Ravel’s L’enfant et les sortilèges is the bomb, and you should be listening to it like a fiend (like me.)

“"A great piece of music is beautiful regardless of how it is performed. Any prelude or fugue of Bach can be played at any tempo, with or without rhythmic nuances, and it will still be great music. That’s how music should be written, so that no-one, no matter how philistine, can ruin it."

”
— Dmitri Shostakovich (via maddiebkhandige)

(via sonateharder)

21. “Play at rumpscuttle and clapperdepouch” (1684)

*Are you shitting me*

I love the English language so much

Auditions at first:

Auditions now:

“I’ve come up with a set of rules that describe our reactions to technologies:
1. Anything that is in the world when you’re born is normal and ordinary and is just a natural part of the way the world works.
2. Anything that’s invented between when you’re fifteen and thirty-five is new and exciting and revolutionary and you can probably get a career in it.
3. Anything invented after you’re thirty-five is against the natural order of things.”
— Douglas Adams, The Salmon of Doubt

operanerd:

Eugene Onegin, Pyotr Ilyich Tchaikovsky - Metropolitan Opera, 2008 (conducted by Valery Gergiev)

Onegin - Dmitri Hvorostovsky
Tatyana - Renée Fleming
Lensky - Ramón Vargas

Our friend Pete wrote a darn great opera.  If you haven’t listened to it before, now’s a good time, and this is a pretty bawler cast.

ossia: The Gelb Who Cried Wolf

FREE OPERA is happening all over the web — archival and live.  Check it out, chilluns: Mozart’s La Finta Giardiniera.

Call for scores for “The Organ Trail,” which made me think of something WAY bawdier than a series of organ concerts.

pianists: is this annoying y/y

pianists: is this annoying y/y