#tchaikovsky
Esto es el himno de los Querubines de P.I. Tchaikovsky. Hay algo en la música de Ligeti, sin parecerse en nada, que me recuerda mucho a esto.
https://youtu.be/ggUtlUHIqQQ
(Star Trek: Voyager, season 5, episode 10 “Counterpoint”).
Visions of sugar plums danced in their heads… It’s a Tchaikovsky day as I finish up some petite flowers for some petite dresses… #nutcracker #favoritechristmasmusic #sugarplums #tchaikovsky #childrenswear #dresses #couture #handsewing #techniques #fashion #design #mariekheffernandesign
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Maestro: Can I get just a liiiittttlleee more first trombone there?
Principal trumpet: Oh god. Don’t encourage her.
Rosa Ponselle - Tchaikovsky: Nur wer die Sehnsucht kennt, Op. 6 No. 6
Tchaikovsky - Symphony No.5 - Ormandy, Philadelphia (1974)
That was SWANtastic! thank you @niyavice #ballet #swanlake #tchaikovsky #athingofbeauty #firstballetperformance #hopefullynotlast #somagical #sopoetik #sofuckingamazing #againagain #thosedancersthough #amazing #mesmerizing #justyes #opentheater #lakesidestage #perfectsetting #swanmagic (at Панчаревско езеро)
https://www.instagram.com/p/CCMW4hdDTxg/?igshid=sut8zkjri01f
are you mentally stable or does your list of ‘comfort’ reads include at least one of dostoevsky’s works
Graeme Murphy’s Original production of Swan Lake. (The Corps de Ballet from the Australian Ballet.)
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Tutu for the Australian Ballet’s new production of Sleeping Beauty. Lilac Fairy, which will be performed by Amber Scott, Principal Dancer of the Australian Ballet. Sleeping Beauty debuts on September 15 in The Arts Centre Melbourne, State Theatre.
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Justine Summers, in a shoot for The Australian Ballet’s ‘Divergence’in 1994. Houston Ballet’s Artistic Director, Stanton Welch was the choreographer for this strong and provocative ballet. The tutu featured in this photo, is made entirely of old car tyres. This picture was seen all over the cities of Melbourne and Sydney on billboards and posters. Her energy is presented through every muscle in her body, every angle in her line and of course, channelled through her eyes.
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Tchaikovsky-Symphony no. 4 in f minor
Yet another fantastic reason to say Tchaikovsky was one of the greatest orchestrators of all time. While there is a program to the movements [reflecting Tchaikovsky’s feelings for his close friend and artistic patron, Nadezhda von Meck], it isn’t necessary to appreciate the towering achievement of the dramatic first movement, the passionate slow movement, the playful scherzo, and the energetic finale. Am I gushing too much? Probably. This happens when I try to describe the classics. Perhaps the music should just speak for itself. I walked, as I usually do, around the city neighborhood, then to the beach, and back again. Despite the titanic bleakness that he conveys at the beginning [and I quote, “roughly"—that “all life is an unbroken alternation of hard reality with swiftly passing dreams and visions of happiness …”. He goes on: “No haven exists … Drift upon that sea until it engulfs and submerges you in its depths”], the second half contains some of the more uplifting orchestral music I know of: the scherzo is a study in pizzicato strings and colorful winds, and the finale is like the Fourth of July. A Beethoven gesture, it seems, to recreate tragedy, projecting upward to triumph.
Movements:
1. Andante sostenuto — Moderato con anima — Moderato assai, quasi Andante — Allegro vivo
2. Andantino in modo di canzona
3. Scherzo: Pizzicato ostinato - Allegro
4. Finale: Allegro con fuoco
Tchaikovsky’s autograph containing a musical quotation of his Romeo and Juliet Overture, TH 42, dated April 28, 1888.
we just started this piece in youth orchestra yesterday. the sixteenth notes are just. so. fast.
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Thèmes et variations (Germaine Dulac, 1928) + Tchaikovsky’s Symphony No. 6
“Do you believe that it is necessary to have a story to stir an audience? Isn’t the visual effect enough, does it not play upon your nerves like a symphony?” - Germaine Dulac
During my time away from Tumblr, I watched all of JoJo’s Bizarre Adventure and made the incredible discovery that one of the main villain’s musical themes, DIO’s “Dark Rebirth” from Pt. 3 (“Stardust Crusaders”) is an extremely close match to one of the intermezzos from Tchaikovsky’s Oprichnik.
No really, compare
https://www.youtube.com/watch?v=_Qq1B5na–s
to
https://www.youtube.com/watch?v=pqup_vtEPz4
TheOprichnikintermezzo is situated between the final scene of Act II, in which the protagonist Andrei swears a dread oath to serve in tsar Ivan the Terrible’s personal guard, and the opening scene of Act III, in which the people of Moscow lament the hard times that have befallen them since the tsar went into (implicitly homoerotic) seclusion with his personal guard. The tsar never appears onstage in the opera, but exists as an ominous, all-powerful, sexually deviant/threatening force controlling the fates of the characters from just out of sight. Exactly like DIO in most of JoJo’s Bizarre Adventure Pt. 3 (“Stardust Crusaders”) .
It’s also worth noting that composers for films and especially for cartoons have been borrowing melodies from Tchaikovsky since the very beginning.
So, even though I started watching this anime as a BREAK FROM MY ACADEMIC INTERESTS, I ended RIGHT BACK UP IN MY BULLSHIT ANYWAY
Mezzo-sopranos in the role of Fedor Basmanov, favorite of Ivan the Terrible, in Tchaikovsky’s operaOprichnik(1872). From top to bottom: M. I. Dolina, E. I. Zrubeva, N. A. Fride, A. V. Kravets, L. G. Zviagina, T. S. Liubatovich. Late 19th-early 20th centuries.
The role of Basmanov is the only so-called “trouser role” (a male role written to be performed by women) in Tchaikovsky’s operas. The queer sexual subtext surrounding the character is quite overt and caused trouble for both Imperial and later Soviet censors. We stan a legend.
(photos sourced from goskatalog.ru)
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