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【听音乐 】 Youtube 好听的经典小曲子集锦
爱尔加:爱的赞礼

Edward Elgar "Salut d'amour" for violin & piano,Op 12, Kyung Wha Chung Violin

   
  BBB     01/18/2010 23:04
巴达捷斯卡:少女的祈祷

Tekla Badarzewska-Baranowska - The Maiden's Prayer, Op.3

   
  BBB     01/19/2010 13:10
威尔第:《纳布科》中的囚徒合唱
Verdi - Nabucco - Chorus of Hebrew Slaves



Berliner Phil & Rundfunkchor Berlin - Claudio Abbado
   
  BBB     01/19/2010 22:59
贝多芬:F大调浪漫曲

Beethoven Romance No. 2 in F major, op. 50

   
  BBB     01/19/2010 23:46
帕瓦罗蒂演唱舒伯特《圣母颂》

In Loving Memory of Luciano Pavarotti Ave Maria

   
  BBB     01/23/2010 10:37
古尔德演奏巴赫:《哥德堡变奏曲》主题:咏叹调

J.S. Bach - Goldberg Variations: Aria (Glenn Gould)

   
  BBB     01/25/2010 20:30
李云迪演奏李斯特《钟》
(改编自帕格尼尼第二小提琴协奏曲第三乐章)

La Campanella by Yundi Li


   
  BBB     01/25/2010 23:17
Vladimir Horowitz plays Chopin, "Raindrop" Prelude

霍洛维茨演奏肖邦“雨滴”前奏曲

   
  云天     01/26/2010 18:40
一线美乐。 谢E教!

昨听收音机讲,李云迪正式改名为“云迪”。the Caucasian DJ pronounced "yundi" in a very funny way. :-)

"raindrop" reminded me one of Gibran's writings. will post it on another thread.
   
  BBB     01/26/2010 22:38
拉威尔:波莱罗,巴伦波伊姆指挥柏林爱乐乐团演奏

Ravel - Bolero - Daniel Barenboim - Berliner Philharmonic

Part 1/2


Part 2/2



Instruments in Ravel's Bolero

from http://test.woodwind.org/clarinet/BBoard/read.html?f=1&i=316629&t=316629

Author: davyd (---.dc.dc.cox.net - ISP in Fairfax, VA United States)
Date: 2009-11-27 21:22

I haven't played this (I'm not sure I want to) but I have a copy of the score.

1. Flute
2. Bb clarinet
3. Bassoon
4. Eb clarinet
5. Oboe d'amore
6. Flute & muted trumpet in octaves
7. Tenor saxophone
8. Sopranino and soprano saxophones
9. Horn and celesta in octaves; piccolos at the 3rd and 5th
10. Oboe, cor anglais, and Bb clarinets in octaves; oboe d'amore at the 5th
11. Trombone
12. Flutes, piccolo, oboes, cor anglais, Bb clarinets, and tenor sax, in 3 part harmony
13. Flutes, piccolo, oboes, Bb clarinets, and 1st violins, in octaves
14. Flutes, piccolo, oboes, cor anglais, Bb clarinets, tenor sax, and violins, in 3 part harmony
15. Flutes, piccolo, oboes, cor anglais, trumpet, and violins, in octaves
16. Flutes, piccolo, oboes, cor anglais, Bb clarinets, trombone, soprano sax, violins, violas, and cellos, in 3 part harmony. Four bars from the end, piccolo and soprano sax drop out; bass clarinet and tenor saxophone join.
17. Flutes, piccolo, trumpets, saxophones, and 1st violins, in 3 part harmony
18. Flutes, piccolo, trumpets, trombone, saxophones, and 1st violins, in 3 part harmony

Solo #4 is the only entrance for Eb clarinet in the piece. I'm supposing it could be doubled by one of the two Bb clarinets.

As printed, solo #8 begins on the F sopranino saxophone, switching to the Bb soprano saxophone near the end. A teacher who was a regular sub with the local professional orchestra informed me that the solo is customarily played on the soprano saxophone all the way.

Oboe d'amore is a double for Oboe II. I've been informed (don't recall by whom) that the oboe d'amore passages are often played on cor anglais.

The bassoon and trombone solos begin (cold) on Bb4, a seriously high note for both instruments.

The trumpet section consists of 3 trumpets in C and a piccolo trumpet in D.



Post Edited (2009-11-27 21:41)





他不要自己的姓了,why?


云烟 wrote: (01/26/10 18:40)
一线美乐。 谢E教!

昨听收音机讲,李云迪正式改名为“云迪”。the Caucasian DJ pronounced "yundi" in a very funny way. :-)

"raindrop" reminded me one of Gibran's writings. will post it on another thread.
   
  云天     01/28/2010 18:29
前两天正好在听这曲:

战火浮生录



李云迪不是第一次改名了。云姓也好。 ;)
   
  BBB     01/29/2010 19:17
P. I. Tchaikovsky, Capriccio Italien , Op 45

柴可夫斯基:意大利随想曲

Part.1/2


Part.2/2


Academy of St Martin in the fields
Sir Neville Mariner
   
  BBB     01/30/2010 18:21
这个演奏中加入的人声,效果独特,迷人。


云烟 wrote: (01/28/10 18:29)
前两天正好在听这曲:

战火浮生录


   
  BBB     02/07/2010 21:57
贝多芬第三号《莱昂诺拉序曲》
瓦尔特指挥

Karajan - Beethoven: ''Leonore III'' Overture, pt. 1 of 2



Karajan - Beethoven: ''Leonore III'' Overture, pt. 2 of 2

   
  BBB     02/08/2010 00:39
威尔第《弄臣》中的四重唱:《世间美丽的少女》

帕瓦罗蒂和萨瑟兰等演唱

Sutherland & Pavarotti in Rigoletto



Duke--Luciano Pavarotti
Gilda--Joan Sutherland
Rigoletto--Leo Nucci
Maddalena--Isola Jones
   
  BBB     06/30/2010 08:24
Sinopoli conducts Wagner's Rienzi Overture with the Staatskapelle Dresden

1/2


2/2
   
  云天     07/03/2010 18:57







   
  BBB     07/04/2010 16:20
包罗丁的经典,好久没有听过了。谢谢。

Pacific Strings - Borodin Nocturne, “夜曲”,D大调第二弦乐四重奏第三乐章





云烟 wrote: (07/03/10 18:57)
。。。

   
  BBB     11/10/2012 17:53
Händel Alexander's Feast Concerto in C major, HWV318 (6)

   
  BBB     11/10/2012 18:03
Haydn - "The heavens are telling"〈The Creation〉Oratorio / Christopher Hogwood
海顿清唱剧《创世纪》中的合唱《天堂在讲述》

   
  BBB     11/10/2012 18:13
Josf Haydn: Trumpet Concerto in E flat major (part 1)
海顿:降E大调小号协奏曲



Josf Haydn: Trumpet Concerto in E flat major (part 2)
   
  BBB     11/10/2012 19:05
Weber-Der Freischütz Overture-Kleiber (1970)

威伯歌剧《自由射手》序曲

   
lyz23     11/21/2012 16:02
太美了!韩国女?
谢B兄。



BBB wrote: (1/18/2010 19:8)
爱尔加:爱的赞礼
Edward Elgar "Salut d'amour" for violin & piano,Op 12, Kyung Wha Chung Violin

   
lyz23     11/21/2012 16:22
这个也饱满有力,powerful!

   
  云天     11/23/2012 01:26
郑京和。

余司令也喜欢门德尔松?
   
  云天     11/23/2012 01:30
前一段本地古典台总放这支曲。 百听不厌。


BBB wrote: (11/10/2012 15:13)
Josf Haydn: Trumpet Concerto in E flat major (part 1)
海顿:降E大调小号协奏曲

   
lyz23     12/03/2012 16:31
觉得伴奏比主奏更好听,好听得让我走神。那根长笛,那把第一提琴,好生了得!
   
lyz23     12/03/2012 16:31
觉得伴奏比主奏更好听,好听得让我走神。那根长笛,那把第一提琴,好生了得!
   
lyz23     12/03/2012 16:34
怎么,听起来象郑和?

韩国还有个男的,提琴拉得也好,有古典气韵。中国曾有个什么天才少年(现在有30了?),胖乎乎,拉帕克尼尼疯起来,什么规矩也不要。
   
  BBB     12/03/2012 22:40
Sara Chang: Tchaikovsky Violin Concerto in D Op 35




Sara Chang 父亲是韩国来美的移民,也是个小提琴家。


lyz23 wrote: (12/3/2012 16:34)
怎么,听起来象郑和?
韩国还有个男的,提琴拉得也好,有古典气韵。中国曾有个什么天才少年(现在有30了?),胖乎乎,拉帕克尼尼疯起来,什么规矩也不要。

   
lyz23     12/06/2012 16:11
喜欢。这种音乐听了往心里钻。

太剧烈,炫技的,我不太进得去,容易走神。






云天 wrote: (11/22/2012 22:26)
郑京和。
余司令也喜欢门德尔松?

   
lyz23     12/06/2012 16:19
暗晦阴沉,听这样的音乐好像读深奥的哲学书。



BBB wrote: (11/10/2012 16:5)
Weber-Der Freischütz Overture-Kleiber (1970)
威伯歌剧《自由射手》序曲

   
  和谈     12/08/2012 23:21
http://www.youtube.com/watch?v=j7C1xYgj1zQ
http://www.youtube.com/watch?NR=1&v=_K1JfVcaCnQ&feature=endscreen
http://www.youtube.com/watch?feature=endscreen&v=70SqrnlJjsE&NR=1
http://www.youtube.com/watch?NR=1&v=nj3ICYr_47k&feature=endscreen
http://www.youtube.com/watch?feature=endscreen&v=xufblhCHNmg&NR=1
   
  和谈     12/08/2012 23:22
http://www.youtube.com/watch?v=HnKFUNizi4E
http://www.youtube.com/watch?v=CMcKXp1dF-I&feature=endscreen&NR=1
http://www.youtube.com/watch?v=EgrSwoIfNQ0&feature=endscreen&NR=1
http://www.youtube.com/watch?NR=1&v=5xyAjQhgar8&feature=endscreen
http://www.youtube.com/watch?v=rd1tuTafdxU&feature=endscreen&NR=1
   
  BBB     12/09/2012 20:39
我将直接视频加上。












   
  BBB     12/09/2012 20:44











   
  云天     12/10/2012 23:34
余司令试试荷兰美女的魔力:

Janine Jansen Jules Massenet Meditation from Thaïs
http://www.youtube.com/watch?v=6X2Nvx--k1U



lyz23 wrote: (12/6/2012 13:11)
喜欢。这种音乐听了往心里钻。

太剧烈,炫技的,我不太进得去,容易走神。


   
  云天     12/10/2012 23:38
Wow,和指挥的油管很好看, 音乐圣餐。 看了Part 1, thanks for sharing.

“The world is his oyster,but it’s Britain he chose to come to.”

   
lyz23     12/11/2012 18:18
怕怕。

怕这种人山人海。那里是欣赏音乐,分明是看奥运,看球赛。艺术欣赏要静,环境不宜太大。老西好热闹。以前有个理查德啥的,就好这口。太商业了。

美女?没看出来。



云天 wrote: (12/10/2012 20:34)
余司令试试荷兰美女的魔力:
Janine Jansen Jules Massenet Meditation from Thaïs
http://www.youtube.com/watch?v=6X2Nvx--k1U




   
  和谈     12/15/2012 01:40


   
  和谈     12/15/2012 02:35
JE线头上的海顿小号协奏曲由一个美女演奏,让我有点惊讶。
http://en.wikipedia.org/wiki/Alison_Balsom
印象中,铜管乐器男生吹得比较多。不料今天看到另外一个美女吹小号:
http://en.wikipedia.org/wiki/Tine_Thing_Helseth

巴洛克和古典时期时,音乐家还常常给小号写独奏曲,后来小号的独奏地位衰弱,混杂在交响乐队中,它那“揪心”的功能也就消失了。

至今还在流传演奏小号曲中,我个人认为Hummel胡梅尔(1778-1873,名字翻译来源于简明牛津音乐史)的最好听。
   
  和谈     12/15/2012 21:31
又来一个美女小号手:

   
  和谈     12/15/2012 22:01
巴洛克时期另外一首非常好听的小号曲:
http://en.wikipedia.org/wiki/Alessandro_Marcello



   
  和谈     12/15/2012 22:10


   
  和谈     12/15/2012 22:15
Antonio Salieri



   
  云天     12/16/2012 12:19

和谈 wrote: (12/14/2012 23:35)
JE线头上的海顿小号协奏曲由一个美女演奏,让我有点惊讶。
http://en.wikipedia.org/wiki/Alison_Balsom
印象中,铜管乐器男生吹得比较多。不料今天看到另外一个美女吹小号:
http://en.wikipedia.org/wiki/Tine_Thing_Helseth

巴洛克和古典时期时,音乐家还常常给小号写独奏曲,后来小号的独奏地位衰弱,混杂在交响乐队中,它那“揪心”的功能也就消失了。

至今还在流传演奏小号曲中,我个人认为Hummel胡梅尔(1778-1873,名字翻译来源于简明牛津音乐史)的最好听。



WOW, 和指挥这些小号曲令人沉醉,美女们更是养眼。

啊,“简明牛津音乐史”。 和指挥很专业哦。 站长说,“对艺术的爱好,也需要勤奋努力好学的品性来深化。” 果然。
除了天性和勤奋,大概美女音乐家也是动力之一?

小时候对小号的概念就是“军号滴哒哒吹,来了游击队。。。”

和指挥同站长得闲要多扫盲。
   
  云天     12/16/2012 12:21
Claude Debussy Syrinx
http://www.youtube.com/watch?v=FW-8vC9Kpfw


这支长笛曲竟然小号吹得也 haunting.
   
  云天     12/16/2012 12:25

lyz23 wrote: (12/11/2012 15:18)
怕怕。

怕这种人山人海。那里是欣赏音乐,分明是看奥运,看球赛。艺术欣赏要静,环境不宜太大。老西好热闹。以前有个理查德啥的,就好这口。太商业了。

美女?没看出来。



吓到余司令了。 不好意思。
和指挥那么多美女,余司令喜欢哪个?

Hilary Hahn and Josh Ritter Paganini Cantabile
http://www.youtube.com/watch?v=Mhx5eyyG2hY

这个美国美女如何?
   
  BBB     12/17/2012 22:25
怎么听上去和电影《莫扎特》中获得的萨利埃里的形象有点合拍:严肃,有些刻板,也有些韵味,但显然缺少天才的灵气。



和谈 wrote: (12/15/2012 22:15)
Antonio Salieri

   
  BBB     12/17/2012 23:24
画面更比音乐美。


和谈 wrote: (12/15/2012 22:10)



   
  BBB     12/17/2012 23:29
这部作品的确很好听。美女美乐。


和谈 wrote: (12/15/2012 21:31)
又来一个美女小号手:

   
  BBB     12/17/2012 23:31
这部作品真挺好听。美女美乐。


和谈 wrote: (12/15/2012 21:31)
又来一个美女小号手:

   
  和谈     12/18/2012 08:33

云天 wrote: (12/16/2012 12:25)

吓到余司令了。 不好意思。
和指挥那么多美女,余司令喜欢哪个?
Hilary Hahn and Josh Ritter Paganini Cantabile
http://www.youtube.com/watch?v=Mhx5eyyG2hY
这个美国美女如何?



粗一看吓了一跳,以为有一个姓余的司令在指挥美女呢。
   
lyz23     12/18/2012 17:33
hehe, 俺是老粗,莽夫,不好意思,瞎参乎捣乱你们的高雅音乐欣赏了。

不知咋地,俺稀饭抒情的长笛。小号听起来乌里哇啦。



和谈 wrote: (12/18/2012 5:33)

粗一看吓了一跳,以为有一个姓余的司令在指挥美女呢。

   
lyz23     12/18/2012 17:49
喜欢这个。

好听。

小号质量也有关系吧。这个更明亮圆润。




和谈 wrote: (12/15/2012 19:1)
巴洛克时期另外一首非常好听的小号曲:
http://en.wikipedia.org/wiki/Alessandro_Marcello

   
lyz23     12/18/2012 17:54
听起来好像是军乐或皇家仪式乐一类。小号音乐适合于军队政府的大型集体活动,用于个体抒情不太合适。




和谈 wrote: (12/15/2012 19:15)
Antonio Salieri

   
  和谈     12/18/2012 21:41

lyz23 wrote: (12/18/2012 17:33)
hehe, 俺是老粗,莽夫,不好意思,瞎参乎捣乱你们的高雅音乐欣赏了。


呵呵,我只是开一个玩笑,因为第一眼看到云天的帖子,真的就是那个印象。什么“老粗,莽夫”的,余兄使不得,真的使不得!

其实能够喜欢某一种音乐就像能够领受上帝的教诲一样,我们能够说信教高雅而不信教就不高雅吗,显然不能。
说欣赏音乐和信教有相同之处是因为,信教的人希望其他人也一起信教,就像喜欢音乐的人也老是想让别人跟着自己一起去喜欢,比如JE开线用“好听的,经典的”来粉饰,来给自己壮胆。好在推广《圣经》有一个“高雅”的声名叫“传教”;而“喜欢有宗教情怀的人”(JE语)就是那种容易手舞足蹈,得意忘形而全不顾别人感受的那种人。

音乐的种类和风格很多,我觉得像JE这样(对音乐的)兴趣广泛而执着是非常不容易,他喜欢、推荐的,很多我都不是特别能够欣赏而且接受。我以为,我喜欢的类型,他一定喜欢,而他喜欢的,我则不一定喜欢,那么是他高雅还是我高雅?(当然一定是他高雅!

对小号独奏我倒是一直有一种特别的感受。也许正因为它独特风格已经消失于后世音乐之中,或者说被冲锋号、军乐队所占领,不像其他乐器那么优雅了。但是偶然撞上,还是会情不自禁地去忘乎所以一下。
   
  和谈     12/19/2012 22:11
“我虽然很少去教堂,但我相信教堂在一个社会中的积极作用,是取代不了的。我喜欢有宗教生活的社会,更喜欢有宗教情怀的人。”----JE

我喜欢有宗教色彩的音乐题材和体裁:



如果你喜欢这首曲子,恭喜你,你离上帝(天堂)已经不远了!


   
  BBB     12/19/2012 23:49
亨德尔的《感恩赞》,还真没有听过。

我们在这点上的共同语言是无可置疑的。宗教题材和体裁的作品,在过去几年中已经成为我的聆听中的主要内容。

几个礼拜前,迦迪纳带领他的乐团和合唱团又来纽约演出贝多芬的《庄严弥撒》,很想去听。这部作品是我的荒岛选择。他的这个作品的录音,是我认为所有录音中最几个最佳之一。只是最近掉钱眼里了,舍不得耽误挣钱的时间。

上次我们一起在卡耐基听他和他的乐队合唱团演出海顿的清唱剧《四季》,已经正好是三年前的事情了。



和谈 wrote: (12/19/2012 22:11)
“我虽然很少去教堂,但我相信教堂在一个社会中的积极作用,是取代不了的。我喜欢有宗教生活的社会,更喜欢有宗教情怀的人。”----JE
我喜欢有宗教色彩的音乐题材和体裁:

如果你喜欢这首曲子,恭喜你,你离上帝(天堂)已经不远了!

   
  和谈     12/20/2012 07:54
呵呵,你是“伉鹊棵特”,每一分钟都可以折算成钱的。

前年我去听了维也纳童声合唱团,今年他们又来了,可是现在网络上什么都有,真的要感谢电子时代。
   
  和谈     12/20/2012 22:47
再来一段:

   
  BBB     12/21/2012 10:23
这个一听就很有亨德尔的味道,很好听。他的几部加冕赞歌是听过,也有收藏,但印象不深。



和谈 wrote: (12/20/2012 22:47)
再来一段:

   
  和谈     12/21/2012 23:54
"这个一听就很有亨德尔的味道,很好听。他的几部加冕赞歌是听过,也有收藏,但印象不深."

JE还是你厉害,我根本不知道这些曲子是什么名字和出处。
   
  和谈     12/22/2012 00:01

和谈 wrote: (12/19/2012 22:11)
“我虽然很少去教堂,但我相信教堂在一个社会中的积极作用,是取代不了的。我喜欢有宗教生活的社会,更喜欢有宗教情怀的人。”----JE

我喜欢有宗教色彩的音乐题材和体裁:



如果你喜欢这首曲子,恭喜你,你离上帝(天堂)已经不远了!



请留意从第14分钟开始到16分半的那个长号(?)。如果喜欢,你离天堂已经只有“一步之遥”了。

我搜索了一下,觉得这个乐器还是一个小号,或许确切地,应该叫加长小号。因为长号是拉动“活塞”,而小号是开合钮键。
   
  和谈     12/23/2012 08:26
这段应该也是相关的。我现在仍然处在爱好者的初级阶段,也就是多多益善,考证解释留给JE和其他一些大家。

哦,这段里面还有一个美女!

   
  BBB     12/23/2012 10:08
很好听。和谈也和我一样,很自然会喜欢早期音乐(巴赫亨德尔之前的巴洛克和更早)。

马克-安托尼。夏庞蒂埃是法国巴洛克音乐的著名人物,但我还没有听过。其实很多作曲家是知其名,但对其作品听得很少,甚至根本没有听过。主要是时间精力有限。


和谈 wrote: (12/23/2012 8:26)
这段应该也是相关的。我现在仍然处在爱好者的初级阶段,也就是多多益善,考证解释留给JE和其他一些大家。
哦,这段里面还有一个美女!

   
  云天     12/23/2012 12:31
站长同和指挥惺惺相惜哦。 两个贵族。

正在听。

站长/和指挥节日快乐!
   
  云天     12/23/2012 12:43
怪我不好。 余教对音乐绘画都有独到见解,也是贵族。
从前那样称呼,是学芦紫,所以要怪老芦。

长笛我也喜欢,大女儿吹长笛。






lyz23 wrote: (12/18/2012 14:33)
hehe, 。。。

不知咋地,俺稀饭抒情的长笛。小号听起来乌里哇啦。




   
  云天     12/23/2012 12:48

和谈 wrote: (12/21/2012 21:1)


请留意从第14分钟开始到16分半的那个长号(?)。如果喜欢,你离天堂已经只有“一步之遥”了。

我搜索了一下,觉得这个乐器还是一个小号,或许确切地,应该叫加长小号。因为长号是拉动“活塞”,而小号是开合钮键。



如果喜欢,你离天堂已经只有“一步之遥”了
--- 嗯,天堂,我还要等等。 不急。

配一段艾略特的《四重奏》(中文来自网译), 其时诗人已入教:

现在的时间和过去的时间
也许都存在于未来的时间,
而未来的时间又包容于过去的时间。
假若全部时间永远存在
全部时间就再也都无法挽回。
过去可能存在的是一种抽象
只是在一个猜测的世界中,
保持着一种恒久的可能性。
过去可能存在和已经存在的
都指向一个始终存在的终点。
足音在记忆中回响
沿着那条我们从未走过的甬道
飘向那重我们从未打开的门
进入玫瑰园。

Time present and time past
Are both perhaps present in time future
And time future contained in time past.
If all time is eternally present
All time is unredeemable.
What might have been is an abstraction
Remaining a perpetual possibility
Only in a world of speculation.
What might have been and what has been
Point to one end, which is always present.
Footfalls echo in the memory
Down the passage which we did not take
Towards the door we never opened
Into the rose-garden.
   
  云天     12/23/2012 21:25

和谈 wrote: (12/21/2012 21:1)




请留意从第14分钟开始到16分半的那个长号(?)。如果喜欢,你离天堂已经只有“一步之遥”了。

我搜索了一下,觉得这个乐器还是一个小号,或许确切地,应该叫加长小号。因为长号是拉动“活塞”,而小号是开合钮键。



网上的英文资料,随手译了几行,未必十分准确. 站长接着考证。

Background
On 27 June 1743, the British army and its allies, under the command of King George II and Lord Stair, won a victory at the Battle of Dettingen, over the French army, commanded by the Maréchal de Noailles and the Duc de Grammont. On the King's return a day of public thanksgiving was appointed, and Handel, at that time "Composer of the Musick to the Chapel Royal," was commissioned to write a Te Deum and an anthem ("The King Shall Rejoice") for the occasion. The work was composed between 17 and 29 July 1743 and was first performed on 27 November 1743 in the Chapel Royal of St. James's Palace, London in the presence of George II.

《哥廷根感恩赞》背景:

1743 年 6月27 日,由英王乔治二世和斯代尔勋爵统领的英军及其联盟,打败了诺阿也元帅与格拉蒙公爵率领的法国军队,赢得了哥廷根战役。国王班师回朝时,指定了一天举国感恩,时任“皇家宫廷乐长”的亨德尔,受委任为此创作赞美曲和圣歌(“王将欢喜”)。这部作品创作于1743年7月17日至29 日之间,于1743年11月27日在伦敦圣。詹姆斯宫的皇家礼拜堂首次演出,乔治二世出席。


TE DEUM
The Te Deum (also known as Ambrosian Hymn or A Song of the Church) is an early Christian hymn of praise. The title is taken from its opening Latin words, Te Deum laudamus, rendered as "Thee, O God, we praise".

The Te Deum, 拉丁文“神”(也称为 《神之赞美诗》或《教堂之歌》),是一部早期的基督教赞美诗。名称源自起始部的拉丁词, Te Deum laudamus, 译作“神啊,我们赞美你”。

The hymn remains in regular use in the Catholic Church in the Office of Readings found in the Liturgy of the Hours, and in thanksgiving to God for a special blessing such as the election of a pope, the consecration of a bishop, the canonization of a saint, a religious profession, the publication of a treaty of peace, a royal coronation, etc. It is sung either after Mass or the Divine Office or as a separate religious ceremony.[1] The hymn also remains in use in the Anglican Communion and some Lutheran Churches in similar settings.

这部赞美诗仍为天主教堂的例行日课所用,诸如以下场合:教皇选举时感恩神的赐福,主教的献祭,册封圣人与宗教人士,和平条约的出版,以及王室的加冕等。弥撒或颂祷之后,或独立的宗教仪式上都会演唱这首赞美诗。圣公会和一些路德教堂等类似机构,也仍在使用这首赞美诗。
。。。。。


很多作曲家都为这首赞美诗谱写了乐曲,包括亨德尔的三个版本:
The text has been set to music by many composers, with settings by Haydn, Mozart, Berlioz, Verdi, Bruckner, Furtwängler, Dvořák, Britten, Kodály, and Pärt among the better known. Jean-Baptiste Lully wrote a setting of Te Deum for the court of Louis XIV of France, and received a fatal injury while conducting it. The prelude to Marc-Antoine Charpentier's setting (H.146) is well known in Europe on account of its being used as the theme music for some broadcasts of the European Broadcasting Union, most notably the Eurovision Song Contest. Sir William Walton's Coronation Te Deum was written for the coronation of Queen Elizabeth II in 1952. Other English settings include those by Thomas Tallis,William Byrd, Henry Purcell, and Edward Elgar, as well as three settings each by George Frideric Handel and Charles Villiers Stanford.

http://en.wikipedia.org/wiki/Te_Deum


English text:

We praise thee, O God :
we acknowledge thee to be the Lord.

All the earth doth worship thee :
the Father everlasting.

To thee all Angels cry aloud :
the Heavens, and all the Powers therein.

To thee Cherubim and Seraphim :
continually do cry,

Holy, Holy, Holy :
Lord God of Sabaoth;

Heaven and earth are full of the Majesty :
of thy glory.

The glorious company of the Apostles : praise thee.
The goodly fellowship of the Prophets : praise thee.
The noble army of Martyrs : praise thee.

The holy Church throughout all the world :
doth acknowledge thee;
The Father : of an infinite Majesty;
Thine honourable, true : and only Son;
Also the Holy Ghost : the Comforter.

Thou art the King of Glory : O Christ.
Thou art the everlasting Son : of the Father.
When thou tookest upon thee to deliver man :
thou didst not abhor the Virgin's womb.

When thou hadst overcome the sharpness of death :
thou didst open the Kingdom of Heaven to all believers.
Thou sittest at the right hand of God : in the glory of the Father.
We believe that thou shalt come : to be our Judge.

We therefore pray thee, help thy servants :
whom thou hast redeemed with thy precious blood.
Make them to be numbered with thy Saints : in glory everlasting.

[added later, mainly from Psalm verses:]
O Lord, save thy people :
and bless thine heritage.

Govern them : and lift them up for ever.
Day by day : we magnify thee;

And we worship thy Name : ever world without end.
Vouchsafe, O Lord : to keep us this day without sin.

O Lord, have mercy upon us : have mercy upon us.

O Lord, let thy mercy lighten upon us :
as our trust is in thee.

O Lord, in thee have I trusted :
let me never be confounded.
   
  BBB     12/26/2012 21:16
这个介绍很好,简单明了,谢谢翻译。历史的尤其涉及到宗教的词汇,一定要以明确的中文确定下来,才会有更切身的感觉。

我看到 TE DEUM 只知道是《感恩赞》,因为很喜欢这里提到的大部分,海顿,莫扎特,伯辽芝,威尔第,布鲁克纳,德沃夏克。亨德尔这部倒是没有听过,但觉得很好听。多年前曾经介绍过伯辽芝的《感恩赞》。



云天 wrote: (12/23/2012 21:25)

网上的英文资料,随手译了几行,未必十分准确. 站长接着考证。
Background
On 27 June 1743, the British army and its allies, under the command of King George II and Lord Stair, won a victory at the Battle of Dettingen, over the French army, commanded by the Maréchal de Noailles and the Duc de Grammont. On the King's return a day of public thanksgiving was appointed, and Handel, at that time "Composer of the Musick to the Chapel Royal," was commissioned to write a Te Deum and an anthem ("The King Shall Rejoice") for the occasion. The work was composed between 17 and 29 July 1743 and was first performed on 27 November 1743 in the Chapel Royal of St. James's Palace, London in the presence of George II.
《哥廷根感恩赞》背景:
1743 年 6月27 日,由英王乔治二世和斯代尔勋爵统领的英军及其联盟,打败了诺阿也元帅与格拉蒙公爵率领的法国军队,赢得了哥廷根战役。国王班师回朝时,指定了一天举国感恩,时任“皇家宫廷乐长”的亨德尔,受委任为此创作赞美曲和圣歌(“王将欢喜”)。这部作品创作于1743年7月17日至29 日之间,于1743年11月27日在伦敦圣。詹姆斯宫的皇家礼拜堂首次演出,乔治二世出席。

TE DEUM
The Te Deum (also known as Ambrosian Hymn or A Song of the Church) is an early Christian hymn of praise. The title is taken from its opening Latin words, Te Deum laudamus, rendered as "Thee, O God, we praise".
The Te Deum, 拉丁文“神”(也称为 《神之赞美诗》或《教堂之歌》),是一部早期的基督教赞美诗。名称源自起始部的拉丁词, Te Deum laudamus, 译作“神啊,我们赞美你”。
The hymn remains in regular use in the Catholic Church in the Office of Readings found in the Liturgy of the Hours, and in thanksgiving to God for a special blessing such as the election of a pope, the consecration of a bishop, the canonization of a saint, a religious profession, the publication of a treaty of peace, a royal coronation, etc. It is sung either after Mass or the Divine Office or as a separate religious ceremony.[1] The hymn also remains in use in the Anglican Communion and some Lutheran Churches in similar settings.
这部赞美诗仍为天主教堂的例行日课所用,诸如以下场合:教皇选举时感恩神的赐福,主教的献祭,册封圣人与宗教人士,和平条约的出版,以及王室的加冕等。弥撒或颂祷之后,或独立的宗教仪式上都会演唱这首赞美诗。圣公会和一些路德教堂等类似机构,也仍在使用这首赞美诗。
。。。。。

很多作曲家都为这首赞美诗谱写了乐曲,包括亨德尔的三个版本:
The text has been set to music by many composers, with settings by Haydn, Mozart, Berlioz, Verdi, Bruckner, Furtwängler, Dvořák, Britten, Kodály, and Pärt among the better known. Jean-Baptiste Lully wrote a setting of Te Deum for the court of Louis XIV of France, and received a fatal injury while conducting it. The prelude to Marc-Antoine Charpentier's setting (H.146) is well known in Europe on account of its being used as the theme music for some broadcasts of the European Broadcasting Union, most notably the Eurovision Song Contest. Sir William Walton's Coronation Te Deum was written for the coronation of Queen Elizabeth II in 1952. Other English settings include those by Thomas Tallis,William Byrd, Henry Purcell, and Edward Elgar, as well as three settings each by George Frideric Handel and Charles Villiers Stanford.
http://en.wikipedia.org/wiki/Te_Deum

English text:
We praise thee, O God :
we acknowledge thee to be the Lord.
All the earth doth worship thee :
the Father everlasting.
To thee all Angels cry aloud :
the Heavens, and all the Powers therein.
To thee Cherubim and Seraphim :
continually do cry,
Holy, Holy, Holy :
Lord God of Sabaoth;
Heaven and earth are full of the Majesty :
of thy glory.
The glorious company of the Apostles : praise thee.
The goodly fellowship of the Prophets : praise thee.
The noble army of Martyrs : praise thee.
The holy Church throughout all the world :
doth acknowledge thee;
The Father : of an infinite Majesty;
Thine honourable, true : and only Son;
Also the Holy Ghost : the Comforter.
Thou art the King of Glory : O Christ.
Thou art the everlasting Son : of the Father.
When thou tookest upon thee to deliver man :
thou didst not abhor the Virgin's womb.
When thou hadst overcome the sharpness of death :
thou didst open the Kingdom of Heaven to all believers.
Thou sittest at the right hand of God : in the glory of the Father.
We believe that thou shalt come : to be our Judge.
We therefore pray thee, help thy servants :
whom thou hast redeemed with thy precious blood.
Make them to be numbered with thy Saints : in glory everlasting.
[added later, mainly from Psalm verses:]
O Lord, save thy people :
and bless thine heritage.
Govern them : and lift them up for ever.
Day by day : we magnify thee;
And we worship thy Name : ever world without end.
Vouchsafe, O Lord : to keep us this day without sin.
O Lord, have mercy upon us : have mercy upon us.
O Lord, let thy mercy lighten upon us :
as our trust is in thee.
O Lord, in thee have I trusted :
let me never be confounded.

   
  BBB     12/26/2012 21:57
听了好几遍了,越听越喜欢。
那个乐器可能算是本真演出使用的当时的乐器,的确不是现在管弦乐队里看到的长号或小号。那段音乐,那个小号和男声对答,重唱,非常有味道,也很动人。


和谈 wrote: (12/22/2012 0:1)

请留意从第14分钟开始到16分半的那个长号(?)。如果喜欢,你离天堂已经只有“一步之遥”了。

我搜索了一下,觉得这个乐器还是一个小号,或许确切地,应该叫加长小号。因为长号是拉动“活塞”,而小号是开合钮键。
   
  和谈     12/27/2012 11:36

BBB wrote: (12/26/2012 21:57)
听了好几遍了,越听越喜欢。
那个乐器可能算是本真演出使用的当时的乐器,的确不是现在管弦乐队里看到的长号或小号。那段音乐,那个小号和男声对答,重唱,非常有味道,也很动人。


越听越喜欢?不奇怪,因为你的口味很宽泛,我的比较窄。

现在知道为什么有人热衷于传教了8?我也有点那个倾向了。
   
  和谈     12/27/2012 12:08

云天 wrote: (12/23/2012 21:25)

网上的英文资料,随手译了几行,未必十分准确. 站长接着考证。


啊,这个资料真的太好了!

我是一个乐盲,只知道是好听、好听,可是为什么好听,怎么好听统统不知道。对音乐历史,背景也一无所知!
   
  和谈     12/29/2012 18:18


注意从12.25分钟开始的大提琴,从14.40分开始的女声,一直到21分20秒这一段结束。我不知道这唱词,退而求其次,这音乐本身也够了。

亨德尔在巴洛克作曲家里面,他的作品思想内容,如果说有这个东西的话,要比其他的深,比如维瓦尔第。

从24分半之后加进来一个吹奏乐器, 我不知道这个是叫小号还是长号了。它既没有键,也没有栓,象军队里的冲锋号,完全靠气流的强弱来控制?卖糕的!

这个曲子完全都是由精彩的段子组成,可以一遍一遍听。

这里面最出彩的我觉得是从38分半开始的那段,你如果喜欢的话,那么里天堂就只有半步了!

这个指挥的动作不夸张但是有变化,平和而且到位,快一个小时,没有让人单调罗嗦的感觉。
   
  云天     12/29/2012 22:15
的确很精彩。 “离天堂就只有半步了” ?

我让大女儿听24分半后那个乐器,她说 looks like a trombone, and she told me, "trombone is bass clef instrument, while trumpet plays treble clef."
她音乐知识有限,仅供参考。

唱词有待考证。


和谈 wrote: (12/29/2012 15:18)


注意从12.25分钟开始的大提琴,从14.40分开始的女声,一直到21分20秒这一段结束。我不知道这唱词,退而求其次,这音乐本身也够了。

亨德尔在巴洛克作曲家里面,他的作品思想内容,如果说有这个东西的话,要比其他的深,比如维瓦尔第。

从24分半之后加进来一个吹奏乐器, 我不知道这个是叫小号还是长号了。它既没有键,也没有栓,象军队里的冲锋号,完全靠气流的强弱来控制?卖糕的!

这个曲子完全都是由精彩的段子组成,可以一遍一遍听。

这里面最出彩的我觉得是从38分半开始的那段,你如果喜欢的话,那么里天堂就只有半步了!

这个指挥的动作不夸张但是有变化,平和而且到位,快一个小时,没有让人单调罗嗦的感觉。

   
  云天     12/29/2012 22:21

和谈 wrote: (12/20/2012 19:47)
再来一段:





"只知道是好听、好听,可是为什么好听,怎么好听统统不知道"
--- 至高境界啊。


站长同和指挥鼓励,那本乐盲就再译两行。 从前在歌线玩时常译歌词,蓉儿知道。


http://en.wikipedia.org/wiki/Coronation_anthem

Coronation anthem

A coronation anthem is music written to accompany the coronation of a monarch.
Many composers have written coronation anthems. However the best known were composed by George Frideric Handel. Handel's four coronation anthems use text from the King James Bible and were designed to be played at the coronation of the British monarch. They are Zadok the Priest, Let Thy Hand Be Strengthened, The King Shall Rejoice, and My Heart Is Inditing. Each was originally a separate work but they were later published together.

加冕圣歌

加冕圣歌是用于君主加冕时的伴奏音乐。
尽管不少作曲家都写过加冕圣歌,乔治。弗里德里克。亨德尔的作品最广为人知。亨德尔的四首加冕圣歌采用了钦定版圣经文本,特别为英国君主加冕礼所作, 分别是“祭司萨多克”,“给你的手加力”, “王将欢喜”,和“我心涌动美好言辞”。每首曲子原本各自独立,后来一起集结出版。

My Heart is Inditing
My Heart is Inditing (HWV 261) is thought to have been composed between 9 September 1727 and 11 October 1727.

“我心涌动美好言辞” 据说创作于1727年9月9日至10月11日之间。

This piece sets a text developed by Henry Purcell for the 1685 coronation, consisting of a shortened adaptation of verses from Psalm 45 (verses 1, 10, 12) and Book of Isaiah(chapter 49, verse 23). In 1727 it was sung at the end of the coronation of queen Caroline, with adaptations by Handel to make its words more appropriate for a queen. The music is in four sections and characterized by a more refined and distinguished air than the other anthems.

这部作品参照亨利。普赛尔1685年的加冕礼歌唱版本(1685 年詹姆斯二世登基),由《诗篇 45》和《以赛亚书 》中的诗句缩短改编而成。为使歌词更适用于女王,亨德尔做了相应改动,于1727 年卡罗琳女王加冕礼结束时颂唱。音乐分为四部分,较其它圣歌,更为优雅, 别具一格。

The overture to its first movement is not a flamboyant trumpet fanfare but a three-time andante. The first section is in D major, begun by the soloists (originally 2 singers from each group to balance against the full breadth of the orchestra) before alternating between soloists and full choir. The second section is in A major and is also an elegant andante and sets up a charming base line which is taken up by the orchestra, and the melody begins with a long note followed by a casual dotted rhythm pointing out the words "King's daughters". The third movement in E major is yet again an andante, keeping up the graceful and feminine air until the joyous dotted rhythm reappears on the words "and the King shall have pleasure". Handel then keeps up the allegro until the end and the orchestra begins the final movement in D major (after Isa. 49.23) with a virtuoso ritornello before the choirs enter with all the solemn ceremonial pomp of the other anthems. Handel kept the trumpets back in reserve throughout the piece right until the end, where they add another triumphal dimension to the finale.


My heart is inditing of a good matter:
I speak of the things which I have made unto the King.
King’s daughters were among thy honourable women
Upon thy right hand did stand the Queen in vesture of gold
and the King shall have pleasure in thy beauty.
Kings shall be thy nursing fathers
and queens thy nursing mothers.
   
  和谈     12/30/2012 18:45
From Yun Tian (thank you.):

"Handel's four coronation anthems use text from the King James Bible and were designed to be played at the coronation of the British monarch.

They are Zadok the Priest, Let Thy Hand Be Strengthened, The King Shall Rejoice, and My Heart Is Inditing. Each was originally a separate work but they were later published together."





   
  和谈     12/30/2012 18:48
   
  和谈     12/30/2012 19:39
这个片段更好:

   
  BBB     12/30/2012 21:24
现在听音乐真是方便还更好。我这四首《加冕赞歌》在同一张CD上,听过之后也分不清哪段是哪首的。看到这个视频,印象要深多了。前面那个《圣塞西莉亚节颂歌》也很好听。

亨德尔的音乐是很好听的。他和莫扎特都以旋律丰富多彩著称。亨德尔的音乐还有一种特别的崇高感,贝多芬也很推崇他。



和谈 wrote: (12/30/2012 19:39)
这个片段更好:



   
  BBB     12/30/2012 21:39
《圣塞西莉亚节颂歌》很好听。你家千金音乐方面知道的不少,查了手边的两本书,从形状和声音上判断,最接近长号。


云天 wrote: (12/29/2012 22:15)
的确很精彩。 “离天堂就只有半步了” ?

我让大女儿听24分半后那个乐器,她说 looks like a trombone, and she told me, "trombone is bass clef instrument, while trumpet plays treble clef."
她音乐知识有限,仅供参考。

唱词有待考证。



   
  和谈     12/30/2012 22:14
   
  和谈     12/30/2012 22:53


这个指挥比较夸张。

   
  云天     01/01/2013 01:56
回站长,我大女儿MIDDLE SCHOOL 时在BAND 吹过小号。 高中时学吹长笛(她体质稍弱,嫌小号太重)。

和指挥的美曲精彩,明年再考证。不WIKI, 不知在听什么。

Happy New Year to you all!
   
  和谈     01/01/2013 09:57

BBB wrote: (12/30/2012 21:39)
《圣塞西莉亚节颂歌》很好听。你家千金音乐方面知道的不少,查了手边的两本书,从形状和声音上判断,最接近长号。


前几天看到有网上评论提到:vented or un-vented trumpet,让我有点开窍了。顺着巴洛克小号搜索一下,答案就有了。

http://en.wikipedia.org/wiki/Baroque_trumpet
   
  BBB     01/01/2013 23:12
这该是正确答案。乐队是使用本真乐器的古乐队。


和谈 wrote: (1/1/2013 6:57)

BBB wrote: (12/30/2012 21:39)
《圣塞西莉亚节颂歌》很好听。你家千金音乐方面知道的不少,查了手边的两本书,从形状和声音上判断,最接近长号。


前几天看到有网上评论提到:vented or un-vented trumpet,让我有点开窍了。顺着巴洛克小号搜索一下,答案就有了。

http://en.wikipedia.org/wiki/Baroque_trumpet

   
  云天     01/05/2013 01:14
wow, 和指挥很有钻研精神。 PF.
   
lyz23     01/07/2013 16:09
好像是第一次听这个。感觉深不可测。西方古典音乐,在表现心灵的深度和宇宙的深邃与奥秘上,比之其它地区文化,不知要高出多少。

谢谢分享。




BBB wrote: (11/10/2012 16:5)
Weber-Der Freischütz Overture-Kleiber (1970)
威伯歌剧《自由射手》序曲

   
  云天     01/12/2013 02:38
余兄周末好。 余兄可否写过乐感乐评?


lyz23 wrote: (1/7/2013 13:9)
好像是第一次听这个。感觉深不可测。西方古典音乐,在表现心灵的深度和宇宙的深邃与奥秘上,比之其它地区文化,不知要高出多少。

谢谢分享。





   
  云天     01/12/2013 02:54

和谈 wrote: (12/29/2012 15:18)


注意从12.25分钟开始的大提琴,从14.40分开始的女声,一直到21分20秒这一段结束。我不知道这唱词,退而求其次,这音乐本身也够了。

亨德尔在巴洛克作曲家里面,他的作品思想内容,如果说有这个东西的话,要比其他的深,比如维瓦尔第。

从24分半之后加进来一个吹奏乐器, 我不知道这个是叫小号还是长号了。它既没有键,也没有栓,象军队里的冲锋号,完全靠气流的强弱来控制?卖糕的!

这个曲子完全都是由精彩的段子组成,可以一遍一遍听。

这里面最出彩的我觉得是从38分半开始的那段,你如果喜欢的话,那么里天堂就只有半步了!

这个指挥的动作不夸张但是有变化,平和而且到位,快一个小时,没有让人单调罗嗦的感觉。



考证《圣塞西莉亚节颂歌》:

1.St. Cecilia



http://en.wikipedia.org/wiki/Saint_Cecilia:

聖則濟利亞(拉丁語:Sancta Caecilia)是基督公教、聖公會、基督正教和東儀公教會的聖人,被視為音樂家和基督教聖樂的主保聖人。她的慶日在11月22日。

Saint Cecilia (Latin: Sancta Caecilia) is the patroness of musicians[2] and Church music because, as she was dying, she sang to God. It is also written that as the musicians played at her wedding she "sang in her heart to the Lord".[2] St. Cecilia was an only child. Her feast day is celebrated in the Roman Catholic, Anglican, Eastern Orthodox, and Eastern Catholic Churches on November 22. She is one of seven women, excluding the Blessed Virgin, commemorated by name in the Canon of the Mass. It was long supposed that she was a noble lady of Rome who, with her husband Valerian, his brother Tiburtius, and a Roman soldier Maximus, suffered martyrdom in about 230, under the Emperor Alexander Severus.[3]

2.Ode for St. Cecilia's Day by Handel
http://en.wikipedia.org/wiki/Ode_for_St._Cecilia%27s_Day_(Handel)

Ode for St. Cecilia's Day (HWV 76) is a cantata composed by George Frideric Handel in 1739, his second setting of the poem by the English poet John Dryden. The title of the oratorio refers to Saint Cecilia, the patron saint of musicians. The main theme of the text is the Pythagorean theory of harmonia mundi, that music was a central force in the Earth's creation. The premiere was on 22 November 1739 at the Theatre in Lincoln's Inn Fields, London.

。。。。。
(我个人最喜欢的唱段:)
The Trumpet's Loud Clangour
TENOR: The trumpet's loud clangour excites us to arms,
With shrill notes of anger and mortal alarms,
The double-double-double beat,
Of the thund'ring drum,
Cries hark! Hark! Cries hark the foes come!
Charge! Charge! Charge! Charge!
'Tis too late, 'tis too late to retreat!

。。。。。。。。



3. Song For Saint Cecilia's Day by John Dryden (诗作者)



(朗诵的效果同亨德尔的康塔塔显然不可比。)

1

From harmony,[1] from heavenly harmony
This universal frame[2] began.
When Nature underneath a heap
Of jarring atoms lay,
And could not heave her head, 5
The tuneful voice was heard from high:
"Arise, ye more than dead!"
Then cold and hot and moist and dry
In order to their stations leap,
And Music's power obey. 10
From harmony, from heavenly harmony
This universal frame began;
From harmony to harmony
Through all the compass of the notes it ran,
The diapason closing full in Man.[3] 15


2

What passion cannot Music raise and quell?
When Jubal[4] struck the corded shell,[5]
His list'ning brethren stood around,
And, wond'ring, on their faces fell
To worship that celestial sound, 20
Less than a god they thought there could not dwell
Within the hollow of that shell
That spoke so sweetly and so well.
What passion cannot Music raise and quell?


3

The trumpet's loud clangor 25
Excites us to arms,
With shrill notes of anger
And mortal alarms.[6]
The double double double beat
Of the thundering drum 30
Cries, "Hark, the foes come!
Charge, charge, 't is too late to retreat!"


4

The soft complaining flute
In dying notes discovers[7]
The woes of hopeless lovers, 35
Whose dirge is whispered by the warbling lute.


5

Sharp violins proclaim
Their jealous pangs and desperation,
Fury, frantic indignation,
Depth of pains and height of passion, 40
For the fair disdainful dame.


6

But oh! what art can teach,
What human voice can reach
The sacred organ's praise?
Notes inspiring holy love, 45
Notes that wing their heavenly ways
To mend[8] the choirs above.


7

Orpheus[9] could lead the savage race,
And trees unrooted left their place,
Sequacious of the lyre; 50
But bright Cecilia raised the wonder higher:
When to her organ vocal breath was given,
An angel heard, and straight[10] appeared--
Mistaking earth for heaven.


GRAND CHORUS

As from the power of sacred lays 55
The spheres began to move,
And sung the great Creator's praise
To all the blest above:
So, when the last and dreadful hour[11]
This crumbling pageant shall devour, 60
The trumpet shall be heard on high,
The dead shall live, the living die,
And Music shall untune the sky.

NOTE.--Dryden wrote this song in 1687 for the festival of St. Cecilia,
the patron saint of music. To be appreciated it must be read aloud,
for it is full of musical effects, especially stanzas 3-6. St. Cecilia
has been represented by Raphael and other artists as playing upon some
instrument, surrounded by listening angels.


[1.] From harmony, etc. Some of the ancients believed that music
helped in the creation of the heavenly bodies, and that their motions
were accompanied by a harmony known as "the music of the spheres."

[2.] This universal frame, the visible universe.

[3.] The diapason, etc. The diapason means here the entire compass
of tones. The idea is that in man, the highest of God's creatures,
are included all the virtues and powers of the lower creation.

[4.] Jubal. It is said of Jubal: "He was the father of all such as
handle the harp and organ."--Genesis iv, 21.

[5.] The corded shell, i.e. the lyre. The first lyre was supposed to
have been formed by drawing strings over a tortoise shell.

[6.] Mortal alarms, i.e. notes that rouse men to deadly conflict.

[7.] Discovers, reveals.

[8.] Mend, amend, improve.

[9.] Orpheus is said to have been a Thracian poet who moved rocks and
trees and tamed wild beasts by playing upon his lyre.

[10.] Straight, straightway, immediately.

[11.] The last and dreadful hour, the Day of Judgment.


4. Ode to St. Cecilia (Purcell)
(普赛尔也作曲歌颂,一并贴在此。)



http://en.wikipedia.org/wiki/Ode_to_St._Cecilia_(Purcell)

Ode to St. Cecilia (Purcell)

Hail! Bright Cecilia (Z.328), also known as Ode to St. Cecilia, was composed to a text by the Irishman Nicholas Brady by Henry Purcell in 1692 in honour of the feast day of Saint Cecilia, patron saint of musicians. Annual celebrations of this saint's feast day (November 22) began in 1683, organized by the Musical Society of London, a group of musicians and music lovers. Purcell had already written Cecilian pieces in previous years, but this Ode remains the best known. The first performance was a great success, and received an encore.[1]

Brady's poem was derived from John Dryden's A Song for St Cecilia's Day in 1687, which suggested that Cecilia invented the organ. With a text full of references to musical instruments, the work requires a wide variety of vocal soloists and obbligato instruments. [2] Brady extols the birth and personality of musical instruments and voices, and Purcell treats these personalities as if they were dramatic characters. The airs employ a variety of dance forms. [3] "Hark, each Tree" is a sarabande on a ground. [4] It is a duet on a ground-bass between, vocally, soprano and bass, and instrumentally, between recorders and violins ("box and fir" are the woods used in the making of these instruments). "With That Sublime Celestial Lay" and "Wond'rous Machine" are in praise of the organ. [5] "Thou tun'st this World" is set as a minuet. "In vain the am'rous Flute" is set to a passacaglia bass. [6] In spite of Brady's conceit of the speaking forest (It should be remembered that English organs of the period typically had wooden pipes), Purcell scored the warlike music for two brass trumpets and copper kettle drums instead of fife and (field) drum. The orchestra also includes two recorders (called flutes) with a bass flute, two oboes (called hautboys), strings and basso continuo.

Purcell is one of several composers who have written music in honour of Cecilia.
   
  和谈     01/15/2013 23:14
http://www.lipscomb.edu/windbandhistory/RhodesWindBand_03_Baroque.htm

Baroque Trumpet

For centuries, the trumpet was considered an instrument exclusive to the court, specifically the property of the ruler of highest rank who was usually the king. During the Baroque era the art of trumpet playing evolved to a high level of technical virtuosity achieved by a select group of players who maintained their exclusivity through guild membership. As early as 1623 an Imperial Guild of Court and Field Trumpeters and Court and Army Kettledrummers was formed in the Holy Roman Empire for the purpose of regulating instruction. This limited the number of performers, as well as placing restrictions on locations of performance and on who was allowed to perform. The Elector of Saxony was named as patron of the guild. While other countries outside the empire did not necessarily maintain comparable guilds as such, trumpet playing enjoyed similar status throughout Europe.6

Use of Mutes

Trumpet players are accustomed to playing with a variety of mutes as designated in their music, whether it be symphonic, jazz, or solo literature. But perhaps the earliest designation for muted playing comes from a 17th-century military order. The signal la sourdine was an order to march "with little noise". The directive for such practice was explained thus:

...the mute is used when there is a risk of being discovered by the enemy or when it is wished to surprise them, as also when it is desired to decamp or secretly withdraw... 1
To enforce the privileges for the newly formed guild, Holy Roman Emperor Ferdinand II decreed in the same year:

No honourable trumpeter or timpanist shall allow himself to be employed with his instrument in any way other than for religious services, Emperors, Kings, electors and Princes, Counts, Lords and Knights and nobility, or other persons of high quality: It shall also be forbidden altogether to use a trumpet or a timpani at despicable occasions; likewise the excessive nocturnal improper carousing in the streets and alleys, in wine and beer houses. He who transgresses in this way shall be punished.7

No less was to be expected from a class of musicians who not only wore the feather of nobility in their caps, but were also provided with horses and personal servants. Trumpeters were expected to travel with their lords so as to provide fanfares whenever the lord entered a town or castle. They also relayed messages in times of war and political crisis as well as participating in political intrigues.8 In Germany as well as France trumpeters were required in the military, especially in the mounted cavalry. Trumpets led the way in military parades, but during battle they were positioned at the rear of the battle alongside the commander, ready to communicate the various orders of movement such as the standard calls to the saddle and the charge, which were required to maintain order and timing.

Trumpet masters, jealous to keep their high standing, maintained a veil of secrecy over their guild by playing from memory and by teaching new guild members by rote. They were especially secretive about techniques such as flutter tonguing, double and triple tonguing, trilling, and high tessitura playing, as well as instrument construction such as mouthpiece design and tubing for pitch changes.9

Trumpets were also active in other forms of music that did not necessarily involve the nobility directly. During the Baroque several forms of entertainment emerged in which war imitated art, and vice versa. One example is the concept of "battle choreography" as described in Möller's Trilekunst zu fuss (Infantry Drill) published in 1672. Here the author provides minute instructions for placing foot soldiers in a pattern representing the arms of the imperial city of Lübeck. Another example was the tournament, where competition was staged with music and the proceedings took on a sense of theater with allegorical tones. Rifles had now become the common elements of war, rendering the weaponry and conflict that the tournament represented obsolete. Nevertheless, tournaments remained a popular activity--and the trumpet, being the musical signature of the nobility, was an integral part of this pastime.

In time, tournaments gave way to military or equestrian ballets. In Italy, early examples even incorporated elements of opera. Ferdinand III introduced the practice in Austria where the Spanish school of riding can still be enjoyed today in the performances of the Lippizaner stallions. In France, Louis XIV was also fond of these horse ballets, known as Caroussels. Since most trumpet music was improvised, few examples survive from these engagements.
On occasion, composers also wrote less programmatic music for the trumpet. Some specific examples include Praetorius's setting in 1618 of In dulci jubilo (Polyhymnia panegyrica et caduceatrix no. 34) using a six-part ensemble in a chorale style. Franz Biber wrote two sonatas for six- and eight-part trumpet ensembles with kettledrums and continuo. Also worthy of mention is Michel Corrette's Divertissement Op. 7 for two trumpets.


As technical prowess improved, composers wrote music incorporating high tessitura or clarino playing in their trumpet parts. The design of Baroque mouthpieces facilitated this style of playing with a rim that was flatter and wider, allowing for greater endurance. It also had a pronounced edge between the cup and the throat that allowed for (1) bending the pitch on out-of-tune notes, as well as (2) lending a certain brilliance to the tone. Earlier in the Baroque, players were reaching the 16th partial with regularity, eventually reaching into the fourth or fifth octave late in the Classical period, as heard in the concertos of Michael Haydn, Reutter, F. X. Richter, and Joseph Riepel. Bach featured the skill of the celebrated player Gottfreid Reiche (senior Stadtpfeifer in Leipzig until his death in 1734) in many of his works, though the second Brandenburg Concerto preceded their acquaintance, and the Christmas Oratorio was performed by his successor.10

As the Baroque era declined, musical taste dictated a style different from the brilliant virtuosity demanded from trumpet players. Also, royal wealth and status declined, thanks in part to the French Revolution, making the financial status of the trumpet guild increasingly shaky. The guild was dissolved in Berlin by 1810, and the guild in Saxony, after some 200 years of existence, followed suit in 1831.
   
  chenji     01/21/2013 22:22
   
  BBB     01/22/2013 23:08
想找到歌剧《西西里晚祷》中的《四季》芭蕾场景的视频,还真没有。不过这个迈阿密的佛罗里达芭蕾舞团演出的也还不错:




chenji wrote: (1/21/2013 22:22)


   
  chenji     01/23/2013 21:03

BBB wrote: (1/22/2013 20:8)
想找到歌剧《西西里晚祷》中的《四季》芭蕾场景的视频,还真没有。不过这个迈阿密的佛罗里达芭蕾舞团演出的也还不错:







Pretty good. Thanks.

A fun piece for the ears of bird lovers:
   
  云天     01/27/2013 02:40
刚检查完大女儿的化学作业。不敢熬夜,又有些忙,得空再慢慢回帖。 各位周末好。




   
  chenji     01/31/2013 21:29
2013-1797= 216. Happy 216th birthday to Schubert!




zt:

http://atthelighthouse.wordpress.com/2013/01/31/im-dorfe-happy-birthday-schubert/

Im Dorfe. Happy Birthday, Schubert.
It is so fitting, isn’t it, that Schubert should have been born in January? As I’ve mentioned before I love Schubert’s music dearly all year round, but it seems to me especially appropriate for the month of January, and I have, in fact, set up a rule for myself that under no circumstances am I allowed to listen to Winterreise earlier than January 1. That way I have something to look forward to about this the bleakest, coldest month of the year.

Oh, Schubert. It really does make me so weepy every time I think about his much too early death, even more so than with Mozart. The Grim Reeper cheated us out on a lot of undoubtedly great music from both gentlemen, certainly, but at least Mozart got to have a wife and kids. What did Schubert get? Syphilis, that’s what. Or at least something similarly nasty and painful and isolating. To have lived through such misery and then to have maintained the ability to communicate feelings so well through his music, to have insisted on remaining so warm and human deep inside that coldness … It breaks the heart.

   
  BBB     01/31/2013 22:50
舒伯特的生日,这几年,每年都有人记起。
   
  BBB     03/14/2013 22:07
莫扎特19岁作的这部如今少有上演的歌剧《牧人王》中,有这么优美感伤动听的咏叹调:

Mozart: Il Re Pastore K. 208 - "L'amero, saro constante" (Lucia Popp)
   
  BBB     03/14/2013 22:25
《扎伊德》是莫扎特死后发现的他的作品,写了两幕,没有序曲,也没有名字,与他的第一部成为经典的歌剧《后宫的诱逃》的剧情背景基本一样。其中第一幕的咏叹调《安静地睡吧,我心爱的人》,可以和莫扎特的任何段落媲美。

油管上的这个演唱,我已经听了无数次,比油管上任何其它演唱都棒。德国女高音,演唱莫扎特歌剧的新秀,Mojca Erdmann。

   
  和谈     03/16/2013 18:30
真的又新又秀。
   
  和谈     03/16/2013 18:42

BBB wrote: (3/14/2013 22:7)
莫扎特19岁作的这部如今少有上演的歌剧《牧人王》中,有这么优美感伤动听的咏叹调:

Mozart: Il Re Pastore K. 208 - "L'amero, saro constante" (Lucia Popp)




和这段有相似之处:

   
  和谈     03/21/2013 07:57
巴赫的生日。1685-1785
   
  云天     03/21/2013 22:36
哈,巴赫这样的音乐家真该长命百岁的。
和指挥有心。

请BBB站长/和指挥/徐飞、Immanuel两位诗人,还有谁谁来猜巴赫音乐:
(of course this is just a cakewalk for you super music fans. )

http://www.kdfc.com/pages/113278
Thursday, March 21
While KDFC brings you Round-the-Clock Bach — with at least one of his pieces per hour — to help celebrate Johann Sebastian Bach's birthday, here's a little quiz. Can you identify these ten of his works?


我先猜,当中有这首:
Bach - Brandenburg Concertos No.3 - i: Allegro Moderato
http://www.youtube.com/watch?v=hZ9qWpa2rIg

   
  BBB     03/21/2013 23:28
Where is the music?


云天 wrote: (3/21/2013 22:36)
哈,巴赫这样的音乐家真该长命百岁的。
和指挥有心。

请BBB站长/和指挥/徐飞、Immanuel两位诗人,还有谁谁来猜巴赫音乐:
(of course this is just a cakewalk for you super music fans. )

http://www.kdfc.com/pages/113278
Thursday, March 21
While KDFC brings you Round-the-Clock Bach — with at least one of his pieces per hour — to help celebrate Johann Sebastian Bach's birthday, here's a little quiz. Can you identify these ten of his works?


我先猜,当中有这首:
Bach - Brandenburg Concertos No.3 - i: Allegro Moderato
http://www.youtube.com/watch?v=hZ9qWpa2rIg



   
  BBB     03/21/2013 23:44
谢和谈提醒。

Bach BWV 1004 Chaconne Nathan Milstein Violin - Complete (米尔斯坦演奏,我的最爱)



巴赫音乐有魔力。这段著名的“恰空舞曲”,就是他的6部无伴奏小提琴奏鸣曲和组曲(BWV1001-1006,三首奏鸣曲和三首组曲)中第三首(第二首组曲)的第五曲,尤其如此。


和谈 wrote: (3/21/2013 7:57)
巴赫的生日。1685-1785

   
  BBB     03/22/2013 00:16
我跟着链接走到KDFC 网站,按了那个Play键,正好听到很久没有听过的苏佩的《轻骑兵序曲》。这还是我最早听到的外国音乐之一,但当时听的是轻音乐的版本。

Franz von Suppé: "Light Cavalry" Overture (Leichte Kavallerie, Laka konjica)





BBB wrote: (3/21/2013 23:28)
Where is the music?


云天 wrote: (3/21/2013 22:36)
哈,巴赫这样的音乐家真该长命百岁的。
和指挥有心。

请BBB站长/和指挥/徐飞、Immanuel两位诗人,还有谁谁来猜巴赫音乐:
(of course this is just a cakewalk for you super music fans. )

http://www.kdfc.com/pages/113278
Thursday, March 21
While KDFC brings you Round-the-Clock Bach — with at least one of his pieces per hour — to help celebrate Johann Sebastian Bach's birthday, here's a little quiz. Can you identify these ten of his works?


我先猜,当中有这首:
Bach - Brandenburg Concertos No.3 - i: Allegro Moderato
http://www.youtube.com/watch?v=hZ9qWpa2rIg





   
  云天     03/22/2013 00:36
不好意思,刚才匆匆忙忙,竟然COPY的是partial link. my bad.

here you go, name the tunes: ( next to Bach's picture)
http://www.kdfc.com/pages/11327855

Thursday, March 21
While KDFC brings you Round-the-Clock Bach — with at least one of his pieces per hour — to help celebrate Johann Sebastian Bach's birthday, here's a little quiz. Can you identify these ten of his works?


刚才一边听《轻骑兵序曲》, 一边做小女的游戏(她差我把两页莎剧片段翻成现代英文,然后评论说,要翻得更口语化些。)

听电台,原来今天也是 Modest Mussorgsky 的生日:

Mussorgsky - Pictures at an Exhibition (Giulini)
   
  BBB     03/22/2013 01:22
答案就在边上,我作弊,你也不知道。但下面这些答案,应当还是可信的。应为都是基本非常流行的:


1。康塔塔104中著名的“耶稣,我们的欢乐”
2。歌德堡变奏曲主题(钢琴)
3。G弦上的咏叹调
4。管风琴,D小调托塔克和赋格
5。长笛(不知道作品,不熟悉)
6。不知道
7。无伴奏大提琴奏鸣曲第一首第一曲
8。小步舞曲
9。勃兰登堡协奏曲(哪一首哪乐章不知道,刚听过你前面贴的)
10。不知道



云天 wrote: (3/22/2013 0:36)
不好意思,刚才匆匆忙忙,竟然COPY的是partial link. my bad.

here you go, name the tunes: ( next to Bach's picture)
http://www.kdfc.com/pages/11327855

Thursday, March 21
While KDFC brings you Round-the-Clock Bach — with at least one of his pieces per hour — to help celebrate Johann Sebastian Bach's birthday, here's a little quiz. Can you identify these ten of his works?


刚才一边听《轻骑兵序曲》, 一边做小女的游戏(她差我把两页莎剧片段翻成现代英文,然后评论说,要翻得更口语化些。)

听电台,原来今天也是 Modest Mussorgsky 的生日:

Mussorgsky - Pictures at an Exhibition (Giulini)


   
  和谈     08/25/2013 16:07
上了五天班,到了周末也不能完全松口气,星期六家里家外少不了有必须做到事情,有时星期天上午还要花时间。但是到了下午,晚上,则一定是最懒散的时刻了,所有事情在这时都只想推给下个周末了,从心理上,这时已经是孱弱得不能穿鲁缟了。这样,这种巴洛克音乐的悠扬,缓慢,凝重,加上人声的圆润、纯净往往就能乘虚而入,它能让我花大块、整块的时间,什么也不做,就是去追随这种音乐给我带来的享受,思考和悔恨——如果有的话。

人生不如意十八九,如今网络、论坛和现实人生已经差不到哪里去了。前一段心里觉得有点窝囊、闷憋、无奈。以为已经抛弃、消化掉了呢,不意今天的心情被这首曲子搅浑了。想想。如果一个人到了什么都可以不去想,不去做的时候,就应该躺下,雇人让这音乐一直不停地播放下去,让生命就在这音乐中停止才好呢。我想,这大概就是我对古典音乐最终的追求和选择,没有其他形式或者作品能够有这样的功效的。

   
  和谈     08/25/2013 17:08
&feature=player_detailpage&list=RD02qruzXEkoGkE
   
  和谈     08/25/2013 21:56
&feature=player_detailpage
   
  和谈     08/25/2013 22:33
&feature=player_detailpage&list=RD02qruzXEkoGkE
   
  和谈     08/25/2013 22:49
&list=RD02qruzXEkoGkE
   
  BBB     08/30/2013 19:00
太好听。维瓦尔第写了几百首协奏曲,以器乐著称,但我喜欢他的声乐已经多年。他的声乐很能抓住我,而他的器乐,几乎很少听进去的。从录音来说,Hypenon 出的他的一套Sacred Music 全集11集(昨天说已经出了近20 集,不准确),非常好。我有其中5张,一直想收齐,但比较贵。今天查到全集,与单张相比便宜不少,但已经有了其中几乎一半,不好处理。

我的周末和平常区别不大,不同的是周末在家,平常在办公室。

大家长周末快乐。我的麻将时间到了。



和谈 wrote: (8/25/2013 16:7)
上了五天班,到了周末也不能完全松口气,星期六家里家外少不了有必须做到事情,有时星期天上午还要花时间。但是到了下午,晚上,则一定是最懒散的时刻了,所有事情在这时都只想推给下个周末了,从心理上,这时已经是孱弱得不能穿鲁缟了。这样,这种巴洛克音乐的悠扬,缓慢,凝重,加上人声的圆润、纯净往往就能乘虚而入,它能让我花大块、整块的时间,什么也不做,就是去追随这种音乐给我带来的享受,思考和悔恨——如果有的话。

人生不如意十八九,如今网络、论坛和现实人生已经差不到哪里去了。前一段心里觉得有点窝囊、闷憋、无奈。以为已经抛弃、消化掉了呢,不意今天的心情被这首曲子搅浑了。想想。如果一个人到了什么都可以不去想,不去做的时候,就应该躺下,雇人让这音乐一直不停地播放下去,让生命就在这音乐中停止才好呢。我想,这大概就是我对古典音乐最终的追求和选择,没有其他形式或者作品能够有这样的功效的。



   
  和谈     01/21/2014 20:57
   
  BBB     01/22/2014 21:25
阿巴多安息。6/26/1933 - 1/20/2014





BBB wrote: (1/19/2010 13:10)
威尔第:《纳布科》中的囚徒合唱
Verdi - Nabucco - Chorus of Hebrew Slaves



Berliner Phil & Rundfunkchor Berlin - Claudio Abbado

   
  和谈     01/23/2014 12:35
啊,几年没有见,阿巴多这么老了。

星期一上班路上听到电台里报道他去世的消息。哀悼。


BBB wrote: (1/22/2014 21:25)

   
  和谈     01/26/2014 14:19
   
  和谈     02/16/2014 22:23
https://

这期《华夏文摘》上北明文章关于这段音乐:
http://www.cnd.org/my/modules/wfsection/article.php%3Farticleid=38801
   
  云天     03/21/2014 11:28
Happy 329th birthday, Mr. Bach!
   
  和谈     03/23/2014 20:02

云天 wrote: (3/21/2014 11:28)
Happy 329th birthday, Mr. Bach!




1899,Schubert at the piano



http://www.wikipaintings.org/en/gustav-klimt/schubert-at-the-piano-ii
   
  云天     03/25/2014 02:04
站长看看画得像不像? 有些像呢。

和谈对绘画有研究? 这幅画等下搬到另线。 thanks.
   
  BBB     03/27/2014 19:30
很喜欢这幅作品。


和谈 wrote: (3/23/2014 20:2)



1899,Schubert at the piano



http://www.wikipaintings.org/en/gustav-klimt/schubert-at-the-piano-ii

   
  BBB     03/27/2014 19:57
这里有个介绍,原来其中一个女孩怀着Klimt 的孩子给他当模特。喜欢将舒伯特和几个女孩子放在一起的画面和氛围。画家好象是抓到舒伯特的神韵的:对艺术的专注,内心的孤独感,音乐中的浪漫精神的萌发,还有虽然贫困,但富有青春气息的自由自在的生活。

http://art-crime.blogspot.com/2012/06/destroyed-in-wwii-klimts-shubert-at.html



云天 wrote: (3/25/2014 2:4)
站长看看画得像不像? 有些像呢。

和谈对绘画有研究? 这幅画等下搬到另线。 thanks.

   
  和谈     03/27/2014 21:54
我哪里有烟酒?
我是看着比较像才搬来的,放在这里显然不是很合适,你要搬到哪里去请随意,然后我就删掉它。


云天 wrote: (3/25/2014 2:4)
站长看看画得像不像? 有些像呢。

和谈对绘画有研究? 这幅画等下搬到另线。 thanks.

   
  云天     03/28/2014 02:35
”放在这里显然不是很合适“, 怎么会呢? 站长”很喜欢这幅作品“呢。
哦,我已搬到另线了,谢谢和谈。

站长解读独到,不愧是舒伯特。 谢谢站长的link.
Klimt的画极富装饰性,商家大批量复印。
   
  和谈     03/30/2014 00:01


Netrebko was born in Krasnodar (Russia), in a family of Kuban Cossack background.[1] While a student at the Saint Petersburg conservatoire, Netrebko worked as a janitor at Saint Petersburg's Mariinsky Theatre.[2] Later, she auditioned for the Mariinsky Theatre, where conductor Valery Gergiev recognized her from her prior work in the theater. He subsequently became her vocal mentor.[3] Under Gergiev's guidance, Netrebko made her operatic stage debut at the Mariinsky at age 22, as Susanna in Le nozze di Figaro. She went on to sing many prominent roles with the Kirov Opera, including Amina in La sonnambula, Pamina in Die Zauberflöte, Rosina in Il Barbiere di Siviglia, and Lucia in Lucia di Lammermoor.

In 1994, she sang the Queen of the Night in Die Zauberflöte with the Riga Independent Opera Avangarda Akadēmija under conductor David Milnes.

In March 2006, Netrebko applied to become an Austrian citizen, receiving her citizenship in late July.[6] According to an interview in the Austrian weekly news, she will live in Vienna and Salzburg. Netrebko cites the cumbersome and humiliating process of obtaining visas (as a Russian citizen) for her many performances abroad as the main reason for obtaining Austrian citizenship.[7] Netrebko does not speak German.

In March 2007, Netrebko announced that she would be an ambassador for SOS Children's Village in Austria, and be a sponsor for the Tomilino village in Russia.

In 1995, at the age of 24, Netrebko made her American debut as Lyudmila in Glinka's Ruslan and Lyudmila at the San Francisco Opera. Following this successful performance, she became a frequent guest singer in San Francisco. She is known as an acclaimed interpreter of other Russian operatic roles, such as Natasha in Prokofiev's War and Peace, Louisa in Betrothal in a Monastery and Marfa in The Tsar's Bride. Netrebko has also made successful forays into bel canto and romantic roles such as Gilda in Rigoletto, Mimi in La bohème, Giulietta in Bellini's I Capuleti e i Montecchi, and Elvira in I puritani.

In 2002, Netrebko made her debut at the Metropolitan Opera as Natasha in the Met premiere of War and Peace.[12] In the same year, she sang her first Donna Anna at the Salzburg Festival's production of Don Giovanni, conducted by Nikolaus Harnoncourt. She also performed at the Russian Children's Welfare Society's major fund raiser, the "Petroushka Ball". She returned to the Ball in 2003 and 2006 and is an honorary director of the charity.

In 2003, Netrebko performed as Violetta in Verdi's La traviata in Munich, the title role in Lucia di Lammermoor at the Los Angeles Opera, and Donna Anna at the Royal Opera House, Covent Garden. Her second album, Sempre Libera, was released the following year. She later appeared as Violetta Valéry in La traviata at the Salzburg Festival, conducted by Carlo Rizzi and in 2008 she performed the same role at Covent Garden to triumphant acclaim on the opening night, opposite Jonas Kaufmann and Dmitri Hvorostovsky in performances conducted by Maurizio Benini. However, she cancelled three subsequent performances due to suffering a bronchial condition. This was the second time she had cancelled her performances at the Royal Opera House, having withdrawn from some performances of Don Giovanni the previous summer due to illness.

In 2004, Netrebko was a minor cast member, playing herself, in Royal Engagement (a sequel to 2001's The Princess Diaries), where she sang "Sempre Libera" from Verdi's La traviata.
On 30 May 2007, Netrebko made her Carnegie Hall debut with Dmitri Hvorostovsky and the Orchestra of St. Luke's. Originally scheduled for 2 March 2006, Netrebko postponed the recital because she did not feel artistically ready.[13]

Netrebko appeared at the Last Night of the Proms on 8 September 2007 where she performed "Ah! Se una volta ... Ah! Non credea mirarti ... Ah! Non giunge" from La sonnambula, "Meine Lippen, sie küssen so heiß" (Giuditta) and the song "Morgen!" by Richard Strauss (with violinist Joshua Bell).[14] In the fall of 2007 she reprised her role as Juliette in Roméo et Juliette at the Metropolitan Opera. In December 2007, Netrebko performed for Martin Scorsese, a 2007 Honoree, at the Kennedy Center Honors, and in May 2008 she made a much-awaited debut at the Paris Opera in I Capuleti e i Montecchi, with Joyce DiDonato as her Romeo.

In her first performance after her maternity leave, Netrebko sang Lucia in Lucia di Lammermoor when it opened at the Mariinsky Theatre in Saint Petersburg on 14 January 2009, in a production from the Scottish Opera led by John Doyle.[15] She then sang the same role in January and February 2009 at the Metropolitan Opera. Netrebko appeared as Giulietta in I Capuleti e i Montecchi at the Royal Opera House in Spring 2009, and as Violetta in La traviata in June 2009 at the San Francisco Opera. On 13 November 2010 in a matinee performance broadcast nationally by PBS, she sang the role of Norina in Don Pasquale at New York's Metropolitan Opera House under conductor James Levine. On 2 April 2011, she sang the title role of Gaetano Donizetti's Anna Bolena at the Vienna State Opera for a sold-out premiere there, and the repeat performance on 5 April 2011 was broadcast live to cinemas around the world. On 7 December 2011 she opened the new season at La Scala in Milan as Donna Anna in Don Giovanni.

She has the distinction of being invited to appear in three consecutive opening night new productions at the Metropolitan Opera: Anna Bolena in 2011, L'elisir d'amore in 2012, and Eugene Onegin, in 2013.
In September 2011, it was announced that Netrebko will be performing at either or both of the opening and closing ceremonies for the 2014 Winter Olympics in Sochi, Russia, near her native Krasnodar.[16] She ended up performing the olympic anthem at the opening ceremony.
   
  BBB     03/30/2014 13:27
听过不少她的录音,很喜欢。去年在这线贴过他演出的全剧《茶花女》:
http://www.writewww.com/topic.php?tkey=1357101412

但这个录音已经被堵了,看不成。
   
  云天     03/30/2014 14:45
“写到此,耳机中的古典电台正送来德沃夏克的 Song to the Moon,怎这般巧。” 我在一篇月出短文中这么写。两周前写了几行,还未收尾。在这里又听到,真巧。

今天是海顿诞辰日?
   
  和谈     03/30/2014 21:35
云天真是细心而且有心人。我查了,他的生日是3月31日,明天。谢谢提醒。

“短文"?在哪里?昨天到图书馆去续借书证,顺便就瞄了一眼书架,顺手借了一个老片子《为戴茜小姐开车》,里面有这个片段。


云天 wrote: (3/30/2014 14:45)
“写到此,耳机中的古典电台正送来德沃夏克的 Song to the Moon,怎这般巧。” 我在一篇月出短文中这么写。两周前写了几行,还未收尾。在这里又听到,真巧。

今天是海顿诞辰日?

   
  云天     04/04/2014 23:56
和谈谬赞。我日子都记错了。

不好意思,短文有头没尾,也就没贴。 Driving Miss Daisy 多年前看过,仅存模糊印象。


   
  和谈     10/11/2014 23:36
现代人真的是很有福的,在这电子时代,获取音乐的途径变得这么容易。很难想象几十年前我能够有机会接触到这17世纪真正的意大利巴洛克音乐。不知怎么的,我无法抑制自己,一遍一遍地听了这段。闭上眼睛,好像自己曾经生活在几百年前过,要不然为什么这音乐这么熟悉,这么让我心有戚戚呢?

https://
   
  和谈     11/12/2014 21:24
https://
   
  和谈     12/07/2014 18:01
如果在第一分钟内这乐曲不能让你“心的位置”逐渐提高,那么请不要再继续下去了。和谈

https://

转贴《豆瓣》的乐评:

■德马雷和他的[Grands Motets Lorrains]■

  亨利·德马雷(Henry Desmarest,1661-1741)应该是活跃在吕里(Jean-Baptiste Lully,1632-1687)和拉莫(Jean-Philippe Rameau,1683-1764)之间的法国作曲家,或许吕里和拉莫给后人的影响过于强大,以至于那些生息在其间的波蓬王朝时代的音乐家们及其作品不太为人们所关注了……。说实话在买到了一张W.克里斯蒂埃指挥Les Arts Florissants的德马雷声乐作品[Grands Motets Lorrains]录音的之前我也是未闻其人,更不曾聆听过其作品。倒是听了这张唱片之后,才觉得德马雷作品中有着无论是吕里还是拉莫不具备的东西。这才回过头来仔细地看了一看唱片的Booklet……,事实上这个由著名的音乐史学者Michel Antoine撰写的说明内容相当丰富。其实Michel Antoine本人就在前两年撰写了一本亨利·德马雷的传记,如果我没有弄错的话这应该是第一本记述和探索德马雷坎坷人生的专著了。

  德马雷在年轻的时候便因其宗教声乐作品和歌剧(应该是法国歌剧或叫Ballet Opera的法国歌剧)创作上的出色才能,被招进了路易十四的宫廷乐团的。或许宫廷乐队激烈的竞争的缘故,德马雷过人的才能反而成了他人生前途的绊脚石。估计是遭到同行们的嫉妒的缘故,已经到了手的副乐队长的职务被革等。其实让德马雷人生产生了巨大变化的是他在38岁那年,妻子故去,德马雷与教女的恋情遭到了少女家人的究难。陷入情感热海的德马雷与未成年的少女双双私奔布鲁塞尔,少女的家人一气之下将德马雷告上了法庭。这样德马雷无疑就成了犯有死罪的儿童诱拐嫌疑犯了。由此,德马雷开始了他人生漫长的颠沛流离的生涯……。德马雷的流亡生活先后浪迹了布鲁塞尔、西班牙的马德里和法国东北部的留内维尔等地。经管多次向路易14宫廷要求特赦,始终未得到应允。直到路易14死去而改朝,德马雷终于回到了巴黎。不过此时的巴黎已完全不是当年的风尚,德马雷的众多的作品早已不再被当时的人们所接受,就这样德马雷在80岁的时候凄凉而寂寞的结束了他的人生……。由于感情生活的原因,德马雷不得不在其壮年的时代开始了颠簸流利的流浪生活,就其人生而言确有难言之苦涩,不过在这个时代的音乐作品确是无形之中汇集了意大利、西班牙乃至德国的各种风格,这一点而言也是波蓬王朝时代的音乐家们的作品中所无法领略到的。

  这张唱片中所收容的作品的总标题为[Grands Motets Lorrains]。事实上就是德马雷流浪到留内维尔,在留内维尔的罗莱纳公爵的宫廷任职时创作的三个经文歌(Motet)作品的集成。标题中Lorrains也就是罗莱纳公爵宫廷的含义了。而Grands Motets则是佩有乐队伴奏,包括了独唱、重唱和合唱的拉丁文宗教乐曲。照道理到了Grands Motets,形式上就已经和许茨时代的Motet已经没有太大的关联性了,尽管许茨时代的Motet也同时包括了乐队伴奏和没有伴奏的两种Motet的形式而存在着的。有关Motet的曲式和形式的话题比较庞大,在此不再展开。

  三个作品的标题分别是:Usquequo Domine(主啊,吾将等待何时);Lauda Jerusalem(赞颂吾主,耶路撒冷);Domine, Ne in Furore(主啊,勿如此严厉的惩罚吾)。其中中文译文部分没有太大的把握,大意译出供参考。

  据说德马雷生前留下了40余首Grands Motets作品,这里能够听到的也就是德马雷在留内维尔时期的这三个Grands Motets作品,即便如此我们也还是能够从这三个作品中感受到德马雷的诚挚宽承、对上苍的赞美和人间的喜悦等一个相当宽广的表现幅度。当然这应该是建立在某种程度的宗教信仰之上的东西也就不言而喻了,然而超越这种宗教层面上的理解的话,总觉得即便是一个普通人也应该能够感受和拥有这样的宽广和包容。不太明确,也不太有把握,不过作为普通人皆有的情欲和德马雷为之坎坷的人生定会影响了他的创作,除了宗教的普遍情感之外总让人能够感受到那些……

  赤足倚靠在Harpsichord前的W.克里斯蒂埃和整个画面的色彩也显示出艺术家不驯的情趣,比这个封面更有特色的是克里斯蒂埃在这三个作品演绎上富于成效的努力。包括假声男高音在内的五位独唱歌手和28人组成的合唱阵容与乐队共同编织的乐音也正好忠实地再现了德马雷作品中复杂的人间情感和宗教情感的组合,让人确实感到了包容所有的、也是无形无际的宽容。另外,克里斯蒂埃在这个作品中也依然保持了凡尔赛音乐中强化乐队中高、低音,削弱内声部的习惯性风格处理,让人感到了德马雷音乐的非法国音乐元素介在的同时,维系了当时法国音乐应有的特色。这也是让人觉得不简单的地方了……。我想老年的德马雷不会为自己早年的情感而后悔,尽管我们也能够从他的音乐中感受到那种至大的包容和宽承……。

   唱片内容:
   Desmarest:Grands Motets Lorrains / Daneman, Ockenden, Agnew, Slaars, Marzorati, Les Arts Florissants, Christie
   1. Usquequo Domine
   2. Lauda Jerusalem
   3. Domine ne in furore
   Composed by Henry Desmarets
   Performed by Les Arts Florissants Orchestra & Chorus
   Conducted by William Christie
   唱片编号:ERATO 8573-80223

http://www.amazon.com/Desmarest-Grands-Motets-Lorrains-Henry/dp/B00004S1EX

How nice it is to make the acquaintance of a previously ignored composer who ranks with the best of his age, in this case, such French Baroque masters as Rameau, Couperin and Charpentier. These three motets, which span the emotional range from despair through exaltation, are well worth the attention of anyone who enjoys the music of the period. The only reason this doesn't merit five stars is that nothing else on the disc quite measures up the the exquisite pathos of the opening sections.

William Christie and his forces do their customary splendid job, including the five vocal soloists and the instrumental ensemble, whose flutist produces plangent notes to melt your heart.

关于指挥:(转贴自维基)

William Lincoln Christie (born December 19, 1944 in Buffalo, New York) is an American-born French conductor and harpsichordist. He is a specialist in baroque repertoire and is the founder of the ensemble Les Arts Florissants.

Christie studied art history at Harvard University, where he was briefly assistant conductor of the Harvard Glee Club. From 1966, he began studies at Yale University in music, where he was a student of harpsichordist Ralph Kirkpatrick. He was opposed to the Vietnam War, and served in a reserve officers course to avoid the draft. He subsequently taught at Dartmouth College, but after his Dartmouth post was not renewed, Christie moved to France in 1971.[1] He was one of a number of young men who left the United States at this time because of disagreement with the Vietnam War, and in order to avoid the draft. In France, he became known for his interpretations of Baroque music, particularly French Baroque music, working with René Jacobs and others. He also performed contemporary music alongside baroque music with the Ensemble Five Centuries.[1]

In 1979, Christie founded Les Arts Florissants, named after the opera of the same name by Marc-Antoine Charpentier, which was to be its first fully staged production. Major recognition came in 1986 with the production of Lully's Atys at the Opéra-Comique in Paris.[1] Christie has also presented and recorded works by André Campra, François Couperin, Claudio Monteverdi and Jean-Philippe Rameau.[2]

Christie was a professor at the Paris Conservatoire from 1982 to 1995, and maintains an active role in pedagogy by participating in master classes and academies. In 2002, he founded Le Jardin des Voix, a biennial academy for young singers in Caen.[3] Since 2007, he has had an affiliation with the Juilliard School, providing master classes in historical performance practice.[4]

Christie has widened his group's core French repertoire, performing Henry Purcell, George Frideric Handel, and Wolfgang Amadeus Mozart. He has been guest conductor at the Glyndebourne Festival, and productions for Zurich Opera and the Opera de Lyon. He has also conducted period-instrument performances with more modern ensembles such as the Berlin Philharmonic.[5]

Christie took French citizenship in 1995.[6] He was appointed Grand Croix de la Légion d'honneur in 2014 and he is an Officier in the Ordre des Arts et des Lettres. He was elected a member of the French Académie des Beaux-Arts on November 12, 2008, in the "Unattached members" section (Membres libres), at the seat formerly held by Marcel Marceau, Seat #1.[7] The elaborate gardens Christie designed for his house in Thiré were designated as a monument historique in 2006.[8]  


   
  和谈     01/09/2015 15:42
https://
   
  和谈     01/10/2015 07:47
最近看了两个版本的纸牌屋,对BBC里面的主题曲印象深刻,还以为是出自于亨德尔的哪个片段。网上查了一下,居然是当代的年轻人写的,这让我很惊讶。一直以为音乐语言受时代潮流影响,年代即逝,痕迹不再了。其实,如果要模仿还是很有可能的,只是当今人不屑罢了。这又让我非常失望。因为在我现在看来,就音乐的华美而言,巴洛克时代是最伟大的。后人既然无意复加,为什么不去继承光大?

https://
   
  和谈     01/18/2015 14:10
https://

能者多劳,请云天翻译剧情和唱词。

   
  云天     01/18/2015 20:37
变相布置功课嘛。遛狗就成,很有意思的剧情:

http://baike.baidu.com/view/1072237.htm

《里纳尔多Rinaldo》(共三幕)描述的是第一次十字军征战耶路撒冷时候的事情,十字军四大著名领袖之一的Godefroy de Bouillon(第一代十字军的耶路撒冷王)手下著名意大利骑士在围困耶路撒冷城所发生的故事。骑士里纳尔多与指挥官戈尔弗雷德(Goffredo)之女阿尔米莱纳(Almirena)相恋,戈尔弗雷德也答应在拿下城郭之后允诺他们的婚事。另一方,伊斯兰教和犹太教的守城指挥官阿尔冈特(Argante)迫于攻城压力的强大,阿尔冈特向十字军指挥官要求停战,并前往十字军的阵营交涉(第一幕第三场),这时候阿尔冈特唱了一首著名的咏叹调“Sibillar gli angui”。事实上已经是山穷水尽的地步,然而却用了相当凯旋巴洛克气氛的音乐作为背景,浑厚的男低音也是这个剧作中唯一底气强劲的角色,这一点来说巴洛克作品的趣味性相当浓厚的。戈尔弗雷德用了一首著名的咏叹调“No,no,che quest'alma”加以严词拒绝。阿尔冈特决定向自己的恋人,大马士革的妖女阿尔米达请求帮助……,也就在这个节骨眼上,妖女阿尔米达带着电闪雷鸣,以一曲女高音的咏叹调“furie terribili”出场了。

阿尔冈特向妖女阿尔米达(Armida)提出了帮助的要求,阿尔米达也畅快的答应了给与阿尔冈特帮助。他们两人都提到了要以此来保护亚细亚的河山,这就是女高音咏叹调“molto voglio”(第一幕第五场)。说老实话作为东方人多少有一些为这两个反面角色而心动呢……。阿尔米莱娜上场的一段“Augelletti che cantata”也是一首著名的女高音咏叹调,特别是序奏的那段鸟语和竖笛、乐队的曲子都是相当优美的。随后的一段里纳尔多、阿尔米莱娜的二重唱“Scherzano sul tuo volto”。里纳尔多这个角色在亨德尔时代都是有阉人歌手(Castralto)来担任的,歌手的音域应该是两个八度的alto音域,后来阉人歌手消失后,一般都用“高男高音”(countertenor)替代。所以这是一个高男高音与女高音的爱情二重唱咏叹调,相当优美且著名。Rene Jacobs的这个演出中,用了次女高音(Mezzosoprano)来担任的,这样的话,这个著名的爱情咏叹调二重唱就成了女高音与次女高音的二重唱了。阿尔米达向阿尔米莱娜施妖法,并捕获了阿尔米莱娜。愤怒的里纳尔多因恋人被敌方捕获而愤怒激昂(第一幕第七场)。此时里纳尔多唱了一首思念恋人的咏叹调“cor ingrate”,在低音弦乐器、拨弦古钢琴构成的通奏低音背景上显得相当动人。戈尔弗雷德的弟弟尤斯塔基奥(Eustazio)也是一位基督教的妖法师,表示愿意帮助戈尔弗雷德和里纳尔多找回阿尔米莱娜。

阿尔米莱娜被拘捕在阿尔冈特的城内,内心烦乱。此时阿尔冈特遇到了阿尔米莱娜,顿时升起了爱恋的心思,此时唱出一段男低音的咏叹调[basta che sol tu chieda](啊!美人呀,你绝非不幸)。这其中,阿尔米莱娜的一曲“Lascia ch'io pianga”(让我哭泣/任我的泪水流淌)]更是脍炙人口,也成为了一个著名的女高音咏叹调(第二幕第四场)。……阿尔米达再一次施放妖法,将里纳尔多抓获了。在妖女面前,里纳尔多坚持要求要么将阿尔米莱娜还给他,要么将自己和身上的佩剑一起埋葬……。妖女被里纳尔多的勇敢所感动,用妖法将自己变身为阿尔米莱娜,对里纳尔多诱惑,不曾想里纳尔多没有就范。这时候阿尔米达有一段咏叹调“ah, crudel”,表现内心里对里纳尔多的爱慕和对方没就范的恼怒等的复杂心情,也是一段戏剧性相当强烈、幅度大的唱段。……阿尔米达变身阿尔米莱娜的时候,却引来了阿尔冈特的误会,阿尔冈特见是阿尔米莱娜,便对其讨好、倾诉爱恋之情。这一下可惹恼了阿尔米达。阿尔冈特发觉是阿尔米达这才觉得不可收场了(第二幕第九场)。第二幕最后的一个咏叹调“Vo'far Guerra”就是阿尔米达表示那种发觉被恋人利用、出卖的心情的曲子。曲子中有三段拨弦古钢琴即兴独奏的段落,这也正是当年亨德尔在剧作首演的时候所加上去的披露键盘乐器独奏者演技的几个段落。

军队准备战斗。恼怒的阿尔米达准备将阿尔米莱娜和里纳尔多全部杀死,首先准备对阿尔米莱娜下手的时候,里纳尔多要求先将自己杀了算了,阿尔米达不愿意,正准备下手的时候,基督徒的魔法师赶到将阿尔米达的宫殿吹毁了,解救了危命中的里纳尔多和阿尔米莱娜。阿尔冈特Argante和阿尔米达Armida被捕获并且公开宣称他们的基督徒信念。结果是由于里纳尔多,基督徒赢取了胜利。城郭被“解放”。不单如此,阿尔冈特和阿尔米达这样的异教徒也从新接受洗礼改换了宗教信仰并恢复了恋人关系,“重新做人”了。阿尔米莱纳Almirena和里纳尔多Rinaldo也终于团聚在一起,可谓“恋人们终成眷属”的大团圆的结局。
   
  云天     01/18/2015 20:38
Lyrics & English Translation

Beloved spouse, dearest heart,
Where art thou?
Woe! Return to him who weeps!

O guilty spirits from thy Erebus beneath the furrows,
My face one of complete contempt,
I defy thee!
   
  云天     01/18/2015 20:41
盯着演员瞧了半天,才确信不是女扮男装。 原来这种声音叫做 Countertenor。

http://baike.baidu.com/view/1072237.htm

同亨德尔的其他歌剧一样,《里纳尔多Rinaldo》落入遗忘和埋没约二百年。 然而,从20世纪70年代开始,它被人们复兴并且进入了标准歌剧保留节目的重要组成部分。 从这个歌剧的几个唱腔,例如" Lascia ch' io pianga",还有" Cara sposa" 一直深受独唱会表演者和听众的喜爱。

亨德尔的这部歌剧是其作品在现代演绎录音频度最高的一个了。亨德尔当年上演该剧的时候,一般性起码起用三位阉人歌手,分别充当剧中的里纳尔多、尤斯塔基奥和基督徒魔法师(Mago)。然而到了现代,大多数都有高男高音或具有次女高音音域的歌唱家来充当,当然这也是一种无奈之举,阉人歌手与高男高音或具有次女高音音域的歌手无论是在发声法和戏剧性上的差异都是非常大的,甚至是那种差距是无法弥补的。


Countertenor一词,中译很不统一,也很难译准,如译为“假声男高音”、“上男高音”、“次男高音”、“特高男高音”、“最高男高音”、“假女低音”、“小女低音”、“男声女低音”、“小生男高音”、“男声中音”、“高次中音”、“反男高音”等等,不一而足。这里取“高男高音”。

意大利盛行阉人歌手,英国则是高男高音嗓音之乡,阉人歌手从歌剧舞台销声匿迹时,英国的高男高音虽也处于没落状态,但从未完全消失,一直延续至今。第二次世界大战后,欧洲盛行一种古乐表演流派,演唱早期的声乐作品,歌唱方法和声音效果力求恢复古乐的原貌,尽可能真实地再现古乐纯正之美。于是,高男高音得以借复古之势重现乐坛,这要归功于英国高男高音歌唱家阿尔弗雷德·戴勒(Alfred Deller,1912-1979)的率先倡导及其歌唱艺术。

高男高音和阉人歌手或假声男高音有所不同,不能混为一谈,音域一般都超过正常声域,在高声区采用一种头声区发声方法,这是一种有气息支持和共鸣效果的歌唱方法,声音结实有力,几乎具备乐器般纯净、清脆的音色,声响特殊。

继戴勒之后,在国际乐坛上涌现出一批很有潜质的高男高音后起之秀,各大唱片公司也有高男高音CD推出,从录音听来,他们的演唱风格和发声方法也不完全相同,各有特点,别具一格。据有代表性的高男高音有:鲍曼(J.Bowman)、克利斯托费利斯(A.Chritofellis)、李拉金(D.Lee Ragin)、阿萨瓦(B.Asawa)、斯科尔(A.Scholl)、钱斯(M.Chance)、丹尼尔斯(D.Daniels)、伯丁(P.Bertin)、维斯(D.Visse)等。
   
  和谈     01/19/2015 08:40
gosh, 也没有叫你找这么多呀? 但是非常谢谢,真正是能者多劳!


云天 wrote: (1/18/2015 20:37)
变相布置功课嘛。遛狗就成,很有意思的剧情:

   
  和谈     02/06/2015 22:48
丝(弦乐)不如竹(管乐),竹(管乐)不如肉(人声)。

   
  和谈     03/11/2015 22:36
法国作曲家福雷是以他的《安魂曲》让我记住他的,我至今没有听过他其他任何作品,但是听他的《安魂曲》让我心灵颤抖。在我的欣赏曲目中,福雷的安魂曲是可以和莫扎特,德沃夏克的安魂曲媲美的。大概在十几年前买了他的CD,听过一段时间,后来没有冲动去翻出来再听,直到前天上班路上收音机里播出一个片段,莫名其妙地揪住了我的注意力。已经分辨不出是谁的、什么作品,等到音乐结束后才知道。这两天白天晚上连着不停一遍一遍地听,听了一几十遍,真够刺激!能够听出这种效果,才是值得的事情。隆重推荐:

   
  和谈     05/24/2015 08:55
先推荐John field钢琴协奏曲第三中的一个片段,从18:30开始到23:35。我已经连续听了两到三星期,我这连续是上班和家里几乎是不停地听。我原先只知道他的第一协奏曲好听,没有想到油管里他全部的协奏曲都有,有时让油管自动连续演奏,结果发现其他的六首也不错,就听其自然。

昨晚有一段特别抓住我的注意力了,......。 好吧,一切解释和介绍都是苍白和无力的。


   
  和谈     05/25/2015 09:31
从20:46 到 24: 33是一段缓慢的节奏,而这总是比较能够触动人心底的某一个角落。在那些角落里,堆积的通常是失意,怀念或者追悔,等等。

   
  BBB     05/26/2015 18:43
初一听,有点贝多芬早期钢协的味道。这些基本和贝多芬同时代或稍晚的浪漫派早期作曲家,有几个凭少数杰作留名,比如威伯。还有罗西尼,等。另一些,如胡梅尔和这位费尔德,听他们的作品,会有似曾相识的感觉,但因为都有更杰出的替代品,他们那些作品,就只好被忽视了。这是很不幸的。当然,偶尔听个新鲜,也不错。费尔德虽然发明了夜曲,但有肖邦的伟大作品在那里,他的作品就完全被忽视了。



和谈 wrote: (5/25/2015 9:31)
从20:46 到 24: 33是一段缓慢的节奏,而这总是比较能够触动人心底的某一个角落。在那些角落里,堆积的通常是失意,怀念或者追悔,等等。



   
  和谈     07/02/2015 21:46
格鲁克,巴洛克和古典转换时期德国作曲家生日。(2 July 1714 – 15 November 1787)下班路上收音机里播放他的歌剧咏叹调片段,其中之一:



https://en.wikipedia.org/wiki/Christoph_Willibald_Gluck
   
  和谈     07/05/2015 23:22
   
  和谈     09/06/2015 23:03
   
  BBB     09/06/2015 23:57
这几天还在想,和谈好久不见了。当然,我自己也好久没有上贴了。
   
  和谈     09/07/2015 11:52
it has something to do with the august recess, i suppose.

我还以为你到维也纳去了呢,留下这个营盘无人打理,来个人招呼都没有。

中国以前有“蛀夏”那么一说,因为过去人比较穷,夏天没有地方躲,干熬,等夏天过了之后,瘦了一圈。现在这里属于西方资本主义国家,人都比较娇贵,国会、总统8月份都要度假,要过了劳工节才回来上班呢。




BBB wrote: (9/6/2015 23:57)
这几天还在想,和谈好久不见了。当然,我自己也好久没有上贴了。

   
  BBB     09/07/2015 16:33
我的确是特别想在七月去萨尔茨堡,但因为5月刚开始一个新工作,没有假,就没去成。整个夏天都在工作,没有去任何地方。劳工节之后,又该是节日季节了。


和谈 wrote: (9/7/2015 11:52)
it has something to do with the august recess, i suppose.

我还以为你到维也纳去了呢,留下这个营盘无人打理,来个人招呼都没有。

中国以前有“蛀夏”那么一说,因为过去人比较穷,夏天没有地方躲,干熬,等夏天过了之后,瘦了一圈。现在这里属于西方资本主义国家,人都比较娇贵,国会、总统8月份都要度假,要过了劳工节才回来上班呢。




BBB wrote: (9/6/2015 23:57)
这几天还在想,和谈好久不见了。当然,我自己也好久没有上贴了。



   
  和谈     09/12/2015 21:09
前几天云天把一条几年前的线顶起来,不胜感叹、感谢和佩服。

看到里面提到海顿的弥撒曲,我倒把自己写的帖子忘了。现在这么一说我想起来了,我是2001年初买到海顿弥撒曲全集,然后就是一番狂轰滥炸式的猛听。所以“911”发生前后那段时间,上下班路上用车上CD播放机听,因此第一架飞机撞进南楼后的即时新闻没有听到。刚才到油管里查一下,有海顿的弥撒曲,顺手收集一下,和同好分享。

另外关于德国的国歌也勾起了我的一些想法。因为对不同国家的印象以及期望和好恶心情不同,我曾经想过应该分别去辨听不同国家的国歌然后去做一些比较,如果有可能比较的话。MD,现在整天为五斗米折腰,等退休后吧。

   
  和谈     09/15/2015 19:40
油管里只有零碎不成系列的弥撒曲,我是抓到篮子里就是菜。

   
  和谈     09/18/2015 22:42
   
  和谈     09/24/2015 22:00
   
  和谈     09/28/2015 21:43
   
  和谈     10/06/2015 22:50
   
  和谈     10/09/2015 21:30
   
  和谈     11/01/2015 20:29
   
  和谈     11/12/2015 20:49
   
  和谈     12/06/2015 19:44
   
  和谈     12/25/2015 08:50
我还是继续做我的巴洛克梦吧。(我又在问自己,这巴洛克到底是什么,说得清楚吗?比如它的旋律特性?我似乎能够把它们从其他类型中区别出来,但真的要自己去描述倒是很难。但有一点可以肯定的是,巴洛克的旋律总是会让心的位置提高一个notch,physically, believe or not。)

   
  和谈     01/07/2016 22:05
最近一直在听巴赫的圣诞康塔塔,有时顺着油管链接听听别的,发觉这段抓住了我的注意力,单挑出来,推荐一下。

   
  和谈     01/25/2016 09:55
   
  和谈     02/01/2016 00:19
这个星期连着在听巴赫B小调弥撒曲,听到后来的结果就是把这最后一段从整个曲子中挑开来了。再一遍一遍地反复,最后的效果是感觉到自己灵魂沿着脊柱慢慢升腾,最后从后脑飘出去了!

   
  和谈     02/10/2016 22:10
   
  和谈     03/22/2016 23:01
   
  BBB     03/23/2016 19:36
这个作品曾经听过,有点印象。今天仔细听了两遍,真好听。总体音场效果非常圆润,浑厚。这边作品1682年写成的时候,巴赫还没有出生。


和谈 wrote: (3/22/2016 23:1)


   
  和谈     03/23/2016 20:36
如果巴洛克音乐是以1650到1750为界,那么这个Biber正好活在巴洛克时期。我和你们大多数爱乐者不同,我对古典时期之后的音乐很少感觉,倒是很容易被巴洛克甚至之前的这种宗教音乐所打动。对我来说,听音乐我仍然在初始阶段,因为我还没有区分版本,乐队,指挥的能力,换一句话说是,我现在仍然是多多益善的阶段。

摘自维基:

海因里希·伊格纳兹·弗朗兹·凡·比贝尔(德语:Heinrich Ignaz Franz von Biber,1644年8月12日-1704年5月3日),波西米亚-奥地利作曲家,小提琴家。

比贝尔生于瓦尔腾堡的一个波西米亚小镇(今捷克斯特拉茨·波德·拉尔斯肯),在维也纳师从施梅尔策学习。比贝尔早年在格拉茨和克罗梅日什工作,后来他非法地离开了在克罗梅日什的雇主并定居于萨尔斯堡。他余生都留在了那里,并在那里出版了他的绝大部分作品。偶尔,他也会举办巡演。

比贝尔是器乐历史上最重要的小提琴作曲家之一。他卓越的技巧让他能在演奏中轻易地到达第六甚至第七把位,在复杂的复调音乐段落中驾驭双音奏法,并探索泛音的多种可能性。他还撰写了已知最早的小提琴独奏曲目之一——《神迹奏鸣曲》(又称为《玫瑰经奏鸣曲》)中里程碑性的《帕萨卡利亚》舞曲。在比贝尔生活的年代,他的音乐被整个欧洲所熟知和模仿。十八世纪晚期,他被音乐史家Charles Burney称颂为十七世纪最伟大的小提琴作曲家。二十世纪后期,比贝尔的音乐,尤其是《神迹奏鸣曲》,重新为人所重视。如今,它正广泛地被人演奏和录音。


BBB wrote: (3/23/2016 19:36)
这个作品曾经听过,有点印象。今天仔细听了两遍,真好听。总体音场效果非常圆润,浑厚。这边作品1682年写成的时候,巴赫还没有出生。