【陳宏寬教授給鋼琴教師的建議】♩.♪
1、學習音樂的目的是什麼?
學音樂不是為了個人名譽,而是為了實現靈性上的進步,而靈性成長需具備三個條件:意志、愛和智慧。(因陳先生在以前的講座中談過這個問題,具體參見《陳宏寬:音樂家是靈性的媒介》人民音樂,2007年第2期)
陳先生希望大家能通過學音樂感悟生命中的哲學,並將哲學的理念用到音樂演奏的藝術化發展和靈性的提升中去。他說:「現在手指動得快、技術好的鋼琴學生實在太多了,發展技術是很快的事情,但靈性上的感悟需要時間和經歷。有的學生技術上很好,音樂中卻是一張白紙,缺乏對人生經驗、對世間萬物的感受,他的音樂表達是很有限的,音樂之路也是不會走得太遠。」
陳先生建議鋼琴教師,要尤其注重從小培養學生的愛心和善心,在小朋友十二歲之前打好「心」的基礎,因為只有用誠實、樸素的心去理解音樂,才能真正感受到音樂內在的能量和生命。
2、怎麼練琴才不會感到厭倦?
當一個人帶著創意去練琴時,是不會感到累的;相反,如果練琴不動腦,馬上就會感到無聊和厭倦。陳先生建議大家在練琴之前先把譜中的各要素列出來,比如:旋律、節拍、強弱、音色、分句、動機、和聲、密度等,把每一項的具體要求明確地提出來,然後想辦法一項項去實現它,通過嘗試不同的彈法把它做到完美。這就像科學家做實驗一樣,做實驗之前先知道自己想做什麼,再開始動手,先有動機才有興趣。
3、旋律怎麼才能彈得好聽?
有的學生不會彈連奏,不會彈歌唱性,以為把每個音很扎實地彈出來就是歌唱。陳先生說,怎麼彈句子是要憑經驗的,因為沒有這個經驗,沒有聽過,所以不會彈。其實,音樂的詮釋有多種可能性,單純從譜子上看是看不出來的,這是一種知識的積累。所謂的積累就是多聽,讓學生從小就盡可能地聽很多的好音樂。
怎麼聽?音樂一響起,大腦就要開始工作,不是聽到的就是對的,要有自己的思考和判斷,而不是全盤接受。要研究它的句子是怎麼處理的,每當聽到與自己不同的詮釋方式時,大腦立即重新組織音樂。
所以,耳朵聽到的和大腦重新組織的音樂是不同的,要分析地聽,有選擇性地吸收。當然,聽大音樂家的錄音總是有收穫的,有時候從他們的錄音中悟到的東西,第二天練琴時可能馬上就會用到,這就是學習。
4、教學生學習思考、發現問題,是老師的責任。
一個人的眼界很狹小,他的音樂表達也是有限的;相反,如果你眼中的世界是無限的,無止境的,你的音樂也是無止境的。
5、怎麼才能做一個有意義的鋼琴家?
永遠不要停止練琴和演奏;要有自己的演奏特點;培養好奇心和觀察力;有單獨的時間給自己。
真正的創造是一個獨立的靈魂在工作,「操作」不等於「創作」。陳先生說:「現代人過於依賴手機,每天太多的時間在接電話發信息,那不是創造,是在交換信息。我們每天生活中使用的都是別人的發明創造,沒有自己的東西。在音樂上同樣,如果每天都在重復別人的東西,沒有自己的創造性,音樂的道路不會走的很遠。所以,如果你在鋼琴演奏的機能上已經達到一定水平,下一步就要積極地往藝術的路上去發展。」
最後,陳先生用一位天主教聖人的話作為本次講座的結束語:「I have what I have given」(我有的就是我給別人的),你對社會的貢獻就是你人生的價值。做一件事情,要抱著‘奉獻’的態度,因為只有在你願意‘奉獻’的時候,你的音樂才真正具有感染力。
同時也有1部Youtube影片,追蹤數超過1萬的網紅Milk&Honey Worship,也在其Youtube影片中提到,更多粵語詩歌,請訂閱同follow我們的 Youtube /FB / IG : MilkandHoney Worship 歡迎 Share & Like 索譜或使用申請,請聯絡: [email protected] 從【阿摩司書】裡看到,如果我們沒有活出神的公義... 我...
聖所 鋼琴 譜 在 維若妮卡 Veronica Yen Facebook 的最佳貼文
#比利時 #布魯日 #Veronica樂遊歐洲
不能自由移動的日子,繼續在老相片中回憶遙遠的地方...
《天堂的和聲:比利時布魯日》
置身於比利時的布魯日, 又讓我有種靈性喜悅的幸福感,如同夢境般的淨土,
那是個連空氣都瀰漫著宗教昇華的中古城鎮。
但那絕非嚴肅與沉重的宗教氣息 :
漫步在悠古的小徑與建築之間,
無數的教堂與修道院, 路上的聖像與修女修士相間 ,
我只感到天主教早已溶在當地的每一天生活當中,如此自然, 根本不需思索或規範,
也因天主的存在與守護, 人們感受活著的意義, 也更能悠閒喜悅渡日 。
踩著溫潤的春天陽光, 身旁清淨的景緻舒暢得我只能一路以笑容應和!
我乘馬車又搭船, 貪心的想呼吸完所有布魯日的純淨風光,
Benedictine修女院前的天鵝湖最美!
我欣羨垂柳與一潭榆蔭伴著天鵝悠然的游,
修道人們成天盡收此景於眼簾, 真是何樂而不為!?
這種靈性上的饗宴, 讓我聽見了天堂的和聲...(英倫時期學生時代的旅行)
(回到倫敦後我創作了此曲《天堂的和聲》,以莫札特的風格、單簧管的純粹音色來詮釋:
Apple Music: https://music.apple.com/tw/album/european-fantasy/1523851328
YouTube music : https://youtu.be/l8LBcyxH41c
Spotify: https://spoti.fi/3ibKscf)
Veronica 古典創作專輯《遙遠的地方》2021金革音樂發行😊
誠品連結:https://www.eslite.com/product/1003266752682011554000
博客來連結🔗 https://bit.ly/3uQWEm3
《英倫四季》鋼琴創作樂譜:https://www.jingo.com.tw/one_album?i=12821
正版樂譜下載/Download: https://m.mymusicsheet.com/veronicayen/
聖所 鋼琴 譜 在 文茜的世界周報 Sisy's World News Facebook 的最讚貼文
《我的幸福5/2 週末》
*週日下午兩點誠品信義書店「廿世紀典範人物」新書分享會,我下午二時開始演講,離上次在台灣大學公開演説。快半年了!分享會報名一小時預告已額滿,但TVBS電視台慷慨的支持。派出SNG車,屆時TVBS文茜的世界周報YouTube 及世界周報Facebook 都將同步直播。
*新書分享會後我將直奔高雄衛武營,參加劉孟捷(李斯特巡禮之年)鋼琴獨奏會。這是劉孟捷回台,最重要的一場音樂會,我目睹他用盡了一切心力。過去即使21歲時在費城代打缺席大師的音樂會,劉孟捷都未曾如此緊張。他此次回台,手術前為了沒有遺憾,共舉行三場音樂會:其中4/17與5/30皆是與國家交響樂團NSO合作:530那一場指揮是呂紹嘉。但他告訴我,某些曲目對他而言,是Piece of Cake :惟獨衞武營這一場,曲目由他自己決定,現場錄影,並且找了金曲獎錄音師同步錄音。
5/2衛武營-劉孟捷鋼琴獨奏會《李斯特巡禮之年》購票連結
https://www.opentix.life/event/1384752689074294784
劉夢捷明白他即將面對一個大手術,手術風險之外,他的免疫系統疾病,將使他的康復之路更長。
沒有人可以預知未來,為了圓他的夢,醫院每天都要求他早上、晚上量血壓,報告直接傳給院長。振興醫院院長魏崢雖然是亞洲第一把心臟外科醫師,但也不敢大意。
畢竟這個人的生命那麼脆弱,他的心臟主動脈剝離,那是實質的「心碎」了:但他仍有詩,仍有音樂夢。在生命的交接處,在白日與黑夜的交义口,劉孟捷想為他的音樂生涯,留下最美好的紀錄。
他選擇了李斯特。
在這場音樂會前,他甚至以英文寫下了自己與音樂、疾病的半生回顧:如李斯特的巡禮,有仰望,有沉思,有失落,有幽微的疼痛。他以詩篇般的演奏模式,傾訴,詠嘆。他曾得到天賦,也走過死蔭的幽谷。命運是一層又一層的黑影逼近,老天爺隨時想帶走他。
而他已不再流淚,不再沉浸於悲愴告別:因為對他而言活著並不容易,他要讓自己更深刻的抓住每一分時光之美。
如果時間和空間,正如哲人們所形容的
都是不實際存在的東西:那從不感到衰敗的太陽,也不會比我們了不起多少!
他如艾略特的詩句中所形容的:我們為什麼要如此貪心總在祈禱,想活上整整一個世紀?
蝴蝶雖僅活了一天,已經歷了永恆。
當他的身軀如露水還在藤蔓顫抖時,他送給我們一場「完全浪漫又超技的李斯特」。
等音樂會結束了,至少有一張CD,一段YouTube 影像:不論孟捷代表生命的那朵鮮花是否枯萎,他彈奏如天使的音聲不會飛離,它會停留在那夜,繼續釋放芬芳。
這是盡生命之力、之情獨奏的音樂會。劉孟捷説:這樣當他走進手術室時,會少一點悲傷。
或許快樂的日子本來就不多,但讓這場「完全李斯特.完全劉孟捷」的獨奏會放出神聖的光彩吧!
我必將赴會,不會錯過!我知道此刻的獨奏會,很難複製,因為它綜合了太多的情感、愛念,釋放與生命的抒情。
*劉孟捷為此次獨奏會寫下的文字:This past year has seen some unprecedented changes in the world. Many lives have been lost and many have changed. The world has changed while many of us confront the uncertainty of the future.
For most musicians, life has changed. For months, we have been conducting our lessons online, and concerts have mostly stopped or become an online experience as well. More time has been spent learning how to improve the online teaching experience than one could have imagined. While I have felt the duty to continue teaching, the format the pandemic requires for teaching leaves me unwilling to spend more time than I have to.
And truly, I have had other things to deal with. When the pandemic started to worry the American public in March, I was in the middle of a tour with the String Quartet-in-Residence at Curtis, the Vera Quartet. However, our concerts were canceled, and everything came to a sudden halt.
I felt the universe had sent me an unexpected gift, as I had also just received some terrible news concerning my worsening aortic arches and a diagnosis of kidney cancer. The sudden halt in my professional schedule seemed perfect in its timing. I was able to settle into a monastic existence, to simply practice and attempt to heal.
I see many musicians itching to be concertizing again, and many stepped into new territory, performing on the internet. Many took time to develop new podcasts, and to write new materials for their art. Sadly, many have struggled as they have fallen into desperation without any concert incomes. Altogether the music industry seems to be in peril, and many worry about how music and musicians will survive.
However, I had my own survival to think about. Having been through many difficult experiences in my life, I knew this might be the most difficult I would encounter. My Doctors describe me as a walking time bomb. My condition could be lethal at any moment if my blood pressure gets out of control. So while others wrestle with the fate of the music industry, I’ve needed to face my own fate and mortality.
Playing concerts can mean many things to people. At different times throughout my life, I’ve felt the need to express different aspects of myself. When I was young, I wanted to embody the spirit of romanticism, playing lots of Chopin and Schumann. Then there was a period of time when I wanted to challenge myself by showing off pyrotechnics. I had a brooding period where I turned to the pathos of Rachmaninoff, and then felt the need to return to the purity of Schubert and nobility of Brahms. Throughout this pandemic, I wanted to play Bach. Through Bach’s music I found a kind of spiritual sanctuary.
In considering the program for this concert, I felt again the urge to play music that reflects my current feelings and state of mind. The title of today’s recital, “Years of Pilgrimage” seems to fit exactly what I am experiencing.
Liszt wrote several volumes of “Années de pèlerinage” throughout his life to reflect on thoughts he had during his travels. He links his philosophical thoughts to the scenery which inspired them. “Au Bord d’un Source” describes feelings of rejuvenation while standing next to a clear stream of water, a symbol and source of life and energy. It seems to say, when the stream is so pure, life can be so full of joy.
In the Les jeux d'eaux à la Villa d'Este (The Fountains of the Villa d'Este), the water has a magical and supernatural quality, as Liszt himself wrote in the inscription: "But the water that I shall give him shall become in him a well of water springing up into eternal life,"( from the Gospel of John.)
For me, I have never felt more connected to Liszt than when he looked upon the valley of Obermann and questioned the meaning of existence. At this moment in my life, I often find myself reflecting my experiences of what I see and read into philosophical musings. Perhaps many people come to a time when this is so.
In all this I have felt gratitude for the love stories and sonnets that one can romantically indulge in, and for storms so violent that they threaten to destroy one’s spirit, even the hell-bound journey which brings up questions about the purpose of life…
On this journey, I felt full and alive as a human being. Looking back on this journey, I am grateful for everything, whether happy or sad, to have made an impact, found and imparted meaning to this life.
The unusual time of this pandemic has marked a milestone for me. I have journeyed back home, and as it happened, this is the first time I have spent so much time in my hometown Kaohsiung in over 35 years. It’s particularly nostalgic to play these pieces as some of them were significant in my early musical career. Vallée d’Obermann was the piece I played in my first competition at the junior high school level, in which I won first prize on the national level, which allowed me to be qualified to apply for a special permission to study abroad. This meant my dream to be educated as a musician could be continued in an environment where I could develop fully. In the following year when I was 13, I won the first Asia-Pacific Youth PIano Competition with the Dante Sonata. The competition catapulted me into national attention as I was headlined in several newspapers, and especially since it was held in Kaohsiung, I became a local hero as well. During the same event, I had a fateful meeting with one of the important influences in my life, Mr. Gary Graffman, who then mentored me throughout not only the years when I was studying at Curtis, but throughout my illness and recovery as a pianist. Right before I departed to study in Philadelphia, I played my first solo recital throughout Taiwan, and along with the Dante Sonata, I also performed the three sonnets.
It’s perfect that now, back in Kaohsiung, all these memories have flooded back into my head. I feel so lucky to have been born here, and to have met my first teacher, Chin-Li Lee, who inspired me on the path to become a musician. Prof. Alexander Sung filled me with dreams of becoming an artist. I am grateful for his belief in my talent, when he chose to give a 12 year old such philosophical pieces to play.
Having once again spent some months in Kaohsiung, I can freshly appreciate the source of inspiration it once was for me. I have returned to the source to heal. Having already glimpsed hell’s gate several times, battered and weathered by the storms of life, I know there is a reason life is this way, and it all will be alright.
Meng-Chieh Liu
April, 2021
*劉孟捷衛武營《李斯特巡禮之年》演奏會中,包括李斯特以佩脫拉克三首情詩譜寫的鋼琴琴詩:這三首情詩是從大詩人佩脫拉克一百多首情詩挑出來的,詩本身就很優美,依此激發李斯特的浪漫主義創作靈感,成為琴藝上最困難演奏,但也特別細膩溫柔的琴詩。
這三首分別是:
〈佩脫拉克第47號十四行詩〉〈佩脫拉克第104號十四行詩〉及〈佩脫拉克第123號十四行詩〉。
Franz Liszt(1811-1886): Sonetto 47 del Petrarca, Sonetto 104 del Petrarca, Sonetto 123 del Petrarca, from Années de pèlerinage, Deuxième année: Italie
李斯特於1846年先出版藝術歌曲《三首佩脫拉克十四行詩》(Tre sonetti del Petrarca),再改成鋼琴獨奏版。
三首佩脫拉克十四行詩
中譯:焦元溥(元溥也是友情贊助,特別準備音樂資料,周日南下,聆賞劉孟捷的樂曲,並且陪同他盯著錄音共三天)
〈第47〉
祝福每天、每月、每年,
所有片刻與鐘點、時間與季節,
在那美麗的原野,
我為一雙眼眸魂縈夢牽。
祝福初遇時的甜,
與愛同在、受苦不停歇,
如弓箭刺穿令我淌血,
傷口永留感動在我心間。
祝福一切我發出的聲音,
當呼喚著我深愛的女郎,
渴望、嘆息、淚濕滿襟。
祝福我寫下的文字遠揚,
歌頌她的芳名,萬古長新。
我心永屬於她,無人能闖。
〈第104〉
我找不到和平,也無意打仗,
我恐懼、我期望,燃燒又冰透。
我向天飛升,卻躺在地上,
我一無所有,卻又擁抱整個宇宙。
我身陷囹圄,監牢又開敞;
我不受囚禁,卻銬著鎖頭。
愛情不讓我死,也不讓我飛翔;
不要我活,也不准我逃離悲愁。
欲看卻無眼,啞口還在發言,
我甘心殞滅,卻仍高聲呼救,
我痛恨自己,但仍愛著他人。
憂傷滋潤我,淚水伴隨笑臉,
生命不足惜,死亡也不煩憂;
我淪落至此,都是妳啊,我的愛人!
〈第123〉
我在塵世見到仙子的美,
她天堂般優雅無與倫比。
想起她讓我悲傷又歡喜,
所見如幻夢迷霧與幽黑。
妳的可愛眼睛使我落淚,
多少次讓太陽也要妒忌。
我還聽到四周發出嘆息,
移動了山嶽停止了河水。
愛情智慧憐憫憂傷財富,
在淚水中形成甜美聲響,
奇妙和諧世上未曾目睹。
天堂追隨著音樂的流淌,
雖然枝上樹葉並未飛舞,
空氣與風息卻充滿芬芳。
5/2衛武營-劉孟捷鋼琴獨奏會《李斯特巡禮之年》購票連結
https://www.opentix.life/event/1384752689074294784
聖所 鋼琴 譜 在 Milk&Honey Worship Youtube 的精選貼文
更多粵語詩歌,請訂閱同follow我們的 Youtube /FB / IG : MilkandHoney Worship
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索譜或使用申請,請聯絡: milkandhoneyworship@gmail.com
從【阿摩司書】裡看到,如果我們沒有活出神的公義...
我們的「敬拜」,神都是不悅納的...願我們都彼此提醒,活出主的真道。
《憐憫 Mercy》
作曲: Robert & Lea Sutanto
譯詞: 麥濬思 Matches
主唱 & 結他 : Alexander Lau 和唱: 麥濬思 Matches
鋼琴: Stanley Tong
#MilkandHoneyWorship #WeAreWorshipper
#我係敬拜者
此刻步進主聖所
唯求遇到恩主聖光
清心等基督同在
唯一心所盼
請主天天加信心
熊熊靈火充滿我心
肅清心底的暗面
從心中 從所想
神觸摸
榮光中 重整我一生
憐憫大愛祢施展
求祢讓我歷奇事
行祢義裡的公理
遍蓋這地
澎湃大愛祢傾倒
求祢讓我歷奇妙
願祢的天國終得彰顯
於這都市
#MilkAndHoneyWorship #原創粵語詩歌 #粵語詩歌 #粵語敬拜 #廣東話詩歌 #廣東話敬拜 #原創詩歌
#流奶與蜜 #敬拜讚美
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