#Berceuse de Brahms

[chansonsinternationales]

"La Marche funèbre" de Chopin : de Colette Magny à Frank Zappa https://www.radiofrance.fr/francemusique/podcasts/maxxi-classique/la-marche-funebre-de-chopin-de-colette-magny-a-frank-zappa-6653737

[twotales]

Bonne Nuit

Fandom: Stargate Atlantis

Characters: Chuck, Peter Grodin, Elizabeth Weir

Pairing: Chuck/Peter Grodin

Rating: T

Word Count: 525

Tags: Loss, Canonical Character Death, Developing Relationship, Ficlet, Between Episodes

Summary: Set after Siege - Chuck mourns the loss of Peter Grodin.

Notes:

SGA Saturday Prompt Challenge: Quilt + Tender

SGA kick back and chill challenge: Rarepairs + Quilt + Tender

 Italics - Flashback

Read On AO3

Elizabeth's mouth was set. "You're in charge now, Sergeant."

Chuck swallowed and nodded, "Of course Dr. Weir."

She nodded back, her compressed lips lifting briefly in a facsimile of a smile.

He turned and walked back to his quarters in a daze. In charge? His breaths turned shallow. Oh god. Chuck's hands shook.

-

Chuck looked around in awe at the reds, blues, and silvers gleaming around them. His breath caught as he walked up a glowing staircase to consoles that lit up as they came through. His hands shook in excitement.

He felt a nudge on his shoulder, "It's as if Christmas came early. Is it not?"

Chuck glanced up, catching Dr. Grodin’s warm gaze. "Heck, I've never been this excited for Christmas in my entire life."

A smile spread over Dr. Grodin's face as he chuckled, "Neither have I."

-

Chuck made it to his room and threw himself on the bed, pulling his blanket up and over him.

He stared at the light shining through the patchwork of diamonds. Chuck breathed deep, tears pin-pricking his eyes. He held them back till his vision blurred.

-

"You chose that as your one item from home?"

Chuck rubbed the back of his neck and blushed, "It's important."

Grodin's lips lifted, "It does look quite cozy." He looked at Chuck, "Why is it important exactly?"

"My mémé made it for me."

Grodin raised an eyebrow, "Mémé?"

"My Grandmother."

Grodin ran his hand over the quilt. "Ah, sentimentality." Chuck's heart slammed as Grodin smiled, "A man after my own heart."

-

This isn’t happening. Oh god. A sob caught in the back of his throat. Oh god. He shut his eyes tight.

-

Peter ran his finger down Chuck's shoulder, "Tell me about your Mémé."

Chuck turned toward him and pulled the quilt higher. “She was filled with love, everyone in our town knew her name.” Chuck raised his arm up. “She always smelled like freshly baked bread, and she never had a bad word to say about anyone.” Chuck smiled slyly. “But if she caught you being naughty, you’d be scrubbing the scum off the laundry room floor faster than you could blink.” Peter chuckled, his fingers brushing through Chuck's hair. Chuck sighed and picked at the quilt lightly, “She would also sing to me.”

Peter’s arm wrapped around him and pulled him closer, “What would she sing?”

Chuck smiled, “Berceuse de brahms.”

Peter raised his eyebrow, “I am unfamiliar.”

Chuck turned, his eyes getting lost in Peter’s, “I wouldn’t expect you to know a french lullaby.”

Peter smiled, “Sing it for me?”

Chuck swallowed and laid back before closing his eyes.

“Bonne nuit, cher trésor,

Ferme tes yeux et dors.

Laisse ta tête, s'envoler,

Au creux de ton oreiller.

Un beau rêve passera,

Et tu l'attraperas.

Un beau rêve passera,

Et tu le retiendras.”

He opened his eyes, his breath catching at the sight of Peter's warm gaze. The man leaned his head toward his, eyes shutting. Chuck leaned forward and closed his eyes once more.

-

Chuck’s eyes opened slowly, tears running down his cheeks as he brushed his fingers over his lips.

Bonne nuit, mon trésor, bonne nuit.

----

End Notes: Translations

Berceuse de Brahms

“Bonne nuit, cher trésor,

Ferme tes yeux et dors.

Laisse ta tête, s'envoler,

Au creux de ton oreiller.

Un beau rêve passera,

Et tu l'attraperas.

Un beau rêve passera,

Et tu le retiendras."

Brahms' Lullaby

"Good night, dear treasure,

Close your eyes and sleep.

Let your head, fly away,

In the hollow of your pillow.

A beautiful dream will pass,

And you will catch it.

A beautiful dream will pass,

And you will hold it."

-

Bonne nuit, mon trésor, bonne nuit.

Good night, my treasure, good night

-

Listen to: Berceuse de Brahms

Also, if you are interested, take a look at @cassiope25 beautiful comment about the original version of this lullaby. 💚

[yes-bernie-stuff]

LUNDI 19 JUIN APPRENDRE LA PATIENCE (1)

« CELUI QUI EST LENT À LA COLÈRE VAUT MIEUX QU'UN HÉROS » PROVERBES 16.32

La Bible dit que lorsque l’on prie, Dieu peut répondre aussitôt. Mais la « patience instantanée » n’existe pas. La patience est un trait de caractère qui s’édifie au cours d'une vie entière de marche avec Dieu, dans les bons comme dans les mauvais moments. Un enseignant biblique déclarait : « La patience, c'est simplement la foi qui prend son temps. » Voici trois façons dont Dieu peut développer notre patience. 1) Les interruptions. On s’assied pour dîner, et le téléphone sonne. On est dans son bain, et quelqu’un frappe à la porte. On doit finir un travail en urgence, et des visiteurs arrivent. Lorsque Brahms a composé sa célèbre berceuse, on l’avait tellement interrompu qu’il lui a fallu sept ans pour la terminer ! Mais au moins, il ne risquait pas de s'endormir au piano ! 2) Les retards. On déteste attendre, c’est bien connu. Micro-ondes, restauration rapide, café instantané : on obtient ce que l’on désire en un temps record. On irait même jusqu’à dire à Dieu : « Donne-moi de la patience, et tout de suite ! » 3) Les petites irritations. Files d'attente, clés perdues, transports en retard, pneus crevés, toilettes occupées… Saviez-vous que 90 % des crises cardiaques étaient liées à l’empressement ? La Parole déclare : « Celui qui précipite ses pas tombe dans le péché » (Pr 19.2). Pensons à la patience de Job, qui disait lui-même : « Je serais dans l'attente tous les jours de mon service, jusqu'à ce que vienne ma relève » (Job 14.14). Prions à ce sujet, soyons patients, et ayons confiance en Dieu !

Prière du jour Merci Seigneur pour la patience que tu me donnes.

The Word for Today écrit par Bob et Debby Gass © UCB UK 2023 Publication Parole du jour © PHARE MEDIA 2023

[floralembarrassment]

Hush Little Worries (1/1) (jegulus)

"Look I just think he should know more about the muggle world James. It's not like it makes any sense that we don't understand it. Like I can't figure out how this damn telephone thing works but I saw a lady in the park walking around with one without a cord! It was just not connected to anything!"

"No you're right, love. I'm sure Lily and Remus could help honestly." James replied, nodding in agreement.

Regulus' eyes go wide and he smacks his head gently; "Oh Lily! I forgot about Lily!"

"How could you forget about Lily?" James says incredulously.

"Well she's not my friend is she?" Blunt and matter-of-fact as always, Regulus speaks as he picks Harry off the play mat between them and cradles him in his arms.

James scoots over and runs his hand gently over Harry's little head, then looks right into Regulus eyes and clearly offended on Lily's imaginary behalf, says "She most certainly is."

"Not first she wasn't. Anyway I remember now she told me about this play group Mary and her take their daughter to. I wonder if she would let us go with her..." he trailed off as Harry's hand latched around Regulus' finger. Looking into his eyes Regulus knows he will never be able to tell his son no, just like he can never really tell James no now. But he won't let James know that.

"I'll owl her after we put him down." James sighs.

"No no. What did I we just agree? You'll call her on the telephone. Yes?" Regulus squints at him. Of course he is not going to offer to use that muddle device on his own, but he hides that in a compromise; "And I'll ask Remus tomorrow there are things muggles kids do that Harry should do to."

"Deal." James says, leaning over Harry to plant a soft kiss on Regulus' lips. James sprawls out so he is laying on his side, propped up on his elbow staring down at his son in his husband's arms. Regulus pulls Harry up to kiss his forehead sweetly, taking in a nice whiff of that fresh baby smell, and begins to absentmindedly swing softly to him:

"Bonne nuit, Cher trésor,

Fermes tes yeux et dors.

L'aisse ta tête s'enlover,

Au creux de ton orieller.

Un beau rêve passeras,

Et tu l'attraperas.

Un beau rêve passeras,

Et tu le retiendras."

Harry falls asleep instantly at the tune. Regulus moves to get up and put the baby in his crib and notices that the lullaby worked just as well on James, who is now sleeping peacefully on the floor of Harry's room.

"Okay," Regulus whispers, "we can call Lily in the morning." He kisses James forehead, waking up just enough for Regulus to help him sneak out of the baby's room and fall into bed.

[britishchick09]

a funny classical music story! ;D

[heyitslanesl]

3, 4, 6, 7, 8, 9, 10, 11, 18, 33, 34: emil, decord

frowns

3 - is your character more articulate in their thoughts than their words? if yes, do they do anything about that? do they care?

Decord is pretty much the same! He's very articulate either way. He just doesn't often word his thoughts, that's the key difference I think.

4 - would your character sing along to a vaguely familiar song, even if they messed up the lyrics as they went?

He'd rather die!

6 - do they usually sleep in a certain pose? does it change?

Decord doesn't need to sleep and thus does not.

7 - how would they react to eating something that was spicier than they expected it to be?

Coughs but pretends it isn't bothering him. He can't seem weak.

8 - are their hands steady?

I mean, yeah? His right hand is a little bit less steady though. But you have to be really looking.

9 - if someone gave them flowers, what would they do with them?

He puts them in a vase in the common room.

10 - would they sneak out at night to look at the sky? how long would they stay there looking?

If it wasn't cold as hell in Snezhnaya, yeah, probably. All night really. Especially since he doesn't need the sleep.

11 - how do they feel about casual endearments? (babe, etc)

Decord doesn't really like them. (aka he doesn't like them at all.)

18 - would they sing a lullaby, if the opportunity arose?

For certain people, yes. He'd likely sing; À la claire fontaine.

33 - where are they in a group hug? (dead center, outside, etc)

He phased out of the hug wdym

34 - what's the first thing they think when they hear an alarm? what's the first thing they do?

Depends on the type of alarm since the bunker has specific ones. But he's pretty calm the whole time.

3 - is your character more articulate in their thoughts than their words? if yes, do they do anything about that? do they care?

When Emil was younger, he had a bad stutter. His thoughts too fast for his mouth, he said. But it was eventually trained out of him. Or maybe he suppressed it. These days he's pretty articulate. Much like Decord though, Emil often chooses not to word his thoughts.

4 - would your character sing along to a vaguely familiar song, even if they messed up the lyrics as they went?

Eh, he'll save himself the embarrassment..

6 - do they usually sleep in a certain pose? does it change?

Depends on if he's sleeping alone or not. But typically he sleeps on his left side.

7 - how would they react to eating something that was spicier than they expected it to be?

"Oh damn- Was not expecting that." He then continues eating it. He likes spicy stuff.

8 - are their hands steady?

Only when holding his blade(s). Otherwise they have a slight tremble.

9 - if someone gave them flowers, what would they do with them?

He'd turn some of the petals into a bookmark, he travels too much for a bouquet unfortunately.

10 - would they sneak out at night to look at the sky? how long would they stay there looking?

Given he has no home, he spends a lot of time camping out when there are no inns. Emil enjoys looking at the stars.

11 - how do they feel about casual endearments? (babe, etc)

If they come from Laure or Korrie he doesn't mind. But anybody else, it makes him uncomfortable.

18 - would they sing a lullaby, if the opportunity arose?

Much like Dec, for certain people. Or if he's for some reason taking care of a kid. Probably berceuse de brahms.

33 - where are they in a group hug? (dead center, outside, etc)

Whatever is most comfortable for the rest of the group.

34 - what's the first thing they think when they hear an alarm? what's the first thing they do?

Make sure others are okay, figure out the source, take it from there. Cool and collected.

[alexar60]

L’homme et son violoncelle

Caché derrière la porte, j’écoutai la musique entrer dans la pièce, ne comprenant pas comment elle parvenait depuis chez moi. Je n’avais entendu personne entrer, alors je m’étais levé me demandant si ma copine n’avait pas oublié son téléphone, seulement elle serait revenue le récupérer et ce n’était pas son genre de musique. La mélodie semblait classique bien que je ne reconnaissais pas le style musical. Etait-ce du Brahms, du Beethoven ? Peut-être du Chopin ? En fait je n’y connaissais rien mais je la trouvai très belle, reposante, de plus elle me parlait directement.

J’ouvris lentement la porte de ma chambre cherchant à ne pas faire de bruit,  je me dirigeai ensuite vers le salon sur la pointe des pieds. Etrangement, je n’avais aucune envie d’agresser l’intrus, persuadé qu’il ou elle ne représentait aucun danger. Le violoncelle continuait d’exprimer ses mots musicaux enchantant mon esprit. J’approchai doucement jusqu’à la porte de la salle et fus déçu de ne voir personne à travers la pénombre. Au moment de poser le pied dans le salon, la musique s’arrêta subitement ! Le silence dura jusqu’à ce que je me précipite à l’interrupteur. J’allumai mais ne vis personne d’autre que mon reflet dans un miroir. Je restai un peu à me demander si je n’avais pas rêvé quand j’entendis de nouveau la mélodie. Le violoncelle était maintenant dans ma chambre. Je ne sais comment son propriétaire à fait, mais il a réussi à y entrer sous mon nez. J’éteignis et fis demi-tour, marchant encore sur la pointe de pieds pour faire le moins de bruit possible. La porte était ouverte, je vis une silhouette sombre assis en face de mon lit. Son archet faisait trembler les cordes de l’instrument avec précision. Aucune note ne semblait sortir fausse. L’homme ne me regarda pas continuant à jouer. Je ne vis pas son visage de suite. J’avançai jusqu’au pas de la porte restant à écouter cette mélodie qui m’enivrait. Plus je me sentais bien, plus je trouvai sa musique parfaite.

Soudain, un clair de lune éclaira la tête du musicien, je fus pris d’effroi en réalisant qu’il s’agissait de mon grand-père mort depuis vingt ans. Il avait le même nez, le même regard, la même bouche sérieuse sans sourire, la même calvitie. La musique changea, se transformant en une mélodie triste et atroce, elle grésillait comme sortant d’un vieux vinyle. Je regardai le sosie de mon ancêtre sans réellement me poser de questions. L’homme ne me remarqua toujours pas, continuant à jouer cette musique devenue stridente et désagréable. Je soufflai pour reprendre mes esprits, espérant ne pas faire un rêve éveillé. Mais non ! Il était toujours là à jouer sans s’occuper de moi. Toutefois, je remarquai un lien entre moi et la musique. En effet, en maitrisant ma terreur, la mélodie retrouva une certaine douceur, elle était plus calme malgré quelques notes énervées par moments. Je n’osai l’interrompre, écoutant, cherchant à comprendre à la fois. La musique semblait ne jamais finir. Son auteur ne semblait pas fatigué non plus, fermant les yeux pour mieux ressentir le son produit par le violoncelle. Il appuyait sur les cordes tout en les frottant de son archet avec enthousiasme ; il vivait la musique vibrant avec elle. Je devinai qu’il n’était pas mon grand-père. Il adorait la musique cependant il ne jouait d’aucun instrument à ma connaissance. De surcroit, la mélodie imprégnait mon âme fortement, elle me parlait tellement que j’avais la sensation qu’il jouait l’histoire de ma vie comme si les notes racontaient mes sentiments, ma santé, mes soucis ou mes désirs les plus fous. J’étais en présence d’une véritable berceuse au point de vouloir laisser mon esprit s’envoler. Je fermai les yeux et à l’image d’une crise de synesthésie, je voltigeai sur les do, les ré ou doubles croches qui se promenaient dans ma chambre sans lumière. Chaque son produisait une ligne plus ou moins longue sur laquelle je me vis courir, marcher et danser. Brusquement, je réalisai qu’il jouait bien ma vie de la naissance à la mort ou plutôt à maintenant car il continuait de jouer.

En ouvrant les yeux, je n’arrêtai plus de percevoir les notes dans l’air. Toutefois, ce n’était plus moi mais mon passé qui se promenait sur la partition avant de laisser place à mon présent, l’ensemble tournant en boucle comme le refrain d’une chanson populaire. Je regardai ensuite mon grand-père, cherchant à comprendre le message de sa présence avec le violoncelle. Il jouait toujours, j’exprimai cependant un : « c’est beau ! » essayant de prendre contact. Il s’en ficha, continuant de jouer. L’air devint soudainement triste, mélancolique, j’avais envie de pleurer. Il continua de jouer ; dès lors, je décidai d’entrer et vis l’homme et son violoncelle s’effacer petit-à-petit de ma vision. L’apparence devenant translucide, la musique s’éloignait lentement ne laissant que quelques notes perdues au-dessus de mon lit. Elles éclatèrent comme des petites bulles de savon jusqu’à laisser place à un silence total. La lumière toujours éteinte, j’avançai vers mon lit et m’étendis tout en gardant les yeux ouverts, j’espérai réentendre cette musique et revoir son musicien. Parfois, j’inspirais fortement pour absorber les relents de musique encore présents dans l’atmosphère. J’attendis un peu et m’endormis finalement en rêvant de musique et un peu de mes grands-parents et des moments que nous n’avons jamais passé ensemble.

Alex@r60 – octobre 2019

[bruhsauraus]

Classical Piano Music for Sleeping

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For commercial inquiries, licenses and synchronizations ( sync licensing requests ) contact info@halidononline.com

CLASSICAL PIANO MUSIC FOR SLEEPING

00:00 BEETHOVEN – Piano Sonata No. 14 “Moonlight Sonata”: I. Adagio sostenuto 04:52 CHOPIN – Nocturne in C sharp minor, Op. Posth. 08:41 LISZT – Consolations, S. 172: No. 3, Lento placido 12:43 SAINT-SAENS – The Carnival of the Animals: XIII. The Swan 15:22 DEBUSSY – 2 Arabesques: No. 1, Andantino con moto 19:29 CHOPIN – Nocturnes, Op. 9: No. 2 in E-flat major 23:48 DEBUSSY – Rêverie, L. 68 28:01 DEBUSSY – Suite Bergamasque, L. 75: III. Clair de Lune Piano: Luke Faulkner (except The Swan: Sarah Joy & Kathy Hohstadt)

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SATIE – Trois Gymnopédies 32:46 No. 1, Lent et doloreux 35:34 No. 2, Lent et triste 37:49 No. 3, Lent et grave 39:55 MOZART – Ave Verum Corpus, S. 44 42:15 BACH-GOUNOD – Ave Maria 43:59 CHOPIN – Douze études, Op. 25: No. 1 in A-Flat Major “Aeolian Harp” 46:27 EINAUDI – Le Onde 49:36 SAKAMOTO – Aqua 53:08 COSTANTINI – Desert 57:03 EINAUDI – Nefeli 1:00:48 COSTANTINI – Elegia 1:03:06 SAKAMOTO – Energy Flow Piano: Carlo Balzaretti Except “Aeolian Harp”: Giovanni Umberto Battel

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1:06:43 BEETHOVEN – Bagatelle No. 25 in A Minor, WoO 59 “Für Elise” 1:10:29 LISZT – Liebesträume, S. 541: No. 3 in A-Flat Major 1:16:15 CHOPIN – Berceuse in D-Flat Major, Op. 57 1:21:53 SCHUMANN – Kinderszenen (Scenes from Childhood), Op. 15: No. 7, Traumerei 1:25:12 BACH – Orchestral Suite No. 3 in D Major, BWV 1068: II. Aria 1:31:34 DEBUSSY – Préludes, Premier livre, L. 117: No. 8, La fille aux cheveux de lin Piano: Giovanni Umberto Battel

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[mamusiq]

Berceuse de Johannes Brahms

Bonne nuit, mon amour Que les anges te gardent Et t'emportent jusqu'au jour Au pays des rêves bleus. Et demain, si tu veux En ouvrant tes rideaux Ta maman, de nouveau Sourira dans tes yeux. Le soleil s'est enfuit Mais dans l'ombre regarde Chaque étoile de la nuit Est un coin du paradis Si j'en crois ce qu'on dit Ce royaume enchanté Ne peut être habité Que par les touts-petits

Fabienne Guyon - Berceuse de Johannes Brahms

[sonyclasica]

PETER SERKIN

THE COMPLETE RCA ALBUM COLLECTION

Sony Classical rinde homenaje al gran pianista estadounidense Peter Serkin con el lanzamiento de una caja con 35 CD en los que se reúnen las grabaciones realizadas por el intérprete para el sello RCA entre 1965 y1996. En esta nueva edición se incluyen las piezas grabadas por Serkin de sus compositores favoritos entre los que se encuentran Bach, Mozart, Chopin, Bartok, Schoenberg o Messiaen. A la venta el viernes 29 de mayo.

Hijo del pianista Rudolf Serkin y nieto del violinista Adolf Busch, su madre Irene Busch, también fue violinista en el Busch Quartet. En 1958, a los 11 años de edad, ingresó en el Curtis Institute of Music, donde recibió clases de música del pianista polaco Mieczysław Horszowski, del virtuoso estadounidense Lee Luvisi y de su propio padre. Se graduó en 1965. También estudió con Ernst Oster, el flautista Marcel Moyse y el pianista Karl Ulrich Schnabel.

Dio su primer concierto en 1959, en el Festival de Marlboro, fundado en 1951 por Rudolf Serkin, Hermann y Adolf Busch con Marcel, Blanche y Louis Moyse. Después de este concierto, Peter Serkin fue invitado a tocar con las principales orquestas, incluyendo la de Cleveland, bajo la dirección de George Szell, y la de Filadelfia, con Eugene Ormandy.

En 1966, Serkin recibe un premio Grammy al Mejor Nuevo Artista de Clásica. Posteriormente recibiría otras tres nominaciones a estos premios. En 1968, poco después de casarse y convertirse en padre, Peter Serkin decide detener por completo la interpretación de música. Cuatro años después, tras una breve estancia en México, decide volver a Estados Unidos y comienza una nueva carrera músical.

Desde entonces, Serkin toca en todo el mundo con grandes orquestas y directores como Claudio Abbado, Daniel Barenboim, Herbert Blomstedt, Pierre Boulez, Simon Rattle, James Levine y Christoph Eschenbach. Además, es un artista comprometido con la música contemporánea y ha estrenado obras de compositores como Tōru Takemitsu, Lieberson, Oliver Knussen, Charles Wuorinen y Elliott Carter.

Serkin ha colaborado con Yo-Yo Ma, Lorraine Hunt Lieberson, András Schiff, Alexander Schneider, Pamela Frank, Harold Wright, el Guarneri Quartet, el Cuarteto de Budapest y otros importantes músicos y conjuntos. Además, es miembro fundador del Cuarteto Tashi. Enseñó por primera vez en la Juilliard School y después en el Curtis Institute y en el Conservatorio de Música del Bard College y otras instituciones. Entre sus alumnos se encuentran Orit Wolf, Simone Dinnerstein y Cecile Licad.

Entre las grabaciones para RCA que podemos encontrar en esta nueva colección se encuentran las de grandes compositores clásicos como Bach, Schubert o Brahms pero también las de muchos autores modernos como Messiaen, Takemitsu, Schoenberg, Lieberson o Knussen.

El primer disco que encontramos en la caja es su grabación de las Variaciones Goldberg de Bach, con la que ganó el Grammy en 1966. El último CD contiene otra de las piezas maestras del gran compositor alemán. los Conciertos de Brandemburgo. Otros hitos de esta gran colección son la Sonata en Sol Mayor de Schubert (1965), los Conciertos para Piano 14 al 19 de Mozart (1973), el Cuarteto para el Fin del Tiempo de Messiaen (1975) o los álbumes con música del compositor japonés Takemitsu, con quien Serkin mantuvo una fructífera asociación artística.

CONTENIDO

DISC 1:

Bach, J.S.: Goldberg Variations, BWV 988 (GRAMMY® AWARD WINNER)  

DISC 2:

Schubert: Piano Sonata in G Major, D. 894 (Op. 78), "Fantasia"  

DISC 3:

Bach, J.S.: Concerto for 3 Harpsichords in D Minor, BWV 1063  

Bach, J.S.: Concerto for 3 Harpsichords, Strings and Continuo in C Major, BWV 1064  

Mozart: Concerto No. 10 in E-Flat Major for Two Pianos and Orchestra, K. 365  

DISC 4:

Busoni: Fantasia contrappuntistica, BV 256  

Reger: Cello Sonata No. 4 in A Minor, Op. 116  

DISC 5:

Bartók: Piano Concerto No.1, Sz. 83  

Bartók: Piano Concerto No.3, Sz. 119  

DISC 6:

Schubert: Piano Sonata in E-flat Major, D. 568  

Schumann: Waldszenen, Op.82  

DISC 7:

Schoenberg: Concerto for Piano and Orchestra, Op.42  

Schoenberg: Fünf Klavierstücke, Op. 23 (1920/23)  

Schoenberg: Phantasy for Violin with Piano Accompaniment, Op. 47  

DISC 8:

Mozart: Fantasia in C Minor, K.475  

Mozart: Piano Sonata No. 14 in C Minor, K. 457  

Mozart: Praludium and Fugue in C Major, K. 394  

DISC 9:

Mozart: Piano Sonata No. 15 in F Major, K.533/494  

Mozart: Fantasia in D Minor, K.397  

Mozart: Rondo in D Major, K. 485  

Mozart: Rondo in A Minor, K. 511  

DISC 10:

Beethoven: Piano Concerto in D, Op.61a  

DISC 11:

Messiaen: Visions de l'Amen

Messiaen: Catalogie d'oiseaux

Messiaen: La rousserolle effarvatte (VII)

DISC 12:

Mozart: Piano Concerto No. 14 in E-Flat Major, K. 449  

Mozart: Piano Concerto No. 15 in B-Flat Major, K. 450  

DISC 13/14:

Messiaen: Vingt Regards sur l'Enfant-Jésus  

DISC 15:

Messiaen: Quatuor pour la fin du Temps  

DISC 16:

Mozart: Piano Concerto No. 16 in D Major, K. 451  

Mozart: Piano Concerto No. 17 in G Major, K. 453  

DISC 17:

Schubert: Quintet in A, Op. 114 ("Trout")  

DISC 18:

Mozart: Piano Concerto No. 18 in B-Flat Major, K. 456  

Mozart: Piano Concerto No. 19 in F Major, K. 459  

DISC 19:

Stravinsky: The Soldier's Tale - Version for Clarinet, Violin and Piano (1919)  

Stravinsky: Septet for Clarinet, Bassoon, Horn, Piano, Violin, Viola & Cello  

Stravinsky: Pastorale - Song without Words Version for Violin and Piano (1933)  

Stravinsky: Three Pieces for Clarinet  

Stravinsky: Suite italienne - Arrangement for Cello and Piano from "Pulcinella"  

DISC 20:

Beethoven: Quintet for Piano and Winds in E-Flat Major, Op. 16  

Beethoven: Trio in B-Flat Major, Op. 11  

DISC 21:

Mozart: Quintet for Clarinet and String Quartet in A Major, K. 581  

Mozart: Quintet for Piano and Woodwinds in E-Flat Major, K. 452  

DISC 22:

Chopin: Variations brillantes on a Rondo (From Hárold's Ludovic, Op. 12)  

Chopin: Nocturne in F, Op. 15, No. 1  

Chopin: Mazurka in C, Op. 56, No. 2  

Chopin: Mazurka in A-Flat, Op.Posth  

Chopin: Mazurka in B, Op. 41, No. 3  

Chopin: Mazurka in D, Op. 33, No. 2  

Chopin: Mazurka in F Minor, Op. 68, No. 4  

Chopin: Mazurka in B-Flat, Op. 7, No. 1  

Chopin: Nocturne in E, Op. 62, No. 2  

Chopin: Waltz in A-Flat, Op. 64, No. 3  

Chopin: Nouvelle Étude in A-Flat  

Chopin: Prelude in A-Flat, Op.Posth  

Chopin: Berceuse in D-Flat, Op. 57  

Chopin: Barcarolle in F-Sharp, Op. 60  

DISC 23:

Takemitsu: Quatrain II  

Takemitsu: Water Ways  

Takemitsu: Waves  

DISC 24:

Chopin: Polonaise-Fantaisie in A-Flat, Op. 61  

Chopin: Waltz in F, Op. 34, No. 3  

Chopin: Waltz in D-Flat, Op. 64, No. 1 (Minute)  

Chopin: Waltz in G-Flat, Op. 70, No. 1 (Posthumous)  

Chopin: Nocturne in F-Sharp, Op. 15, No. 2  

Chopin: Nocturne in F-Sharp Minor, Op. 48, No. 2  

Chopin: Nocturne No. 2 in D-Flat Major, Op. 27  

Chopin: Impromptu No. 3 in G-Flat, Op. 51  

DISC 25:

Beethoven: Variations on a Waltz by Anton Diabelli, in C, Op.120  

DISC 26:

Chopin: Mazurka in A Minor, Op. 59, No. 1  

Chopin: Mazurka in A-Flat, Op. 59, No. 2  

Chopin: Mazurka in F-Sharp Minor, Op. 59, No. 3  

Chopin: Impromptu No. 1 in A-Flat, Op. 29  

Chopin: Ballade No. 3 in A-Flat, Op. 47  

Chopin: Nocturne in E-Flat, Op. 55, No. 2  

Chopin: Andante spianato and Grand Polonaise in E-Flat, Op. 22  

DISC 27:

Webern: Quartet for Violin, Clarinet, Tenor Saxophone and Piano, Op. 22  

Webern: Four Pieces for Violin and Piano, Op. 7  

Webern: Variations for Piano, Op. 27  

Webern: Three Little Pieces for Cello and Piano, Op. 11  

Takemitsu: Uninterrupted Rest  

Takemitsu: Piano Distance  

Takemitsu: For Away  

Takemitsu: Les Yeux clos  

DISC 28:

Berg: Chamber Concerto for Piano, Violin with 13 Wind Instruments (1923-1925)  

Berg: Violin Concerto "To the Memory of an Angel"  

DISC 29:

Lieberson: Bagatelles  

Lieberson: The Dance  

Knussen: Variations, Op. 24  

Henze: Piece for Peter  

Goehr: ...in real time I  

Lieberson: Fantasy Pieces  

Berio: Feuerklavier  

Kirchner: Interlude  

Takemitsu: Les Yeux Clos II  

Lieberson: Garland  

DISC 30:

Bach, J.S.: Italian Concerto, BWV 971  

Bach, J.S.: Goldberg Variations, BWV 988  

DISC 31:

Takemitsu: Litany  

Takemitsu: Uninterrupted Rest  

Takemitsu: Piano Distance  

Takemitsu: For Away  

Takemitsu: Les Yeux clos  

Takemitsu: Rain Tree Sketch  

Takemitsu: Les Yeux Clos II  

Takemitsu: Rain Tree Sketch II  

DISC 32:

Lieberson: King Gesar  

DISC 33:

Bach, J.S.: Inventions and Sinfonias BWV 772–802

Bach, J.S.: Duet No. 1, BWV 802, in E Minor  

Bach, J.S.: Duet No. 2, BWV 803, in F  

Bach, J.S.: Duet No. 3, BWV 804, in G  

Bach, J.S.: Duet No. 4, BWV 805, in A Minor  

DISC 34:

Beethoven: Sonata quasi una fantasia, Op. 27 No. 1 in e-flat  

Beethoven: Sonata quasi una fantasia, Op. 27 No. 2 in C-Charp Minor  

Beethoven: Sonata Op. 57 "Appassionata" in F Minor  

DISC 35:

Bach, J.S.: Brandenburg Concertos Nos. 1-4 & 6, BVW 1046- 1049 &1051

[lookintomyeyeblog]

‘Bài hát ru của Brahms’ – Trong trẻo và êm ái như tiếng thiên thần khiến trái tim ta tan chảy…

Những câu hát mềm ngọt dịu dàng ru những em bé vào thế giới của giấc ngủ thiên thần với nhiều mộng mơ diệu kỳ. Giai điệu Bài hát ru của Brahms ấy thấm sâu vào mỗi trái tim và ở lại thật dài lâu, bền bỉ...

Hát ru (tiếng Anh: Lullaby hay Cradle song; tiếng Pháp: Berceuse; tiếng Đức: Wiegenlied) là một thể loại nhỏ nhưng quan trọng trong thanh nhạc cổ điển phương Tây. "Wiegenlied" của Brahms có lẽ là tác phẩm nổi tiếng nhất ở thể loại này. Brahms đã viết nó để tặng cô ca sĩ trẻ Bertha Faber mà ông quen biết nhân dịp đứa con thứ hai của vợ chồng cô chào đời. 

Lullaby là tên gọi cho bài hát ru cho trẻ em, một trong số đó là "Wiegenlied: Guten Abend, gute Nacht" ("Chào buổi tối, chúc ngủ ngon"), Op. 49, No 4 của Johannes Brahms, được xuất bản vào năm 1868 và được biết đến rộng rãi như Brahms' Lullaby. (Bài hát ru của Brahms).

[caption id="attachment_224503" align="aligncenter" width="436"] Nhà soạn nhạc thiên tài Johannes Brahms (1833 – 1897)[/caption]

Một bài ca về tình yêu thương được cất lên vì bé

Phần giai điệu thơ trẻ do Brahms viết được trải ra như một sự đối âm với điệu Ländler du dương của thành Vienna mà ông đã từng được nghe Bertha hát. Lúc đó cô còn trẻ và là thành viên của một đoàn hợp xướng nữ đến biểu diễn tại Hamburg. Tác phẩm Wiegenlied mới mẻ này là một biểu trưng trọn vẹn, như Brahms đã viết khi ông gửi nó cho Artur Faber (chồng của Bertha) vào tháng 7/1868: “Cô ấy sẽ nhận ra rằng tôi đã viết Wiegenlied cho đứa con bé bỏng của cô ấy. Cô ấy sẽ thấy nó hoàn toàn thích hợp … rằng khi cô ấy hát ru bé Hans ngủ, một bài ca về tình yêu thương đang được cất lên vì bé.”

Điều kỳ diệu ở tác phẩm có tên thường gọi "Bài hát ru của Brahms" này là vào năm 1975, các nhà khoa học đã tiến hành một cuộc khảo cứu về tác phẩm này. Những trẻ em sinh thiếu tháng được cho nghe "Bài hát ru của Brahms" 5 phút, 6 lần mỗi ngày thì lớn nhanh hơn hẳn những trẻ tương tự không được nghe bài nhạc (theo Chapman, 1975).

Ca từ của câu đầu tiên là từ một bộ sưu tập các bài thơ dân gian Đức gọi là Des Knaben Wunderhorn và đoạn thơ thứ hai được viết bởi Georg Scherer (1824-1909). Tác phẩm được trình diễn lần đầu tiên trước công chúng bởi chính Bertha Faber, sau đó vào ngày 22 tháng 12 năm 1869 tại Vienna bởi Louise Dustmann (ca sĩ) và Clara Schumann (piano).

[caption id="attachment_224502" align="aligncenter" width="365"] Những thiên thần đang canh giữ cho bé ngủ[/caption]

Ngủ ngon nào ngủ ngon, Những bông hồng tô điểm, Hoa cẩm chướng phủ che, Len cả vào chăn bé Sáng sớm mai nếu muốn, Chúa đánh thức bé thôi.

Ngủ ngon nào ngủ ngon, Những thiên thần canh giữ Trong mơ chỉ cho bé Cây của Đức Chúa Con: Ngủ ngon lành bình yên Ngắm Thiên Đường trong mộng.

Từ đó, nó mau chóng lan ra toàn thế giới ở mọi dạng chuyển soạn (thanh nhạc lẫn khí nhạc). Nó đã trở thành một trong số rất nhiều tác phẩm thường bị hiểu lầm là những “khúc dân ca”. Điều này cũng dễ hiểu bởi những câu hát mềm ngọt dịu dàng của nó có thể thấm sâu vào mỗi trái tim và ở lại thật dài lâu, bền bỉ.

Các thể hiện khác nhau của Bài hát ru của Brahms, tất cả đều tuyệt diệu

Chúng tôi giới thiệu ở đây những phiên bản xuất sắc nhất diễn tả vẻ đẹp của "Bài hát ru của Brahms", ở mức độ rung động lòng người nhất:

Phiên bản 1: Bài hát ru của Brahms qua tiếng kèn của Kenny G: 

Phiên bản 2: "Bài hát ru của Brahms" được thể hiện qua giọng hát trữ tình và và đầy nữ tính của soprano người Tây Ban Nha Victoria de los Angeles (1923 – 2005).

Từng câu từng chữ trong lời hát của bà đều đạt đến sự chuẩn mực hoàn mỹ. Nó trong trẻo và êm ái như tiếng thiên thần hát ru vậy (trong tiếng Tây Ban Nha los Angeles có nghĩa là "những thiên thần"):

Phiên bản 3: dàn nhạc hòa tấu cổ điển theo biên soạn nguyên thủy của Brahms. Đây chính là bản nhạc gốc, với những âm điệu hòa tấu tuyệt vời khiến trái tim có cảm giác như tan chảy:

[videoplayer id="cd6751f74"]

 Phiên bản 4: Ca sĩ Hiền Thục thể hiện, giúp các bà mẹ trẻ Việt Nam có thể nghe hiểu và hát theo được để ru bé bằng một tác phẩm hát ru vĩ đại nhất thế giới. 

Này này con..lời mẹ ru.. Ngủ ngoan nhé con thân yêu ơi..ngàn vì sao.. Nhìn long lanh..vào trong giấc mơ yên lành Này này con, lời dịu êm, Mẹ nâng giấc con trong đêm, mộng hoa xinh.. Ngàn vì sao..ngày mai sẽ thơm hương cho con…

Mẹ là mắt, nhắm thật sâu..

Xin hồng ân cho giấc mơ.. Mẹ là mắt khép thật sâu..đêm bình an vẫn trôi mau..

Này ngàn hoa, này ngàn xinh.. Vào trong giấc mơ con thiên thần, Ngủ đi nhé, ngủ ngoan nhé.. Mẹ ru tiếng êm đềm..cho con…”

Kim Cương - Hà Phương

[videobottom id="2314"]

from Đại Kỷ Nguyên - Feed - http://bit.ly/2Zl2RHS via IFTTT

[beatyroseflower]

“Bài hát ru của Brahms” – tác phẩm vĩ đại khiến trái tim người mẹ tan chảy

Những câu hát mềm ngọt dịu dàng ru những em bé vào thế giới của giấc ngủ thiên thần với nhiều mộng mơ diệu kỳ. Giai điệu Bài hát ru của Brahms ấy thấm sâu vào mỗi trái tim và ở lại thật dài lâu, bền bỉ.

Hát ru (tiếng Anh: Lullaby hay Cradle song; tiếng Pháp: Berceuse; tiếng Đức: Wiegenlied) là một thể loại nhỏ nhưng quan trọng trong thanh nhạc cổ điển phương Tây. “Wiegenlied” của Brahms có lẽ là tác phẩm nổi tiếng nhất ở thể loại này. Brahms đã viết nó để tặng cô ca sĩ trẻ Bertha Faber mà ông quen biết nhân dịp đứa con thứ hai của vợ chồng cô chào đời. 

Lullaby là tên gọi cho bài hát ru cho trẻ em, một trong số đó là “Wiegenlied: Guten Abend, gute Nacht” (“Chào buổi tối, chúc ngủ ngon”), Op. 49, No 4 của Johannes Brahms, được xuất bản vào năm 1868 và được biết đến rộng rãi như Brahms’ Lullaby. (Bài hát ru của Brahms).

[caption id=“attachment_224503” align=“aligncenter” width=“436”] Nhà soạn nhạc thiên tài Johannes Brahms (1833 – 1897)[/caption]

Một bài ca về tình yêu thương được cất lên vì bé

Phần giai điệu thơ trẻ do Brahms viết được trải ra như một sự đối âm với điệu Ländler du dương của thành Vienna mà ông đã từng được nghe Bertha hát. Lúc đó cô còn trẻ và là thành viên của một đoàn hợp xướng nữ đến biểu diễn tại Hamburg. Tác phẩm Wiegenlied mới mẻ này là một biểu trưng trọn vẹn, như Brahms đã viết khi ông gửi nó cho Artur Faber (chồng của Bertha) vào tháng 7/1868: “Cô ấy sẽ nhận ra rằng tôi đã viết Wiegenlied cho đứa con bé bỏng của cô ấy. Cô ấy sẽ thấy nó hoàn toàn thích hợp … rằng khi cô ấy hát ru bé Hans ngủ, một bài ca về tình yêu thương đang được cất lên vì bé.”

Điều kỳ diệu ở tác phẩm có tên thường gọi “Bài hát ru của Brahms” này là vào năm 1975, các nhà khoa học đã tiến hành một cuộc khảo cứu về tác phẩm này. Những trẻ em sinh thiếu tháng được cho nghe “Bài hát ru của Brahms” 5 phút, 6 lần mỗi ngày thì lớn nhanh hơn hẳn những trẻ tương tự không được nghe bài nhạc (theo Chapman, 1975).

Ca từ của câu đầu tiên là từ một bộ sưu tập các bài thơ dân gian Đức gọi là Des Knaben Wunderhorn và đoạn thơ thứ hai được viết bởi Georg Scherer (1824-1909). Tác phẩm được trình diễn lần đầu tiên trước công chúng bởi chính Bertha Faber, sau đó vào ngày 22 tháng 12 năm 1869 tại Vienna bởi Louise Dustmann (ca sĩ) và Clara Schumann (piano).

[caption id=“attachment_224502” align=“aligncenter” width=“365”]Những thiên thần đang canh giữ cho bé ngủ[/caption]

Ngủ ngon nào ngủ ngon, Những bông hồng tô điểm, Hoa cẩm chướng phủ che, Len cả vào chăn bé Sáng sớm mai nếu muốn, Chúa đánh thức bé thôi.

Ngủ ngon nào ngủ ngon, Những thiên thần canh giữ Trong mơ chỉ cho bé Cây của Đức Chúa Con: Ngủ ngon lành bình yên Ngắm Thiên Đường trong mộng.

Từ đó, nó mau chóng lan ra toàn thế giới ở mọi dạng chuyển soạn (thanh nhạc lẫn khí nhạc). Nó đã trở thành một trong số rất nhiều tác phẩm thường bị hiểu lầm là những “khúc dân ca”. Điều này cũng dễ hiểu bởi những câu hát mềm ngọt dịu dàng của nó có thể thấm sâu vào mỗi trái tim và ở lại thật dài lâu, bền bỉ.

Các thể hiện khác nhau của Bài hát ru của Brahms, tất cả đều tuyệt diệu

Chúng tôi giới thiệu ở đây những phiên bản xuất sắc nhất diễn tả vẻ đẹp của “Bài hát ru của Brahms”, ở mức độ rung động lòng người nhất:

Phiên bản 1: Bài hát ru của Brahms qua tiếng kèn của Kenny G: 

Phiên bản 2: “Bài hát ru của Brahms” được thể hiện qua giọng hát trữ tình và và đầy nữ tính của soprano người Tây Ban Nha Victoria de los Angeles (1923 – 2005).

Từng câu từng chữ trong lời hát của bà đều đạt đến sự chuẩn mực hoàn mỹ. Nó trong trẻo và êm ái như tiếng thiên thần hát ru vậy (trong tiếng Tây Ban Nha los Angeles có nghĩa là “những thiên thần”):

Phiên bản 3: dàn nhạc hòa tấu cổ điển theo biên soạn nguyên thủy của Brahms. Đây chính là bản nhạc gốc, với những âm điệu hòa tấu tuyệt vời khiến trái tim có cảm giác như tan chảy:

[videoplayer id=“cd6751f74”]

 Phiên bản 4: Ca sĩ Hiền Thục thể hiện, giúp các bà mẹ trẻ Việt Nam có thể nghe hiểu và hát theo được để ru bé bằng một tác phẩm hát ru vĩ đại nhất thế giới. 

Này này con..lời mẹ ru.. Ngủ ngoan nhé con thân yêu ơi..ngàn vì sao.. Nhìn long lanh..vào trong giấc mơ yên lành Này này con, lời dịu êm, Mẹ nâng giấc con trong đêm, mộng hoa xinh.. Ngàn vì sao..ngày mai sẽ thơm hương cho con…

Mẹ là mắt, nhắm thật sâu..

Xin hồng ân cho giấc mơ.. Mẹ là mắt khép thật sâu..đêm bình an vẫn trôi mau..

Này ngàn hoa, này ngàn xinh.. Vào trong giấc mơ con thiên thần, Ngủ đi nhé, ngủ ngoan nhé.. Mẹ ru tiếng êm đềm..cho con…”

Kim Cương - Hà Phương

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[daikynguyen]

“Bài hát ru của Brahms” – tác phẩm vĩ đại khiến trái tim người mẹ tan chảy

Những câu hát mềm ngọt dịu dàng ru những em bé vào thế giới của giấc ngủ thiên thần với nhiều mộng mơ diệu kỳ. Giai điệu Bài hát ru của Brahms ấy thấm sâu vào mỗi trái tim và ở lại thật dài lâu, bền bỉ.

Hát ru (tiếng Anh: Lullaby hay Cradle song; tiếng Pháp: Berceuse; tiếng Đức: Wiegenlied) là một thể loại nhỏ nhưng quan trọng trong thanh nhạc cổ điển phương Tây. "Wiegenlied" của Brahms có lẽ là tác phẩm nổi tiếng nhất ở thể loại này. Brahms đã viết nó để tặng cô ca sĩ trẻ Bertha Faber mà ông quen biết nhân dịp đứa con thứ hai của vợ chồng cô chào đời. 

Lullaby là tên gọi cho bài hát ru cho trẻ em, một trong số đó là "Wiegenlied: Guten Abend, gute Nacht" ("Chào buổi tối, chúc ngủ ngon"), Op. 49, No 4 của Johannes Brahms, được xuất bản vào năm 1868 và được biết đến rộng rãi như Brahms' Lullaby. (Bài hát ru của Brahms).

[caption id="attachment_224503" align="aligncenter" width="436"] Nhà soạn nhạc thiên tài Johannes Brahms (1833 – 1897)[/caption]

Một bài ca về tình yêu thương được cất lên vì bé

Phần giai điệu thơ trẻ do Brahms viết được trải ra như một sự đối âm với điệu Ländler du dương của thành Vienna mà ông đã từng được nghe Bertha hát. Lúc đó cô còn trẻ và là thành viên của một đoàn hợp xướng nữ đến biểu diễn tại Hamburg. Tác phẩm Wiegenlied mới mẻ này là một biểu trưng trọn vẹn, như Brahms đã viết khi ông gửi nó cho Artur Faber (chồng của Bertha) vào tháng 7/1868: “Cô ấy sẽ nhận ra rằng tôi đã viết Wiegenlied cho đứa con bé bỏng của cô ấy. Cô ấy sẽ thấy nó hoàn toàn thích hợp … rằng khi cô ấy hát ru bé Hans ngủ, một bài ca về tình yêu thương đang được cất lên vì bé.”

Điều kỳ diệu ở tác phẩm có tên thường gọi "Bài hát ru của Brahms" này là vào năm 1975, các nhà khoa học đã tiến hành một cuộc khảo cứu về tác phẩm này. Những trẻ em sinh thiếu tháng được cho nghe "Bài hát ru của Brahms" 5 phút, 6 lần mỗi ngày thì lớn nhanh hơn hẳn những trẻ tương tự không được nghe bài nhạc (theo Chapman, 1975).

Ca từ của câu đầu tiên là từ một bộ sưu tập các bài thơ dân gian Đức gọi là Des Knaben Wunderhorn và đoạn thơ thứ hai được viết bởi Georg Scherer (1824-1909). Tác phẩm được trình diễn lần đầu tiên trước công chúng bởi chính Bertha Faber, sau đó vào ngày 22 tháng 12 năm 1869 tại Vienna bởi Louise Dustmann (ca sĩ) và Clara Schumann (piano).

[caption id="attachment_224502" align="aligncenter" width="365"] Những thiên thần đang canh giữ cho bé ngủ[/caption]

Ngủ ngon nào ngủ ngon, Những bông hồng tô điểm, Hoa cẩm chướng phủ che, Len cả vào chăn bé Sáng sớm mai nếu muốn, Chúa đánh thức bé thôi.

Ngủ ngon nào ngủ ngon, Những thiên thần canh giữ Trong mơ chỉ cho bé Cây của Đức Chúa Con: Ngủ ngon lành bình yên Ngắm Thiên Đường trong mộng.

Từ đó, nó mau chóng lan ra toàn thế giới ở mọi dạng chuyển soạn (thanh nhạc lẫn khí nhạc). Nó đã trở thành một trong số rất nhiều tác phẩm thường bị hiểu lầm là những “khúc dân ca”. Điều này cũng dễ hiểu bởi những câu hát mềm ngọt dịu dàng của nó có thể thấm sâu vào mỗi trái tim và ở lại thật dài lâu, bền bỉ.

Các thể hiện khác nhau của Bài hát ru của Brahms, tất cả đều tuyệt diệu

Chúng tôi giới thiệu ở đây những phiên bản xuất sắc nhất diễn tả vẻ đẹp của "Bài hát ru của Brahms", ở mức độ rung động lòng người nhất:

Phiên bản 1: Bài hát ru của Brahms qua tiếng kèn của Kenny G: 

Phiên bản 2: "Bài hát ru của Brahms" được thể hiện qua giọng hát trữ tình và và đầy nữ tính của soprano người Tây Ban Nha Victoria de los Angeles (1923 – 2005).

Từng câu từng chữ trong lời hát của bà đều đạt đến sự chuẩn mực hoàn mỹ. Nó trong trẻo và êm ái như tiếng thiên thần hát ru vậy (trong tiếng Tây Ban Nha los Angeles có nghĩa là "những thiên thần"):

Phiên bản 3: dàn nhạc hòa tấu cổ điển theo biên soạn nguyên thủy của Brahms. Đây chính là bản nhạc gốc, với những âm điệu hòa tấu tuyệt vời khiến trái tim có cảm giác như tan chảy:

[videoplayer id="cd6751f74"]

 Phiên bản 4: Ca sĩ Hiền Thục thể hiện, giúp các bà mẹ trẻ Việt Nam có thể nghe hiểu và hát theo được để ru bé bằng một tác phẩm hát ru vĩ đại nhất thế giới. 

Này này con..lời mẹ ru.. Ngủ ngoan nhé con thân yêu ơi..ngàn vì sao.. Nhìn long lanh..vào trong giấc mơ yên lành Này này con, lời dịu êm, Mẹ nâng giấc con trong đêm, mộng hoa xinh.. Ngàn vì sao..ngày mai sẽ thơm hương cho con…

Mẹ là mắt, nhắm thật sâu..

Xin hồng ân cho giấc mơ.. Mẹ là mắt khép thật sâu..đêm bình an vẫn trôi mau..

Này ngàn hoa, này ngàn xinh.. Vào trong giấc mơ con thiên thần, Ngủ đi nhé, ngủ ngoan nhé.. Mẹ ru tiếng êm đềm..cho con…”

Kim Cương - Hà Phương

from Đại Kỷ Nguyên - Feed - https://ift.tt/2x421BG via https://ift.tt/2x421BG https://www.dkn.tv

[quynhchan]

hay

When Mily Balakïrev composed his oriental fantasy Islamey in 1869, it was declared by many to be unplayable. Still, after its premiere by Nikolai Rubinstein, many tried... Alexander Scriabin even crippled his right hand in a fanatical attempt to master it (meaning we have Balakïrev to thank for Scriabin’s switching to composition). Today, Islamey is standard fare at piano competitions, and concert pianists play it faster, louder and cleaner than ever before. And there are more of them out there – a surfeit of fleet-fingered virtuosi, churned out every year by conservatoriums from Beijing to Belfast. But if everyone can play Islamey, what are the pianistic heights to which musicians must aspire? Clearly, it’s not just a matter of technique. That is why we set out in search of pianists who have set the standard with performances that are not only technically, but also musically, exceptional. Rather than choose our favourites, we asked more than 100 leading pianists to name the pianist who has inspired them most. As the answers flowed in, ten masters of the instrument emerged. But one legendary musician outstripped all others (by a healthy margin). If the piano is the king of instruments, this pianist is the king of kings. But who is he? 10. ARTUR SCHNABEL (1882-1951) Who was he? An Austrian pianist who specialised in core German composers and made the first complete recording of the Beethoven sonatas. What makes him great? A commitment to plumbing the intellectual and spiritual depths of a work, while eschewing displays of technical bravura. Essential recordings BEETHOVEN Piano Sonatas Nos 1-32 (Complete) EMI 7637652 SCHUBERT 4 Impromptus, D899; 4 Impromptus, D935; Allegretto in C minor, D915 EMI 5868332 Jonathan Biss On Schnabel’s living sound “If I was asked which pianist I loved the most, I’d never be able to answer -– too many possibilities! But if it’s a question of who has inspired me, that’s easy: Artur Schnabel. My first exposure to his recordings of the Beethoven Sonatas came in my early teens, and quickly led to an obsession with those works which I expect to last for the rest of my life. I could not understand how he could convey so much meaning – spirituality, even – between two notes, or how he managed to produce from this instrument of keys and hammers a sound which was so buoyant, resistant to gravity, alive. Those two aims – to make a sound that lives, and to find music not only in the notes, but around them – are still primary for me, nearly two decades later. When I went to study with Leon Fleisher, I was touched to hear him speak of Schnabel, his own teacher, with the same kind of awe. Fleisher’s own ideas about music are compelling, and he is matchlessly eloquent in expressing them, but it was often that he would simply tell us what Schnabel had told him about this piece or that, in a tone of voice which suggested that there was no greater authority. I like to think I may have learned something through this lineage, and each and every day I try to bring to my music something of the devotion, understanding and, above all, love, which emanates from every note the man played.” Also chosen by András Schiff, Ronald Brautigam, Garrick Ohlsson… 9. Wilhelm Kempff (1895-1991) Who was he? A German pianist who focused on the greats of German music and played concerts well into his eighties. What makes him great? Rhythmic inventiveness and a talent for bringing out the lyricism, charm and spontaneity in music, particularly in intimate pieces or passages. Essential recordings LISZT From Années de Pèlerinage: Sposalizio; Il penseroso, Canzonetta del Salvator Rosa; Sonetto 47 del Petrarca; Sonetto 104 del Petrarca, Sonetto 123 del Petrarca. Gondoliera, S162 No 1 (from Venezia e Napoli). Two Legendes for piano, S175 DG 4779374 BEETHOVEN Piano Sonatas Nos 8 in C minor, Op 13 Pathétique; 14 in C sharp minor, Op 27 No 2 Moonlight; 21 in C major, Op 53 Waldstein; 23 in F minor, Op 57 Appassionata DG 4474042 Cyprien Latsaris On Kempff in concert “I first heard Kempff live in Paris when I was about 13 years old and then I bought some Beethoven and Brahms recordings of his. He did not have the greatest pianistic technique, but he was very special. He created some sublime, divine musical moments that transported us towards the heavens. I am sure he would have been just as successful in concert today, because the most important factor for a musician is to have a very special personality, and he had that characteristic. He has also influenced what I do at the piano by getting me to put myself in a second state, a spiritual state, before playing. There are so many recordings of his that I treasure, as Kempff excels in Beethoven, Brahms, Schumann, Schubert and Bach. But, in particular, I would name the Klavierstücke of Brahms, the Beethoven middle sonatas and Concertos Nos 2 & 4, the Bach transcriptions, and the Schubert Klavierstücke.” Also chosen by Michael Endres, David Fray, Eldar Nebolsin 8. Alfred Brendel (born 1931) Who is he? An Austrian pianist and teacher now based in London, who has recorded four complete sets of the Beethoven sonatas. What makes him great? Rigorous adherence to the score without ever sounding dry or academic, and a knack for finding unexpected moments of humour, particularly in Classical repertoire. Essential recordings BEETHOVEN The Five Piano Concertos Vienna Philharmonic/Rattle Philips 4627812 SCHUBERT Complete impromptus Philips 4560612 Paul Lewis On studying with Brendel “I had lessons with Alfred Brendel in the 1990s, and he has been a great inspiration. He would talk about music and I would think, “Yeah, that really makes sense”. And then he would sit down and demonstrate things, and that’s when the light bulb really went off. The first time I met him was when I was 20 at the Guildhall School of Music. I remember feeling very nervous and intimidated. Seeing the silhouette of the glasses and the hair coming through the hall, I remember thinking, ‘Oh my god, it’s him!’ I played a Haydn sonata for him and it was clear from the very start that he was interested only in the music. That’s all that matters. You may feel worried about yourself but that’s not the important thing because he’s not the least bit worried about anything but what you’re playing. That tallied with the impression I’d had of him before I met him, from his concerts and recordings – that of an incredibly serious-minded musician. It was a great inspiration and privilege to work with him over those years.” Also chosen by Steven Osborne, Imogen Cooper, Till Fellner… 7. Glenn Gould (1932-1982) Who was he? A highly eccentric Canadian pianist who, after a stellar concert career, shunned the stage at the age of 31 to focus on recordings and experimental projects. What makes him great? A prodigious ability to sculpt the multiple lines of polyphonic music, such as Bach’s, with unsurpassed clarity. And a seeming incapacity for technical error. Essential recordings BACH Goldberg Variations, BWV988 (1981 recording) Sony 88697148532 BACH The Well-Tempered Clavier, Books 1 and 2 Sony SM2K52600, Sony SM2K52603 BACH, MOZART, SWEELINCK Schoenberg Salzburg Recital (1959) Sony SMK53474 Pascal Rogé On Gould the recreator “I first heard Gould play rather late, since in my youth at the Paris Conservatory he was completely unknown. None of my colleagues or teachers ever mentioned his name – until in 1966 I met Bruno Monsaingeon, who revealed Gould to me and the French audience through his marvellous documentaries. It is hard to say what makes Gould’s playing so special, since everything in his playing is special. One can mention the touch, the phrasing, the articulation… But most important is the conception, the architecture, the personal and ‘creative’ approach to every single piece he plays. He is a creator, much more than an interpreter: each time you hear a piece played by Gould, you discover the piece for the first time. I always refer to his line: ‘If you are not convinced you can play a piece in a completely new and unique way, don’t play it.’ It’s an extreme affirmation, but so full of truth! A case in point is his two recordings of the Goldberg Variations, an example of Gould’s genius in even being able to ‘re-create’ himself. They are both masterpieces, and his legacy for all musicians of the world. I am always blown away when pianists dare play (or even touch) this piece after Gould. Are they totally unconscious or utterly pretentious? In Bach he is completely unmatched. In fact, I am unable to hear, accept or conceive any other interpretation of Bach than his. I’d like to say he has been an influence on me, but no one is deranged enough to try and imitate Gould’s playing! Still, I remember when I recorded for French TV the complete First Book of Bach’s Well-Tempered Clavier. It was a project conceived for him by Monsaingeon, but Gould died before he could film it… And I was the one chosen to ‘replace’ him. Can you imagine the pressure? I think the legacy of Gould for any artist is ‘the freedom of creation’ towards any composer, but at the same time respecting the logic of the music and the spirit of the composer – a very challenging equation!” Also chosen by Vladimir Ashkenazy, Fazil Say, Jean-Efflam Bavouzet 6. Alfred Cortot (1877-1962) Who was he? A French pianist and professor at the Conservatoire de Paris. He was called a “poet of the piano” for his mastery of the lyrical works of Chopin, Schumann and Debussy, producing landmark recordings, and meticulous editions, of their music. What makes him great? A highly personal, subjective style that favours intuition and feeling over precise technique, resulting in performances of lush, transcendent musicality. Essential recordings CHOPIN 24 Preludes, Op 28; Prelude Op 45 in C sharp minor No 25; Prelude Op 28 No 15 in D flat major Raindrop; Berceuse in D flat major, Op 57; Tarantella in A flat major, Op 43; Impromptus Nos 1-4 EMI 3615412 CHOPIN, SCHUMANN Chopin: Piano Sonata No 2 in B flat minor, Op 35 Marche funèbre; Schumann: Kinderszenen, Op 15; The Prophet Bird Op 82 No 7; Carnaval Op 9 Naxos Historical Great Pianists 8.111327 FRANCK, RAVEL, SAINT-SAËNS Franck: Symphonic Variations for Piano & Orchestra, M46; Ravel: Piano Concerto in D major (for the left hand); Saint-Saëns: Piano Concerto No 4 in C minor, Op 44; Étude en forme de valse, Op 52 No 6 Naxos Historical Great Pianists 8110613 Stephen Hough On Cortot’s individuality “Cortot is sometimes remembered as the pianist who played lots of wrong notes. This is unfair – not just because he had a dazzling finger technique, but because he never allowed striving for accuracy to distract him from the bigger picture. His mistakes can sometimes be heard even in the first notes of pieces, but I find these fallible moments endearing: the pianist is consumed by spiritual inspiration and oblivious of the physical risks involved. Cortot was a great virtuoso, conscious of the power to excite and thrill that Romantic piano music has, but you never feel manipulated in his musical company. You feel that even his most extravagant interpretative choices come from complete inner honesty; he is not sitting in a spotlight forcing you to look at him, but rather holding a torch, leading you forward to enlightenment. I never tire of hearing his recordings, particularly those of Chopin and Schumann from the 1920s and ’30s. His combination of utter interpretative freedom (sometimes with a touch of eccentricity) and penetrating insight into the composer’s wishes is unique, in my view. There are artists who delight listeners with their wild and daring individuality, and there are others who uncover the written score for us with insight and reverence – but there are few who can do both. Cortot had a vision which saw beyond the academic or the theatrical to some wider horizon of creativity from whence the composers themselves might well have drawn inspiration.” Also chosen by Alfred Brendel, Benjamin Grosvenor, Stanislav Ioudenitch… Copyright Guardian News & Media Ltd 201 5. Emil Gilels (1916-1985) Who was he? An Odessa-born pianist who moved to Moscow in 1935, becoming, along with Richter, the leading Soviet pianist of his day. He and violinist David Oistrakh were among the first Soviet musicians allowed to concertise in the West. What makes him great? His “golden” sound – an ability to execute the most taxing passages without compromising his burnished tone or depth of feeling. Essential recordings BRAHMS Piano Concerto No 1 in D minor, Op 15; Piano Concerto No 2 in B flat major, Op 83; Fantasies (7 piano pieces), Op 116 Berliner Philharmoniker/Jochum DG Originals 4474462 LISZT, SCHUBERT Piano Sonata in B minor, S178; Piano Sonata No 17 in D major, D850 Sony 88697858242 BEETHOVEN Piano Sonata No 28 in A major, Op 101; Piano Sonata No 29 in B flat major, Op 106 Hammerklavier DG Originals 4636392 Cédric Tiberghie On the grandeur of Gilels “Gilels has this mixture of fantastic tone quality and an ability to make everything seem simple when you listen to him. Even when he plays a simple Bach prelude, or the Bach-Siloti Prelude in B minor, you think it’s simple to play, but then you buy the music and you’re like, ‘Oh my god, this is impossible!’ I first heard Gilels when I was eight or nine – his recording of the Brahms Second Concerto with the Berlin Philharmonic. I wasn’t aware it was Gilels – or even a Brahms concerto – just one of my dad’s huge collection of cassette tapes. But it was my favourite music, and still today I think it’s one of the most beautiful recordings ever made of a piano concerto. The quality of tone and line, the inspiration and the beauty of the sound – everything is so perfect. It’s actually quite intimidating when you have to play the concerto yourself. He plays the first movement so slowly, and you think, OK, I’m going to do the same – which is a big mistake because he’s Gilels and you’re not. You need that golden sound Gilels possessed – more than anyone in history – as well as a clear idea of the structure and direction; and for this you need a lifetime of experience. Also, if I compare my hand to his, his was probably twice as heavy as mine. It’s like Oistrakh on the violin, there’s that question of flesh, pure matter creating the sound. If you have extremely thin hands, the quality of tone will probably be clearer than Gilels’. So I don’t try to imitate an artist like him, but I try to keep in my head the grandeur of what he does. It’s something I always try to find, not artificially, but perhaps just to feel. So he’s a model for me in that respect.” Also chosen by Alice Sara Ott, Olli Mustonen, Lars Vogt… 4. Arthur Rubinstein (1887-1982) Who was he? A Polish pianist who left Europe after WWI, settling in the US. What makes him great? His interpretations of the music of Chopin, to which he brought a glowing tone and endless variety of phrasing. Essential recordings CHOPIN Nocturnes Nos 1-19 Sony 88697690412 LIVE AT MOSCOW GREAT HALL DVD Medici Arts 3078548 CHOPIN, BRAHMS Chopin: Piano Concerto No 2 in F minor, B43 Op 21; Brahms: Piano Concerto No 2 in B flat major, Op 83 Altara 1021 Roger Woodward on sharing the legacy of Rubinstein “When I was studying at the Chopin National Academy in Warsaw, our class sometimes met Professor Drzewiecki’s illustrious friends, one of whom was Arthur Rubinstein. He played for us and some students had the privilege of playing for him. Everybody in the class knew his recordings, as they were the classical Chopin interpretations that Drzewiecki had taught us. Grace, poise and thorough research were the hallmarks of his art, one that showed mastery but also enormous modesty and, contrary to what some ‘authorities’ had to say, a flawless technique. Rubinstein’s critics, and there were many, tended to forget how thorough he was in researching the repertoire he played. Where others posed and only pretended they had researched their subject, Rubinstein’s performances reeked of integrity. The earliest of Rubinstein’s three complete Mazurka recordings provided a high point for us in our study of Chopin, although for me it was his performances of the Nocturnes that provided the key to all other Chopin. I remain eternally grateful to Rubinstein for his recordings and what he had to say about them. Rubinstein was not blessed with the sheer virtuosity of Rachmaninov or Horowitz, but he developed a mastery of legato cantabile and tempo rubato second to none. This is evident in such miraculous pre-war ‘live’ performances as his historic recording of the Chopin Piano Concertos with Sir John Barbirolli, although his performances of the same with Witold Rowicki were even more beautiful – completely unforgettable. I will never forget his kindness and generosity to our class, and his charm, modesty and scrupulous research. Although I remain a student all my life and continue to listen to his many wonderful recordings, I consider myself fortunate to share such rich experiences with my own students.” Also chosen by Simon Trpceski, Jayson Gillham, Margaret Fingerhut 3. Sviatoslav Richter (1915-1997) Who was he? A Russian pianist of German descent who became the USSR’s pre-eminent musician. What makes him great? Rock-solid technique combined with an astonishing variety of sound. Essential recordings THE SOFIA RECITAL Philips 464734 REDISCOVERED: CARNEGIE HALL RECITAL RCA Red Seal 09026 63844-2 PROKOFIEV Piano Sonata No 2 & 9; Visions fugitives Nos 6, 18 Melodiya MELCD1001677 Barry Douglas On the intensity of Richter “I heard Richter play many times in England, France and America and what I loved about him was that he was able to make the piano sound not like a piano – it sounded like an orchestra or sometimes like a choir. Also, anything he did at the instrument always seemed totally right. It didn’t seem like his ideas; it seemed like the only way to do it. Every artist should aim, if they’re serious, to remove themselves from the equation and go to the heart or the essence of the music. Very few artists can do that, but for Richter it was totally natural. He was also a very serious musician: after concerts he’d often decide he needed to practise, and would go home and practise for another two hours. He also insisted that each recital program contain at least one new piece. So his repertoire was vast. I don’t think his studio recordings were that successful: they didn’t really represent him. It’s the live recordings which are amazing. Everyone talks about the Sofia recital from 1958 where he plays Liszt’s Feux Follets and Mussorgsky’s Pictures at an Exhibition. Still, his recordings of the Beethoven sonatas are also second-to-none, not to mention the Russian repertoire – the little pieces of Tchaikovsky – and Prokofiev, who wrote his Seventh Sonata for him. When I was at the Tchaikovsky Competition in 1984 he sent messages to me through others saying how fantastic he thought I was, which was very sweet. I wish I’d had a chance to get to know him better. I will always look up to Richter. A performing artist mustn’t copy, but you can be inspired by the essence of what someone stood for, and that’s what I do with him. I know very deep inside myself I’m trying to grasp what Richter had, which is an amazing, fiery, burning intensity of passion for music – that’s what came across when he played. He was absolutely obsessed, and possessed, by music.” Also chosen by: Howard Shelley, Anna Goldsworthy, Piotr Anderszewski... 2. Vladimir Horowitz (1903-1989) Who was he? A Russian-born pianist who left for the West at age 21, where he was described as a “tornado unleashed from the steppes”. Most famous for his performances of Romantic piano repertoire and, surprisingly, Scarlatti, he returned to Russia for a triumphant farewell recital in 1986. What makes him great? Sparkling virtuosity and extraordinary use of tone colour, combined with a talent for thrilling his audience, creating a furore at his live recitals. Essential recordings SCARLATTI Horowitz plays Scarlatti Sony 88697806402 LISZT, CHOPIN, SCHUMANN The London recordings 1932-1936 Archipel Records ARPCD0246 HOROWITZ IN MOSCOW DVD Sony SVD64545 Ingolf Wunder On the god-like gifts of Horowitz “Horowitz combined high-class pianism with a unique taste in music and interpretation. What made him unique was his ability to chisel his feelings and moods out of the structures and harmonic material of the score. I think I first heard Horowitz when I was 14. I was just astonished by his tone and the variety of colours he could produce. And he always played as his hand was built, never betraying his taste and his view of music. He was always himself, and everything he touched became his own. His playing is never mediocre, it either works or it doesn’t. But if it does work, it’s simply god-like – incomparable with anything you’ve ever heard. In a way, Horowitz is the product of a time that produced so many great pianists. I believe the way of thinking and our life has changed since then. Now musicians can go on the Internet and hear almost every recording of any piece; back then they were forced to think for themselves. Small things were given greater importance because it wasn’t possible to go anywhere instantly. It was not necessarily about who can play the fastest or any other competitive aspect, it was more about the music. There are still a few musicians that are like Horowitz and those old greats, and that’s the school we ought to come back to.” Also chosen by: Freddy Kempf, Gerard Willems, Konstantin Scherbakov 1. Sergei Rachmaninov (1873-1943) Who was he? A pianist and composer born in Russia, who graduated from the Moscow Conservatorium in the same class as composer Alexander Scriabin. Among his compositions is the Piano Concerto No 2, often voted the most popular piece of classical music of all time. He left Russia in 1917, embarking on a career as a touring pianist in order to support himself and his family. He became a US citizen shortly before his death. What makes him great? An almost superhumanly clean finger technique, which allowed him to maintain clarity even in the knottiest passages. This was partly due to his famously large hands, able to span 12 inches, or a 13th (C1 to A2) on the piano. He also had a beautifully singing tone, likened to that of violinist Fritz Kreisler, permitting him to wring infinite sweetness from a melody. Essential recordings CHOPIN•SCHUMANN Piano Sonata No 2; Ballade No 3, Carnaval Naxos Historical Great Pianists 8.112020 RACHMANINOV Concertos Nos 1-4; Rhapsody on a theme of Paganini RCA 09026616582 BEETHOVEN, GRIEG, SCHUBERT Violin Sonata No 8 in G major, Op 30 No 3; Violin Sonata No 3 in C minor, Op 45; Grand Duo for Violin and Piano in A Major, D574; Fritz Kreisler v Naxos Historical Great Pianists 8.110968 Leslie Howard on the greatest pianist ever to make a record “What’s remarkable about Rachmaninov’s playing is how honest it is. Nothing gets between his playing and his idea of why the piece of music was worth recording. His playing is never cluttered, it’s never fussy and there’s a complete absence of cheap tricks – quite unusual for the time he was recording. I think he’s the greatest pianist of his age and I’m sure he’s the best pianist who ever made a record. Of course, his technique is extraordinary, but the gift of all good technique is that you’re not aware of it when you’re listening to it. If you hear him play Si oiseau j’étais by Henselt, for instance, it sounds like the most charming salon piece. But if you’ve ever sat down to play it, you’ll know perfectly well it’s an absolute terror. Rachmaninov also has a way of dealing with rhythm which makes him instantly recognisable. Sometimes he does it by playing a rhythm that’s not exactly what’s in the score, but it comes out sounding like what should have been in the score. Take his recording with Fritz Kreisler of the Opus 30 No 3 Sonata of Beethoven, for example. You hear every single note and every single note is as important as every other, which is how Beethoven ought to be played, but seldom is. Being a composer, Rachmaninov also possessed a formidable musical mind. He dissected every piece before he put his hands on the keyboard. And he could do that because his compositional skills were so refined. I sometimes think when he plays his own music he’s less careful – almost as if he doesn’t quite think there should be so much fuss made about him. But when you hear how utterly unsloppy, in the emotional sense, his playing of his own music is, it discourages pianists from wallowing in it, as so many of them do. Then, if you want romantic playing he can do that too, and again I think of one of the recordings with Kreisler of the Grieg Sonata No 3. The second movement is heartrendingly marvellous and the way he plays the tune is completely different from the way Kreisler plays it. It makes the piece sound more eventful than it actually is – it’s a cracker of a recording! There’s a reason why Rachmaninov didn’t record more, and that’s because of the strained relations he had with the people at the Victor Talking Machine Company, who thought he was getting too much money for his recordings, and who turned down many of the things he offered to record. For instance, he was going to give a free recording of Beethoven’s First Piano Concerto, as long as they would let him record his orchestral Symphonic Dances, and they refused the offer. The reason why the recording we do have of him playing his Third Concerto is, to many ears, a bit inadequate is because he had to go back and record the first side again four months later. He put cuts in it at the last moment because the producer Charles Connell gave him grief, saying he couldn’t play the piano and couldn’t compose either. In short he made the whole thing deeply unpleasant for Rachmaninov. So we’ve got this Mr Connell to thank for not having the Liszt Sonata, the Hammerklavier Sonata, the Waldstein Sonata, and the Chopin B minor Sonata. Of the recordings we do have, it’s very difficult to choose a favourite, but I absolutely love his recording of Schumann’s Carnaval. I think that’s perfect piano-playing from start to finish.” Also chosen by Stephen Kovacevich, Denis Matsuev, Alexey Yemtsov... Why are there so Many great Russian Pianists? “From the 19th Century there has been very systematic children’s musical education in Russia, which started back with the foundation of the Moscow Imperial Conservatory. Rachmaninov came to study there at the age of 14. He lived at the home of Nikolai Zverev, who had created a boarding school for young students, who were required to practise six hours per day, apart from their school study. [Other boarders with Zverev were Scriabin and Siloti]. That school transformed into the Central Music School in the Soviet era, and the system expanded throughout the country. Today in Russia there is serious musical education for kids starting from when they’re big enough to reach the keys. Vladimir Ashkenazy, Grigory Sokolov and Mikhail Pletnev are products of this rather strict Soviet school. So children study for seven or eight years at a special music school, then at 15 they go to music college for three years. And that’s all before they enrol in the Conservatorium. So if a kid is talented, by the age of 16 they can play basically everything. That means when Russian students come to the Conservatory, they are already professional pianists. They have almost no technical boundaries to overcome, and can just focus on becoming an artist. So it’s not like just having piano lessons with a teacher – it’s systematic and totally free musical education. Geniuses are born everywhere, but only in Russia are they nurtured in this way.” Elena Kuznetsova Dean of piano, Moscow Conservator - See more at: http://www.limelightmagazine.com.au/features/greatest-10-pianists-all-time#sthash.IghNbRez.dpuf

[geidailib]

ミニ蓄音機コンサートを開催しました

3月21日（火）、大学を会場として開催されている第20回国際音楽学会にあわせた蓄音機コンサートを開催しました。

開催場所は図書館ロビーです。ロビー開催は今年の1月に次いで2度目ですが、準備が楽なのが嬉しいところです。あいにくの雨でしたが、14:00、15:00の2回あわせて学会の参加者を中心に31名のお客様が来てくださいました。

今回は国際学会のお客様がターゲットということで、配布用プログラムも英語中心のインターナショナルバージョンで作���しました。実際に日本語ネイティブでないお客様が1/3以上でしたので、そうしておいて良かったとほっとしています。わずかではありますが、海外の研究者に「野澤コレクション」を紹介することができました。

曲目 Eugène Ysaÿe (1858-1931) Brahms “Hungarian dance no. 5 in G”  (1912)

Bronisław Huberman (1882-1947) Bizet (Sarasate) “Carmen fantasy” (1925)

Jenő Hubay (1858-1937) Hubay “Berceuse”  (1929)

Fritz Kreisler (1875-1962)　 Mendelssohn “3rd movement from Violin Concerto op. 64” (1926)

Pablo Casals (1876-1973) J.S. Bach “1st movement from Suite no.1 in G major” (1938)

Joseph Szigeti (1892-1973) Scriabin “Study in Thirds op. 8 no.10” (1936?)

Ginette Neveu (1919-1949) Ravel “Piece en forme de habanera” (1946)

Yasha Heifetz (1901-1987) Sarasate “Zigeunerweisen” (1937)

2017年 3月21日(火) 14:00-14:45 観客数　23名 3月21日(火) 15:00-15:45 観客数　 8名

[mamusiq]

Fabienne Guyon - Berceuse de Johannes Brahms

Berceuse de Johannes Brahms

Bonne nuit, mon amour Que les anges te gardent Et t'emportent jusqu'au jour Au pays des rêves bleus. Et demain, si tu veux En ouvrant tes rideaux Ta maman, de nouveau Sourira dans tes yeux. Le soleil s'est enfuit Mais dans l'ombre regarde Chaque étoile de la nuit Est un coin du paradis Si j'en crois ce qu'on dit Ce royaume enchanté Ne peut être habité Que par les touts-petits