Radetsky March conducted by eight different conductors. Happy New Year 2024!!
聽聽這個InstaGram
2024年1月3日 星期三
2023年4月6日 星期四
25 Best Opera Arias
按這裡收聽 25 Best Opera Arias
00:00:00 Puccini: Gianni Schicchi - 0 mio babbino caro
普契尼：詹尼·斯基基 - 我親愛的父親
00:02:36 Rossini: Il barbiere di Siviglia : Largo al factotum (Cavatina)
羅西尼：塞維利亞的理髮師 : Largo al factotum (Cavatina)
00:07:09 Mozart: Die Zauberflote - Queen Of The Night
莫扎特：魔笛 - 夜之女王
00:10:13 Puccini: La Boheme - Mi
chiamano Mimi
普契尼：波希米亞人 - Mi
他們叫咪咪
00:14:58 Donizetti: L'Elisir d'Amore - Una furtiva lagrima
多尼采蒂：L'Elisir d'Amore - 偷偷摸摸的眼淚
00:19:50 Verdi: Rigoletto - La donna e mobile
威爾第：弄臣 - 女人是移動的
00:22:02 Puccini: Tosca - E lucevan le stelle
普契尼：托斯卡 - 群星閃耀
00:25:14 Mozart: Le nozze di Figaro - Non piu andrai
莫扎特：費加羅的婚禮 - 你不會再去了
00:29:06 Bellini: Norma - Casta diva
貝里尼：諾瑪 - 純潔的天后
00:35:52 Verdi: Un ballo in maschera - Ma se m'e forza perderti
威爾第：假面舞會 - 但如果我強迫自己失去你
00:40:47 Puccini: Turandot - Nessun dorma
普契尼：圖蘭朵 - 無人入睡
00:44:56 Leoncavallo: Pagliacci - Vesti la giubba
Leoncavallo: Pagliacci - 穿上夾克
00:48:51 Verdi: La Traviata - Sempre libera
威爾第：茶花女 - 永遠自由
00:52:33 Saint-Saens: Samson and Delilah - Mon coeur s'ouvre a ta voix
聖桑：薩姆森和黛利拉 - Mon coeur s'ouvre a ta voix
00:58:19 Puccini: Tosca - Vissi d'arte
普契尼：托斯卡 - Vissi d'arte
01:01:37 Bizet: Les pecheurs de perles - Au fond du temple saint
01:06:11 Mozart: Le nozze di Figaro - Cinque. dieci... Venti (No. 1 Duettino)
01:08:56 Verdi: Rigoletto - Ella mi fu rapita... Parmi veder le lagrime
莫扎特：費加羅的婚禮 - 五。 十...二十 (No. 1 Duettino)
01:13:51 Puccini: Manon Lescaut - Donna non vidi mai
普契尼：瑪儂萊斯科——我從未見過的女人
01:16:30 Massenet: Werther - Pourquoi me reveiller
馬斯奈：維特 - Pourquoi me reveiller
01:19:26 Offenbach: Tales of Hoffmann - Barcarolle
奧芬巴赫：霍夫曼的故事 - 船歌
01:23:11 Verdi: Luisa Miller - Quando le sere al placido
威爾第：路易莎米勒 - 當夜晚平靜時
01:28:45 Puccini: Gianni Schicchi - Firenze e come un albero fiorito
普契尼：詹尼·斯基基——佛羅倫薩就像一棵開花的樹
01:32:02 Verdi: I| Trovatore - Ah si' ben mio coll'essere
綠黨：我| 游吟詩人 - 啊，是的，我的幸福
01:35:05 Giordano: Andrea Chenier - La Mamma Morta
佐丹奴：Andrea Chenier - 死去的母親
2019年12月2日 星期一
Mariss Jansons
指揮大師馬瑞斯．楊頌斯（Mariss Jansons），11/30於聖彼得堡家中去世，享壽76歲。
楊頌斯曾於2007、2014及2016率巴伐利亞廣播交響樂團來台演出，每次都為台灣的樂迷帶來完美、細緻的經典夜晚。
2018年巴伐利亞廣播交響樂團再次來台時，楊頌斯已因身體狀況欠佳未能成行。
在藝術，在人生中，我們永遠不會知道那個當下代表什麼意思？
只有回頭看時，才發現那幾年的相遇是如此珍貴。
楊頌斯曾這麼稱讚台灣觀眾：「我認識兩廳院已經好久好久，每一次站在台北的音樂廳舞台上都非常享受，也都帶給我跟樂團萬分愉快的體驗！更讓我感到驚豔的是台灣的觀眾，總是這麼熱情。」
附上BRSO為楊頌斯準備的紀念影片：http://bit.ly/2rLCGxK
最後，謝謝大師帶給我們及這個世界的美好。
本文轉載自國家兩廳院 NTCH, Taipei 臉書。
照片版權屬於 ®Peter Meisel(BR) 。
Mariss Jansons' last concert in The Concertgebouw: Dvorak -
Symphony no. 9 - IV: Allegro confuoco
2018年12月8日 星期六
Paganini Variaties op Il Carnevale Di Venezia
當代兩位音樂家，David Garret 和 Vadim Repin，演奏 Paganini 作品改編之後的變奏曲，你覺得誰比較厲害？
https://youtu.be/nW34vdnjBO0
https://youtu.be/l_aVAxRrmhE
電影《偷書賊》
http://www.190mov.com/vod/13/1942play.html?1942-1-1
電影《不可能的任務：全面瓦解》
http://www.167mov.com/vod/8/9147play.html?9147-0-4
https://youtu.be/nW34vdnjBO0
https://youtu.be/l_aVAxRrmhE
電影《偷書賊》
http://www.190mov.com/vod/13/1942play.html?1942-1-1
電影《不可能的任務：全面瓦解》
http://www.167mov.com/vod/8/9147play.html?9147-0-4
2017年12月3日 星期日
Cello Concerto in B minor, Op. 104, B. 191 by Antonín Dvořák
2015年8月25日 星期二
Pictures at an Exhibition
Mussorgsky
Orchestrated by Ravel
Conduct by Mariss Jansons
《展覽會之畫》，莫傑斯特·彼得羅維奇·穆索爾斯基的作品，原為一鋼琴組曲；經後代音樂家改為管弦樂版後，吸引更多的聽眾，最有名的版本為拉威爾和斯托科夫斯基所作。
1874年6月穆索爾斯基寫下鋼琴組曲展覽會之畫，靈感來自於一次畫作展覽會，會上的作品是由穆索爾斯基一位已逝世的朋友維克托·阿里山大羅維奇·哈特曼所畫。
本曲中分為漫步、侏儒、古堡、杜樂利花園、牛車、蛋中小雞、窮富猶太人、市集、墓窟、女巫的小屋、基輔城門樓10段。其中的「漫步」穿插於全曲，加強了作品的整體性。
Orchestrated by Ravel
Conduct by Mariss Jansons
《展覽會之畫》，莫傑斯特·彼得羅維奇·穆索爾斯基的作品，原為一鋼琴組曲；經後代音樂家改為管弦樂版後，吸引更多的聽眾，最有名的版本為拉威爾和斯托科夫斯基所作。
1874年6月穆索爾斯基寫下鋼琴組曲展覽會之畫，靈感來自於一次畫作展覽會，會上的作品是由穆索爾斯基一位已逝世的朋友維克托·阿里山大羅維奇·哈特曼所畫。
本曲中分為漫步、侏儒、古堡、杜樂利花園、牛車、蛋中小雞、窮富猶太人、市集、墓窟、女巫的小屋、基輔城門樓10段。其中的「漫步」穿插於全曲，加強了作品的整體性。
| 原題 | 中文名 | 別名/注釋 | |
|---|---|---|---|
| 漫步 | |||
| I. | Gnomus | 侏儒 | |
| (漫步) | (此處原作沒有標題) | ||
| II. | Il vecchio castello | 古堡 | |
| (漫步) | (此處原作沒有標題) | ||
| III. | Tuileries (Dispute d'enfants après jeux) | 杜樂利花園 (玩耍小孩之間的爭吵) | |
| IV. | Bydło | 牛車 | |
| (漫步) | (此處原作沒有標題) | ||
| V. | Балет невылупившихся птенцов | 未孵化的小雞之舞 | |
| VI. | „Samuel「 Goldenberg und „Schmuÿle「 | 窮富猶太人 | |
| 漫步 | |||
| VII. | Limoges. Le marché (La grande nouvelle) | 里莫日的市集 (新奇玩意) | 市集 |
| VIII. | Catacombae (Sepulcrum romanum) | 地下墓穴 | |
| Con mortuis in lingua mortua | 與死者用古老的語言對話 | (漫步的變奏) | |
| IX. | Избушка на курьих ножках (Баба-Яга) | 女巫的小屋 (Baba-Jaga) | |
| X. | Богатырские ворота (В стольном городе во Киеве) | 大門 (在古首都基輔) | 基輔大門 |
本文轉載自 維基百科
2015年5月12日 星期二
Beethoven Emperor Concerto Nº5 E flat Glenn Gould TSO Karel Ancerl 1970
.. Gould's memory capacity was legendary. Both his mental and finger memory made it possible for him to reproduce and play music literature many years after his last practice and performance of the same. A famous illustration of this statement would be an event that occurred in 1970, when the renown Italian pianist, Arturo Benedetti Michelangeli, was unable to go through with his performance of Beethoven's Concerto No.5, Emperor, in Toronto. Gould was given a telephone call on Thursday evening. The problem was explained, and he was asked to substitute for Michelangeli the next morning, on Friday, when the Toronto Symphony and the conductor, Karel Ancerl, were scheduled to work with Michelangeli. Gould's answer was affirmative and good-spirited. In the space of the next few night hours, Gould rehearsed the Concerto he had not touched in four years. The program was televised and, subsequently, aired on September 12, 1970. To everyone's amazement, Gould played Beethoven's Concerto in front of the camera flawlessly and by heart.
Beetroven 5th piano concerto by Krystian Zimerman
2014年12月25日 星期四
2014年12月10日 星期三
ERIK SATIE
艾瑞克·阿爾弗雷德·萊斯利·薩提（法語：Éric Alfred Leslie Satie，1866年5月17日－1925年7月1日），後來自己改名為Erik Satie，法國作曲家。他被法國音樂六人團尊為導師，是二十世紀法國前衛音樂的先聲。
維基百科 艾瑞克·薩提
Gnossienne 3 - Alessio Nanni, piano
Gnossienne 1 - Seth Ford-Young
Gymnopedie 1 - solo guitar arrangement by Dave Seck
維基百科 艾瑞克·薩提
Gnossienne 3 - Alessio Nanni, piano
Gnossienne 1 - Seth Ford-Young
Gymnopedie 1 - solo guitar arrangement by Dave Seck
2014年11月18日 星期二
2014年4月15日 星期二
2014年3月6日 星期四
2014年2月2日 星期日
2014年1月20日 星期一
2013年11月26日 星期二
2013年10月20日 星期日
Violin Sonata No. 2 (Ravel)
Maurice Ravel's violin sonata for piano and violin is a sonata composed from 1923–1927.
Ravel was inspired by the music of America, namely jazz and blues.
The violin sonata consists of three movements:
• Allegretto (sol majeur)
• Blues. Moderato (la bémol majeur)
• Perpetuum mobile. Allegro (sol majeur)
Ravel was inspired by the music of America, namely jazz and blues.
The violin sonata consists of three movements:
• Allegretto (sol majeur)
• Blues. Moderato (la bémol majeur)
• Perpetuum mobile. Allegro (sol majeur)
2013年8月25日 星期日
2013年5月15日 星期三
School Orchestra Extravaganza 2013
In rehearsal: Simon Rattle conducts 6 Berlin school orchestras
The School Orchestra Extravaganzas of the Berliner Philharmoniker’s education programme are always a big event, and this year’s meeting in February was no different. Six Berlin school orchestras had rehearsed excerpts from Grieg’s Peer Gynt suites for the big day under the guidance of members of the Berliner Philharmoniker, and the conductor of the public performance in the Philharmonie was none other than Sir Simon Rattle. After each orchestra had been presented to the audience under the direction of their music teacher, they all came together on the stage for the big finale Peer Gynt: a record-breaking orchestra of over 200 musicians. This was when things got really exciting: to see and hear how this huge ensemble of students of all ages who had never played together grow more and more together. Of course, this was also thanks to the Philharmoniker’s chief conductor who not only worked on their precision but also their expression (“Don’t let it sound too much like God Save the Queen!”). But this morning in the Philharmonie was also a new experience for Simon Rattle: As he admitted, he had never conducted the Peer Gynt music before.
Members of 6 Berlin school orchestras
Sir Simon Rattle Conductor
Sarah Willis Presenter
Edvard Grieg: Excerpts From the Peer Gynt Suites Nos. 1 & 2
The School Orchestra Extravaganzas of the Berliner Philharmoniker’s education programme are always a big event, and this year’s meeting in February was no different. Six Berlin school orchestras had rehearsed excerpts from Grieg’s Peer Gynt suites for the big day under the guidance of members of the Berliner Philharmoniker, and the conductor of the public performance in the Philharmonie was none other than Sir Simon Rattle. After each orchestra had been presented to the audience under the direction of their music teacher, they all came together on the stage for the big finale Peer Gynt: a record-breaking orchestra of over 200 musicians. This was when things got really exciting: to see and hear how this huge ensemble of students of all ages who had never played together grow more and more together. Of course, this was also thanks to the Philharmoniker’s chief conductor who not only worked on their precision but also their expression (“Don’t let it sound too much like God Save the Queen!”). But this morning in the Philharmonie was also a new experience for Simon Rattle: As he admitted, he had never conducted the Peer Gynt music before.
Members of 6 Berlin school orchestras
Sir Simon Rattle Conductor
Sarah Willis Presenter
Edvard Grieg: Excerpts From the Peer Gynt Suites Nos. 1 & 2
2013年5月8日 星期三
2013年4月11日 星期四
Paganini Caprice No. 24
Caprice No. 24 in A minor is the final caprice of Niccolò Paganini's 24 Caprices, and a famous work for solo violin. The work, in the key of A minor, consists of a theme, 11 variations, and a finale. His 24 Caprices were probably composed in the period between 1805 to 1809, while he was in the service of the Baciocchi court.
It is widely considered one of the most difficult pieces ever written for the solo violin. It requires many highly advanced techniques such as parallel octaves and rapid shifting covering many intervals, extremely fast scales and arpeggios including minor scales in thirds and tenths, left hand pizzicato, high positions, and quick string crossing.
It is widely considered one of the most difficult pieces ever written for the solo violin. It requires many highly advanced techniques such as parallel octaves and rapid shifting covering many intervals, extremely fast scales and arpeggios including minor scales in thirds and tenths, left hand pizzicato, high positions, and quick string crossing.
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