自強之路

The first concert Frédéric Chopin gave in Paris (the city which would be his new home town) was in 1832 playing a new Pleyel piano. The press, in the person of the influential Francois-Joseph Fétis, was enthousiastic, he praised the “spiritualized melodies, the fanciful landscapes and uniqueness in all”. Chopin himself was in love with the instrument, with “the lightness of touch and the songful singsong tone”. From then on his instrument of preference would be Pleyel.

In his search for the ideal Chopin tone pianist Hubert Rutkowski studies the writings and recordings of the students of Mikuli, who himself was a student of Chopin. Notably Moritz Rosenthal and Raul Koczalski are the greatest inspirations, in their refined artistic ease, fanciful rubato and a perfect legato.

Hubert Rutkowski's musical interpretations are influenced by his thorough study of the particular ‘piano school’ aesthetic attributed to the late 19th century. Therefore, it is the pianistic tradition of Frederyk Chopin, Theodor Leschetizky, and subsequently influenced pianists such as Karol Mikuli, Moritz Rosenthal, Raul Koczalski and Artur Schnabel, that forms the basis of his artistic identitiy.

He won the International Chopin Piano Competition in Hannover (2007). He also received the “Medalla per Unanimitat” distinction at the International Maria Canals Piano Competition in Barcelona (2006). In 2013 he was awarded the prestigious Berenberg Cultural Prize in Hamburg.

Mariangela Vacatello (born January 22, 1982) is an Italian Classical Professional Pianist from Naples.

Early life
Vacatello comes from a musical family: her mother, Pina, was a pianist and now is a piano teacher and her father, Antonio, is a piano tuner as well as a professor and musician. When Vacatello was four years old, she began taking Yamaha Music Course. At age seven, she continued studying solo piano with a pupil of the famous Italian pianist and pedagogue Vincenzo Vitale, Aldo Tramma. By the time she was already admitted to the International Piano Academy "Incontri col Maestro" in Imola where she became a maestro in 2006 after studying under guidance of Franco Scala and Piero Rattalino. At the same time she also studied in Milan Conservatory "G. Verdi" with Riccardo Risaliti and Paolo Bordoni where in 1999 she obtained her piano degree with cum Laude Honourable mention. In the same conservatory, Vacatello studied composition for several years with Bruno Zanolini and Fabio Vacchi. Vacatello completed her Postgraduate Piano Performance Course at the Royal Academy of Music in London with Christopher Elton as well as Dominique Merlet in Paris. She participated in masterclasses held by Alexander Lonquich, Louis Lortie, Andreij Jasinskj, Leslie Howard, Michael Dalberto, Andrea Lucchesini, Alexis Weissenberg, Vitaly Margulis, Sergeij Dorensky, Elissò Virsaladze.

She is a recipient of the Sterndale Bennett Scholarship, and was awarded numerous awards including from the Musicians Benevolence Fund (Dame Myra Hess Award), The Tillet Trust, Hattori Foundation, The Solti Foundation and the Acadèmie musicale de Villecroze.

嬉遊曲（Divertimento）是一種流行於十八世紀的 輕組曲。在當時主要用在上層階級與宮廷生活（主要是在奧地利）的娛樂、社交、慶祝場合，相對於小夜曲是用於室外的演奏，嬉遊曲主要是用在室內的演奏。

嬉遊曲的語源來自於義大利文的 'divertire'，有 '使人歡樂、消遣' 之意。嬉遊曲常作為小型室內合奏器樂曲，樂器組成、樂章數目以及曲式都十分自由。合奏人數通常在三到八人之間，通常由三到十個小樂章構成，曲式通常以舞曲（尤其是小步舞曲）、進行曲、變奏曲、奏鳴曲式等為主，並沒有嚴格限定。

在十八世紀，海頓與莫札特都寫過大量的嬉遊曲。嬉遊曲形式到了十九世紀就很少有人使用，直到二十世紀初室內樂以及復古風吹起，才有一些現代作曲家又嘗試嬉遊曲的寫作。

今天介紹一位十八世紀的作曲家：安德烈亞斯 利德爾（Andreas Lidel；1740?~1789?），巴里頓 (baryton；一種長得很奇怪的樂器，很像提琴、但又像吉他) 和中提琴演奏家。從 1769 年到 1774 年，他在 尼古勞斯 埃斯特哈茲親王 宮廷服役，也可能曾在約瑟夫·海頓（Joseph Haydn）那裡學習過作曲。到 1778，Lidel 已經定居在倫敦。他的印刷作品主要包括維也納古典風格的弦樂器室內樂。~ wiki 

Sandro Ivo Bartoli (born February 10, 1970 in Pisa) is an Italian pianist.

Early career
From the early 1990s, Bartoli has rediscovered, played and recorded Italian classical music from the early twentieth century, leading a fashion. His performance of the concertos of Respighi (Bedford, 1991), Malipiero (London, 1994) and Casella (1995), was followed by the first modern production in the United States of Ottorino Respighi's Toccata for piano and orchestra, with the Johnson City Symphony under Lewis Dalvit which was broadcast live by PBS and added to PBS' Great Performances series. After this success, Bartoli signed his first recording contract, with ASV, for an album of the piano works of Malipiero, and, the following year, a recording of music by Casella.

In 1997, he performed in Sweden, then Norway with concerts at the Bergen festival and the Grieg Museum. He joined with Italian composer Antonio Tabucchi, for a production at the Centre Georges Pompidou in Paris and then the Festival of Aix-en-Provence to a positive reception. In 2000, he performed in Germany, where his interpretation of Beethoven's Emperor Concerto was acclaimed ("such a performance of the Emperor concerto had not been heard for more than a decade" wrote the Thüringer Allgemeine), then he went to the UK, where he played Rachmaninoff's Paganini Rhapsody with The Hallé under Nicolae Moldoveanu.

never my love, the association

cara mia, 

jailhouse rock, elvis presley

all shook up, e.p.

這幾首也好好聽，過去一直不知道歌名：

garry lweis, the diamond ring
the supremes, stop in the name of love
dean martin, everybody loves somebody

"Plaisir d'amour" (literally "Pleasure of love") is a classical French love song written in 1784 by Jean-Paul-Égide Martini (1741–1816); it took its text from a poem by Jean-Pierre Claris de Florian (1755–1794), which appears in his novel Célestine.

The song was greatly successful in Martini's version. For example, a young woman, Madame Julie Charles, sang it to the poet Alphonse de Lamartine during his cure at Aix-les-Bains in 1816, and the poet was to recall it 30 years later.

Hector Berlioz arranged it for orchestra (H134) in 1859. Louis van Waefelghem arranged the tune for viola d'amore or viola and piano in the 1880s.[citation needed] It has been arranged and performed in various pop music settings.

Original poem by de Florian

Joseph Yulyevich Achron, also seen as Akhron (Russian: Иосиф Юльевич Ахрон, Hebrew: יוסף אחרון) (May 1, 1886 – April 29, 1943) was a Russian-born Jewish composer and violinist, who settled in the United States. His preoccupation with Jewish elements and his desire to develop a "Jewish" harmonic and contrapuntal idiom, underscored and informed much of his work. His friend, the composer Arnold Schoenberg, described Achron in his obituary as "one of the most underrated modern composers"

~ wiki

one of his famous melodies...

GLUCK MELODIE from ORFEO ed EURIDICE
"Dance of the Blessed Spirits" arr. Giovanni Sgambati

The Gluck Melodie, Dance of the Blessed Spirits from "Orfeo ed Euridice", is one of the most gorgeous melodies in all of opera. The transcription by Giovanni Sgambati is excellent and allows, as you will hear, for a wide range of interpretation. We have many different performances to compare, and many are excellent.

Mark Hambourg's playing of this transcription is one of my favorites. His interpretation is subtly romantic while maintaining the delicacy and spirit of the original. The performances by Rachmaninov, exquisitely played as always, are just a tad more Romantic than some think appropriate for the music. But the arrangement allows for it and his interpretation is carefully crafted and really works. And there is a gorgeous performance by Felicja Blumental.

The Dangers of being a Musical Prodigy
Antonio Paganini: Musical Father from Hell

by Georg Predota  September 10th, 2017

Niccolò Paganini left an irrefutable mark on the history of instrumental music and 19th century social life. Born in Genoa on 27 October 1782 he was the third of six children of Antonio and Teresa Paganini. Antonio Paganini was a dockworker and day laborer, managing to supplement his meager income by playing the mandolin. So he was absolutely delighted when young Niccolò displayed great musical talent at an early age. It was not his son's musical talent that brought excitement to Antonio Paganini's life, but the prospect of reaping substantial financial benefits from the boy's musical talents. Antonio started Niccolò on the mandolin, but switched him to the violin at age 7. Giving musical instructions to this son was not a labor of love, as Niccolò later wrote. “My father Antonio soon recognized my natural talent and I have him to thank for teaching me the rudiments of the art. His principal passion kept him at home a great deal, trying by certain calculations and combinations to figure out lottery numbers from which he hoped to reap considerable gain. He therefore pondered over the matter a great deal and would not let me leave him, so that I had the violin in my hand from morn till night. It would be hard to conceive of a stricter father. If he didn't think I was industrious enough, he compelled me to redouble my efforts by making me go without food so that I had to endure a great deal physically and my health began to give way.”

David Nadien (March 12, 1926 – May 28, 2014) was an American violinist and violin teacher. He was concertmaster of the New York Philharmonic from 1966 to 1970. His playing style has been compared to that of Jascha Heifetz.

Life
David Nadien was born in Brooklyn, New York, on March 12, 1926, the son of Armenian-American George and Bertha Nadien. He started learning violin with his father, then entered the Mannes School of Music; he also studied at the Juilliard School. His teachers included Adolfo Betti, Demetrius Constantine Dounis, Adolf Busch and Ivan Galamian. When he was 18 he was drafted into the US Army, and played with the Army Service Forces Orchestra.

He made his first concert appearance with the New York Philharmonic at the age of 14, and at the age of 20 won the Leventritt Award.

Italian composer Giovanni Zamboni is somewhat of a mystery to the modern listener. Very little is known of his life; he was born in Rome in the latter part of the 17th century, became a virtuoso on the theorbo, lute, harpsichord, guitar, mandore and mandolin, and had a side-career as a jeweller. Several of his compositions have been lost over the years, but among his published works is a collection of four-part madrigals and a collection of solo lute music, the Sonate d’intavolatura di leuto.

Published in Lucca in 1718, the Sonate d’intavolatura di leuto is among the latest sources of solo lute music, written in Italian tablatures. The works contained within show the blurring of lines between the two accepted styles of sonata; those for the church (da chiesa) and those for domestic use (da camera). Many of Zamboni’s lute sonatas are written in four-part sets, containing mainly dance movements. This makes No.11 distinctly atypical, as its Currante, Sarabanda and Minuet – which signal a da camera purpose – contrast with its opening movement, a Grave, much more characteristic of the seriousness of the da chiesa style.

Giovanni Zamboni: Sonatas played by yavor genov

~ yt

Haydn already had a wealth of sacred works under his belt when, in 1785, aged 53 and at the height of his fame, he received a detailed commission for the cathedral of Cadiz in Spain, asking him to write ceremonial music for Good Friday. His challenge was to create an engaging and individual work out of the curious musical form prescribed by the ritual, and the resulting instrumental composition was a triumph.

Its history, however, was far from complete; several years later while in Passau, Haydn stumbled upon a vocal arrangement of the work, set to excerpts of Ramler's poem Der Tod Jesu, which he took upon himself to revise. The ensuing oratorio, to which a woodwind intermezzo was also added, was published in 1801 and exceeded all popularity of the previous version to become one of the composer's most performed works.

Vater, vergib Ihnen, denn sie wissen nicht was sie tun
Fürwahr, ich sag'es dir

Emmy Verhey (born 13 March 1949, in Amsterdam) is a Dutch violinist. She received her first violin lesson from her father when she was seven. Within a year, she played the Violin Concerto in A minor and the Concerto for Two Violins by Johann Sebastian Bach. Recognized as a child prodigy, she went to study at age 8 with the Austrian-born violin teacher Oskar Back. Later she studied with Herman Krebbers, Bela Dekany, Wolfgang Schneiderhan in Lucerne and David Oistrakh in Moscow.

At the age of 17, she was the youngest prize winning finalist at the 1966 International Tchaikovsky Competition in Moscow. A week later Verhey graduated from the Amsterdam Conservatory. The public interest for her examination was so huge that it had to take place at the Concertgebouw.

Verhey has played with eminent conductors such as Mariss Jansons, Riccardo Chailly, Bernard Haitink, Hans Vonk, Ed Spanjaard, Edo de Waart, Neville Marriner, Klaus Tennstedt, Jean Fournet and with fellow violinists Yehudi Menuhin, David Oistrakh and Igor Oistrakh [小歐]. She has also played with soloists such as Youri Egorov, Janos Starker, Mischa Maisky and Maria João Pires. She has performed in Europe and in many other parts of the world such as the United States, Israel, South Korea and Japan. She is known for her solid technique and her warm and rich tone. Her repertoire spans all the range from early to contemporary music.

Verhey taught the violin at Utrecht's Conservatory from 1983 to 2002. In 1991 she co-founded the Camerata Antonio Lucio, a string ensemble whose repertoire includes works from the 18th to the 21st century. Since 2006 the annual three-day Emmy Verhey Festival is held in Verhey's hometown Zaltbommel.

「他精心編織著他那快速變化的和弦，並且演奏得是如此的靈活，讓人難以相信人類的手指可以運動得這麼快。他嘴唇上方留著小鬍子、幾乎全禿、眉頭微皺，手指在吉他的指板上來回穿梭，就好像一個憂心忡忡的侍者應付著比座位數量還要多的賓客一樣。然而他演奏出的琴聲卻是無比自信之作，如果沒有在樂器上長時間地傾注心血的話是絕對做不到的… 他每場演出的曲目中有一半是獨奏。一旦當他開始獨奏就仿佛進入了無人之境，沒有了節奏部分的限制，他可以隨心所欲地編排音樂。有時他通過利用快速的間奏打亂原曲的速度製造對比，有時他會從把曲子從迫切的情緒一下子切換到輕搖擺樂的感覺，有時他會在單音、和弦、旋律或者是低音部分來回切換 - 可能性似乎是無窮無盡的。幸好有人將這一切都錄製到了他的新唱片裡面，唱片叫做《Virtuoso》（中文：音樂巨匠），這也確實是名副其實的。」~ 邁爾斯 金頓 (miles b. kington; 1941~2008) 撰於泰晤士報 1974年10月的文章 (wiki)

joe pass (joseph anthony jacobi passalaqua，1929/1/13－1994/5/23) full album of 'virtuoso'

Twelve Little Preludes

Twelve Little Preludes (French: Douze petits Préludes; German: Zwölf kleine Praeludien), BWV 924–930, 939–942 and 999, is a 19th-century compilation of short pieces, collected from various 18th-century manuscripts written by Johann Sebastian Bach and others. Notwithstanding their diverse origin and characteristics they were published as a set of twelve keyboard preludes by Bach, in, amongst others, the 36th volume of the Bach-Gesellschaft Ausgabe (BGA).

Several collections of short keyboard preludes by Bach were published for didactic purposes from the 19th century. In the 20th century Ferruccio Busoni combined the Twelve Little Preludes with the Six Little Preludes, BWV 933–938 into a set of 18 little preludes.

History

Scott Ross (March 1, 1951 – June 13, 1989) was a United States-born harpsichordist who lived in France and Canada for many years. His recordings include the first complete recording by a single performer of the 555 harpsichord sonatas of Domenico Scarlatti.

Biography
Scott Stonebreaker Ross was born in Pittsburgh, Pennsylvania. He was nearly crippled by a severe scoliosis that kept him in a corset for much of his early life.

He studied piano and organ in Pittsburgh. Following the death of his father he moved to France with his mother in 1964, where he studied harpsichord at the Conservatoire de Nice. While living in Nice his mother committed suicide when Ross was aged 17. After completing his studies at Nice, he enrolled at the Conservatoire de Paris.

Giovanni Battista Pergolesi (Composer)

Born: January 4, 1710 - Jesi, Italy
Died: March 16 or 17, 1736 - Pozzuoli, Italy

Giovanni Battista Pergolesi was an Italian composer, violinist and organist. He studied music there under a local musician, Francesco Santini, before going to Naples in 1725, where he studied under Gaetano Greco and Francesco Feo among others. He spent most of his brief life working for aristocratic patrons like the principe di Stigliano and the duca di Maddaloni.

Casta Diva 出自義大利作曲家貝利尼著名歌劇作品《諾瑪》。這個故事講述羅馬帝國攻占各地，派官員至各族群管理聚落。諾瑪便是當時一個族群中的女祭司，地位崇高。由於受帝國統治，所以人人憎恨羅馬官，並規定叛族者將遭火刑。然而諾瑪竟愛上這個羅馬官，且和他有了兩個孩子，唯有諾瑪的好友知道真相，她們共同保守這個秘密，並相互扶持。未料，諾瑪的好友也愛上羅馬官，並相約私奔。知情後的諾瑪百感交集，悲不欲生，遂在公眾大會上宣布自己是叛國者，最後與羅馬官同歸於盡。這首 Casta Diva  便是諾瑪走向神壇，眾人一片跪下，她宣告攻擊羅馬的時機尚未到來，手持榭寄生一步步前進，向月神祈禱，內心卻是掛念這份背叛的愛。

Casta Diva, che inargenti 在銀輝中閃耀的女神
queste sacre antiche piante, 這些神聖的古老植物
a noi volgi il bel sembiante 轉向妳美麗的臉龐

Emanuele Delucchi (Born: 1987, Italy)

The Italian pianist and composer, Emanuele Delucchi, studied with Canzio Bucciarelli (Genoa), Riccardo Risaliti (Imola) and Davide Cabassi (Bozen); he graduated in 2009 summa cum laude and in 2016 he got the Composer diploma.

Emanuele Delucchi has given recitals in Italy, Germany, France, UK, Greece, Slovenia, Croazia and Mexico and he has recorded for the labels Toccata Classics (music by Alkan-Da Motta, first recording, with pianist Vincenzo Maltempo), Dynamic (L.v. Beethoven-Drouet, Sonatas Op. 30 with flutist Fabio De Rosa) and Piano Classics; his repertoire includes from renaissance to contemporary music, with special attention for the less-known literature (first live performance of Pianist im klassischen Style Op. 856 by Carl Czerny and first Italian performance of the Concerto Op. 39 by Charles-Valentin Alkan). He is an appreciated performer of the piano music by Leopold Godowsky (albums “Piano works” and “Studies on Chopin opus 10” are published by the label Piano Classics, positively reviewed from critics). In the international piano festival En blanco y negro (Mexico City) he gave the first mexican performance of the Passacaglia by L. Godowsky. In spring 2016 he played the complete Studien uber die Etuden von F. Chopin on Op. 10 in Rome, Milan and Chiavari (GE) and on March 22 and 23 2018 he performed the complete 54 Studien in Milan (the third pianist who did it, after Francesco Libetta and Carlo Grante).

Emanuele Delucchi collaborated with conductors Gustav Kuhn, Filippo Torre and Paolo Ferrara, with composers Fabio Vacchi, Carlo Boccadoro (2014) and Sylvano Bussotti (2007), with pianists Luca Buratto, Francesco Libetta and Vincenzo Maltempo, with violinist Giulio Plotino and he regulary plays in trio with Barbara Costa and Roberto Miele (“TrioMorgen”) and in duo with Fabio De Rosa (flute).