🎹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7部Youtube影片,追蹤數超過419的網紅張偉軒小提琴 woodyviolin,也在其Youtube影片中提到,這是張偉軒小提琴老師為學生所錄製的 小步舞曲G大調 貝多芬 ~ Minuet in G - Beethoven (ベートーヴェン/34 メヌエット ト長調。 篠崎 バイオリン教本 4/5冊) 小提琴演奏示範拉奏 Violin performing 貝多芬的G大調小步舞曲是一首能見度很高的...
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without you 鋼琴 譜 在 Minni :: 狗狗白狐狸 - 韓國明星商品代購+世界旅行 Facebook 的最讚貼文
#W開團 #WannaOne鋼琴譜 #因為我想要 #所以開了
➖WannaOne鋼琴譜➖
💰460(不二補,國內蝦皮搶免運)
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📍預計出貨時間:5月多
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🌟內容收錄:
For Piano _ 17 Songs
*나야나
*Beautiful
*에너제틱
*활활
*Wanna Be
*Gold
*We Are
*BOOMERANG
*Twilight
*약속해요
*Hands On Me
*Never
*갖고싶어
*Nothing Without You
*너의 이름을
*이 자리에
*보여
For Vocal&Piano _ 6 Songs
*나야나
*에너제틱
*약속해요
*Beautiful
*갖고싶어
*Wanna Be
➖➖➖➖➖➖➖➖➖➖➖➖➖➖➖➖➖
這麼晚才來開這個,因為我突然發現有Never這首歌✨✨✨我的愛啊啊啊啊!(結果沒人要買😂)
W❤️🎹
without you 鋼琴 譜 在 時光之硯 Facebook 的最讚貼文
【一天分享一首歌之第184天】〈Running to Stand Still〉/ U2
我常常說一句話:「美好的回憶是我的神」。今晚想給大家聽的這首歌就是直接的例證。在U2的1986年專輯《約書亞樹》中,流成永恆的大曲不少,但這首相對緩慢的〈Running to Stand Still〉卻在過去這十幾年裡,越來越跟我的生命腳步重合,揉入心跳,洗入脈搏。訴說著鄉愁的口琴,後半段響起的鼓,淺淺的鋼琴和弦,還有貝斯低語。
當然還有歌聲,唱著Bono家鄉都柏林的社區高塔,〈Running to Stand Still〉原先歌詞寫的是對徘徊在毒癮裡、掙扎在社會底層的人的憫惜關懷,但一如多數U2歌詞,因為指涉模糊,可以多重解讀,90年代後期,在演唱會上唱這首歌的時候,Bono開始在尾端加上一連串「Hallelujah...」,於是這和U2許多歌譜寫的對信仰,迷途,無從結束卻不停止的追尋⋯⋯再加上救贖,等等意念連結起來了。
而我只是年復一年,一遍遍地陪自己唱著:「She is raging / She is raging / And the storm blows up in her eyes…」,即使我追尋的不是神,但回憶帶來的溫暖,以及總能直接從心的反面把我托住,把我撐起,帶給我力量,甚至滿懷感激⋯⋯,這些都讓我更相信,相信美好的回憶就是我的神。
所以今晚聽這首歌,也許會因此為誰,開啟一個新世界的小門也說不定喔。晚安。
https://www.youtube.com/watch?v=qumfrmsGzvY
#一天分享一首歌
—
And so she woke up
Woke up from where she was lyin' still.
Said I gotta do something
About where I'm goin'
Step on a fast train
Step out of the driving rain, maybe
Run from the darkness in the night.
Singing ah, ah la la la de day
Ah la la la de day
Sweet the sin, bitter the taste in my mouth.
I see seven towers, but I only see one way out.
You gotta cry without weeping, talk without speaking, and
Scream without raising your voice.
You know I took the poison, from the poison stream
Then I floated out of here, singing
Ah la la la de day
Ah la la la de day
She walks through the streets
With her eyes painted red
Under black belly of cloud in the rain.
In through a doorway
She brings me white golden pearls
Stolen from the sea.
She is ragin'
She is ragin'
And the storm blows up in her eyes.
She will suffer the needle chill
She's running to stand still
without you 鋼琴 譜 在 張偉軒小提琴 woodyviolin Youtube 的最讚貼文
這是張偉軒小提琴老師為學生所錄製的 小步舞曲G大調 貝多芬 ~ Minuet in G - Beethoven (ベートーヴェン/34 メヌエット ト長調。 篠崎 バイオリン教本 4/5冊) 小提琴演奏示範拉奏 Violin performing
貝多芬的G大調小步舞曲是一首能見度很高的樂曲,你甚至會在很多影音資料中找到大師公開演奏這首曲子,原本貝多芬是寫給管弦樂團演奏但是樂譜已經遺失了,可是我們還是能找到許多改編給其他樂器演奏的版本。
整個樂曲可以分成三部份:ModeratoTrioModerato1.Moderato: 由兩個 8 小節的樂段組成,總共 16 小節。曲調的特點是重複但優雅的八分音符和十六分音符連奏模式。
2.Trio: 特點是流暢、不間斷的八分音符。
3.Moderato:樂曲返回開頭的旋律,但這次不會再反覆。
Ludwig van Beethoven's Minuet in G major, No. 2 is a composition originally written for orchestra, but was lost and only an arrangement for piano could be found. It has become very popular.The minuet is in incipient ternary form, A-A-B-A
the three parts are:
ModeratoTrioModerato
The Moderato section features a melody, marked legato (to play in a smooth, even style without noticeable breaks between the notes).
The trio section features non-stop eighth notes . It starts with an eight-measure modulating passage repeated once and moves on to another eight-measure passage that ends in the tonic, and is also repeated once.
The last section, which is Moderato also, is a repeat of the first section, but without the repeat. It is that which makes the piece an incipient ternary song form: A-A-B-A.
元々は管弦楽曲として1795年に作曲され、1796年にウィーンで出版された。しかし現存するのはピアノ編曲版のみである。これは《ピアノのための6つのメヌエット 第2部》というタイトルで出版されたが、「第2部」と書かれているのは同年に作曲された《2つのヴァイオリンとバスのためのメヌエット》WoO9(但しベートーヴェンの真作かどうかは確証されていない)を意識してのことではないかとされている。
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without you 鋼琴 譜 在 SLSMusic Youtube 的精選貼文
ONE TAKE! Taiwanese Pianist SLS playing "Gurenge"(紅蓮華)in 6/8 Waltz style.
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Hi guys, this is SLS. Thanks for watching this handheld ONE TAKE video, I've never done anything like this before. The lighting, the shooting, the performing and the producing are all in completely new ways. I wanna thank you my cinematographer 建中, he's so PRO. Without him this work could never happened.
On the other hand, I just can't wait to see the movie "Infinity Train". And I have already played this Demon Slayer OP "Gurenge" by LiSA in 6/8 Waltz style on my livestream for many times, never thought of doing a video. I hope you guys like it.
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without you 鋼琴 譜 在 DOMusicOnline 熱朱力新地 Youtube 的最讚貼文
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without you 鋼琴 譜 在 without you鋼琴譜在PTT/Dcard完整相關資訊 - 小文青生活 的美食出口停車場
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