#tocatta

[prokopetz]

Does your retro game really capture the zeitgeist of the mid 1980s PC gaming scene if it doesn't prominently feature a monophonic square wave rendition of Beethoven's Moonlight Sonata?

[sosomikeladze]

პოლ მორია "ტოკატა" (დემო-ვერსია, საქსოფონი)

პოლ მორია “ტოკატა” (დემო-ვერსია, საქსოფონი)

P. S. ექსპრომტად ჩავწერე პოლ მორიას შედევრი…

[thedragonagelesbian]

i think yiseeril was trained as an organist when she was with the children of the passive voice. obviously musical instruction would have been part of her preparation to become a conduit for the patron god of bards, and the aesthetics and drama of church organs are sososo good. an instrument of such colossal proportions that requires full-body dexterity and coordination to manage, the sense of teetering on the precipice of something scarcely controlled but also immensely powerful...

[only1one1me]

2 things I did not expect when going to my old mentor’s funeral today:

1. That he had an identical twin brother.

2. That after the service I was going to come up the stairs to hear Bach’s Tocatta and Fugue in d minor blasted throughout the sanctuary from the pipe organ by his grandson.

[lennat2]

Tocatta and Fugue needs to work on being longer

[onehellofashipper]

I can never just listen to one Bach piece, I always have to listen to more after I finish the first one

[mitigatingchaos]

Sunday Pipes #118

Since it is just a few days before Halloween, I thought this might be a fun video. I wonder if the local Fire Marshall knew about this fire-breathing organ? J. S. Bach’s Tocatta in D min. (BWV 565)

[shakespearesdaughters]

Hi !

I'm also a dark academia lover. Can you share some playlist ides for dark academia vibe

Absolutely!

For classic music: Passacaglia by Handel/Halvorsen; Nocturne by Chopin; Moonlight by Beethoven; Lacrimosa by Mozart; Dining with Lectre by Peter Gundry; Bach's Tocatta and Fugue in D minor. Also Bach's Prelude for Lute in C minor. Basically anything Mozart, Bach, Beethoven, Claude Debussy, Hadyn, Wagner, Chopin, Giazotto, Schumann, and Lizst.

For modern music : Anything by Hozier, The Gang of Youths, songs like The Cult of Dionysus by The Orion Express, and Brutus by The Buttress. Some of Lorde, Ethel Cain, some Lana del Rey, also Sufjan Stevens for his really sad tracks.

For movie soundtracks: Pride and Prejudice 2005, Maurice (1987), Penny Dreadful' (2014 - 2016), Black Swan (2010), Jane Eyre 2011, Portrait of a Lady on Fire 2019, The Theory of Everything (2014), Kill Your Darlings (2013), Ginger and Rosa, Wuthering Heights 2011, Little Women 2019, The Young Victoria, The Duchess, Belle. Just to name a few!

[calamitys-child]

5 song recommendations, all from very different genres?

1. OUTLAW COUNTRY. Man in Black by Johnny Cash

2. EMO. Kill All Your Friends by My Chemical Romance

3. INSTRUMENTAL/CLASSICAL. Toccata by Sky [cover of Tocatta And Fugue In D Minor by Bach]

4. QUEERCORE. Rupaul's Frack Race by Dog Park Dissidents

5. MUSICAL THEATRE. The Beauty Underneath from Love Never Dies

[cannibal-nightmares]

livetweeting this ish cause i can't think and it's my blog

^ all of those are one band. king gizzard and the lizard wizard. and im missing one or two boxsets from my collection

^ my psychedelic* collection that makes up 2/3rds of my whole record shelf hah

^ nobody talks about the back cover of this record ("fuzz iii")

^ thanks, Civic. im gonna frame this setlist cause i don't want dirt in my sleeves. im gonna frame dirt. // one of the funniest records I own. ("dopesmoker" by sleep)

^ i kinda like this album. when I worked at the record store, every time I clocked in, I'd immediately play this album. it drove my co-workers mad but i *always* got positive comments from customers. play something other than the top 50 im begging. anyways, shout out to the girl who,rushed me when "tocatta" came on and very excitedly asked me "WHAT IS THAT?!?!" she said she loved its calamity hehehe me too. im also a whore for electric organ, so. long live keith emerson.

[cassiefisherdrake]

@jalopeura

Check out "Tocatta" by OVERWERK for spooky dancy, "The World Ender" by Lord Huron for world-ending undead revenge, and "My Love Will Never Die" by AG & Claire Wyndham for an immortal couple who are probably both obsessive and maybe also causing the apocalypse!

@viiridiangreen

"High Tide" by brothertiger for 'my life kinda sucks but eh. I'll be fine. I'm just chillin'" floating in bog water vibes, but not so creepy. "77-76" by Royal Canoe for a little more haunting. "My Love Will Never Die" is also a good one if you wanna get a little Creature From the Black Lagoon about it.

"Cypress Queen" by the Last Bison is also very swampy/boggy but not so chill, more terrified/desperate to live.

[lordgroose]

numbers ask - 4, 8, 15, 16, 23

i know you asked this last night, sorry it took so long lol

4: A song that reminds you of someone you would rather forget about

Paramore - Decode. still think it's a pretty decent jam tbh, but i had an ex that really loved paramore, but it reminds me of one of my exes. ( spotify link )

8: A song about drugs or alcohol

Will Wood and the Tapeworms - The First Step. "with an enemy like me, who would need a friend-- nevermind, i'm drunk!" ( spotify link )

15: A song that is a cover by another artist

Alexisonfire - Tonight, I'm Going to Wash the Hippy, which is a cover of Moneen - Tonight, I'm Gone. ( spotify link )

16: One of your favorite classical songs

i feel like this is cheating, but DJ Scotch Egg - Scotch Bach, a chiptune version of Bach's Tocatta and Fugue in D Minor. ( spotify link )

23: A song that you think everybody should listen to

The Decemberists - The Mariner's Revenge Song. i mean, come on. ( spotify link )

[n4682]

aight so here we go. as requested by popular demand:

the cryptid classical music list - pt. 1: what

just a quick warning: most of these will be pieces in the "contemporary classical" genre, which means there will most likely be a lot of dissonance. and also most of it is just weird.

also tumblr has an audio limit, so im splitting this into multiple different posts

alright lets get this list started.

Alfred Schnittke - Concerto Grosso No. 1

I - Preludio

II - Tocatta

III - Recitativo

IV - Cadenza

V - Rondo

VI - Postludio

And starting off strong, we have Schnittke's Concerto Grosso No. 1.

It's an interesting work because if you analyze the structure, it's very similar to a baroque-era concerto. The instrumentation is also very similar, consisting of two violin soloists, string orchestra, and harpsichord. The only difference is the addition of a prepared piano (which is a piano where stuff has been put between the strings in order to give it a different sound).

However, the piece itself is very modern. There are a few execptions, specifically the beginning of the Tocatta and various places throughout the Rondo.

This is a very eldritch-horror-esque piece due to its use of Ligeti-esque micro-polyphony. What Schnittke does is he takes each induvidual section of instruments and splits it up, similar to divisi. However, he subdivides it into 8 or 12 parts instead of a more normal two or three, leading to a very dissonant and unique sound.

Honestly, if you want to start listening to this, listen to the Rondo first; it's the most accessible movement in my opinion, but whatever order you take this in is up to you.

Performance provided:

Soloists: Gidon Kremer, Tatiana Grindenko

Orchestra: Chamber Orchestra of Europe, cond. Heinrich Schiff

----------

Krzysztof Penderecki - St. Luke Passion

Part I:

O Crux ave

Et egressus

Deus meus

Domine, qui habitabit

Adhuc eo loquente

Ierusalem

Ut quid, Domine

Comprehendentes autem eum

Iudica me, Deus

Et viri, qui tenebant illum

Ierusalem

Misere me, Deus

Et surgens omnis

Part II:

Et in pulverem

Et baiulans sibi crucem

Popule meus

Ibi crucifixerunt eum

Crux fidelis

Dividentes mero

... in pulverem mortis

Et stabat populus

Unus autem

Stabant autem iuxta crucem

Stabat mater

Erat autem fere hora sexta

[Alla breve]

In pulverem mortis/In te, Domine, speravi

[side note: i was typing the above on my phone and it took like twenty minutes ::( ]

So. Penderecki's St. Luke Passion. Where do we begin?

The St. Luke Passion is an interesting one, because out of all the gospels Penderecki could have chosen, he picked the one that Bach never made into a passion. And the references don't stop there, whether it be the use of a baritone to represent Jesus, or the B-A-C-H (Bb-A-C-B) motif.

The work is totally atonal, and there are a lot of jumpscares. Like a lot. The music is also incredible, and its use of timbre is incredible. (listen to the "Et surgens omnis")

In addition, Penderecki makes great use of the choir, using them for vocal effects alongside singing (listen to the "Popule meus").

Performance provided:

Soloists: Izabella Klosińska (soprano), Adam Kruszewzki (baritone), Romuald Tesarowicz (bass), Krzysztof Kolberger (Narrator/"Evangelist")

Choir: Warsaw National Philharmonic Choir, Warsaw Boys' Choir

Orchestra: Warsaw National Philharmonic Orchestra, cond. Antoni Wit

Link to Spotify Album

----------

George Crumb - Black Angels: 13 Images from the Dark Land

I - Departure

1 - Threnody I: Night of the Electric Insects

2 - Sounds of Bones and Flutes

3 - Lost Bells

4 - Devil-music

5 - Danse Macabre

II - Absence

6 - Pavana Lachrymae (Der Tod und das Mädchen)

7 - Threnody II: Black Angels!

8 - Sarabanda de la Muerte Oscura

9 - Lost Bells (Echo)

III - Return

10 - God-music

11 - Ancient Voices

12 - Ancient Voices (Echo)

13 - Threnody III: Night of the Electric Insects

Okay, do you remember what I said at the top about the music getting weird? Well this is peak weird.

Black Angels is written for string quartet with a few interesting modifications. The score requires you to use electric instruments, which are a weird choice. In addition, the score calls for each player to also use a series of percussion instruments and their voice in addition to playing their instrument.

And there are the avant-garde aspects of this as well. Every modern playing technique in the book is used in this, such as playing on the wrong side of the fingerboard, applying large amounts of pressure to the bow, bowing behind the bridge, and plenty more.

I'm gonna be entirely honest: this music sparks a weird reaction. If I try to listen to it as background music, it makes me dissociate a solid 80% of the time. So apporach at your own risk.

Oh yeah, and also there are a lot of jumpscares.

Performace Provided:

Miró Quartet

Daniel Ching (vln), Sandy Yamamoto (vln), John Largess (vle), Joshua Gindele (vcl)

----------

Alexander Scriabin - Piano Sonata No. 5 in F# Major (Op. 53)

Okay, we're finally venturing back into more tonal territory. And we're coming back with my favourite lunatic composer of all time: Alexander Scriabin.

I'll talk about him a little bit later along the list cause I have a better piece to reference, but for now just know that he once tried to end the world with music. Anyways, back to the sonata.

The 5th Piano Sonata is in one movement and spans a lot of keys. It contains some really pretty moments, as well as some moments that make you feel a bit overwhelmed. It's also very hard. But nontheless, it's still an amazing piece, and much more accessible than his later works.

Performance Provided: Sviatoslav Richter (pfte)

----------

Alberto Ginastera - Concerto for Harp and Orchestra (Op. 25)

I - Allegro giusto

II - Molto moderato

III - Liberamente capriccioso - Vivace

i'm just gonna be entirely honest with this one: the whole piece slaps.

Alberto Ginastera was an Argentinean composer more commonly known for his Danzas Argentinas (Op. 2). But nonetheless, the Harp Concerto, the Piano Concerto No. 1 (we'll get to that one later), and the Piano Sonata No. 1 (not on this list) all slap.

Performance provided:

The Harp Concerto is probably the most accessible out of the three works I just mentioned, and that's because it goes hard. Because the harp can only be tuned to 7 different pitch classes at a time, and since they cant be tuned to double flats or sharps, it forces the music to be very tonal.

And this is they key to the work: the limitations of the harp are easily dealt with, and the harp doesn't feel overused.

Soloist: Nancy Allen (hrp)

Orchestra: Orquesta Filarmónica de la Ciudad de Mexico, cond. Enrique Bátiz

----------

And thats it for part 1! I didn't even know that there is an audio limit on Tumblr, so I've had to leave some works out of this one, but stay tuned!

[sistervirtue]

can we get gabriel masterpost I am thinking abt him rn

YESSS Ive been meaning to talk about some of his development so ill go ahead post his ref+bio and then misc thoughts

The Archangel Gabriel, known in life (and by those close to him) as Rubén Erendirani Cuini Dominguez. (The names of the Archangels are simply titles passed down by each iteration)

He was born in 1796 and died in 1823, at 26, of influenza. (his birthday is December 20th.)

His family is Purépecha, with his father being a coppersmith. They lived in Morelia, Michoacan, where Ruben would become a choirboy with the local church. From there, thanks to his musical prowess, he would become the apprentice of the maestro di capilla, and paid a salary to practice under him. During Morelos' campaign of independance, he would help independent troops through the provision of food, water, and morale (through music), as well as occasionally passing on messages through the royalist town of Morelia (then Valladolid). His soul was ascended after his death because of these deeds, and he became the Archangel Gabriel.

As the annunciator, he is the angel who spends the most time travelling between realms. He's incredibly well travelled, having been to almost every place on Earth; and even through a little bit of hell. Because of this, he also tends to be the loudest voice in advocating for human souls, and he delights in teaching his colleagues about the different accomplishments of people (everything from the invention of the telephone to trying a new food can qualify). He's immensely talented in the world of music, and capable of playing almost anything he picks up, although he favors the jalisco harp when not using his signature horn.

He also maintains somewhat of a double life in the mortal world; or, rather, he's got a side-hobby of being a human. His music does numbers online, and he's happy to observe and assist his neighbors-- wherever he may be.

He's close with Virtue, and their friendship initially is what lead her to become aware of the Seraphim's plans.

MISC:

The more I think about his role in the story, the more I realize how involved he is! I guess the only word that comes to mind is "manipulative"-- but not in the sense that he uses other people. I mean more like he's good at reading events and trying to put in action what he wants to get done. He's the closest thing the High Seraph has to an "opposition" in heaven, and his greatest strength is his humanity. His ability to connect with others and understand who can get the job done is important, both as the Annunciator and as someone who cares deeply about the future. And while the other Archangels share his humanity, as their leader he has a certain amount of charisma and motivational power that really puts things into motion, I think.

He's not someone who acts recklessly. While he has a relatively laid back personality, I don't think he'd do things without foresight or on impulse-- at least not big things. You don't exist as long as he has and not understand the consequence of your actions, so I think he's always thinking a few steps ahead.

Also, I've mentioned it before, but because I'd like to encorporate fun action I plan on giving him a combat form called "Master of the Choir". For abilities, I'm probably thinking something along the lines of Classicaloid-- but more specifically, how Bach's tocatta manifested.

(this isnt a great picture but im pretty sure it summons both gold arrows and like. a Giant God made of shiny gold dust that cancels out the musik of other loids. it's just around in the right aesthetic i have in mind)

At least aesthetically, the actual function will be different. But I had to drop a cloid reference in their somewhere :V

He really loves travel, and is probably responsible for the casual wear the archangels wear when they visit Earth, because otherwise some of them would be picking up fashion that's been out of date for a few centuries. I'm also choosing to believe he listens to Korn.

Out of all the demon princes, he probably has the closest friendship with Pride and Wrath, both because of the love of music. Pride he sees more as an equal though, since they're both approximately in the same age range. Wrath are young teens, but they do affectionately refer to Gabriel as "Old man" or even "uncle" (when they want something)

[system-of-a-feather]

how can you tell the difference between co-front/co-con and a temporary(?) fusion? mostly just curious

-💥🎮

Hmm like a lot of dissociative experiences, its kind of hard to put into words, but one of the "flags" so to say that makes them distinct is often a sense of separation and occasionally addressing / it feeling more natural to talk about both parts involved in third person despite it "definitely being you".

Like I'll use the example of the recent one that incited some of this talk, but Lucille and I were in the car (ignore my symptomatic ass forgetting we aren't literally two different people in a car) we were sitting in the car with our fiance listening to an organ performance of Bach Tocatta and Fugue in D Minor and Fugue in G Minor and for those that don't know, Lucille is a part that is a mega pretentious classical music and somewhat music history nerd who really loves the piano; I'm a huge instrumental (leaning late romantic era, soundtrack music, and brass) nerd who really loves the organ

When we are co-front, which we were vaguely before we temporarily fused, there is a distinct feeling of "me and him", I'm right here and this is my line of thoughts and he is right there and there are his line of thoughts. We function and exist in parallel to eachother and my sense of self remains "here" and he is "there". I can clearly identify that this thought is obviously mine because of course it is, and I can hear he thought / comments as him because "hes right there". This is to the point where we actually have three way conversations with our fiance from time to time because we are both just here. Co-con is similar but just one part has the front and the other is "back there" rather than "right there sitting with me". This might be different for some since we actively and regularly co-front especially around our fiance, and Lucille and I are both some of the best connected parts in our system + also charted to fuse formally at some point when the time is right

However, when we opened our mouth to start a ramble / info dump on how Bach is absolutely amazing and rolling down on a ramble about Bach and Baroque music, we had to pause for a moment because as we started the ramble, we had lost track of who was speaking and whose opinion this was which was largely distinct from blurriness as whoever WAS speaking still felt like a whole and specific defined alter and there was very little of that confusing dissonant dissociative feel in compared to blurriness which often feels like a fog, feeling a bit lost / confused, and increased dissociation.

We took a second to pause and sort it out - since we like to keep track of that and were like "Well this is obviously coming from Lucille because no one else has this much knowledge on the history of Bach and Baroque music other than him plus I am talking in his dialect and partially his accent; but also >I< definitely am still speaking and Riku definitely doesn't disagree and... hmm, odd I guess I'm both right now" which is a result of the fact that I absolutely could not pull apart which was more prominent and both part's "wavelengths" melded together well and comfortably that whatever standard I was operating at was comfortably functioning as a single identity.

At that moment of time, we were neither just Lucille or Riku, but we were some weird state of "yes". It stuck around for the remainder or the point we wanted to make across and then like 10 minutes later before we ended up phasing back apart to Lucille and Riku respectively.

I'm not sure if that makes sense cause describing anything dissociative always is difficult with how much it feels kinda metaphysical but its really the lack of seperation between entities and often "Ah did I just talk about both parts in third person while talking about myself in first person huh, go figure - ANYWAYS About Bach..."

Hope that answered somewhat?

-Riku