September 3rd  -  27,100 notes  -  J


Booboo and her friends =^_^= | via

reblogged 30 minutes ago  (© nonsolokawaii)
# bbies
September 2nd  -  10,328 notes  -  J


Oscar-winner Lupita Nyong’o’s first Vogue cover is here!

Hamish Bowles catches up with Hollywood’s newest golden girl for the July issue cover.

Photographed by Mikael Jansson

reblogged 12 hours ago  (© vogue)
September 2nd  -  7,559 notes  -  J


Illustrations by Katsuo

reblogged 18 hours ago  (©
September 2nd  -  556 notes  -  J


please summon ghosts responsibly

this was originally what i wanted to enter in botcon 2k14’s art contest, but i was too busy to make the deadline.  maybe next year?

September 1st  -  350 notes  -  J
reblogged 1 day ago  (© emmacdwatson)
September 1st  -  75 notes  -  O


In Search of Lost Sounds: Why you’ve never really heard the “Moonlight” Sonata.

By Jan Swafford

When composers wrote for these instruments they sometimes loved them and sometimes chafed at their limitations, but in any case they wrote for those sounds, that touch, those bells and whistles. From old instruments, performers on modern pianos can get important insights into the sound image that Mozart, Schubert, et al., were aiming for. But music from the 18th and 19th centuries doesn’t just sound different now than on the original instruments; some of it can’t even be played as written on modern pianos. One example is the double-octave glissando in the last movement of Beethoven’s “Waldstein” Sonata. With the light action and shallow key dip of a period Viennese piano you can plant your thumb and little finger on the octave and slide to the left, and there it is. Given the much heavier action and deeper key dip of a modern piano, if you tried that today you’d dislocate something. Every pianist has a dodge for that passage. It’s said that before the glissando Rudolf Serkin would discreetly spit on his fingers.

The prime example of what I’m talking about is perhaps the most famous piece ever written: Beethoven’s “Moonlight” Sonata. Hector Berlioz called its murmuring, mournful first movement, “one of those poems that human language does not know how to interpret.” At the beginning, Beethoven directs the performer to hold down the sustain pedal through the whole first movement, so the strings are never damped. With the pianos of Beethoven’s time, on which the sustain of the strings was shorter than today, the effect was subtle, one harmony melting into another. On a modern piano, with its longer sustain, the effect of holding the pedal down would be a tonal traffic jam. Today you have to fake the effect, and it never quite works as intended. Here’s Alfred Brendel playing the beginning of the “Moonlight” about as well as anyone on the ubiquitous modern Steinway…

reblogged 1 day ago
September 1st  -  620 notes  -  J
August 31st  -  83,178 notes  -  J
reblogged 2 days ago  (© coldcoldlampin)
August 31st  -  3,456 notes  -  J

"I love that guy."