Wir alle brauchen die Musik, ohne sie können wir nicht leben. 
我們都需要音樂，沒有音樂我們就無法生存。  
- 指揮家哈農庫特

藝文

文化生活

觀點

一直以來德國樂理在古典體系裏都是自成一格，在亞洲很少接觸，本專題將提供基本的德國樂理知識，不定期更新

岱伶的沙龍

音樂對我們的意義 (下)

Musik ist die einzige Sprache, in der man nicht lügen kann.
音樂是唯一無法騙人的語種。
- 小提琴家曼紐因

音樂對我們的意義 (上) 

  擁有名貴的樂器和美好的樂感，卻演奏出不準的音，是非常可惜地；就如同做菜 - 擁有優秀的廚具、多元的調味料，食材卻不新鮮。
  所以，千萬別讓您的耳朵吃進不乾淨 (unsauber) 的食物。

My Violin Legends
Pavel Sporcl - violin
Petr Jirikovsky - piano 
Prague, Rudolfinum Nov. 2013

Pavel SPORCL - Sevcik - Czech Dance no 10, op.7

音準的重要性 - 淺談【聽力的訓練】

1904 年 9 月 8 日，給法雅的信
📬📬📬📬📬📬📬📬📬📬📬📬
本文將由一封寫給西班牙作曲家的信，娓娓道出關於 800 年前摩爾人的時空背景。

還有，佛朗明哥舞，究竟代表著什麼意義？

Manuel de Falla compuso esta gran pieza en 1905 y fue realizada en un tiempo de poco más de 1 año. La versión y que traemos en este video está llevada a cabo por el cuarteto de cuerda del Ensemble San Pablo, interpretada en uno de sus conciertos de música hispano americana, realizado en los Pozos de Garrigós (Alicante, España).

♦Conoce más del Ensemble San Pablo y sus proyectos en:
https://www.ensemble-sanpablo.site/

♦Visítanos en Facebook:
https://www.facebook.com/EnsembleSanPablo/

♦También puedes seguirnos en Instagram:
https://www.instagram.com/ensemblesanpablo/

♦Si necesitas contactarnos puedes hacerlo a:
info@ensemble-sanpablo.site

𝐋𝐀 𝐕𝐈𝐃𝐀 𝐁𝐑𝐄𝐕𝐄 ▶ 𝐌𝐀𝐍𝐔𝐄𝐋 𝐃𝐄 𝐅𝐀𝐋𝐋𝐀│ versión para cuarteto de cuerda│

格蘭納達的《短促人生》- 法雅

音樂會到底什麼時候該拍手？
👏👏👏👏👏👏👏👏👏👏👏
本文節錄莫札特的家書，道出古典時期藏匿的潛規則。
還有，指揮沒了怎麼辦？

WOLFGANG AMADEUS MOZART (1756-1791)

Symphony for orchestra in D major No. 31 "Paris" KV297

1. Allegro assai

Performed by the Freiburger Barockorchester
Directed by Gottfried von der Goltz

*The Symphony No. 31 in D major, better known as the Paris Symphony, is one of the more famous symphonies by Wolfgang Amadeus Mozart.

The work was composed in 1778 during Mozart's unsuccessful job-hunting sojourn in Paris. The composer was then 22 years old. The premiere took place on 12 June 1778 in a private performance in the home of Count Karl Heinrich Joseph von Sickingen, the ambassador of the Palatinate. The public premiere took place six days later in a performance by the Concert Spirituel.

The work received a positive review in the June 26th issue of the Courrier de l'Europe, published in London:

The Concert Spirituel on Corpus Christi Day began with a symphony by M. Mozart. This artist, who from the tenderest age made a name for himself among harpsichord players, may today be ranked among the most able composers.
The Concert Spirituel performed the work again on the 15th of August, this time with a new second movement, an Andante replacing the original Andantino (the latter, according to Deutsch, "had failed to please".)

The work evidently was popular. Deutsch lists several further performances by the Concert Spirituel during 1779, on 18 and 23 March, 23 May, and 3 June; and on 14 May 1780. The work was published in Paris by Sieber and announced for sale 20 February 1779. During the years 1782 to 1788, Sieber's catalog described it as "in the repertoire of the Concert Spiritual".

The symphony was later performed in the Burgtheater in Vienna on 11 March 1783 during a benefit concert for Mozart's sister-in-law, the singer Aloysia Weber.

Mozart - Symphony No. 31 "Paris" in D KV297 - Mov. 1/3

對管弦樂音樂家的思考 - 莫札特

音樂，能控制人的悲喜嗎？
🤹‍♂️🤹‍♀️🤹‍♂️🤹‍♂️🤹‍♂️🤹‍♂️🤹‍♀️🤹‍♂️🤹‍♂️
本文將帶您從巴赫的創作手法切入，導出最有名的詠嘆調。
還有，「空氣」 如何再次現身？

La Pasión según San Mateo, BWV 244 es una pasión oratórica escrita para voces solistas, doble coro y doble orquesta por Johann Sebastian Bach.
Erbarme dich, mein Gott, Ten piedad de mi, Dios mío, es el aria nº 47 para violín y contralto de la Pasión según San Mateo de J. S.Bach, y una de las partes más emotivas. 
La cadencia de la música nos hace pensar en las lágrimas que fluyen al pronunciar esa sencilla oración, tal y como dice el texto.

-----LETRA-----
Erbarme dich, mein Gott,
Um meiner Zähren willen;
Schaue hier,
Herz und Auge Weint vor diry
bitterlich.
Erbarme dich!

"Ten piedad de mí, Dios mío,
advierte mi llanto.
Mira mi corazón
mis ojos que lloran amargamente ante Ti
¡Ten piedad de mi!"

Esta versión interpretada por una pequeña orquesta de cuerdas de nombre Ensemble San Pablo acompañada de dos solistas: oboe (interpretando el papel de la contralto) y violín.

Puedes visitarnos en:
https://www.ensemble-sanpablo.site/
https://www.facebook.com/EnsembleSanPablo/
https://www.instagram.com/ensemblesanpablo/

O si lo prefieres, contáctanos a:
info@ensemble-sanpablo.site

▶ ERBARME DICH, MEIN GOTT◀ Matthäuspassion ‒ J. S. BACH

淺談《馬太受難曲》- 巴赫

上台緊張，怎麼辦？
本章節錄《亞歷山大放鬆法》，分析您怯場的原因。
還有，初學者，也可以很精準嗎?

閱讀書評

Heinrich Neuhaus plays Scriabin Prelude & Nocturne for the left hand Op. 9

 【在舞台上怯場的原因】- 亞歷山大放鬆法 

您知道嗎?
個性簽名， 在18 世紀的馬德里就出現了，
本文將為您導聆西班牙名曲《馬德里之夜》
還有，提琴當成別的樂器演奏，有可能嗎?
文末有彩蛋~~

電影戲劇

GRABACIÓN EN DIRECTO. Musica notturna delle strade di Madrid, obra del compositor L. Boccherini. El concierto se realizó en el Albert Long Hall, en la ciudad de ‎Estanbul, Turquía por el Ensemble San Pablo.

LIVE RECORDING. Musica notturna delle strade di Madrid, work of the composer L. Boccherini. The concert was held at the Albert Long Hall, in the city of Istanbul, Turkey by the Ensemble San Pablo.

Los músicos que participan en la grabación son:
The musicians participating in the recording are:

Tai Ling Chi e Isidro Ristori - VIOLIN.
Benjamin Verbruggen - VIOLA.
Antonio Pérez - VIOLONCELLO

Estructura:
LA CAMPANA DEL AVE MARÍA (min. 0:05)
EL TAMBOR DE LOS SOLDADOS (min. 0:28)
MINUETO DE LOS MENDIGOS CIEGOS (min. 0:57)
EL ROSARIO (min. 2:05)
PASACALLE (min. 5:07)
EL TAMBOR (min. 7:10)
RETRETA (min. 7: 24)

Visit us on:
www.ensemble-sanpablo.site
https://www.facebook.com/EnsembleSanPablo/
Contact: 
info@ensemble-sanpablo.com

MUSICA NOTTURNA DELLE STRADE DI MADRID Op. 30 G.324 🔹 arranged for string cuartet

導聆《馬德里之夜》- 鮑凱里尼

快速大聲 v.s. 獨特美麗，你選哪一個?
🎭🎭🎭🎭🎭🎭🎭🎭🎭🎭
Szeretettel!  匈牙利語：來自姚阿幸的愛
Berlin, November 20th, 1904


Recorded in ?

(Budapest, 1906-1971): Hungarian violinist of Jewish descent. Her father, Antal Zilzer was first was an architect and then became a painter who was well known for his portraits: among others, of the Norwegian author Henrik Ibsen, and Mark Twain. She had 3 sisters, Piroska, pianist, Wilma, chemical engineer. and the third a ceramist, none of the sisters had children.

Ibolyka trained with Oszkar Studer, József Bloch, and later with Jenö Hubay and Carl Flesch. She performed both solo and with her sister, Piroska. She won the Mendelssohn Prize in Leipzig in 1930. She married an artist in Denmark. During the war they left Hungary and settled in Sweden and after the war in Denmark. When her husband died, she contacted Victor Larsen, who was a lawyer, asking for help. Afterward they married, and she lived with him in Falster in Denmark until she died. She had been losing her hearing and had an operation in Budapest because of a neurological disease. These may be the reasons she quit playing later in life.

She died in 1971 from the effects of a heart attack. Information from Anne Velsing (Victor Larson’s granddaughter) from Denmark, with assistance from her mother who still has the Mendelsson Prize Medallion Ibolyka won and some of her father’s paintings, and also Rolf.

Ibolyka Zilzer - Valse Triste (Vecsey)

如何駕馭小提琴演奏 - 姚阿幸

為何
聲音如同生命一般，沒有空氣，便無法活命?
本節討論許多樂器發聲的共同概念，
還有，何謂好琴?


Liebesleid by Fritz Kreisler (1875--1962). Performed by Sean Avram Carpenter (YoungArts, 1999) and Gabriela Martinez, piano.

Violin, Bequest of Annie Bolton Matthews Bryant, 1933 (34.86.2).  Learn more about this instrument: http://www.metmuseum.org/toah/works-of-art/34.86.2

Production support was provided by The Donna and Marvin Schwartz Foundation

A production of the Digital Media Department, The Metropolitan Museum Art 

Produced and Directed by Christopher Noey
Edited by Sarah Cowan
Camera by Wayne de la Roche and Jessica Glass
Lighting by Ned Hallick
Sound Recording and Post-Production Audio by David Raymond
Production Coordinator: Stephanie Wuertz
Production Assistants: Corinne Colgan, Robin Schwalb

Organized by the Department of Musical Instruments
J. Kenneth Moore, Frederick P. Rose curator-in-charge
Jayson Kerr Dobney, Associate Curator and Administrator
Susana Caldeira, Assistant Conservator
Joseph Peknik III, Principal Technician
Pamela Summey, Programs Coordinator
Marian Eines, Associate for Administration

岱伶