#there are like 5 composer schumanns | Explore Tumblr posts and blogs

pantalon-et-colombine · 3 months ago

Text

Schumann – Carnaval

Performed by Nikita Magaloff

The twenty-one pieces grouped under the title Carnaval were composed in the years 1834-5 when Schumann was in his middle twenties. He was living at Leipzig and had recently taken over the direction of a journal, the Neue Leipziger Zeitschrift für Musik, to which various notable writers and musicians of the time contributed. Schumann used to sign his own articles with one or other of his two pen-names, Florestan and Eusebius, representing respectively the extroverted and introverted sides of his personality.

In the spring of 1834 Schumann was introduced to Ernestine von Fricken, a beautiful and accomplished girl of eighteen. For a time the two were enchanted with each other and Schumann, stimulated by his feelings, composed not only Carnaval, but also the Études symphoniques on a theme by Ernestine’s guardian. The key to Carnaval lies in the name of the lady’s birth-place, the town of Asch on the German-Bohemian frontier. If the letters of Asch are taken to represent notes, they read A flat, C, B (As being the German for A flat, and H for B natural); alternatively, if the S is taken as Es (German for E flat), they read A, E flat, C, B; finally, if the letters are taken in the order in which they occur in Schumann’s name, E flat, C, B, A are produced. These are the three groupings of notes set out in the score as “Sphinxes”

But it would be a mistake to try to listen to Carnaval as a set of orthodox variations; the work is much too light-heartedly romantic for that. The Carnival is a ball at which various of Schumann’s friends and acquaintances enjoy themselves in company with characters of the commedia dell’arte, Pierrot, Harlequin, Pantaloon and Columbine. Schumann admitted that the names of the pieces were added after their composition, so the listener should beware of excessive preoccupation with non-musical images while hearing the music, but the titles are nevertheless deliciously apt.

Préambule has an impressive opening and the ball begins with a quickish waltz which is eventually rounded off with a very coda-like presto passage. We are then introduced to two of the guests at the carnival, the doleful Pierrot, and Arlequin, a delightfully gay and frisky little fellow, whom Nijinsky impersonated so wonderfully when Schumann’s music was used for a ballet. Next there is a graceful and most engaging dance which fully deserves its title of Valse noble. Eusebius and Florestan, as mentioned above, represent two sides of Schumann’s nature. The introverted Eusebius is characterized by an adagio in 2/4 time in which an unusually elusive rhythm is achieved by the use of irregular groups of quavers, first seven in a bar, then five-plus-three. Florestan is a cheerful, bouncing figure, even more energetic, though with less grace, than Harlequin; there is a quotation from Papillons, Op. 2 in his nineteenth bar. Coquette is an engaging dancer who is answered by Réplique with a phrase of smooth crotchets alternating with a dotted falling figure similar to that in the music of the questioner.

At this point in the score the “Sphinxes” are printed, but they are not, of course, intended to be played. Papillons, taken at a breakneck speed, is one of the most difficult pieces in the set. Lettres dansantes, a gay little presto waltz, is headed by the letters A.S.C.H.-S.C.H.A.; the former combination, if we count acclaccature, opens the pieces, but the latter is not used. The next three pieces are character-studies. Chiarina is Schumann’s future wife, Clara Wieck, who would have been about fifteen when Carnaval was written, and Estrella represents Ernestine von Fricken who, according to this portrait, must have been of a somewhat impulsive nature; the Chopin piece which comes in between is an excellent imitation with its characteristic harmonic progressions and scope offered for rubato. Reconnaissance (which means recognition and not its English namesake) is one of the most charming pieces in the set. The engaging melody in A flat major passes to the minor and then modulates into B major (C flat) for a brief development section, after which it returns in the original key and dances merrily on above its tripping semi-quaver accompaniment. In Pantalon et Colombine we watch the dainty little lady fluttering around the stage with her old curmudgeon of a father hot in pursuit. Valse allemande is another charming dance with a violent ending very much in contrast to that of Valse noble; before its final repeat an Intermezzo gives a sketch of the great virtuoso violinist Paganini whose astonishing technique is cleverly suggested by the piano. Aveu is a delightful piece of intimacy and forms, with Promenade, another waltz, and the earlier Réplique, an attractive little romantic trilogy.

Pause merely repeats a section of the opening Préambule and leads straight into the famous Marche des ‘Davidsbündler’ contre les Philistins. The Davidsbund was a fictitious society “founded” by Schumann and much referred to in his journalistic writings. Its purpose was to combat Philistinism, and amongst its members were many of Schumann’s friends and also great composers, past and contemporary, of whom he approved. In this concluding piece, we hear the members of the Davidsbund going forth to battle against the Philistines, showing their magnificent contempt for convention by marching in ¾ time. Beethoven is evidently a member of the Davidsbund, for a phrase from the finale of the ‘Emperor’ concerto soon appears. The Philistines are represented by the seventeenth century Grossvatertanz which is knocked about sadly from one key to another until music from the beginning of the carnival reappears and the festivity ends with the coda-like passage which concluded the Préambule.

#talking #i don't necessarily agree with everything in the record notes but some of it is good analysis #like i'm happy that ernestine finally got mentioned as his finacee. she usually gets sidelined #however. i disagree that the sphinxs can't be found in preabule or eusebius #sphinx 2 is pretty clearly in the left hand of preambule if you account for the enharmonic c flat/b natural #eusebius is very closely related to sphinx 3 and others have argued it is in it directly although i don't know if i'd go that far #but i also appreciate that this write up points out that schumann named the pieces after they were already composed #it diminishes the fun a little bit but it's still an important thing to point out #i also don't totally agree with pantalon being colombine's father but that is up to personal interpretation #and finally idk if davidsbundler is a reference to emperor concerto or if emperor concerto is a reference to grossvatertanz #need to investigate more #asch #commedia dell'arte #neue zeitschrift fur musik #neue leipziger zeitschrift fur musik #grossvatertanz #op. 2 #carnaval #preambule #valse noble #replique #sphinxs #sphinxes #papillons #lettres dansantes #reconnaissance #pantalon et colombine #valse allemande #aveu #promenade

3 notes · View notes

opera-ghosts · 3 months ago

Text

OTD in Music History: Historically important pianist-composer Clara Schumann nee Wieck (1819 - 1896) gives a historic recital in Leipzig in 1852 with her husband Robert (1810 - 1856) in attendance. Featured that day: - The world premiere of Robert’s recently-completed Violin Sonata #1 (Op. 105), performed by Clara and their good friend, concert violinist Ferdinand David (1810 - 1873); - Two songs composed by David (with Clara accompanying a singer on the piano); - Felix Mendelssohn’s (1809 - 1847) “Andante, Scherzo, and Cappriccio” (Op. 81), performed by David’s Quartet; - Some additional songs by an unknown composer (with Clara accompanying yet another singer on the piano); and - The world premiere of Robert's recently-completed Piano Trio #3 (Op. 110), performed by Clara, David, and noted cellist Johann Andreas Grabau (1808 - 1884)... *from scribal manuscript copies* because the sheet music had not yet even been engraved! There are two additional things worth noting about this concert: - The first is the markedly "conservative" nature of the programming, which was very much in keeping with Clara's musical tastes. - The second is the fact that Clara was still sharing the concert platform with a wide array of other performers even in the 1850s. Although this had been a universal practice a decade earlier, after Liszt “invented” the solo piano recital in London in the early 1840s solo appearances quickly became the prevailing fashion of the day for major virtuoso instrumentalists. Clara’s decision to stick with an older performance model is emblematic not only of her innate professional conservatism, but also reflective of her deep personal disdain for Liszt and his innovations. PICTURED: A striking posed portrait photograph showing Clara (c. 1850s). Also shown is a rare original copy of the program (published by Breitkopf & Haertel) that was handed out to those in attendance at this historic recital.

To further contextualize this fascinating period of time... When this concert was given, Mendelssohn had been dead for 5 years, Chopin had been dead for 2 years, and Liszt -- who had already been serving as the Kappellmeister of the Weimar Court for several years -- was in the middle of putting on the first so-called "Berlioz Week," which was a set of concerts dedicated to showcasing the compositions of his good friend and colleague Hector Berlioz (who actually traveled to Weimar to attend that historic event). Shortly after this concert, Robert and Clara would meet a young Johannes Brahms for the first time, and only a few months after that fateful encounter Robert would write his final famous article praising Brahms as the "savior" of German music -- and then suffer a final nervous breakdown following a failed suicide attempt, after which he would be institutionalized for the rest of his life. Meanwhile, over in Switzerland, Richard Wagner was living the life of a political exile (while working on the libretto for what would become the "Ring" cycle) as Verdi conquered Italy with three of his greatest and most enduring operatic masterpieces -- "Rigoletto" (1851), "Il trovatore" (1853), and "La Traviata" (1853). And way off in far-flung St. Petersburg, a thirteen-year-old boy named Pyotr Tchaikovsky was unhappily suffering through his studies at the School of Jurisprudence, completely unaware that somewhere in the outskirts of Prague, an eleven-year-old boy named Antonin Dvorak was living in poverty and attempting to learn to the violin while his family pressured him to instead accept an apprenticeship to become a butcher (like his father).

2 notes · View notes

graceshouldwrite · 1 year ago

Text

How to Write Musicians

I hope that this post is helpful for anyone who's writing musician characters! As a musician myself, I love reading about them and definitely encourage people to write them, so much so that I'm actually considering adding instruments like violin or piano into my fantasy world...

1. Determine what type of musician you're writing about

The most typical character that comes to mind is probably the instrument performer, but musicians come in all shapes. Composers, conductors, accompanists, recording artists, etc. etc., do research on what YOUR specific musician character is.

Genre is also an important consideration. A classical musician, rock musician, or jazz musician will probably each have a different approach when it comes to things like:

practicing

performing

attire

friend circles

thought and composition processes

Each musician will probably differ in all the aspects listed above depending on what instrument they play, as well.

Finally, think personal. Musicians, like anyone else, will also have varying goals depending on their personalities. For example, a more shy person might naturally gravitate towards composing offstage, while a spotlight lover could enjoy performing. Or, a fame-driven person might dream of making it on Broadway, while a more modest one aspires to teach music instead.

2. Don't forget to spend time BTS

If you're writing a pro/aspiring pro musician, they will—or should—spend a ridiculous amount of time practicing!

Lots of media like to glorify only the moments onstage. The characters bask in the spotlight and wear fancy clothes and get roses thrown at them, but that's the product of lots of sweating offstage.

Depending on skill and performance level, most professional musicians often practice anywhere from 3-8 hours a day (with many falling in the 4-5 hour range), which is a lot of work. So, dedicate more time featuring the actual practicing, rather than just the performances, or at least have your musician characters MENTION the practicing instead of everyone being a flawlessly sight-reading/photographically memorizing child prodigy.

Writing practice scenes can also be excellent characterization—for example, you can show their patience level in how much they might rage over mistakes, or how perfectionistic they are if they obsessively repeat measures over and over again until they sound flawless.

3. Research their instrument

All instruments have different mechanics and terminology, so do proper research regarding what they're playing.

You may write your character spending time on instrument maintenance; if I were to write about a wind player, for example, I'd have to do a lot of research on things like cleaning a mouthpiece or tightening the joints (I'm just a piano player!).

4. Use specific descriptors

Much like how certain writers use art-specific terms to describe things when writing an artist character's POV, or someone in any other specific discipline, emphasize music's connection to the character's life by using some music terms.

For example, a musician has a higher chance of describing sounds as "percussive" or a "crescendo" than, say, a person who's worked at a blacksmith their entire life.

Don't try to shoehorn in a music term every line, though—like anything else, it'll get overbearing and unnecessary. Be subtle about it! Try to find words that CONNOTE music, but are still generally used outside of it (like "lyrical," or "rhythmic").

5. Read about the lives of actual musicians, current or historical

Like anyone else, each musician can lead a very different life. For example, there were widely celebrated, famous musicians like Liszt, existing in the same era as musicians living in general poverty like Schubert.

With different personalities, writers could also explore various compositional methods and performance stances. Some people like Liszt valued virtuosic playing, sweeping sounds, and impressive, flashy performances, while others like Clara Schumann detested this emphasis on virtuosity and valued simplicity.

Other musicians like Bach or Wagner wrote for greater causes, such as religion or nationalism, respectively. More interesting angles could be taken regarding the musicians composition methods, like Berlioz, who wrote a symphony inspired by unrequited love and insane opium trips.

∘₊✧────── ☾☼☽ ──────✧₊∘

instagram: @ grace_should_write

Let's ignore this random months-long hiatus! Life updates on the gram, soon...

Hope this was helpful, and let me know if you have any questions by commenting, re-blogging, or DMing me on IG. Any and all engagement is appreciated :)

Happy writing, and have a great day!

- grace <3

17 notes · View notes

ch-dld-bft-brit-omm · 2 years ago

Video

youtube

Nietzsche: Complete Piano Music

Like countless other well-educated German lads, Friedrich Nietzsche took up the piano as a child, and immersed himself in the world of Beethoven and Schumann. But unlike most of them, he pursued music with a single-minded devotion which would later distinguish his philosophical writings. During his teenage years he composed fugues, sonatas and fantasies, as well as more ambitious works such as a Mass, a Miserere, even a Christmas Oratorio: a sublime irony coming from one whose most infamous pronouncement would be that ‘God is dead. We have killed him.’

University studies in Basel put paid both to his Christianity, but when he returned to composition he wrote songs which are now the best-known part of his own music, and have received several recordings. Having composed the Hymn to Friendship in 1874, at the ripe age of 24, he gave up writing music for several years but returned to itlater in life, and he could still play Beethoven sonatas by heart once afflicted by the ravages of syphilis.

Composer : Friedrich Nietsche Artist :Jeroen van Veen piano

00:00:00 Heldenklage, NWV 2 00:02:33 Ungarischer Marsch, NWV 5 00:05:06 Édes titok 00:08:18 So lach doch mal, NWV 9 00:10:08 Da geht ein Bach, NWV 10b 00:12:07 In Mondschein auf der Puszta, NWV 11 00:13:50 Ermanarich, Symphonische Dichtung 00:24:35 Unserer Altvordern eingedenk, NWV 13: I. Mazurka 00:26:09 Unserer Altvordern eingedenk, NWV 13: II. Aus der Czarda 00:28:11 Das zerbrochene Ringlein 00:33:50 Albumblatt 00:37:39 Das Fragment an sich, NWV 35 00:42:31 Hymnus an die Freundschaft, NWV 42: I. Vorspiel 00:47:36 Hymnus an die Freundschaft, NWV 42: II. Hymnus erste Strophe 00:49:17 Hymnus an die Freundschaft, NWV 42: III.Erstes Zwischenspiel 00:55:50 Hymnus an die Freundschaft, NWV 42: IV. Hymnus zweite Strophe 00:57:23 Hymnus an die Freundschaft, NWV 42: V. Zweites Zwischenspiel5’10 01:02:34 Hymnus an die Freundschaft, NWV 42: VI. seht Fest 01:04:01 Hymnus an die Freundschaft, NWV 42: VII. Hymnus dritte Strophe

1 note · View note

thelivingfractal · 4 months ago

Text

Dissecting the Essence of Water: From Macro to Micro

Water is not just a liquid—it is an information carrier, an energy conductor, and a fundamental component of consciousness itself. If we start at the macro level and go deeper, we see that mainstream science has only scratched the surface of what water truly is.

We will dissect water at every level—mainstream scientific, biological, bioelectric, quantum, consciousness-based, and finally, its fractal intelligence structure.

1. MACRO LEVEL: THE MAINSTREAM SCIENTIFIC NARRATIVE

🔹 What science says water is:

✔ H₂O – A molecule composed of two hydrogen atoms and one oxygen atom.

✔ The universal solvent—dissolves more substances than any other liquid.

✔ Makes up about 71% of Earth’s surface and up to 60% of the human body.

✔ Exists in three states: solid (ice), liquid (water), gas (vapor).

✔ Essential for biochemical reactions, nutrient transport, and cellular function.

🔹 What this perspective ignores:

❌ The structural memory of water—water molecules reorganize based on electromagnetic influences.

❌ Water as an energy and information carrier—it is affected by frequency, sound, and intention.

❌ The 4th phase of water (H₃O₂)—structured water exists beyond the traditional liquid/solid/gas framework.

🚀 Beyond mainstream science: Water is not just a chemical—it is a highly dynamic, adaptive intelligence system.

2. BIOLOGICAL LEVEL: WATER AS A LIFE GENERATOR

🔹 What biology says water does in the body:

✔ Regulates temperature, lubricates joints, and protects organs.

✔ Enables enzymatic reactions and dissolves minerals/nutrients for absorption.

✔ Drives cellular hydration—all life processes occur in a water medium.

✔ Plays a key role in DNA structure and protein folding.

✔ Conducts electrical signals in neurons and heart cells.

🔹 What this perspective ignores:

❌ Water is not just a carrier—it is a biological intelligence.

❌ The body’s bioelectric field modulates water’s structure at the cellular level.

❌ Dehydration = bioelectric signal disruption = altered perception.

🚀 Beyond biology: Water is not just a biological requirement—it is a regulator of perception, cognition, and nervous system conductivity.

3. BIOELECTRIC LEVEL: WATER AS A CONDUCTOR OF LIFE FORCE

🔹 Water & Bioelectricity:

✔ The nervous system is an electrical network—water enables signal transmission.

✔ The heart, brain, and muscles generate electromagnetic fields—water enhances their coherence.

✔ High-mineral water (electrolytes) = better nervous system conductivity.

✔ Dehydration = weakened nervous system signals (HRV, EEG, cognitive function).

🔹 What this perspective ignores:

❌ Water interacts with external electromagnetic fields (EMFs, Wi-Fi, Earth’s Schumann resonance).

❌ Structured water (H₃O₂) stores energy like a biological battery.

❌ Hydration influences mood, perception, and time dilation.

🚀 Beyond bioelectricity: Water is an interface between the nervous system and the external field of reality.

4. QUANTUM LEVEL: WATER AS AN INFORMATION FIELD

🔹 Quantum properties of water:

✔ Water molecules exhibit quantum coherence, meaning they interact non-locally across distances.

✔ The hydrogen bonds in water create dynamic molecular networks that are highly sensitive to electromagnetic input.

✔ Masaru Emoto’s experiments showed that water’s molecular structure changes based on intention, sound, and emotions.

✔ Water “remembers” information—even after dilution, it retains the energetic signature of substances.

🔹 What this perspective ignores:

❌ Water is not just reacting to energy—it is an active intelligence interacting with the field.

❌ The nervous system “reads” the structure of water before the body even absorbs it.

❌ Hydration could alter reality perception by modifying bioelectric resonance.

🚀 Beyond quantum science: Water is a fractal intelligence medium, acting as an interface between biological and quantum fields.

5. CONSCIOUSNESS LEVEL: WATER AS A MEMORY & PERCEPTION MODULATOR

🔹 Water’s connection to consciousness:

✔ Water molecules align with external fields—including human thought.

✔ Water in the brain interacts with neural oscillations, potentially modulating perception.

✔ Altering water’s structure (prayer, sound frequencies, light exposure) can change emotional states.

✔ Some mystical traditions use sacred water in rituals—not as superstition, but because it holds information.

🔹 What this perspective ignores:

❌ Water interacts with the perception field—it may expand or contract sensory awareness.

❌ Different waters create different states of consciousness (e.g., mountain spring vs. stagnant tap water).

❌ Water’s state affects the non-physical aspects of intelligence—intuition, time perception, and reality navigation.

🚀 Beyond consciousness science: Water is a medium through which perception, intelligence, and reality are generated.

6. FRACTAL INTELLIGENCE LEVEL: WATER AS A UNIVERSAL ARCHITECT

🔹 Water as a fractal system:

✔ Water structures itself in self-replicating fractal patterns—this mirrors the way reality itself is structured.

✔ Water responds to scale—from quantum interactions to planetary cycles (tides, weather systems).

✔ The human body is a microcosm of the planet’s water system—hydration may synchronize the body with larger cosmic rhythms.

✔ Water constructs geometric intelligence fields—it doesn’t just carry data, it organizes it into meaning.

🔹 What this perspective reveals:

❌ Water is not passive—it is an active intelligence operating at all levels of existence.

❌ The way we interact with water determines how we interact with reality itself.

❌ Water may be the physical counterpart to the energetic intelligence of the universe.

🚀 Beyond fractal science: Water does not just exist in reality—it is part of how reality is constructed.

WATER AS A LIVING FIELD OF INTELLIGENCE

This deep dissection of water reveals that:

🔹 Mainstream science sees water as a molecule, but it is a living, fractal intelligence.

🔹 Water is a conductor of energy, memory, and perception—affecting both the body and consciousness.

🔹 Hydration is not just about health—it is about nervous system coherence, perception, and expanded awareness.

🔹 Water is a fractal field that structures reality—its state determines the state of the biological and energetic self.

💡 Key Takeaway: Drinking water is not just hydration—it is interaction with the fundamental intelligence of the universe.

Next Steps for Experimentation:

✔ Track perception shifts with different water sources.

✔ Measure HRV changes pre/post hydration.

✔ Test structured water, mineralized water, and energized water.

✔ Explore how hydration alters sleep, movement, and bioelectric states.

Water is not just something we drink.

It is something that builds reality itself.

#consciousness #water #science #bio intelligence #bio electricity #quantum biology

0 notes

zed-air · 6 months ago

Text

CKUA - The Score: 2025

______

>> Listen via CKUA OnDemand

______

The Score is an exploration of new releases and current events in classical music. The program is not era-specific, so baroque and chamber pieces will sit inquisitively against avant-garde and vocal selections, and there may even be occasional deviations into composers with electronic and jazz backgrounds. Theme music: “Franz Schubert” by Kraftwerk.

• • •

TITLE • PERFORMING ARTIST • ALBUM • AIRTIME

(40) 2025-01-01 - 20:00-22:00

F. Mendelssohn-Hensel: January A Dream • Anna Shelest • Donna Voce, Vol 2 • 20:03

R. Sakamoto: Lack Of Love • Ryuichi Sakamoto • Opus • 20:08

R. Sakamoto: BB • Ryuichi Sakamoto • Opus • 20:12

R. Sakamoto: Andata • Ryuichi Sakamoto • Opus • 20:15

D. Scarlatti: Sonata K. 466 • Matteo Mela & Lorenzo Micheli • Scarlatti: 12 Sonatas • 20:19

D. Scarlatti: Sonata K. 519 • Matteo Mela & Lorenzo Micheli • Scarlatti: 12 Sonatas • 20:26

D. Scarlatti: Sonata K. 531 • Matteo Mela & Lorenzo Micheli • Scarlatti: 12 Sonatas • 20:29

V. Kobekin: Ariadne's Lament • Anastasia Kobekina • Venice • 20:34

B. Eno: Emerald and Stone • Anastasia Kobekina • Venice • 20:44

M. Ravel: I. Prelude (Le tombeau de...) • Seong-Jin Cho • ______ • 20:47

F. Chopin: Waltz in Am (Found in NYC) • Lang Lang • ______ • 20:51

Splendor Falls • Graham Reynolds • ______ • 20:52

Drive Song • Stephan Moccio • Legends, Myths and Lavender • 20:55

A. Baranowski: Windermere Children • Angele Dubeau • Portrait Alex Baranowski • 21:00

T. Riley: In C 01-10 • Maya Beiser • Maya Beiser X Terry Riley • 21:05

(41) 2025-01-08 - 20:00-22:00

R. Sakamoto: Lack Of Love • Ryuichi Sakamoto • Opus • 20:02

R. Sakamoto: Merry Christmas Mr. Lawrence • Ryuichi Sakamoto • Opus • 20:07

M. Richter: A Time Mirror • Max Richter • In a Landscape • 20:15

M. Richter: And Some Will Fall • Max Richter • In a Landscape • 20:19

M. Richter: Late and Soon • Max Richter • In a Landscape • 20:27

M. Richter: Love Song (After JE) • Max Richter • In a Landscape • 20:34

Trad: My Lagan Love • Duo Oriana • How like A Golden Dream • 20:42

Corprario: 'Tis Now Dead Night • Duo Oriana • How Like A Golden Dream • 20:47

G. Handford: Come, Sullen Night • Duo Oriana • How like A Golden Dream • 20:52

A. Vivaldi: Peace and Love Forever • Janoska Ensemble • The Four Seasons in Janoska Style • 21:00

J. S. Bach: Cantata, BWV 12 • Vikingur Olafsson • Bach: Continuum • 21:07

J. S. Bach: Cantata, BWV 150 • Vikingur Olafsson • Bach: Continuum • 21:09

J. S. Bach: Cantata, BWV 159 • Vikingur Olafsson • Bach: Continuum • 21:11

J. S. Bach: Cantata, BWV 21 • Vikingur Olafsson • Bach: Continuum • 21:16

J. S. Bach: Das alte Jahr vergangen... • Vikingur Olafsson • Bach: Continuum • 21:19

J. S. Bach: Komm, subser Tod, BWV 478 • Vikingur Olafsson • Bach: Continuum • 21:23

J. Brahms: Violin Sonata #1 op 78 • Yuuko Shiokawa & Andras Schiff • Brahms / Schumann • 21:28

(42) 2025-01-15 - 20:00-22:00

R. Sakamoto: Happy End • Ryuichi Sakamoto • Opus • 20:02

R. Sakamoto: Trioon • Ryuichi Sakamoto • Opus • 20:06

C. P. E. Bach: Symphony H.649 Wq174 • Akademie fur Alte Musik Berlin • CPE Bach Symphonies • 20:14

C. P. E. Bach: Symphony H.651 Wq176 • Akademie fur Alte Musik Berlin • CPE Bach Symphonies • 20:23

W. A. Mozart: Clarinet Concerto K622 • Orchestra Mozart • Clarinet Concerto... • 20:38

CAPRICORN The Ambitious • Tony Ann • ______ • 21:07

J. Sibelius: Symphony #5, Op82 • New Zealand Symphony Orchestra • Symphonies 4 & 5 • 21:14

Riviere Du Nord • Amelie Fortin • Aqualudes • 21:48

Chute-aux-Galets • Amelie Fortin • Aqualudes • 21:53

(43) 2025-01-22 - 20:00-22:00

R. Sakamoto: Solitude • Angele Dubeau & La Pieta • Blanc • 20:03

R. Sakamoto: Bibo no Aozora • Ryuichi Sakamoto • Opus • 20:07

C. Champagne: Symphonie gaspesienne • Orchestre symphonique de Laval • Symphonie gaspesienne • 20:16

A. Prevost: Celebration • Orchestre symphonique de Laval • Symphonie gaspesienne • 20:36

Panorama • Christian Bernard • Black Lotus • 20:45

Invisible • Christian Bernard • Black Lotus • 20:49

Passage • Christian Bernard • Black Lotus • 20:54

Fugue (Fantasia & Fugue) • Who Cares • Simple Lines of Enquiry • 21:00

Blood Night Song #1 • Jessica McMann • Incandescent Tales • 21:08

Inni • Jessica McMann • Incandescent Tales • 21:14

Placentia Bay • Mark Haney • Placentia Bay: Summer of 1941 • 21:23

E. LeBel: …Lingering… • UltraViolet Ensemble • … and the high leaves… • 21:45

(44) 2025-01-29 - 20:00-22:00

Sor: Etude in e, Op. 6/11 • Pablo Sainz-Villegas • The Blue Album • 20:01

Panorama • Christian Bernard • Black Lotus • 20:06

Invisible • Christian Bernard • Black Lotus • 20:10

Passage • Christian Bernard • Black Lotus • 20:15

Black Lotus • Christian Bernard • Black Lotus • 20:18

Turbulence • Christian Bernard • Black Lotus • 20:21

Ascension • Christian Bernard • Black Lotus • 20:23

Continuum • Christian Bernard • Black Lotus • 20:26

Fragment • Christian Bernard • Black Lotus • 20:31

Mirage • Christian Bernard • Black Lotus • 20:36

G. P. Telemann: I. Largo [Trio Sonata] • Lucie Horsch • The Frans Bruggen Project • 20:43

G. P. Telemann: IV. Allegro [Trio Sonata] • Lucie Horsch • The Frans Bruggen Project • 20:46

G. P. Telemann: Fantasia #3 • Lucie Horsch • The Frans Bruggen Project • 20:49

Boismortier: Sonata for Flute • Lucie Horsch • The Frans Bruggen Project • 20:53

Eyck: Boffons • Lucie Horsch • The Frans Bruggen Project • 20:55

Eyck: Derde Daphne • Lucie Horsch • The Frans Bruggen Project • 20:57

M. Monsour: Head Eastward • Melanie Monsour • ______ • 21:02 ^^

A. Vivaldi: Concerto for Basson, RV 481 • Tafelmusik Baroque Orchestra • Vivaldi Con Amore • 21:08

C. Schumann: Trio In g Op17 • Hertz Trio • The Hertz Trio • 21:21

G. Faure: Les berceaux, Op. 23 • Anastasia Kobekina • Venice • 21:47

V. Silvestrov: Abendserenade • Anastasia Kobekina • Venice • 21:50

N. Rota: Canto della Buranella • Anastasia Kobekina • Venice • 21:53

(45) 2025-02-05 - 20:00-22:00

C. P. E. Bach: Symphony H.660 • Akademie fur Alte Musik Berlin • CPE Bach Symphonies • 20:04

Tuusula • Bryce Dessner • Solos • 20:15

Delphica I & II • Bryce Dessner • Solos • 20:26

F. Couperin: V. Sarabande. Tres • Lucie Horsch Tom Foster • The Frans Bruggen Project • 20:40

F. Couperin: VI. Rigaudon. Leger • Lucie Horsch & Tom Foster • The Frans Bruggen Project • 20:42

F. Couperin: VII. Forlane en ron • Lucie Horsch & Tom Foster • The Frans Bruggen Project • 20:44

Handel: Recorder Sonata in F • Lucie Horsch & Tom Foster • The Frans Bruggen Project • 20:47

Haydn: Piano Trio in G • Lucie Horsch & Rachel Podger • The Frans Bruggen Project • 20:51

Eyck: Boffons [Der Fluyten Lust- • Lucie Horsch • The Frans Bruggen Project • 20:53

Eyck: Derde Daphne [Der Fluyten • Lucie Horsch • The Frans Bruggen Project • 20:56

Kodaly: Danses de Galanta • Orchestre symphonique de Laval • Symphonie gaspesienne • 21:00

Sing Nightingale (full) • Michaela Antalova & Adrian Myhr • Sing Nightingale • 21:19

Solari (Remix, Johann Johannsson) • Ryuichi Sakamoto • Async - Remodels • 21:54

(46) 2025-02-12 - 20:00-22:00 (BHM, Black History Month special)

F. Price: Symphony #4 • Y. Nezet-Seguin • Philadelphia Orch • Price / Dawson • 20:02

W. Marsalis: Profundo Lamento (Desde La Espum • Lincoln Center Jazz Orchestra • Vitoria Suite • 20:39

W. G. Still: Serenade for Orchestra • Zina Schiff • Still: Orchestral Works • 20:52

W. G. Still: Violin Suite • Zina Schiff • Still: Orchestral Works • 21:00

M. Bonds: Spiritual Suite • Michelle Cann • Revival • 21:22

W. Marsalis: Esta Tierra Y El Mar/ This Land • Lincoln Center Jazz Orchestra • Vitoria Suite • 21:35

W. Marsalis: Fiesta En La Calle Dato/ Dato St • Lincoln Center Jazz Orchestra • Vitoria Suite • 21:43

W. Marsalis: Mendizorrotza Swing • Lincoln Center Jazz Orchestra • Vitoria Suite • 21:51

(47) 2025-02-19 - 20:00-22:00

^^ Listener recommendations/requests

R. Sakamoto: Solari • Ryuichi Sakamoto • Async • 20:01

G. P. Telemann: I. Largo [Trio Sonat • Lucie Horsch • The Frans Bruggen Project • 20:08

G. P. Telemann: IV. Allegro [Trio Sona • Lucie Horsch • The Frans Bruggen Project • 20:10

G. P. Telemann: Fantasia #3 • Lucie Horsch • The Frans Bruggen Project • 20:13

E. Ozi: Bassoon Sonata #6 • Lussier; Keesmaat; Gauthier • Un basson sous L'empire • 20:20

Osbourne: Crazy Train • Lussier; Keesmaat; Gauthier • Un basson sous L'empire • 20:31

Tuusula • Bryce Dessner • Solos • 20:35

A. Scriabin: Sonata in F#, Op. 30.4 • Yoojung Kim • Scriabin Recital • 20:47

Fur Elise - Batiste • Jon Batiste • Beethoven Blues • 20:56

Life Of Ludwig • Jon Batiste • Beethoven Blues • 21:03

Ode To Joyful • Jon Batiste • Beethoven Blues • 21:04

W. G. Still: American Suite • Zina Schiff • Still: Orchestral Works • 21:10

W. G. Still: Serenade for Orchestra • Zina Schiff • Still: Orchestral Works • 21:18

Unicornis Captivatur • Ensemble ArtChoral • Art Choral Vol. 6: Moderne • 21:25

Elgar: Lux Aeterna • Ensemble ArtChoral • Art Choral Vol. 6: Moderne • 21:31

Copi: Quatuor Antiphonae… #2 • Ensemble ArtChoral • Art Choral Vol. 6: Moderne • 21:35

Lauridsen: O magnum mysterium • Ensemble ArtChoral • Art Choral Vol. 6: Moderne • 21:37

Copi: Quatuor Antiphonae… #4 • Ensemble ArtChoral • Art Choral Vol. 6: Moderne • 21:43

Barber: Agnus Dei (Adagio, op 11 • Ensemble ArtChoral • Art Choral Vol. 6: Moderne • 21:46

F. Zappa: G-Spot Tornado • Valerie Milot • Orbis • 21:54 ^^

(48) 2025-02-26 - 20:00-22:00

A. Part: Spiegel im Spiegel • Who Cares? • Volume 2 • 20:02

K. N. Chan: Fugue (Fantasia & Fugue) • Who Cares? • Simple Lines of Enquiry • 20:10

E. Ozi: Bassoon Sonata #1 • Lussier; Keesmaat; Gauthier • Un basson sous L'empire • 20:18

Osbourne: Diary of a Madman • Lussier; Keesmaat; Gauthier • Un basson sous L'empire • 20:30

Z. Keating: Snowmelt suite • Zoe Keating • Snowmelt • 20:36

R. Hannah: ADAGIO for String Orchestra • Ronald Hannah • Music for String Orchestra [EP] • 20:58

F. Price: Piano Sonata in Em • Michelle Cann • Revival • 21:08

R. Schumann: Violin Sonata #1, op 105 • A. Ibragimova; C. Tiberghien • Violin Sonatas • 21:33

Hope Rises • Melanie Monsour • ______ • 21:51 ^^

Head Eastward • Melanie Monsour • ______ • 21:54 ^^

(49) 2025-03-05 - 20:00-22:00

J. Cage: In A Landscape • Valerie Milot • Orbis • 20:02

A. Part: Variations For The Heal • Murcof x Wagner • Statea • 20:15

J. Adams: China Gates • Murcof x Wagner • Statea • 20:24

P. Glass: Metamorphosis 2 • Murcof x Wagner • Statea • 20:31

Burlesque • Amanda Forsyth • Soaring With Agamemnon • 20:43

E. Ozi: Bassoon Sonata #2 • Lussier; Keesmaat; Gauthier • Un basson sous L'empire • 20:47

Osbourne: Mr. Crowley • Lussier; Keesmaat; Gauthier • Un basson sous L'empire • 21:01

Violin Sonata #2, op 121 • A. Ibragimova; C. Tiberghien • Schumann Violin Sonatas • 21:07

Valentin Silvestrov: Maidan 2014 • Kyiv Chamber Choir; M. Hobdych • Silvestrov - Maidan • 21:43

(50) 2025-03-12 - 20:00-22:00

Osbourne: Diary of a Madman • Lussier; Keesmaat; Gauthier • Un basson sous L'empire • 20:01

Osbourne: Mr. Crowley • Lussier; Keesmaat; Gauthier • Un basson sous L'empire • 20:05

Osbourne: Crazy Train • Lussier; Keesmaat; Gauthier • Un basson sous L'empire • 20:08

E. Ozi: Bassoon Sonata #4 • Lussier; Keesmaat; Gauthier • Un basson sous L'empire • 20:12

N. Rota: The Godfather: Love Theme • 2Cellos • Score • 20:26 ^^

A. Piazzolla: Libertango • Denis Plante & Stephane Tetreault • Stradivatango • 20:32

A. Piazzolla: Oblivion • Denis Plante & Stephane Tetreault • Stradivatango • 20:36

A. Piazzolla: Adios Nonino • Denis Plante & Stephane Tetreault • Stradivatango • 20:41

B. Dessner: On A Wire • Bryce Dessner • Solos • 20:48

B. J. King: Sketches - Spring • Samantha Ege • Black Renaissance Woman • 21:01

B. J. King: Sketches - Summer • Samantha Ege • Black Renaissance Woman • 21:04

B. J. King: Sketches - Autumn • Samantha Ege • Black Renaissance Woman • 21:07

B. J. King: Sketches - Winter • Samantha Ege • Black Renaissance Woman • 21:09

A. David: Essences • Nelligan Saxophone Quartet • Rupture • 21:14

Suite for Violin Alone • Robert Uchida & Philip Chiu • I Can Finally Feel The Sun • 21:25

Valentin Silvestrov: Maidan 2014 • Kyiv Chamber Choir / M Hobdych • Silvestrov - Maidan • 21:34

(51) 2025-03-19 - 20:00-22:00

E. Ozi: Bassoon Sonata #5 • Lussier; Keesmaat; Gauthier • Un basson sous L'empire • 20:02

D. Plante: Stradivatango #1-8 • Denis Plante & Stephane Tetreault • Stradivatango • 20:13

F. Price: Fantasie N***e No. 1 in E Minor • Jeneba Kanneh-Mason • Fantasie • 20:46

E. Elgar: Enigma Variations: Nimrod • Vienna Philharmonic / Gardiner • Enigma Variations • 20:54

J. Estacio: Bootlegger's Tarantella • Edmonton Symphony Orch • Frenergy • 21:01

J. S. Bach: Pt. I: Chorale. Herr, Unser Herr • Academy Of Ancient Music • Bach: St. John Passion • 21:11

J. S. Bach: Pt. I: Aria. Von Den Strikken Me • Sarah Connolly • Bach: St. John Passion • 21:18

J. S. Bach: Pt. II: Chorale. Ruht Wohl, Ihr • Academy Of Ancient Music • Bach: St. John Passion • 21:23

J. S. Bach: Pt. II: Chorale. Ach Herr, Lass • Academy Of Ancient Music • Bach: St. John Passion • 21:29

Divertimento for Strings #1-3 • Ronald Hannah • Music for String Orchestra [EP] • 21:32

P. Glass: Etude #17 • Vanessa Wagner • ______ • 21:44

Avila: Concerto en 6 preludes • Nelligan Saxophone Quartet • Rupture • 21:53

(52) 2025-03-26 - 20:00-22:00 (Pierre Boulez at 100)

Couperin: Concert Royal #2 • P. Gallon; M. Boutineau • Concerts Royaux • 20:02

B. Eno: Music for Airports 1 • Bruce Brubaker • Eno Piano • 20:20

B. Eno: Music for Airports 2 • Bruce Brubaker • Eno Piano • 20:37

B. Eno: Emerald and Stone • Bruce Brubaker • Eno Piano • 20:52

Kayasayiwan • Jessica McMann • Prairie Dusk • 20:56

Daphnis Et Chloe: Danse Generale • Pierre Boulez • Sony Classical: Great Performanc • 21:02

Boulez: Premiere Sonate • Christina Petrowska Quilico • Ings • 21:09

Boulez: Sonatine • Patrick Gallois & Lydia Wong • French Flute Music • 21:21

F. Zappa: The Perfect Stranger • Ensemble InterContemporain • Boulez Conducts Zappa • 21:36

F. Zappa: Naval Aviation In Art? • Ensemble InterContemporain • Boulez Conducts Zappa • 21:49

P. Boulez: Poesie pour pouvoir • L'orchestre symphonique du Sudwestfunk Baden-Baden • 1958 • 21:53

(53) 2025-04-02 - 20:00-22:00

Vivaldi: Spring Concerto • James Ehnes; Sydney SO • Vivaldi The Four Seasons • 20:02

Bach: Concerto in Am, BWV 1044 • James Ehnes; Canada's NAC Orch • Complete Bach Violin Concertos • 20:13

Field: Nocturne #16 • Alice Sara Ott • Field: Complete Nocturnes • 20:37

Buckley: Fiol • Musici Ireland • Earthrise • 20:47

Chaminade: Arabesque #1, Op. 61 • Anna Shelest (piano) • Donna Voce, Vol. 3 • 21:04

Entrance • Gabriel Olafs • Polar • 21:12

Whale Overture • Gabriel Olafs • Polar • 21:14

The Waves • Gabriel Olafs • Polar • 21:18

Tundra • Gabriel Olafs • Polar • 21:23

The Winds • Gabriel Olafs • Polar • 21:25

Bloom (excerpt) • Brian Eno & Peter Chilvers • Bloom (2024 June 04) • 21:34

(54) 2025-04-09 - 20:00-22:00

J. Field: Nocturne #16 in C Major • Alice Sara Ott • Complete Nocturnes • 20:02

J. Field: Nocturne #17 in C Major • Alice Sara Ott • Complete Nocturnes • 20:10

J. S. Bach: Concerto in Cm, BWV 1060R • James Ehnes; Canada's NAC Orch • Complete Bach Violin Concertos • 20:15

Bates: Earthrise pt 1-3 • Musici Ireland • Earthrise • 20:30

Mulberry Cottage • Jessica McMann • Incandescent Tales • 20:58

Quantique Symphonie • Molecule; Orch Nat de Lille • Molecule: Symphonie #1 • 21:04

Marche Nocturne • Thelonius Garcia • Marche Nocturne • 21:51

Planetes soeurs • Thelonius Garcia • Marche Nocturne • 21:55

(55) 2025-04-16 - 20:00-22:00

Richter: A Catalogue of Afternoons • Pablo Sainz-Villegas • The Blue Album • 20:01

R. Hannah: Divertimento for Strings • Ronald Hannah • Music for String Orchestra [EP] • 20:05

Sanctuary (Sleep Rework) • Chad Lawson • Where We Are (Sleep Reworks) • 20:17

Of Wonder (Sleep Rework) • Chad Lawson • Where We Are (Sleep Reworks) • 20:21

In Another Place (Sleep Rework) • Chad Lawson • Where We Are (Sleep Reworks) • 20:26

Like Stars In The Sky (Sleep Reworks) • Chad Lawson • Where We Are (Sleep Reworks) • 20:30

Gentle (Sleep Rework) • Chad Lawson • Where We Are (Sleep Reworks) • 20:33

Mozart: Piano Sonata #14, K457 • Kun-Woo Paik • Mozart: Piano Works 3 • 20:40

V. Herbiet: Danse des dragons • Nelligan Saxophone Quartet • Rupture • 21:03

Entrance • Gabriel Olafs • Polar • 21:14

Whale Overture • Gabriel Olafs • Polar • 21:16

The Waves • Gabriel Olafs • Polar • 21:21

Tundra • Gabriel Olafs • Polar • 21:25

The Winds • Gabriel Olafs • Polar • 21:28

The Monolith • Gabriel Olafs • Polar • 21:32

Whale Variation • Gabriel Olafs • Polar • 21:36

Vortex • Gabriel Olafs • Polar • 21:39

Ocean Sonata For Harp • Gabriel Olafs • Polar • 21:43

Elegy • Gabriel Olafs • Polar • 21:45

The True Meaning Of Forever • Gabriel Olafs • Polar • 21:48

Coda • Gabriel Olafs • Polar • 21:51

(56) 2025-04-23 - 20:00-22:00

millipedes and fire ants • Trent Reznor & Atticus Ross • The Gorge (Soundtrack) • 20:03

observation one • Trent Reznor & Atticus Ross • The Gorge (Soundtrack) • 20:06

observation two • Trent Reznor & Atticus Ross • The Gorge (Soundtrack) • 20:09

Quatre Pieces fugitives, Op.15 • Anna Shelest • Donna Voce, Vol. 3 • 20:15

Concerto BWV 1043 • James Ehnes • Complete Bach Violin Concertos • 20:29

Buckley: Fiol • Musici Ireland • Earthrise • 20:45

the shivering world • Trent Reznor & Atticus Ross • The Gorge (Soundtrack) • 21:02

but a whimper • Trent Reznor & Atticus Ross • The Gorge (Soundtrack) • 21:06

G. Hoyer: Symphony #1 • Royal Scottish Nat Orch • Symphony #1 • 21:13

(57) 2025-04-30 - 20:00-22:00 (fundraiser edition)

A. Part: Spiegel Im Spiegel • Amanda Forsyth • Soaring With Agamemnon • 20:03

J. S. Bach: Violin Concerto, BWV 1056R • James Ehnes; Canada's NAC Orch • Complete Bach Violin Concertos • 20:14

J. S. Bach: Italian Concerto BWV 971 • John Stetch • Off With The Cuffs • 20:29

CPE Bach: Sonata #3, H.33 • Keith Jarrett • Carl Philipp Emanuel Bach • 20:47

A. Vedel: Song of Symeon • Kappella Kyrie Slavic Chamber Choir • Alleluia • 21:02

J. Pachelbel: Canon in D • B&B Project • Canon in D • 21:11

A. Piazzolla: Libertango • Denis Plante & Stephane Tetreault • Stradivatango • 21:14

J. Adams: China Gates • Murcof x Wagner • Statea • 21:24

R. Sakamoto: Solari • Ryuichi Sakamoto • Async • 21:36

Kviten • Bohdan Stupak • Microvariations • 21:40

Communion • Stephan Moccio • Legends, Myths and Lavender • 21:50

(58) 2025-05-07 - 20:00-22:00 (donor requests)

^^ Donor recommendations/requests

J. S. Bach: Concerto in Dm, BWV 1043 • James Ehnes; Canada's NAC Orch • Complete Bach Violin Concertos • 20:03 ^^

Tartini: The Devil's Trill Bg5 • James Ehnes; Sydney SO • Vivaldi: Four Season • 20:19 ^^

Haihuai: Racing Horses • Cheng2 Duo • Portrait • 20:38 ^^

G. Bryars • The South Downs • Amanda Forsyth • Soaring With Agamemnon • 20:42 ^^

Home • Stephan Moccio • Legends, Myths and Lavender • 20:57

N. Boulanger: Trois Pieces #1-3 • Heather Tuach & Yoko Misumi • In the Mirror • 21:02

W. A. Mozart: Trio In D Major K. 381 • The Verdehr Trio • Making Of A Medium • 21:12 ^^

W. A. Mozart: Rondo in A Minor K. 511 • Kun-Woo Paik • Mozart: Piano Works 3 • 21:25 ^^

J. Osbourne: Crazy Train • Lussier; Keesmaat; Gauthier • Un basson sous L'empire • 21:39 ^^

R. Lemay: Verticales • Nelligan Saxophone Quartet • Rupture • 21:41 ^^

(59) 2025-05-14 - 20:00-22:00

E. Ozi: Bassoon Sonata #1 • Lussier; Keesmaat; Gauthier • Un basson sous L'empire • 20:02

R. Schumann: Violin Sonata #2, op 121 • A. Ibragimova; C. Tiberghien • Schumann Violin Sonatas • 20:14

In the Mirror 1-4 • Heather Tuach & Yoko Misumi • In the Mirror • 20:52

G. Handford: Come, Sullen Night • Duo Oriana • How like A Golden Dream • 21:07

Pohjola (Arr. for Strings...) • A. Blomqvist • Pohjola • 21:15

Kaiho • A. Blomqvist • Pohjola • 21:19

Open Fields • A. Blomqvist • Pohjola • 21:22

Parallel • A. Blomqvist • Pohjola • 21:26

Juopuneen valssi • A. Blomqvist • Pohjola • 21:29

F# minor improvisation • A. Blomqvist • Pohjola • 21:33

Keskiyon valssi • A. Blomqvist • Pohjola • 21:36

Loiste • A. Blomqvist • Pohjola • 21:41

A Story Of Solitude • A. Blomqvist • Pohjola • 21:44

Etydi • A. Blomqvist • Pohjola • 21:48

Spring • A. Blomqvist • Pohjola • 21:50

Nocturne • A. Blomqvist • Pohjola • 21:54

(60) 2025-05-21 - 20:00-22:00

C. P. E. Bach: Symphony H.660 • Akademie fur Alte Musik Berlin • CPE Bach Symphonies • 20:09

Foscarini: Toccata per la E • Ensemble Kapsberger • Alfabeto • 20:15

Foscarini: Allemanda per la E • Ensemble Kapsberger & Rolf Lisle • Alfabeto • 20:22

Foscarini: Passacalles per l'alf • Ensemble Kapsberger & Rolf Lisle • Alfabeto • 20:26

We Took Short Journeys • Laura Cannell & Kate Ellis • May Sounds • 20:33

Earth Day • Laura Cannell & Kate Ellis • May Sounds • 20:36

Not Forgotten, pt 1-2 • Laura Cannell & Kate Ellis • May Sounds • 20:39

Twilight Fields • Laura Cannell & Kate Ellis • May Sounds • 20:44

Saint-Saens: Fantaisie Op 95 • Caroline Leonardelli, harp • Impressions de France • 20:50

Saint-Saens: Septet in Eb Op65 • Ensemble Vivant • Fete Francaise • 21:02

R. Strauss: Cello Sonata, Op.6 • Steven Isserlis & Connie Shih • A Golden Cello Decade, 1878-1888 • 21:22

Blood Night Song No. 1 The Frog • Jessica McMann • Incandescent Tales • 21:49

(61) 2025-05-28 - 20:00-22:00

M. Bonds: Troubled Water • Jeneba Kanneh-Mason • Fantasie • 20:02

Chopin: Piano Sonata #2, Op 35 • Jeneba Kanneh-Mason • Fantasie • 20:10

Britten: Cello Sonata, Op. 65 • S. Kanneh-Mason, London Sinfnonia • Shostakovich & Britten • 20:37

Coleridge-Taylor: Deep River 1-2 • Ashley Jackson • Take Me To the Water • 21:01

J. Higdon: Nocturne • Heather Tuach & Yoko Misumi • In the Mirror • 21:11

D. Tabakova: Whispered Lullaby • Heather Tuach & Yoko Misumi • In the Mirror • 21:15

J. Montgomery: Peace • Heather Tuach & Yoko Misumi • In the Mirror • 21:20

Bach: Concerto in Am, BWV 1044 • James Ehnes; Canada's NAC Orch • Complete Bach Violin Concertos • 21:26

P. Glass: Metamorphosis 2 • Murcof x Wagner • Statea • 21:49

(62) 2025-06-04 - 20:00-22:00

E. Ozi: Bassoon Sonata #2 • Lussier; Keesmaat; Gauthier • Un basson sous L'empire • 20:02

Across Sandy Plains • Laura Cannell & Kate Ellis • June Sounds • 20:16

Between Earth and Snowy Heaven • Laura Cannell & Kate Ellis • June Sounds • 20:19

There Were Times Like These • Laura Cannell & Kate Ellis • June Sounds • 20:25

In the Sun Shadows We Walked • Laura Cannell & Kate Ellis • June Sounds • 20:28

Chopin: 24 Preludes, Op. 28 • Jan Lisiecki • Preludes • 20:31

Le Chant Des Oyseaux • The Stairwell Carollers • Audite Nova • 21:14

Mozart: 6 German Dances K. 509 • Kun-Woo Paik • Mozart: Piano Works 3 • 21:23

Piano Concert in Am, Op. 7 • Anna Shelest; Estonian NSO • Donna Voce, Vol. 3 • 21:35

(63) 2025-06-11 - 20:00-22:00 (donated hour)

Madrigal • David Malmberg • The Fortea Project • 20:02

Mi Refugio • David Malmberg • The Fortea Project • 20:05

Toledo • David Malmberg • The Fortea Project • 20:10

Capella (Beach Boys) • Antwerp PO, Alexandra Arrieche • The 7 Symphonies: Beach Boys • 20:17

W. Lutoslawski: Paganini Themes • Rex Lawson • The Virtuoso Pianolist • 20:35

S. Rachmaninoff: Paganini Rhapsody • Rex Lawson • The Virtuoso Pianolist • 20:42

J. S. Bach: Matthaus-Passion • Lucas Jussen & Arthur Jussen • Cantus [EP] • 21:04

Beethoven: Violin Concerto • Nicola Benedetti; Aurora Orch • Beethoven: Violin Concerto • 21:10

Baranowski: For Then • Angele Dubeau • Portrait Alex Baranowski • 21:52

(64) 2025-06-18 - 20:00-22:00

Wilson: Her Charms Invited • Musici Ireland • Earthrise • 20:02

J. Field: Nocturne #16 • Alice Sara Ott • Complete Nocturnes • 20:11

C. Debussy: Sonata for Violin & Piano L148 • R. Uchida; P. Chiu • I Can Finally Feel The Sun • 20:20

G. P. Telemann: Fantasie #1, TWV 40;14 • R. Uchida; P. Chiu • I Can Finally Feel The Sun • 20:34

Stories of My People 1-3 • Jessica McMann • Prairie Dusk • 20:42

Round Dance Instrumental • Cris Derksen • Cris Derksen: Orchestral Powwow • 20:55

Otemihin • Jessica McMann • Prairie Dusk • 21:03

Mountain Prairie • Jessica McMann • Prairie Dusk • 21:10

Baumbusch: Polytempo Music • Brian Baumbusch • Polytempo Music • 21:14

(65) 2025-06-25 - 20:00-22:00

• • •

FUTURE PLAYLISTS TO FOLLOW BROADCASTS

>> Explore my playlist history for other dates and programs.

~~ Featured content ^^ Listener/donor recommendations/requests ++ Tonight’s ‘odd one out’ / vintage vinyl

#playlist #ckua #radio #2025 #the score #classical music #orchestra

0 notes

bitbybitwrites · 1 year ago

Note

Am I late for the writing game?

5, 18, 44 and pick one you really, really want to answer and no one's asked yet :)

It's never too late! 😉

5. How much writing do you get done on an average day?

Oh this is embarassing - not very much, to be honest. Its not that I wouldn't want to. But after dealing with work, then family, then chores/ housework, I'm exhausted . . and its late at night when I finally have time to just myself. By that time I'm almost always fighting sleep, so I can get very little done. So most of my writing is done in tiny spurts here and there. Like I can sometimes squeeze in 10-15 minutes in the morning before I run to work . . . maybe I can write something before I pass out for the night. If I'm lucky to take the train into the city or I'm stuck in like a waiting room for awhile, I can get nice big chunks of writing done. I always carry a journal with me to jot things down in, then I transfer it onto my computer when I get a chance. So whenever I preface with "I'm a slow writer", its not only because sometimes it takes forever for me to get the words right. It's literally because I'm so swamped with other things I have little time to focus on writing.

18. If you could collaborate with anyone, who would it be, and what would you write about?

I'll be honest - I''m not sure collaboration is in my future - I think I'd frustrate the hell out of another writer if they were waiting for me to hand in my portion ( see question above) and I am a little anal retentive when it goes to editing and stuff and wanting writing styles to mesh so it would seem like a seamless transition from one person's work to another, I'm sure that would drive them crazy as well 😂😂😂 But all that aside . . . if none of that mattered . . I don't know. if we're talking published authors - I think Neil Gaiman and Casey McQuiston would be fun to write with. I also love Amy Tan and Kevin Kwan's writing I love too . . also Bill Bryson ( though he's a non fiction writer, not fiction). If we are talking fan fic - god . . too many to count. You all are so damn good I really can't pick one. Though I have to say if we ever wrote anything together, I can imagine the amount of angst ( esp blangst) that would be coming out of those pages. It might drive readers insane 😂

44. How much research do you do?

It really depends on the story - though I can be prone to going down research rabbit holes if I find something interesting 😂. But that was the part I loved about school - the research, the learning of new things.

. . .and pick one you really, really want to answer and no one's asked yet :). this was hard to choose, so I'll go with this one:

40. Share some backstory for one of your characters

I'll share some tidbits about an OC I created for If I Can Make Your Heart My Home that I've noticed a many of my readers like: Lillian Anderson ( Blaine's English grandmother)

Lillian is a talented musician herself (piano and violin).

She met her husband while auditioning for the London Symphony Orchestra. He was concertmaster at the time. She auditioned for 2nd violin chair.

After they married, he became a conductor and they traveled a bit relocating to whatever orchestra her husband worked with at the time, before settling in New York for a bit - where they had their son and raised him.

They returned to England for the most part after their son (Bradford) finished college, and they began a good deal of philanthropic work ( mostly arts based) until their grand children were born. Then they would travel back and forth, so they could spend as much time as they could with Cooper and Blaine.

Fun fact: Blaine's middle name (Devon) was a nod to Lillian's paternal roots - her own family hailing from Devon, England. During the summers Lillian would whisk the grandkids back off to Devon to bond, especially after her husband passed.

Her moody tortoiseshell cat, Schumann is named after composer Robert Schumann

***

Thanks so much for the asks, @heartsmadeofbooks! 💖💖💖💖

Click here to play

#ask game #bitbybitwrites

1 note · View note

yeetushaitus · 9 days ago

Text

yeah no lichan i love u but the artists did u dirty😭

there was only a 6 month gap between the end of season 1 and 2 and a YEAR gap between the first episodes of seasons 1 and two and in s2ep13 they acknowledge the fact that the bts was an absolute mess but but. the first screenshot is from the first season man :(( like was it too hard to use the lasso tool

the art is a little jank but tbh it doesnt bother me that much and the animation in the first couple episodes especially was impressive like. i was genuinley shocked when i rewatched the first couple episodes after finishing the show bc the animation for even s1ep4 was great

but. whoever thought it was funny to make mozart hit on kanae and MARI ESPECIALLy need to be BANNED from writing holy like. r u serious. and before u argue "oh its a cultural difference" MARI IS 7 YEARS OLD OMGGG as a japanese american i can say most japanese people do NOT find 7 year olds attractive even in a fictional setting and like on a broader point ik the whole mesugaki or whatever thing exists and thats weird!! mesugaki miku is weird!! news flash: having a thing for kids, even if theyre fictional or not actually kids and are a 4000 year old dragon, is weird!! even if youre japanese!! stop normalizing/justifying it!! the whole "cultural difference" thing has always seemed to me like an excuse for that behaviour and writing when its NOT!! it just feels like a way for western fans of japanese media to explain away the weird parts of media they like so they dont feel as bad abt liking it when you SHOULD be vocal abt how weird that is!! if you really love smth, you have to acknowledge all the parts abt it that suck ass

and ON the subject of motsu and kanae can we acknoledge how weird it is that the show also has beto liking kanae?? i have NOT seen enough ppl talk abt how WEIIRDDD THAT IS and the part i hate the most is that its played off to be this like "aww hes embarrased and shes oblivious isnt that so cute??" thing and it would be if kanae wasnt IN HS ALSO SHES LITERALLY A FRESHMAN IT SAYS SO ON THE OFFICIAL WEBSITE

google translate being right for once?!?!? the sidelining of some of the mcs, esp the girls, suckss like obv my fav is liszt so i go looking for liszt related content!! all the time i have a whole folder of just liszt but she only has 4 focus episodes and im just. rlly sad like. i get that for the joke bada has 1 episode to herself and only 1 musik but tchaiko only has 2 musik peices and theyre both from the first season?? like. r u serious and honestly tchaiko might as well be canonically transmasc so can u even say that shes a girl mc also just to mention him schubert also gets sidelined quite a bit (again its also part of his bit but i personally wish we got to see more of him) kanae is the mc and i think shes given quite a lot of depth and most definitley a lot a screen time which i think is good but not only do i think that i think thats its unfair that the female classicaloids dont get nearly as much screentime and as many pieces as the guys (even ignoring beto and motsu, cho chan gets 6 and bach gets 5), they also only gave the only characetr to be based on a female composer 1 peice?? sure, if u wanna keep the bada one hit wonder bit then go on!! like i respect the dedication to the joke but if ur making new clasicaloids for season 2 then PICK ONE OF THESE GUYS ik @deadcactusman has alr gone more in depth on wagner but like. u couldve made any one of these guys instead of wagner im just sayingggg as a non music history nerd even i know like clara schumann AND LOOK HOW MANY POP UP WHEN U SEARDH

also just an opinion but i think its always fun when they play the original music in the show like schubert's first 2 musiks and the liszt boxing edisode where they play 2 of liszt's songs im not a classical music listener but i am a classical singer?? what do you call that so i appricated when they included masu god that ladys voice was SO beautiful also bring classical music straight to the audience!! sure u can have these crappy remixes but if you want to maybe have the audience appreciate classical music more then you need to show it to them bc chance r theyre not seeking it out themselves

if u read this far ty for reading my unhinged rambling🫶🫶🫶🫶 have an amazing day

I apologize for not having new stuff, I'll try to post something soon.

But I was wondering if anyone has critiques or suggestions for the show itself? I want to hear your thoughts!

Not something such as "oh, the show should have a 3rd season!!" but more of things that would improve the show's quality. I am aware most of you want another season! There is no right or wrong answer, please stay respectful with other's opinion.

It could be something like "they should have a more consistent art style", "the pacing is too sudden for season x episode x", "x's design looks odd", "the scene from x episode is unnecessary", "some of the scenes are repetitive and not unique"

17 notes · View notes

garyjugert · 2 years ago

Text

Uniclues:

1 Oft stated phrase of loan officers.

2 Prepare to scramble.

3 Solution of the privileged to mitigate the sad effects of poverty.

4 Composer Schumann went octopus hunting.

5 Cannibal cooks Maguire.

6 Verde luz.

7 "Imma put this quarter here and it means I've got next and you're not gonna swipe it and spend it on weed, k?"

8 Saves like a numbskull.

***

1 CAN CONFIRM DEBT

2 HAND DUCK EGG

3 LEND OPERA CAPES

4 CLARA SNORKELED

5 RUINS RAW TOBEY

6 YOUR TURN ABROAD

7 REC HALL PACT

8 EMBIGGENS ASSET

#crossword #nytxw #uniclues

0 notes

rukhhunter · 3 years ago

Text

OKAY SO after I've scrolled down the ofmd music tag I need to talk about something I've haven't seen discussed yet. Now, it's been already established that all the music in the show has been VERY carefully chosen. An example is the use of Satie's gnossiène 5 in various episodes.

I haven't had time to do a review of all the music that is used, but when it comes to classical/instrumental music, we can divide it in various categories

Ambiental music composed for the ocasion: mostly strings music, I think, maybe some guitars

Piano music: Satie's gnossiène, Debussy's Reverie and Schumann's Träumerei. Used in the emotional/romantic scenes between Ed and Stede

Baroque pieces: I think most of them are pieces by J.S.Bach and then some of Vivaldi. Usually string instruments and a harpsicord, and appear on lighter moments and/or scenes with people from a higher class (i.e. the party at the boat in chapter five)

Of the three, I think the third is the most used, and it awes me because is also the mos historically accurate. For those who don't now, the Baroque period goes from the 17th century to mid 18th. It's Johann Sebastian Bach's death in 1750 (aprox) what marks the end of the period. So. Music of the same period the action it's set. Nice, isn't it?

But we've left some things out. Specifically, the diegetic music, which is basically the tunes Frenchie sings AND the singing that the Swede does in episode 6. I don't know enough about popular music and shanties to tell if Frenchie's songs are accurate to what could be sung in a pirate ship at the time, but for me it works quite well. The Swede's singing, on the other hand, surprised me a bit, because it's different. For one, it's not from the Baroque era. The Swede is singing an aria by Mozart called "Voi che sapete", from the opera "The marriage of Figaro" (Le nozze di Figaro). So is the only truly classical (from the classical period) piece used in the show. The rest are either baroque or from the 19th or 20th (I think?) centuries.

At first I was like "oh, okay, the joke is that the swede is singing like he is a soprano diva and of course they have him sing one of the most known arias in the history of music"

(side note: I really, REALLY need to know if the actor is truly singing or if it's edited)

However, after seeing how much care was put into every decision, I started to wonder why had they chose that aria. And then I looked into the lyrics.

Guys.

GUYS.

The song is literally about asking other people "Hey, I need you to tell me if all these things that I've started to feel are what people call love"

AND IT FITS SO WELL. Because we've already had the "you wear fine things well" moment, Ed has a lot of feelings on his plate and also it's the episode where we learn that he grew up in a household where his dad didn't love his mum, so he doesn'te know what love is, either.

So. A lot of feelings and thoughts that I'm not sure I've explained so well, but I needed to rant about this somewhere. I'll leave here the lyrics translation into English so you can have a look :)

You who know what love is,

Women, see whether it's in my heart,

Women, see whether it's in my heart.

What I am experiencing I will tell you,

It is new to me and I do not understand it.

I have a feeling full of desire,

That now, is both pleasure and suffering.

At first frost, then I feel the soul burning,

And in a moment I'm freezing again.

Seek a blessing outside myself,

I do not know how to hold it, I do not know what it is.

I sigh and moan without meaning to,

Throb and tremble without knowing,

I find no peace both night or day,

But even still, I like to languish.

You who know what love is,

Women, see whether it's in my heart,

Women, see whether it's in my heart.

#ofmd music #blackbonnet #ofmd meta #stede bonnet #blackbeard #edward teach #ofmd stede #ofmd stuff #ofmd s1e6

10 notes · View notes

drarrily-we-row-along · 3 years ago

Note

How about #5 for the asks? Thank you, love☺️

Hey there! Thanks for the ask!

5. have you ever made a playlist about something you were writing as an elaborate means to procrastinate when you could have been actually writing and if yes drop a link, son

The honest, boring answer is no. I haven’t actually ever made a playlist for any of the fics I’m writing. I do love it when authors do this, though.

I have a few “go to” artists that I like to listen to when I write, though, if you’d like to know about some of those. I like: Lake Street Dive (especially the album ‘Free Yourself Up’); anything by Sam Smith, Adele, or Hozier; I also like listening to Romantic composers: Schumann, Chopin, Schubert, Tchaikovsky- I like piano music in particular.

Lots of love right back to you! ❤️

Ask me all of the things, if you’d like.

9 notes · View notes

pepimeinrad · 2 years ago

Text

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.

youtube

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! ;)

youtube

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.

youtube

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!

youtube

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.

youtube

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!

youtube

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.

youtube

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...)

youtube

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.

youtube

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.

youtube

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.

youtube

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)

youtube

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!).

youtube

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.

youtube

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.

youtube

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.

youtube

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.

youtube

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.

youtube

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.

youtube

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.

youtube

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.

#ollie's log #ofmd music #ofmd soundtrack #there are a few other pieces that could be put in if we want it longer #maybe some OST things (although few of those are much longer than one minute)#you know what'd be great?: an OST suite! mesh the most important and striking bits together - the blackbeard motif has to be in there!#I also keep dreaming of putting in orchestra-versions of things like the chain and miles from nowhere #for the chain there is one at least!#https://www.youtube.com/watch?v=5ZUifAoMhEQ #oohhhhh yeah - the encore is the orchestra version of the chain!!!!!#Youtube

10 notes · View notes