#mahler 5 maybe ?

[okkotszn]

symphonies

character - miguel o'hara x classicalmusician!reader headcanons

warnings - none

— notes; this is a little self indulgent as i'm a classical musician...anyways stream mahler 3!! also wow i'm posting two times in a week...

at first he’s indifferent towards you, thinking you’re like every other spider-person that's incredibly annoying

except…when he actually meets you he finds out you’re a musician? he really hopes you’re not like hobie…

but you’re a classical musician…so hopefully you’re not as insufferable!

he’s not very well versed in the classical world and he’s only ever heard of mozart and beethoven…maybe tchaikovsky

you might tend to listen to it a lot and after miguel warms up to you, he won’t admit he’s a bit interested in learning more about the genre

you’ll be listening to mahler 1 or shostakovich 5 and he’ll be wondering why people think classical music is calming. he can’t focus at all!

start introducing him to more classics: the planets, an american in paris, and maybe even dvorak 9.

don’t forget the concertos! he’d probably really love rachmaninoff's 2nd piano concerto because i mean who doesn’t

you two would have little listening sessions together

take him to your dimension to see the ny phil! if you perform, let him come to your concerts!

he’d love nothing more than to support you

[ryunumber]

Wait, sorry, I didn't see the rules about "only video game characters", so I'd like to propose The Highwayman from Darkest Dungeon instead of Mahler and/or Vivaldi!

Accidentally deleted the initial ask with Gustav Mahler and/or Antonio Vivaldi, whoops. My bad!

Gustav Mahler has a Ryu Number of 2. I'm not aware of any game with Antonio Vivaldi, and as for the Highwayman, well, another time, maybe.

(CORRECTION: Per @throw-your-boat, Vivaldi is a Great Musician in Civilization VI and therefore has a Ryu Number of 2.)

(clarification below)

For clarification, see Ryunosuke Naruhodo. Gustav Mahler's Great Work of Music in Civilization V is Symphony No. 5, and Antonio Vivaldi's Great Works are Four Seasons: Winter and La Notte Concerto.

[recapitulation]

hi lexi ❣️ i saw you french horn posting and it made me think about how much i loved the french horn when i was a kid so i would love to know if you have recommendations for some french horn listening ok go 🎤

JESS 🫶🫶🫶🫶 you looked into my mind and found the question I most wanted to be asked at all times.... 💕💌💕💌💕

my fav horn concerto is gliere, especially the second movement... it's so full of warmth and feels like a hug 🫶 or maybe a kiss... 😳

when I tell you I'm fucking obsessed w the tcherepnin horn quartets I mean I am still to this day getting chills after years of listening on repeat... especially the first one! the peacefulness here is beyond words imo

richard strauss concerto!!! captivating from the immediate beginning!!

franz strauss concerto!! back when I used to run this was one of my favorites to run to 🏃‍♂️

the opening of bruckner symphony 4 is one of my favorite horn moments ever and the symphony as a whole is one of my favorites! bruckner is famous among horn players for knowing how to utilize the horn 🫶

speaking of famous among horn players 😏 mahler 5 is a horn player favorite and I would reccomend listening 10 thousand times if you haven't already!! it has many many many romantic, sweeping horn solos!

haha did you think I would finish this list without saying mahler 2. MAHLER 2!!!!!!! seriously genuinely and for real this piece changed my fucking life. it is famous for its ending for a reason it fucks severely. and there's so so so many good horn parts bc mahler was a fucking genius.

I will link the very ending of mahler 2 bc it gives me chills every time but I will say the emotional payoff is probably not as great if you aren't already familiar w all of the themes as he layers them all together so I would reccomend listening from the beginning!!!

[annieversary3]

Classical music gal from earlier, what's your favorite mahler symphony? Personally I like 1 and 5 the most out of what I've listened to.

its between 3 and 5, but i can't remember if i've listened to 1 so maybe that changes after i do :3

[supercantaloupe]

top 5 symphonies you'd like to play 😈

going to limit this to symphonies i would like to play but haven't yet cause i've played a bunch already haha

dvorak 8. it's like the little sister to dvorak 9 and i love it also

tchaikovsky 4. daunting but feels like it would be a right of passage to me as an oboist

william grant still 2. or 1. i like them both

mahler 1. the middle two movements get me...

hmm....tchaikovsky 6 maybe? i think i like earlier tchaik better but again those middle two movements

[ask meme]

[slaygentford]

Hi <3 I heard part of Mahler’s symphony No 5 in a Hannibal episode and really liked it so I got high on edibles and listened to it (new philharmonic orchestra version) jus like laying down on my bed in the dark, and that experience changed me, it was transcendental. So maybe try that!

oh wait this is an INCREDIBLE idea like genuinely. I can't believe I haven't tried that like I'm being genuine rn that's usually my first method. do you. sorry do you remember which episode.

[sebrrari]

i wish i could do one of those like hyper-specific really immersive au fics but i think the only one i know well enough to pull off is the ~cutthroat~ world of symphony orchestras. daniel is a silly but excellent percussionist max is their star little prodigy trumpet player and they bust out like everything for him in his first season with them.

the fuckin mahler 5, petrouchka, the hummel trumpet concerto. like the programming is a MESS because they’re literally falling over themselves to give max as much spotlight as possible because people are coming in droves to see the new superstar.

except daniel used to be kind of the “star” of the orchestra like he gained a lot of traction with younger audiences because he was cool and he had friends in popular bands and he sometimes guested at their shows like very “oh dropping by the local warped tour stop and gonna hop onstage with my friends and maybe swap in for a song or too while i’m there” kind of shit.

but then max came. and daniel was performing JUST as well as he always was, better than ever even, but max came. and this season’s program is tough on the percussion he’s covering, too! it’s challenging rep for him too!!!! hello!!! but he’s being overshadowed by max and also max’s dad is always backstage? just like- hanging out? what the fuck is that even about. that kid is STRANGE and tbh daniel resents him a little.

and then they meet. they like have practice rooms next to each other idk idk! but shit, daniel is charmed by max instantly. and they hit it off. and they keep practicing next to each other until it’s less practicing more flirting and possibly things that should never be done in practice rooms because that would be very inappropriate and irresponsible

[werewolvesandaccordions]

Reger – Variations and Fugue on a Theme by Mozart (1914) The Mozart theme used for this set is the theme from his variations that open the Piano Sonata in A Major K.331. Here, the simple classical melody is subject to Romantic lavishness and heavy contrapuntal writing, cumulating with a large fugue. Reger explained that one of the intentions of this work was to write something pushing back against the “unnatural, quirkiness, and eccentricity” of contemporary Modernisms. This brings up the difficult point of how to try and ‘label’ Reger as a composer. On the one hand, he was written off as an avant-garde Modernist whose music was overwritten, gnarled, and “academic”. A density that, for those who loved him, came off as a direction for the future of music. Schoenberg had considered Reger among the best of the time, and speculated that, had he lived longer, he would have also ventured into atonality. On the other hand, Reger was emphatic about sticking with the German music tradition, with a lot of influence from Bach and Brahms, and his style is in retrospect sometimes dismissed as (again) overwritten and maybe overripe Romanticism. And from the quote already shared, it seems that he personally didn’t see vitality or future in “atonal” music. I’m guessing that he was closer to Schoenberg than one would assume. Perhaps the issue he had with other Modern styles was that they seemed to lack a coherent formal model that could supplant the models of the classical tradition. That’s at least one of the main reasons Schoenberg had developed 12 tonality; to create a framework that could organize an atonal scheme and give it compositional weight. Regardless, Reger’s dense and thick textures mixed with frequent modulations make his music a difficult nut to crack, but you can always find lyricism and beautiful moments. The Theme is simple and delicate, with the oboe and clarinets singled out. It is a direct orchestration of the sonata theme and maintains its placid mood. Var 1 is flourishing that sounds almost saccharine in its density, like a painting full of flowers and birds and insects. It also flips the theme upside down and mirrors itself in the haze. Var 2 undulates over a snippet of the melody’s opening through chromatic surges, almost turning into a ball dance. Var 3 brings back the alternating sonorities of the theme’s orchestration, now including a pulsing figure in the violin. Var 4 is like a scherzo / march, completely driven by the rhythm. Var 5 is full of chromaticism and has a kind of mischievous magical atmosphere like nodding toward Holst’s Uranus or Dukas’ Sorcerer’s Apprentice. Var 6. brings back the fluttering of the first, a bit subdued with deep strings, lots of ‘birdsong’. Var 7 slows down a bit and makes the melody clear, along with some countermelodies in harmony. Var 8 is like a tragic opera aria, gushy and intense, and the ending sounds like Mahler with its long held notes and emotional modulations. The concluding fugue has a deceptively simple opening with solo violin, but the subject is very long and the harmony keeps shifting. The ‘apotheosis’ of a musical theme, in the common practice tradition at least, is to go through the procedures of a fugue. The point of the fugue was to explore the inherent harmonic potentials of the subject. Here, a subject that seems unrelated to the Mozart theme is explored in dizzying and stormy counterpoint, grinding through in a logical but intense progression that sounds like a struggle. At least one big difference between the “Romantic fugue” and the “Baroque fugue” is that the Romantics in a way treat the subject as a main character who has to experience a conflict and fight for an eventual resolution. Here that victory is the triumphant return of Mozart’s melody, now superimposed with the complicated fugue theme to reveal that it had always been implying a new harmonic progression “inherent” in the Mozart original.

mikrokosmos: Reger – Variations and Fugue on a Theme by Mozart (1914) The Mozart theme used for this set is the theme from his variations that open the Piano Sonata in A Major K.331. Here, the simple classical melody is subject to Romantic lavishness and heavy contrapuntal writing, cumulating with a large fugue. Reger explained…

[tinas-art]

Reger – Variations and Fugue on a Theme by Mozart (1914) The Mozart theme used for this set is the theme from his variations that open the Piano Sonata in A Major K.331. Here, the simple classical melody is subject to Romantic lavishness and heavy contrapuntal writing, cumulating with a large fugue. Reger explained that one of the intentions of this work was to write something pushing back against the “unnatural, quirkiness, and eccentricity” of contemporary Modernisms. This brings up the difficult point of how to try and ‘label’ Reger as a composer. On the one hand, he was written off as an avant-garde Modernist whose music was overwritten, gnarled, and “academic”. A density that, for those who loved him, came off as a direction for the future of music. Schoenberg had considered Reger among the best of the time, and speculated that, had he lived longer, he would have also ventured into atonality. On the other hand, Reger was emphatic about sticking with the German music tradition, with a lot of influence from Bach and Brahms, and his style is in retrospect sometimes dismissed as (again) overwritten and maybe overripe Romanticism. And from the quote already shared, it seems that he personally didn’t see vitality or future in “atonal” music. I’m guessing that he was closer to Schoenberg than one would assume. Perhaps the issue he had with other Modern styles was that they seemed to lack a coherent formal model that could supplant the models of the classical tradition. That’s at least one of the main reasons Schoenberg had developed 12 tonality; to create a framework that could organize an atonal scheme and give it compositional weight. Regardless, Reger’s dense and thick textures mixed with frequent modulations make his music a difficult nut to crack, but you can always find lyricism and beautiful moments. The Theme is simple and delicate, with the oboe and clarinets singled out. It is a direct orchestration of the sonata theme and maintains its placid mood. Var 1 is flourishing that sounds almost saccharine in its density, like a painting full of flowers and birds and insects. It also flips the theme upside down and mirrors itself in the haze. Var 2 undulates over a snippet of the melody’s opening through chromatic surges, almost turning into a ball dance. Var 3 brings back the alternating sonorities of the theme’s orchestration, now including a pulsing figure in the violin. Var 4 is like a scherzo / march, completely driven by the rhythm. Var 5 is full of chromaticism and has a kind of mischievous magical atmosphere like nodding toward Holst’s Uranus or Dukas’ Sorcerer’s Apprentice. Var 6. brings back the fluttering of the first, a bit subdued with deep strings, lots of ‘birdsong’. Var 7 slows down a bit and makes the melody clear, along with some countermelodies in harmony. Var 8 is like a tragic opera aria, gushy and intense, and the ending sounds like Mahler with its long held notes and emotional modulations. The concluding fugue has a deceptively simple opening with solo violin, but the subject is very long and the harmony keeps shifting. The ‘apotheosis’ of a musical theme, in the common practice tradition at least, is to go through the procedures of a fugue. The point of the fugue was to explore the inherent harmonic potentials of the subject. Here, a subject that seems unrelated to the Mozart theme is explored in dizzying and stormy counterpoint, grinding through in a logical but intense progression that sounds like a struggle. At least one big difference between the “Romantic fugue” and the “Baroque fugue” is that the Romantics in a way treat the subject as a main character who has to experience a conflict and fight for an eventual resolution. Here that victory is the triumphant return of Mozart’s melody, now superimposed with the complicated fugue theme to reveal that it had always been implying a new harmonic progression “inherent” in the Mozart original.

mikrokosmos: Reger – Variations and Fugue on a Theme by Mozart (1914) The Mozart theme used for this set is the theme from his variations that open the Piano Sonata in A Major K.331. Here, the simple classical melody is subject to Romantic lavishness and heavy contrapuntal writing, cumulating with a large fugue. Reger explained…

[symphonybracket]

[ID: reply by @pricklyest "wait do suites count. some people think they don't. it's too late bc I already submitted scheherazade but I'm thinking abt submitting the planets too." /end ID]

I'd like to compare apples to apples as much as possible, so when I made this I was thinking of including only straight symphonies ("symphony number x") and no suites or symphonic poems etc. Comparing the planets to Mahler 5 feels a lot different than comparing Bruckner 4 to Mahler 5.

But since this is a silly tumblr bracket after all... let's put it to a poll! Maybe more variety = more fun?

[hushilda]

Reger – Variations and Fugue on a Theme by Mozart (1914) The Mozart theme used for this set is the theme from his variations that open the Piano Sonata in A Major K.331. Here, the simple classical melody is subject to Romantic lavishness and heavy contrapuntal writing, cumulating with a large fugue. Reger explained that one of the intentions of this work was to write something pushing back against the “unnatural, quirkiness, and eccentricity” of contemporary Modernisms. This brings up the difficult point of how to try and ‘label’ Reger as a composer. On the one hand, he was written off as an avant-garde Modernist whose music was overwritten, gnarled, and “academic”. A density that, for those who loved him, came off as a direction for the future of music. Schoenberg had considered Reger among the best of the time, and speculated that, had he lived longer, he would have also ventured into atonality. On the other hand, Reger was emphatic about sticking with the German music tradition, with a lot of influence from Bach and Brahms, and his style is in retrospect sometimes dismissed as (again) overwritten and maybe overripe Romanticism. And from the quote already shared, it seems that he personally didn’t see vitality or future in “atonal” music. I’m guessing that he was closer to Schoenberg than one would assume. Perhaps the issue he had with other Modern styles was that they seemed to lack a coherent formal model that could supplant the models of the classical tradition. That’s at least one of the main reasons Schoenberg had developed 12 tonality; to create a framework that could organize an atonal scheme and give it compositional weight. Regardless, Reger’s dense and thick textures mixed with frequent modulations make his music a difficult nut to crack, but you can always find lyricism and beautiful moments. The Theme is simple and delicate, with the oboe and clarinets singled out. It is a direct orchestration of the sonata theme and maintains its placid mood. Var 1 is flourishing that sounds almost saccharine in its density, like a painting full of flowers and birds and insects. It also flips the theme upside down and mirrors itself in the haze. Var 2 undulates over a snippet of the melody’s opening through chromatic surges, almost turning into a ball dance. Var 3 brings back the alternating sonorities of the theme’s orchestration, now including a pulsing figure in the violin. Var 4 is like a scherzo / march, completely driven by the rhythm. Var 5 is full of chromaticism and has a kind of mischievous magical atmosphere like nodding toward Holst’s Uranus or Dukas’ Sorcerer’s Apprentice. Var 6. brings back the fluttering of the first, a bit subdued with deep strings, lots of ‘birdsong’. Var 7 slows down a bit and makes the melody clear, along with some countermelodies in harmony. Var 8 is like a tragic opera aria, gushy and intense, and the ending sounds like Mahler with its long held notes and emotional modulations. The concluding fugue has a deceptively simple opening with solo violin, but the subject is very long and the harmony keeps shifting. The ‘apotheosis’ of a musical theme, in the common practice tradition at least, is to go through the procedures of a fugue. The point of the fugue was to explore the inherent harmonic potentials of the subject. Here, a subject that seems unrelated to the Mozart theme is explored in dizzying and stormy counterpoint, grinding through in a logical but intense progression that sounds like a struggle. At least one big difference between the “Romantic fugue” and the “Baroque fugue” is that the Romantics in a way treat the subject as a main character who has to experience a conflict and fight for an eventual resolution. Here that victory is the triumphant return of Mozart’s melody, now superimposed with the complicated fugue theme to reveal that it had always been implying a new harmonic progression “inherent” in the Mozart original.

mikrokosmos: Reger – Variations and Fugue on a Theme by Mozart (1914) The Mozart theme used for this set is the theme from his variations that open the Piano Sonata in A Major K.331. Here, the simple classical melody is subject to Romantic lavishness and heavy contrapuntal writing, cumulating with a large fugue. Reger explained…

[dariaandjanelanefanboy]

Reger – Variations and Fugue on a Theme by Mozart (1914) The Mozart theme used for this set is the theme from his variations that open the Piano Sonata in A Major K.331. Here, the simple classical melody is subject to Romantic lavishness and heavy contrapuntal writing, cumulating with a large fugue. Reger explained that one of the intentions of this work was to write something pushing back against the “unnatural, quirkiness, and eccentricity” of contemporary Modernisms. This brings up the difficult point of how to try and ‘label’ Reger as a composer. On the one hand, he was written off as an avant-garde Modernist whose music was overwritten, gnarled, and “academic”. A density that, for those who loved him, came off as a direction for the future of music. Schoenberg had considered Reger among the best of the time, and speculated that, had he lived longer, he would have also ventured into atonality. On the other hand, Reger was emphatic about sticking with the German music tradition, with a lot of influence from Bach and Brahms, and his style is in retrospect sometimes dismissed as (again) overwritten and maybe overripe Romanticism. And from the quote already shared, it seems that he personally didn’t see vitality or future in “atonal” music. I’m guessing that he was closer to Schoenberg than one would assume. Perhaps the issue he had with other Modern styles was that they seemed to lack a coherent formal model that could supplant the models of the classical tradition. That’s at least one of the main reasons Schoenberg had developed 12 tonality; to create a framework that could organize an atonal scheme and give it compositional weight. Regardless, Reger’s dense and thick textures mixed with frequent modulations make his music a difficult nut to crack, but you can always find lyricism and beautiful moments. The Theme is simple and delicate, with the oboe and clarinets singled out. It is a direct orchestration of the sonata theme and maintains its placid mood. Var 1 is flourishing that sounds almost saccharine in its density, like a painting full of flowers and birds and insects. It also flips the theme upside down and mirrors itself in the haze. Var 2 undulates over a snippet of the melody’s opening through chromatic surges, almost turning into a ball dance. Var 3 brings back the alternating sonorities of the theme’s orchestration, now including a pulsing figure in the violin. Var 4 is like a scherzo / march, completely driven by the rhythm. Var 5 is full of chromaticism and has a kind of mischievous magical atmosphere like nodding toward Holst’s Uranus or Dukas’ Sorcerer’s Apprentice. Var 6. brings back the fluttering of the first, a bit subdued with deep strings, lots of ‘birdsong’. Var 7 slows down a bit and makes the melody clear, along with some countermelodies in harmony. Var 8 is like a tragic opera aria, gushy and intense, and the ending sounds like Mahler with its long held notes and emotional modulations. The concluding fugue has a deceptively simple opening with solo violin, but the subject is very long and the harmony keeps shifting. The ‘apotheosis’ of a musical theme, in the common practice tradition at least, is to go through the procedures of a fugue. The point of the fugue was to explore the inherent harmonic potentials of the subject. Here, a subject that seems unrelated to the Mozart theme is explored in dizzying and stormy counterpoint, grinding through in a logical but intense progression that sounds like a struggle. At least one big difference between the “Romantic fugue” and the “Baroque fugue” is that the Romantics in a way treat the subject as a main character who has to experience a conflict and fight for an eventual resolution. Here that victory is the triumphant return of Mozart’s melody, now superimposed with the complicated fugue theme to reveal that it had always been implying a new harmonic progression “inherent” in the Mozart original.

mikrokosmos: Reger – Variations and Fugue on a Theme by Mozart (1914) The Mozart theme used for this set is the theme from his variations that open the Piano Sonata in A Major K.331. Here, the simple classical melody is subject to Romantic lavishness and heavy contrapuntal writing, cumulating with a large fugue. Reger explained…

[recapitulation]

ok, favorite mahler 2 movement But you're not allowed to say the last one bc it's too good.

ok controversial maybe..... but here is my mahler 2 movement tierlist:

4 > 5 > 1 > 3 > 2

but I looooove 4 5 and 1 about the same they are so dear to me.... there's really nothing like getting your skin blasted off by the finale but I also LOVE the brass chorale in 4 and the first movement is the first one i REALLY fell in love with. I was playing mvmt 1 on loop for months and months before I really started to love the rest of it.. I think it was because I was initially kind of put off by vocals in my classical music 😶

anyway we mahler girlies must train up before the tuesday tchaik battle 😤 we must arm ourselves with death shrieks 💪

[monsterslament]

I wanna learn Latin but I can't keep a streak of duolingo if it could save my life

[willgrahambf]

i think it’s a crime that the mahler symphony no 5: iv. adagietto was only used once on hannibal like it should’ve been hannibal and will’s theme. idk maybe this is slander but it would’ve fit over the last scene of wrath of the lamb so well. every time i listen to it i feel like bursting into tears, my heart ripping itself out of my chest as think about these two idiots being so in love and destroying/creating each other