had heard a gunshot and not an expression of joy. He blinks his amethyst eyes, staring at you.

“Wolf, did you see it? Did you see the beautiful butterfly that just landed on me? Just like that!” You are still laughing, talking excitedly as you scan the green fields around you for any sign of your tiny visitor. Mozart slowly pushes himself up, the only sign of what he is thinking is the corner of his mouth, lifted in an unreadable, Mona Lisa smile.

A few days later

The concert hall is buzzing like a hive full of bees. You smooth your hands over the deep ochre velvet of your skirt, the familiar excitement of attending a Mozart concert running through you as well. The gleaming white beast of a grand piano is already spotlit and awaiting the man who will bring it to life, whose fingers will breathe air into its lungs and start a heart beating in its chest. Next to you, le Comte is a vision of calm as he takes in the stage, the lights, the sounds of the patrons. He glances at you and offers a smile.

“You said he wrote this piece in a few hours?”

You nod. “We were having a picnic on the hill and then he just got up and said he needed to go, immediately.”

Comte turns his golden gaze back to the stage, affection in his smile. “That’s Mozart.”

You’re about to agree when the lights finally go down and your heart leaps up, somersaulting in your chest as you see the refined, slender figure of the man you love more than anything enter the stage. The applause swells like a cresting wave until he holds up his hand, Neptune calming the seas with a gesture.

“This piece is called “Das Glück der Schmetterlinge.” He makes an elegant turn on his heel, walking toward the grand piano. The audience holds its breath in anticipation.

You lean closer to Comte a moment, eyes still glued to Mozart as he seats himself on the shiny piano bench.

“I know that ‘Schmetterling’ is butterfly. Did you understand the rest?”

Comte tilts his head towards you. “My German isn’t perfect but I do believe it translates to ‘The Joy of Butterflies’.”

Warmth blooms in your chest as you lean back in your chair. Ah, so he did notice the butterfly that day. 

Mozart raises his hands, elegant fingers poised over the black and white keys and then pauses, turning his head to face the audience one more time.

“I dedicate this piece to the most beautiful sound in the world.”

Murmuring ripples through the audience. What sound could the master of music think is the most beautiful thing in the world?

He closes his eyes and his hands begin moving, spinning magic from the first note on. His music always moves you, always reaches inside and wraps itself around your heart. But here….there was something here, something familiar. A repetition of notes that carries the entire song. Something about it tickles the back of your mind, a notion nebulous and cloudy but refusing to dissipate. It is only when you see le Comte smiling that you realize he has unlocked the secret. Again you lean close.

“It’s a beautiful piece,” you whisper, “but why does it feel so familiar? Mozart isn’t playing any of the songs he has written in the past.”

Comte waits a moment, the same series of notes ringing through the concert hall like beacons of sparkling light, enchanting the audience, before he turns his head, his mouth close to your ear.

“Mon chéri,” he says gently, voice brimming with warm amusement, “Do you not recognize the music of your own laughter?”

🎼

Tagging: @aquagirl1978 @atelieredux @alixennial@alexxavicry @queengiuliettafirstlady @rhodolitesroseforclavis @somekidnamedkai @ikemen-prince-writers-posts @bellerose-arcana @thewitchofbooks @ikehoe @redheadkittys @themysticalbeing @dear-mrs-otome

[elizabethplaid]

Classical Music for Halloween - from Halidon Music

Idk if this is Halloween per se, as it’s more dark autumnal vibes than spoopy. Like most of their videos, it’s 2.5 hours long. (I often find 3-6 hour mixes, rarely anything around 1-hour or less.) Lots of very good tunes, including a lot of stuff I love.

There’s a few that bug me. Gershwin’s prelude andante whatever is too modern-jazzy to me. (I first heard it played on hammered dulcimer, and it sounds even worse to me there.) Tired of “A Night on Bald Mountain”, especially for Halloween mixes. It’s good, but it’s overplayed.

I liked seeing “Palladio” by Karl Jenkins, aka the diamond song. The opening track stole my heart, showing this would be a good mix of stuff that’s not over-played. It feels like a prime example of what I expect from a “dark academia” mix. Really, a lot of this stuff is “new” to me, or at least something I’ve only heard in recent years.

It only took about half an hour to realize I wanted to share this mix.

Tracklist with timestamps copy-pasta’d from the video description:

0:00:00 Litvinovsky - Tales of the Magic Tree: IV. Spider Knows His Craft 

0:03:39 Jenkins - Concerto Grosso for Strings "Palladio": I. Allegretto 

0:06:12 Vivaldi - The Four Seasons, Concerto No. 4 in F minor, RV 297 "Winter": I. Allegro non molto

0:09:28 Vivaldi - The Four Seasons, Concerto No. 2 in G minor, RV 315 "Summer": III. Presto

0:12:08 Albéniz (arr. Naughtin) - Suite Española No. 1: V. Asturias - Leyenda 

0:19:09 Händel - Suite No. 11 in D Minor, HWV 437: III. Sarabande

0:21:57 Haydn - Die Worte des Erlösers am Kreuze, Hob. XX:1: IX. Il Terremoto 

0:23:43 Litvinovsky - Pelléas and Mélisande: XI. Duel. Épée de jalousie (Duel. Sword of jealousy)

0:26:28 Litvinovsky - Suite for Strings "Le Grand Cahier": X. L'Incendie

0:28:47 Litvinovsky - Suite for Strings "Le Grand Cahier": III. L'Hiver 

0:32:23 Litvinovsky - Pelléas and Mélisande: IV. La grotte. Lac souterrain (Grotto. Underground lake)

0:36:24 Gershwin (arr. Naughtin) - 3 Preludes: No. 2, Andante con moto e poco rubato  

Mozart - Requiem, K. 626:

0:40:28 Introitus. Requiem   

0:45:52 Kyrie

0:48:33 Sequentia. Dies Irae   

0:50:14 Verdi - Requiem: 2a. Dies Irae

0:52:24 Verdi - Requiem: 2f. Rex Tremendae

0:55:51 Mozart - Requiem in D Minor, K. 626: Lacrimosa (Live) 

0:58:45 Barber - Adagio for Strings 

1:04:23 Beethoven - Symphony No. 3 in E-Flat Major, Op. 55 "Eroica": II. Marcia funebre. Adagio assai (Live)

1:19:02 Beethoven - Symphony No. 7 in A Major, Op. 92: II. Allegretto 

1:28:15 Orff/Killmayer - Carmina Burana: O Fortuna (Live) 

1:30:55 Liszt - Mephisto Waltz No. 1, S. 514 

1:42:49 Prokofiev - Ten Pieces for piano from the ballet “Romeo and Juliet”: No. 6, Montagues and Capulets (Dance of the Knights) (Arr. for Piano)

1:46:50 Mussorgsky - Night on Bald Mountain

Schubert (arr. Mahler) - String Quartet No. 14 in D Minor, D. 810 "Death and the Maiden":

1:58:06 I. Allegro

2:09:39 III. Scherzo. Allegro molto - Trio

2:13:53 IV. Presto - Prestissimo

2:22:58 Berlioz - Symphonie Fantastique, H 48: V. Songe d’une nuit de sabbat. Larghetto - Allegro (Live)

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Friday, 11-22-24, 7pm Pacific

'Evenin', folks, Mr. Baggins back with you on this rainy Friday evening with a set sure to soothe your achin' nerves and help ease us all into a good night. I thought we might begin this evening with Lenny and The Vienna, from their definitive series of The Brahms Symphonies. Here is Symphony No. 3 in F Major, Op. 90, recorded live in 1981.

Here is pianist Clifford Curzon in another Piano Quintet, this one of Mozart, his Piano Quintet in G-minor, K478. Curzon performs with The Amadeus Quartet, in this historic recording from 1953.

Let's stay with Mozart a moment longer, with this absolutely divine recording by our Brazilian friend Guiomar Novaes and Hans Swarowsky conducting The VIenna. We hear Mozart's Piano Concerto No. 9, in E-flat Major, K271, nicknamed "Jeunehomme", recorded in 1953.

As an encore, let's hear Mme. Novaes play Mozart's popular Piano Sonata No. 11, in A Major, the "Turkish Rondo" Sonata, K331, from a Vox recording made in 1955.

And another beautiful little encore, here she is from November 16, 1958, playing, of all people, Gottschalk! This is his "Grande Fantasia Triunfal"

Let's move now to another of the Horn Concerti that Richard Strauss wrote for his father. We hear the Concerto No. 2 for Horn and Orchestra, played by horn legend Dennis Brain, with Wolfgang Sawallisch conducting The Philharmonia Orchestra, from 1956.

Now we hear the young Maestro Brain playing the Mozart Horn Quintet in E-flat Major, K407. He performs with Sidney Griller, Phillip Burton, Max Gilbert, and Colin Hampton. This was transcribed from a pristine 78 rpm Decca recording, from October of 1944.

Next we hear from our friends Neville and The Academy, with oboist Celia Nicklin, playing the divine Concerto for Oboe and Strings by Ralph Vaughan Williams.

We close this evening's program with another truly untouchable recording by soprano Elisabeth Schwarzkopf: here is her first recording of Richard Strauss' "Four Last Songs", with The Philharmonia Orchestra conducted by Otto Ackermann, from 1953. It was this recording that made me fall in love with Schwarzkopf's amazing instrument. This version far outshines the later recording she made with Szell, imho.

I hope those four gorgeous songs left you with a smile and a warm heart as we head into the night. That's all the time we have for this evening's program; this is Mr. Baggins, signing off for this rainy Friday evening. I'll return at 8am Pacific with Morning Coffee Music.

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

Baggins out.