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#1【音乐家 】   亨德尔的清唱剧             Go Back


之前我曾经转贴了不少亨德尔(1685/2/23-1759/4/13)清唱剧,但是最近发现有的油管的链接已经被取消,很遗憾,我现在重新搜寻,希望把亨德尔的清唱剧从管子上一点一点搬来,节腋成裘。如果降E有办法把这些链接存下来就好了,这样就不会有过一段时间会消失的担心了。

上面的演奏会是纪念他逝世250周年的专场。第一段是亨德尔1727年写的四首《加冕赞美歌》(Coronation Authems)中的《神父扎多克》(Zadok the Priest)。

我(还)没有信教,就像降E曾经提到过的,也愿意和有宗教情怀的人,东西,地方接近、接触。星期天听一下有宗教背景的音乐,对我,就像做了“礼拜”一样。


Last modified on 11/25/16 09:57
        

#2  为亨德尔的清唱剧开一条线             Go Back




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。”


云天考证:

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.



From Harmony (Recit)
TENOR: From harmony, from heavenly harmony
This universal frame began.
When nature, underneath a heap
Of jarring atoms lay,
And could not heave her head.
The tuneful Voice, was heard from high,
Arise! Arise!
Arise ye more than dead!
Then cold, and hot, and moist, and dry,
In order to their stations leap!
And music's power obey!
And music's power obey!

From Harmony (Chorus)
CHORUS: From harmony, from heavenly harmony,
This universal frame began.
Through all the compass of the notes it ran,
The diapason closing full in man.
[edit]What Passion Cannot Music Raise and Quell
SOPRANO: What passion cannot music raise, and quell?
When Jubal struck the chorded shell,
His listening brethren stood 'round.
And wondering on their faces fell,
To worship that celestial sound!
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?

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!
Charge 'tis too late, too late to retreat!

The Soft Complaining Flute
SOPRANO: The soft complaining flute
In dying notes discovers
The woes of hopeless lovers,
Whose dirge is whispered by the warbling lute.
[edit]Sharp Violins Proclaim
TENOR: Sharp violins proclaim,
Their jealous pangs,
And desperation!
Fury, frantic indignation!
Depth of pains, and height of passion,
For the fair disdainful dame!

But Oh! What Art Can Teach
SOPRANO: But oh! what art can teach,
What human voice can reach
The sacred organ's praise?
Notes inspiring holy love,
Notes that wing their heavenly ways
To join the choirs above.

Orpheus Could Lead The Savage Race
SOPRANO: Orpheus could lead the savage race,
And trees uprooted left their place
Sequacious of the lyre:
But bright Cecilia raised the wonder higher:
When to her Organ vocal breath was given
An Angel heard, and straight appeared –
Mistaking Earth for Heaven.

As From The Power Of Sacred Lays
SOPRANO: As from the power of sacred lays
The spheres began to move,
And sung the great Creator's praise
To all the blest above;
So when the last and dreadful hour
This crumbling pageant shall devour,
The trumpet shall be heard on high,

CHORUS: The dead shall live, the living die,
And music shall untune the sky


Last modified on 03/03/13 14:52
        

#3  Re: 【听音乐(亨德尔)】 为亨德尔的清唱剧开一条线             Go Back
支持!我也比较迷亨德尔的清唱剧,但听得不多。收集和搬的过程,也是自己加深了解的过程。

我最近在听威尔第的歌剧,听了《福斯特夫》和《奥赛罗》两部后期伟大作品。我发现车里反复放多次,虽然不少音乐片段有听的时候觉得很好听,但过后又没有什么印象了。要真正了解全作而进入其中,还是需要看全剧的录像。油管上有不少。


和谈 wrote: (2/24/2013 21:18)
我在之前曾经转贴了这个,但是最近发现那个油管的链接已经被取消,很遗憾,我今天重新搜寻,发现有人化整为零,分割成好几个片段,比没有好。另外也希望把亨德尔的清唱剧从管子上一点一点搬来,节腋成裘。
--*--*--*--*--*--*--*--*--*--*--*
自得其乐
        

#4  Re: 【听音乐(亨德尔)】 为亨德尔的清唱剧开一条线             Go Back






Last modified on 03/03/13 20:40
        

#5  为亨德尔的清唱剧开一条线             Go Back





From Wikipedia:

Saul (HWV 53) is an oratorio in three acts written by George Frideric Handel with a libretto by Charles Jennens. Taken from the 1st Book of Samuel, the story of Saul focuses on the first king of Israel’s relationship with his eventual successor, David; one which turns from admiration to envy and hatred, ultimately leading to the downfall of the eponymous monarch. The work, which Handel began in 1738, includes the famous Dead March, a funeral anthem for Saul and his son Jonathan, and some of the composer's most dramatic choral pieces. Saul was first performed at the King’s Theatre in London on January 16, 1739.


From

http://www.wgbh.org/articles/Handels-Saul-with-The-Sixteen-7177

“Saul was Handel's fourth English oratorio, but it was the first one he wrote after he had given up once and for all on Italian opera. He wrote it at the age of 53, having made a full recovery following a debilitating illness he suffered the year before that affected his playing and his mental health. Saul also marked Handel's first collaboration with librettist Charles Jennens, with whom he would later collaborate on several other oratorios, including Israel in Egypt and Messiah. In many ways, then, Saul marks a new beginning for Handel, the start of his greatest creative period.

How appropriate, then, that this oratorio is concerned with events that take place during the Feast of the New Moon, the beginning of the Jewish New Year. It's a story of death and renewal: the Lear-like fall of Saul, a once-great king who succumbs to feelings of murderous jealousy of the young David, who at the beginning of the oratorio is fresh from his victory over Goliath and at the end is crowned king, an important figure in all the Abrahamic religions. Handel treats this story as a true epic, calling for the largest cast and richest orchestration of any of his oratorios.”


Last modified on 03/10/13 14:23
        

#6  为亨德尔的清唱剧开一条线             Go Back



下面的介绍文字由云天翻译转贴:

“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.
        

#7  Re: 为亨德尔的清唱剧开一条线             Go Back
Wow, 和指挥的清唱线流水汤汤,乐声浩浩。
和指挥搬帖辛苦。 那些歌词太迷人了,很想译,可惜没闲。 继续旁听。
        

#8  Re: 为亨德尔的清唱剧开一条线             Go Back

云天 wrote: (3/11/2013 0:19)
那些歌词太迷人了,很想译,可惜没闲。 继续旁听。


我这段时间陷入于亨德尔了。 为了了解、理解他的美(神)乐,我已经(从网上)开始学习18世纪英国的历史,尤其亨德尔生活在英国那段时间的历史,希望能够把对听他音乐时的感受描述下来。

云天对语言非常敏锐,且文史知识丰富,请继续拨冗赐教。


Last modified on 03/17/13 17:15
        

#9  为亨德尔的清唱剧开一条线             Go Back
据(房龙 Hendrik Willem van Loon,)说,亨德尔自己最喜欢他的《参孙》(Samson)清唱剧,而不是《弥赛亚》。 这 "Let the bright Seraphim" (for soprano)则是剧中最出彩的片段之一。(我突然觉得自己开始有点专业水准了?)

我对这段的旋律虽然也比较熟悉,可是一直不知道它的来路。而且,我现在越来越深地感觉到,小号和人声居然能够协调得这么好。



Last modified on 03/17/13 13:20
        

#10  为亨德尔的清唱剧开一条线             Go Back


“The Queen normally took little interest in her composers, being (according to the Duke of Manchester) ‘too busy or too careless to listen to her own band, and had no thought of hearing and paying new players however great their genius or vast their skill’. It is maybe surprising, therefore, that she granted Handel a pension of £200 a year for life. But the Queen’s health deteriorated, and by September 1714 Britain had a new monarch. Handel’s previous Hanoverian employer arrived in Britain, and one of the first engagements for the new George I was to attend morning service at the Chapel Royal where ‘a Te Deum was sung, composed by Mr Handel’. This seems to have been the ‘Queen Caroline’ setting, and Handel’s position with the new ruler appears to have been secured.

The ‘Queen Caroline’ Te Deum was performed twice that year, first on September 26, and then again on October 17. It too looks back to Purcell in some of its construction, particularly the ‘Vouchsafe’ which has much in common with Purcell’s own 1694 setting of the same text. (Handel, though rude about many of his contemporaries, revered Purcell: at a performance of Jephtha he countered a remark that a passage reminded one of the listeners of Purcell with ‘If Purcell had lived, he would have composed better music than this’). But Handel’s Te Deum also shows the influence of the opera (in which he was already proving a great success), particularly in the tenor aria ‘The glorious company’, and the lyrical aria for alto and solo flute ‘When thou tookest upon thee’.”
—— Robert King, director



油管听众留言:

Every time I hear Handel's glorious music, I feel one step closer to Heaven!
Every note has contained within it the grandeur and majesty of the Baroque
era, combined with Handel's deep humanity and spirituality. The King's
Consort is one of the finest ensembles of its kind in the world. Thank you
for posting and to SuperLuckydream for sharing.
        

#11  Re: 为亨德尔的清唱剧开一条线             Go Back
"18世纪英国的历史,尤其亨德尔生活在英国那段时间的历史"
--- 这段历史的确非常值得一读.

开玩笑么. 我略知皮毛而已, 等着拜读和指挥的大作.


和谈 wrote: (3/16/2013 16:37)


我这段时间陷入于亨德尔了。 为了了解、理解他的美(神)乐,我已经(从网上)开始学习18世纪英国的历史,尤其亨德尔生活在英国那段时间的历史,希望能够把对听他音乐时的感受描述下来。

云天对语言非常敏锐,且文史知识丰富,请继续拨冗赐教。

        

#12  Re: 为亨德尔的清唱剧开一条线             Go Back
查了一下才知道戴安娜婚礼上也演唱了《Let the bright Seraphim 》.




在网上找到了歌词及译文:


Let the bright Seraphim 《光辉的六翼天使》
Words: Newburgh Hamilton, after Milton
Music: George Frideric Handel (1685 - 1759),
from his oratorio "Samson", 1743

Let the bright Seraphim in burning row,让明亮的塞拉芬加入这欢腾的队伍吧!
Their loud uplifted Angel-trumpets blow:他们欢呼着高举并吹起天使的小号。
Let the bright Seraphim in burning row,让明亮的塞拉芬加入这欢腾的队伍吧!
Their loud uplifted Angel-trumpets blow:他们欢呼着高举并吹起天使的小号。

Let the bright Seraphim in burning row,让明亮的塞拉芬加入这欢腾的队伍吧!
Their loud uplifted Angel-trumpets blow:他们欢呼着高举并吹起天使的小号。

Let the Cherubic host, in tuneful choirs,让天使的主人,加入到美妙的音乐中,
Touch their immortal harps with golden wires.弹奏起不朽的金弦竖琴。
Let the Cherubic host, in tuneful choirs,让天使的主人,加入到美妙的音乐中,
Touch their immortal harps with golden wires.弹奏起不朽的金弦竖琴。

Let the bright Seraphim in burning row,让明亮的塞拉芬加入这欢腾的队伍吧!
Their loud uplifted Angel-trumpets blow:他们欢呼着高举并吹起天使的小号。
Let the bright Seraphim in burning row,让明亮的塞拉芬加入这欢腾的队伍吧!
Their loud uplifted Angel-trumpets blow:他们欢呼着高举并吹起天使的小号。

Let the bright Seraphim in burning row,让明亮的塞拉芬加入这欢腾的队伍吧!
Their loud uplifted Angel-trumpets blow:他们欢呼着高举并吹起天使的小号。


继续听和指挥”专业水准“的讲座。


Last modified on 03/30/13 21:30
        

#13  Re: 为亨德尔的清唱剧开一条线             Go Back

云天 wrote: (3/30/2013 20:52)
查了一下才知道戴安娜婚礼上也演唱了《Let the bright Seraphim 》,
在网上找到了歌词及译文:

Let the bright Seraphim 《光辉的六翼天使》
Words: Newburgh Hamilton, after Milton
Music: George Frideric Handel (1685 - 1759),
from his oratorio "Samson", 1743
Let the bright Seraphim in burning row,让明亮的塞拉芬加入这欢腾的队伍吧!
Their loud uplifted Angel-trumpets blow:他们欢呼着高举并吹起天使的小号。
Let the bright Seraphim in burning row,让明亮的塞拉芬加入这欢腾的队伍吧!
Their loud uplifted Angel-trumpets blow:他们欢呼着高举并吹起天使的小号。
Let the bright Seraphim in burning row,让明亮的塞拉芬加入这欢腾的队伍吧!
Their loud uplifted Angel-trumpets blow:他们欢呼着高举并吹起天使的小号。
Let the Cherubic host, in tuneful choirs,让天使的主人,加入到美妙的音乐中,
Touch their immortal harps with golden wires.弹奏起不朽的金弦竖琴。
Let the Cherubic host, in tuneful choirs,让天使的主人,加入到美妙的音乐中,
Touch their immortal harps with golden wires.弹奏起不朽的金弦竖琴。
Let the bright Seraphim in burning row,让明亮的塞拉芬加入这欢腾的队伍吧!
Their loud uplifted Angel-trumpets blow:他们欢呼着高举并吹起天使的小号。
Let the bright Seraphim in burning row,让明亮的塞拉芬加入这欢腾的队伍吧!
Their loud uplifted Angel-trumpets blow:他们欢呼着高举并吹起天使的小号。
Let the bright Seraphim in burning row,让明亮的塞拉芬加入这欢腾的队伍吧!
Their loud uplifted Angel-trumpets blow:他们欢呼着高举并吹起天使的小号。

继续听和指挥”专业水准“的讲座。



谢谢云天,顺便顶线。

爱阳兄一来,把我们的线全压下去了。
        

#14  Re: 为亨德尔的清唱剧开一条线             Go Back
和谈,明年二月维也纳爱乐乐团到卡耐基演奏贝多芬第九交响曲。再一起听一次?


和谈 wrote: (5/17/2013 7:58)



--*--*--*--*--*--*--*--*--*--*--*
自得其乐
        

#15  为亨德尔的清唱剧开一条线             Go Back
亨德尔很伟大。我想多了解、发现他的好作品。谢谢!
        

#16  Re: 为亨德尔的清唱剧开一条线             Go Back
“和谈,明年二月维也纳爱乐乐团到卡耐基演奏贝多芬第九交响曲。再一起听一次?”

好啊,我没有什么问题。什么时候你定好票告诉我一下。
谢谢。
        

#17  Re: 为亨德尔的清唱剧开一条线             Go Back

thesunlover wrote: (5/17/2013 21:6)
亨德尔很伟大。我想多了解、发现他的好作品。谢谢!



我近年来特别喜欢亨德尔,如果有空,有心写下一篇赏乐心得的话,我会写他。
        

#18  Re: 为亨德尔的清唱剧开一条线             Go Back
和指挥想必要厚积薄发。 I'm craning my neck. :)
        

#20  为亨德尔的清唱剧开一条线             Go Back


Handel began its composition immediately after completing Messiah on 14 September 1741. It uses a libretto by Newburgh Hamilton, who based it on Milton's Samson Agonistes, which in turn was based on the figure Samson in Chapter 16 of the Book of Judges. Handel completed the first act on 20 September 1741, the second act on 11 October that year and the whole work on 29 October. Shortly after that he travelled to Dublin to put on the premiere of Messiah, returning to London at the end of August 1742 and thoroughly revising Samson.
The premiere was given at Covent Garden in London on 18 February 1743, with the incidental organ music probably the recently-completed concerto in A major (HWV 307). The oratorio was a great success, leading to a total of seven performances in its first season, the most in a single season of any of his oratorios. Samson retained its popularity throughout Handel's lifetime and has never fallen entirely out of favor since.





Last modified on 12/19/13 20:00
        



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