#Orchestral Suite

[gasparodasalo]

Georg Philipp Telemann (1681-1767) - Orchestral Suite for 2 Oboes, 2 Violins, Strings and Basso continuo in B-flat Major, TWV 55:B1, III. Allégresse. Vite - Meno mosso - Vite (da capo). Performed by Reinhard Goebel/Musica Antiqua Köln on period instruments.

[mikrokosmos]

J.S. Bach - Orchestral Suite no.3 in D Major, BWV 1068 (c.1730)

I want to say I was listening to this one in my rocking chair next to my books on music. Or with wine and cheese at someone's party. No, I put this on while I washed the dishes. I thought I'd share my old post on this same piece but realized that I'd never written about this suite. And I don't have anything profound or introspective to say about it. It made taking down this mountain if dirty dishes feel like a grand accomplishment. It's a reminder that this music was written for the audience to enjoy. It doesn't have to be treated like music theory homework. That being said, I do like looking at the history of the orchestral suite, which would develop into the symphony. What can we hear from Bach's Proto-Symphony no.3? The Orchestral Suite was a carryover from France's Ouvertures. It would start with a slow section to draw in the audience, and then a lively counterpunctual exercise. After the "heavier" opening movement, the rest of the pieces are light dances, galanteries (minuets, bourrées, courantes, sarabandes, gavottes, allemandes, gigues, etc.). Because the German political elite had a taste for French art, they would have music played during their banquets and parties. Bach had no real interest in this kind of music (which would be a decent income source) because he was already dedicated to writing church music. But what few he did leave behind (we only have four Orchestral Suites attributed to him) sounds like great party music. The Suite in D Major is scored for 3 trumpets, timpani, oboes, violins, viola, basso continuo, giving it a louder sound than the others. The Ouverture starts with the slower grand statement announced by the trumpets and timpani. As you'd expect from Bach, this opens into a counterpunctual explorations of the melodies that developed out of the opening, but with the vibrancy of Vivaldi's fast paced concertos. The ending section cuts back and ends with a more subdued coda. The Air of this suite has stuck in our culture through films and TV, popular for its beautiful melodies. I remember first hearing it in the most ironic example I know; played during the library scene in Seven (or "Se7en") from the 1995 film. The ugliness and depraved misanthropy in the film is contrasted for a moment by the idealized "beautiful music" by an idealized "Great Composer". I thought it was showing the spectrum of human minds, that the "greatest" Baroque composer comes from the same human family as a lunatic serial killer using the Christian "Seven Deadly Sins" for gruesome punishments against his victims. Listening to it now I think it's fascinating that someone could have been touched or moved by the gorgeous Aria without words Bach wrote for whatever party or occasion, and she would have no idea that the same music would be heard again as so many of these festival pieces were back then. The latter dances show off the trumpets to make each one boisterous and lively. Two Gavottes with heavy emphasis on the beat, an upbeat Bourrée, and ending on the always fun and swaying Gigue. Of these dances I think I love Bach's gigues the most because they're always densely woven with his long waves of counterpoint across each instrument to create a dance that makes me think of old pub drinking songs or sailors dancing and drinking at sea. Another reminder that this music is supposed to be fun and enjoyable for anyone, and you can turn your own living room into an 18th century court for fun.

Movements:

Ouverture

Air

Gavotte I/II

Bourrée

Gigue

[rhythmislifeandlifeisrhythm]

[morskisir]

maybe i'll make a proper drawing out of this one day.........one day

[somewhatidealname]

i feel like based on his only environment (the fazbear frights attraction), springtrap would just 'think' someone placed horror/halloween decorations in him when he saw himself without his mask/head. like the only place he knows is decorated to hell, he cant remember anything about his person (or that he was/is one) or past, all he knows is that this is his place, there's tacky horror decor everywhere and he's somehow part of it- he knows nothing more, so the only dots he could potentially connect are these. bro thinks he is party city.

oh my fucking god you're a genius

[emeraldoo]

ok. so i was thinking. and like. got a good idea. So! -🧪

[dadsinsuits]

Paul Humphreys

[the-cat-at-the-theatre-door]

This is a pro not skipping “The Moments of Happiness”, “Gus the Theatre Cat” and “The Ad-dressing of Cats” space. 

[thesearchforbluejello]

This has absolutely been discussed many times but I am once again losing it over the fact that "Rogue One" as a name is making sound out of silence.

It's formed as a last minute, emergency name for the shuttle, for the people aboard, for the mission when Bodhi says it; it has no precedent, nothing that came before it for that name to be used. But when Bodhi says it, it exists.

It both takes advantage of and retcons the Rogue Squadron we've seen before in the original trilogy, where there was no Rogue One. But there is now, because Bodhi said it.

Jyn's name, Cassian's name, K's name, Chirrut's name, Baze's name, Bodhi's name, every one of the rebels that are on the shuttle... none of them come up again in the things that temporally follow. Yes, those pieces of media were created before this film, but in the world of the story, they come after, and it becomes a remarkable silence.

Rogue One as the team that took Scarif and stole the Death Star plans exists as Rogue One because Bodhi pulls that name out of silence, out of nothing that preceded it. "Rogue One?! There is no Rogue One!" "Well, there is now." And after Scarif, there is no Rogue One again. It existed only for what it accomplished.

On a meta level, that's exactly what the film does as well-- it tells a story that was only a handful of vague lines before, draws it out of the lacunae and places itself where it belonged to tell a story that was restrained by the shape of the narrative that came before it and was unavoidably wrapped around it. It's the quintessential "doomed by the narrative."

There's also the fact that Jyn's theme is built around dies irae and reflexively creates a reference to her in parts of A New Hope and also makes the score tell you that she's doomed by the narrative to die but I've screamed enough already.

[worstloki]

I'll give u a hundred if u let me in on the secret abt fans thinking thor and loki didn't act like siblings before ragnarok

well you see, siblings have got to be willing to harm each other a little, otherwise it doesn't count.

[gasparodasalo]

Georg Philipp Telemann (1681-1767) - Orchestral Suite for Violin, Strings and Basso continuo in b-minor, TWV 55:h4, VII. Rodomontate. Performed by Musica Alta Ripa on period instruments.

[warpweighted]

🏢 is-the-irs-on-hold-still

1 hour 45 min: yes

[sytycdinternational]

SO YOU THINK YOU CAN DANCE USA SEASON 17 // Thiago Pacheco / 18 / Contemporary / “Seen That Face Before” by Woodkid / Auditions #3

[witchblade]

the ffxii soundtrack is so light and breezy compared to pretty much every single game that came after it