Si me das a elegir Entre tĂş y la gloria Pa que hable la historia de mi Por los siglos, ay amor Me quedo contigo
Claire Keane
Jules of Nature
Alisa U Zemlji Chuda
2025 on Tumblr: Trends That Defined the Year
occasionally subtle

tannertan36

romaâ
wallacepolsom

JVL


Origami Around

titsay
Peter Solarz
Game of Thrones Daily
i don't do bad sauce passes
AnasAbdin

Love Begins
cherry valley forever

⣠Chile in a Photography âŁ

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@j-----------r
Si me das a elegir Entre tĂş y la gloria Pa que hable la historia de mi Por los siglos, ay amor Me quedo contigo

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Wir haben eine Torheit begangen, die ich nur allzuwohl einsehe. Wer in einem gewissen Alter frßhere Jugendwßnsche und Hoffnungen realisieren will, betriegt sich immer: denn jedes Jahrzehend des Menschen hat sein eigenes Glßck, seine eigenen Hoffnungen und Aussichten. Wehe dem Menschen der vorwärts oder rßckwärts zu greifen, durch Umstände oder durch Wahn veranlasst wird! Wir haben eine Torheit begangen, soll es denn fßrs ganze Leben sein? Sollen wir uns aus irgendeiner Art von Bedenklichkeit dasjenige versagen, was uns die Sitten der Zeit nicht absprechen? In wie vielen Dingen nimmt der Mensch seinen Vorsatz, seine Tat zurßck, und hier gerade sollte es nicht geschehen, wo vom Ganzen und nicht vom Einzelnen, wo nicht von dieser oder jener Bedingung des Lebens, wo vom ganzen Komplex des Lebens die Rede ist!
Goethe, Die Wahlverwandtschaften
Judith and Her Maidservant
Artemisia Gentileschi, 1612
The Silence, 1963, Ingmar Bergman

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leonardo da vinci, wreath of laurel, palm, and juniper (details), c. 1478
âThe emotions you are having are not your own. They are someone elseâs.â
-Madelineâs Madeline (2018) dir. Josephine Decker
Is the world such an evil place, that love should be indistinguishable from the basest and most abusive forms of violence?
Sally Rooney, Normal People (via faeriequeenofthewest)
Sicilia, 2018.
Sicilia, 2018.

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Such a perfect song
PENELOPE : While he was pleasuring every nymph and beauty Did he think Iâd do nothing but my duty?
Margaret Atwood, The Penelopiad (via antigonick)
Berthe Morisot, Snowy Landscape, 1880, watercolor
Bach - Cantata BWV 201, âGeschwinde, ihr wirbelnden Windeâ
One thing about Bach that most people donât realize was that he was considered too old fashioned for the time, and after his death the through the 18th century, he fell into obscurity. I was shocked too, that someone who is considered the greatest composer of all time, who we constantly rave about today, went completely unheard for a good hundred years after his death. Even though he wasnât often played, he was at least studied by major composers [Mozart and Beethoven for example] and left his influence on their music. But as I said, Bachâs style, high baroque/rococo, was seen as completely backwards in the 1730s. One composer had wrote a lengthy essay about how new aesthetics called for simplicity and clarity and that the complexity of baroque music wasnât beautiful. Bach was so offended he hired his own rhetorician to fight back and argue against those points, and the two essayists went back and fourth for a couple of YEARS over this feud. As if to have the last word, Bach channels his musical aesthetic arguments into this cantata. The story is about Phoebus/Apollo being challenged to a music contest by Pan. Phoebus is the god of sun and of reason and of music. Pan is the spirit of the earth, of carnal pleasures. Bach uses Phoebus to represent himself, and the defender of baroque aesthetics and of musical complexity. Pan is the representative of Bachâs contemporary critics, and he defends the new classical aesthetics and of musical simplicity. The strongest point Bach makes is in the form of a very complicated but genuinely funny musical joke. Near the beginning, Phoebus sings a lament over the death of his lover, Hyacinth, and the pain of his death is reflected through an 8 minute aria full of pathos and with multiple voices in the orchestra working off of each other in a dense polyphony. Right after, Pan comes on state and sings a very banal song about how he loves to hop around and sing, and the music is also in the classical aesthetics. I genuinely laughed when I heard âI love to dance and hop and singâ over a bland continuo, like Bach is saying with Baroque music I can explore human emotion, with Classical you can only be kind of entertained. Of course, in the cantata, Phoebus wins the contest, and so Bach declares Baroque music to be better [I mean of course heâs being unfair and biased, but this is him reacting to the haters]. In a final act of irony, the contemporaries are people whose names you only know if you are into music history and really dig to find them. Everyone knows who Bach is. Checkmate from beyond the grave.
Movements [after every movement is a reactive]:
1. Chorus
2. Aria [Momus]
3. Aria [Phoebus]
4. Aria [Pan]
5. Aria [Tmolus]
6. Aria [Midas]
7. Aria [Mercurius] and Reactive [Momus]
8. Chorus
The Silence (1964) dir. by Ingmar Bergman

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March is Womenâs History Month! In honor of lovely ladies, Iâm posting solely female musicians this month.
Artist: Fanny Mendelssohn Hensel
Song: März - Prealudium un Choral
Album: Das Jahr (The Year)
Fanny Hensel, nĂŠe Mendelssohn (1805-1847) was a German pianist and composer, the sister of the composer Felix Mendelssohn and granddaughter of the philosopher Moses Mendelssohn. The siblings shared a great passion for music. Like Felix (who was born in 1809), Fanny showed prodigious musical ability as a child and began to write music.
However, Fanny was limited by prevailing attitudes of the time toward women, attitudes apparently shared by her father, who was tolerant, rather than supportive, of her activities as a composer. Her father wrote to her in 1820 âMusic will perhaps become his [i.e. Felixâs] profession, while for you it can and must be only an ornament.â Although Felix was privately broadly supportive of her as a composer and a performer, he was cautious (professedly for family reasons) of her publishing her works under her own name. He wrote: âFrom my knowledge of Fanny I should say that she has neither inclination nor vocation for authorship. She is too much all that a woman ought to be for this. She regulates her house, and neither thinks of the public nor of the musical world, nor even of music at all, until her first duties are fulfilled. Publishing would only disturb her in these, and I cannot say that I approve of it.â
Felix did however arrange with her for some of her songs to be published under his name, three in his Op. 8 collection, and three more in his Op. 9. In 1842, this resulted in an embarrassing moment when Queen Victoria, receiving Felix at Buckingham Palace, expressed her intention of singing the composer her favorite of his songs, âItalienâ, which Mendelssohn confessed was by Fanny. In turn Fanny helped Felix by constructive criticism of pieces and projects, which he always considered very carefully.
Fanny Hensel died in Berlin in 1847 of complications from a stroke suffered while rehearsing one of her brotherâs oratorios, The First Walpurgis Night. Felix himself died less than six months later from the same cause, but not before completing his String Quartet No. 6 in F Minor, written in memory of his sister.
In recent years, her music has become better known thanks to concert performances and a number of CDs. Her reputation has also been advanced by those researching female musical creativity, of which she is one of the relatively few well-documented exemplars in the early 19th century.
Hensel composed over 460 pieces of music. Her compositions include a piano trio and several books of solo piano pieces and songs. A number of her songs were originally published under Felixâs name in his opus 8 and 9 collections. Her piano works are often in the manner of songs, and many carry the name Lied ohne Worte (Song without Words). This style (and title) of piano music was most successfully developed by Felix Mendelssohn, though some modern scholars assert that Fanny may have preceded him in the genre.
She also wrote, amongst other works for the piano, a cycle of pieces depicting the months of the year, Das Jahr (âThe Yearâ). The music was written on colored sheets of paper, and illustrated by her husband Wilhelm . Each piece was also accompanied by a short poem. In a letter from Rome, Hensel described the process behind composing Das Jahr: âI have been composing a good deal lately, and have called my piano pieces after the names of my favorite haunts, partly because they really came into my mind at these spots, partly because our pleasant excursions were in my mind while I was writing them. They will form a delightful souvenir, a kind of second diary. But do not imagine that I give these names when playing them in society, they are for home use entirely.â
âCirce offering a cup to Ulyssesâ by John William Waterhouse, 1891