🎹鋼琴的大千世界/名家名言:「為何稱我為大師?主人在這裡(指著鋼琴),我只是他的奴才。」
— 李斯特著名的弟子,德國鋼琴家、作曲家、教育家 萊森奧爾(Alfred Reisenauer)
Why, there is the master (pointing to the piano), I am only the slave.”
— Alfred Reisenauer (1 November 1863 – 3 October 1907) German pianist, composer, and music educator.
📹 跟隨在李斯特學習長達十二年至李斯特過世(1874-1886)的萊森奧爾,演奏李斯特的第十號匈牙利狂想曲:
https://youtu.be/e12YwuHiQtY
📰 延伸閱讀 - 【李斯特學派 / the school of Liszt】♩.♪
https://www.facebook.com/notes/fan-chiang-yi-%E8%8C%83%E5%A7%9C%E6%AF%85/%E6%9D%8E%E6%96%AF%E7%89%B9%E5%AD%B8%E6%B4%BE-the-school-of-liszt/289155141104454/
———————————————————————1905-1906 鋼琴名家萊森奧爾(Alfred Reisenauer)在美國進行數月的巡迴演出,並接受美國著名音樂雜誌”Etude”的專訪。文章於1906年七月出版,隔年他在德國巡迴演出期間於下榻的飯店房間內過世。
📰 藝術家的養成 - 萊森奧爾的見解
The Making of an Artist - The Views of Alfred Reisenauer.
▪️With Liszt
“When I had reached a certain grade of advancement it was my great fortune to become associated with the immortal Franz Liszt. I consider Liszt the greatest man I have ever met. By this I mean that I have never met, in any other walk of life, a man with the mental grasp, splendid disposition and glorious genius. This may seem a somewhat extravagant statement. I have met many, many great men, rulers, jurists, authors, scientists, teachers, merchants and warriors, but never have I met a man in any position whom I have not thought would have proved the inferior of Franz Liszt, had Liszt chosen to follow the career of the man in question. Liszt’s personality can only be expressed by one word, ‘colossal.’ He had the most generous nature of any man I have ever met. He had aspirations to become a great composer, greater than his own measure of his work as a composer had revealed to him. The dire position of Wagner presented itself. He abandoned his own ambitions— ambitions higher than those he ever held toward piano virtuosity—abandoned them completely to champion the difficult cause of the great Wagner. What Liszt suffered to make this sacrifice, the world does not know. But no finer example of moral heroism can be imagined. His conversations with me upon the subject were so intimate that I do not care to reveal one word.
▪️Liszt’s Pedagogical Methods
“His generosity and personal force in his work with the young artists he assisted, are hard to describe. You ask me whether he had a certain method. I reply, he abhorred methods in the modern sense of the term. His work was eclectic in the highest sense. In one way he could not be considered a teacher at all. He charged no fees and had irregular and somewhat unsystematic classes. In another sense he was the greatest of teachers. Sit at the piano and I will indicate the general plan pursued by Liszt at a lesson.”
Reisenauer is a remarkable and witty mimic of people he desires to describe. The present writer sat at the piano and played at some length through several short compositions, eventually coming to the inevitable “Chopin Valse, Op. 69, No. 1, in A flat major.” In the meanwhile, Reisenauer had gone to another room and, after listening patiently, returned, imitating the walk, facial expression and the peculiar guttural snort characteristic of Liszt in his later years. Then followed a long “kindly sermon” upon the emotional possibilities of the composition. This was interrupted with snorts and went with kaleidoscopic rapidity from French to German and back again many, many times. Imitating Liszt he said, “First of all we must arrive at the very essence of the thing; the germ that Chopin chose to have grow and blossom in his soul. It is, roughly considered, this:(見譜例圖四)
Chopin’s next thought was, no doubt:(見譜例圖五)
But with his unerring good taste and sense of symmetry he writes it so:(見譜例圖六)
Now consider the thing in studying it and while playing it from the composer’s attitude. By this I mean that during the mental process of conception before the actual transference of the thought to paper, the thought itself is in a nebulous condition. The composer sees it in a thousand lights before he actually determines upon the exact form he desires to perpetuate. For instance, this theme might have gone through Chopin’s mind much after this fashion:(見譜例圖七)
The main idea being to reach the embryo of Chopin’s thought and by artistic insight divine the connotation of that thought, as nearly as possible in the light of the treatment Chopin has given it.
“It is not so much the performer’s duty to play mere notes and dynamic marks, as it is for him to make an artistic estimate of the composer’s intention and to feel that during the period of reproduction, he simulates the natural psychological conditions which affected the composer during the actual process of composition. In this way the composition becomes a living entity—a tangible resurrection of the soul of the great Chopin. Without such penetrative genius a pianist is no more than a mere machine and with it he may develop into an artist of the highest type.”
▪️A Unique Attitude.
Reisenauer’s attitude toward the piano is unique and interesting. Musicians are generally understood to have an affectionate regard for their instruments, almost paternal. Not so with Reisenauer. He even goes so far as to make this statement: “I have always been drawn to the piano by a peculiar charm I have never been able to explain to myself. I feel that I must play, play, play, play, play. It has become a second nature to me. I have played so much and so long that the piano has become a part of me. Yet I am never free from the feeling that it is a constant battle with the instrument, and even with my technical resources I am not able to express all the beauties I hear in the music. While music is my very life, I nevertheless hate the piano. I play because I can’t help playing and because there is no other instrument which can come as near imitating the melodies and the harmonies of the music I feel. People say wherever I go, ‘Ah, he is a master.’ What absurdity! I the master? Why, there is the master (pointing to the piano), I am only the slave.”
▪️The Future of Pianoforte Music.
An interesting question that frequently arises in musical circles relates to the future possibilities of the art of composition in its connection with the pianoforte. Not a few have some considerable apprehension regarding the possible dearth of new melodic material and the technical and artistic treatment of such material. “I do not think that there need be any fear of a lack of original melodic material or original methods of treating such material. The possibilities of the art of musical composition have by no means been exhausted. While I feel that in a certain sense, very difficult to illustrate with words, one great ‘school’ of composition for the pianoforte ended with Liszt and the other in Brahms, nevertheless I can but prophesy the arising of many new and wonderful schools in the future. I base my prophecy upon the premises of frequent similiar (sic) conditions during the history of musical art.” These are Reisenauer’s views upon this matter.
Continuing, he said: “It is my ambition to give a lengthy series of recitals, with programs arranged to give a chronological aspect of all the great masterpieces in music. I hope to be enabled to do this before I retire. It is part of a plan to circle the world in a manner that has not yet been done.” When asked whether these programs were to resemble Rubinstein’s famous historical recitals in London, years ago, he replied: “They will be more extensive than the Rubinstein recitals. The times make such a series posssible (sic) now, which Rubinstein would have hesitated to give.”
As to American composers, Reisenauer is so thoroughly and enthusiastically won over by MacDowell that he has not given the other composers sufficient attention to warrant a critical opinion. I found upon questioning, that he had made a genuinely sincere effort to find new material in America, but he said that outside of MacDowell, he found nothing but indifferently good salon-music. With the works of several American composers he was, however, unfamiliar. He has done little or nothing himself as a composer and declared that it was not his forte.
▪️American Musical Taste.
Reisenauer says: “American musical taste is in many ways astonishing. Many musicians who came to America prior to the time of Thomas and Damrosch returned to Europe with what were, no doubt, true stories of the musical conditions in America at that time. These stories were given wide circulation in Europe, and it is difficult for Europeans to understand the cultured condition of the American people at the present time. America can never thank Dr. Leopold Damrosch and Theodore Thomas enough for their unceasing labors. Thanks to the impetus that they gave the movement, it is now possible to play programs in almost any American city that are in no sense different from those one is expected to give in great European capitals. The status of musical education in the leading American cities is surprisingly high. Of course the commercial element necessarily affects it to a certain extent; but in many cases this is not as injurious as might be imagined. The future of music in America seems very roseate to me and I can look back to my American concert tours with great pleasure.
▪️Concert Conditions in America.
“One of the great difficulties, however, in concert touring in America is the matter of enormous distances. I often think that American audiences rarely hear great pianists at their best. Considering the large amounts of money involved in a successful American tour and the business enterprise which must be extremely forceful to make such a tour possible, it is not to be wondered that enormous journeys must be made in ridiculously short time. No one can imagine what this means to even a man of my build.” (Reisenauer is a wonderfully strong and powerful man.) “I have been obliged to play in one Western city one night and in an Eastern city the following night. Hundreds of miles lay between them. In the latter city I was obliged to go directly from the railroad depot to the stage of the concert hall, hungry, tired, travel worn and without practice opportunities. How can a man be at his best under such conditions—yet certain conditions make these things unavoidable in America, and the pianist must suffer occasional criticism for not playing uniformly well. In Europe such conditions do not exist owing to the closely populated districts. I am glad to have the opportunity to make this statement, as no doubt a very great many Americans fail to realize under what distressing conditions an artist is often obliged to play in America.”
同時也有1部Youtube影片,追蹤數超過38萬的網紅Padu Beb Studios,也在其Youtube影片中提到,[ NOTE : “English Subtitles” is available for this video. Please enable it manually by clicking on the “Caption/CC" button and choose "English". // Al...
are we there yet europe 在 李怡 Facebook 的最佳解答
Entanglement under chilling effect (Lee Yee)
The first line of the “Manifesto of the Communist Party” issued in 1848 said: “A spectre is haunting Europe – the spectre of communism”. Back then, Hong Kong was about to open for trade. And now, this “spectre of communism” has dressed in a national security law, haunting Hong Kong. Since the National Security Law taking effect last week, the ferocious voices of resistance have been fading out of the media. Chris Yeung, the Chairperson of the Hong Kong Journalists Association, has pointed out that “chilling effect” has turned up. He was asked by a reporter whether it is still at journalists’ option to interview Chris Patten. Except for Apple Daily, almost all media have drawn a veil over any affairs pertaining to the National Security Law. Even perennial contributors to the forum and finance section of the news medium have bidden farewell to readers.
In the past few days, my relatives overseas and friends in Hong Kong have been more attentive to me than usual, not asking me if I would leave Hong Kong, but telling me to leave. Will I leave off writing? Is writing with extreme caution worthwhile? I am already at an advanced age, and have already accomplished what I aspired to.
Though I encouraged readers “not to get predominated by fear” in my column last week, to say I am not scared is to deceive myself and others, not least when being confronted with a law of extreme power from a country alien to us. Hong Kongers are used to observing laws, inclusive of the evil ones. Beijing and Hong Kong government officials have asked Hong Kong people time and again not to defy the law, yet on the day of promulgation when the citizens were still digesting it, the law was enforced in a manner we are not familiar with. How could journalists and columnists not feel threatened?
The National Security Law pledges respect and protection for human rights, including freedom of speech, assembly and demonstration. The said rights are enshrined in the Constitution of the People’s Republic of China as well, but their implementation is a far cry from those implemented in Hong Kong in the past. In my lifetime career as an editor and writer, I had been able to say anything and express any opinions including those in demonstrations. Before the National Security Law coming into effect, the judicature in Hong Kong had changed already. Afterward, it will only get worse.
In legal cases of western countries with a common law system, “promoting” and ‘instigating” are not considered criminal acts because they are intents which are intangible, invisible and unprovable, and it is hardly possible to demarcate “instigating” from “appealing” , and “promoting” from “advocating”. Yet, in recent years, Hong Kong courts have been making sentences based on the offence of “inciting”. Under the National Security Law, it is barely feasible for me to talk the court out of sentencing me for “inciting” with my commentaries.
I just write to put forward my viewpoints that are open to free interpretations of which I do not have foreknowledge, whereby I can ensure my writings do not “incite” Hong Kong citizens to “loathe” the central and SAR government. However, once the sentiment is generated, the author is embroiled in a legal case.
The National Security Law states that “the HKSAR shall promote national security education in schools and through social organisations, the media, the internet and other means”. Is it a crime not to promote “national security education” in schools and through the media and the internet, inasmuch as it is a law already?
Two words “and universities” were put after “in schools” in the English edition issued three days after the promulgation of the Law. Shall we follow the Chinese or English edition? Will there be more updates coming up?
Two days ago, the Committee for Safeguarding National Security established in accordance with the National Security Law issued “Detailed Rules for Implementation” in a meeting, in which Article 5 stipulates that the authorities shall “call for information about activities relating to Hong Kong from foreign and Taiwan’s political organizations and their respective representatives.” If foreign and Taiwan’s political organizations and their representatives do not provide the police with information as required, the relevant personnel will face 6 months in jail and a fine of HKD100,000 upon conviction; if the information provided is fake, incorrect or incomplete, a 2-year jail and a fine of HKD100,000 are expected.
How is the implementation of the National Security Law enforced on overseas countries and Taiwan? How are people in those countries convicted of the crime? Will wolf warriors be dispatched to the U.S. and Taiwan to snatch them back to Hong Kong? Taiwan Executive Yuan President Su Tsengchang responded, “The law enacted in China goes so far as to exercise jurisdiction over everywhere and all the peoples around the world, even over Taiwan.”
The National Security Law and its enforcement is too elusive for ordinary people to understand, and impalpable for writers to manoeuvre. If it is too precarious for one to tread a tightrope, staying away from it is an easy way out. Is it the writing or the person that should stay away from it? This is exactly the entanglement a lot of writers and I cannot stay away from for now.
are we there yet europe 在 浩爾譯世界 Facebook 的最佳貼文
國際級影音製作,全球一千五百萬人追蹤的 Nas Daily 介紹台灣防疫成果 看得好感動!
謝謝 阿滴英文 的努力促成 真的太帥了怎麼辦
感動也要學英文!一起來看影片
內容多多,看不完先分享,有空回來看
Why this country is a coronavirus hero
防疫英雄國的故事
corona 源自 crown 皇冠這個字
皇冠病毒 冠狀病毒 記起來了吧
I am scared of coronavirus, because it’s very contagious.
我很恐懼新冠肺炎,因為傳染性很強
In most countries. This is how coronavirus cases look like.
在大多數國家,新冠肺炎案例數的曲線長這樣
cases 在此是指 confirmed cases 確診病例
Higher, higher and higher.
往上,往上,再往上
It looks impossible to stop.
看起來無法遏止
But there is one country that put an end to coronavirus and made it completely flat entirely by itself, and no one is talking enough about this country.
但是有一個國家,完全靠自己的力量,阻止了疫情
讓曲線趨緩,而很多人根本不知道這個國家
put an end to 阻止
make sth flat 壓平 使趨緩
entirely 完全地
by itself 靠自己
No one is talking enough about 沒人講得夠多 代表受到低估忽視
This is the story of TAIWAN.
這是台灣的故事
One of the closest countries to China, but surprisingly one with very little coronavirus.
身為世界上最鄰近中國的國家之一,卻驚人地防疫成功
very little 幾乎沒有
In Taiwan, only 429 people got infected, only 6 people died and for the last 17 days, zero local cases were reported.
在台灣,只有 429 位患者,僅 6 位死者,而在過去連續 17 天,沒有任何本土案例
local case 本土案例
report 通報
Zero!
零個本土案例!
And best of all, Taiwan did not lock down the country.
最棒的是,台灣並沒有鎖國
best of all 最讚的是
lock down 封鎖
The schools remained open, shops remained open, and the economy remained open.
學校照常營運、店家照常營業、經濟也照常運作
remain 保持
Even sport events continued, but without the fans. Because people were social-distancing.
甚至棒球比賽也繼續,只是沒有觀眾,因為大家在保持社交距離
social distancing 社交安全距離
In Taiwan, people took this very seriously from the beginning and everybody did their part to wear masks and social-distance.
在台灣,我們從最一開始就很謹慎應對,而且每一個人都很認真戴上口罩、保持社交距離
This is impressive, but not surprising.
這很令人敬佩、但卻不會令人驚訝
對比句法:A, but not B
impressive 讓人驚艷的
surprising 讓人驚訝的
Taiwan was one of the first to ban flights from Wuhan. The first to test people. The first to take coronavirus seriously before anyone else did.
台灣從很早就開始管制武漢來的旅客、開始快篩、開始認真看待疫情,早過其他國家。
one of the first 最早的之一
test 篩檢
And here’s the crazy part. All of this, they did alone.
最瘋狂的是,他們獨自辦到了這一切。
See, most nations do not recognize Taiwan as a country, and the World Health Organization doesn’t either for political reasons.
大多數國家因為政治因素,不承認台灣是一個國家,而世界衛生組織也不承認台灣是個國家。
recognize 承認、認可
Which means, they don’t get much help from other countries during this tragedy.
這代表說,台灣在這場悲劇中,沒有得到什麼外援
Yet despite that, they succeeded and beat coronavirus alone.
但是他們還是成功地控制住疫情
succeed 成功
beat 打擊
Now, they’re helping other countries do it too!
現在,他們在協助其他國家做到一樣的事!
They shipped 17,000,000 masks to the United States, to Europe, to the Philippines, to Japan, and even to the small island nation of Fiji.
他們捐贈了一千七百萬個口罩給美國、歐洲、菲律賓、日本,甚至是小島國斐濟
ship 運送
Yes, Fiji!
沒錯,斐濟
Even though we may not be recognized as a country, we’re still a part of the global community and we are here to help. Taiwan can help!
雖然我們不被承認是一個國家,我們還是國際社會的一份子,讓我們來幫忙。Taiwan can help!
global community 國際社會﹑全球社會
It’s easy to lose hope when you look at the world map and look at the infection rates.
如果看著世界地圖、看著感染率,很容易失去希望
lose hope 失去希望
infection rates 感染率
But at least for this minute, look at Taiwan.
但是至少這一分鐘,看看台灣
No local infections, no outbreak, no panic, and no lock down.
沒有本土案例、沒有疫情爆發、沒有民眾恐慌、沒有鎖國封城
Hi, I am Tsai Ing Wen, president of Taiwan and the first woman president of Taiwan. Taiwan is a free, democratic, open, and amazing place.
嗨我是蔡英文,台灣的總統,也是第一位女性總統。台灣是一個自由、民主、開放,讓人驚艷的地方
free 自由的
democratic 民主的
open 開放的
Not many people recognize Taiwan as a country because of politics, but this time everyone should recognize Taiwan as a hero.
因為政治因素,沒有很多人承認台灣是國家,但現在,大家應該要認可台灣是在疫情中的英雄
#touched_感動的
浩爾
are we there yet europe 在 Padu Beb Studios Youtube 的最佳解答
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