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| 都在谈地震的事，想起了废墟，想起了一段很好的描写废墟的音乐，肖斯塔科维奇第八交响曲的第四乐章。又听了一遍，HAUNTING。 |
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| A tip to those orchestras facing strong deficit, or on the verge of bankrupt: get this robot conduct you once, and forget the so called artistic integrity for the time being. Just bow to the machine and everything will be fine. ************************************** http://www.cbc.ca/arts/music/story/2008/05/14/dso-robot-conductor.html Robot conductor leads Detroit Symphony to warm response Last Updated: Wednesday, May 14, 2008 | 8:59 AM ET The Associated Press The lights dimmed, the sold-out hall grew hushed and out walked the conductor — shiny, white and 1.3 metres tall. ASIMO, a robot designed by Honda Motor Co., met its latest challenge Tuesday evening: Conducting the Detroit Symphony in a performance of The Impossible Dream from Man of La Mancha. "Hello, everyone," ASIMO said to the audience in a childlike voice, then waved to the orchestra. As it conducted, it perfectly mimicked the actions of a conductor, nodding its head at various sections and gesturing with one or both hands. ASIMO took a final bow to enthusiastic shouts from the audience. "It is absolutely thrilling to perform with the Detroit Symphony Orchestra. This is a magnificent concert hall," ASIMO said. Later, cellist Yo-Yo Ma joined ASIMO onstage to receive an award for his efforts in music education. Ma bent to ASIMO's height and shook the robot's hand. Ma performed later on the program but didn't take questions from the media about ASIMO. Honda spokeswoman Alicia Jones said it was the first time ASIMO has conducted an orchestra, and it may be the first time any robot has conducted a live performance. ASIMO stands for Advanced Step in Innovative Mobility. ASIMO has its limits. ASIMO's engineers programmed the robot to mimic Charles Burke, the Detroit Symphony's education director, as he conducted the piece in front of a pianist about six months ago. But it can't respond to the musicians. During the first rehearsal, the orchestra lost its place when ASIMO began to slow the tempo, something a human conductor would have sensed and corrected, said bassist Larry Hutchinson. "It's not a communicative device. It simply is programmed to do a sense of gestures," said Leonard Slatkin, the orchestra's musical director. "If the orchestra decides to go faster, there's nothing the robot can do about it. Hopefully, I keep that under control." But several musicians also said ASIMO was more realistic than they expected. "The movements are still a little stiff, but very humanlike, much more fluid than I thought," Hutchinson said. Honda has been developing walking robots since 1986. The latest version of ASIMO debuted last year. Honda eventually intends its robots to be companions for the elderly and others in need, such as school children navigating crosswalks. ASIMO can run, walk on uneven slopes and respond to simple voice commands. It can also recognize faces with its camera eyes. Honda brought the robot to Detroit to highlight its recent $1 million US gift to the orchestra for a music education fund. ******************************** Obviously, the last paragraph said it all. |
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| Brother Donjuan: I heard the same story from yesterday's NPR news. NPR also interviewed a couple of musicians of the Detroit Orchestra and young players of their youth orchestra. They all mentioned such a robot has no eye contract or any gesture, basically no body language. As a chorus member, I am watching the conductor most the times in a concert. So I totally understand their feeling if the conductor would not give any cue. This robot conducting concert may be a good show to attract people's attention anyway. |
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| 纪念在5/12四川大地震中受难的骨肉同胞： 《思念》 杨智华 作曲，张雷 小提琴独奏， 吕珍 钢琴伴奏。 http://lookmyworld.net/forums/p/17038/27764.aspx#27764 |
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| 唐山、汶川大地震祭 1976年唐山、丰台一带发生7.8级大地震，32年后的今天，四川汶川、北川等地又突发相同震级的大地震。哀哉痛之，步领袖词韵，为之祭焉！ 别梦依稀咒四川， 故园三十二年前。 地动卷起汶川水， 黑手高撼丰唐山。 为有牺牲多惨烈， 敢教日月离恨天。 忍看渤海千重浪， 遍地哀鸿下夕烟。 |
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| 為四川同胞祈禱: 已蒙難者，順利進入天堂。 待救者，盡快得救。 有親人蒙難者，節哀、堅強，戰勝苦痛，渡過難關。 受傷者，盡快復康。 搶救與出錢出力救助者，蒙上天賜福，救援工作順利。 |
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| 中新網北京5月15日電 (呂可珂)四川地震災情牽動著每一位炎黃子孫的心，社會各界紛紛發起捐款賑災行動。繼十三日中國演藝界人士成龍、馮小剛等分別捐款後，十四日晚，朗朗、張也、戴玉強、殷秀梅、呂思清等二十余位海內外著名的音樂家齊聚解放軍歌劇院，用他們的藝術才能，呼籲更多的民眾為災區伸出援助之手。 這場“萬眾一心 抗震救災──首都音樂家慈善義演音樂會”是由北京多家企事業單位、社會團體聯合舉辦的。舉辦方在音樂會現場設置了多個募捐處，前來參加音樂會的各企事業單位、團體及個人、義演音樂家、普通觀眾均是自願捐款。 募捐現場記者看到，一對年輕父母領著年僅兩歲的兒子在捐款。這位母親告訴記者：“從電視里看到溫總理和地震孤兒們的眼淚，我哭了好幾次，得知慈善音樂會的消息後決定帶著今天第一天上幼兒園的兒子用他的名字‘王篤行’來募捐，告訴他要保有一顆溫暖的心。” 記者了解到，活動當晚共收到各方愛心捐款一千一百七十五點三八萬元(人民幣，下同)，這些捐款將全部通過北京青少年發展基金會發往地震災區。 據了解，本場音樂會準備倉促，從籌備到正式演出僅用了不到二十四個小時，但音樂會現場高潮迭起，演出人員用充滿愛心與深情的表演博得觀眾陣陣掌聲。完 【編輯:魏恆】 |
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| 好久没有听到杨子作品的声音了 可否请雨田将录音放上来？ 谢谢 |
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| 在听呢 |
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| 这个礼拜天牧师讲道前的静默时间要放一些这次地震相关的图片，我没有杨子的这首，就用另外的一首来代替吧： http://members.myactv.net/~je300b/Estrellita.mp3 |
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| It seems that the chances VPO lead by a female concertmaster some day will be bigger than the US lead by a female president after all. ************************************* http://afp.google.com/article/ALeqM5i7-Fop6NA3n6zetKGRXNo6J5Sddw Vienna State Opera appoints first female concertmaster VIENNA (AFP) — The Vienna State Opera has appointed a woman as as leader, or concertmaster, for the first time, the prestigious opera house announced on Thursday. Sofia-born violinist Albena Danailova, who has already held the position of concertmaster at the London Philharmonic, will become the first-ever woman to lead the orchestra of Vienna State Opera. Danailova already plays first violin in the orchestra and in the Bavarian State Opera orchestra in Munich. She will take up her new position on September 1, a spokeswoman said. "After an initial probation period of a maximum two years, a final decision will be made about her definitive appointment," the house said in a statement. The state opera's house orchestra is made up largely of members of the world-famous Vienna Philharmonic, which only admitted women into its ranks just over 10 years ago and where female faces are still relatively rare. The quota of women in the opera house's orchestra is somewhat larger, but male players are still in the majority. Vienna State Opera's director, Ioan Holender, was thrilled that a woman had been appointed as orchestra leader. "My time here will come to an end with a female concertmaster in place," he said. Holender is scheduled to step down as in at the end of the 2009/2010 season after a total 18 years at the helm of one of the world's greatest opera houses. |
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| Bavarian State Opera orchestra in Munich的首席也是个女性，中国的于雅媚。看来慕尼黑歌剧院好像比维也纳歌剧院水平高啊。 |
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| 我也好喜欢，也许是我的心情是这样的吧！我好爱那些美丽的自然风景，我好想我是一个旅行者就好啊。但是现在还不行啊！没的那个实力啊，我想在就要好好的读书哦！ |
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| 2008武汉国际新音乐节手册（部分） http://www.bh2000.net/files/musicbbstitles10325.jpg 466KB 武汉国际新音乐节手册（部分II） http://www.bh2000.net/files/musicbbstitles10326.jpg 286KB 2008武汉国际新音乐节手册（部分III） http://www.bh2000.net/files/musicbbstitles10327.jpg 224KB |
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| 2008武汉国际新音乐节日程表 http://www.bh2000.net/files/musicbbsdetails58379.jpg 380KB |
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| 2008武汉国际新音乐节开幕式 http://www.bh2000.net/files/musicbbsdetails58380.jpg 492KB |
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| 2008武汉国际新音乐节之武汉音乐学院作曲系电子音乐作品音乐会 http://www.bh2000.net/files/musicbbsdetails58381.jpg 430KB |
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| 2008武汉国际新音乐节之武汉音乐学院作曲系电子音乐作品音乐会曲作者照片 http://www.bh2000.net/files/musicbbsdetails58382.jpg 500KB |
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| 2008武汉国际新音乐节之赵晓生教授学术报告会 http://www.bh2000.net/files/musicbbsdetails58383.jpg 376KB |
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| 2008武汉国际新音乐节之高为杰教授作曲大师班 http://www.bh2000.net/files/musicbbsdetails58384.jpg 453KB |
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| 2008武汉国际新音乐节之电子音乐专业教育圆桌会议 http://www.bh2000.net/files/musicbbsdetails58385.jpg 518KB |
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| 2008武汉国际新音乐节之里昂电子音乐中心（GRAME）音乐会 http://www.bh2000.net/files/musicbbsdetails58386.jpg 652KB |
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| 2008武汉国际新音乐节之电子音乐论文报告会目录I http://www.bh2000.net/files/musicbbsdetails58387.jpg 449KB |
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| 2008武汉国际新音乐节之电子音乐论文报告会目录II http://www.bh2000.net/files/musicbbsdetails58389.jpg 464KB |
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| 2008武汉国际新音乐节之武汉音乐学院作曲系流行电子音乐作品音乐会 http://www.bh2000.net/files/musicbbsdetails58390.jpg 1208KB |
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| 2008武汉国际新音乐节之武汉音乐学院作曲系流行电子音乐作品音乐会曲作者照片 http://www.bh2000.net/files/musicbbsdetails58391.jpg 727KB |
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| 2008武汉国际新音乐节之钢琴作品征集 http://www.bh2000.net/files/musicbbsdetails58392.jpg 366KB |
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| 2008武汉国际新音乐节之龚华华、胡磊作品音乐会 http://www.bh2000.net/files/musicbbsdetails58393.jpg 627KB |
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| 2008武汉国际新音乐节手册封面 http://www.bh2000.net/files/musicbbsdetails58394.jpg 274KB |
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| 2008武汉国际新音乐节出品人与组委会主席 http://www.bh2000.net/files/musicbbsdetails58395.jpg 220KB |
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| 2008武汉国际新音乐节组委会副主席与艺术总监 http://www.bh2000.net/files/musicbbsdetails58396.jpg 256KB |
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| 手册设计“现代”，与活动内容契合，钱总监干得好！ 提个小建议供以后的相关活动参考：党委书记写个欢迎词之类的放在手册里比较合适，以“出品人”的身份出现不恰当，学术性如此之强的活动必须是有一定影响力的专家担当此职，以示对学术的尊重。 忠言逆耳，请原谅。 |
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| 感谢“表扬与批评”！ 我现在担心的是实际的音乐会与报告会能与手册能否相符。希望一切都好！ |
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| 有关武汉国际新音乐节的相关情况，包括2007年举办的情况可以访问http://blog.sina.com.cn/qianrenping |
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| May 6, 2008 ERICH KUNZEL AND THE CINCINNATI POPS ORCHESTRA TO PERFORM IN BEIJING AS PART OF SUMMER OLYMPIC FESTIVITIES CINCINNATI – Erich Kunzel and the Cincinnati Pops Orchestra have received an invitation from the Beijing Organizing Committee for the Games of the XXIX Olympiad (BOCOG) to perform as part of the festivities of the 2008 Summer Olympics in Beijing. The Cincinnati Pops will be the only American orchestra performing in the opening weekend events. “It is incredibly humbling to be asked to perform as part of the prestigious Summer Olympic Opening Weekend ceremonies. It is a great honor for the City of Cincinnati, and indeed for the United States of America” said Erich Kunzel. “It is like a dream come true to celebrate athletic talent and musical talent across cultures. This orchestra has toured China before, in 2005, and we were received most enthusiastically and had rave reviews.” The two performances connected to the Olympic Games include: The Gala Olympic Concert at the new concert hall at the National Centre for the Performing Arts on Saturday evening, August 9. This performance is for the dignitaries associated with the Olympic Games. An outdoor concert on the Olympic Green at the Olympic Grounds on Sunday evening, August 10. Hosted by BOCOG, this performance is open to all the people attending the Olympic Games. The programming will highlight music that has been written especially for Olympic Games of the past and will include traditional Chinese folk songs. The concert finale will feature Medley for Peace in the World, arranged by Julie Spangler and Steven Reineke. Broadway Vocalists Steven Morgan and Michael Scott Lowe are the accompanying guest artists for the tour. Both have been popular guests on the Music Hall and Riverbend stages with the Cincinnati Pops. A Children’s choir from Beijing will be joining the Pops and soloists onstage. The tour will be supported by a generous gift from Edyth and Carl H. Lindner. “The Cincinnati Pops is so grateful to the generosity of our friends Edyth and Carl Lindner,” said Conductor Erich Kunzel. “Time and again they have demonstrated their commitment to putting the Pops on the world stage to showcase Cincinnati’s wonderful arts community and culture.” -more- -2- In 2005, Erich Kunzel and the Cincinnati Pops Orchestra made history by completing a tour to China and Singapore and performing in the Great Hall of the People in Beijing. The Cincinnati Pops was the first U.S. Pops orchestra to perform in China. The Pops are well received in China because of the caliber of the orchestra and the numerous Telarc recordings. These Beijing concerts will be the fourth China concert tour for Erich Kunzel. In 1999, he was the first person to present a Symphonic Pops Concert in China when he guest conducted the China National Symphony Orchestra in two concerts in Beijing. In 2007, he guest conducted the Hong Kong Philharmonic and the Shenzhen Symphony Orchestra. Cincinnati Pops Orchestra Asia 2008 is managed by Amethyst Performing Arts Management Co., Ellin Chu, Chief Executive Officer. APA Management’s website is www.apa-music.com. Cincinnati Pops Orchestra The Cincinnati Pops is one of the world's most active classical pops ensembles, maintaining a year-round performing and recording schedule. Erich Kunzel has 83 Cincinnati Pops releases on the Telarc label, 55 of which have appeared on the Billboard charts of best-selling recordings, a record unmatched by any other orchestra in the world. It was Maestro Max Rudolf who, in 1965, invited Erich Kunzel to join the orchestra. That October Mr. Kunzel conducted his first sold-out “8 O'Clock” concert. It was the beginning of a modern orchestral legend and, four decades later, the Cincinnati Pops Orchestra under its first and only conductor is still performing for packed houses in Cincinnati's Music Hall and gaining new fans the world over through tour performances and its recordings on the Telarc label. ### |
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| 2008武汉国际新音乐节暨中国电子音乐专业教育创建20周年学术研讨会 即将举行 经过精心构思与准备，2008武汉国际新音乐节（组委会主席彭志敏教授；艺术总监钱仁平教授）暨中国电子音乐专业教育创建20周年学术研讨会的相关筹备工作已经完成，将于5月12日至16日在武汉音乐学院隆重举行。组委会现诚挚邀请海内外音乐家朋友们，在春满江城的美好季节里光临武汉音乐学院，分享音乐创造，交流创研心得。 来自海内外的众多音乐团体、音乐名家们，与武汉音乐学院的师生们一道，将在为期一周的新音乐节期间，举行中、外系列电子音乐作品音乐会、电子音乐高峰论坛、电子音乐工作坊、作曲大师班，以及中国电子音乐专业教育创建20周年学术研讨会（含电子音乐论文报告会与电子音乐教育圆桌会议），“琴台之声”力士杯第二届武汉钢琴演奏电视大赛钢琴作品征集评选活动。 电子音乐论文报告会的论文题目征集截止时间为4月24日，全文截稿时间为5月5日；钢琴作品征集评选活动的截稿时间为5月9日。欢迎有兴趣的老师同学们继续应征参加。 【武汉国际新音乐节组委会联系方式】 地址：武汉武昌解放路255号武汉音乐学院武汉国际新音乐节组委会办公室、作曲系办公室 邮编：430060 电话：027－88068215；027－62559495 联系人：黄茜、王球、符方泽 传真：027－88069436 电子邮件： whcm_cmmc @sina.com 有关2008武汉国际新音乐节的进一步信息，敬请关注: 武汉音乐学院官方网页：http://www.whcm.com.cn 武汉音乐学院作曲系网页：http://www.chinacmmc.com ====================================================== 2008武汉国际新音乐节日程安排 时 间 项 目 地 点 5.12 星期一 14∶00 代表报到 19∶30 开幕式 编钟音乐厅 20∶00 武汉音乐学院作曲系师生电子音乐作品音乐会 编钟音乐厅 5.13 星期二 9∶00 电子音乐高峰论坛 民乐排演厅 9∶00 赵晓生教授学术报告会I 学术报告厅 14∶30 高为杰教授作曲大师班 民乐排演厅 16∶00 教育部高等学校文科计算机教学指导委员会艺术类专业计算机 教学第三层次（专业）课程建设研讨会 暨中国电子音乐专业教育圆桌会议 行政楼 六楼会议室 19∶00 法国里昂电子音乐中心(GRAME)音乐会 编钟音乐厅 5.14 星期三 09∶30 法国电子音乐家讲座： New approaches for sound computation by Yann Orlarey 学术报告厅 14∶00 中国电子音乐专业教育创建20周年学术研讨会·开幕式 学术报告厅 14∶30 中国电子音乐专业教育创建20周年学术研讨会 暨电子音乐论文报告会 学术报告厅 19∶30 武汉音乐学院流行电子音乐音乐会 黄钟音乐厅 5.15 星期四 09∶00 张小夫教授、吴粤北教授、刘健教授电子音乐大师班 民乐排演厅 09∶00 赵晓生教授学术报告会II 编钟音乐厅 16∶30 第二届武汉钢琴演奏电视大赛钢琴作品征集评选 学术报告厅 19∶30 龚华华、胡磊作品音乐会 编钟音乐厅 5.16 星期五 09∶00 赵晓生教授学术报告会III 编钟音乐厅 2008武汉国际新音乐节组委会 |
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| 有点武汉音乐学院的味道了！ 武汉音院学风好，学术气氛浓，曾为圈内佳话，这几年沉寂了一些。热切希望院方多做此类有创意性的学术活动，令武汉音院重新振作起来。 从节目单来看，此次活动水准不低，应能产生不凡影响。可惜，套用了几个“大师班”名号，有点落俗、别扭。其实，几位专家早就在业内人心上写下了“大师”二字，纸面写来反觉得做作、见外了。 武汉音院，加油！ |
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| 感谢“祝贺”！二三十年来武汉音乐学院举办过不少有影响有水平的学术会议，但侧重理论研讨，对音乐创作还不太够。武汉国际新音乐节，从去年开办，今年是第二届，以后争取两年至少举办一次，理想是创作与理论并重，教学与创研并重。武汉国际新音乐节特别强调给年轻的学生进行作品和论文展示的机会。大师班主要是请外单位专家给学生上相关专业的公开课，希望能给学生特别是教师在教学方面以启迪，从而促进我们自己的教学水平。大家都明白，一两个小时的大师班，不能解决根本问题，但对于展示学生的习作（大师班都以音乐会现场演奏形式进行），教学观念的交流还是有好处的。所以武汉国际新音乐节将坚持大师班公开课形式。 武汉国际新音乐节所有音乐会与大师班以及学术研讨会都是对院内外免费开放的。在本院师生特别是与会正式代表优先外，座位是先到先得，欢迎音乐朋友前来助兴。 |
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| 有人去听了昨天北大的四重奏么？Diomita四重奏。 三个曲目，海顿的四重奏，黄若的四重奏首演，还有就是beethoven的op132。去听的时候完全冲着op132去的。这个还是第一次听到现场版的op132，感觉非常不错。个人不懂乐器，不懂乐理，只有一双耳朵来听。 一些细节的部分处理的不是很好，这个姑且不论，但是我以为这个在结构上把握得非常好，演奏得很有说服力。如果把对曲目阐释比作翻译的话，那么也存在着信、达、雅的问题，尤其对于beethoven的很多作品都是如此，对于晚期四重奏更是如是。首先必须演奏得正确，然后才能谈得上达和雅。本来op132就素以难懂而著称，如果阐释得不好，那就更难懂了！就好像一个蹩脚的康德翻译只会让人如坠云里雾里。一个“信”的阐释，首先要能吃透曲子，其次还要能用非常有说服力的处理方式表现出来这种理解。在这点上，我觉得他们做得非常不错。 第一乐章的逻辑很难把握住，情绪波动非常大，第一小提琴的温柔乐句和四重奏严厉乐句不停地互答，类似嘲讽又不完全是，这种心境，真是难以把握，把握到的也是似是而非的。第二乐章是那种非常纯粹的欢乐，不是来自自然的田园的欢乐，不是来自生活乐事的，更不是欢乐颂的那种纯粹令人窒息的欢乐，让人感觉就是纯粹的欢愉，非常令人舒服。第三乐章的赞歌是以前听唱片的时候从未感觉到的美妙旋律，当时几乎就要跟着哼唱起来了。 另外那个黄若的四重奏，三个时态，个人觉得非常不错，开始的时候也是非常闷，中间突然有一段吹着口哨的旋律，四重奏都在做和声，那段特别美妙，就好像在非常寂寞的山谷里轻声啸声，又像是塔可夫斯基电影里的梦境，一条狗静静地跑过一片空白的水塘，那段真的太美妙了。 |
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| 北京欢迎你!诸君齐努力! http://v.youku.com/v_show/id_cf00XMjY0NDk0NjQ=.html |
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| 好一个大拼盘哦! 为什么香港的那四个四大老天皇一个都没有?有点意思.... |
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| 刘德华唱了一首很不错的奥运歌曲,《EveryoneIsNO.1》, 歌词写的不错,'我的泪/不是/你的泪我的痛/不是/你的痛/',这个我印象比较深刻. http://video.pplive.com/subject_959889.html 张学友同学 http://tv.mofile.com/TIMAT5BG/ 我特别喜欢听拼盘,＜明天会更好＞,＜让世界充满爱＞,都是我非常喜欢的拼盘. |
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| 偷閒把五年來在本站的散帖整理了一翻。 十分想念久未露面的聲環曲、Fans、狂人、老丁、夢境的碎片、馬青、Roremi、Jim Wang、黃安倫……等一大群見過與未見過的朋友。 更懷念那段各人暢所欲言，激起不少智慧火花的日子。 |
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| 呵呵，有的朋友在隔壁出现的多，有的可能换过ID。 |
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| 别的人都无所谓，那个马青有什么值得您想念的？那不纯粹就是一个地痞吗？ |
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| 本地痞向阿镗老师和韩先生问好！ 最近看了黄安伦老师编辑音乐的几部专题片《神州》、《十字架》和《福音》，非常震撼于黄老师对古典音乐的熟练把握与巧妙运用。比如用马勒第二交响曲最开头的部分描述人类的沉沦，感觉实在是再合适不过了。 |
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| 人在呢人在呢。不过潜水的时间比较多 |
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| 于潤洋與王東路二位先生，在音樂學界，屬長老、掌門級人物。 剛剛與王先生通電話。他告訴我，不久前，于潤洋先生曾對他說:「中國音樂學第一號人物，應推錢仁康先生吧?」王先生知我買了錢先生的文集，但未曾細看，一再叮囑:「錢先生學問扎實，我們都比不上他。你應好好拜讀他的文章。」 前輩風範，令吾輩望塵莫及。 謝謝韓兄當年拔筆相助。 恭賀馬青兄修德、修養均大有進步。 |
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| 我印象深刻的有几位，阮籍，patzak，璩理，江南。貌似都很少见了，尤其是patzak老兄。 |
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| What is music? http://www.wnyc.org/shows/radiolab/episodes/2006/04/21 |
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| 昨晚奥运会歌曲征集结果揭晓，但最重要的开幕式主题歌并未宣布。 我猜开幕式主题歌很可能在《Forever Friends》和《人类是一家》两首中选择。奥运官方网站有个很有意思的错误，耐人寻味： http://www.beijing2008.cn/video/promotional/renleishiyijia/index.shtml http://blog.sina.com.cn/s/blog_4b5da9f80100871b.html 总体感觉，北京奥运这些获奖体育歌曲没有特别突出的，毕竟是大众歌曲。那首女足歌曲“go girl go”都比它们好。 http://v.youku.com/v_show/id_cf00XODY5ODQ0OA==.html |
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| wh老师，能否给我发个邮件？有些录音想请您评论一下，不知您是否有时间。我原来电脑硬盘坏了，所以没有您的邮件地址了 huijintenor@gmail.com |
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| 5年奥运征歌，最后就得到这些作品，令人失望......在中国，一切事情都要按照中国的规则来办，这就是机制的力量。 Hui-Kim：是诗人之恋吗？还没听呢：)madorobin 163.com |
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| 我觉得这首歌挺好的，为什么没选上？？？？？？选得太有问题了！！！为我的好朋友喊冤！！！ http://stream.changxiangaoyun.sohu.com/music/song/200708/1187013783czvq4.mp3 |
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| 粗粗听了一下候选歌曲,好象没有哪一首能带给我像AMIGO SEMPRA(BARCELONA奥运时唱得街知巷闻的歌曲, 但不清楚是不是主题歌曲)那种感动. |
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| 92年的也算不错了，但是88年的实在是更难忘，应该是永久的奥运歌曲。 我挺郁闷的是，为什么不能有96年那样的奥林匹克的号角之类的交响乐出线？？？中国人怎么对流行文化的理解这么狭隘？就是接受不了多样性。 |
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| 我还是认为刘欢的《One World One Dream》不错。 |
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| 请用中文翻译下列外文,感谢:DEUTSCHCHLANDLIED WIRD NATIONALHYMNE EINIGKEIT UND RECHT UND FREIHEIT FUR DAS DEUTSCHE |
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| http://i2.sinaimg.cn/ent/s/h/p/2008-02-29/U2411P28T3D1931032F358DT20080229100148.jpg 多明哥和李云迪给劳力士手表打广告了 哈哈 |
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| Bayreuth Festival Chief Wolfgang Wagner Steps Down (Update2) By Catherine Hickley April 29 (Bloomberg) -- Wolfgang Wagner, the 88-year-old director of the Richard Wagner Festival in Bayreuth and grandson of the composer, announced he is stepping down from his post after 57 years, ending an impasse over the festival leadership. His successor hasn't yet been appointed and it is now up to the Wagner family to agree on who should take over the 132-year- old festival, Thomas Goppel, the Bavarian minister for science, research and art, told reporters in Bayreuth. |
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| 余隆最新发言：“朗朗毫无疑问已经成了世界顶级的钢琴大师。不管大家怎么评价他，我认为有一点我可以向大家保证，朗朗在音乐上，我个人认为是无与伦比的。到目前为止，在钢琴的演奏上，因为除了大家听音乐会之外，我作为指挥，我可能在指挥台上跟他工作的时候，你会感受出当一个钢琴家和艺术家稍微有毫发之间的差别，最能感受的就是指挥。这是我的感觉。” |
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| 无与伦比？嘴巴也太大了些吧？ 郎还年轻，等到了余的年纪，可能躁气会少些。 |
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| 把话说清楚，也是对坛上读者起码的尊重。 |
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| http://www.scena.org/brand/brand.asp?lan=2&id=53548&lnk=http://www.sfgate.com/cgi-bin/article.cgi?f=/c/a/2008/05/01/DDKK10EE9R.DTL//A//hw=Kosman+Ulrich+Ching+Chang//A//sn=001//A//sc=1000 Music review: Lang Lang goes for the bombastic Joshua Kosman, Chronicle Music Critic Thursday, May 1, 2008 Tuesday was such a beautiful night for Beethoven, Lang Lang decided to play two. Appearing for one night in Davies Symphony Hall with the San Francisco Symphony under Associate Conductor James Gaffigan, the Chinese piano virtuoso tackled two of the master's concertos: the First and, after intermission, the more expansive Fourth. Notes, scales and chords flew thick and fast through the air. Whether it all added up to much may be considered an open question. With his fiery technique and extravagantly showmanlike approach, Lang Lang is certainly an audience favorite. He tore through Beethoven's music with enough flash and pizzazz to elicit screams of approval from the enthusiastic audience. Yet for a listener of a more skeptical bent, it would be hard to describe these performances as particularly probing or revelatory. For all his undeniable keyboard prowess, Lang Lang showed a perverse ability to make Beethoven's music sound at once splashy and slightly tawdry. The issue was not one of display per se. Beethoven's concertos, like those of any composer, are partially about the visceral excitement of virtuosity, and it takes a certain kind of misplaced aesthetic puritanism to sniff at those heady thrills. Rather, it was that every effect in Lang Lang's artistic repertoire - not just the finger-busting passagework, but each melodic phrase and dynamic choice - sounded calculated and self-regarding. Soft passages were advertised as soft passages, as though there were exaggerated quotation marks around them, and loud passages often sounded garishly loud. Even a simple scale - the one in the fourth measure of the Fourth Concerto was a classic example - came with the message "Check me out, I'm playing a scale now." None of this is to dispute Lang Lang's command of the piano. He gets around the keyboard with impressive ease, tossing off the most demanding runs and arpeggios like so much child's play. Yet the most eloquent segment of Tuesday's concert was in the simplest part of his assignment, the slow movement of the Fourth Concerto. As if relieved of the necessity to emphasize his technical prowess, Lang Lang grew newly reflective in this spare, rhetorically direct music and conjured up a serenity that was a far cry from the frenzied urgency that otherwise predominated. After opening with a strong-boned, somewhat labored account of Beethoven's "Egmont" Overture, Gaffigan led the orchestra with a lighter touch through the two concertos; he seemed to understand that Lang Lang's effusions were the point of the exercise. The pianist returned for one encore, an extroverted Chinese piece called "The Spring Dance," which, as he noted, boasted a distinctively tango-like flavor. ******************************** In the first concerto, his play was much freer than he did couple of years ago, but also more error prone. Not as good as the recording he made last year. In the fourth, there were plenty brilliance and flair, with occasional over banging, but it was fun. Contrary to Joshua Kosman's assessment, to these ears, however, the slow movement in the fourth concerto was overly self-indulging. It showed that he does have a feeling of this work, just that it might not be a proper one at this moment. But at least, the feeling is genuine, regardless it might be superficial occasionally, and better than those machines that many competitions have provided to us. :-) One small episode might help to explain why Lang Lang is so popular even among those orchestra musicians: During the curtain call, he received a bouquet of red roses from an old lady fan of his (or one of the organizers of the event, considering it's a retirement fund raising benefit concert). Guess what he did? After taking the bow and showing his appreciation, he distributed those roses to some of those orchestra members, even the young conductor too. No wonder he often got the return invitations while some young artists didn't! :-) |
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| 一张很有意思的照片，知道中间的人是谁吗？ http://www.bh2000.net/files/musicbbstitles10309.jpg 46KB |
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| Wellington Koo |
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| 汪精卫 |
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| 呵呵，还是齐格说滴对。:$ |
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| 不愧为民国四大美男之首啊。。。 |
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| 这是伪政权欢迎nazi的一个活动的照片。 事实上，当年“白色恐怖”的时代，蒋介石扫荡共党时候，，汪是主张联苏合共的，从如今的国家的政权方式讲，可以说是有功的一个概念，其他方面他也有过一定的成就。但是，他却千不该万不该选择了在那个时局和日本人合作，而背上千古骂名。其实背后也是有原因的，他选择亲日，而蒋选择亲美，他想和蒋赌一把巨大的政治游戏。可是他错了，日本人不同于美国人，他没有看清中日的历史以及两国具体深层的关系。卖国贼，这个词实在不好听。 与此类似的事，王同学，她偏偏选择在这个时候作出这个选择，无论她个人如何，中国人在历史上对于她的印象已不可改变。即便有人持不同意见，但是可以说，这是中国，大众认可的不一定是好的是对的。可见，袁崇焕当年的死又是如何呢？ |
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| 这都哪儿焊哪儿啊? 真是要想往王同学身上泼污水何患无词. |
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| 汪清党比蒋晚了几个月而已。什么白色恐怖，以暴制暴罢了。国共合作，本来就是互相利用，孙中山想依靠苏联抗衡北洋政府，共产党的目的是鸠占鹊巢。当蒋完成北伐，共产党已经进入国民党核心领导层，所以清党是必然的。蒋介石本质上是一个民族主义者，要他像共产党那样做苏联人的跟班，显然是不肯的。 |
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| 陈壁君在监狱里面回答何香凝的劝降：“毛亲苏，蒋亲美，我老公亲日。有什么区别呢？” 汪某人，应该算是为“名”所累。因为此人不怕死，不贪财，不好色，不恋权。陈公博，是为“义”所累，汪兆铭对错不论，反正这辈子跟定汪先生了。林思云写过很长的一篇讲汪的文章，应该说是把握了汪的本质。 当然，他当汉奸，对当时世界反法西斯斗争是巨大的损害。遗臭万年不冤枉他。这跟毛“十五年赶上英国”却饿死三千万人一样。褒贬都由看官说了算。谁能说希特勒这个奥地利人不爱德国呢？ “汉奸”一词，本来含义与今日“藏独”类似。我估计至少到鸦片战争时候还如此。只是等到孙中山闹革命了，才有了今日的含义。这应该是民族主义导致的。我不是要否定民族主义，毕竟这东西在拿破仑之后是个世界大思潮。 在英语里面，通常只用collaborator，“对敌合作者”。例如瓦格纳的父亲(我说的是姓Wagner的那个，不是Geyer)，在瓦格纳出生的时候是莱比锡的警察局长，可是当时莱比锡是拿破仑军队占领的，因此，老瓦格纳就是collaborator。不过只有极个别讲瓦格纳的书上提到这件事，毕竟这算不上什么罪过。 真正的卖国求荣的，好像就一个挪威的吉斯林。 跟楼主提醒一下，这类帖子还是发到隔壁“读书”坛子为好。 |
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| 高扬的《金陵春梦》讲得就是这段历史。值得一读。 关于清党，陈立夫在《成败之鉴》里面有很详细的回忆，可惜在大陆买不到。 |
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| 《金陵春梦》是个很老的小说了吧，现在没人提了，可能只能在旧书摊上买到了。我当年也没看过。作者不是那位写胡雪岩的高阳。 |
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| 自豪一下，《金陵春梦》我上小学的时候就看过，这两本书至今还在家中，看来有必要拿出来再温习一下。 |
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