目前分類:音樂/ music (24)

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"舞姬"(La Bayadere)

Accessed August 2, 2019

"舞姬"(La Bayadere)芭蕾。必看!!!

聖彼得堡馬林斯基舞團(Mariinsky Ballet, also known as Kirov Ballet, which was originally the Imperial Russian Ballet) 最早傑作。

 

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The leading male dancer of the Mariinsky Ballet since 2015, Kimin Kim is a superb one from Korea shown in blue during the after-performance courtesy session on August 2, 2019 in Taipei.

 

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Marius Pepita (1818 - 1910),called the "father of modern ballet", was a ballet dancer born in Marseilles. He moved to Russia in his twenties and achieved fame for being the chief choreographer of St. Petersburg's ballet performance at the end of the 19th and the very beginning of the 20th century. The ballet LA Bayadère is one of his most celebrated creations.

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十四歲音樂神童將在卡內基音樂廳演出

Accessed July 1, 2019

十四歲的小女孩將在今年12月於紐約卡內基音樂廳擔任獨奏者演出他自己的作品:小提琴協奏曲 以及鋼琴協奏曲。

她於四歲開始作曲。十歲時已於世界音樂之都維也納演出她的歌劇-灰姑娘(Cinderella)

"Lots of people have been telling me that if I want to grow up, I have to compose music that will reflect the ugliness of the modern world", she said. " I don't want to do this. I want to compose music that I find beautiful."
許多人告訴我:如果我要成長,必須要以作曲反映現代的醜惡世界。但是,我不想如此做。我只想寫我覺得美好的音樂。

請按以下連結欣賞她8歲和10歲實地訪問和演奏。
Alma Deutscher (11-year old) at Henley Festival

https://www.youtube.com/watch?v=yX9nPZ0noxQ&fbclid=IwAR3zu51hXJRdvCJeAy8LQfAxedj12qXwCYkmWgYhgn4nwLjkkwrxCZQ0eHg

Alma Deutscher , 8-year old Music Prodigy

https://www.youtube.com/watch?v=mPGAzuHSMy4&fbclid=IwAR0B27ONasw_QtzppILJsi84B_hIgFqTu-OCIXtXWl9DxQRKOb7iDldOcc8

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內田光子女爵士

Accessed July 1, 2019

 

內田光子女爵士
"She makes love to the piano on stage!"
1980-90
年代在華府,我幾乎每週都去逛的古典音樂CD 店老闆如此對我說。已經好多次在甘迺迪中心聽她又纏綿又激情的演奏,我立刻抒懷的笑了。再也不忘那生動的描寫。

紐約時報的專訪特點如下
她從不聽自己彈奏的唱片, 因為不滿意會不高興,而滿意會喜歡以前的詮釋,而

不再求進步。
雖然1980年代她以莫扎特專家竄起,其實她一向都最喜歡修伯特。當時因為電影Amadeus激起人們對莫扎特的時髦興趣,內田光子被邀演奏。
她可以為了演奏連著六個星期練習一個曲目。

Mitsuko Uchida Will Never Be Done With Schubert
The pianist is returning to one of the first composers she loved in a concert at Carnegie Hall.

https://www.nytimes.com/2019/06/14/arts/music/mitsuko-uchida-schubert-carnegie.html?fbclid=IwAR1Y6czlJr-JlAG1NzNPaWWSx9Kw1CuJuwkXBynbFn1KXcQb5nD73RVqlNY

accessed June 22, 2019
The pianist Mitsuko Uchida. She will perform at Carnegie Hall on June 18, part of a two-season survey of Schubert sonatas.CreditVincent Tullo for The New York Times

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The pianist Mitsuko Uchida. She will perform at Carnegie Hall on June 18, part of a two-season survey of Schubert sonatas.CreditCreditVincent Tullo for The New York Times

By Joshua Barone
• June 14, 2019

“I have hit old age,” Mitsuko Uchida, who turned 70 in December, said recently. “And the beauty of old age is, I am going to say things and behave as if I owned the world.”
She then slapped her knee and let out a wicked laugh, something she does often, like a playful child. This can be disorienting for those who know Ms. Uchida — one of the great pianists of our, or any, time — only through her concerts and recordings, which are solemn and thoughtful, graceful and magisterial.
Her friends and colleagues, however, are used to the laughter. It is, they’ll tell you, as central to her artistry as her superb technique and the sensitivity of her touch.
Those giggles may be disarmingly youthful. But Ms. Uchida is, as she says, getting older. In late April, she canceled an appearance at Carnegie Hall — an installment of her two-season survey of Schubert sonatas — because of exhaustion. (That concert will take place on June 18.)
While performing in Berlin shortly before the cancellation, she recalled later, her brain was “like cabbage.” And she felt an unsettling flutter in her heart. Her doctor recommended rest, so she pulled out of Carnegie and escaped to the coast of Italy. After several days of good food and ocean views, she said, she felt “almost human” again.
This was just in time for the second of her Carnegie engagements, which proceeded as scheduled on May 4. She wasn’t happy with the circumstances — she prefers to have played a program elsewhere before bringing it to the Carnegie stage — and she had no idea what to expect.
“I can’t decide how to play,” she said. “There are many colleagues who know, and they play as they have played yesterday. Or they are so grand, they know the music and they go out to make a statement: ‘Here we are, and I am right.’ I am never right.”
“I try,” she added, “to catch something that is true in that very moment.”

Ms. Uchida at Carnegie Hall in 2016.CreditHiroyuki Ito for The New York Times

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Ms. Uchida at Carnegie Hall in 2016.CreditHiroyuki Ito for The New York Times
There was no sign on May 4 that Ms. Uchida was unsure of herself or still suffering from exhaustion. She didn’t drop a note in the runs of the Sonata in A minor (D. 537), and she was poignantly contemplative in the “Reliquie” Sonata (D. 840). In Schubert’s last sonata, the achingly beautiful B flat (D. 960), her patient pauses were Janus-faced, offering simultaneous terror and solace.
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Ms. Uchida had chosen those pieces — as well as the three sonatas on her June 18 program, including the Sonata in A (D. 959), the exasperated mad scene among Schubert’s piano works — because she wanted to “re-understand” them.
“With piano concertos, we know beforehand what we are going to get,” she said. “But with solo works, it’s so bloody difficult. The great composers always change. And as you change, they change. Especially with the Schubert sonatas, I discovered that I truly have changed.”
Learning Schubert has been a virtually lifelong process for Ms. Uchida. She was born in Japan, where her father, a diplomat, had a record collection. Not knowing any German, she had no idea what the covers or liner notes said. But there was a folk tune she loved on one of the discs.
Later, when she was 12 or 13 and her family had moved to Vienna, she heard the great baritone Dietrich Fischer-Dieskau sing Schubert’s “Winterreise.” “Suddenly, in the middle of this, there was our folk song,” she said. It was “Der Lindenbaum,” one of the most famous art songs in the repertory.
As a piano student, she also loved Mozart and Beethoven. Over time, she has also become a master of Bartok, Berg and Schumann, as well as more contemporary composers like Gyorgy Kurtag.
But, Ms. Uchida said, “I felt more connected with Schubert than anyone else.” His music, she added, is “ever so slightly minimalistic: There’s nothing unnecessary, and that is something that I’ve always liked.”
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Early fans of Ms. Uchida’s wouldn’t necessarily know this. She rose to fame with an astonishing series of Mozart albums — first the sonatas, then the concertos — beginning in the early 1980s.
We can thank “Amadeus” for that. When she got her first major recording deal, Ms. Uchida wanted to make a Schubert album. But she was playing Mozart sonatas on tour at the time, and “Amadeus” — the Peter Shaffer play and the film adaptation that followed — was a hit. So she put out a recording of two Mozart sonatas and a rondo.
Schubert was meant to follow, but her label and listeners were hungry for more Mozart. She didn’t end up releasing a Schubert album until the late 1990s. But when she did — the recordings were eventually collected in a 2004 box set — the wait was worth it.
Ms. Uchida’s Schubert is some of the finest on record. The albums are as intimate and conversational as her recitals; you may even find yourself needing to turn up the volume. She maintains restrained lightness and lyricism throughout, reserving Beethovenian heft only for rare, shocking occasions. Her interpretations are rich with ideas about beauty and mortality, yet her vision of Schubert is never forceful. It is something she shares but doesn’t dictate, not even to her future self: Ms. Uchida never listens to her recordings.
“I don’t want to peep into what I did in the past,” she said, “If I like it, the danger is that I will imitate myself, which is the last thing I want to do. And If I don’t like it, I will just be depressed. The score is there. Why do I need to listen to myself?”
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This assurance, the sense of knowing exactly what she wants out of her own musicianship, comes through — unexpectedly, perhaps — most clearly in Ms. Uchida’s performances with other musicians. Take her Carnegie concert in March with the Mahler Chamber Orchestra, in a program of two Mozart concertos (the 19th and moody 20th) that she conducted from the piano. Moving with her whole body, alternating between sitting at the keyboard and standing above it, she didn’t keep time so much as gesture moods and textures. The orchestra played as an extension of her instrument.
Although the interpretation was ultimately hers, there was a sense of give and take throughout. And that is where Ms. Uchida’s laugh-happy spirit comes in. The violinist Alexi Kenney, who has worked with her at the Marlboro Music School and Festival in Vermont, where she is an artistic director, said that the first time they were together in a rehearsal room, “there was no air of pretense that she knew more than us.”
Their work together was half conversation, half playing. “She lives a full life,” Mr. Kenney said. “She loves food, she loves art, she loves politics. She can talk about anything, and that’s inspiring for young musicians, to have a multitude of other interests.”
Ms. Uchida calls herself a “closet bridge reader” — she spends her free time reading books about bridge, despite claiming to be a bad player — and enjoys a cup of fine tea or a glass of rare wine. Her home, in London, has a wine cellar and a rehearsal studio with a small collection of Steinway pianos.
She likes inviting fellow performers over to talk about and read through music. Among them is the tenor Mark Padmore, himself a leading Schubert interpreter, with whom she is planning to perform “Schwanengesang,” the loose collection of Schubert’s final songs.
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“I was reminding myself recently about the different words for rehearsal,” Mr. Padmore said in an interview. “In French, ‘répétition,’ which speaks for itself; in German, ‘probe’ — proving or trying. In English, it has nothing to do with hearing. Its etymology is to till the earth in preparation for seed. Working with Mitsuko, all three of those things, those attitudes to rehearsing, are absolutely present.”
Together they pore over songs measure by measure, consulting literature, biographies and manuscripts. (Ms. Uchida is obsessed with Schubert’s manuscripts, using them to isolate the errors occasionally present in early and modern editions of his scores.)
“All of those things feel important and can inform how you go about performing something,” Mr. Padmore said. “She actually really loves taking time for this and rehearsing. I think she would rehearse every day for six weeks on a piece if she could.”
Ms. Uchida has reduced the number of performances she gives each year; she would like to lighten the load even more, to focus on Marlboro, which she wants to keep on with “forever, certainly for the foreseeable future.” She wants to study pieces by “old friends” like Bartok — and, yes, more Schubert. At Carnegie, she is scheduled for a performance of Mozart concertos with the Mahler Chamber Orchestra next March, and of solo Beethoven in April.
“It’s quite interesting: These days people live forever,” Ms. Uchida said. “But I don’t want to live forever.”
Again she laughed, with the delight of a kid who just got away with stealing a cookie. Still smiling, she said, “I want to live as long as I can make music decently.”
Mitsuko Uchida
June 18 at Carnegie Hall, Manhattan; carnegiehall.org.
Joshua Barone is a senior staff editor on the Culture Desk, where he writes about classical music and other fields including dance, theater and visual art and architecture. @joshbarone • Facebook
A version of this article appears in print on June 16, 2019, on Page AR18 of the New York edition with the headline: Playing To Catch Something True. Order Reprints |

 

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F. Liszt - "Ständchen" Piano Transcriptions After Schubert - Khatia Buniatishvili

accessed May 20, 2019

這是所聽過有關舒伯特小夜曲最傳神的鋼琴改寫transcription (大師李斯特),也是最細膩 最深遠的彈奏詮釋。
舍弟送在下的生日禮物

影片聯結:https://www.youtube.com/watch?v=SlTTgJau33Q&feature=share

 

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André Previn Passing

安德烈普列文 過世

accessed April 22, 2019


"See you in the Morning beloved Friend. May you rest in glorious symphonies". 
"
可愛的朋友,明早見。 祝你在光榮閃耀的交響樂中安息。"

Who composed the award-winning film music of "My Fair Lady"? That question has bugged me for decades until I saw the obituary of the famous classical music conductor André Previn who was previously the husband of Mia Farrow.
還記得奧德莉赫本演出的金像獎名片「窈宨淑女」(My Fair Lady)的歌曲及配樂嗎?悅耳、通俗、卻不失格調。多年來一直好奇作曲家是誰。沒想到竟然是古典音樂指揮大師而且前妻是米亞法羅的安德烈普列文。
He composed even a violin concerto for his fifth wife, the violin goddess Anne-Sophie Mutter!!
他還為第五任妻子小提琴天后慕特寫了一首小提琴協奏曲!
Upon learning Previn's passing, Mia Farrow was the first to pay tribute to her ‘beloved friend’ and ex-husband Andre Previn by twittering "See you in the Morning beloved Friend. May you rest in glorious symphonies".
米亞法羅得知他過世的消息後是最早表達悼念祝福的人。她在推特上寫道:"可愛的朋友,明早見。 祝你在光榮閃耀的交響樂中安息。"
André Previn, once a child prodigy and all his adult life a talented, all-around pianist/composer/conductor must also have been a kind and charming person with a beautiful soul who knew not to hate and left with no regret.
安德烈普列文幼時曾是天才兒童,長大後作為鋼琴家/作曲家/指揮家,有65年的音樂事業。他應該是位善良、有魅力、擁有美麗靈魂、不懂仇恨的個人。死而無憾。
Read more: https://metro.co.uk/2019/03/01/mia-farrow-pays-tribute-ex-husband-andre-previn-dies-aged-89-8787188/?ito=cbshare&fbclid=IwAR0L_w5esCUgDogB5CJmaK0OuBr9N5KTehXYFopHw1236X4_jocTOEb-BY4

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Lily Marlene/Lili Marleen 莉莉瑪蓮

 Accessed Dec 24 , 2018

 

以下附上兩項 Youtube 音樂 以及 英文和德文的歌詞。

Below please find links to two Youtube pieces and both the Englsih and German lyrics

Outside the barracks, by the corner light

I'll always stand and wait for you at night

We will create a world for two

I'll wait for you the whole night through

For you, Lili Marlene

For you, Lili Marlene

Bugler tonight don't play the call to arms

I want another evening with her charms

Then we will say goodbye and part

I'll always keep you in my heart

With me, Lili Marlene

With me, Lili Marlene

Give me a rose to show how much you care

Tie to the stem a lock of golden hair

Surely tomorrow, you'll feel blue

But then will come a love that's new

For you, Lili Marlene

For you, Lili Marlene

When we are marching in the mud and cold

And when my pack seems more than I can hold

My love for you renews my might

I'm warm again, my pack is light

It's you, Lili Marlene

It's you, Lili Marlene

My love for you renews my might

I'm warm again, my pack is light

It's you, Lili Marlene

It's you, Lili Marlene

 

https://lyricstranslate.com/en/lili-marleen-lili-marlene.html?fbclid=IwAR0pa2RfVFSjuD4qx6wDOTSaR9Rm3oonMTdf0q0QzpGUA_KHGC-YW-VbqcU

 

Lied eines jungen Wachpostens (Lili Marleen)

 

1. Vor der Kaserne

Vor dem grossen Tor

Stand eine Laterne

Und steht sie noch davor

So woll'n wir uns da wieder seh'n

Bei der Laterne wollen wir steh'n

Wie einst Lili Marleen.

 

2. Unsere beide Schatten

Sah'n wie einer aus

Dass wir so lieb uns hatten

Das sah man gleich daraus

Und alle Leute soll'n es seh'n

Wenn wir bei der Laterne steh'n

Wie einst Lili Marleen.

 

3. Schon rief der Posten,

Sie blasen Zapfenstreich

Das kann drei Tage kosten

Kam'rad, ich komm sogleich

Da sagten wir auf Wiedersehen

Wie gerne wollt ich mit dir geh'n

Mit dir Lili Marleen.

 

4. Deine Schritte kennt sie,

Deinen zieren Gang

Alle Abend brennt sie,

Doch mich vergass sie lang

Und sollte mir ein Leids gescheh'n

Wer wird bei der Laterne stehen

Mit dir Lili Marleen?

 

5. Aus dem stillen Raume,

Aus der Erde Grund

Hebt mich wie im Traume

Dein verliebter Mund

Wenn sich die späten Nebel drehn

Werd' ich bei der Laterne steh'n

Wie einst Lili Marleen.

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Allegri, “Miserere Mei Deus”

King's College Choir, Cambridge

accessed May 25, 2018

https://www.youtube.com/watch?v=4lC7V8hG198&feature=share

炎熱的天氣,混亂的世局 ,激蕩的兩岸。

外在無解,反求內心。

 

這是黛安娜王妃葬禮上所唱的音樂。在全球大眾記憶裡,飛聳雲端的和聲很難抹去就此消失。

 

百年後,今日一切如夢般的消失。

 

此天樂仍然縈繞撫慰人類的心靈。

 

林中斌 2018.5.25

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失聰復得記

林中斌 2018.4.18

accessed April 18, 2018

「你真的聽得見嗎?」

前幾天內人還在問。事情已經過了六十天了,她仍然不敢相信。

去年十月初的周六,我去宜蘭登山。回家後幾天內,右耳聽力急速退化。

回想起來,大概是當天淋了些雨。下山後趕公車,忘記馬上換乾衣服,著涼感冒,由耳鼻阻塞引起。即使如此解釋符合邏輯,但是仍然相當勉強。因為之前數十年感冒無數次,從未如此嚴重的影響聽力。

這意外事件給未來蒙上一層黑霧。稱之為人生小型危機並不為過。

因為左耳在過去廿多年逐漸衰退,聽力已幾乎完全喪失。之前全靠尚未失聰的右耳與人互動。

雙耳失聰的我如何擔負數月前已排定的行程--國際會議主題演講、媒體深度訪問、學術會議主持等?

裝助聽器吧!這就是人生。前生的業障啦!以前自己做的,現在自己受。認了!沒什麼好難過的。

自我反思後如此決定。

德國助聽器公司好意先借我試用高級產品兩週。他們遵行母公司規定,提醒顧客不要放棄治療,同時推薦一位附近診所的醫師。後者又推薦新店有規模醫院的大牌醫師。

於是,開始了一場長達四週,每次花耗上下午的耳科醫療折騰之旅。至今回想,猶如惡夢。

忙碌的大牌醫師,在就醫者掛號苦等之後才蒙召見。但是大牌時間寶貴,無暇細聽徵狀,無暇解釋久等才輪到的測試所得的數據,也無暇回答問題。內耳測試尤其令人難忘。執行護士說明不清,就醫者竟然苦躺床上一小時半,猶如在意識的大海中黑夜航行,茫然不知目的何在,也不知何時靠岸。

第四次就醫之後,醫師下最後診斷:內耳神經老化而且受損,醫院將請專人協助病患選購助聽器。意思是:醫療無望,但是你還要再來。

那是十二月中的事。

一位關心的年輕朋友得知如此的醫療「判決」,不服氣。他勸已認命的我找第二個意見。

「之前,我肩膀受傷。醫師說要開刀。您堅持我要避免開刀,以免斬斷了身體氣血的通路,一定要找第二個意見。後來,另一位醫師說不必開刀。靠療養和服用中藥,我的肩膀完全康復了。如今,您也應該找第二個意見。」

他見我毫無行動,於是積極打聽優良的耳科醫師。

今年一月底,他通過朋友安排我去亞東醫院看耳科主任陳光超醫師。那天,他們開車來接。盛情感人。我雖已不抱希望,但不得不「配合演出」。

電腦掛號,掌握時間。到醫院報到後,很快的進行測試,雖然儀器和項目多,但效率高,快速完成。

陳醫師態度友善熱情,稍作詢問,審視測試結果,便說:

「我不同意之前的診斷。讓我檢視你雙耳。」

他清理我外耳後,進行中耳抽水。

突然,雙耳都豁然開朗!

我對陪伴的內人說:「又可以聽音樂了!

「我想你聽的是古典音樂,是嗎?

多聽沒錯。因為古典音樂高低頻率範圍廣闊,遠超過流行音樂。尤其是聽高頻會刺激聽神經,延遲老化。

根據十五篇研究報告,從事音樂的人聽神經老化比一般晚十年。這雖然不構成耳科領域裡的共識,但不妨嘗試。」

他說得有根據、有分寸。

整個過程不過一小時。

我回家後,頗不習慣。聽關門的聲音轟然大響,洗碗碟的聲音,尖銳刺耳。第二天共進早餐時,請內人說話不必如此大聲。出門後,抬頭查看天空是否有轟炸機或在打雷。其實只是風吹過廿多年失聰左耳外部渦輪摩擦出聲而已。

一週後,陳醫師出國演講(他是國際知名的耳科學者)。兩週後見陳醫師複診,他說以後不用來了。

後記:

●感謝青年朋友湯名暉先生費心尋醫、烏凌翔先生引見陳醫師並開車接送。

●隨著兩耳聽力恢復,今年一月突發而前所未有的暈眩症也在二月後自動痊癒。更妙的是,去年四月十一日半夜突發而也前所未有的缺氧症(panic attack 中文翻譯雖並不貼切為「恐慌症」)經過一年忍耐不適持續照舊登山後,如今不斷改進已接近痊癒。

●感謝內人永遠耐心永遠樂觀的陪伴協助。感謝虛空界無形力量的恩典與呵護。

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Let's celebrate!

I can hear again.

accessed April 18, 2018

Let's celebrate!

I can hear again.

Chong-Pin Lin April 18, 2018

失聰復得!

慶祝啊!!

林中斌 2018.4.18

https://www.youtube.com/watch?v=O6umanZrSCY&feature=share

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夕陽鐘聲 Evening Bells

accessed April 19, 2018

夕陽鐘聲 Evening Bells

從俄羅斯靈魂深處流出的音樂。五十年來百聽不厭。每次都揪心動容。

林中斌 2018.4.19

For more than half a century, I have been moved by this melody ever since it came to me in Montreal on a longplay disc of balalaika and voice. This must be from the most beautiful depth of the suffering Russian soul.

Chong-Pin Lin April 19, 2018

https://www.youtube.com/watch?v=NWXdqrvOOf4&feature=share

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蕭邦:最像貓的作曲家 The Pianist Jeremy Denk on the Joys of Chopin, Our Most Catlike Composer

The New York Times, August 04, 2017     

https://www.nytimes.com/2017/08/04/arts/music/jeremy-denk-chopin.html?_r=0

accessed August 7, 2017

●哥倫比亞大學漢學研究是美國第一所。它的來源竟是一位華人文盲捐出一生忠心作僕人所的...。感人而真實的故事。誠摯推薦。


林中斌 2017.7.23

●為什麼蕭邦像貓?他敏感而優雅。
●為什麼李斯特像狗? 他熱情、友善、太急於討好。
●美國當今名鋼琴家和音樂散文家 Jeremy Denk 如是說。

林中斌 2017.8.7

Chopin was sensitive like a cat.

 Liszt …had many virtues but was never as subtle or tasteful as Chopin: He was an enthusiastic, friendly dog, often too eager to please.

The quintessential Chopin gesture is to mark a bass note staccato while instructing you to put down the pedal. Why would you play short and then let the sound linger?...It creates a different timbre, and a different meaning:a release that remains. The foundation, the deepest note, is left as light, pillowy:a perfect analogue to cat’s paw, the sense of grace that lifts from below.                                                                                                                                       

Excerpted by Chong-Pin Lin August 7, 2017

 

 

 

 

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Cubana by Len Williams

2010/05/24

https://www.youtube.com/watch?v=Disa18lfP08&feature=share

accessed Apr 8, 2017

古巴民族靈魂深處留出的舞曲,活潑中帶了一絲的憂傷。第二部分是鉤起回憶的歌謠,。
推薦個人已聽了數十年的音樂。
                            

林中斌 2017.4.8

This lively yet sentimental music is inspired by the Cuban folk melody composed in the form of a dance which I have listened to over decades. Each time, it touches me and echoes in me for hours.

 Chong-Pin Lin April 8, 2017

Cubana by Len Williams.JPG

 

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2017.2.17 心靈復興與聲音美學

中華整合醫學與健康促進協會 

http://www.cimpha.com

● 這是樓宇偉博士的通知邀請函。

2017217日周五徬晚有在下與陳宏遠先生對音樂、音響、心靈經驗的請益和對話。

● 陳先生自美國University of Pennsylvania 畢業後從事企業多年,但一生欣賞古典音樂、學製提琴古箏、鑽研acoustics、親身體驗世界各大音樂廳、學佛、隻身入西藏求道、著有英文小說The Hutong Boy(見圖)

● 樓宇偉博士MIT太空博士、曾任GE manager、回國後在漢翔服務數十年、內觀修行(遠赴緬甸)數十年、讀遍英文靈學書籍資料。是在下之"善知識"老師。

● 以下是在下部落格音樂部份的項目,敬請賜教。

1.For Alice

http://chongpinlin.pixnet.net/blog/post/65346681

2.林中斌-古典音樂台愛樂陣線2004/03/14

http://chongpinlin.pixnet.net/blog/post/65346681

林中斌 2017.2.10

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11-Year-Old Composes First Opera

TIME, NOV 26, 2016

http://ti.me/2gymTv2

This 11-year-old composer is about to debut her first opera.

 

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喬治亞魯斯塔維合唱團安可曲

2016/11/17

https://www.youtube.com/watch?feature=youtu.be&v=bJYEzYSP20o&app=desktop

 

  • 喬治亞是宗教清唱(Gregorian chant)的發源地。這團男聲合唱的合音和獨唱的輕聲頭腔共鳴遠超過預期,也超過華人唱自己歌謠的水準。令人感動又佩服。
  • 感謝賈將軍兆坤提供。

林中斌 2016.11.16

 

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Narciso Yepes - Romance - Jeux interdits – Guitare

Youtube, Feb 14, 2016

https://www.youtube.com/watch?v=vBgDq5N6lCs&app=desktop

accessed Feb 14, 2016

 

l  The most popular piece of music in Spain, the land of chivalry, magic and passion. Yet far from being ribald, and rowdy, it is elegant, and elevating. It's composer is anonymous, its source unknown, and its name, previously lacking, now borrowed from the 1952 French film "Jeux Interdits" that used it as the theme song. The player, grand master Narciso Yepes, reportedly composed the guitar music at age 9. But he himself denied it. Another theory was that Fernando Sor composed it in the early 19th century, which later was overhtrown. It origin has remained a mystery to this day. Yepes' playing, with sensitive handling of each sentence, is superb, and worthy of repeated listening and savoring.

l  Chong-Pin Lin Feb. 14, 2016

l  這是西班亞最常聽到的旋律,大街小巷,從早到晚,都會飄來。此音樂雖普受歡迎,卻毫不低俗。高雅、含蓄、清純。是最美而持久的情操。來源不詳,作曲者無名。表演者是西班牙古典吉他大師。他的琴藝我從1960年代後期便開始欣賞嚮往,如今將近半世紀。

l  林中斌 2016214

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Dmitri Shostakovich: Jazz Suite, Waltz No. 2

Youtube, Feb 10, 2016

accessed Feb 10, 2016

 l  This piece of music, hauntingly beautiful to me, seems to convey a short-lived happiness to be indulged with abandon as the large condition is that of despair and desparation. Only a composer who lived in the shadow of persecution and condemnation by Stalin could have written it.

l  Chong-Pin Lin Feb.10, 2016

l  在絕望中把握短暫快樂的時光盡情歡笑。只有一生受史大林迫害的偉大作曲家蕭士達考衛奇寫的出來。許多電影用它作配樂,情節早已淡去,此旋律在心中恆久不散。

l  林中斌 2016210

 

Dmitri Shostakovich - Jazz Suite Waltz No 2.jpg

 

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For Alice


給艾莉絲
這是為 內人所譜的旋律。從1993寫下第一、二句,直到20149月才完成。此曲是我送給她的生日(2014928)禮物。
感謝黃引珊敦促,Sherry Chen 教授演奏。
林中斌  20141003
 

For Alice
This is a short piece that I wrote for my wife Alice Chang. It took from 1993 when we began dating to September 2014 to complete. For her birthday on September 28, 2014, I presented the piece as my gift to her.  Many thanks to Eli Huang’s for her encouragement, and to Professor Sherry Chen for her piano rendition.
Chong-Pin Lin   October 3, 2014
 

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盲人鋼琴家神技表演李斯特小鐘

Youtube連結: https://www.youtube.com/watch?v=i8Avhms0uqc
2009年范‧克萊本國際鋼琴大賽金牌得主 辻井伸行
2009 Van Cliburn International Piano Competition gold medalist  Nobuyuki Tsujii

 

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Homeless Boy Wows Judges on Korea's Got Talent
 
A video of a homeless Korean boy who loves to sing. 無家可歸的韓國小孩唱歌時像天使墜落人間.....

Youtube連結: https://www.youtube.com/watch?v=y4CBLVNG2Q4



 

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