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#lullaby: mikrokosmos
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Stravinsky – The Owl and the Pussy Cat (1966) This might be one of my weirdest posts…then again, that’s fine since this piece is one of the weirdest songs I know. It is a children’s picture book, a lullaby, but interpreted through the mind of an elderly Igor Stravinsky. At this point in his life, Stravinsky was taken in by the dodecaphonic language of Schoenberg. But instead of being very dense and orchestrally rich, Stravinsky’s 12 tone works are pretty thin and with the “coldness” that came through greatest in his ‘neo-classical’ phase. With a modernist philosophy of freeing the notes from tonality’s shackles, and with the goal of indoctrinating children into loving 12-tonality, he wrote this song. The story is clearly sung, though there is no strong perceptible melody, other than a few patterns repeating. I don’t know if Stravinsky follows the rules of the tone row or not, and frankly that doesn’t matter. We get this strange, earthy, ‘pagan’ sounding song that takes us full circle to the young Igor writing the Rite. A little love song about an owl and a cat planning on getting married, putting the wedding together, and ending with a gorgeous picture of two persons in love dancing in the moonlight. Is it strange to take so much sentimentality out of a late Stravinsky piece? Music by a composer who quiped “Music cannot express anything”? Maybe…or maybe I’m proving that statement wrong by being moved by the charm, bizarre, and luminous music that goes along with the tale. Also, Stravinsky chose this poem because it was a favorite of his wife. So, light charm and sentimentality are a reasonable takeaway.
mikrokosmos: Stravinsky – The Owl and the Pussy Cat (1966) This might be one of my weirdest posts…then again, that’s fine since this piece is one of the weirdest songs I know. It is a children’s picture book, a lullaby, but interpreted through the mind of an elderly Igor Stravinsky. At this point in his…
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tinas-art · 2 years
Quote
Stravinsky – The Owl and the Pussy Cat (1966) This might be one of my weirdest posts…then again, that’s fine since this piece is one of the weirdest songs I know. It is a children’s picture book, a lullaby, but interpreted through the mind of an elderly Igor Stravinsky. At this point in his life, Stravinsky was taken in by the dodecaphonic language of Schoenberg. But instead of being very dense and orchestrally rich, Stravinsky’s 12 tone works are pretty thin and with the “coldness” that came through greatest in his ‘neo-classical’ phase. With a modernist philosophy of freeing the notes from tonality’s shackles, and with the goal of indoctrinating children into loving 12-tonality, he wrote this song. The story is clearly sung, though there is no strong perceptible melody, other than a few patterns repeating. I don’t know if Stravinsky follows the rules of the tone row or not, and frankly that doesn’t matter. We get this strange, earthy, ‘pagan’ sounding song that takes us full circle to the young Igor writing the Rite. A little love song about an owl and a cat planning on getting married, putting the wedding together, and ending with a gorgeous picture of two persons in love dancing in the moonlight. Is it strange to take so much sentimentality out of a late Stravinsky piece? Music by a composer who quiped “Music cannot express anything”? Maybe…or maybe I’m proving that statement wrong by being moved by the charm, bizarre, and luminous music that goes along with the tale. Also, Stravinsky chose this poem because it was a favorite of his wife. So, light charm and sentimentality are a reasonable takeaway.
mikrokosmos: Stravinsky – The Owl and the Pussy Cat (1966) This might be one of my weirdest posts…then again, that’s fine since this piece is one of the weirdest songs I know. It is a children’s picture book, a lullaby, but interpreted through the mind of an elderly Igor Stravinsky. At this point in his…
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hushilda · 2 years
Quote
Stravinsky – The Owl and the Pussy Cat (1966) This might be one of my weirdest posts…then again, that’s fine since this piece is one of the weirdest songs I know. It is a children’s picture book, a lullaby, but interpreted through the mind of an elderly Igor Stravinsky. At this point in his life, Stravinsky was taken in by the dodecaphonic language of Schoenberg. But instead of being very dense and orchestrally rich, Stravinsky’s 12 tone works are pretty thin and with the “coldness” that came through greatest in his ‘neo-classical’ phase. With a modernist philosophy of freeing the notes from tonality’s shackles, and with the goal of indoctrinating children into loving 12-tonality, he wrote this song. The story is clearly sung, though there is no strong perceptible melody, other than a few patterns repeating. I don’t know if Stravinsky follows the rules of the tone row or not, and frankly that doesn’t matter. We get this strange, earthy, ‘pagan’ sounding song that takes us full circle to the young Igor writing the Rite. A little love song about an owl and a cat planning on getting married, putting the wedding together, and ending with a gorgeous picture of two persons in love dancing in the moonlight. Is it strange to take so much sentimentality out of a late Stravinsky piece? Music by a composer who quiped “Music cannot express anything”? Maybe…or maybe I’m proving that statement wrong by being moved by the charm, bizarre, and luminous music that goes along with the tale. Also, Stravinsky chose this poem because it was a favorite of his wife. So, light charm and sentimentality are a reasonable takeaway.
mikrokosmos: Stravinsky – The Owl and the Pussy Cat (1966) This might be one of my weirdest posts…then again, that’s fine since this piece is one of the weirdest songs I know. It is a children’s picture book, a lullaby, but interpreted through the mind of an elderly Igor Stravinsky. At this point in his…
0 notes
Quote
Stravinsky – The Owl and the Pussy Cat (1966) This might be one of my weirdest posts…then again, that’s fine since this piece is one of the weirdest songs I know. It is a children’s picture book, a lullaby, but interpreted through the mind of an elderly Igor Stravinsky. At this point in his life, Stravinsky was taken in by the dodecaphonic language of Schoenberg. But instead of being very dense and orchestrally rich, Stravinsky’s 12 tone works are pretty thin and with the “coldness” that came through greatest in his ‘neo-classical’ phase. With a modernist philosophy of freeing the notes from tonality’s shackles, and with the goal of indoctrinating children into loving 12-tonality, he wrote this song. The story is clearly sung, though there is no strong perceptible melody, other than a few patterns repeating. I don’t know if Stravinsky follows the rules of the tone row or not, and frankly that doesn’t matter. We get this strange, earthy, ‘pagan’ sounding song that takes us full circle to the young Igor writing the Rite. A little love song about an owl and a cat planning on getting married, putting the wedding together, and ending with a gorgeous picture of two persons in love dancing in the moonlight. Is it strange to take so much sentimentality out of a late Stravinsky piece? Music by a composer who quiped “Music cannot express anything”? Maybe…or maybe I’m proving that statement wrong by being moved by the charm, bizarre, and luminous music that goes along with the tale. Also, Stravinsky chose this poem because it was a favorite of his wife. So, light charm and sentimentality are a reasonable takeaway.
mikrokosmos: Stravinsky – The Owl and the Pussy Cat (1966) This might be one of my weirdest posts…then again, that’s fine since this piece is one of the weirdest songs I know. It is a children’s picture book, a lullaby, but interpreted through the mind of an elderly Igor Stravinsky. At this point in his…
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herecomesjoon · 2 years
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Lullaby: Mikrokosmos
Pairing Yoongi x Reader Rating 13+ Genre/Tropes Fluff, dad!tan Warnings Yoongi is so fucking soft. I’m not sorry. WC 661 Crosspost AO3 - herecomessatvrn Summary Only one person can interrupt Yoongi while he works, and he will drop everything for her. AN And here we go with another dad!tan. I've got something in the works that connects all of my Idol AU fics. Thank you @sunshinerainbowsbts for all of the inspiration. <3 No betas, we do it live!
Part 2 of Lullaby
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The hour was late, and outside of his studio window, the lights of Seoul hid all but the brightest of stars. From this far away, and the quiet of his home and his family around him, Yoongi had a hard time connecting this life to the one that he had in Seoul. Of course, they were the same thing. When he was home though, it was like releasing a breath he had been holding. The longer this went on, the more he longed for a different balance, more time at home. He wasn’t quite ready to give up the stage, but the thought danced around his head.
The ending of the track he had been working on brought him out of his thoughts, and he looked at the screen. The hours of work he had put in had stalled out, and he felt the heaviness in his eyes. He should go to bed soon and crawl into the soft sheets behind his partner, breathe in the smell of her shampoo, and press a kiss to the back of her neck before giving in to dreams. 
The studio door swung open without noise, but the rush of air that came in from the hallway was cooler than the still air of his room. He turned, looking at the small figure in the doorway. Her soft hair was sticking up in all directions, and she clutched a worn rabbit plushie in one hand, and dragged a blanket behind her in the other.
“Appa.” Her voice was shaking, adding to the sad expression on her face. Already red and blotchy from crying. 
“Awake still, sweet girl?” Yoongi motioned for her to come in, and he settled into the chair, waiting for Ari to climb up into his lap. 
“Had a bad dream.” She was awkward in getting up, wanting to try for herself before Yoongi assisted a little. “I can do it!”
Yoongi smiled, “Of course.” 
When she's finally settled, she leaned against his chest, her little body already relaxing when she listens to his heartbeat. 
“Music?” She turns her face up to him, and he melts all over again. He smoothed down her hair, and rubbed her back, the soft fleece of her pajamas radiating the warmth of her body. 
“Okay.” He turns back to his desk, and the screens above it. He was used to working like this now. In the past, he would have laughed. Of course no one would be in the studio with him when he worked. Absolutely not allowed. Now though, Ari seemed to be the only one that escaped his annoyance when he was interrupted. 
In a few clicks, the sounds of an old familiar song fill the room. It is Jungkook's voice that flows from the speakers, but Yoongi sings along. The rumble of his voice adding to the soothing sounds as Ari stills and her sniffling fades away to steady breathing. 
It’s a far cry from the usual lullabies that her little night light would play, but these were songs that she heard while in the womb, and the songs that she grew up listening to. For Ari, it meant that her dad and her family were nearby. 
By the time the song ends, she’s fighting to keep her eyes open, and there's no resistance when Yoongi stands, adjusting to hold her easier as he turns off his equipment. The studio fell silent and he turned the lights off and closed the door behind him. 
He still hummed the melody of the song as he walked through the quiet house to Ari’s room. Her nightlight still projected the soft splotches of color onto the ceiling, and he set her down onto her bed. She only complained for a moment, but when he tucked the blanket over her, and kissed the top of her head, she settled back into sleep. 
“Goodnight, sweet girl.” 
“Love you, appa.” She mumbled, still barely aware of the world around her. 
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krreader · 4 years
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BTS reacting to you singing one of their songs as a lullaby to your baby.
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pairing: bts x reader fandom: bts warnings: / genre: fluff word count: 860+
a/n: hello @sakuroseuchiha​, I really really hope you like your request!!!!
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kim seokjin
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Hearing you sing this song to your son that meant so much to him was like time stopped for a moment. It was as if the entire world stood still except for you, gently rocking your newborn baby in your arms while the lyrics of ‘Moon’ softly spilled from your lips in your own, lullaby-version of his song.
Seokjin didn’t move, too afraid that if he did, you would stop.
No, he just stood in the doorway and watched you with so much love and admiration in his eyes, once again realizing how marrying you and having you as the mother of his child, was the best decision he had ever made.
min yoongi
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You and Yoongi have known and been with each other for so long and you’ve been through so many comebacks and releases of his songs together, that choosing one out of the many your husband had released as a lullaby, wasn’t exactly easy.
But Yoongi was glad that you chose this one to be the one to sing to your daughter.
Suran’s part in ‘So Far Away’, a song, that he had been scared to make at first, afraid that it would be an issue, not because of the song itself, but because of how long and hard he had worked on it with another woman. But you had been understanding, had tried very hard to become a friend to Suran so that you’d make things… less awkward, if they even were that in the first place.
That was just one of the many memories he treasured so much.
But this one, hearing you hum this song… it would be another one.
jung hoseok
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The first thing that Hoseok heard after he closed the front door to the apartment behind him was your voice. Singing, but ever so gently that he instantly knew it was to calm down your newborn son.
He took off his shoes and followed your voice through, only to find you walking up and down his nursery, his boy seemingly already having fallen asleep.
But it didn’t stop you from continuing. It was almost as if singing ‘Spring Day’ wasn’t just for the sake of calming down your son, but also to calm you down.
Newborn children weren’t the only ones who could use a soothing song every now and then, mothers did too.
And even though Hoseok’s singing might not have been Jeongguk’s singing, he still wrapped his arms around you from behind and sang the next verse for you into your ears.
And he instantly felt you melt into him.
kim namjoon
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‘We are Bulletproof: The Eternal’ was a very special song to Namjoon and the rest of Bangtan. It held so much meaning to all of them, maybe even more to him and you because ultimately, you started out as one of those fans that the song was about.
A love story that you only read about as fiction, one that never should have happened in the first place, but did.
Life hasn’t always been easy, especially because your pregnancy had been far from planned, but as Namjoon watched you sing your daughter to sleep with the very song that connected him to you, made him once again glad that it all worked out this way.
Fate always knew what it was doing and bringing you and him together the way it had… he was grateful.
park jimin
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Jimin didn’t dare to walk into the nursery when he heard you hum ‘Serendipity’ to your baby boy. He slid down the wall next to the room instead, pulled his legs to his chest, and closed his eyes, your soothing voice touching his heart at all the right places.
A smile spread on his face and more than once, he found himself whispering the lyrics with you.
It was a moment that he never told you about witnessing, because it was so dear to him that he wanted to treasure it forever and keep it his own.
kim taehyung
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Taehyung instantly started grinning when he heard you sing ‘Mikrokosmos’, but instead of waiting and watching, he walked into the bedroom and wrapped his arms around you, his eyes on the beautiful bundle of joy in the crib beneath you.
“Don’t stop,” he whispered.
And while you weren’t exactly as confident as him in your singing ability, you still did what he asked and continued in a soft voice, while Taehyung gently rocked your bodies side to side.
He even ended up joining and sang the song with you.
Man, your daughter really lucked out with her parents there.
jeon jeongguk
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Jeongguk felt what you sang.
Singing ‘You are the cause of my Euphoria’ to your newborn son really held so much meaning now that he was born, because it really was true.
A simple smile from your baby boy was all it took to brighten up your day.
No matter how hard of a time either of you had, coming home to your perfect son always managed to make you happy again.
First, you found happiness in each other, now, again, in him.
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thedreamydream-blog · 6 years
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~kpopaudioedit audio masterlist 🎧
LAST UPDATED - September 4, 2019
ASMR EDITS~
Studying in the Library with Namjoon
PLAYLISTS~
kpop playlist for a rainy day
stargazing at midnight - kpop playlist for studying, sleeping, etc + 3d sounds
relaxing bts songs playing on the beach at night [ 1 Hour Playlist ] + 3d ocean audio
BTS CHRISTMAS PLAYLIST | + sound of sitting by the fireplace while its snowing outside | 3d audio
kpop playlist | kpop songs you've probably never heard but need to right now
AOA~
Bingle Bangle but you’re at the beach
ATEEZ~
illusion but you’re daydreaming (layered 3x edit)
light but you’re on a rooftop in New York city
light but you’re on your hotel balcony while ateez performs on the beach
promise but your neighbor is playing it loudly in their backyard while you’re trying to study
hala hala but you're sitting on your rooftop and its playing at a party below
BLACKPINK~
As if it’s your last//Empty Arena Edit
As if it’s your last//3D EDIT
Love yourself//Split Audio with Justin Bieber
Whistle//Empty Arena Edit
Stay//Campfire + 3D
Jennie and Lisa Whistle Rap//English vs Korean Split Audio
Jennie and Lisa Boombayah Rap//English vs Korean Split Audio
As if it’s your last//Bass Boosted + 3D Edit
Forever Young but you’re at a bonfire
DDU-DU DDU-DU//Empty Arena + 3D
DDU-DU DDU-DU//Bass Boosted
Kiss and Makeup but you’re sitting on the sidewalk outside a party
kick it but it’s playing from a party next door
hope not but you’re watching the ocean waves in the morning while the sun rises
eyes closed (cover) but rosé is busking outside of a crowded café
BTOB~
Only One For Me//Layered
Friend but you’re at a beach-side cafe
BTS~
relaxing bts songs playing on the beach at night (playlist + 3d audio)
Butterfly (acoustic version)//Next Door + Rain Edit
House of Cards//Next Door Edit
Not Today//Empty Arena Edit
We don’t talk anymore cover//Split Audio with Jungkook & Jimin
So far away//3D + Empty Arena Edit
Come Back Home (Seo Taiji remake)//Empty Arena Edit
Come Back Home (Seo Taiji remake)//3D Edit
4 O'CLOCK//Empty Arena Edit
Cypher pt4 and Fire//Outside Arena Edit
Young Forever Unplugged Version//Campfire + 3D Edit
Am I Wrong//Layered
Blood, Sweat and Tears//Piano Edit (short version)
Lie//Next Door Edit
Jimin Through The Years
RM Through The Years
Dope//Next Door Edit + Rain
Blood Sweat & Tears//Bass Boosted
Spring Day//Layered
Save Me//Next Door Edit
I Need You Acoustic Version//Empty Arena Edit
Not Today//Bass Boosted
Stigma//Underwater Edit
Come Back Home (Seo Taiji remake)//Layered Edit
Lost//Next Door Edit + Rain and Thunder
DNA//Layered 3x
Jungkook - 2U//Empty Arena + Rain
Go Go//Layered
Mic Drop//Bass Boosted
DNA//Next Door Edit
Serendipity//Next Door Edit
I NEED U//Next Door Edit
Dope//Layered
Silver Spoon (Baepsae)//Bass Boosted + 3D
DNA//AMAs Fan Chants
Mic Drop (Feat. Desiigner) (Steve Aoki Remix)//Bass Boosted
Jungkook - Oh Holy Night//Empty Arena + 3D
JHope - Daydream//Bass Boosted
What “Don’t Leave Me” would sound like in the bathroom of a gathering
Singularity//Empty Arena + 3D
Sharing headphones with Jungkook
Airplane PT. 2//Next Door Edit
What “the truth untold” would sound like over a voicemail
Fake Love//Bass Boosted
What Paradise would sound like in paradise
Fake Love (Extended//Rock Version)//Layered
Fake Love//Layered 3x
So What but you’re playing it on a city rooftop
21st Century Girls but you’re walking a dog
Hug Me but its a missed call
Serendipity but you’re sitting by your hotel window and jimin is singing outside on the balcony above you
Pied Piper but you’re swimming at night and your neighbors are having a party
Magic Shop but rehearsed next door
Love Maze but your neighbors are playing it
The Truth Untold but its playing outside a window
Just One Day but you’re at soundcheck
Euphoria but you’re at a arcade
Outro: Tear but you’re at open mic night
How DDaeng would sound at a rap battle
Airplane pt.2 but you’re listening to it in a airplane
DDaeng//Bass Boosted
how path would sound when its raining
Autumn Outside the Post Office//Empty Arena + 3D
Dead leaves but you’re walking through a autumn forest
Promise but Jimin is singing out his window on a rainy night
BTS Jungkook & IU “ending scene” but in a empty arena
wishing on a star but you’re by the fireplace
Seoul but you’re waiting for the train in a Seoul train station on a rainy night
Waste it on me but you’re in a empty coffee shop on a rainy night
Forever rain but you’re driving at night and it won’t stop raining
Seesaw x I Need You Remix but you’re at a pool party
Serendipity (full length edition) but there is a rain storm outside and jimin is your noisy neighbor
outro: her but you’re waiting outside for a taxi and its playing from a nearby shop
Trivia just dance but you’re at a rooftop party
Moonchild but its playing around you in space
Love is not over but its raining outside
Epiphany but there’s a power outage and you’re playing it on a radio
Blue side but you’re waiting in a elevator
134340 (Pluto) but you’re stuck in traffic
Nothing like us (cover) but Jungkook is busking in a busy train station
Trivia Love but its a vinyl
Answer: Love Myself but you’re backstage and bts is practicing before they go on stage
The Truth Untold (Steve Aoki remix) + 3D & Bass Boosted
Dimple but you’re in a art museum
Airplane pt 2 but you’re waiting on your delayed flight in the airport
Crystal Snow but you’re in your car waiting for the rain to stop
I’m Fine but you’re outside the arena because tickets sold out
Love is not over but it is your last dance with the love of your life
Magic Shop but you’re cinderella running through a enchanted forest after midnight 
spine breaker but your roommate is havinga party while you're trying to sleep
Tokyo but you’re at a abandoned arena and namjoon is singing to you from the stage
only then but Jungkook is singing to you outside your window
winter bear but you’re in a seoul garden taking pictures with taehyung
heartbeat but it’s raining
seoul town road but you’re a cowboy about to raid area 51 on your horse
look at me (cover) but Jungkook is singing over the phone to distract you from the storm outside
lights but you’re watching fireworks from a rooftop under the night sky
pied piper but you’re working with a typewriter in a old office while it plays on the radio
mikrokosmos but you’re walking through a park
tonight but you’re by the pool on a summer night
magic shop but you got tickets to an acoustic soundcheck
everythingoes but you’re a barista making coffee in a empty coffee shop 
purpose (cover) but you got into the arena while Jungkook is rehearsing before the show
home but you’re at a party on a boat and you’re sitting by the water
mikrokosmos but you’re in a spaceship
Dionysus but BTS is a band in your neighborhood practicing in a garage
boy with luv but you’re in a empty arena
persona but you're blasting it in your car as you drive home
ddaeng but you're at a boxing match 
singularity but v is performing at a open mic night in a underground restaurant
spring day but you're sitting outside on your porch and its raining 
P.O.P (Piece of Peace) but its playing from a small radio while you cloud gaze on a windy day 
134340 (pluto)" but it’s a vinyl 
epiphany but you're in outer space
scenery but you're listening to it on a train ride back home on a rainy night
run but you're underwater
song request but you're driving home at night and a radio station plays your song request
i need you but you're underwater
promise" but jimin is singing by a campfire
heartbeat but your parents are arguing on a rainy night and you're just trying to be okay
Jungkook - "decalcomania" but he's playing you a new song he's working on during a rainy drive home
the truth untold but your old love is trying to convince you to stay (mini au + fake subs)
CHUNG HA~
gotta go but you’re wearing headphones while you’re at chung ha’s dance practice
CLC~
no but you're at a party on the beach
DAY6~
WARNING! but DAY6 is the neighborhood band and they are practicing in their garage
What can I do but day6 are your loud hotel neighbors
DEAN~
dayfly but it’s playing from an old radio
DREAMCATCHER~
What but you’re in a empty arena
EXO~
Ko Ko Bop//Empty Arena Edit
Ko Ko Bop//3D Edit
F(X)~
Red Light//Empty Arena Edit
GFRIEND~
Time for the Moon Night//Empty Arena + 3D, Rain & Thunder
(G) I-DLE~
LATATA//Empty Arena
GIRLS’ GENERATION~
All Night//Empty Arena Edit + 3D
sailing 0805 but you’re in a empty arena (+ bass boosted)
GOT7~
If You Do//Next Door Edit + Rain & Thunder
Let Me//Next Door Edit
You Are//Next Door + Rain
You Are//Empty Arena
You Are//3D
Miracle but you’re dancing in a ballroom
Miracle but you’re ice skating and its snowing outside
Thank you but you’re sitting in the car and it starts raining 
Lullaby but its being played somewhere nearby
love loop but you’re writing letters
eclipse but you’re laying in the grass looking at the moon at night
two but there is a crowded party next door
  HEIZE~
Shut up & Groove but you’re upstairs and there is a party downstairs
IKON~
Goodbye Road but you’re walking down the road in the morning
IZ*ONE~
la vie en rose but you’re walking down a busy street
la vie en rose but you’re laying in a garden
ITZY~
icy but you’re front row at itzy’s comeback stage
dalla dalla but you’re backstage while itzy performs their comeback stage
IU~
through the night but you’re hiding from a storm under a tent
KARD~
Hola Hola//Bass Boosted
Don’t Recall//Bass Boosted
Rumor//Bass Boosted
LOCO~
it takes time but you're sitting on the beach at night 
LOONA~
eclipse but you’re on the moon
around you but you’re at a picnic in the park
fairytale but its raining outside
MAMAMOO~
starry night but its playing from an old radio 
MOMOLAND~
BBoom BBoom//Layered
BAAM//Bass Boosted
I’m so hot but you’re backstage while momoland is performing
MONSTA X~
Shine Forever//Empty Arena Edits
Jealousy//Next Door Edit
fallin but you’re at a rap battle
Livin it up but its raining and its playing over the radio
Destroyer but you’re walking and it starts raining
underwater but you’re underwater
no reason but your roommate is playing it loudly in their room next door
alligator but you're stuck in traffic and the car next to you is playing it loudly 
NCT 127~
Cherry Bomb//Layered Edit
Regular but someone is blasting it in their car outside your window
Simon says but their practice room is the room next door
long flight but you’re in a airport
timeless but you're riding in a airplane on a rainy night
 100 but you're playing it from a rooftop at night
NCT DREAM~
Boom but you’re listening to it while working at a bakery and business is slow
don’t need your love but you’re in a crowded lounge dancing the night away
NCT U~
Boss//Empty Arena
Boss but you’re on a airplane and the person next to you is listening to it loudly with their headphones
PENTAGON~
violet but you’re sitting by your window and its raining outside
violet but its raining and playing from next door
you are but you’re walking through heavy rain
PRISTIN~
We Like//Empty Arena
Wee Woo//Layered
RED VELVET~
Red Flavor//Empty Arena Edit
Peek-A-Boo//3D
Power Up Empty Arena + 3D
Bad Boy (english version)//Bass Boosted
SF9~
scold but you’re alone in your room and it’s raining outside
SEVENTEEN~
Trauma//Bass Boosted
Change Up//Empty Arena
Holiday but you’re outside a party
Habit but its a rainy day
good to me but you’re driving in the rain
smile flower but you’re in a drive-in movie
dream glow but you’re driving in the rain
good to me but you're blasting it as you're driving with the windows down
home" but you're walking home and a nearby shop is blasting it as you pass by
SOMI~
outta my head but you’re playing in the rain
STRAY KIDS~
voices but its playing in a spaceship as you travel to space
You are but you’re underwater
I am You but you’re underwater
Mixtape #3 but its a vinyl
insomnia but you’re listening to it in your room at 2am because you can’t sleep
side effects but you’re underground
glow but it’s a rainy day
miroh but you're listening to it in your room through a radio while it rains outside
  SUNMI~
Siren but you’re at a car race
THE ROSE~
Sorry but its raining and your neighbors are playing it
Insomnia but you're in your car while it’s raining
i.l.y but you’re crying on prom night after seeing your crush slow dance with someone else
TWICE~
Likey//Empty Arena + 3D
Heart Shaker//Layered
What Is Love//Empty Arena + 3D
Pink Lemonade but you’re in the bathroom during a rehearsal
fancy but you’re at a royal tea party
TXT~
crown but you're laying in a field on a sunny day 
WANNA ONE~
Light//Layered
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attickit · 5 years
Text
“Top 10″
Tagged by the very lovely @serenililly to do a top 10 KPop song list thingy and let me tell you I did not follow any guideline whatsoever. I take the title with an ocean of salt.
So this "list" is just me messing with myself more than anything. I usually rotate between Day6, BTS, FTIsland, N.Flying and Stray Kids in my phone so this is just giving me an excuse to find other songs that I've stuffed away in my private yt playlist and listen to them again. I've gone down a rabbit hole...
(if you say that you were cheating with choosing songs and having honourable mentions, I'm basically criminal. There's more than a good 50 songs mentioned in this "list". Put me in a jail cell...)
Be forewarned; I talk a lot, so, everything is under the cut.
TL;DR I shoved all the songs that I really like into one post depite being told it is a top 10 song list. (also I've given up tagging anyone in doing this cause idk who to tag *finger guns*)
Eric Nam - Runaway (Honourable mentions: Love Die Young [I know this one's an english song but god is it good])
First off, let's be real. This song was going to get on this list one way or another. I wrote a FLUFF FIC for JUNGKOOK with this song. It made me write fluff for a guy a I don't even necessarily care to have fluff with. It somehow wrecked me as a person and god does it scare me. It's a romance that I want with my entire heart and I wrote it for someone who isn't my bias in anyway. What can that tell you?
ok but the song is one that I go back to about every week. I can't get sick of it. And if you listen to it with the English version right after it, it becomes such a whiplash. Eric knows how to mess with me.
Day6 - 365247 & Emergency  (Honourable mention: Deep in love, Hi Hello, Dance Dance, Shoot Me)
Look I try to keep it to one song per artist but the Entropy album was a fcking all kill for me. This album would be on number 1 if this was on a top ten album list instead. (If bts hadn't stolen my heart already at the time, Day6 would have been my ult of all time because these boys are hilarious.)
365247 is such a funky tune and I find myself seeking out this song everytime I'm feeling a little spunky. Feels like one of those sexual tension songs to me for some reason but I love it.
Emergency is a bit of a mess but like in the best way. Just the sounds of blaring sirens and heart monitors just, my god. The way the lyrics were paced to fill the theme in even more was so good. What can I say? Like, it was a really well done song. And I am head over heels for it. (also the fact there is a dance for this song is amusing)
FTIsland - Pray (Honourable mentions: Stay, Hello Hello, Falling Star, Memory, Take Me Now, Paper Plane)
*stares down the Japanese releases* Oh god I love those. It was hard to separate them from the Korean releases because the Japan releases were the ones that got me to FT and eventually, K-Pop in general. But then I also remember that there are songs that have a Korean version. As much as I am more familiar with the Japanese versions, the Korean versions are great too.
The reason why I chose Pray as the top song is I guess just the state that I was when it came out. Like, I felt it through my bones and it kind of never left. So whenever I listen to Pray, I have the visceral feeling that I need to scream at a god. I don't but it just relieves it by the end of the song. (also Rock that I can scream to when I actually want to)
Jonghyun - Before our Spring (Honourable mentions: Take the Dive)
Simply known as the song that broke me and put me back together. It's now the song that reminds me that there's more to live for. I don't think I can listen to this song without at least tearing up a little. I'm sorry Winter Angel and thank you.
N.Flying - The Real (Honourable mentions: Hot Potato, Rooftop, 4242)
THE REVIVAL of my darling boys. God how much I had missed them and the return being one of the stupidest mvs I know (not counting anything from norazo or Psy), it was so perfect. And then the follow up being Hot Potato, just N.Flying had such a great revival that really suited them as a group. I always go back to it whenever I need a smile.
Epik High - Born Hater (Honourable mentions: Lullaby for a Cat, People Scare Me)
This one is the only one with no real reason why I picked it. I just really like it and it had a lot of people contibuting to the song.
The Rose - Baby (Honourable metions: She's in the rain, Red)
Back to my band shennanigans (if you haven't noticed the list being almost half bands). The Rose holds a good place in my heart too. With a voice like Sammy boy's, it's had for me to not have them in the back of my head as I listen to songs on desktop.
AKMU - Time and Fallen Leaves (Honourable mentions: Melted, How People Move, Chocolady, Re-Bye)
I listened to this song A LOT when it came out in 2014. Back when I was still in secondary school going through my depressive teen phase (i'm joking, but am I tho). But really this song was what kept me going and not just find a easy route out. It kinda gave me sense of hope. Cause where else do you fall back when all your friends actually really hated you?
BTS (Well duh) - 소우주 (Mikrokosmos) (Honourable mentions: SPRING MF DAY, Magic Shop, Mono, Anything Jimin has put out solo-wise, Dionysus, DDaeng ect.)
(link goes to the live version of the mma performace in the bangtan bomb)
Every song since the WINGS era has gotten so strong and well done. And it keeps getting better It's been just so hard to figure out which song is the one I'd pick to listen to always.
I was just about to put Spring day as the top but I remembered Mikrokosmos. Idk what it is about Mikrokosmos but it's found a permanent place in my heart for songs that comfort me the most. It inches Spring day in the top spot of fave. I used to have a playlist with all my comfort songs in one but I accidentally deleted it and im too lazy to recompile it tho.
-
Honourable mentions (Songs out of my heavy rotation)
Orange caramel - Catallena Lim Kim - Rain, Goodbye 20, Awoo Heize - Jenga (ft. Gaeko), Don't Know You Bol4 - Bom, Galaxy IU - BEEP BEEP, Palette Zico, IU - Soulmate Block B - Yesterday,  Toy Bastarz - Zero For Conduct, Make it Rain Vixx - Into the Void, The Closer, Shangri-La, Black Out TXT - Poppin Star, Run Away 10cm - Pet,  Phonecert Stray Kids - Awkward Silence
And ok I'll stop. I have to stop.
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Coleridge-Taylor – 4 African Dances, op. 58 (1904) Came across these little pearls while listening to an album of Coleridge-Taylor’s chamber music. Despite the title, the music doesn’t sound like any African music I’ve heard. If anything it feels like it have been written by a French contemporary. But he did say that the second dance’s melody was based off an African folk theme he had heard. Unfortunately, I cannot find what part of Africa the melody is probably from, maybe I would guess Sierra Leone because that is where his father was from. Each dance exploits the violin’s abilities, from long song-like lines, to virtuosic scratching. The first dance has a beautiful flowing melody over soft dissonances, with a second section as a faster revision of the first. It reminds me of the way Liszt wrote some of his Hungarian Rhapsodies, with a slow first half and then an accelerated rhythmic close. The second dance feels like an aria, or a lullaby, with the piano playing gentle rolling chords. Later, the piano takes a melody that plays as a duet against the violin’s song. The third dance has a lively introduction, like a grande waltz. It’s faster than the other songs, but more restrained, and has some notable counterpoint. The last dance starts in the minor, and has a similar texture to the second dance. It has a lighter middle section, before recapping the beginning, and flying into a frantic coda. It would be more appropriate to call these “English” dances, but I assume Coleridge-Taylor wanted remind others that he was an African Englishman, and wanted to evoke a culture that, at the time, was otherwise ignored as being “less” cultured by most Europeans. If in name only. Dances: 1. Allegro 2. Andante molto sostenuto e dolce 3. Allegro con brio 4. Allegro energico
mikrokosmos: Coleridge-Taylor – 4 African Dances, op. 58 (1904) Came across these little pearls while listening to an album of Coleridge-Taylor’s chamber music. Despite the title, the music doesn’t sound like any African music I’ve heard. If anything it feels like it have been written by a French contemporary. But he did say that the…
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tinas-art · 2 years
Quote
Coleridge-Taylor – 4 African Dances, op. 58 (1904) Came across these little pearls while listening to an album of Coleridge-Taylor’s chamber music. Despite the title, the music doesn’t sound like any African music I’ve heard. If anything it feels like it have been written by a French contemporary. But he did say that the second dance’s melody was based off an African folk theme he had heard. Unfortunately, I cannot find what part of Africa the melody is probably from, maybe I would guess Sierra Leone because that is where his father was from. Each dance exploits the violin’s abilities, from long song-like lines, to virtuosic scratching. The first dance has a beautiful flowing melody over soft dissonances, with a second section as a faster revision of the first. It reminds me of the way Liszt wrote some of his Hungarian Rhapsodies, with a slow first half and then an accelerated rhythmic close. The second dance feels like an aria, or a lullaby, with the piano playing gentle rolling chords. Later, the piano takes a melody that plays as a duet against the violin’s song. The third dance has a lively introduction, like a grande waltz. It’s faster than the other songs, but more restrained, and has some notable counterpoint. The last dance starts in the minor, and has a similar texture to the second dance. It has a lighter middle section, before recapping the beginning, and flying into a frantic coda. It would be more appropriate to call these “English” dances, but I assume Coleridge-Taylor wanted remind others that he was an African Englishman, and wanted to evoke a culture that, at the time, was otherwise ignored as being “less” cultured by most Europeans. If in name only. Dances: 1. Allegro 2. Andante molto sostenuto e dolce 3. Allegro con brio 4. Allegro energico
mikrokosmos: Coleridge-Taylor – 4 African Dances, op. 58 (1904) Came across these little pearls while listening to an album of Coleridge-Taylor’s chamber music. Despite the title, the music doesn’t sound like any African music I’ve heard. If anything it feels like it have been written by a French contemporary. But he did say that the…
0 notes
Quote
Coleridge-Taylor – 4 African Dances, op. 58 (1904) Came across these little pearls while listening to an album of Coleridge-Taylor’s chamber music. Despite the title, the music doesn’t sound like any African music I’ve heard. If anything it feels like it have been written by a French contemporary. But he did say that the second dance’s melody was based off an African folk theme he had heard. Unfortunately, I cannot find what part of Africa the melody is probably from, maybe I would guess Sierra Leone because that is where his father was from. Each dance exploits the violin’s abilities, from long song-like lines, to virtuosic scratching. The first dance has a beautiful flowing melody over soft dissonances, with a second section as a faster revision of the first. It reminds me of the way Liszt wrote some of his Hungarian Rhapsodies, with a slow first half and then an accelerated rhythmic close. The second dance feels like an aria, or a lullaby, with the piano playing gentle rolling chords. Later, the piano takes a melody that plays as a duet against the violin’s song. The third dance has a lively introduction, like a grande waltz. It’s faster than the other songs, but more restrained, and has some notable counterpoint. The last dance starts in the minor, and has a similar texture to the second dance. It has a lighter middle section, before recapping the beginning, and flying into a frantic coda. It would be more appropriate to call these “English” dances, but I assume Coleridge-Taylor wanted remind others that he was an African Englishman, and wanted to evoke a culture that, at the time, was otherwise ignored as being “less” cultured by most Europeans. If in name only. Dances: 1. Allegro 2. Andante molto sostenuto e dolce 3. Allegro con brio 4. Allegro energico
mikrokosmos: Coleridge-Taylor – 4 African Dances, op. 58 (1904) Came across these little pearls while listening to an album of Coleridge-Taylor’s chamber music. Despite the title, the music doesn’t sound like any African music I’ve heard. If anything it feels like it have been written by a French contemporary. But he did say that the…
0 notes
hushilda · 2 years
Quote
Coleridge-Taylor – 4 African Dances, op. 58 (1904) Came across these little pearls while listening to an album of Coleridge-Taylor’s chamber music. Despite the title, the music doesn’t sound like any African music I’ve heard. If anything it feels like it have been written by a French contemporary. But he did say that the second dance’s melody was based off an African folk theme he had heard. Unfortunately, I cannot find what part of Africa the melody is probably from, maybe I would guess Sierra Leone because that is where his father was from. Each dance exploits the violin’s abilities, from long song-like lines, to virtuosic scratching. The first dance has a beautiful flowing melody over soft dissonances, with a second section as a faster revision of the first. It reminds me of the way Liszt wrote some of his Hungarian Rhapsodies, with a slow first half and then an accelerated rhythmic close. The second dance feels like an aria, or a lullaby, with the piano playing gentle rolling chords. Later, the piano takes a melody that plays as a duet against the violin’s song. The third dance has a lively introduction, like a grande waltz. It’s faster than the other songs, but more restrained, and has some notable counterpoint. The last dance starts in the minor, and has a similar texture to the second dance. It has a lighter middle section, before recapping the beginning, and flying into a frantic coda. It would be more appropriate to call these “English” dances, but I assume Coleridge-Taylor wanted remind others that he was an African Englishman, and wanted to evoke a culture that, at the time, was otherwise ignored as being “less” cultured by most Europeans. If in name only. Dances: 1. Allegro 2. Andante molto sostenuto e dolce 3. Allegro con brio 4. Allegro energico
mikrokosmos: Coleridge-Taylor – 4 African Dances, op. 58 (1904) Came across these little pearls while listening to an album of Coleridge-Taylor’s chamber music. Despite the title, the music doesn’t sound like any African music I’ve heard. If anything it feels like it have been written by a French contemporary. But he did say that the…
0 notes
Quote
Strauss – Symphonia Domestica (1903) “What can be more serious than family life? I want the Symphonia domestica to be understood seriously.” For fun, friends will ask each other what their “guilty pleasure” music is, and usually I think “well, obviously none of my classical favorites count. what’s ‘guilty’ about classical music?” But that was me thinking with a kind of classical-superiority bias. There’s plenty of works that aren’t “great”, but are a lot of fun, for the sake of spectacle. In this case I’ll say that my recent ‘guilty pleasure’ favorite is Richard Strauss’ last tone poem, the “Symphonia Domestica”. To me it kind of exemplifies reasons people would dislike late and post Romanticism. The “story” is a musical portrait of a daily life in a family. Specifically, Strauss’ family. He has a heroic theme for himself, the husband/father, a gorgeous Hollywood love theme for the wife/mother (the singer, Pauline), and the ferocious wailing of their crying baby. We hear the family having fun together, the baby crying, soothed by a lullaby (here quoting Mendelssohn’s Venetian Boat-Song op.19 no.6, another piece close to my heart), then an intimate scene when the parents are alone (another instance that made critics roll their eyes), then an argument or “merry dispute” in the form of a double fugue, with an over-the-top apotheosis of the themes. Filtering the model for the “traditional” family, an otherwise banal topic, with the sonic vocabulary of Wagner’s “Twilight of the Gods”, made a lot of audiences and critics roll their eyes. It also doesn’t help that the themes aren’t really transformed as much as they’re re-orchestrated. At the same time I think people are ignoring the Mozartian side of Strauss. This piece is silly, in good ways, and has charm and fun. I opened this post quoting Strauss about the music. Maybe it’s a good reminder that we can romanticize our own lives, and treat our daily struggles and interactions as being significant enough to be depicted with such lavishness. And that lavishness is why I enjoy this work, and many others by Strauss which I’m ok with admitting are “second rate” (as he said of himself, “I may not be a first-rate composer, but I am a first-class second-rate composer.”) because of the shear sounds, textures, and colors he creates with the orchestra. Hans Richter poked fun at the baby’s depictions in this piece with “All the cataclysms of the downfall of the gods in burning Valhalla do not make a quarter of the noise of one Bavarian baby in his bath.” The intense orchestral noise here, the over-abundance, is what brings me back to Strauss again and again. I especially love the last five minutes of the finale, where the themes come back with more extravagant orchestration, and with a nod toward Haydn and Beethoven’s musical humor, the piece refuses to end! Movements: Introduction and development of principal themes 2. Scherzo 3. Adagio 4. Finale
mikrokosmos: Strauss – Symphonia Domestica (1903) “What can be more serious than family life? I want the Symphonia domestica to be understood seriously.” For fun, friends will ask each other what their “guilty pleasure” music is, and usually I think “well, obviously none of my classical favorites count. what’s ‘guilty’ about classical music?” But that…
0 notes
tinas-art · 2 years
Quote
Strauss – Symphonia Domestica (1903) “What can be more serious than family life? I want the Symphonia domestica to be understood seriously.” For fun, friends will ask each other what their “guilty pleasure” music is, and usually I think “well, obviously none of my classical favorites count. what’s ‘guilty’ about classical music?” But that was me thinking with a kind of classical-superiority bias. There’s plenty of works that aren’t “great”, but are a lot of fun, for the sake of spectacle. In this case I’ll say that my recent ‘guilty pleasure’ favorite is Richard Strauss’ last tone poem, the “Symphonia Domestica”. To me it kind of exemplifies reasons people would dislike late and post Romanticism. The “story” is a musical portrait of a daily life in a family. Specifically, Strauss’ family. He has a heroic theme for himself, the husband/father, a gorgeous Hollywood love theme for the wife/mother (the singer, Pauline), and the ferocious wailing of their crying baby. We hear the family having fun together, the baby crying, soothed by a lullaby (here quoting Mendelssohn’s Venetian Boat-Song op.19 no.6, another piece close to my heart), then an intimate scene when the parents are alone (another instance that made critics roll their eyes), then an argument or “merry dispute” in the form of a double fugue, with an over-the-top apotheosis of the themes. Filtering the model for the “traditional” family, an otherwise banal topic, with the sonic vocabulary of Wagner’s “Twilight of the Gods”, made a lot of audiences and critics roll their eyes. It also doesn’t help that the themes aren’t really transformed as much as they’re re-orchestrated. At the same time I think people are ignoring the Mozartian side of Strauss. This piece is silly, in good ways, and has charm and fun. I opened this post quoting Strauss about the music. Maybe it’s a good reminder that we can romanticize our own lives, and treat our daily struggles and interactions as being significant enough to be depicted with such lavishness. And that lavishness is why I enjoy this work, and many others by Strauss which I’m ok with admitting are “second rate” (as he said of himself, “I may not be a first-rate composer, but I am a first-class second-rate composer.”) because of the shear sounds, textures, and colors he creates with the orchestra. Hans Richter poked fun at the baby’s depictions in this piece with “All the cataclysms of the downfall of the gods in burning Valhalla do not make a quarter of the noise of one Bavarian baby in his bath.” The intense orchestral noise here, the over-abundance, is what brings me back to Strauss again and again. I especially love the last five minutes of the finale, where the themes come back with more extravagant orchestration, and with a nod toward Haydn and Beethoven’s musical humor, the piece refuses to end! Movements: Introduction and development of principal themes 2. Scherzo 3. Adagio 4. Finale
mikrokosmos: Strauss – Symphonia Domestica (1903) “What can be more serious than family life? I want the Symphonia domestica to be understood seriously.” For fun, friends will ask each other what their “guilty pleasure” music is, and usually I think “well, obviously none of my classical favorites count. what’s ‘guilty’ about classical music?” But that…
0 notes
hushilda · 2 years
Quote
Strauss – Symphonia Domestica (1903) “What can be more serious than family life? I want the Symphonia domestica to be understood seriously.” For fun, friends will ask each other what their “guilty pleasure” music is, and usually I think “well, obviously none of my classical favorites count. what’s ‘guilty’ about classical music?” But that was me thinking with a kind of classical-superiority bias. There’s plenty of works that aren’t “great”, but are a lot of fun, for the sake of spectacle. In this case I’ll say that my recent ‘guilty pleasure’ favorite is Richard Strauss’ last tone poem, the “Symphonia Domestica”. To me it kind of exemplifies reasons people would dislike late and post Romanticism. The “story” is a musical portrait of a daily life in a family. Specifically, Strauss’ family. He has a heroic theme for himself, the husband/father, a gorgeous Hollywood love theme for the wife/mother (the singer, Pauline), and the ferocious wailing of their crying baby. We hear the family having fun together, the baby crying, soothed by a lullaby (here quoting Mendelssohn’s Venetian Boat-Song op.19 no.6, another piece close to my heart), then an intimate scene when the parents are alone (another instance that made critics roll their eyes), then an argument or “merry dispute” in the form of a double fugue, with an over-the-top apotheosis of the themes. Filtering the model for the “traditional” family, an otherwise banal topic, with the sonic vocabulary of Wagner’s “Twilight of the Gods”, made a lot of audiences and critics roll their eyes. It also doesn’t help that the themes aren’t really transformed as much as they’re re-orchestrated. At the same time I think people are ignoring the Mozartian side of Strauss. This piece is silly, in good ways, and has charm and fun. I opened this post quoting Strauss about the music. Maybe it’s a good reminder that we can romanticize our own lives, and treat our daily struggles and interactions as being significant enough to be depicted with such lavishness. And that lavishness is why I enjoy this work, and many others by Strauss which I’m ok with admitting are “second rate” (as he said of himself, “I may not be a first-rate composer, but I am a first-class second-rate composer.”) because of the shear sounds, textures, and colors he creates with the orchestra. Hans Richter poked fun at the baby’s depictions in this piece with “All the cataclysms of the downfall of the gods in burning Valhalla do not make a quarter of the noise of one Bavarian baby in his bath.” The intense orchestral noise here, the over-abundance, is what brings me back to Strauss again and again. I especially love the last five minutes of the finale, where the themes come back with more extravagant orchestration, and with a nod toward Haydn and Beethoven’s musical humor, the piece refuses to end! Movements: Introduction and development of principal themes 2. Scherzo 3. Adagio 4. Finale
mikrokosmos: Strauss – Symphonia Domestica (1903) “What can be more serious than family life? I want the Symphonia domestica to be understood seriously.” For fun, friends will ask each other what their “guilty pleasure” music is, and usually I think “well, obviously none of my classical favorites count. what’s ‘guilty’ about classical music?” But that…
0 notes
Quote
Strauss – Symphonia Domestica (1903) “What can be more serious than family life? I want the Symphonia domestica to be understood seriously.” For fun, friends will ask each other what their “guilty pleasure” music is, and usually I think “well, obviously none of my classical favorites count. what’s ‘guilty’ about classical music?” But that was me thinking with a kind of classical-superiority bias. There’s plenty of works that aren’t “great”, but are a lot of fun, for the sake of spectacle. In this case I’ll say that my recent ‘guilty pleasure’ favorite is Richard Strauss’ last tone poem, the “Symphonia Domestica”. To me it kind of exemplifies reasons people would dislike late and post Romanticism. The “story” is a musical portrait of a daily life in a family. Specifically, Strauss’ family. He has a heroic theme for himself, the husband/father, a gorgeous Hollywood love theme for the wife/mother (the singer, Pauline), and the ferocious wailing of their crying baby. We hear the family having fun together, the baby crying, soothed by a lullaby (here quoting Mendelssohn’s Venetian Boat-Song op.19 no.6, another piece close to my heart), then an intimate scene when the parents are alone (another instance that made critics roll their eyes), then an argument or “merry dispute” in the form of a double fugue, with an over-the-top apotheosis of the themes. Filtering the model for the “traditional” family, an otherwise banal topic, with the sonic vocabulary of Wagner’s “Twilight of the Gods”, made a lot of audiences and critics roll their eyes. It also doesn’t help that the themes aren’t really transformed as much as they’re re-orchestrated. At the same time I think people are ignoring the Mozartian side of Strauss. This piece is silly, in good ways, and has charm and fun. I opened this post quoting Strauss about the music. Maybe it’s a good reminder that we can romanticize our own lives, and treat our daily struggles and interactions as being significant enough to be depicted with such lavishness. And that lavishness is why I enjoy this work, and many others by Strauss which I’m ok with admitting are “second rate” (as he said of himself, “I may not be a first-rate composer, but I am a first-class second-rate composer.”) because of the shear sounds, textures, and colors he creates with the orchestra. Hans Richter poked fun at the baby’s depictions in this piece with “All the cataclysms of the downfall of the gods in burning Valhalla do not make a quarter of the noise of one Bavarian baby in his bath.” The intense orchestral noise here, the over-abundance, is what brings me back to Strauss again and again. I especially love the last five minutes of the finale, where the themes come back with more extravagant orchestration, and with a nod toward Haydn and Beethoven’s musical humor, the piece refuses to end! Movements: Introduction and development of principal themes 2. Scherzo 3. Adagio 4. Finale
mikrokosmos: Strauss – Symphonia Domestica (1903) “What can be more serious than family life? I want the Symphonia domestica to be understood seriously.” For fun, friends will ask each other what their “guilty pleasure” music is, and usually I think “well, obviously none of my classical favorites count. what’s ‘guilty’ about classical music?” But that…
0 notes