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Iceland  Photography by Kai Grossmann

#a queue path #aesthetics

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A Beginning by Angelika Hörschläger

#aesthetics #a queue path

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          — vincent van gogh

#aesthetics #a queue path

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Shirakawa village, Japan Follow Us For More

#a queue path #aesthetics

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Greenland  Photography by Max Rive

#a queue path #aesthetics

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Nepal, Himalayan regions 🇳🇵

#a queue path #aesthetics

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Night Skies  Photography by Stijn Dijkstra

#a queue path #aesthetics

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Tianmen Mountain, China  Photography by Rey Canlas

#a queue path #aesthetics

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Yo, mood board for a piano duel between beet and cho???

{This is vague as shit dkjfhgjfdkhgsjdkhgjsk}

#aesthetics #chcpxn #hhhhh ty

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🔪❄

(( 🔪❄ - A song short playlist that I identify with your character and our characters fighting against each other, aka here’s way more piano music than you ever asked for or wanted

In two different parts: first, Beet pieces I identify with Choppers...

1. Sonata no. 12 in A-flat, all 4 movements. (But especially the first and third!) Reportedly Chopper’s favorite Beet and a model for his own piano sonatas. Possibly also my favorite Beet piano sonata, mostly because of the gorgeous first movement. The theme and variations beginning is right up Chop’s alleyway, with 1. how damn good the variations are and 2. the mood they set...or maybe I should say lack thereof. None of these emotional outbursts, sforzandos that make you jump. At least to me, the mood evoked is calm and quiet wonder and exploration. The variations naturally unfold without a sense of “oh, here he’s showing off his virtuosity;” they seem like an organic outgrowing of the beautiful, calm theme itself, and what personality does come into play it’s focused on the theme, not expressing. And of course, the third movement is the inspiration for Chop’s famous funeral march.

2. Sonata no. 14 in C-sharp minor, “Moonlight.” I mean, I know this is an easy answer, but Choppers did have it in his performance repertoire and told his students how he liked the first movement. Plenty’s been said about it, but I just want to add that the experience of hearing the first movement on a fortepiano, as opposed to a modern piano, sort of changed my life. The link doesn’t do it justice. Modern pianists have to disregard the performance instruction at the beginning, which says to hold the sustain pedal down throughout the movement, because modern pianos sustain notes much longer and the result is muddled and unclear. On a fortepiano, though, the combination of the damper and the sustain creates an absolutely unearthly tone color. Honestly, when I listened to it, the effect was less sadness and more...creeping pressure, building to something on the brink of insanity, with a distance to the sound that amplified the grief and loneliness that must have come as one’s aural world gradually closes off around you. It was easy to hear why some of Beet’s contemporaries thought he was going insane. I linked only part of the piece on a fortepiano, but the rest of the video explains the technicalities behind the fortepiano way better than I ever could if you’re curious and have 7 minutes. Plus, imagine the shock the third movement would be, coming after that....

3. Piano Sonata no. 30, movement 3. The tempo indication says it all: “Full of song, with innermost expression.” A very similar mood to the first movement of no. 12, but with the trademark late Beet sense of timelessness and weightlessness. The ornamentation of the melody seems very Chopesque to me. And it’s another theme and variations, which again is something both Chop and Beet liked quite a lot. Some of the variations Chop would probably not like but too bad. Also I feel personally vindicated because while in the course of researching this I went on the Wiki page for this sonata and Wiki also points out the similarities between Chopin’s ornaments and this piece.

I decided to go in the vein of some sort of weird piano duel for 🔪... although unfortunately, I don’t know nearly as much of Chop’s music as I should.

Round 1: Signature famous pieces - Chop's Etude op. 10 no. 12, “Revolutionary.” I mean...what better boss battle music? I love it when historical Choppers is like “wow, that Beet, too emotionally explosive” and then goes and writes this.

vs.

Beet’s Sonata no. 8 in C minor, “Pathetique,” first movement. This is probably what Chopin didn’t like about Beet - those time he interrupts the second theme to bring back the desolate introduction. Too bad, Choppers, Beet likes to break the formal rules regarding theme placement more than you. At least you break more harmonic rules.

Round 2: Make your opponent play one of your most difficult pieces. Chop’s Etude op. 25 no. 11, “Winter Wind.” While mid-career Beet could handle this, and the expressive content is pretty up his alley, late Beet would just have a hard time getting his fingers around this mess since he let his technique slide a little for, uh, pretty obvious reasons.

vs.

Beet’s Piano sonata no. 29, “Hammerklavier,” movement 1. I’d actually never heard the Hammerklavier on a fortepiano until I was researching for this ask, so thank you for helping me find this kickass recording :o Chop obviously has the technique, but the expressive style is so foreign that it’d pose a real interpretive challenge. But he does have a secret weapon in that this was one of Liszt’s main repertoire pieces, so he’s certainly heard it a lot.

Round 3: Improv. Obviously no recordings to listen to here. Most piano duels of the 19th century included this, and honestly Beet and Cho were probably the two greatest piano improvisers of all time, so I’m gonna say the real winner here, and throughout this weird competition, is whoever gets to listen.

#chcpxn #long post #...this is why i never get anything done in a reasonable timeframe #tone poetry [music] #fantasie impromptu [chopin]

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🎈

(( 🎈 - a song short playlist for our characters going on a cute, fun adventure

QUEUE UP THE BEETHOVEN ADVENTURE PLAYLIST

1. Septet, op. 20, movement 1! For some reason I always associate the main theme that kicks in around 1:30 with The Sims? Anyway this piece is just good, lighthearted fun. It was one of Beet’s earliest hits, and he got a little salty later that people liked it more than some of his later work. Possibly the perfect piece to blast out your rolled down windows as you and your friends go to get ice cream on a sunny summer day; the minor sections are basically as ‘serious’ as stopping at a traffic light. The violin and clarinet I imagine as Beet and Yuui, two very different timbres complimenting in this dialogue. Probably en route to wherever we’re going. Love that bouncy viola accompaniment that keeps the momentum going, and also how bouncy the clarinetist in this recording is.

2. Violin Sonata op. 24, “Spring,” movement 1. So if we’re on a road trip in the last piece, we’ve arrived in the countryside here. Maybe Beet and Yuui are on a trip to find some locally sourced tea or produce or something for cooking. Either way, the countryside is critically important to Beet in both lives. No other noise or distractions, just the two of them in a dialogue. I think the calm, graceful first theme suites Yuui, who’s probably the violin in this duo. Possibly they get rained on - the minor interruptions in this piece are more than the Septet - but they’re pretty quickly shrugged off.

(i’m not the biggest fan of this performer’s rubato aka her messing so much with the tempo, but her articulations, the way she’s so careful to breathe life into every single note she plays - that’s goddamn incredible)

3. Violin Concerto op. 61, movement 3. I’m feelin’ the violins for this duo. Anyway, 1. this piece is goddamn amazing and 2. it’s really fun and 3. it’s quirkily aysmmetrical. The Classical era was full of symmetrical groupings of 2, but this movement plays with that expectation - in a really playful way - by doing a group of 3 instead. What you’d expect would be the violin and then the orchestra, but this time it’s the violin, the violin again an octave up, and only then the full orchestra gets to join in the rambunctious fun. The road trip has been successful, and Beet’s comfortable enough with Yuui to start playing with expectations and joking around like this. While Beet’s usual m.o. is to do everything Alone and Seriously, he’s finally remembered that interacting with Other People results in Good Things - like the collaboration that originally brought about this concerto.

#thekindchefofhoritsuba #ty for the meme!! #tone poetry [music] #hhh i went overboard #iiiiii fuckin love music

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evening and morning

#a queue path #:.) #aesthetics #wolferl [mozart] #portraits

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Underappreciated things about Classicaloid Liszt list:

Guitar/castanet music when Beethoven gets passionate about something

Chopin’s upper body strength in the last few episodes (he straight up catches Kanae with one hand when she fell)

Freddy Majorca

Liszt in general

Tchaiko and Bada

#good post op #a queue path #classicaloid appreciation #scherzen [ooc fun]

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via @defineyourgrind

#YES HELLO IT IS I THE POSTER CHILD FOR GOING 2 FAR #TY for the tag <3 #aesthetics #a queue path

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(( Tagged by @capriciousviolinplayer - ty ! ! 

Open curtains | Closed blinds

Stray dog | House cat

People | Pets

Outside | Inside

Half-empty | Half-full

TV | Radio

Sing | Dance  

Shoes | Sandals

Cash | Credit

Hike | Drive

Casual | Elegant

Center | Corner

Sword | Shield

Airplane | Boat

Fizzy | Flat

Garnished | Plain

Extra salt | Extra pepper

Spicy | Mild

Record player | Digital media

Opaque | Transparent

White lies | Complete truth

Blunt | Subtle

Noisy | Silent

Books | Music

Familiar | New

Youth | Experience

Spoon | Fork and knife

Space | Ocean

Bow and arrow | Blow dart

Love at first sight | Slow burn

Freckles | Dimples

Long eyelashes | Long fingers

Soft lips | Sensitive neck

Stubble | Thick hair

Slow dance | Intimate conversation

Candlelight dinner | Stargazing

#TY for the tag <3 #capriciousviolinplayer #ich habe noch zuweilen einen raptus [characterbuilding] #a queue path

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🌠!

((  🌠 - a song that reminds me of my muse ))

…I took a challenge mode on this one by not copping out by using any of Beet’s own songs, so here we go;

Young-to-middle-period Beethoven: Backstreets by Bruce Springsteen and the E Street Band (I mean, the entirety of the Born to Run album, really).  It’s not really an exact match as far as lyrics go, it’s more beaten down, but the general aesthetic, especially the piano intro and that snarl on “we thought we had to be…”

Remember all the movies, Terry, we’d go seeTrying to learn to walk like the heroes we thought we had to beAnd after all this time, to find we’re just like all the restStranded in the park and forced to confess…

Later Beethoven: Bird on the Wire by Leonard Cohen. I have a Lot of feelings about this song. It’s a little too self-aware for anything pre-1825 or so, but in those last few years...

Like a bird on the wireLike a drunk in an old midnight choirI have tried, in my way, to be free…

Like a baby, stillborn,Like a beast with his horn,I have torn everyone who reached out to me

But I swear by this songI swear by all that I have done wrongI will make it all up to thee

(honorable mention to Ne me quitte pas, sung by Nina Simone, for an aesthetic that might come as close as a human voice can to the Cavatina from the 13th string quartet, but I figured we already covered despair and loneliness...)

And Classicaloid verse: It’s Time by Imagine Dragons. Cocky, self-oriented without actually doing much self-inspection, considerably more optimistic than past works, and attempting to gather resolve from the past without letting it determine the future.

It’s time to begin, isn’t it?I get a little bit bigger, but then I’ll admitI’m just the same as I wasNow don’t you understandThat I’m never changing who I am

#xfaucheuse #ty for the meme!! #note to self: do not actually listen to this as a playlist it'll be horribly jolting #ich habe noch zuweilen einen raptus [characterbuilding] #tone poetry [music]

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Stormy Waters & Untitled by Alex Wesche

#a queue path #aesthetics