#the final battle....

[symphonybracket]

YouTube links: Tchaikovsky 6, Dvořák 9

Comments:

Dvořák 9

I know it's gonna get nominated a hundred times, but I have listened to it four times in a row in the past week so I gotta mention it. Exquisite bliss from first to last note.

it slays <3

When I heard the first movement for the first time, I was GRINNING LIKE AN IDIOT because of how much I loved it. LIKE THIS IS SO YUMMY (link opens to the timestamp)

it's got everything. the interplay between minor and major. themes from the early movements that come back in the finale. the most iconic english horn solo in all of classical music. dvorak wrote it while traveling across the US and was directly inspired not only by his native czech/bohemian soundscapes but the musical languages he heard from black and native americans. there's a tuba part but it only plays for like five measures. fantastic orchestrations, making full use of all the different colors of the orchestra. the start of the finale sounds kinda like jaws. it is physically impossible for me to feel upset while i'm listening to it it's the first symphony i ever played in orchestra and i'm so normal about it that i want to get that EH solo tattooed on my art and also i wrote a paper about it for a university music history class and i got an A on it so it should definitely win the bracket or i'll cry

Tchaikovsky 6

Everyone bangs on about the 4th movement but it's the 3rd movement that really hits

tchaik 6 is what i would listen to if i had an hour to live

the 5/4 movement of the tchaik lives rent free in my mind and i think about it every day

It’s beyond gorgeous. The melodies soar, the orchestra swells, and you just need to lie down for a while after listening to it. It’s Romanticism at its zenith. You want to weep and sigh, and it’s impossible to listen to it without literally feeling something.

Symphony No. 6, titled “Pathétique”, was Tchaikovsky’s final symphony. It is an intensely emotional piece, and to many scholars demonstrates the emotional turmoil that characterized much of Tchaikovsky’s life. He died about a week after its premiere, a fact which leads many scholars to debate about whether the content of the piece itself reflects the possibility that he may have committed suicide. The title itself is often translated to mean “impassioned suffering”, although this was most likely a later addition by Modest and not actually part of Tchaikovsky’s vision. Given these facts, many scholars interpret this piece to be about death and suffering. However, this piece can also be seen to represent life and all its contrasting moments. This interpretation is more holistic and inclusive of all of the moments captured in this piece, and also serves to break down the common narrative of Tchaikovsky as a tragic figure.

More comments about Tchaikovsky 6 below the cut (length warning):

Scholarship surrounding Tchaikovsky’s music tends to focus heavily on the ways his confliction over his homoerotic desires appears in his writing. However, his personal letters reveal a much more balanced understanding of himself that goes beyond the common narrative. In one letter written to Modest describing a new relationship with another man, he writes: “I awoke today with a feeling of unknown happiness and with a complete absence of that emotional sobriety that used to make me repent in the morning for having gone too far the day before.” Many of the letters he wrote regarding his relationships demonstrate no shame and no anguish beyond what can be expected of a man living in a homophobic society. It is important to take this information into account when listening to a piece such as this one that has been discussed so frequently, and to understand it beyond the turmoil and strife that it is seen to represent. Like many of Tchaikovsky’s works, this symphony displays a range of human emotions. It is not only representative of tragedy and “impassioned suffering”; it is a depiction of what it is like to live. It is also interesting to note that this piece is used as a signifier of queer desire in the novel "Maurice" by E.M. Forster, a novel also notable for its radical portrayal of a queer man who gets a happy ending. Much to think about there.

The first movement begins with a lone bassoon soloist playing a plaintive minor melody, which later comes back in the strings. As the movement progresses, it grows in intensity and texture. More instruments are added, and the music becomes more frantic, building and building towards the dramatic trumpet fanfare. Throughout this piece, Tchaikovsky continues to make significant use of contrasting dynamics and melodies, reflecting the emotions he hopes to convey through the music. Dramatic, tumultuous sections are interspersed with pastoral woodwind melodies, and the angry brass fanfares give way to a quiet ending.

The second movement is reminiscent of a waltz, and uses the strings and woodwinds more than the brass to achieve its floating melodies. The dynamics ebb and flow to build tension, but this movement never reaches the same levels of anguish that the previous movement does. Tchaikovsky makes use of pizzicato in the strings to convey a lighter, more cheerful mood, and features the upper woodwinds prominently. He also repeats themes frequently, giving the audience something familiar to listen out for as the movement progresses.

The third movement begins with frantic energy in the strings and woodwinds. As more instruments join the rush of music, the underlying eight note accompaniment does not let up, continuing the vivacious beginning through the whole movement. Instruments pass the melodies between each other and engage in conversations across the orchestra. Like the first movement, the brass play a prominent role in creating dramatic climaxes in the music, as well as supporting the march-like conclusion. Conductor Myung-Whun Chung describes the deceptively dramatic ending as, “one of the greatest, most thrilling, but most empty of victories in musical history,” observing that this movement has the energetic finality of a final movement. The reversal of having the true finale be a slower movement represents a shift away from the “Beethovian model of light over darkness” common in most other symphonies of this time period.

As mentioned before, ending on a movement with a slow tempo was a significant shift away from the standard of the time. This innovation inspired many other future composers to use the same technique, most notably Mahler in his Ninth Symphony. The quiet beginning builds up towards a chaotic rush of fast runs throughout the orchestra, only to stop abruptly and continue in halting, cautious bursts of melody. The movement continues with this cycle of rushing up to a climax and backing away as the movement progresses. Tchaikovsky highlights the horns in this movement, giving them both angry, blaring notes which cut through the string melodies and the flowing, lyrical lines that are passed throughout the orchestra. As the piece ends, the instruments fall away until all that is left are steady repeated notes in the basses, bringing this lament of a movement to an understated close.

[were--ralph]

[beaulesbian]

that escalated quickly

[mohntilyet]

imagine being illario and finally finding the resolve to kill your cousin right. you seduce and fuck a blood mage venatori magister to get her to do this for you. you figure you’ll eventually kill her once you are first talon, tie up the loose end and make it look good for you. a vengeance story! except when your cousin’s body shows up your grandma retreats into herself presumably out of grief and you’re like jesus christ he’s a corpse and still the favorite. at this point you start feeling some regret and at the wake you’re beside yourself. it helps to be really feeling some of that to fool everyone else. but months pass and your grandma still isn’t even discussing the inheritance and you have to be normal because you don’t want to incriminate yourself. and then a year later some random guy (worse if its a de riva tbh) shows up saying they need your cousin to kill an elven god (what.) and he’s the only one who could (insulting). and its at this point your grandma is like “lucanis died… but he is not dead!”. record scratch freezeframe. while you juggle with the fact that the freak woman you fucked specifically to get her to kill your cousin didn’t even kill your cousin AND your grandma didn’t bother telling you (for good reason ofc but she doesn’t know that), you have to lead these assholes to go save him and unravel your hard work. so plan b. you kidnap your grandma and push your (now possessed) cousin away (and then get mad when he actually walks away. because you’re like this). and when your cousin comes dangerously close to figuring out what’s happened with you and the magister, you kill the magister. you ally with those elven gods and venatori (you aren’t sure how you’re going to get out of this one but it’s fine. that’s a hill for future illario) to make sure you have enough backing to stand up against the other houses if they challenge you becoming first talon. you continue to gaslight your cousin into staying away, because if there is one thing you can count on, it’s his literal inner demons and total lack of a support group, you’re certain he’ll fuck it up by himself. you know this because his support group used to be your grandma (dubious) and yourself (lol). you’re almost home free. and caterina will definitely acknowledge you as a player on the board. which isn’t important but it would be nice, right. BUT THEN IT TURNS OUT. YOUR COUSIN HAS RECENTLY MADE 7 FRIENDS. one of whom can speak to the fucking dead because of course he can. and then some of those friends show up to publicly humiliate you at the dinner party that should have been YOUR crowning moment. your grandma ALSO shows up to tell everyone you have gathered that your cousin is first talon. your cousin gapes at her because he doesn’t actually even want it so it’s kind of awkward for everyone. and then when you’re sure he’s about to ask viago de riva to poison you to death, he actually tells him just to take you away. because OF COURSE he’s being the bigger person. anyways the point is i’m surprised illario just lets himself be taken away because if i were him i would have started biting people and then bombed the villa

[solarisce]

[bamsara]

goofies

[ewwww-what]

Ugh. Literally just let her go home???

[kyalbrownart]

Knock knock, it's Knuckles! 👊💥

[kippwire]

im going to throw up

[gaslightgatekeepgirlbosscombat]

Final Round

Propaganda under the cut

Miss Piggy

She is the queen of Girlbossing. She lies to get what she wants, and keeps out any she thinks isn't worthy of what she has to offer. She is perhaps the original Gaslight Gatekeep Girlboss.

GLaDOS

I mean, obviously.

[th3e-m4ng0]

we will lead you All into the future !!

[forgettable-au]

END OF CHAPTER ONE

FORGETTABLE-AU (Page 65-72)

* Time to put this puzzle together.

[BEGINNING] [PREVIOUS] [CONTINUE]

[were--ralph]

[cracklewink]

Harmony Syndrome Part 5/5

The last chapter of my mlp infection AU! Thank you to everyone who followed along. Some final thoughts on my twitter @cracklewink if anyone's interested : )

[egophiliac]

(almost) four years in, and I finally had time to draw something for the anniversary! woo! 🎉🎉🎉

[tlkdraws]

She’s gotta make sure his Pokégod cosplay is perfect!!