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｜讓聖靈工作 / Let Your Spirit Move｜約書亞樂團 ft. 曹之懿
立即收聽 ▶️ https://youtu.be/2CY4ktqPKxQ
因祢氣息 枯骨甦醒
Where Your breath goes dry bones waken
來讚美 讚美祢
To praise You, they praise You
踐踏死亡 復活生命
Resurrection life tramples death
走進祢心意
Walk into Your will
《經典回歸 魔界村》將於6月1日（二）登陸PlayStation 4、Xbox One及Steam！今天起接受預約！同時公開各種購入特典！
《魔界村》系列全新作品——《經典回歸 魔界村》將於6月1日（二）登陸PlayStation 4、Xbox One及Steam！今天起接受預約！本作是以《魔界村》和《大魔界村》為原型，且保留了那極富挑戰性的遊戲體驗的系列全新作品。來感受僅此才有的、獨一無二的遊戲體驗吧！
另外，只要預購PlayStation 4、Xbox One或Steam版的《經典回歸 魔界村》就可獲得下列特典：
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■PlayStation 4 （期間：2021年4月27日（二）～5月30日（日）23:59 [HKT]）
・搶先體驗（※2021年5月31日（一）0:00起可以開始遊玩。）
・《經典回歸 魔界村》特製主題 1
・《經典回歸 魔界村》特製主題 2
※5月31日（一）0:00起搶先體驗開始後便無法預購，敬請留意。
■Xbox One（期間：2021年4月27日（二）～5月30日（日）23:59 [HKT]）
・搶先體驗（※2021年5月31日（一）0:00起可以開始遊玩。）
※5月31日（一）0:00起搶先體驗開始後便無法預購，敬請留意。
■Steam（期間：2021年4月27日（二）～6月1日（二）11:59 [HKT]）
・《經典回歸 魔界村》特製桌布＆迷你原聲音樂 組合
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※上述預約特典日後有可能提供其他獲取途徑。(搶先體驗除外)
官方網站：https://www.ghostsn-goblins.com/resurrection/hk/
《經典回歸 魔界村》Nintendo Switch版現正好評發售中！
https://ec.nintendo.com/HK/zh/titles/70010000022554
※遊戲支援繁簡中文、英文及日文。
※只提供下載版。
🎹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.”
#歡迎追蹤並且分享我們的音樂 #約書亞樂團 #讓聖靈工作
實體樂譜▸https://bit.ly/3ztsmYr
電子樂譜▸https://bit.ly/3f4rGkT
讓聖靈工作 / Let Your Spirit Move
詞曲 Lyricist & Composer：曹之懿 Isabelle Tsao、趙治德 Samuel Chao、金品齊 Pinky Chin、洪以琳 Elim Hung
英譯詞 Translator：宋怡萌 Joy Sung
主領 Worship Leader：曹之懿 Isabelle Tsao
[Verse 1]
祢按手在我心上 祝福我
Place Your hand upon my heart, blessing me
祢要我發出預言
You call me to prophesy
骸骨要復活
Dry bones come alive
[Verse 2]
我帶著信心宣告 祢話語
With faith I am declaring Your word
祢向我發出邀請 見證祢運行
You are inviting me to witness Your great works
[Pre-Chorus]
Your Spirit moves around ‘round ‘round
Your glory goes around ‘round ‘round
Your river flows around ‘round ‘round
Your holiness is pouring down
[Chorus]
讓氣息流動
Breath of life, blow forth
讓聖靈工作
Let Your Spirit move
骨與骨聯絡 因祢的手
Joint by joint connect, by Your strong hand
讓氣息流動
Breath of life, blow forth
讓聖靈工作
Let Your Spirit move
骸骨正復活 為祢行走
Dry bones now revive, rise up for You
[Bridges]
因祢氣息 枯骨甦醒
Where Your breath goes dry bones waken
來讚美 讚美祢
To praise You, they praise You
踐踏死亡 復活生命
Resurrection life tramples death
走進祢心意
Walk into Your will
因祢大能 我們聚集
By Your great might we gather here
來敬拜 敬拜祢
To worship, worship You
榮耀軍隊 正在興起
Glorious army now arising
渴慕祢聖靈
Long for Your Spirit
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奉獻 Asia for JESUS/ 約書亞樂團事工
https://goo.gl/5AAgQP
聯繫約書亞樂團：
https://www.joshua.com.tw/web/
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這裡可以找到我們！
YouTube▸https://bit.ly/3hBNTH5
Apple Music▸https://apple.co/3Au41TK
Spotify▸https://spoti.fi/3As1fi4
KKBOX▸https://bit.ly/3dJyCTz
My Music▸https://bit.ly/2UnIVpA
friDay音樂▸https://bit.ly/2UkxJdm
LINE MUSIC▸https://bit.ly/3fyxAeu
-
異象工場官方商城▸https://shop.asiaforjesus.net/
約書亞樂團官網▸https://www.joshua.com.tw/
約書亞樂團Facebook▸https://www.facebook.com/joshuaband
約書亞樂團Instagram▸https://www.instagram.com/joshua_band/
約書亞樂團微博▸https://weibo.com/joshuaband
約書亞樂團微信▸joshuaband
#歡迎追蹤並且分享我們的音樂 #約書亞樂團 #站立在祢愛中
實體樂譜▸https://bit.ly/3Dx57Qh
電子樂譜▸https://bit.ly/38p0VDM
站立在祢愛中／Stand In Your Love
詞曲 Lyricist & Composer：Josh Baldwin, Mark Harris, Ethan Hulse & Rita Springer
中譯詞 Translator：周巽光 Ewen Chow
主領 Worship Leader：趙治德 Samuel Chao
[Verse 1]
當黑暗試圖要將我攻克
When darkness tries to roll over my bones
當傷痛來要偷竊我喜樂
When sorrow comes to steal the joy I own
在最破碎和痛苦的時刻
When brokenness and pain is all I know
Oh我不致動搖 我不致動搖
I won't be shaken, I won't be shaken
[Chorus]
恐懼 不能抵擋我
My fear doesn’t stand a chance
站立 在祢愛中
When I stand in Your love
恐懼 不能抵擋我
My fear doesn’t stand a chance
站立 在祢愛中
When I stand in Your love
恐懼 不能抵擋我
My fear doesn’t stand a chance
站立 在祢愛中
When I stand in Your love
[Verse 2]
羞愧在我裡面無權無分
Shame no longer has a place to hide
謊言不能再囚禁我全人
For I am not a captive to the lies
不再讓過去定義我身分
I'm not afraid to leave my past behind
Oh 我不致動搖 我不致動搖
No I won’t be shaken, I won’t be shaken
[Bridge 1]
祢大能斷開所有的綑綁
There's power that can break off every chain
祢能力勝過陰間和死亡
There's power that can empty out a grave
祢復活帶下拯救的盼望
There's resurrection power that can save
祢名何等剛強
There’s power in Your name
祢何等剛強
Power in Your name
[Bridge 2]
我站立在祢磐石上
I am standing on the Rock
祢的愛是如此堅強
I am standing in Your love
有祢我就不至搖晃
I am standing on the Rock
我站在磐石上
My firm foundation
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奉獻 Asia for JESUS/ 約書亞樂團事工
https://goo.gl/5AAgQP
聯繫約書亞樂團：
https://www.joshua.com.tw/web/
-
這裡可以找到我們！
YouTube▸https://bit.ly/3hBNTH5
Apple Music▸https://apple.co/3Au41TK
Spotify▸https://spoti.fi/3As1fi4
KKBOX▸https://bit.ly/3dJyCTz
My Music▸https://bit.ly/2UnIVpA
friDay音樂▸https://bit.ly/2UkxJdm
LINE MUSIC▸https://bit.ly/3fyxAeu
-
異象工場官方商城▸https://shop.asiaforjesus.net/
約書亞樂團官網▸https://www.joshua.com.tw/
約書亞樂團Facebook▸https://www.facebook.com/joshuaband
約書亞樂團Instagram▸https://www.instagram.com/joshua_band/
約書亞樂團微博▸https://weibo.com/joshuaband
約書亞樂團微信▸joshuaband
Hi，大家好我是莎皮塞維爾，喜歡直播按個讚+訂閱(要開小鈴鐺!)隨時關注我的直播以及頻道最新影片動況!!FB也可以加入按讚追蹤時不時會po出一些有趣的動態或遊戲情報!
歡迎訂閱+小鈴鐺，關注我的遊戲頻道!@v@/
#莎皮塞維爾 #魔界村 #經典回歸魔界村
UGS蘿亞帝國遊戲DC公開群:https://discord.gg/TPVQJMM
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【聊天室注意事項】
1.遊戲在體驗階段，所以有需求，台主發問後再給予回答，不要亂暴雷
2.此台為娛樂向，非技術向，所以想扛技術的可以移動至別台。
3.惡意騷擾洗頻等行為，禁止!
4.請不要當個聲控達人
5.禁止亂帶聊天室風向，請專注與台主互動或當下的遊戲內容。
6.禁止在聊天室裡未經同意直接宣傳或是"影射他人"頻道or各類廣告。
7.在直播時如台主未要求，直接宣傳其他台主之動作，視同不尊重，直接封鎖
以上規則，感謝配合，聊天品質人人有責
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遊戲加入莎皮好友:
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莎皮 Switch Code :7067-8236-7509
莎皮 PSN ID:shapiyaya
Steam id:YT莎皮塞維爾[目前好友單炸裂中]
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訂閱+點擊鈴鐺與分享就好
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or
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莎皮平時蒐集的音樂清單（需要的人可以拿去聽聽）
https://www.youtube.com/playlist?list=PLnHHN0HxS4BSAzH7wuvZdd92kyzDXFTn8
