今天是專輯發片日!!
片片祥雲 好不歡騰啊~**
還記得有一天我把 #12個廻響 以手機語音輸入竟出現了 #神的迴響
感謝主~ 謝謝你捎來了問候~
☘️☘️
請來試聽
https://fgmusic.com.tw/product/twelve-resonates/?fbclid=IwAR2iF5h5JQuqTY9xJw0cTXlH3g8LaXX1ZH7TFesgITe9lzMjKa5Aadf11eY
博客來網購
https://www.books.com.tw/products/0020219121?loc=P_0008_008
🌼
#12個迴響專輯後記
9月18日清晨四五點於工作室臥榻醒來,瞇眼中望見遠方的星光點點彩霞滿天如夕陽,隨即按下手機拍照與臉友們分享寧靜的三芝美..
隔天曾來聽過我音樂會的一位暖爸留言:『謝謝你五點醒來,拍下流情舒曼,晨曦潛映之海灣。謝謝你大方貼上那海岸與天際,讓我們一起住到了三芝。謝謝你是這樣能察覺美、領略美,掌握美(哪怕只是留下美的一角也是滂然),謝謝丹青不論是清晨還是夕晚,用你的美之魔毯,帶我們到聲微點稀的岸與洋幽柔唱合之角,載我們遊柔巻千里無際天屏之上。』
當下我懷疑是天使來留話嗎?
如此豐盈又讓人感到窩心的回饋….
隔日一早四點起來工作..五點鐘又發現遠處海面星光依然閃熠,可是彩霞停演一天,我才知道,不是每個時刻都那麼幸運能當觀眾,也不是每個人生都那麼幸運能以音樂祝福大地並療癒自己..
人生雖然幾番無常,卻總能悠然於大自然稍作休息~
九月的三芝海風總是徐徐清朗,這天在社區步道溜狗女兒,不遠又傳來陣陣鄰居的風鈴聲,好像在靜院,聆聽神的迴響,平安沁心...
The Origin of the Album
Some day at the very end of 2019, I was preparing for our bands’ concert in January.
I was listening to Crystal Master Jun Makino’s album, being inspired that maybe I
could record such album with the combination of crystal bowls and piano. Then I got
a phone call from Jean, told me that Minco and she would like to produce such
album, which totally amazed me by our synchronicity.
Someday before our recording in March 2020, I’ve drew a deck of cards, which
represent 9 stages of life, with three other improvisations, then became 12 songs of
the “Twelve Resonates”.
The melodies came from my dreams and from my lives through all the passing years,
and within the instant moments of the recordings.
Very special thanks to my friends Minco and Jean, who gave me a highly free playing
chances to improvise in this album. Hoping the vibration of the album could bring
you love, light and blessed.
同時也有10部Youtube影片,追蹤數超過5萬的網紅大象體操Elephant Gym,也在其Youtube影片中提到,黑夜籠罩之後,熟悉的日常逐漸褪色。 清楚地感覺到自己正穿越扭曲的時間與畫面, 在那裡,我遇見另一個你,比記憶中更加鮮明, 也遇見另一個我,比想象中更加勇敢, 一起往規則改變的未知前進。 睜眼的那一刻便越過了黑夜。 --------- 大象體操2021年度單曲《穿過夜晚》,創作始於與日本樂團toe...
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melodies of life (piano) 在 Fan-Chiang Yi 范姜毅 Facebook 的最佳解答
🎹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.”
melodies of life (piano) 在 Fan-Chiang Yi 范姜毅 Facebook 的最讚貼文
📹 特別音樂會直播:今晚來自德國萊比錫葛利格紀念館的沙龍廳,由與作曲家當時保持最佳合作關係的音樂出版社「彼得版」(Edition Peters)所舉辦。
葛利格與他的太太妮娜從33歲至逝世在此避寒度過無數個冬季,創作許多膾炙人口的經典作品(例如1888年的皮爾金組曲),也將這些新作品在這個沙龍廳彈奏呈現給他的知音與終身的支持者-彼得版出版社的擁有人。
今晚德國時間晚上七點(台灣時間半夜一點)準時直播!
📹 直播連結:
https://youtu.be/_iM2lyufG8U 與
彼得版出版社的FB官網 :
https://www.facebook.com/EditionPetersGr…/…/306366063385120/
📍今年第三期歐藝音樂營後的「音樂巡禮」將拜訪彼得版(Edition Peters)音樂出版社與葛利格紀念館。
—————————————————————————
《Edition Peters Presents: Live from the Grieg Room》
Nazrin Rashidova, 🎻小提琴violin & Daniel Grimwood, 🎹鋼琴piano
🎶 曲目 / Programme :
葛利格改編紹瑞藝術歌曲給小提琴與鋼琴
Edvard Grieg arranged Émile Sauret: Lieder
畢米許:野天鵝(德國首演)
Sally Beamish: Wild Swans (German Premiere)
葛利格:挪威曲調的即興
Grieg: Improvisata on Norwegian Tunes
紹瑞:第五號奇想練習曲
Émile Sauret: Étude-Caprice No. 5
葛利格:第三號小提琴奏鳴曲
Grieg: Sonata No. 3 in C minor, Op. 45
Today is the day! Rehearsals are underway (and sounding wonderful), for this evening’s concert, featuring works by Grieg, Sauret and Sally Beamish! We’ve put together a list of FAQs which we hope you’ll find useful:
🎵 What time does the concert start?
- The concert will be broadcast from 19:00 (LPZ), 18:00 (LDN) and 13:00 (EST), but will be available to watch wherever you are.
🎵 Where can I see the concert?
- You can view the concert here on Facebook Live and YouTube via the following link:
https://youtu.be/_iM2lyufG8U
《Edition Peters Presents: Live from the Grieg Room》
Nazrin Rashidova, violin & Daniel Grimwood, piano
Grieg’s relationship with the violin remained important all his life. It was the Norwegian violinist, Ole Bull, who encouraged the young composer to study in Leipzig, while the folk-inspired melodies of the Hardanger fiddle echo throughout much of his later music. The virtuoso violinist and composer Émile Sauret studied in Leipzig and made several arrangements for violin of works by Grieg. Edition Peters is delighted to celebrate the music of these composers in the magical surroundings of the Grieg Room, Leipzig.
Nazrin Rashidova is the leading Émile Sauret authority, and performs on his Stradivarius violin. Together with Daniel Grimwood she performs works by Grieg, Sauret and the German Premiere of Sally Beamish’s Wild Swans.
🎶 曲目/Programme :
Edvard Grieg arranged Émile Sauret: Lieder
Sally Beamish: Wild Swans (German Premiere)
Grieg: Improvisata on Norwegian Tunes
Émile Sauret: Étude-Caprice No. 5
Grieg: Sonata No. 3 in C minor, Op. 45
📹 特別音樂會直播:今晚來自德國萊比錫葛利格紀念館的沙龍廳,由與作曲家當時保持最佳合作關係的音樂出版社「彼得版」(Edition Peters)所舉辦。
葛利格與他的太太妮娜從33歲至逝世在此避寒度過無數個冬季,創作許多膾炙人口的經典作品(例如1888年的皮爾金組曲),也將這些新作品在這個沙龍廳彈奏呈現給他的知音與終身的支持者-彼得版出版社的擁有人。
今晚德國時間晚上七點(台灣時間半夜一點)準時直播!
📹 連結(可重複觀賞):
https://youtu.be/_iM2lyufG8U 與
彼得版出版社的FB官網 :
https://www.facebook.com/EditionPetersGroup/videos/2386075371443996/
📍今年第三期歐藝音樂營後的「音樂巡禮」將拜訪彼得版(Edition Peters)音樂出版社與葛利格紀念館。
—————————————————————————
《Edition Peters Presents: Live from the Grieg Room》
Nazrin Rashidova, 🎻小提琴violin & Daniel Grimwood, 🎹鋼琴piano
🎶 曲目 / Programme :
葛利格改編紹瑞藝術歌曲給小提琴與鋼琴
Edvard Grieg arranged Émile Sauret: Lieder
畢米許:野天鵝(德國首演)
Sally Beamish: Wild Swans (German Premiere)
葛利格:挪威曲調的即興
Grieg: Improvisata on Norwegian Tunes
紹瑞:第五號奇想練習曲
Émile Sauret: Étude-Caprice No. 5
葛利格:第三號小提琴奏鳴曲
Grieg: Sonata No. 3 in C minor, Op. 45
Today is the day! Rehearsals are underway (and sounding wonderful), for this evening’s concert, featuring works by Grieg, Sauret and Sally Beamish! We’ve put together a list of FAQs which we hope you’ll find useful:
🎵 What time does the concert start?
- The concert will be broadcast from 19:00 (LPZ), 18:00 (LDN) and 13:00 (EST), but will be available to watch wherever you are.
🎵 Where can I see the concert?
- You can view the concert here on Facebook Live and YouTube via the following link:
https://youtu.be/_iM2lyufG8U
《Edition Peters Presents: Live from the Grieg Room》
Nazrin Rashidova, violin & Daniel Grimwood, piano
Grieg’s relationship with the violin remained important all his life. It was the Norwegian violinist, Ole Bull, who encouraged the young composer to study in Leipzig, while the folk-inspired melodies of the Hardanger fiddle echo throughout much of his later music. The virtuoso violinist and composer Émile Sauret studied in Leipzig and made several arrangements for violin of works by Grieg. Edition Peters is delighted to celebrate the music of these composers in the magical surroundings of the Grieg Room, Leipzig.
Nazrin Rashidova is the leading Émile Sauret authority, and performs on his Stradivarius violin. Together with Daniel Grimwood she performs works by Grieg, Sauret and the German Premiere of Sally Beamish’s Wild Swans.
🎶 曲目/Programme :
Edvard Grieg arranged Émile Sauret: Lieder
Sally Beamish: Wild Swans (German Premiere)
Grieg: Improvisata on Norwegian Tunes
Émile Sauret: Étude-Caprice No. 5
Grieg: Sonata No. 3 in C minor, Op. 45
melodies of life (piano) 在 大象體操Elephant Gym Youtube 的最讚貼文
黑夜籠罩之後,熟悉的日常逐漸褪色。
清楚地感覺到自己正穿越扭曲的時間與畫面,
在那裡,我遇見另一個你,比記憶中更加鮮明,
也遇見另一個我,比想象中更加勇敢,
一起往規則改變的未知前進。
睜眼的那一刻便越過了黑夜。
---------
大象體操2021年度單曲《穿過夜晚》,創作始於與日本樂團toe在疫情期間舉辦的線上合作演出。與toe的團員討論後,取樣其經典曲目 "Two Moons" 的木吉他音軌重新創作,除向喜愛的樂團致敬,也以大象體操的器樂特色詮釋夢境虛實交雜的獨特場景,為探討夢境作為主題的下一張專輯揭開序幕。
--------
“Go Through the Night”
When the night fell, the familiar daily life gradually faded.
I could feel the passing through distorted time and picture.
There, I met you, more vivid than I remembered.
There was another me, braver than ever.
Together, we walked toward the unknown, where the rules were changed.
The moment we opened our eyes, we have gone through the night.
---------
Stemming from their recent collaboration with the Japanese band toe, Elephant Gym’s new single “Go Through the Night” fluidly interpolates the classic toe song “Two Moons” into their unique scene where reality intertwines with dreamworld illusions.
Peppered with chopped samples of the acoustic guitar from “Two Moons,” the Taiwanese trio’s expansion on their beloved song is stamped with KT Chang’s signature basslines that twist nimbly into her brother Tell’s gorgeous piano melodies. While glued together through drummer Tu Chia-Chin’s tactful, pinpoint-precise drumming, the song maintains a dreamlike air, with passages shifting inexplicably and abruptly in a way that still feels natural.
This blurring of boundaries between Elephant Gym’s dreamscape and reality is the central theme of “Go Through the Night,” and doubles as the band’s opening statement for their upcoming album centered on dreams.
◎數位平台聆聽 Listen on Streaming 🎧
https://lnkfi.re/GoThroughtheNight
◎Purchase it on Bandcamp ⬇️
https://elephant-gym.bandcamp.com/album/go-through-the-night
---------
🔥 新單曲全台巡迴場次&售票連結🔗
5/07(五)台北 海邊的卡夫卡
5/08(六)桃園 ThERE
5/09(日)新竹 彌聲
5/14(五)高雄 百樂門酒館
5/15(六)彰化 福大祿昌
5/21(五)台北 樂悠悠之口 光復南
5/23(日)台中 Legacy Taichung chako
5/29(六)台南 TCRC Livehouse
5/30(日)高雄 百樂門酒館
6/04(五)台北 Revolver
6/05(六)台中 洞穴 The Cave
6/12(六)台南 Seety新城視
6/13(日)台東 鐵花村音樂聚落
◎購票連結-http://bit.ly/GoThroughTheNight
◎iNDIEVOX購票系統、7-11 ibon購票
#新單曲全台巡迴售票中 #完售倒數
【音樂製作 Music Production】
製作 Producer:大象體操 Elephant Gym
作曲 Composer:大象體操 Elephant Gym
編曲 Arrangement:大象體操 Elephant Gym
鍵盤 Keyboard:張凱翔 Tell Chang
電貝斯 Electric Bass:張凱婷 KT Chang
鼓 Drums:涂嘉欽 Chia-Chin Tu
取樣 Sample:”Two Moons” by toe, used by permission of Machupicchu INDUSTRIAS Inc.
錄音工程師 Recording Engineer:陳瑩哲 Ying-Che Chen
錄音室 Recording Studio:大象體操錄音室 Elephant Gym Studio
混音工程師 Mixing Engineer : 陳文駿 AJ Chen
母帶後期處理工程師 Mastering Engineer : 王秉皇 Ben Wang
母帶後期處理錄音室 Mastering Studio : 洋活音樂 SeaSide Mastering
樂團經紀 Band Manager:伊晉褕 Eric Yi
【MV製作 Music Video Production】
-On Set-
Cheng-Wei Liu|Chun-Chieh Wang|Dou Tung
Jamie Kao|Marcus Jheng|Sebox Hong|Sid Lin
-Post-
Abby Wan|Phoebe Lu
-Equipment-
Fang-Yu Su|Gafferland|GPS Studio|Merry Go Round Inc.
-Location-
Kaohsiung VR FILM LAB
![post-title](https://i.ytimg.com/vi/-WGaDoOlHwo/hqdefault.jpg)
melodies of life (piano) 在 Ray Mak Youtube 的最佳解答
?SHEET MUSIC & Mp3 ▸ http://www.makhonkit.com
?LEARN MY SONGS ▸ https://tinyurl.com/RayMak-flowkey
?Listen on Spotify ▸ https://sptfy.com/raymak
?Listen on Apple Music ▸ https://music.apple.com/sg/artist/ray-mak/1498802526
?Full Song List ▸ http://www.redefiningpiano.com
Talk to me :
? Instagram ▸ http://instagram.com/makhonkit
? Facebook ▸ http://facebook.com/raymakpiano
? Twitter ▸ http://twitter.com/makhonkit
Quite impressed with the Spirio Technology from Steinway and how they are incorporating pieces from their artists via cloud so users can have their favorite pianists playing at their house, live! This was my impromptu recording of Melodies of Life from my childhood game Final Fantasy IX
![post-title](https://i.ytimg.com/vi/HUJvlLf1cTc/hqdefault.jpg)
melodies of life (piano) 在 Melodies of Life (Final Fantasy IX Piano Collections) - YouTube 的推薦與評價
![影片讀取中](/images/youtube.png)
Here's another classic tune from the Final Fantasy series. This arrangement is from the Piano Collections series. ... <看更多>
melodies of life (piano) 在 Melodies of Life (Final Fantasy IX Piano Collections)(Nobuo ... 的推薦與評價
![影片讀取中](/images/youtube.png)
This is the incomparably beautiful theme, Melodies of Life, from Final Fantasy IX. It's my all time favorite Final Fantasy theme ever ... ... <看更多>
melodies of life (piano) 在 Melodies of Life - Final Fantasy IX Piano ... - YouTube 的推薦與評價
Melodies of Life - Final Fantasy IX Piano Collections *REMAKE* [Advanced]. 440K views · 6 years ago ...more ... ... <看更多>