香港迪士尼喺2016年底公佈樂園擴建重整計劃, 經過咗差唔多五年嘅時間, 整個計劃完成咗一半. 但喺公佈計劃之後, 園方亦有為樂園部分位置進行翻新改建.
唔計喺公佈計劃之前已推出嘅Star Wars 同Duffy Shop 等等嘅改裝, 睇睇過去呢五年樂園出現過咩新項目.
Main Street
1) 小鎮沖印店縮小店面範圍加入Marty’s General Store, 其實並唔知呢間商店嘅定位同對面Emporium 嘅分別, 雖然知道改呢個名係為咗向Disney Legend Marty Sklar 致敬, 但1910年代嘅小鎮大街出現建於1934年嘅商店係奇怪.
2) 同樣出現時間錯亂嘅仲有Since 1912 小鎮雪糕店, 雖然小鎮大街嘅故事為迎合呢間新雪糕店而由1910年向前行咗兩年, 但其實Since 1912 都係奇怪, 正如你行街見到有間舖頭掛住個招牌寫Since 2021. 唔係唔得嘅, 但會笑囉.
3) 大街餅店一分為二改建成一半餅店一半咖啡店. 同樣都係美心主理.
4) 另一個由美心主理, Plaza Inn 內部重新粉飾. 當中嘅十二生肖裝飾係值得欣賞.
Adventureland
1) 加利布尼市集, 但依家受疫情影響或營運考慮已經幾乎長期關閉.
2) Moana: A Homecoming Celebration. 有佢嘅加入係令到逗留喺探險世界嘅時間延長, 基本上係唔錯嘅演出, 只不過戶外熱啫, 會唱兩句或播兩句歌應該會更完美.
Fantasyland
1) Castle of Magical Dreams, Disney 史上首次改建城堡, 香港迪士尼全新樂園地標, 考慮到配合不同天氣狀況嘅設計, 雖然Fans 們評價兩極, 但普遍都係讚. 冇Walk through 上唔到城堡仍然係一個不完美嘅體驗.
2) Bibbidi Bobbidi Boutique, 個人覺得係呢五年間最出色嘅改裝工程. 基於對象有年齡同性別限制, 唔係太多人能夠入到去. 假若呢間Shop 有個恆常Tour 嘅話, 應該都會好受Fans 歡迎.
3) 尋夢奇緣. 一個被硬推上城堡舞台嘅streetmosphere show. 由創作時期已種下嘅失敗, 喺全年最炎熱嘅天氣下推出, 令呢個演出未能造成話題, 感到惋惜同尷尬嘅係園方將宣傳重點由個演出本身轉移到販賣演員同幕後團隊嘅人生奮鬥故事, 亦可見呢個演出冇嘢可sell.
Tomorrowland
1) Iron Man Experience. 以Star Tours 為基礎, 全球首個Disney 創作嘅Marvel 遊樂設施.
2) Nano Battle. 等候區所營造嘅緊張氣氛一上到車就急速下降, 幾乎靜止嘅世界造唔到大戰嘅效果. 令人更掛住巴斯光年.
仲有灰熊山嘅翻新, 回復到新嘅一樣. 好靚.
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battle of tours 在 Fan-Chiang Yi 范姜毅 Facebook 的最讚貼文
🎹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.”
battle of tours 在 弘德模型 Facebook 的精選貼文
一搜依爹~
優庫咖那~
莫信掰以係那以爹~
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閃電霹靂車 原聲帶
SOUND TOURS -ROUND 1- ~ORIGINAL SOUND TRACK COLLECTION~
https://forms.gle/DBz88nLPARvm7VHb7
一共5張CD
共收錄TV版至ZERO版的所有原聲帶
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所以說那個-ROUND 2-
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【收錄曲詳細】
●Disc 1『新世紀GPX サイバーフォーミュラBGM ROUND I』
1, I’ll Come (G-GRIP)
2. DANGER ZONE
3. HAYATO
4. Winners (Instrumetal Version)
5. ASUKA
6. TEAM SUGO ASRADA II
7. CYBER FORMULA
8. CIRCUIT
9. SPLENDOR
10. PIT WALK
11. MOON DRIVING
12. DETERMINATION
13. BURN UP
14. PEACEFUL DREAM
15. Winners (G-GRIP)
●Disc 2『新世紀GPX サイバーフォーミュラBGM ROUND II』
1. BATTLE RUN
2. あたりまえの奇跡 (G-GRIP)
3. HIGH-TENSION
4. TONGUE TWISTER
5. INNOCENT GIRL
6. VIOLENT WIND
7. SUSPICION
8. RANDLE
9. SAFARI
10. THE FEAR OF DANGER
11. I’VE GOT TO RIDE (DYNAMITE SHIGE)
12. EYECATCH
13. FULL OF CONFIDENCE
14. MY HONOR
15. RUN TOGETHER
16. GIRL’ S FEELINGS
17. STRUGGLE
18. ISSUXARK
19. HEART ACHE
20. WAIT FOR YOUR LOVE (G-GRIP)
21. MELANCHOLY
22. SUPER ASRADA
23. LUNA
●Disc 3『新世紀GPX サイバーフォーミュラ11 音楽集』
1. DREAMER ON THE ROAD (DYNAMITE SHIGE)
2. BEGINNING OF THE RACE
3. FIGHTING MACHINE
4. FLAME! -DYNAMITE SHU-
5. AKF-11
6. THE KNIGHT
7. バラードのように… (DYNAMITE SHIN)
8. THE RIVAL
9. LADY CREA
10. Winners (DYNAMITE SHIGE)
11. DISAPPOINTMENT
12. IN THE TWILIGHT
13. BORN TO BE CHAMP (DYNAMITE SHIGE)
BONUS TORACK. Winners (English ver.)
●Disc 4『新世紀GPX サイバーフォーミュラZERO 音楽集1』
1. WIND IS HIGH (木下ゆみ)
2. TIME ATTACK
3. ZERO
4. NICE FRIEND
5. DEVIL’ S HEAVEN (Instrumental Version)
6. SAD HAPPENINGS
7. 風の贈り物 (Instrumental Version)
8. 見えない明日を捜して (DYNAMITE SHIGE)
9. TRUE LOVE
10. THE PARTY
11. ENGAGE RING
12. COMPANION SHIP
13. 風の贈り物 (大木理紗)
14. MY FAVORITE TIME
15. RANDOLL (New Version)
16. CIRCUIT ALONE
17. TEAM MATE
18. HEARTBREAK
19. THE WORLD CUP
20. RUSH IN
21. GET UP! (木下ゆみ)
●Disc 5『新世紀GPX サイバーフォーミュラZERO 音楽集2』
1. WIND IS HIGH(Full Version) (木下ゆみ)
2, ZERO の領域
3. 優しさに包まれて
4. RESURRECTION
5. TERROR OF ZERO
6. BE TOUGH (DYNAMITE SHIGE)
7. PAIN OF THE PAST
8. 風の贈り物 (Instrumetal New Version)
9. AFFLICTION AND DECISION
10. BE ON FIRE
11. DANGEROUS INTRIGUE
12. Get Up! (木下ゆみ)
13. SHARP SENSATION
14. WIND IS HIGH (Instrumetal Version)
15. TENACIOUS RUNNING
16. RANDOLL II
17. PSYCHI ENERGY
18. DEVIL'S HEAVEN (Instrumetal Version)
19. THE TIME OF COMPLETION
20. BRAND NEW DREAM (木下ゆみ)
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哥開的不是預購,是情懷
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