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| 蕭邦200周年誕辰紀念Leonard Gilbert 鋼琴独奏音樂會9月12日在多倫多大學音樂系音樂廳舉行 Chopin Bicentennial Celebration (1810-2010) 蕭邦200周年誕辰紀念鋼琴独奏音樂會 An Afternoon with Leonard Gilbert Piano Recital First Prize Winner of the Canadian Chopin Competition 2010 Presented by Li Delun Music Foundation 李德倫音乐基金会 Etudes Op. 25 no. 5 and no. 11 Nocturne Op. 27 no.2 Polonaise- Fantaisie Op. 61 3 Mazurkas Op. 59 Ballade No.4 Op. 52 Polonaise No. 6 Op. 53 Sonata No. 3 Op. 58 Date:Sunday, September 12th, 2010 at 3:00pm Venue:Walter Hall, Faculty of Music, University of Toronto 80 Queen's Park, Toronto (Museum Subway Station) Tickets:$15 (Students/Seniors), $20, $25 (VIP) Tickets available at: Li Delun Music Foundation 李德倫音乐基金会 (404/Finch) 416-490-7962 L’Atelier Grigorian Music Store 70 Yorkville Ave (Bay/Yorkville) 416-922-6477 Euromusic Centre, 2651 John St. (404/ Steeles) 905-946-8040 東方文化藝術館 (城市廣場Market Village) 905-946-1489 翰林公司 Hanlin Graphic and Signs 443 Dundas St W (中區唐人街 Downtown Chinatown) 416-595-5050 Dr. Lin Wang 王凌眼科诊所50 Cumberland St. Main Fl (Yonge/Cumberland/) 416-972-0080 聲達琴行 Sonata Music (Kennedy/Steeles) 416-609-0888 菲夏蒙尼樂器 Philharmonic Music Ltd (Warden/Steeles) 905-784-2028 Earl Haig Secondary School Music Department Tickets also available at: www. 1ticket.ca |
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| A Woman of Mystery? Probably not. But she deserves to be heard live more often and to a wider audiences. *************************** http://www.theglobeandmail.com/news/arts/music/valentina-lisitsa-international-woman-of-mystery/article1660592/ Valentina Lisitsa: international woman of mystery When the Ukrainian pianist posted her sizzling practice sessions online, 16,000 people watched. But who is she? Robert Everett-Green From Wednesday's Globe and Mail Published on Tuesday, Aug. 03, 2010 4:00PM EDT Last updated on Wednesday, Aug. 04, 2010 11:12AM EDT For one week during the World Cup, Valentina Lisitsa put a webcam in her practice studio in North Carolina. For 12 to 14 hours a day (her usual practice time), anyone could go to Ustream and watch the Ukrainian pianist labour over Beethoven sonatas and Rachmaninoff preludes. She thought maybe a handful of people would watch, but in the end her practice sessions were seen by 16,000 – the equivalent of nearly six sold-out shows at Carnegie Hall. I found out about Lisitsa by seeing one of her videos on YouTube, a hair-raising tear through a Rachmaninoff etude (Op. 39, No. 6, “Little Red Riding Hood”). The video has been seen by nearly 900,000 people, many of whom must have wondered, as I did, where this blazing virtuoso has been hiding. Lisitsa plays the piece as if the outcome were a matter of life or death. She may be the most exciting pianist you’ve never heard of. Unlike most people who put videos of their classical performances online, Lisitsa has a real concert career. She has played Wigmore Hall in London and the Musikverein in Vienna, has recorded with the London Symphony Orchestra and toured widely last year with violinist Hilary Hahn. Lisitsa has two Chopin recitals at this year’s Festival de Lanaudiere (the second is Thursday) near Montreal, and a new recital disc on Naxos (out digitally on naxos.com, and on CD this fall). She went on YouTube five years ago, because her life was in turmoil and every other channel was failing her. Her manager died, she became a mother and she and her partner Alexei Kuznetsoff moved to rural North Carolina to restore a ramshackle mansion big enough for her four concert grands (her specialty, she said, is Venetian plaster). She had too much of everything to do, except concerts to play. The steady stream of dates she had had since she and Kuznetsoff won the Murray Dranoff International Two Piano Competition in 1991 trickled to a halt. “I used to think if I just give it my best, everything will work out,” Lisitsa told me on the phone last week in fluent, heavily accented English. “It was the fallacy of the better mousetrap, and it didn’t work. “I thought, ‘Am I just going to perform for myself, or do something useful?’ I was ready to go work as a translator for the CIA. I filled out the application online, but I didn’t have the heart to press the Send button.” Instead, she began promoting herself, both online and in her community. She played free concerts and launched her YouTube career as classical music’s international woman of mystery. Eventually she got a new manager (at the same agency, Columbia Artists Management in New York) and her concert life revived. But the lesson of self-reliance she learned was not to be forgotten. “One piece of luck was to hook up with Hilary [Hahn, the violinist],” she said. “I learned a lot about the business from her. At first I was kind of appalled. I was a real practice rat, just sitting practising for hours. I would see Hilary on the phone, talking to publicity people, and think, ‘When is she going to practise?’ ” Following Hahn’s example, she pruned down her own abundant recital repertoire to a single program she could play in 40 or 50 places. It’s the program on her Naxos disc, minus a few Rachmaninoff preludes she used as a kind of opening salvo. “People have certain prejudices about how a tall, blonde, female pianist will play,” she said. “For me, those preludes were like a slap in the face – like, ‘Okay, listen to me, and stop looking.’ ” More shocks were in store, during the high drama of her performance of Beethoven’s ‘Appassionata’ Sonata (which is on the disc), the sudden swerve into the reflective sweetness of Schumann’s Kinderszenen, and the eruption into flashy showpieces by Liszt and Sigismund Thalberg. Lisitsa wrote her own program notes, not the usual stuff about sonata form, but ironic mini-essays that linked the pieces to the social and personal upheavals going on when they were written. She likes pianos of dark, dramatic character (in Lanaudiere, she’s playing a rare Steingraeber, made by the Bavarian company whose roster of past clients includes Franz Liszt) and emotionally resonant pieces of whatever vintage, though her contemporary repertoire is slim. She would love to play more Mozart, but plans to steer clear of Bach “till later in my life, when I grow up. For now, my brain is running around too much in all directions.” She’s planning to record all the Beethoven sonatas, as well as Chopin’s etudes, which she’ll tackle at a studio in Hamburg on Aug. 18 and 19. The Ustream webcam will be running, “so people can see all the dirty business that goes on, wrong notes and everything.” Lisitsa has several recordings in the bag already, waiting for some company to agree to release them. She’s not convinced that the record business as such will last much longer. From her secluded North Carolina mansion, built on a wide river in the salad days just before the market crash of 1929, Lisitsa has a good berth to ponder the ruin of expectations. But she also knows, better than ever, how to break through to an audience, one computer screen at a time. Valentina Lisitsa plays Chopin at the Festival de Lanaudiere Thursday night. For full details, check lanaudiere.org. Hilary Hahn and Lisitsa play Koerner Hall in Toronto on March 1. ***************** I am considering to see her again next spring, even if it means to take over an hour drive after work. |
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| http://www.denverpost.com/headlines/ci_15797460 Four top-tier pianists highlight Aspen Music Festival By Kyle MacMillan Denver Post Fine Arts Critic Posted: 08/17/2010 01:00:00 AM MDT Updated: 08/17/2010 07:01:13 AM MDT The piano grabbed the spotlight last weekend at the Aspen Music Festival. Whether by coincidence or design, four of the instrument's top exponents made appearances in less than 72 hours, starting Friday evening with French-Canadian virtuoso Marc-Andre Hamelin and ending Sunday afternoon with British keyboard star Stephen Hough. A few months shy of his 49th birthday, Hough has solidified his place as one of today's leading pianists, the kind of meaningful artist who is likely to transcend his time to be remembered when lists are compiled decades from now of the great pianists of the early 21st century. He joined first-rate English conductor Mark Wigglesworth and the Aspen Festival Orchestra in the Benedict Music Tent for a performance of Johannes Brahms' Piano Concerto No. 1 in D minor, Op. 15. This bedrock work for the instrument, one of the composer's two masterworks in the form, is routinely featured on orchestral programs, but there was nothing routine about this involving, high-energy version. Rather than try to impose his will on the music, Hough met this piece very much on its terms, his comfortable, organic interpretation deftly conveying its easy romanticism. Especially notable were his daringly deliberate yet unquestionably effective tempos in his delicate, whispered take on the slow movement. As rewarding as it was, such high- level playing has come to be expected of Hough. More interesting in certain ways were the back-to-back appearances Saturday evening of two up-and-coming pianists who still have plenty to prove — Yuja Wang and Simone Dinnerstein. The chance to hear these two artists within 45 minutes of each other — a bonanza for keyboard aficionados — was something that could only happen at a festival of this kind, and their approaches could hardly have been more different. To oversimplify, Wang excels at flash and thunder while Dinnerstein offers eloquence and depth. And in this particular case, the latter proved by far the most memorable. Dinnerstein seized the classical world's attention in 2007 when her recording of Johann Sebastian Bach's "Goldberg Variations" jumped to No. 1 on the classical charts. She was soon playing the work everywhere, including two summers ago in Aspen. But during Saturday's Harris Concert Hall program, in which she played three selections from a soon- to-be-released all-Bach album, she showed she is anything but a one-hit wonder. Indeed, Dinnerstein is an interpreter of rare — and likely enduring — insight and musicality. She brought a natural, compelling inner drive and fluidity to her transporting performance of the composer's English Suite No. 3 in G minor, BWV 808. She delved into the profound core of this solo music, responding at times with a seemingly newfound awe and wonderment at what she discovered. She was every bit as strong in the two orchestral works, especially the Piano Concerto in D minor, BWV 1052, in which she teamed with Case Staglione, winner of the 2010 Aspen Conducting Prize and music director of the Young Musicians Foundation Debut Orchestra in Los Angeles, and the Aspen Concert Orchestra. Under Staglione's keen and obviously motivational leadership, the student musicians outdid themselves, playing with verve and dexterity, and baroque-appropriate lightness and transparency. Slightly earlier in the evening was Wang's solo recital in the Benedict Music Tent, a venue that proved too big for this focused concert, especially considering that the cavernous, 2,000-seat space was less than half full. The 23-year-old Chinese pianist is a fiery performer with a huge sound and loads of technique, as she demonstrated again and again. But her choice of repertory, predominantly groups of etudes and other short showpieces, proved too limiting and one-dimensional. Only in the final selection — Sergei Prokofiev's Piano Sonata No. 6 in A major, Op. 82, arguably the concert's highlight — did the audience experience her full interpretative scope. Her complex, all-consuming performance captured the raw, manic energy and restlessness of this jagged 20th-century work. The eight-week Aspen Music Festival concludes Sunday. |
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| http://www.musicweb-international.com/SandH/2010/Jul-Dec10/aspen1508.htm SEEN AND HEARD INTERNATIONAL FESTIVAL REPORT Aspen Music Festival (11): Marc-André Hamelin, Yuja Wang, Simone Dinnerstein, Stephen Hough. 15.8.2010 (HS) This has been a great summer at the Aspen Music Festival for soloists still in their 20s. Earlier we heard the violinist Julia Fischer play Bach with breathtaking transcendence, cellist Sol Gabetta touch on magic with a mesmerizing seven-minute encore, and pianist Joyce Yang deliver insights beyond her age in the Tchaikovsky concerto. Saturday night it was pianist Yuja Wang, who may be the most amazing of them all. At 23, the Chinese-born Wang deploys mind-boggling technique. But beyond uncanny accuracy in the most challenging of passages, she can apply an array of colors and touches that always seem to add depth to the musical communication, not just interesting effects. The soft arpeggios that open Liszt’s piano transcription of Schubert’s song “Gretchen am Spinrade” floated from the piano like wisps of vapor, evoking the spinning wheel of the title. The rapid parallel chords in both hands that come at the apex of Prokoviev’s Sonata No. 6 fly by as easily as single notes. In piece after piece her balances highlighted the perfect line and fine-tuned textures. Under her hands the complex harmonies of Scriabin’s preludes and études coalesce and shift with so much ease that the mind simply registers the music instead of the dazzle of the technique. Wang upped the ante on her program at the last minute, scrapping the Schumann Fantasiestücke and half of the Scriabin for Schumann’s Symphonic Études. The finale of that one was simply jawdropping. She may look awkward after finishing a piece, bowing quickly and nervously before escaping off stage, but once the music starts she is in her own world. It is our privilege to share it. Simone Dinnerstein’s Bach program with the Concert Orchestra, which followed in Harris Hall, included the concertos in D minor and F minor, the latter with the famous “Air for G String” as the slow movement. In both of those, as in her solo performance of the English Suite No. 3, her supple, elegant work in the quiet moments satisfied much more than her sturdy, overly beefy approach to the fast music. Case Scaglione conducted with more elegance. Conductor and pianist were on the same page Sunday in the tent for the Brahms Concerto No. 1 in D minor. Stephen Hough’s playing was dramatic within the bounds of musical restraint, impressive in its technical acuity and responsive to the conducting of Mark Wigglesworth. He returned the favor by leading the orchestra in an athletic and finely honed performance that is no mere accompaniment. The orchestra is a full partner with the soloist in Brahms’ concertos. If the violins screeched a bit in the first movement of the Brahms, they got it together for some round, sonorous playing in the Sibelius Symphony No. 2 in D major. Every section distinguished itself, most notably the basses in the haunting opening bars of the second movement, timpanist David Herbert in the buildup to the finale’s climax, and the glorious sonorities of the brass in those ecstatic final chorales. Wigglesworth led an atmospheric and inexorably propulsive performance. In Friday night’s Aspen Chamber Orchestra concert, Marc-André Hamelin gave a clinic on how to play Beethoven for all but the last couple of minutes of the Piano Concerto No. 4. His touch was crystalline. His sense of rhythm carried a spark. Runs unfolded with precision, every note pointing to the next, neither rushing ahead nor lagging behind. (It’s amazing how many renowned pianists can’t—or won’t—do this.) Phrases had a pulse and an arc. It was riveting. Then came the final cadenza, and Beethoven got transplanted to another era. Hamelin gave us harmonies and chord progressions the composer never conceived. A few uncharacteristic technical splats aside, it was simply jarring. Other than that, however, the Canadian pianist and conductor Hugh Wolff gave us quick tempos and lucid, lean and wiry playing. The music pulsed with so much energy it seemed ready to climb Ajax in an hour. Wolff opened the program with composer Steven Stuckey’s new Chamber Concerto. Stuckey has a knack for creating beautiful sonorities and rhythmic flourishes that never lag, but if there was an overall arch to the form or development to the musical ideas, it escaped me. In its 20 minutes, the piece caromed from one brief episode to another, often without any apparent link. In his pre-concert remarks, Stuckey said it was like “turning a corner and finding something new.” Messiaen did that, but he built giant edifices of sound in bold colors. This piece strung together pleasant moments, rather like playing a suite without pausing between movements. Wolff concluded the concert with a lively run through Schumann’s Symphony No. 1 “Spring,” which did better in the fast sections than when the composer called for broader playing. Harvey Steiman |
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| Only in the final selection — Sergei Prokofiev's Piano Sonata No. 6 in A major, Op. 82, arguably the concert's highlight — did the audience experience her full interpretative scope. Her complex, all-consuming performance captured the raw, manic energy and restlessness of this jagged 20th-century work. -------------- 王羽佳把Pogo列入前三，把她的普6和Pogo的普6对照下，也许可以知道点什么：） 当年，如果尊重阿婆的意见，pogo夺冠，也许比邓XX让圈内信服。虽然阿婆和pogo对音乐理解完全不同。 勃拉姆斯和德沃夏克的风格也是截然不同，上次听到侯颉说，勃拉姆斯偶然顶替生病的同行，当了一次作曲大赛的评委，力排众议，把第一的荣誉给了德沃夏克，翌年又亲自给音乐圈推荐。 音乐也好，其它学科也好，业内顶尖人物对后辈天才的判断，比众议靠谱得多。 |
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| I don't recall Martha ever said Pogo should have won that year. She only protested because of his earlier than expected elimination. Besides, Pogo the younger idiomatic maybe, but there at least had a check-and-balance much thankful to his wife. Ever since her death, Pogo is in a very bad condition mentally, it's like heading to a dead end. His play and stage manner during rehearsal has become increasingly unbearable. So, the talented handsome young man no more, these days there is only a weirdo left in him. |
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| "It's getting hot here." "but not for violinist." ************************** http://dmvclassical.wordpress.com/2010/08/19/its-getting-hot-in-here-but-please-dont-mention-it/ It’s Getting Hot in Here, But Please Don’t Mention It—We’re Classical Music Fans On Tuesday I heard the best concert that’s graced my ears this year, and it wasn’t even in the DMV. Summer travel brought me to Santa Fe, and as part of that town’s chamber music festival, Yuja Wang gave a dazzling hourlong lunchtime recital of works by Robert Schumann (in his 200th birthday year), Alexander Scriabin, and Sergei Prokofiev. In Schumann’s Op. 111 “Drei Fantasiestücke” (Three Fantasy Pieces), she brought a lightness to Schumann’s thickets of notes that one rarely hears, thanks to fingers that seem able to supply the most difficult runs and combos without any trouble. (I heard this capacity firsthand in music not nearly as fetching when she premiered Jennifer Higdon’s piano concerto with the NSO last fall. http://dmvclassical.wordpress.com/2009/12/05/nonstop-ivory-tinkling/ ) Wang made all those note-thickets sway beguilingly with the melody, as in a breeze, where other pianists seem audibly to be picking their way through the tangles, trying not to tear their clothes on brambles (to abuse a metaphor). Wang assembled a selection of three preludes, an étude, and a poème from various Scriabin opuses, effectively contrasting light and dark colors and quiet and stormy moods while teasing out the shapes of Scriabin’s sometimes-elusive pieces. And her performance of Prokofiev’s sixth sonata was the stuff of fantasies, aflame throughout with color and rhythm yet keenly controlled. She created an incredible variety of steely tones in the stentorian first movement, larked effortlessly in the second with just that hint of sarcasm that we all love in Prokofiev, ruminated in magnetic quiet tones during the slow movement, and played a blistering finale that launched me out of my seat to cheer. Various social engagements have prevented me from attending Wang’s DMV recitals in the past; the Prokofiev, in particular, convinced me that it’s worthwhile to dis people in order to hear Wang play. (And to think I could have heard it before, at Sixth and I! http://ionarts.blogspot.com/2010/05/yuja-wang-sixth-and-i.html ) |
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| 你找pogorelich的普六听听，也许王羽佳受他的影响：）？ http://www.verycd.com/topics/2726702/ |
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| Actually I have this CD myself, but haven't gave it a listen for quite a while, I guess it's over two, three years at least. Anyway, your guy's verycd is a true killer for the whole record industry, even though I shamefully also used it from time to time, from high tech software to some hard to find recordings or live performance air-checks. Still, the best so far are those HD BBC music programs that 余超 posted. :-) |
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| Enough said, "you are also who you hang out with." 视频：亚姐竞选公布首批评审委员 李云迪很惊喜 http://video.sina.com.cn/p/ent/s/m/2010-08-16/111261081919.html |
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| Originally planned three years of artist in residence ended with only two? Wow, this down fall is even faster than I would have thought. :-) http://www.hkpo.com/tch/press_room/press_releases/2008/20080905.jsp http://www.hkpo.com/tch/concerts_and_ticket/ticketing/subscription/index.jsp Anyway, my pick of the next potential future super star player out of China would be 楊天媧. So, keep an eye her too. :-) |
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| Oh boy, when Chopin's music can sound this ugly, no wonder LYD still has his followers, as it turns out that one of other former Chopin Champions is in even a worse condition. A reason why Bunin now is pretty much neglected by the main stream music organizations because his play really sucks these days? Yuk! http://www.chopin.festival.pl/inauguracyjny-koncert-symfoniczny |
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| 他为什么要跺脚？ 邓泰山还不错。 陈萨弹的中国曲子叫什么？ 没听清。 录音效果太差。。。 |
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| You really don't know what she played there? Gosh, you need to go back to China and have some make up classes about our own traditional Chinese music. :-) BTW, LL actually can easily beat her on this piece hands down. |
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| An old discussion, but still relevant. Is she any better than she was 5 years ago? :-) http://www.bh2000.net/bbs/all/track.php?cdb=piano&id=1636 Well, it seems to be not quite so by one observer who attended the whole festival: http://www.michael-moran.com/ On Chen Sa: ******************************** "I had high hopes also of the recital given by the young Chinese pianist Sa Chen in the afternoon. She was to play the complete set of Preludes Op. 28 and then the Sonata No: 3 in B minor Op. 58 - an ambitious programme indeed. The dynamics of the preludes was frightfully inflated as seems customary with young pianists today and any form of subtle intimacy was completely lost. Her artistic profile did not really suit this choice of programme. When I think that some of these preludes were composed on the small Pleyel pianino (1844) I have at home - Chopin used a similar instrument in Valdemossa - I feel that utilising the full huge dynamic range of a concert Steinway or Yamaha is simply absurd, even grotesque. " ............. ********************************* On Bunin, clearly we are not alone, either. ******************************** "I approached the recital of Stanislaw Bunin with a degree of trepidation which proved to be well-founded. I had heard him at this festival a few years ago and had wanted to walk out of the concert but was in fact hemmed by the crowded row. For this pair of ears he truly made war on the instrument with ugly thumping masquerading as intense emotion as well as pounding the floor as a further percussive accompaniment. Any sort of detail, nuance or poetry seemed lost in the thunderstorm...of his genius. As a younger man he was a very fine pianist indeed and in fact won the International Chopin Competition in Warsaw in 1985. " .................... ********************** |
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| It's 平湖秋月. |
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| Other than piano http://www.56.com/u24/v_NTI5NjE5MzM.html http://www.56.com/u40/v_MzU4MDI2NTM.html http://www.56.com/u80/v_MTkyODU0NDU.html |
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| One more: http://v.guqu.net/tese/10664.html |
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| 請問本版有聽說過康子柔小朋友的大俠嗎?今年GENEVA比賽最年輕的入選者,1997年出生(13歲),聽說是MADE IN GUANGDONG的,請問有誰知道她的老師是誰嗎?現在在哪裏學習? |
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| 听说过了。 有点传奇。 以前在星海附中。 去年被学校开除了。。。 据说是与老师交恶。。。。。 |
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| 她参加日内瓦比赛？有链接吗？ |
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| http://www.concoursgeneve.ch/index.php/fr/component/content/article/360.html |
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| 那請問她以前跟的是哪個老師呢? |
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| 百度说是：黄天东，广东省钢琴学会会长 估计和美丽有旧，借机广告下：） |
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| 跟的是陈丹，后来闹翻了。 再跟黄天东，考进了附中，就没有跟了。 似乎她在附中这一年来，就没有好好上过课，传闻倒是一个接一个。。。。。。 |
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| 去年被学校开除了。。。 据说是与老师交恶。。。。。 ============================== 这小孩没人要啊？来跟我学作曲吧！ |
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| 与老师恶交是指与老师关系不好吗？与老师关系不好属违反校规吗？不懂呵呵。 |
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| 楼上太“纯洁”了~~~围观。 |
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| 海姑娘，留地址啊~ |
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| sosojj2009@163.com |
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| 是小孩和老師交恶還是小孩的家長和老師交恶IS A QUESTION:-) |
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| 挺好的孩子，懂事，肯吃苦，有点灵气。 家长文化水平低，不太会处关系。和陈丹老师吵翻，说重了，交恶都不至于（还没有听说好脾性的陈丹老师和谁吵翻过）。 有好的，就想法子找更好的，坏话这么说吧，换老师的方法小家子气且短视。陈丹老师会计较这些？ 八卦中国，传来传去，话走样。 |
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| 稍微解释一下前言，以免传走样：） “据说是与老师交恶。。。。。” ——本贴没有说过此处的“老师”等于陈丹或黄天东。只说明这孩子在专业上跟过这二位老师。 ——他人随意猜测，本人概不负责。 “后来闹翻了。” ——事有，因无。 |
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| 这孩子是先和星海的作曲老师学琴，后来作曲老师推荐给陈丹老师。基本功是在陈丹老师那里打的，确实很肯吃苦，练7、8个小时也有。陈丹老师花了心血重点培养，拿了不少奖。 后来被上海附小老师看中，考上海附小。 家长不懂还瞎指挥，没有准备视唱练耳，结果这一关没有过，没有考上。心死了一截。回来继续和陈学。考上音期，很多人帮了忙，家长似乎确实不懂事，和好心帮忙人的关系也搞僵了。 后来离开陈丹停学一阵（据家长说法），结果找了黄天东。这同一个学校老师换一般是事先和多方沟通好做的，没有这个沟通能力吧。但老师没有怎么说，也就换了。 此孩子小时候的演奏看过，有点灵性，气感突出，有激情。但动作过于舞蹈夸张。音色则没有变化，和声也更平平，音乐的画面想象听不出。这些缺点是中国孩子通有的。听话灌输类的填鸭学生。 今后谁个高手看中她，带她灌输这些中国学生缺乏的，14岁的坎能过的话，说不定有些前途。 |
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| 今后谁个高手看中她，带她灌输这些中国学生缺乏的，14岁的坎能过的话，说不定有些前途。 前提是家長不能瞎指揮,不然由誰來帶的結果都一樣 |
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| 也没那么严重。 另外，如果换个外籍的，家长什么也不懂，老师也不必不让家长知道，家长插不进去。什么都是孩子对老师，这孩子又懂事听话，自己试着对付就可以了。 家长插足，乃是中国的文化环境导致。 |
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| Kang, Zirou 1997 China (Volksrepublik) 这孩子刚刚参加了埃特林根比赛，啥名次也没拿到。日内瓦比赛就当是去陪练吧。 这次埃特林根比赛，中国小孩去了不少，结果全军覆没。相比上届中国包揽两个组别的金奖银奖不可同日而语啊 |
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| 日内瓦比赛，陪练也好，名次也好，都无所谓，仅入围，对一位13岁的孩子来说，已经不容易。 楼上将埃特林根比赛的名次拉出来，有何意义呢？不如将她参加的所有比赛拿出来分析——还是有点说服力的。 其实问题不在于埃特林根。大人远比孩子势利。 |
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| Pogo? What are these two girls thinking? :-) Anyway, here is a list of Pianists' pianists (from this month's BBC music Magazine (08/2010)) voted by 100 "leading" concert pianists around the world. 1. Sergy Rachmaninov 2. Arthur Rubinstein 3. Vladimir Horowitz 4. Sviatoslav Richter 5. Alfred Cortot 6. Dinu Lipatti 7. Artur Schnabel 8. Emil Gilels 9. Martha Argerich 10. Arturo Benedetti Michelangeli 11. Krytian Zimerman 12. Ignaz Friedman 13. Radu Lupu 14. Edwin Fischer 15. Wilhelm Kempff 16. Murray Perahia 17. Glenn Gould 18. Walter Gieseking 19. Josef Hofmann 20. Claudio Arrau Here are how they voted: http://www.bh2000.net/files/pianotitles2009.jpg 2583KB |
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| and http://www.bh2000.net/files/pianodetails14411.jpg 2259KB |
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| 英国人的评选不要太认真，他们列出的前100钢琴家就有些随意。 郎朗艾森巴赫师徒入选当然，王羽佳BISS以及FLITE也情理之中，陈萨其实远不够格，不过考虑到她本身算在英国留学4年，以及和BBC音乐杂志的关系（上次这家杂志不是把她几无销量的肖协CD评在郎朗得回声大奖的CD之上）。 没有齐默尔曼基薪说不过去，更大可能是他们懒得投票. 那个HAN WU是谁啊？ |
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| 有意思的是，王羽佳陈萨都投了pogorelich一票，说明这两个姑娘都是外貌控。 传说pogorelich每四年在小岛上要举行一次钢琴狂欢会，来宾演出者出席的要求是一丝不挂并进行艾滋检测。莫非王陈两位受邀了：）？ |
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| 刚才把pogorelich的scarletti E大调K135找出来听听，一点不另类。 顺便推荐DG111周年发行的111段经典音轨，pogerich上面那段在CD4-18,郎朗入选的是2004年的舒曼幻想曲作品15号（CD3-14)。 上次肖邦专场，陈萨恩科时也弹了这个曲子，差郎朗远矣。 英国的那位老兄，把郎朗自传里的内容误读了，以为格拉夫曼嘲笑郎朗的舒曼，这里不少搞音乐的也跟着起哄。基本的判断力都没有，实在贻笑大方。 DG这套CD，有ape和mp3,下载：http://www.verycd.com/topics/2787357/ |
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| BTW, for those who'd like to read the whole article, it happened that somebody has scanned the whole thing and posted on line: http://www2.erji.net/read.php?tid=909137 |
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| http://www.classicalsource.com/db_control/db_concert_review.php?id=8407 Lanaudiere Festival – Sa Chen plays Chopin Reviewed by: Patrick P. L. Lam Chopin Polonaise in F sharp minor, Op.44 Mazurkas – in F minor, Op.68/4; in A minor, Op.67/4; in C sharp minor, Op.63/3; in C sharp minor, Op.27/1; in B flat minor, Op.9/1 Nocturne in E flat, Op.55/2 Scherzo in C sharp minor, Op.39 Piano Sonata No.3 in B minor, Op.58 Sa Chen (piano) Located approximately 55km northeast of Montréal, Joliette is a town of over 50,000 inhabitants with a historical lineage that can be traced to its founder, Barthélemy Joliette. In addition to serving its municipal county with a rich diversity of agricultural products from home-made honey to fruit farms, Joliette is the home of the Festival de Lanaudière during July and August. Serving Canadians for over three decades, the Lanaudiere Festival is established as a result of the vision of its founder, Father Fernand Lindsay. This was the first recital here of the Chinese pianist Sa Chen. She has natural instincts for sounding the poetry of music without sacrificing its form, for effecting a bold energy in the most tempestuous moments without sounding forceful, and for provoking a full-bodied tone along with an equal adeptness in a lightness of touch that can stimulate wide-ranging orchestral sounds. She was at ease with the Polonaise, ably setting the opening with a mysticism that unfolds into bold drama, bringing out the galloping motif of the dance with finesse and rhythmical precision. Although the presentation of the Mazurkas could have infused a greater sense of rhythm and character, her performance struck a similar resemblance to the poetry of esteemed versions by Alexander Brailowsky and Artur Rubinstein. Her poetry evolved a myriad of colours, particularly in the Mazurka Opus 67/Number 4; likewise in Opus 63/Number 3, her interpretation resembled a song-like meditation with a sorrowful element in the recapitulation. The use of rubato in the Nocturnes was sparing but effective. She ended the first half with a strong account of the C sharp minor. While her bass-line emulates a bell-like sonority to pre-set the crystalline right-hand treble passages, there are one or two small instances (in the octave passages) when her bass-line is muffled by over-pedalling. Chen’s account of the B minor Sonata was the most successfully performed piece of the evening, and it possessed greater musical growth than in her account of this work when recorded at the Van Cliburn International Piano Competition in 2005. She triumphed in the poetic aspects of the opening two movements, evoking what may be considered the pianistic equivalent of a bel canto style. The constant struggle between the minor and major keys in the finale further elaborates on Chen’s musicianship and technical confidence, Chen demonstrating greater shades of tone and a clear balance between opposing figures with glowing exquisiteness. The transition into the march-like passages in the closing pages highlighted her rhythmical wisdom. One of the 24 Preludes served as an encore. |
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| http://www.tokafi.com/news/concert-review-sa-chen |
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| http://www.concertonet.com/scripts/review.php?ID_review=6726 When American Culture First Crossed the Pond Chicago Martin Theatre 07/27/2010 - Erwin Schulhoff: Etudes de Jazz, WV 81 (*) Wilhelm Grosz: Afrika Songs, Op. 29 (#) Darius Milhaud : Le Bœuf sur le toit, Op. 58 (+) Di Wu (piano) (* #), Ronnita Miller (mezzo) (#), Brian Mulligan (baritone) (#) Chicago Chamber Musicians, James Conlon (conductor) (# +) T. Daniel and Laurie Willets (Direction & Choreography) (+) A Ravinia evening celebrated European fascination with things American after the First World War. At the beginning of the US’s 100-year ascendancy to superpower status, European composers caught on to our lively American culture and began to engage us across the seas. James Conlon, the multi-tasker who is Ravinia’s music director, introduced two unfamiliar but clearly deserving composers and performed Darius Milhaud’s small gem, Le Bœuf sur le toit. With a light touch, he educated us about the arrival of jazz in Europe with the American troops. Pianist Di Wu opened the evening with a charming rendition of Erwin Schulhoff’s Etudes de Jazz. Schulhoff, a Czech Jew who died in a concentration camp, wrote jazz before Gershwin and “silence” before John Cage. (His rest is to be performed “with feeling.”) After European classical musicians heard jazz, they quickly incorporated its spirit and style into their music. Wu performed a Schulhoff Charleston and Tango with such aplomb that jazz's contagion across the world was easy to understand. From a consummate technical base, she flew away, capturing the spirit Schulhoff described in a letter to Alban Berg: “I have a tremendous passion for the fashionable dances and there are times when I go dancing night after night with dance hostesses purely out of rhythmic enthusiasm and subconscious sensuality; this gives my creative work a phenomenal impulse, because in my consciousness I am incredibly earthly, even bestial.” Composer Wilhelm Grosz was intrigued by a volume of poetry by the Harlem Renaissance poets published in the late 20’s. Featuring Langston Hughes, Grosz used a German translation to set his Afrika songs. “Yo” becomes something like “ihre.” Summertime brings out the best of young talent and the rich performance of Grosz songs was no exception. Mezzo soprano Ronnita Miller, and baritone Brian Mulligan, singly and together, performed with command and feeling. Miller’s voice is powerful and expressive. She sustains a wide dynamic range while hitting notes clearly and accurately. Mulligan is a full-bodied baritone with a ringing tone and a dramatic spark. Conlon conducted an expanded chamber orchestra, which included brass, strings, two pianos, celeste, glockenspiel, harp and banjo. These songs sounded like Kurt Weill, but are more romantic. They certainly deserved a re-visit, so lush and lovely in the evening’s performance. Nazis didn’t like either jazz or Jews so Grosz was forced to move to England. Failing to draw the interest of music publishers to his serious music, he successfully adapted to the conditions of London’s Tin Pan Alley, writing a number of highly popular songs, such as Isle of Capri, Red Sails in the Sunset and Harbor Lights. He finally decided to try composing for Hollywood, but died in New York on his way to the West Coast. Darius Milhaud also had film on his mind when he completed Le Bœuf sur le toit, the evening’s third presentation. Le Bœuf sur le toit doesn’t sound very American, but the accompanying pantomime certainly is. Milhaud thought Le Bœuf sur le toit could provide music for Chaplin’s silent films, a complement to Charlie with his bamboo cane, baggy pants and oversized shoes, his strange little skips and perpetual frenzy of motion. The brash music hall sonorities and raw polyphony of Milhaud’s music never relax. Fast tangos alternate with roughly strummed maxixes. The chamber orchestra’s first violinist had a ball, whether he was performing, or just keeping the beat with his head, his eyebrows, or his toes. When Milhaud discussed a theatrical accompaniment with Jean Cocteau, Cocteau imagined an American bar during prohibition. For this Ravinia production, T. Daniel created a pantomime following Cocteau’s guidelines. In contrast to the exuberant rondo that zips along, the actor’s movements are in slow motion, the characters defined in part by their huge papier mâché head masks. Conlon came into the stage bar for a drink before the orchestra entered and he left for his day job conducting. The rondo romp was enchanting. Milhaud had written: “Still haunted by memories of Brazil, I assembled a few popular melodies, tangos, maxixes, sambas. and even a Portuguese fado, and transcribed them with a rondo-like theme recurring between each two of them. I called this fantasia: Le Bœuf sur le toit, the title of a popular Brazilian song. I thought the character of the music might make it suitable for an accompaniment to one of Charlie Chaplin's films. Cocteau disapproved of my idea. He produced a pantomime scenario that could be adapted to my music. He imagined the scene set in an American bar during prohibition.” Watching and listening to Le Bœuf sur le toit in full orchestration with an approximation of Jean Cocteau’s original pantomime was great fun. T. Daniel created masks, which in their Ravinia incarnation looked like the work of James Ensor. Raoul Dufy had designed the original costumes and décor (not on view). Cavorting across the stage, jumping up like frogs, this evening’s cast exhibited the childlike sense of wonder that transforms a whole world into a plaything. The original cast had been the Fratellini family of clowns. Deeply immersed in the world of fantasy, the audience was captivated. When Le Bœuf played at the Ba-Ta-clan music hall in London, it was sandwiched between Japanese acrobats and Ruth Draper’s sketches. One night Cocteau heard a member of the audience say to his wife: “It ain’t that it makes you laugh; but it’s different, see, so it makes you laugh.” Indeed! Susan Hall ********************************* Finally, Maestro Conlon did something meaningful in helping former Cliburn competition laureates. :-) |
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| Conlon可能在ravinia上没太大发言权，虽然他对吴迪的欣赏一目了然。 道地的美国音乐，可能太闹，欧洲大陆的乐迷不一定喜欢，即使是贝恩斯坦和格式问的作品，传统的乐迷也不一定都能接受，上月陈康明指挥贵交演出一场地道的美国现代音乐会，乐队在演奏“西区故事”时，很多人打响指时不禁莞尔。也有观众皱眉头。 BTW,goodyear却对贝多芬感兴趣了，好像年轻人对贝多芬总是接受度最高。FLEISHER的两个弟子，BISS和GOODYEAR，大概知名度仅次于郎朗和王羽佳（可能和王羽佳差不多），应该是格拉夫曼后最有成就的柯蒂斯钢琴教授。 |
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| Conlon可能在ravinia上没太大发言权 ***************************** Really? He is currently The Music Director of the Ravinia Festival, and continues to serve as the Music Director of the Cincinnati May Festival, a post he has held since 1979. I believe Wu Di also played there with him earlier this year. Clearly he saw her music potential way more than other finalists of last year Cliburn competition. And unlike other jurors there, he is the one who actually has the capability to help those youngster furthering their career. :-) BTW, Leon Fleisher actually has far more named students. Just do a google search, you will find out that he is probably the most prolific piano teacher who actually produce real concert pianists in the last 30-40 years. http://en.wikipedia.org/wiki/Leon_Fleisher |
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| 原来CONLON从2005一直担任RAVINIA音乐指导，合同一直签到2011.我以前没注意。想必CONLON也是犹太集团一员。另外巴扎诺夫看来也是他推荐才能在去年的RAVINIA亮相。 FLEISHER一直是一线钢琴家，不像格拉夫曼早早退了，人脉不错。貌似他不爱招中国学生？华人里面谁是他弟子？ |
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| What? Beethoven's complete piano sonatas already? But I am still looking forward to his all Gershwin concert! http://www.theglobeandmail.com/news/arts/music/stewart-goodyear-climbing-mount-beethoven/article1652232/ Interview Stewart Goodyear: climbing Mount Beethoven The young pianist is aiming high this week, playing all 32 of the composer’s daunting piano sonatas. Why? ‘It’s something I just have to do’ Colin Eatock From Tuesday's Globe and Mail Stewart Goodyear is a smallish man – it’s unlikely that anyone would take him for a mountain climber. And Ottawa doesn’t spring to mind as a good place to go mountain climbing. But over the next five days, at the Ottawa International Chamber Music Festival, Goodyear will bravely scale the heights of the solo piano repertoire. The 32-year-old Canadian pianist will perform all 32 of Beethoven’s piano sonatas – about 10 hours of the most challenging and profound music ever written – over nine recitals. “ I learned them so thoroughly I could play them in my sleep.” He’s young to attempt such a remarkable thing: Most of the pianists who have played Beethoven cycles have waited till they were older. (Artur Schnabel, the first to record all 32 sonatas, completed his cycle at the age of 53.) But Goodyear insists that he’s “emotionally ready” to play all 32 sonatas. And, as he pointed out in a recent interview at Toronto’s Royal Conservatory of Music, he and Beethoven go back a long way. “I first heard the Beethoven sonatas when I was five years old,” recalls Goodyear. “I had coaxed my mom to go to the record store with me, and I saw a huge box full of LPs: Vladimir Ashkenazy’s cycle. I was enamoured with the fact that each sonata had its own personality and was innovative in its own way.” Later, as a teenager, Goodyear was thrust into a kind of Beethoven boot camp at Philadelphia’s elite Curtis Institute of Music. “My project with my teacher, Leon Fleisher, was to learn one sonata a week, so by the time the school year was over, I had learned all 32. For the ‘Hammerklavier’ sonata – which is 40 minutes long – he gave me two weeks.” For the past decade, the Toronto native has lived in New York and has built a busy concert career. He’s played with most of the big American orchestras, with concerto gigs in New York, Chicago, Los Angeles and San Francisco, among others. He’s often appeared with the Philadelphia Orchestra, and toured with the orchestra to Korea, Japan and China this spring. Goodyear isn’t an easy musician to pigeonhole. He’s both a pianist and a composer, and a skilled improviser to boot. His repertoire spans the gamut from Gershwin to Mendelssohn, Ravel and Shostakovich. (He can be heard and seen on YouTube playing Ravel’s Piano Concerto in G, and also Johann Strauss Jr.’s Blue Danube Waltz.) Although he often includes Beethoven sonatas in his recitals, he’s not known as a Beethoven specialist. “I’d be very curious to know what kind of pianist people think I am!” he says with a laugh. “I don’t know if people think I’m one kind of pianist or many. But my Beethoven project isn’t a conscious attempt to present myself to the world as a certain kind of pianist. There was no choice for me – I felt compelled to do this cycle. It’s something that I just have to do.” His compulsion led him to the door of Ottawa’s huge annual chamber-music festival. Organizers liked the idea – although they balked at Goodyear’s bold proposal to play all 32 Beethoven sonatas in a single weekend, preferring to stretch the recitals over five days. Then Goodyear set about preparing himself for his Herculean task. “Physically,” he explains, “I trained like an athlete, building up stamina and strength so I could play all 32 in one day. I learned them so thoroughly I could play them in my sleep. It’s like the Method acting made famous by Marlon Brando, Paul Newman and Sydney Poitier: learning the words so thoroughly that you become the character.” He also listened closely to recordings by some of the pianists who have recorded Beethoven cycles – although he’s quick to deny that he’s modelled his interpretations on anyone else’s. “What I love about the richness of the recorded legacy is that there’s no single ideal interpretation,” he says. “When you’re listening, you may feel that you’ve found an ideal, but that’s the power of persuasion.” As for his own recording ambitions, Goodyear has recently recorded the late Beethoven sonatas for the Marquis Classics label. (The official release of the CD is Aug, 31, but patrons at the Ottawa festival will be able to purchase advance copies.) Does he intend to eventually record a complete cycle? “Yes,” he replies with confidence. “This is definitely the beginning of something.” First, however, he has to survive the next five days, in the hopes of making a mark on the classical-music world as an interpreter of Beethoven. “If people start to call me a Beethoven specialist,” he remarks, “I would be the happiest man in the world. To me, he represents all human emotions – every layer of humanity is explored and dissected in the sonatas. To have people think that I’ve made a convincing case out of every sonata would please me greatly.” Stewart Goodyear performs from Tuesday through Saturday at the Ottawa International Chamber Music Festival. Special to The Globe and Mail |
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| DJ, whatever your fault ("our" fault) is, I think I can say unpleasantness is not one of them. Hmmm ... I am beginning to think that being pleasant is a western idea. |
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| ok ok ... faults "are" ... (you can tell I am not good at this :-) |
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| http://baike.baidu.com/view/35264.htm 大肚包容，了却人间多少事； 满腔欢喜，笑开天下古今愁。 大肚包容，忍世间难忍之事； 笑口常开，笑天下可笑之人。 Of course for tens of thousands of pianist wanna-be's, the increasing pressure is well understood. BTW, you are lucky to have a fully functional Windows 7. I am still baby sitting my installed one for any crashes due to vasious incompatable hardware drivers. If Mac is for dummies, then Windows 7 is for suckers. No wonder majority business corperations refuse to update their Windows XP system to Windows 7, and now Microsoft has to yield the pressure to prolong their surport. The truth is it's still couple of years away from a mature product. But right now, it still sucks big time. :-) |
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| Oh my, you make it impossible for me to agree with you even on this special occasion when I am feeling very very magnanimous! Windows 7 is the best! I have had it from the beginning. Even though I was forced to buy it since no XPs were available in the shop ... (are they now?). It's not officially supported by anybody, but no problem! It just worked! The workarounds if necessary are always trivial, e.g., manually setting the user mode to Admin when you need to install something legacy ... but this protects your system big time! |
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| http://blog.yam.com/CHOPIN2010/article/25500067 驚人的曲目 。。。 Also listen to a wonderful version of the Op. 55 No.2 |
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| 好像不是一場演這麼多，是合起來這麼多 ：-） |
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| 即使一场全演了,还很OK啊。趁着CHOPIN年，现在很多钢琴家都来整场CHOPIN的，练习曲全部，BALLAD全部。。。。。。这样才能“撑”完一场音乐会：-） |
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| 夜曲有二十首哦 I did consider it borderline possible since she is known for her stamina 陳毓襄《夜曲》全集將分兩梯次演出，「上集」七月廿三日在台北、廿四日在台中演出。「下集」則是十月八日桃園、十四日台北、十八日高雄演出。 |
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| It's that time again, Verbier Festival Free on Medici.TV for the next couple of weeks. First timer young pianists to watch: Khatia Buniatishvili, allegedly (by some so called "kids") "the best female pianist of her generation" (she is 23, BTW), and David Kadouch, yes it's him, but not the other top three medalists of last year's Leeds competition. Enough said. First timer young violinist also caught my eyes: Vilde Frang, a Mutter protege and a student of Ana Chumachenco, whose star students list also includes: Julia Fischer, Lisa Batiashvili (who also participates), and Arabella Steinbacher. Not a bad company indeed. http://www.verbierfestival.com/programme-tickets/day-by-day/ http://www.medici.tv/ So mark you calendar if you are interested. And hopefully my current part-time home project--a quiet if not "silent" quad-core HTPC can be put together by that time (still waiting for a few auxiliary noise absorbing parts to be delivered). :-) |
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| So DJ, we don't care what you say about piano or music, but would you be my English teacher? PS - what's the name of your medication? ... joking ... |
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| http://hk.news.yahoo.com/article/100707/4/j1ff.html 俄音樂家涉姦14歲泰男童 (明報)2010年7月7日 星期三 14:25 俄羅斯 著名指揮家兼鋼琴家普雷特涅夫，被泰國 警方控以強姦一名14歲男童，最高可被判囚20年。 泰國警方表示，同時正在考慮是否加控一項非法禁錮未成年人士的罪名。他目前獲准以30萬泰銖（約9000美元 ）保釋外出，但須每12天向法庭報到一次。 53歲的普雷特涅夫（Mikhail Pletnev）是俄羅斯國家管弦樂團的藝術總監。他是享負盛名的全方位音樂家，指揮家、鋼琴家兼作曲家，曾獲2005年美國 格林美音樂獎。 警方指，之前拘捕了多名涉及戀童癖 和製作兒童色情物品的泰國人，他們供出了普雷特涅夫的名字，並提出了相關證據，包括一些可見普雷特涅夫與男孩一起的猥褻照片。 較早時俄羅斯駐泰大使館證實，泰國警方搜查了他位於芭堤雅的別墅。 大使館又指，普雷特涅夫的律師會向法庭申請，准許他離開泰國，參加管弦樂團的演出。 （法新社、美聯社） |
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| Oh no .. I will just pretend I didn't see this |
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| Horowitz says: There are only three kinds of pianists: Jewish pianist, Homosexual pianist, and bad pianist. Sorry to hear he got into trouble, but I never liked his piano playing. |
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| bad pianist指的是人坏还是技术差？ |
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| 自然是技术差了。 |
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| 老普倒霉在小孩身上，这个钢琴世界今后只听录音得了。 |
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| 哈哈镜听录音有心得？ |
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| 如果关于Pletnev这种事情都觉得吃惊,那明显不知道他如何潜规则和捧起Ivo Poglerich，这样的人，也根本和钢琴圈毫无关系，可以洗洗睡了。 |
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| 潜规则和捧起Ivo Poglerich??? 波有老婆啊。 |
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| http://news.yahoo.com/s/afp/20100710/wl_asia_afp/entertainmentrussiathailandcrimesexmusicmacedonia Rape charges are 'set up': Russian conductor Pletnev 19 mins ago OHRID, Macedonia (AFP) – Acclaimed Russian conductor Mikhail Pletnev on Saturday again protested his innocence after being charged with raping a teenage boy in Thailand, saying the affair was a "set up." "A big company wants to present me as a criminal, which I am not," Pletnev told a press conference at this Macedonian lake resort, without elaborating. "Nowhere in the world I did anything wrong. On the contrary, I have done a lot of good things in Thailand, which inhabitants there could tell about," Pletnev said. "I hope all this will be solved soon or later and justice will prevail," he said. Pletnev and his Russian National Orchestra (RNO) were to perform on Monday at the opening ceremony of the summer music festival in the southern Macedonian town of Ohrid, where he had come along with members of the RNO aboard a charter flight from Moscow. The artistic director of the RNO has been allowed by a Thai court to travel overseas after posting extra bail, but is required to report back to the court every 12 days, starting from July 18. Earlier this week in Moscow Pletnev denied the charges, saying he could not imagine himself in the role of a rapist and he was against all forms of violence "especially when it concerns children." |
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| 有老婆的不能是G?不能被潜过? 那王力宏黄晓明都该赶紧结婚…… |
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| http://www.tudou.com/programs/view/LNuBiEtBZw4/ 烦请各位老师对此原创小节作一评点，学生拜谢。 |
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| 不错！ |
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| 最後兩小節做個終止？ http://www.mus3.com/html/yuelizhishi/20080615/16923.html |
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| 深圳音乐厅? http://hiphotos.baidu.com/%CE%EF%C0%ED_%B5%DB_/pic/item/9bfe170933a8462194ca6b96.jpg |
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| what's that? 点击了以后系统发出无数的 warning。。赶紧 cancel 了。 这个 bh2000 其实也是被 norton 列为不 safe 的，不过至少不会一直给 warning 买了 Window 7 以后还没被 virus 侵入过， knock wood! |
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| LYD's recital. I am kind surprised in two aspects: 1) The way the Hall was designed. How can it sound good? What's wrong with an old schooled shoebox design? I bet you it will sound better than this one. 2) It seems that the hall was barely 60~70% full. How come? With all these hooplas I am expecting at least a close to full house one. Wasn't he THE piano hero of that city? :-) http://www.bh2000.net/files/pianodetails14373.jpg 323KB |
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| What's wrong? This is just another Royal Albert Hall takeoff, which is commonplace nowadays. I have always wanted to sit above the stage. Let's just say the art (and behind the scenes maneuver) to fill a concert hall is not what you think or what it seems. |
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| Since when Royal Albert Hall has become the modern icon in terms hall acoustic? Besides, if the occupancy is like this on a regular bases, the classic music organization in that certain city will be in deep trouble regardless where it happens, it hurts the morale deeply. Just look at Phily these days for instance. Had the Cleveland Orchestra not have their winter residence in Southern Florida each year, they will join in the dying species with a glorious past too. |
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| 买了 Window 7 以后还没被 virus 侵入过， knock wood! 已经被侵还knock 什么wood？另：叫knock on wood. |
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| What's wrong with its acoustics? The design makes a lot of sense. And I can't be sure it's Li in the photo. |
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| It's just my guess of course, since I have never been there in person. But to me, this kind of hall could very likely sound a little bit on the dry side. Why so many people like the sound of Concertgebouw, or the Boston Symphony Hall, and the Musikverein in Vienna? Do you notice the similarity in terms of the hall's geometry and dimensions? For the capacity of the 深圳音乐厅, the old schooled long, tall, and narrow shoebox style is actually much easier to get it right. But of course, once the capacity exceeds 2000, the sound quality may decay very quickly, one does need some luck like the those Bostonian had. :-) |
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| I got picked on? Look at DJ's english 。。沒一句是對的 天理何在？ 哈哈 |
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| Sorry I exaggerated |
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| 很少听人讲"knock on wood", 是不是在midwest用得多些. 觉得Don Juan的英文还不错嘛, 语法结构, 条理, 措词都可以. 有些 typo, 语态问题可以改进一下. |
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| If I get a penny for every idiosyncrasies (to put it mildly) in you-know-who's prose I won't have to work so hard any more |
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| Stop it, Ron. |
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| {I got picked on? Look at DJ's english 。。沒一句是對的 天理何在？ 哈哈} 不读堂皇的东西没法挑刺。 |
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| http://news.bbcimg.co.uk/media/images/48627000/jpg/_48627327_tantrum_think144.jpg Life's not fair! :-) |
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