romeo and juliet overture

Romeo and Juliet - Fantasy Overture AND REYLO BRIDAL CARRY SCENE

Excuse my terrible terrible video and sound editing skill guys, but as i write this my hands are shaking, and it’s really hard to type… But just listen to it back to back. I have goosebumps all over.

I haven’t notice this before, but thanks to the Vincent Vendetta Video, for pointing it out, but here is the Origianl Reylo Meta by @reylo-musings

I just had to listen to it overlapping. just listen to the music…. oh god! 

Here is the link to the Symphony  Tchaikovsky - Romeo And Juliet - Fantasy Overture - Finale

Also @boomdafunk honestly made this for you… lol. Thanks for freaking out with me.

anonymous asked:

What are the most dramatic and powerful pieces you've ever heard?

Strauss: Don Juan, Salomé
Tchaikovsky: Symphony no. 4, Marche Slave, 1812 Overture, Romeo & Juliet, Francesca da Rimini
Chopin: ‘Heroic’ Polonaise
Dvorák: Symphony no. 9
Fauré: Requiem
Wagner: Tristan und Isolde, Lohengrin
Rachmaninov: Symphony no. 2, Symphonic Dances, Piano Concerto no. 1, Piano Concerto no. 2
Mahler: Symphony no. 2, Symphony no. 3, Symphony no. 6, Symphony no. 8, Symphony no. 9
Shostakovich: Symphony no. 7, Symphony no. 10, String Quartet no. 8
Stravinsky: Firebird, The Rite of Spring
Kodály: Dances of Galánta
Orff: Carmina Burana


Tchaikovsky - Francesca da Rimini, op.32

This evening my family and I went to a concert at the Ravinia Festival in Chicago. We had lawn tickets so we had some wine and some fried chicken and snacks while listening to the all Tchaikovsky program. Apparently this was a popular concert for families because there were a lot of parents with their children here, and while I can maybe see the Romeo and Juliet overture being a “fun” work, and possible [slightly but not too much] the first piano concerto is as “fun”, the third work in the program, Francesca da Rimini, was NOT what I would consider “casual listening” and didn’t feel fitting for the evening. It was weird to see so many adults smile and sip their wine and chat, their kids running around and climbing poles and trees, while this music was playing in the background. The symphonic poem was the result of a seed idea that Tchaikovsky had been thinking about for a few years, on the subject of Francesca da Rimini. She was a woman whose story was immortalized in Dante’s Divine Comedy. In real life, she was in a political marriage with the Lord of Rimini, Giovanni Malatesta, so she didn’t actually love him. Rather, she had fallen in love with his younger brother, Paolo. They had an affair for nearly a decade until Giovanni found them both in bed and in a rage killed them. In Dante’s Inferno, their souls are forever tossed around in a tornado of lust in the second circle of hell. Surprisingly, Dante the character is so moved by her story, he faints out of pity for her fate. It seems Tchaikovsky was moved by this idea, of love driving women to their downfall, fate taking over their lives. It’s a theme he explored in the Romeo and Juliet Overture, as well as his ballet Swan Lake. Could this be a projection of his own homosexual insecurities? I don’t know how I feel about promoting that message if it’s nothing more than speculation, but the music is amazing. It opens with discordant and chromatic thrusts along the orchestra, throwing us into the fury of hell and the whirlwind of passion, before an interjection of an iconic Tchaikovsky Love Themethat soars among the winds and strings. The music is a bit surprising for Tchaikovsky, in that it sounds like it was much more inspired by German music of the time than anything else. He did write it soon after seeing a complete performance of Wagner’s Der Ring for the first time, so maybe the passion of the music suck with him as he wrote this? It sounds Wagnarian and Lisztian in its use of chromatics and harmonies. And despite the passionate love theme, the music ends with as much a dramatic flourish as it opened, leaving us in a state of shock and doom. Doesn’t matter how often Tchaikovsky is considered “easy listening”, this is DEFINITELY not “light” music.

Is John Williams eluding to Tchaikovsky’s Romeo and Juliet Fantasy Overture?

So hear me out.

I always felt like the music right as Kylo Ren bridal carries Rey up the ramp into the shuttle sounded like something “love theme-y” but I couldn’t put my finger on what exactly it was until just now. That short musical moment doesn’t really sound like anything else in the track, and I realized that it totally has the feel of the beginnings of Tchaikovsky’s Romeo and Juliet Fantasy Overture.

Now, you know this music. I KNOW you do. This is the classic “running through a field of flowers into each other’s arms” music, that you just maybe didn’t know was written back in 1870.

This is the classic music.

And this is the music from the film

Am I the only one who hears them as feeling very similar?

Am I the only one that loves that this comes from freaking ROMEO AND JULIET?

Am I crazy? I’ll answer that. Yes, I am i’m sure. 

Find the rest of my musings here

BATB and Reylo

Not too long ago, I decided to watch Christophe Gan’s La belle et la bête (or Beauty and The Beast). It really is a beautiful film and I recommend it to those who love romance/fantasy! It is by no means the Disney version, which I also love, but this version had a much darker feel to it. With that being said, lets to get the point of this post:

While watching La belle et la bête, I noticed so many subtle parallels between Rey/Kylo, and the Beast/Belle. We shippers have continuously compared BATB with Reylo, so this is kind of old news; it’s still a topic I think is fun to discuss.

What I love about this version of BATB is that there is a sense of sexuality throughout the movie. La belle et la bête is a coming of age story for Belle, in which she experiences a metaphorical sexual awakening because of the Beast and she transitions from child to woman. Christophe Gan’s, one of the writers for the film, has stated that this is an element of the original work that he really wanted to capture throughout his film. In short, some sort of awakening is a staple in the Heroine’s Journey. When the heroine is “awoken,” it’s sometimes a metaphor for her sexual awakening.

It is in this scene in which Belle is running away from her capture, the Beast, where she comes face-to-face with the monster, but in a way she hasn’t experienced before. Her breathing during the scene is sporadic and heavy, he’s laying over her, and her dress is cut extremely low… You don’t even need to read between the lines for this scene. The beast is someone Belle is supposed to be repulsed by, but she isn’t… not entirely at least. She just doesn’t want to admit it to herself.

And here is Rey, running from her soon-to-be capture - a masked monster, a beast.

In their next shared scene, she’s a captive. In the first half of the interrogation scene, Kylo is the more dominant of the two. It’s when he decides to delve into Rey’s mind to find the map that she’s able to turn the tables and become the dominant one. Something in Rey is awoken - the force. Who awoke Rey’s force abilities, or at least had a part to play in it? Kylo. This is when context starts to play a role - remember what I said about sexual awakening and how it’s more metaphorical than anything? This is still Disney after all, where not actually going to see her sexual awakening play out literally. But I do still think there was some sort of attraction there. Either way, the context is there. From their heavy breathing to just the tension and intimacy of the entire scene, it’s… implied. Like the Beast awoke Belle, Kylo awoke Rey in a way.

I also noticed some similarities in the music playing over these scenes. When Belle is running away from the Beast, we hear this play:

When Rey is running from Kylo, we hear this:

The two pieces just sound so similar. I’m not saying this was intentional, at all. Both pieces sound a lot like the Romeo and Juliet overture (not sure if there is an actual name for it, so this is what I’ll refer to it as), or at least have taken parts of it and played around with it. Numerous love themes have been inspired by Romeo and Juliet’s, so I don’t think it’s far-fetched to note the similarities.

This is wishful thinking, but I’m hoping Rey has had visions of Kylo, or maybe will have them to help her better understand Kylo. In order to do that, Rey will ultimately have to take a trip to the past to see that he isn’t the monster she once thought he was. Every night, Belle would have dreams of the prince before he became the Beast - maybe something similar could happen for Rey.

Hope you enjoyed : )

Juliet, Rey, & Balconies

As someone who studies English literature, Shakespeare’s Romeo and Juliet has naturally been ingrained into my mind, so the scene in TFA where Rey is standing on a balcony overlooking Kylo was very interesting to me when I first saw the film. Even though I thought Rey was a Skywalker the first time I watched the film, this scene kept hanging around in my mind because the lighting and setup reminded me of the balcony scene in R & J. 

I’m sure people have already written meta on all of the R & J symbolism in TFA as it is, but I wanted to point something out in particular. 

I think it’s safe to say we all remember that when Juliet comes out onto her balcony, Romeo says, 

But, soft! what light from yonder window breaks?

 It is the east, and Juliet is the sun.

In TFA, as many have pointed out already, the sunlight shines down onto Kylo from the balcony/’window’ where Rey is standing. It’s not hard to figure out that Rey symbolizes the light and the pull to it that he feels.

But what is especially interesting to me is that Juliet on her balcony then says: 

Deny thy father and refuse thy name.

And what happens during the scene where Rey is overlooking Kylo from her balcony? Kylo does what Juliet essentially wanted Romeo to do: Kylo denies his father (of his wish for his son to return home and of his life) and refuses to accept his real name (Ben). 

Pair this imagery with the musical Romeo and Juliet Overture Tchaikovsky quote in “The Abduction” from TFA soundtrack and we’ve got ourselves some nice foreshadowing of the star-crossed lovers trope.

(I finally got inspired to make another playlist!)

What’s Opera, Doc?

Kill the wabbit! Kill the wabbit!

All the classical pieces that you remember from your favorite Looney Tunes shorts.

1. Ride of the Valkyries - Wagner

2. Peer Gynt Suite No. 1: Morning Mood - Grieg

3. The Blue Danube - Strauss

4. Sabre Dance - Khachaturian

5. The Barber of Seville: Overture - Rossini

6. Romeo and Juliet: Love Theme - Tchaikovsky

7. Tales From the Vienna Woods - Strauss

8. William Tell Overture: Finale - Rossini

9. Sobre las Olas - Rosas

10. The Barber of Seville: Largo al Factotum - Rossini

11. Hungarian Rhapsody No. 2 - Liszt

12. Light Cavalry (excerpt) - Suppe

13. Spring Song Op. 62 - Mendelssohn

14. William Tell Overture: The Storm - Rossini

15. Sylvia: Pizzicato - Delibes

16. In the Hall of The Mountain King - Grieg

Listen here!

The Reylo Meta Library, version 1.0

(As of April 3, 2016)

Hello Reylo Fandom! 

We proudly present to you the growing Reylo Meta Library, version 1.0!

1. Reylo Meta

Force Bond Meta

Music Meta

2. Ben Solo / Kylo Ren Meta

3. Rey Meta

Rey and Obi-Wan Kenobi Parallels

4. Other Meta

Thank you very much to @kagomehime369, A, and all those who sent meta. 

Have or know of a meta you’d like to see here? Send us a message with “Title of Meta (linked to Meta) by @Author”.

The plan may be to release a weekly update of meta added to the Library, like “The International Journal of Reylo Studies”, as suggested by @the-reylo-void​. 

If you’d like to join the could-reylo-be-canon-today team, just send a message to @hello-reylo​. :D

Reylo forever and ever, because it’s canon.

Originally posted by anakins-mask

some reincarnation concepts:

  • will going to see one of his plays and crying at the turnout and how many people enjoy it
  • william hearing tchaikovksy’s romeo & juliet fantasy overture for the first time
  • william googling himself
  • will seeing how often colleges and young people do recreations of his work and being so ?? honored
Fantasy Overture/The Abduction
Fantasy Overture/The Abduction

To illustrate an earlier point, I present a mash-up of the Fantasy Overture from Romeo & Juliet and The Abduction from The Force Awakens soundtrack. It’s far from perfect on account of my shitty Audacity skills, but I think it illustrates the point well enough. It’s sometimes hard to tell where The Abduction ends and the Fantasy Overture begins, which says it all.

darksidelady  asked:

Do you think John Williams' use of the Romeo and Juliet overture in the abduction theme has anything to do with Finn being in the area watching the scene unfold? Or since its actually built into the theme, it specifically applies to Kylo and Rey? Someone had brought this up earlier, but I can't find that post.

I’m personally leaning towards the theme being about the act of the abduction more than Finn’s response to it. While his distress and panic over watching Rey’s abduction are heightened by the tragic quality of the music, I don’t think the music is concerned with Finn as much as what he’s witnessing. It’s also very difficult to isolate Finn’s presence in the score, since he doesn’t have a theme to himself (as Kylo and Rey do).

As is now very well established, the abduction draws heavily upon visual tropes that have very strong connotations of love and romance - a black-clad man carrying a delicate-looking young woman clothed in white in his arms - and I think the R&J-inspired passage was most likely designed to highlight that. But while the bridal carry has those romantic connotations, it twists them by making the groom a masked ‘monster’ and the bride his captive. We’re not witnessing an innocent act founded on love, but we are witnessing an act that might be construed as romantic or sweeping in a different context. That’s what the music is telling us, since its romantic theme with a dark and tragic twist - it spills over into tragedy rather than jubilation.

But I think the fact that there’s a romantic quality to the music at all is significant, because it does imply that the act isn’t completely motivated by evil. It reminds me of a cut later on in the film, where we move immediately from the scene where Leia insists that “there’s still light in him" to Kylo interrogating Rey. While the abduction and the interrogation would normally be framed as unequivocal acts of evil, they are instead framed - through the use of music and editing - in a way that undermines that expectation and forces us to consider them from different angles. That moral ambiguity is literally built into the film’s structure.