What are you listening to right now?

[swabian]

[Morticia Iunia Bruti]

[Morticia Iunia Bruti]

[Morticia Iunia Bruti]

[Morticia Iunia Bruti]

Fabulous instrumental intro.

[Turkafinwë]

[Lifthrasir]

[skh1]

Gabriel Fauré, Romance sans parole, Op. 17 No. 3, Andante Moderato

[Morticia Iunia Bruti]

[skh1]

Sergei Rachmaninoff, Rhapsody on a Theme of Paganini, Op. 43, Variation No. 18

[Morticia Iunia Bruti]

[skh1]

What's this? Are we having an influence?

Well then, we'll proceed

Rachmaninoff: Piano Concerto No. 2 in C Minor, Op. 18 - II. Adagio sostenuto



(Best enjoyed with a bottle of wine, a stein of beer, or after a really crappy day at work.)

[Turkafinwë]

[Morticia Iunia Bruti]

[skh1]

George Frederick Handel, Passacaille from the Trio Sonata in G Major Op. 5 No.4

[skh1]

More Handel

Trio Sonata in G Major, Op. 5, No. 4, HWV 399: I. Allegro



Athalia, HWV 52 / Act 1 - Sinfonia



A coincidence, no doubt.

Compare @3:06 of the Sinfonia supra with @1:52 of the Overture infra.

Parnasso in Festa, HWV 73, Pt. 1: Overture



A coincidence, no doubt.

(If you have stuck with this post through to the end; congratulations, you are something of a musicologist.)

[Flinn]

every once in a while I need to feel sad

[Morticia Iunia Bruti]

Doors of many, as of few
Leading inside out, around and through
Past forgotten, now as new
A line dividing false and true
This one and only room

And as trapped as we are, it's the devil we know
The exceptions we make will never be shown
To the rest of the world, what we touch turns to gold
For a moment, we freeze

But if ever there's a full moon breaking
It's painting our faces
We won't know (Won't know)
Which way (Which way)
The sky will turn
We're at the blood eclipse
And we can't look away
It's like a car crash burning
At the edge of the earth

In the rainstorm, soft and grey
Leading inside out and float away
Soon to stop and hope to stay
A light defining night and day
And this is how we pray

And as trapped as we are, it's the devil we know
The exceptions we make will never be shown
To the rest of the world, what we touch turns to gold
For a moment, we freeze

But if ever there's a full moon breaking
It's painting our faces
We won't know (Won't know)
Which way (Which way)
The sky will turn
We're at the blood eclipse
And we can't look away
It's like a car crash burning
At the edge of the earth

If ever there's a full moon breaking
It's painting our faces
We won't know (Won't know)
Which way (Which way)
The sky will turn
We're at the blood eclipse
And we can't look away
It's like a car crash burning
At the edge of the earth

[Morticia Iunia Bruti]

You're a story that I hoped I'd never have to tell
You're a lesson that I wish I'd never learned so well
After all my years of giving up and letting go
All I wanted was to give you what you've never known

I know now
You can only hurt me cause I let you get to know me so well
I know now
I love you cause only you can turn my heaven to hell

I know now
I want out from under your spell
Under your spell
I'm under your spell
Under your spell
I'm under your spell

You're the promise that degraded every hope and dream
You're the whisper at the end of every hopeless scream
After all the years of turning love to empty rage
All you wanted was for me to help you turn the page

I know now
I didn't see the bruises that I should've seen the first time I fell
I know now
No one will listen to the story that I have to tell

I know now
I want out from under your spell
Under your spell
I'm under your spell
Under your spell
I'm under your spell

I know now
I only loved you cause I knew you'd never treat me so well
I know now
I loved you because through you I've become somebody else

I know now
I want out from under your spell
Under your spell
I'm under your spell
Under your spell
I'm under your spell

[skh1]

Has one ever wondered why the setting of the lyrics of For unto us a Child is born in Handel's Messiah, HWV 56, is rather awkward and unidiomatic with its peculiar emphasis on the word "For"?



If the answer is no, this is not entirely unsurprising but the reason in fact is because the theme was borrowed from an earlier work with a completely different context.



Nò, di voi non vo' fidarmi, Duetto XVI, HWV 189