米開蘭傑里帶給我的感受是泛神的，是萬物之中皆有於此間、已經、正在、將要爆發燃燒的小宇宙。他像是超能英雄之中的蟻人，把自己縮到不能再小之後，瞬間就會看見原本視若無睹的微塵眾之中，懷有不可思議的大美。此刻他以不可能的方式，竟然就這麼輕鬆地跨越了量子力學的邊界，遭受萬物本然的存在性。

創作

文化生活

音樂藝文

<div class="draft-block draft--p left">七夕的多愁晚上，我特別想起米開蘭傑里。</div>
<div class="draft-block draft--p left">這個故事你應該早在許多唱片側標就讀過很多次了。21世紀有那個三個鋼琴家風格完全不同，卻在同一天過生日的呢？波里尼、布蘭德爾、以及米開蘭傑里。</div>
<div class="draft-block draft--p left">世間所有演奏家那麼多，窮其一生也記不了一半的名字，何況是親炙他們的所有曲目。到頭來，究竟是誰，能在時光傾毀之前，讓你召喚出此生最美夢幻的回憶，讓你輕嘆一聲，啊，這樣過了一生也不算怎麼虛度啊。</div>

Bill Evans很少幫人伴奏。他有了一座鋼琴，便有了一條流動的河流，和一整片寬廣的畫布。
鋼琴就是他自己。
直到Evans遇見Tony Bennett，這條河有了不同的流向，畫布也有了嶄新的意義和維度。



玫瑰的眼淚

七夕的多愁晚上，我特別想起米開蘭傑里。

這個故事你應該早在許多唱片側標就讀過很多次了。21世紀有那個三個鋼琴家風格完全不同，卻在同一天過生日的呢？波里尼、布蘭德爾、以及米開蘭傑里。

世間所有演奏家那麼多，窮其一生也記不了一半的名字，何況是親炙他們的所有曲目。到頭來，究竟是誰，能在時光傾毀之前，讓你召喚出此生最美夢幻的回憶，讓你輕嘆一聲，啊，這樣過了一生也不算怎麼虛度啊。

妳心目中的小提琴聲音是怎樣呢?
前陣子因為「立陶宛」捐贈疫苗，讓這個國家成了一個很熱門的詞（大感謝）。臉書同溫層的朋友不斷秀出來自立陶宛的唱片，這其中最常被提到的，就是小提琴家海菲茲。
對，你沒看錯。海菲茲就是冷。
這個公約數，就是冷。
我不知道。
「現在你們還覺得海菲茲冷嗎？」


海飛茲的幾拐聲

每個人心中都有一首歌，歌聲裡有多少故事，就有多少祕密。在這裡，有些熟悉的歌，有些熟悉的生命故事，如果你覺得感動了，那是因為，這首歌正是獻給你。

瓦力唱片行

Claude DEBUSSY:  La cathédrale engloutie - A.BENEDETTI MICHELANGELI

From Wikipedia, the free encyclopedia
La Cathédrale engloutie (The Sunken Cathedral) is a prelude written by the French composer Claude Debussy for solo piano. It was published in 1910 as the tenth prelude in Debussy's first of two volumes of twelve piano preludes each. It is characteristic of Debussy in its form, harmony, and content.
Musical impressionism
This prelude is an example of Debussy's musical impressionism in that it is a musical depiction of, or allusion to, an image or idea. Debussy quite often named his pieces in accordance with the image that he intended to evoke, such as in the case of La Mer, Des pas sur la neige, or Jardins sous la pluie. In the case of the two volumes of preludes, he places the title of the piece at the end of the piece, either to allow the pianist to respond intuitively and individually to the music before finding out what Debussy intended the music to sound like, or to apply more ambiguity to the music's allusion.[1] Because this piece is based on a legend, it can be considered program music.
Legend of Ys
This piece is based on an ancient Breton myth in which a cathedral, submerged underwater off the coast of the Island of Ys, rises up from the sea on clear mornings when the water is transparent. Sounds can be heard of priests chanting, bells chiming, and the organ playing, from across the sea.[2] Accordingly, Debussy uses certain harmonies to allude to the plot of the legend, in the style of musical symbolism.

To begin the piece, Debussy uses parallel fifths. The first chord of the piece is made up of sonorous Gs and Ds (open fifths). The use of stark, open fifths here allude to the idea of church bells that sound from the distance, across the ocean.[3] The opening measures, marked pianissimo, introduce us to the first series of rising parallel fifth chords, outlining a G major pentatonic scale. These chords bring to mind two things: 1) the Eastern pentatonic scale, which Debussy heard during a performance of Javanese gamelan music at the 1889 Universal Exhibition in Paris,[4] and 2) medieval chant music, similar to the organa in parallel fifths from the Musica enchiriadis, a 9th-century treatise on music.[5] The shape of the ascending phrase is perhaps a representation of the cathedral's slow emergence from the water.

After the beginning section, Debussy gently brings the cathedral out of the water by modulating to B major, shaping the melody in a wave-like fashion, and including important narrative instructions in measure 16: Peu à peu sortant de la brume (Emerging from the fog little by little). This shows Debussy at his closest manifestation of musical impressionism.[6] Then, after a section marked Augmentez progressivement (Slowly growing), the cathedral has emerged and the grand organ is heard at a dynamic level of fortissimo (measures 28–41). This is the loudest and most profound part of the piece, and is described in the score as Sonore sans dureté (Sonorous but without harshness). Following the grand entrance and exit of the organ, the cathedral sinks back down into the ocean (measures 62–66) and the organ is heard once more, but from underwater. To attain these effects that reflect images of the castle, most performers use specific techniques with regards to pedaling and articulation to affect tone color. For example, some performers use their full body weight to depress keys to create a rich sound. Also performers create a ringing bell sound by instantly releasing pedaled notes. Finally, the cathedral is gone from sight, and only the bells are heard, at a distant pianissimo.

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歌詠世界的短詩與神話

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付費限定文章歌詠世界的短詩與神話

以行動支持創作者！付費即可解鎖

付費限定文章
歌詠世界的短詩與神話