🎹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.”
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「before you go鋼琴譜」的推薦目錄:
- 關於before you go鋼琴譜 在 Fan-Chiang Yi 范姜毅 Facebook 的最佳解答
- 關於before you go鋼琴譜 在 林子安 AnViolin Youtube 的精選貼文
- 關於before you go鋼琴譜 在 SLSMusic Youtube 的最佳解答
- 關於before you go鋼琴譜 在 [Piano Music]Before You Go-Lewis Capaldi - YouTube 的評價
- 關於before you go鋼琴譜 在 BEFORE YOU GO | Piano Cover + Sheet Music - YouTube 的評價
- 關於before you go鋼琴譜 在 王鼎智Daniel Ong - Gentle Bones & 鄭可為Tay Kewei【你還不 ... 的評價
- 關於before you go鋼琴譜 在 Mel spectrogram github. The Github; Sanskriti. wa 的評價
before you go鋼琴譜 在 林子安 AnViolin Youtube 的精選貼文
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周興哲《永不失聯的愛》小提琴版本
| Violin cover by Lin Tzu An of Unbreakable Love by Eric Chou
以前聽不懂的歌,一次又一次單曲循環,後來漸漸聽懂了。
好像對事情有所期待,就能從中獲得幸福或滿足。好比說:明天見。
明天見是句溫暖的問候,讓人知道想見的人明天就能見,明天因為一個人翹首以盼,而另個人如期到來,所以值得紀念。
又或是別擔心我在,這句。希望無論遇到什麼挫折困難,在對自己失望透頂或徬徨無助時,知道有個人無論如何都站在他這邊,願對方為自己發亮、看見自己的好,願對方的光中有我的祝福。
我們把自己過好,這樣就很好了,放在心底就是愛你的方式。
信義區香堤大道街頭演出變成登記制了,想聽我live版演出相關資訊,請追蹤Instagram限時動態!
5/28-6/28 由於全台灣疫情警戒升級,街頭演出全部暫停。雖然疫情狀態持續陣子,大家關在家裡真的很累了,但乖乖待在家就是愛自己愛家人最好的方式喔!
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This song reminds me of our story when I just decided to let go of you. Still looking forward to your messages and still waiting for you when it's your time zone waking up.
Though not quite sure what happened or any reasons for disconnecting, hope you can remember however depressed or disappointed you may be, you are loved and I love you even in situation like this. I am here always, as I promised before. Turn to me whenever you'd love to.
So hard to delete all memories and conversations with the only holic I have but hope there will be someday we will be two people meeting again for the first time. I will fall in love with you again def.
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編曲Arrange:林子安 Lin Tzu An
混音mix:林子安 Lin Tzu An
小提琴 Violin: 林子安 Lin Tzu An
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before you go鋼琴譜 在 SLSMusic Youtube 的最佳解答
Adele - When We Were Young - SLS Piano Cover
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* 全曲為即興演出,目前尚無任何樂譜。
* 全曲は即興演出ですから、楽譜がまだありません。
* The performance was full of improvisations so there's no any sheet music of it yet.
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Everybody loves the things you do
你的一切 大家都愛
From the way you talk to the way you move
不論一言一語 或是一顰一笑
Everybody here is watching you
你的一舉一動 都被關注
'Cuz you feel like home
在你身邊 總覺安心
You're like a dream come true
美如夢境
But if by chance you're here alone
若是偶遇 你隻身孤影
Can I have a moment before I go
在離別前 可否陪伴我
'Cuz I've been by myself all night long
由於今晚 我只剩寂寞
Hoping you're someone I used to know
多期盼有 熟悉的溫柔
You look like a movie
你的存在 像電影般
You sound like a song
你的聲音 宛如歌聲
My God, This reminds me of when we were young
天哪, 這使我想起 在我們還年輕的時候
Let me photograph you in this light
讓我在這光線下為妳拍一張照
In case it is the last time
就當做這是 最後一次
That we might be exactly like we were before we realized
在逐漸老去之前 做回青春的我們
We were sad of getting old
時光逝去 使人憂傷
It made us restless
讓人焦急 煩躁不安
It was just like a movie
人生如戲 高潮迭起
It was just like a song
歲月如歌 總有結局
I was so scared to face my fears
你是我心底 最深的恐懼
'Cuz nobody told me that you'd be here
再次遇見你 我措手不及
And I swore you moved overseas
我很肯定當時 你說要遠渡重洋
That's what you said, when you left me
至少那是當初 你離開我的原因
It's hard to admit that
真的很難 去承認
Everything just takes me back
一切事物都使我想起
To when you were there
曾經那尚未離去的妳
To when you were there
那三尚未離去的妳
And a part of me keeps holding on
時常追憶 年少時光
Just in case it hasn't gone
深怕萬一 全都遺忘
I guess I still care
我猜我還惦記著妳
Do you still care
妳是否也是呢
before you go鋼琴譜 在 [Piano Music]Before You Go-Lewis Capaldi - YouTube 的推薦與評價
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