#vienna andante

[yournowheregirl]

andante, andante

pairing: ronance word count: 14k rating: E

summary:

After four years of studying Linguistics, Robin is in desperate need of a break.

With the money she saved up these last few months, Robin books a plane ticket to Paris and decides to go on a solo-trip through Europe. While Paris and Vienna are amazing, she longs for some peace and quiet, for endless oceans and cloudless skies.

She ends up at the Greek island of Kalokairi, where she meets fellow graduate Nancy and together, they decide that the world is wide and they want to make some memories (and possibly fall in love in the process)

OR: a Mamma Mia! inspired gay Greek summer romance extravaganza

read on ao3

written as part of @thefreakandthehair 's Spicy Six Summer Challenge! my prompt was 'blue' 💙

[fancyfeathers]

Society of Protection (Yandere Bungo Stray Dogs x reader x original characters) (normalized yandere au)

Society Playlist and OC songs

A/N- I actually do listen to these songs while I write

Prologue and oc intro

Chapter one

Chapter two

Chapter three

Chapter four

Chapter five

Chapter six

Chapter seven, part one

Chapter seven, part two

Chapter eight

Chapter nine

Chapter ten

Chapter eleven

Chapter twelve

Jane Austen Someday by the cast of Hunchback of Notredome

Dr. Stevenson 

Dandelion by Gabbie Hanna

Gaston Leroux

Music of the Night by Andrew Lloyd Webber

Alexandre Dumas

Just A Man by Jorge Rivera-Herrans

Victor Hugo

In a place of Miracles by the cast of Hunchback of Notredome 

William Shakespeare 

Underground by Cody Fry

Emma Orczy

Andante, Andante by Abba 

Henrik Ibsen

Gone, Gone, Gone by Phillip Phillips

Lewis Carroll

Vienna by Billy Joel, cover by Ben Platt

[chamberforbassoon]

"Serenade in C Minor, K.388" by Wolfgang Amadeus Mozart

Click here to listen

Year: c. 1782 Instrumentation: Harmoniemusik (2 Oboes, 2 Bb Clarinets, 2 Bassoons, 2 F Horns) Period: Classical

Born Johannes Chrysostomus Wolfgangus Gottlieb Mozart, this Austrian composer with a heavy influence from the Italian opera is often confused as a German composer. Much like Samuel Barber, Mozart was very interested in music, but on a much more lucrative scale. He wrote his first sonata at age 4, his first symphony at age 8, and his first opera at age 12. Mozart wrote the Concerto for Bassoon in B flat at age 18, which serves to be a standard scholastic composition for many training bassoonists who are that age today.

Director of bands at University of Northern Kentucky, Nikk Pilato, shares that The Serenade in C minor is "one of Mozart's most puzzling and mysterious works. It is orchestrated for an ensemble that is traditionally employed for light entertainment, yet it is defiantly dark in its character." It was likely written in the period of Vienna's affluence of Harmoniemusik in the late 18th century. The composition is divided into four movements: Allegro (In sonata form, and featuring all sections), Andante (A Slower movement in Eb major, serving as a break from the other darker movements), Menuette in Canone (A very closely written canon in quick 3/4 time), and Allegro (A theme and variations featuring a blistering bassoon feature in the both the first and second halves).

Movement one sample: Take special notice of the dynamic roles played by the bassoon, between melodic content, background content, and as the bass instrument.

Movement two sample: Take notice of the bassoon's delicate upper register as a complete shift from the darker tone of the rest of the piece

Movement three sample: Take notice of the bassoon being employed through its characteristic "barnyard-like" origins in its staccato and playful writing for this movement.

Movement four sample: Take notice of the feature in the first bassoon, in its laborious and virtuosic writing.

Click here for sheet music, and click here for more information

[lesser-known-composers]

Francesco Maria Veracini (1690-1768) Sonata in D minor (ms. Vienna): Andante/Allegro/Cantabile/Allegro.

Riccardo Minasi-Violin. -Musica Antiqua Roma- Giulia Nuti-Harpsichord. Luca Pianca-Archlute. Margret Köll-Triple Harp.

[radsiarai]

Alexander Scriabine Concerto For Piano And Orchestra (1951)

Publication date 1951 PAUL BADURA-SKODA, Piano VIENNA SYMPHONY ORCHESTRA conducted by HENRY SWOBODA Alexander Scriabin, a key figure of the Russian Symbolist movement in music, has left behind a wealth of compositions that continue to enthrall listeners with their complexity and ingenuity. One such noteworthy composition is his Concerto for Piano and Orchestra in F sharp minor, Op. 20. This piece stands as a testament to Scriabin's unique harmonic language and his ability to create a profound emotional impact through music. Composed in the summer of 1896, when Scriabin was just 24 years old, the Concerto for Piano and Orchestra is a work of great depth and intricacy. It is a three-movement composition, each movement showcasing a different facet of Scriabin's compositional prowess. The first movement, marked "Allegro," begins with a dramatic and lyrical theme introduced by the piano, which is then echoed by the orchestra. This theme, full of chromaticism and rich harmonies, sets the tone for the rest of the movement. The interplay between the piano and orchestra is skillfully handled, with the piano often engaging in virtuosic passages while the orchestra provides a lush harmonic backdrop. The second movement, "Andante," is a slower, more introspective piece. The piano introduces a hauntingly beautiful melody, which is later developed by the orchestra. This movement is characterized by its dreamy, almost ethereal quality, showcasing Scriabin's ability to evoke a wide range of emotions through his music. The final movement, "Allegro moderato," is a lively and rhythmically complex piece. The piano and orchestra engage in a vigorous dialogue, with the piano often taking the lead with rapid, virtuosic passages. The movement concludes with a triumphant restatement of the main theme, bringing the concerto to a satisfying close. Scriabin's Concerto for Piano and Orchestra is a brilliant demonstration of his unique compositional style. The work is characterized by its complex harmonic language, virtuosic piano writing, and the masterful interplay between the soloist and orchestra. Furthermore, the emotional depth and intensity of the music make it a captivating listening experience. In conclusion, Alexander Scriabin's Concerto for Piano and Orchestra in F sharp minor stands as a significant contribution to the piano concerto repertoire. With its complex harmonies, lyrical themes, and profound emotional depth, it offers a glimpse into the mind of one of the most innovative composers of the late Romantic era.

[iamflowerta]

(close-up detail) Paul Klee, Andante (1931). Albertina Museum, Vienna, 2019.

[sarahtheflutist]

JOHANNES BRAHMS BORN: May 7, 1833. Hamburg DIED: April 3, 1897. Vienna

COMPOSED: Brahms’s first mention of the Fourth Symphony is in a letter of August 19, 1884 to his publisher, Fritz Simrock. The work must have been completed about a year later at Mürzzuschlag

WORLD PREMIERE: October 25, 1885. Brahms conducted at Meiningen

US PREMIERE: December 11, 1886. Walter Damrosch conducted the New York Symphony

INSTRUMENTATION: 2 flutes and piccolo, 2 oboes, 2 clarinets, 2 bassoons and contrabassoon, 4 horns, 2 trumpets, 3 trombones, timpani, triangle, and strings. Piccolo and triangle appear in the 3rd movement only, contrabassoon in the 3rd and 4th movements only, and trombones only in the finale DURATION: About 40 mins

Brahms’s Fourth Symphony was written in 1885 when he was fifty-two and starting to think of retirement and the time that remained. The symphony is a summation of its composer’s learning and technique, but for all its complexities it cuts as close to the heart as music can. One imagines that this is the work Brahms always wanted to write, a work in which form and function are balanced, in which technique opens new paths to expression, allowing him to voice his deepest convictions about all the unnamables that shape destiny. If any of Brahms’s music conveys a world view, this is it.

Listen to the first sighs in the strings. The voice is at once resigned and searching and its broad phrases are transformed for a moment into a nervous figure in the winds before growing into a lament of deep yearning. Throughout this movement, the nervous and the keening will alternate, and they fuse in the odd episode that sounds as though Brahms had entered the world of the tango, where dance steps offer a staccato accompaniment to long languid lines. By the end of the movement, all this has changed. A chapter that began with music saturated in regret has taken on resolve. The broad probing phrases of the opening bars are compressed into projectiles of energy, gathering momentum until they erupt in a cataclysmic climax.

The summons of a horn call begins the Andante moderato, outlining a figure that the winds take up, a pacing, tentative melody of closely spaced intervals, a melody that fails to range far from where it starts—we are still recovering from the upheaval in which the first movement ended. Soon, however, the possibilities of warmth in this theme are revealed, and the high strings enter to transform carefully ventured steps into a high-temperature flow of gloriously confident forward movement. Staccato bursts end this, but their energy dissipates quickly, and in their place comes one of Brahms’s most miraculously expansive creations. Even when those staccato jabs are later reprised in a more tortured form, the answer is the same. The opening movement was tragedy on an epic scale. The second movement is the response, offered in more human proportions. The great song at the heart of this Andante serves as a calmative to the stunned and anguished music that precedes it.

The aggressively upbeat scherzo seems initially out of place, given what comes immediately before and after, and yet it is utterly apt. We need some relief from the unremitting seriousness of the first two movements, and here Brahms supplies it. His humor, though, also has a crueler side. For this happy music will be followed by what, in 1885, was the most uncompromising, pessimistic conclusion ever heard in a symphony.

In his first two symphonies, Brahms had followed Beethoven’s model, ending each of those works in the affirmative. In his Third Symphony, he made an entirely novel ending, choosing to finish quietly. He followed that venture into new territory by going even farther in the Fourth Symphony. Here, in the finale, he wrote music not simply personal and not simply contemporary, but music that looked into the future, toward a century that would validate his apprehensions.

The irony is that Brahms’s vehicle for conveying this vision was an ancient musical form. Brahms the traditionalist was fascinated with the music of Bach and Handel. In his studies of the Baroque he familiarized himself with forms such as the passacaglia, a set of variations over a recurrent bass. He was especially taken with one he found in a cantata listed in the Bach catalogue as No. 150, a cantata whose very title lends meaning to this movement of the symphony, Nach Dir, Herr, verlanget mich—“I long to be near you, Lord.” Brahms was no conventional churchgoer, and though he may not have acknowledged any one deity as “Lord,” he had a sense of powers beyond the human. On the theme from Nach Dir, Herr—the eight chords that begin the finale—he builds his case: thirty-two variations that define a world. Brahms presents a constantly evolving drama, one that wastes no time covering ground already explored but that continues its explorations ever more deeply. He offers no happy ending—in fact, the end comes almost before we know it. As in life. And if we never know whether Brahms nears his “Lord,” whoever or whatever that might be, the answer is not important. The road is filled with detours and washed-out bridges, and we only hope we can negotiate the obstacles with grace. We may discard schedules and itineraries, but we don’t quite abandon the conviction that one day we may arrive at the destination. As we head there, we can be grateful for a traveling companion like Johannes Brahms.

—Larry Rothe

[werewolvesandaccordions]

Mozart – Piano Sonata no.11 in A This sonata is among Mozart’s most popular, and it’s also one of his most innovative ones. Instead of sonata form, he opens with a set of variations on a pastoral theme, based off of an old Czech folk song. After a short minuet, we are thrown into the minor key, unusual for the time, with the famous “rondo alla turca”, since “Turkish” culture was in at the time in Vienna [much like how 19th century France was infatuated with all things Spanish]. When I first listened to this sonata, I enjoyed the famous melodies and hummed along, not realizing how bizarrely it defied conventionality. Movements: 1. Andante grazioso 2. Menuetto 3. Alla Turca

mikrokosmos: Mozart – Piano Sonata no.11 in A This sonata is among Mozart’s most popular, and it’s also one of his most innovative ones. Instead of sonata form, he opens with a set of variations on a pastoral theme, based off of an old Czech folk song. After a short minuet, we are thrown into…

[tinas-art]

Mozart – Piano Sonata no.11 in A This sonata is among Mozart’s most popular, and it’s also one of his most innovative ones. Instead of sonata form, he opens with a set of variations on a pastoral theme, based off of an old Czech folk song. After a short minuet, we are thrown into the minor key, unusual for the time, with the famous “rondo alla turca”, since “Turkish” culture was in at the time in Vienna [much like how 19th century France was infatuated with all things Spanish]. When I first listened to this sonata, I enjoyed the famous melodies and hummed along, not realizing how bizarrely it defied conventionality. Movements: 1. Andante grazioso 2. Menuetto 3. Alla Turca

mikrokosmos: Mozart – Piano Sonata no.11 in A This sonata is among Mozart’s most popular, and it’s also one of his most innovative ones. Instead of sonata form, he opens with a set of variations on a pastoral theme, based off of an old Czech folk song. After a short minuet, we are thrown into…

[dariaandjanelanefanboy]

Mozart – Piano Sonata no.11 in A This sonata is among Mozart’s most popular, and it’s also one of his most innovative ones. Instead of sonata form, he opens with a set of variations on a pastoral theme, based off of an old Czech folk song. After a short minuet, we are thrown into the minor key, unusual for the time, with the famous “rondo alla turca”, since “Turkish” culture was in at the time in Vienna [much like how 19th century France was infatuated with all things Spanish]. When I first listened to this sonata, I enjoyed the famous melodies and hummed along, not realizing how bizarrely it defied conventionality. Movements: 1. Andante grazioso 2. Menuetto 3. Alla Turca

mikrokosmos: Mozart – Piano Sonata no.11 in A This sonata is among Mozart’s most popular, and it’s also one of his most innovative ones. Instead of sonata form, he opens with a set of variations on a pastoral theme, based off of an old Czech folk song. After a short minuet, we are thrown into…

[hushilda]

Mozart – Piano Sonata no.11 in A This sonata is among Mozart’s most popular, and it’s also one of his most innovative ones. Instead of sonata form, he opens with a set of variations on a pastoral theme, based off of an old Czech folk song. After a short minuet, we are thrown into the minor key, unusual for the time, with the famous “rondo alla turca”, since “Turkish” culture was in at the time in Vienna [much like how 19th century France was infatuated with all things Spanish]. When I first listened to this sonata, I enjoyed the famous melodies and hummed along, not realizing how bizarrely it defied conventionality. Movements: 1. Andante grazioso 2. Menuetto 3. Alla Turca

mikrokosmos: Mozart – Piano Sonata no.11 in A This sonata is among Mozart’s most popular, and it’s also one of his most innovative ones. Instead of sonata form, he opens with a set of variations on a pastoral theme, based off of an old Czech folk song. After a short minuet, we are thrown into…

[fancyfeathers]

Society of Protection (Yandere Bungo Stray Dogs x reader x original characters) (normalized yandere au)

The Society as Song Lyrics

read the last chapter here

(A/N- I got bored in the middle of the night)

The Reader

”Don't make me sad, don't make me cry Sometimes love is not enough And the road gets tough, I don't know why Keep making me laugh Let's go get high The road is long, we carry on Try to have fun in the meantime” -Born to Die, Lana Del Rey

Jane Austen

“If we had a daughter, I'd watch and could not save her The emotional torture, from the head of your high table She'd do what you taught her, she'd meet the same cruel fate So now I've gotta run, so I can undo this mistake At least I've gotta try” -Labour, Paris Paloma

Dr. R.L. Stevenson

“Every so often we long to steal To the land of what-might-have-been But that doesn't soften the ache we feel When reality sets back in” -Not that Girl, Idina Menzel

Gaston Leroux

“Past the point of no return The final threshold The bridge is crossed, so stand and watch it burn We've passed the point of no return” -Point of No Return, Andrew Lloyd Webber

Victor Hugo

”I had a dream my life would be So different from this hell I'm living So different now from what it seemed Now life has killed the dream I dreamed” -I Dreamed a Dream, Anne Hathaway

Alexandre Dumas

“When does a ripple become a tidal wave? When does the reason become the blame? When does a man become a monster?” -Just a Man, Jorge Rivera-Herrans

Emma Orczy

“There's a shimmer in your eyes  Like the feelin' of a thousand butterflies  Please don't talk, go on, play  Andante, Andante  And let me float away” Andante Andante, Abba

William Shakespeare

“Then a light broke through the black I was standing on a track That little light began to grow There was no where I could go And the ground began to shake No time left to hit the brake That little light was closing in And suddenly, I'm floating” -Underground, Cody Fry

Henrik Isben

“When you fall like a statue I'm gon' be there to catch you Put you on your feet, you on your feet And if your well is empty Not a thing will prevent me Tell me what you need What do you need?” -Gone Gone Gone, Phillip Phillips

Lewis Carroll

”Too bad, but it's the life you lead You're so ahead of yourself that you forgot what you need Though you can see when you're wrong You know you can't always see when you're right” -Vienna, Billy Joel

Leo Tolstoy

“How did I live? Was I kind enough and good enough? Did I love enough? Did I ever look up and see the moon and the stars and the sky? Oh, why have I been sleeping?” -Dust and Ashes, Josh Groban

[lesser-known-composers]

Francesco Maria Veracini (1690-1768) Sonata in D minor (ms. Vienna): Andante/Allegro/Cantabile/Allegro.

Riccardo Minasi-Violin. -Musica Antiqua Roma- Giulia Nuti-Harpsichord. Luca Pianca-Archlute. Margret Köll-Triple Harp.

[radsiarai]

Wolfgang Amadeus Mozart Quintet In D Major For Strings K.593 (1951)

Publication date 1951

Budapest String Quartet

Milton Katims, viola

The Wolfgang Amadeus Mozart Quintet in D Major for Strings, K.593, is a remarkable composition that showcases the genius of one of classical music's most celebrated composers, Wolfgang Amadeus Mozart. As a quintet, this piece is written for two violins, two violas, and a cello, representing a string ensemble that creates a rich and harmonious sound.

Composed during Mozart's prolific period in Vienna in 1790, the Quintet in D Major is a testament to his mastery of form and structure. This work is a prime example of classical chamber music, a genre that flourished during the classical era. Chamber music, typically written for small ensembles, allowed for intimate and intricate musical dialogue among the instruments.

The Quintet in D Major begins with a majestic and lively Allegro movement. The opening theme is presented by the violins, followed by the violas and cello, creating a beautiful interplay of melodies. The movement is characterized by its joyful and exuberant nature, showcasing Mozart's exceptional craftsmanship and his ability to compose music that is both technically challenging and emotionally engaging.

The second movement, marked Andante, contrasts the first movement with its serene and introspective atmosphere. It features a lyrical melody that is passed between the instruments, evoking a sense of tranquility and introspection. This movement demonstrates Mozart's sensitivity and his ability to create deeply emotive music.

The third movement, a Menuetto, is a delightful and graceful dance in triple meter. It exhibits a charming and playful character, with each instrument taking turns to present the dance-like melodies. Mozart's skillful handling of the interplay between the instruments adds to the overall charm and elegance of this movement.

The final movement, marked Allegro, brings the quintet to a rousing and energetic conclusion. It is a spirited and lively movement that showcases Mozart's virtuosity as a composer. The interweaving melodies and the intricate counterpoint between the instruments create a sense of exhilaration and joy.

Overall, the Quintet in D Major for Strings, K.593, is a testament to Mozart's musical genius and his ability to craft intricate and emotionally captivating compositions. Through its four movements, this quintet showcases Mozart's mastery of form, his gift for melody, and his ability to create music that resonates with audiences even centuries later.

Wolfgang Amadeus Mozart Quintet in D Major for Strings, K.593, offers a captivating and immersive musical experience. Its combination of technical brilliance, emotional depth, and sheer musical beauty make it a true gem in the classical music repertoire.

[ledzeppelinss]

a-z playlist tag

i was tagged by @lxncelot and I’m pretty excited to do this :)

(i am also indecisive and will be listing two for some)

a: anchor by novo amor

- adam’s song by blink- 182

b: brighton rock by queen

- blondie by current joys

c: come together by the beatles

- come alive by foo fighters

d: don’t look back in anger by oasis

- deux arabesque i. andante con moto performed by zoltan kocsis; composed by claude debussy

e: ex-factor by lauryn hill

f: fat bottomed girls by queen

g: goodbye yellow brick road by elton john

- good days by sza

h: how’s it going to be by third eye blind

- hanging by a moment by lifehouse

i: i could die for you by red hot chili peppers

- i still haven’t found what i’m looking for by u2

j: just a girl by no doubt

k: keep ya head up by 2pac

- killer queen by queen

l: latch by disclosure

- life is a highway by rascal flatts

m: maria by ricky martin

- my hero by foo fighters

n: name by the goo goo dolls

- november rain by guns n’ roses

- nothing can change this love by sam cooke

o: oh! darling by the beatles

p: patience by guns n’ roses

- please please me by the beatles

q: quimbara by celia cruz

r: rock with you by michael jackson

s: stormy weather by etta james

- smells like teen spirit by nirvana

- snow (hey oh) by red hot chili peppers

t: try a little tenderness by otis redding

- these arms of mine by otis redding

- tiny dancer by elton john

u: under pressure by queen and david bowie

v: vienna by billy joel

w: where is my mind? by pixies

- white ferrari by frank ocean

x: to be honest I have no clue

y: you know how we do it by ice cube

z: (to) zion by lauryn hill

tagging: @angelxnaa and anyone else :)

[zoeflake]

Franz Schubert: Piano Trio in E flat Major - Andante con moto

Vienna Mozart Trio; Irina Auner - Piano; Daniel Auner - Violin; Diethard Auner - Cello