
#dc comics#dc#batman#tim drake#batfam#bruce wayne#dick grayson#batfamily#dc fanart




seen from United Kingdom
seen from Canada
seen from United States

seen from Kazakhstan

seen from United States

seen from United States
seen from Indonesia

seen from United States

seen from Netherlands
seen from China
seen from United States
seen from China

seen from Canada
seen from United States
seen from China
seen from China
seen from United States
seen from Japan
seen from United States
seen from United States

Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
Free to watch • No registration required • HD streaming
The violin duet in “Der Spiegel” by Mozart, demonstrates rotational symmetry.
This unique duet, by Mozart, features the same musical line for both violinists, but each reads the score from their own direction, with Violin II playing the inverted retrograde of Violin I.
Basically, it’s played simultaneously by two violinists sitting across a table, one plays from the beginning to the end, and the other plays from the end to the beginning. It's also very fitting that the piece is called 'the mirror' in German.
So the notes played by the first player are the same as those played by the second, except rotated through 180 degrees
Source:
https://www.mirror.co.uk/news/weird-news/professor-unearths-proof-mozart-moby-24576103.amp
Serious question how does someone who knows nothing about music or how to read a score sheet begin learning how to play the classical violin?
Janine Jansen
Classical violinist Janine Jansen was born in 1978 in Soest, Netherlands. Jansen has released numerous recordings and performed with prestigious orchestras including the Philadelphia Orchestra and the Philharmonia Orchestra. In 2003, she founded the International Chamber Music Festival Utrecht, and served as its artistic director for 13 years. Jansen's many awards include the Dutch Music Prize, the Vermeer Prize, and the Royal Philharmonic Society Instrumentalist Award.
i really need to do my practicing today but my cat has finally decided to sit next to me (i dont know why and she’s never done this before) so i cant just get up and walk away but i really need to practice but mY CAT
anyways i think she knows this and is trying to sabotage me
so cute but so fricking annoying
“i love her so much” (i say with tears running down my face)

Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
Free to watch • No registration required • HD streaming
Melodie from "Orfeo ed Euridice"
the last time I played this was in middle school and I wanted to do it justice, unlike my middle school self :/
My top ten favorite moments of big drama/climax in classical music
I've run into some "top ten" -style YouTube videos about classical music lately and felt inspired to compose a list somewhat in this vein. These are passages in classical works that get "big and dramatic" in a way I really, really enjoy. I chose these among some pieces I've accumulated over the years as favorites of mine (I've played in many of them, at least as a violinist in the orchestra), and so the list is biased towards the forms of classical music I've been most exposed to, which are heavily skewed towards works centered on the violin or piano. In particular, I have very little knowledge of opera and so didn't consider that, even though there's a special kind of drama and grandiosity that comes with most opera.
I feel a little regret at the idea of "spoiling" the most exciting moments of certain great works for those who might not be familiar with them, and in fact most of these feel more deeply moving in the context of the whole piece. But on the other hand, maybe someone who didn't know about a particular piece will get interested in it from hearing one of its most powerful moments (this is essentially what happened to me in the past few weeks with #2 below).
Honorable mention for solo pieces, the first two of which I played: penultimate and final variation in Bach's partita no. 2, Chaconne, every single entrance of the initial theme of Beethoven's "Pathetique Sonata" first movement, and ending sequence of Chopin's Ballade no. 1, Op. 23 (8:11-9:37 in video) 10) climax of "Jupiter" from Holst's The Planets (7:25-8:01 in video): at the time I first learned it in the youth orchestra, it was the most overwhelming moment in orchestral music I knew both in terms of technical requirements and emotions, so it holds a special place for me although now it feels dwarfed next to these others 9) middle of Sibelius' violin concerto, first movement (11:53 to 13:03 in video): I'm not sure how many would find this passage as memorable as I do, but it makes the entire concerto for me 8) middle of Shostakovich's Symphony no. 5, first movement (10:28-12:48 in video): some moments where everything is happening all at once before falling into place in a unified a powerful statement; Shostakovich tends to leave me a bit cold so I can't feel much emotion for this one but I feel a hot heaviness and I respect the hell out of it 7) cadenza (ossia version) of Rachmaninov's Piano Concerto no. 3, first movement (11:07-14:07 in video), first movement: in which the primary theme manifests in full force from the soloist and reaches a new climax 6) climax of Samuel Barber's Adagio for Strings (5:12-6:30 in video): this one just speaks for itself; when I played this in orchestra, I debated with my friend whether lower tones should have been added at this climax as in some choral adaptations, and my position is still firmly that it is most powerful when left to shrill tones only 5) beginning (29:59-32:27 of video, begun a few lines before the start for contrasting effect) and ending (37:49-38:49 in video) of Saint Saëns' Organ Symphony, fourth movement (I couldn't decide which so cheated and chose both): the entrance of the organ at the beginning is actually quite shocking in context; the ending is an absolutely epic group effort of massive sound from an enhanced orchestra, and by the way I think it goes into 3/1 time signature by the end or something? 4) middle of Bruch's violin concerto, 2nd movement (14:40-15:47 in video), a cathartic peak that I find deeply moving, both to listen to and to play 3) main part of cadenza of Grieg's piano concerto, 1st movement (10:40-12:42 in video): possibly my favorite passage of classical music ever (but I will put two others above it specifically in terms of overwhelming/glorious climax), I don't really have the words to describe this 2) final passages of the (very long) cadenza followed by orchestra re-entrance in Prokofiev's piano concerto no. 2, first movement (8:17-10:17 in video): this is the only piece on this list that I've only just discovered in the last few weeks; the cadenza is so intense and technically extreme that no human with only two hands should be able to play it, and the orchestra roaring back in as the cadenza ends is one of the most dramatic things I've ever heard 1) climax of Rimsky-Korsakov's Scheherazade symphonic suite, fourth movement (44:29-47:19 in video), after the later stages of a very long buildup (the human voice roaring thing is something I've only heard from this particular rendition), the theme that distinguished the first movement appears in overwhelmingly grand, dramatic fashion (listen for all the counterpoints and pirouettes from different parts of the woodwinds!) that I find energetically satisfying in a way that tops the rest of these
I might find a way to edit these excerpts into a long sound clip one day (that way they will end automatically and could be played almost back to back without being interspersed with the sound of YouTube ads), but this will do for now.
🎶 my day in music:
- goodbye to love by the carpenters - solitaire by the carpenters - nocturne op. 20 in c# minor by chopin - ballade no. 1 in g minor by chopin (arr. Masaru Yokoyama) - étude op. 25 no. 5 "wrong note" by chopin - kreutzer sonata (1st movt) by beethoven - piano trio no. 4, op. 90, "dumky" by dvořák