目前分類:音樂/ music (28)

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Salon de Lin (文武沙龍)

accessed Feb 22, 2020


圖像裡可能有7 個人、包括 Chong-Pin Lin 和黃引珊、大家站著

圖像裡可能有4 個人、大家站著和室內



Salon de Lin (文武沙龍)



Last spring, I dreamt gathering friends to sing a quartet as in my high school and college days.

What joy once lost and then recovered

That joy is reality tonight, thanks to friends made during hiking and teaching.

Click the second picture for an unpolished attempt.


Chong-Pin Lin February 22, 2022

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accessed Feb 23, 2020





臉書今天跳出黃引珊在20132月彈奏的第一、二句,之後她就一直督促林先生要完成這首曲子,並請Sherry Chen教授演奏。







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My Sweet and Tender Beast

accessed Dec 15, 2019



純美、浪漫、遙遠、迷人、如夢、感傷。Purely, and fabulously romantic with an overtone of glamour mixed with a shade of melancholy and nostalgia.
The distiinct bitter-sweet flavor of this piece of music seems to stem from the elegant glamour of the Tsarist Russian court and the dark suffering of the Slavs over the centuries. The listener is reminded of the unforgettably unique flavor of Shostakovich's Second Waltz.

這是被UNESCO2014選為20世紀最好的4首圓舞曲之一。This piece has been chosen by UNESCO in 2014 as one of the four best waltzes of the 20th century.
作曲家Eugen Doga是俄羅斯Moldavia 人。他為1980年代 一部俄羅斯電影"我甜美又溫柔野獸"所創造的。Eugen Doga, a Russian composer from Moldavia, wrote this music for the film " My Sweet and Tender Beast" in the 1980s.
感謝Chingie 介紹音樂及提供背景資料。Courtesy Chingie for the music and its background.



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Sacla’ Stage a Surprise Opera in a School Lunch Hall

accessed Aug 23, 2019

Have a nice weekend!!



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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。



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.







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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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。


"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."

Alma Deutscher (11-year old) at Henley Festival


Alma Deutscher , 8-year old Music Prodigy


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Accessed July 1, 2019


"She makes love to the piano on stage!"
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。

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


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.


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

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

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.
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.”
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?”
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.
“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。



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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!!
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.
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




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.

20181224 平安夜 渴求和平聲音 OK.jpg

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Allegri, “Miserere Mei Deus”

King's College Choir, Cambridge

accessed May 25, 2018


炎熱的天氣,混亂的世局 ,激蕩的兩岸。









林中斌 2018.5.25


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林中斌 2018.4.18

accessed April 18, 2018


































●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。


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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



林中斌 2018.4.18


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夕陽鐘聲 Evening Bells

accessed April 19, 2018

夕陽鐘聲 Evening Bells


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


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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     


accessed August 7, 2017


林中斌 2017.7.23

●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



accessed Apr 8, 2017


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



● 這是樓宇偉博士的通知邀請函。


● 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




林中斌 2017.2.10

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11-Year-Old Composes First Opera

TIME, NOV 26, 2016


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


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  • 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


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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