New York Philharmonic’s performance of Sweeney Todd.
wait a minute this isn’t my homework
this is tumblr
how did this happen
I think this is my favorite line in the entire novel
Fun Story: My director kept telling me and my tenor sax buddy to play softer. No matter what we did, it wasn’t soft enough for him. So getting frustrated, I told my buddy “Dont play this time. Just fake it”
Our Band Director then informed us we sounded perfect.
To my readers: “p” means quiet, “pp” means really quiet. I’ve never seen “pppp” before haha.
On the contrast, “f” means loud, and “ffff” probably means so loud you go unconscious.
I had ffff in a piece once and my conductor told me to play as loudly as physically possible without falling off my chair…
Me and my trombone buddies had “ffff” and he sat next to me and played so hard that he fell out of his chair.
The lengths we go for music.
Okay yeah so I play the bass clarinet and the amount of air you have to move and the stiffness of the reed means it only has two settings and that is loud and louder, with an optional LOUDEST that includes a 50% probability of HORRIBLE CROAKING NOISE which is the bass equivalent of the ubiquitous clarinet shriek.
One day, when I was in concert band in high school, we got a new piece handed out for the first time, and there was a strange little commotion back in the tuba section — whispering, and pointing at something in the music, and swatting at each other’s hands all shhh don’t call attention to it. And although they did attract the attention of basically everyone else in the band, they managed to avoid being noticed by the band director, who gave us a few minutes to look over our parts and then said, “All right, let’s run through it up to section A.”
And here we are, cheerfully playing along, sounding reasonably competent — but everyone, when they have the attention to spare, is keeping an eye on the tuba players. They don’t come in for the first eight measures or so, and then when they do come in, what we see is:
[reeeeeeally deep breath]
[COLOSSAL FOGHORN NOISE]
The entire band stops dead, in the cacophonous kind of way that a band stops when it hasn’t actually been cued to stop. The band director doesn’t even say anything, just looks straight back at the tubas and makes a helpless sort of why gesture.
In unison, the tuba players defend themselves: “THERE WERE FOUR F’S.”
FFFF is not really a rational dynamic marking for any instrument, but for the love of all that is holy why would you put it in a tuba part.
This is the best band post
Everyone else go home
Oh man, so I play trombone, and we got this piece called Florentiner Marsch by Julius Fucik, and we saw this
which is 8 fortes. We were shocked until,
that is 24 fortes who the fuck does that
Who does that?
This guy. Take a good look - that is the moustache of a man with nothing to lose.
More like Julius Fuckit
You don’t have to know every cast member or every song.
You don’t have to know the year it opened or any subsequent revival.
You don’t have to know the composer, the director or the set designer.
And you don’t have to have seen the show live.
There is no criteria for liking a show. If you consider yourself a fan, then you are. Don’t let anyone else tell you otherwise.
my dad walked into my room, gave me ice cream, and left without saying a word
BUM BUM (BUM BUM BUM)
BUM BUM BUM BUM BUM BUM
BUM BUM (BUM BUM BUM)
BUM BUM BUM BUM BUM BUM
BUM BUM! BUM BUM! BUM BUM BUM BUM BUM BUM!
BUM BUM! (BUM BUM BUM) BUM BUM!
BUM BUMBUMBUMBUMBUMBUMBUM BUM BUM BUM BUM BUM!
LOOK DOWN! LOOK DOWN! DON’T LOOK HIM IN THE EYE!
That doesn’t sound stupid at all. You may not agree with the differences I may list here, as the interpretation of the character tends to vary in itself based on the personality and life experiences of the reader, but I will do my best to answer your question. Please know that the following are in no way concrete, and are based fully on my own subjective opinions and perceptions.
Well, to begin, the way in which they speak differs. Now, this may not matter entirely unless you are attempting to match the style of each author, as in the case of one who writes for both adaptations. It is, however, prevalent in the two novels. Take, for example, these two sentences, containing dialogue by the opera-ghost that highlights not only the differences in their style of speaking, but in their personalities. The first is taken from the original novel, the second from the Kay adaptation.
"I give you five minutes to spare your blushes! Here is the little bronze key that opens the two ebony caskets on the mantelpiece in the Louis-Philippe room. In one of the caskets, you will find a scorpion, in the other, a grasshopper, both very cleverly imitated in Japanese bronze: they will say yes or no for you. If you turn the scorpion round, that will mean to me, when I return, that you have said yes.The grasshopper will mean no. The grasshopper! Be careful of the grasshopper! A grasshopper does not only turn: it hops! It hops! And it hops jolly high!"
"Well, I’ve changed my mind! Perhaps I don’t want a Druid sacrifice after all, a petrified little girl who shrinks from my touch and tries to commit suicide the moment I leave her alone. Perhaps I don’t want a dead wife lying in a glass coffin. I don’t want you, Christine, are you so vain, so stupid that you can’t comprehend that? I don’t want your pity or your fear—I don’t want you!"
Do you see? In the first, you glimpse the desperation of Erik for the companionship of this Christine — he would sooner destroy himself, along with the object of his obsession and the lives of everybody within the opera-house, than allow himself to be wholly rejected by she who carries within her the capacity to redeem him. In the second, we are shown his ability to be petulant, if such a word can suffice. I am not quite sure of the motivation behind such a statement, as Erik is much more likely to fall to the feet of his beloved, sobbing passionately into the hem of her gown, than to force her, in a moment filled with such intensity as this, to tremble before him. He is begging for her love, rather than for her reverence.
That in itself should provide a glaring discrepancy. The man we see featured in the novel, when told by Leroux, wants not to be viewed as a sort of elevated being by Christine, but to be regarded as a man akin to those who have denied him acceptance. He wants not to reign over mankind, marked by grandeur and by a sort of unattainable sovereignty, but to be equal in stature to these. He wants a wife to take out on Sundays, to craft a mask that shall allow him to maintain a sort of anonymity, plain in face and in demeanour, for his ventures into the public space. In the novel, as told by Kay, we are greeted by a being who seems, in all aspects, to truly wish to ascend the ranks of mankind and to be regarded as, for lack of a better term, a true angel of music. He maintains a sense of superiority, marked by a crushing awareness of his inferiority, and strives to maintain this appearance in action and in temperament. He demands this sort of deference from Christine even after she discovers the truth of him. He wants, in essence, for her desire of him; he is not content with the pursuit of her, no, nor with the mere act of her loving him; he requires her to beg him as well — as shown in the above example. Should Leroux!Erik have behaved in such a manner? He desired her reciprocated emotion alone. Kay!Erik, in a sense, attempts to play hard-to-get.
This leads into the differences in treatment of Christine by the two characters, as well. In the original novel, she is regarded as a sort of goddess, a symbol of perfection before which Erik renders himself prostrate. That is not to say he is not unkind to her, nor does it mean he views her as such all the time, but it is, on a larger scale, a summation of his feelings toward her. However, he also, in his own manner, seems to pose more of a threat in this intensity of emotion. It is this spectre that can be seen twisting his fingers into the hair of Christine; this is he who can be found binding this unfortunate girl to a chair. This is the Erik that causes Christine physical pain. In the Kay novel, Erik is much more aloof. He loves her, surely, in his own mind, yet resigns himself more to expressing this through his command of her rather than in outright hysterical outbursts. This is the Erik that seems to wish Christine to fall before him, rather than he before her. Where he lacks in passion, however, he excels somewhat in restraint. He does not, if my recollection serves me, physically harm Christine in any manner.
To further illustrate the differences in personality between these two masked composers, shall we refer to that magnum opus, Don Juan Triumphant? In the original story, Erik denies Christine in her request to hear his music. 'I will play you Mozart, if you like, which will only make you weep; but my Don Juan, Christine, burns; and yet he is not struck by fire from Heaven.' He claims that, upon his ceasing in that composition, he shall take it with him into his coffin and never again awaken. It is only after a moment of great despair, when his mask was torn from his face, that he begins to play this — even then, it is described as being 'at first one long, awful, magnificent sob; but, little by little, it expressed every emotion, every suffering of which mankind is capable.' Christine was rendered intoxicated, overtaken by the desire to beg of him to show her his face without fear, but nothing further than that. In the Kay novel, Erik commands Christine to sing for him in the wedding gown he prepared for her. He finds himself overcome with desire for her, and cries for her to escape to her room, and to bolt the door. He proceeds, in his own words, to rape her with music instead. His Don Juan seems, then, to be inherently sexual — and indeed procures from Christine a reaction whose manner serves only to validate this theory. Does that not also bring into focus a key difference between them? It is in this Don Juan that we find the essence of Erik; what character variances are wrought forward at the core of the feelings arisen within Christine at her initial hearing of this composition?
There are a few other occasions during which these separations are made evident, such as in the refusal of Erik, in the Kay novel, to ‘travel like a crate of tea’ upon a boat, or in the sitting of Leroux!Erik among a number of patrons during one of the performances in the opera-house, but I shan’t continue on in my explanation. I’m sure you did not quite desire a response of this length, and I apologise for that; I did, however, attempt to make clear the differences, in my opinion, between these two marvelous characterisations of the trap-door lover.
If you’ve any further questions, please contact me! I will gladly mend this response to answer any inquiry I may have overlooked, or to provide clarification into a point that may have become quite muddled in its explanation.