自強之路

像這樣，三巨頭合奏、並且拍成以導演為第一人稱、敘事的、問答的、互動的、生活的、寫實的、細節的、記錄片形式的、一氣呵成的、技巧精湛的短電影，我在想，人類歷史上，還會出現第二部類此慧思之作嗎？

HRP！

Leonard Pennario / The Complete RCA Album Collection
2019年 02月 12日 /産品編號: 19075899272

李歐納‧潘納里歐 Leonard Pennario (鋼琴)

@ 為紀念美國鋼琴家潘納里歐逝世十週年，SONY MUSIC 特別將其絕版多年的珍貴錄音全部重新發行。

Baron Theodor Döhler (20 April 1814 – 21 February 1856) was a German composer and a notable piano virtuoso of the Romantic period. He studied under Julius Benedict, Carl Czerny, and Simon Sechter.

Life
Döhler was born in Naples, where his father (d. 1843 in Lucca) lived and worked as Kapellmeister. Döhler was a child prodigy and received his first musical education in Naples from the conductor Julius Benedict. He began performing in public concerts there at the age of 13.

In 1827, he moved to Lucca when his father received a new appointment there. From 1829 to 1834 Döhler lived in Vienna, where he studied piano under Carl Czerny. At the same time, he studied composition with Simon Sechter. He appeared on the scene in 1838, when Liszt in Vienna and Thalberg were again in Paris. In 1846, Döhler's patron, the Duke of Lucca, elevated Döhler to the rank of Baron. Now a member of the nobility, Döhler was able to marry a Russian Princess, Countess Elise Sheremeteff in that year.

Johann Gottfried Müthel (January 17, 1728 – July 14, 1788) was a German composer and noted keyboard virtuoso. Along with C.P.E. Bach, he represented the Sturm und Drang style of composition.

As far as is known, he was the first to use the term fortepiano in a published work, in the title of his Duetto für 2 Clavier, 2 Flügel, oder 2 Fortepiano (1771), which reflects the rising popularity of the instrument at that time.

Biography
He was born in Mölln in the Duchy of Lauenburg, the fifth of nine children. His father was Christian Caspar, an organist and friend of Georg Philipp Telemann. He studied music with his father, and later Johann Paul Kunzen in Lübeck. When only 19 years of age, he became a court organist and harpsichordist for Duke Christian Ludwig II of Mecklenburg-Schwerin, in Schwerin.

Born in Jakarta, Indonesia, Esther Budiardjo [piano] received the Doctorate degree and the Presidential Scholar Award from the New England Conservatory of Music in Boston. She won first prize at the 1996 William Kapell International Piano Competition in Maryland, was awarded top prizes at the 1993 Stravinsky Awards International Piano Competition, and in 1998 and 2000, at the Palm Beach Invitational International Piano Competition in Florida. Ms. Budiardjo toured Southeast Asia as a solo recitalist, and has given recitals in Lincoln Center in New York City, Kennedy Center in Washington, D.C., Jordan Hall in Boston, le Théâtre Royal de la Monnaie in Brussels, and the Harmony Hall in Matsumoto, Japan. She has performed with the Orpheus Chamber Orchestra, the Baltimore Symphony, the Boston Philharmonic, the Omaha Symphony, and the Belgian National Orchestra. In North America, National Public Radio and CBC Radio have featured her performances in their broadcasts. Her interpretations of Mendelssohn's music in her debut recording prompted the following statement from American Record Guide, “Mendelssohn's piano works were always wonderfully crafted, and when they are played as well as this, they are endlessly enjoyable.” Ms. Budiardjo currently resides in Vancouver, Canada.

~ http://www.healtharts.org

聽聽印尼鋼琴家詮釋 '爪哇組曲' 如何？應該是最道地了吧~ ㄏ

Adolf von Henselt (1814~1889)

The German composer and pianist, Adolf von Henselt, born in Schwabach, Bavaria, a few miles south of Nürnberg, occupies a firmly established place in the galaxy of six composers all born within the space of five years of one another between 1809 and 1814 – the eldest, Felix Mendelssohn-Bartholdy, followed by Chopin, Schumann, Liszt, Thalberg and Henselt himself – together, they shaped the manner in which romantic piano music was to develop to the end of the century and beyond. This was the consummation of a golden age expressed through the medium of the fast developing grand piano.Photo & Design - Eric Deyerler

The Henselt family moved from Schwabach to Munich when Henselt was three years old, at about which age he commenced his music studies, at first with violin and then with the piano. Progress was rapid, with a particular bent for the music of Carl von Weber (1786-1826). This bent, evident at such an early age, gathered great force later on in the many editings, 'ossias' and arrangements of Weber's works and was doubtless nourished by the Geheimratin (privy councillor) von Fladt who, together with Weber and Meyerbeer (1791-1864), had studied with the Abbe Vogler (1749-1814). Henselt was fortunate enough to have valuable connections with people who counted. A royal stipend from King Ludwig 1st. of Bavaria enabled him to study for six months with the famous Johann Nepomuk Hummel (1778-1837) at Weimar. Henselt's stay, which lasted for 6 months, culminated on the 29th of November 1832 with a highly successful public début in Munich. Next, Henselt went to Vienna to study with Simon Schechter (1788-1867) for 2 years which was followed by a further 2 years of seclusion during which period Henselt evolved his unique system of extending the stretch of the hands to a degree which gave him a command of the keyboard (without the sustaining pedal). This was almost without precedent at that time, and surely learned from his playing of Weber who could reach (and write for) a tenth. This stood him in good stead with rivals such as Thalberg and Kalkbrenner, and, in the opinion of Schumann, even Liszt who is said to have blanched at some of Henselt's more reckless moments.

In 1836, after a nervous breakdown, he went to Carlsbad to recuperate and, according to LaMara, it was there that he met Chopin, but this has been denied by other chroniclers including the British Chopin expert, Arthur Hedley who dispels any possibility that Chopin met Henselt. In a letter written to Richard Beattie Davis in October 1967, Hedley stated that this idea may have originated with Friedrich Niecks, who, according to the writer, was very inaccurate. In the same year Henselt revisited Weimar and Hummel, staying there for some months. We may judge that this visit to Weimar was the defining point in determining Henselt's future. Firstly, he fell in love with the wife of a physician to the court. Her name was Rosalie Vogel (née Manger). There was a divorce and Henselt married her on the 24th October 1837 at Bad Salzbrunn, Silesia. - now Poland. This event is reflected in Henselt's 'Poéme d'amour', Op.3 - full of characteristic effects. Secondly, the appointment of Hummel as court Kapellmeister (from 1819 to 1837) has been said to usher in a romantic age. With the presence of the leading patron, the Grand Princess - Grand Duchess Maria-Pavlovna, a daughter of the Tsar, who was herself a pupil of Hummel, it is not too fanciful to suggest that Henselt's second visit to Weimar sealed him as the ascending star in the Russian firmament. In 1838, he proceeded to St.Petersburg where his success with concerts in that city overwhelmed an audience, up to that time without any comparable artist [靠杯真假啊？那當時正值壯年的李斯特又算什麼？]. Thus were the twenty four studies, Opp. 2 and 5 launched on the world.Photo & Design - Eric DeyerlerThe inspiration engendered by Henselt's marriage to 'sa Rosalie', the dedicatee of his 'Poéme d'Amour', in 1837, is expressed in a torrent of 24 studies, opp.2 & 5, which together embody much, if not all, of the essence of Henselt's idiosyncratic idiom. Underpinned by a genuine and original melodic gift, these perfect little concert pieces approach, in their poetic content and difficulty of execution, those of Chopin (1810-1849). Admitting that there exists in Henselt's studies a very evident Chopinesque 'feel', they post date those of Chopin by some years. It is Henselt's melodies which follow a very different route. Less sophisticated, less chromatic, more regular in their bar lengths, many seem to stem from the world of the German 'volkslied'. Von Lenz called Henselt the most German of composers, with the Fatherland as his keyboard. Such was Henselt's fame, that in Germany that remark was perfectly well understood.

加琳娜 伊萬諾芙娜 烏斯特沃爾斯卡婭（俄語：Гали́на Ива́новна Уство́льская，1919年6月17日－2006年12月22日），蘇聯-俄羅斯作曲家。曾隨蕭士塔高維奇學習。蕭士塔高維奇與她有超越一般師生的情感關係。音樂風格帶有先鋒派的某些特徵，但個人特色很強，尤其以單調、強烈、堅硬的節奏感和敲擊感著稱，被稱為「鐵錘娘子」（ "the woman with the hammer"）。代表作包括五部交響曲、六首鋼琴奏鳴曲等。

let's now go with the hammer...

很高興的，我又幫忙地球找出了另一個外星人：

James Lloyd Morrison AM (born 11 November 1962) is an Australian jazz musician. Although his main instrument is trumpet, he has also performed on trombone, tuba, euphonium, flugelhorn, saxophone, clarinet, double bass, guitar, and piano. He is a composer, writing jazz charts for ensembles of various sizes and proficiency levels.

He composed and performed the opening fanfare at the Sydney 2000 Olympic Games. In 2009, he joined Steve Pizzati and Warren Brown as a presenter on Top Gear Australia. At the ARIA Music Awards of 2010 Morrison and a cappella group, The Idea of North, won Best Jazz Album, for their collaboration on Feels Like Spring. In 2012 Morrison was appointed as Artistic Director of the Queensland Music Festival for the 2013 and 2015 festivals. He was inducted into the Graeme Bell Hall of Fame 2013 at the Australian Jazz Bell Awards. In July 2013 he conducted the World's Largest Orchestra in Brisbane's Suncorp Stadium, consisting of 7,224 musicians.

In March 2015 Morrison opened the James Morrison Academy of Music in Mount Gambier, South Australia – a tertiary level, dedicated jazz school offering a degree in jazz performance.

Why are there 4 valves on certain trumpets?
MAY 24, 2017 / WELSHTRUMPETER

I often have to remind myself that many of you who read my Blog are not brass players, but you show a great deal of interest in what I do and also are curious to know the workings and origins of the equipment that I use on a day-to-day basis. As a result, one of the frequent questions I get is “why does that trumpet have 4 valves?”, so for this Blog I’ll try to demystify that topic.

Following the invention of piston valves in the second half of the 19th Century, there were many ongoing attempts to develop and improve what valved instruments could achieve, musically speaking. Whilst the addition of valves meant an increase in the number of notes attainable, there was still a desire to try to further increase the range possible on the instrument and perhaps more importantly, to improve the intonation (tuning) on certain “sour” notes, that were proving problematic. These would certainly include low D, D flat and C sharp below the stave.

猪俣 公章（いのまた こうしょう、1938年4月11日 - 1993年6月10日）は、日本の作曲家・作詞家。福島県河沼郡会津坂下町出身。本名は猪俣 公章（いのまた きみあき）。

経歴・人物
旧制京都帝国大学工学部電気工学科出身で東北電力勤務の父と、福島市内で料亭を経営する母の間に生まれた。小学5年生の頃から作曲をするようになり、中学時代に作曲家を志望する。中学卒業後は上京して開成高校に進学。高校卒業後は実家の家計が苦しくなったため、入学金を稼ぐために1年間の浪人生活を選ぶ。喫茶店のボーイ、ペンキ職人、バーテンダーなどで入学金を稼いだ。

1958年に日本大学芸術学部音楽科へ入学。入学後は新橋や銀座のキャバレーでバンド演奏のアルバイトを務め、ベースを担当。大学3年次の1960年に古賀政男が設立したプロダクションにスタッフとして採用され、事実上の門下生として師事。大学卒業後の1962年にビクターレコードと契約。

Boris Vadimovich Berezovsky, born on Jan, 4, 1969, studied at the Moscow Conservatory with Eliso Virsaladze and privately with Alexander Satz. Following his London début at the Wigmore Hall in 1988, The Times described him as "an artist of exceptional promise, a player of dazzling virtuosity and formidable power." He is the Gold Medal winner at the 1990 International Tchaikovsky Piano Competition in Moscow.

His recordings

Berezovsky's recordings of the complete Beethoven Piano concertos with the Swedish Chamber Orchestra with Thomas Dausgaard have been greeted with high critical acclaim. He has made a considerable number of records for Teldec, including solo discs of works by Chopin, Schumann, Rachmaninoff, Mussorgsky, Balakirev, Medtner, Ravel and the complete Liszt Transcendental Etudes. With the Mirare Label, he has recorded the Rachmaninoff Préludes (May 2005) as well as that composer's complete Piano Concertos with the Ural Philharmonic Orchestra conducted by Dmitri Liss (August 2005). His album Tchaikovsky Piano Concerto No. 1 and Khachaturian Piano Сoncerto (Ural Philharmonic Orchestra/Dmitry Liss) was released on April 2006 in the UK.

The most recent recordings are Medtner Tales & Poems with Yana Ivanilova (soprano), Vassily Savenko (baritone) (Mirare 2008), Medtner Two pieces for two pianos, Op. 58, with Hamish Milne (piano) in: Medtner Complete Piano Sonatas; Piano Works, Vol. 7 (Brilliant Classics 2008), Rachmaninoff Suite No. 1 for two pianos, Op. 5 & Suite No. 2 for two pianos, Op. 17, with Brigitte Engerer (piano) (Mirare 2008). In 2010 Berezovsky released a record of his Liszt recital (Mirare 2008). His recording of selected works by Brahms (Piano Concerto No. 2, Variations on a Theme of Paganini, and Hungarian Dances Nos. 1, 2 & 4) was released in January 2011 (Mirare). More recently, Berezovsky released a recording of the Piano Concerto no. 2 by Tchaikovsky and other selected works (also with Mirare).

you needed me

I cried a tear, you wiped it dry
I was confused, you cleared my mind
I sold my soul, you bought it back for me

《des mensonges en musique》

Maestro
Please
Des mensonges en musique

Raymond Lefèvre (November 20, 1929 – June 27, 2008) was a French easy listening orchestra leader, arranger and composer.

Biography and career
Born on November 20, 1929 in Calais, France, Raymond Lefèvre is best known for his 1968 theme "Soul Coaxing (Ame Caline)", which became an international hit. He also wrote soundtracks for movies with Louis de Funès such as La Soupe Aux Choux (1981) or the legendary series Le Gendarme de Saint Tropez. During the late 1950s and early 1960s he accompanied Dalida on most of her recordings (Bambino, Por Favor, Tu peux tout faire de moi, Quand on n'a que l'amour), amongst many others. He started his musical career in 1956 on the Barclay Records label. His recordings were released in the United States on the Kapp and Four Corners record labels until 1969.

Early career

一步之遙（西班牙語：Por una Cabeza）是一首著名的西班牙語探戈歌曲，1935 年由阿根廷歌手卡洛斯·葛戴爾 (Carlos Gardel) 作曲，亞法多·勒佩拉作詞完成。西班牙語中的「Por una Cabeza」本為賽馬的術語，意思為「差一個（馬）頭」的長度。在歌曲中用來表示對情人之間錯綜複雜難以割捨的惋惜。

〈一步之遙〉在許多電影當中出現過，包括《女人香》、《辛德勒的名單》、《魔鬼大帝：真實謊言》、《黑店狂想曲》、《國王人馬》、《聖誕壞公公》、《愛，隨心所欲》、《教父》、《觸不可及》等，而又以《女人香》的宣傳最為人所知，經常在探戈場合中採用。

POR UNA CABEZA

Por una cabeza de un noble potrillo 

尼可拉斯·德·安吉利士 (Nicolas de Angelis)（1949年生）。生於法國聖克羅德。10 歲左右，他開始向吉他大師葛西亞 [編按 這是誰？] 學習吉他。16 歲時，安吉利士加入一個法國最具潛力的演奏家所組成樂園，良師益友的經驗交流，使他的彈奏技巧達到了爐火純青的地步。18 歲開始，他替許多知名流行音樂歌手伴奏。之後，安吉利士得到達芬 (Delphine) 唱片公司保羅·德·塞內維爾 (Paul de Senneville) 和奧利維埃·圖桑 (Olivier Toussaint) 的賞識，他們邀請他在理察·克萊德曼 (Richard Clayderman) 的專輯唱片中演出。由於他的不凡表現，最終成為達分唱片的專屬音樂家。安吉利士在中國擁有較多的聽眾，其最為中國聽眾所熟悉的專輯為《悲傷的西班牙》，內有曲目：

《悲傷的西班牙》(L'Éspagnole)
《金色的旋律》
《關塔娜美拉》(Guantanamera)

西崎崇子，BBS（1944年4月14日－）是日本小提琴家。自幼從父西崎信二學習小提琴，是鈴木鎮一所創的鈴木教學法的首位學員。五歲開始在公眾場合演出。

1962年去美國深造並獲弗里茨·克萊斯勒獎學金（Fritz Kreisler Scholarship）。1967年在黎文特利特國際比賽中獲亞軍。1969年在朱利亞德協奏曲比賽（Juilliard Concerto Competition）中獲冠軍，當時她與今井信子（Nobuko Imai）一起演奏了莫扎特交響協奏曲。後與拿索斯唱片公司老闆克勞斯·海曼（Klaus Heymann）結婚，定居香港。

西崎崇子錄製的《梁祝小提琴協奏曲》總銷量超過三百萬張。由於西崎崇子致力推廣古典音樂及慈善活動，2003年獲香港特別行政區政府頒授銅紫荊星章。西崎崇子於2013獲香港科技大學頒授榮譽大學院士，並於該校人文學部兼任教授。

經歷

光是歌名，已足證法國人獨特的品味了，這就是法國文化吸引我的地方。但當初認識這位歌手，卻是另外一首。

耳熟嗎？猜猜看，這是哪首歌... :)

Vénus des abribus

Fallait pas faire la belle

呂思清（1969年11月26日－），中國小提琴家。

生平
呂思清出生於山東青島，4 歲開始學習小提琴，曾隨小提琴家盛中國學習。1977 年被中央音樂學院附小破例錄取，師從王振山教授。1980 年，11 歲的呂思清被 耶胡迪 梅紐因 召收入英國耶胡迪梅紐因音樂學校，14 歲回國繼續在音樂學院附中學習。

1987 年，呂思清榮獲帕格尼尼小提琴大賽金獎，是獲得該獎的第一位亞裔。1989 年，呂思清赴美國朱利亞音樂學院深造，師從著名小提琴教育家多羅西 迪蕾和姜康。

小提琴大師筆下的輝煌旋律【5】維尼奧夫斯基 琴壇傳奇 (小提琴分譜＋鋼琴伴奏譜)

維尼奧夫斯基（H. Wieniawsky/Wieniawski）為波蘭小提琴演奏家、作曲家，演奏技巧輝煌、激情澎湃，即興發揮變化無窮，將古典學派的風格和浪漫主義的色彩巧妙結合，加上熱情洋溢的優美旋律，使小提琴的樂曲產生了前所未有的華麗和輝煌，音樂作品深深紮根於波蘭民族，後人曾將他稱之爲小提琴領域中的蕭邦。

【前言】

在三百餘年的琴壇歷史中，小提琴演奏藝術發展的高峰一個超越一個，而每次高峰的出現，都基於兩個根本原因：一是許多偉大的作曲家爲小提琴家們寫下了許多優秀的演奏作品，這些體裁和風格各不相同的樂曲不僅提高了演奏家們的演奏技能，同時也極大地拓寬了演奏的空間，從而使小提琴的演奏趨於更加豐富和完善；而另一個重要原因則是演奏家們在自己演奏經驗的積累下和演奏技藝的成熟中，以自己對美好生活的憧憬、嚮往和追求，以及對藝術有著強烈和熾熱的表現願望，在不同的時期，以高超的技藝和心靈的歌唱，留下了無數不朽之作，爲琴壇後人舖展了一條光彩奪目、燦爛似錦的藝術之路。