Le bal aux enfers, Op.136 (Egghard, Jules) 原版 正谱 钢琴谱 五线谱 经典乐谱.pdf
福楼法餐厅
福楼法餐厅
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文章来源：/post/2bfcb57d257c162b42013abb?from=wenku/?from=wenku。
少年管弦乐队指南十三段变奏的演奏乐器
少年管弦乐队指南十三段变奏的演奏乐器英文版Playing in a youth orchestra can be a rewarding and fulfilling experience for young musicians. Not only do they have the opportunity to perform in front of an audience, but they also get to collaborate with other talented musicians and improve their musical skills. In this article, we will explore the different instruments commonly found in a youth orchestra and how they contribute to the overall sound of the ensemble.1. ViolinThe violin is one of the most prominent instruments in a youth orchestra. It is known for its sweet and soaring sound, and is often featured in solos and melody lines. Violinists are usually divided into first and second sections, with the first violins playing higher notes and the second violins playing lower notes to create a harmonious blend.2. ViolaThe viola is slightly larger than the violin and has a deeper, richer tone. It often plays the inner harmonies and melodies, adding depth and warmth to the overall sound of the orchestra. Viola players are essential for creating a full and balanced sound.3. CelloThe cello is a versatile instrument that can play both melody and accompaniment. Its deep and resonant sound adds a strong foundation to the orchestra's sound. Cellists often play the bass line, providing a solid rhythmic and harmonic support for the rest of the ensemble.4. Double BassThe double bass is the largest and lowest-pitched instrument in the orchestra. It provides the foundation for the entire ensemble, playing the bass line and adding depthand richness to the sound. Double bassists are crucial for maintaining the orchestra's rhythm and balance.5. FluteThe flute is a woodwind instrument known for its bright and airy sound. It often plays the high melodies and adds a sparkling quality to the orchestra's sound. Flutists are skilled at playing fast passages and intricate runs, adding a virtuosic element to the ensemble.6. OboeThe oboe is a double-reed instrument with a rich and expressive tone. It often plays the lyrical melodies and solos, adding a plaintive and emotional quality to the orchestra's sound. Oboists are known for their precision and control, creating a seamless and cohesive sound.7. ClarinetThe clarinet is a versatile woodwind instrument that can play a wide range of musical styles. It often plays the middle harmonies and melodies, adding warmth and color to the orchestra's sound. Clarinetists are adept at playing both lyrical and virtuosic passages, adding depth and complexity to the ensemble.8. BassoonThe bassoon is a double-reed instrument with a deep and mellow tone. It often plays the bass line and adds a rich and sonorous quality to the orchestra's sound. Bassoonists are skilled at playing intricate and expressive passages, adding a dark and velvety timbre to the ensemble.9. TrumpetThe trumpet is a brass instrument known for its bright and powerful sound. It often plays the fanfare-like melodies and adds a regal quality to the orchestra's sound.Trumpeters are skilled at playing high notes and fast passages, adding a brilliant and commanding presence to the ensemble.10. TromboneThe trombone is a brass instrument with a rich and resonant sound. It often plays the lower harmonies and adds a deep and robust quality to the orchestra's sound. Trombonists are known for their expressive playing and ability to blend seamlessly with the rest of the ensemble.In conclusion, each instrument in a youth orchestra plays a crucial role in creating a cohesive and balanced sound. By working together and supporting each other, young musicians can create beautiful music that is greater than the sum of its parts.完整中文翻译：在青少年管弦乐队中演奏可以成为年轻音乐家的一种有益且充实的体验。
舒曼全部作品列表(List of compositions by Robert Schumann)
List of compositions by Robert SchumannContents• 1 Piano works• 2 Vocal workso 2.1 Lieder and partsongso 2.2 Choral and dramatic works• 3 Orchestral workso 3.1 Works for solo instrument(s) with orchestra• 4 Chamber music1. Piano works•Op. 1, Variations on the name "Abegg" (1830)•Op. 2, Papillons, (1829–1831)•Op. 3, Etudes After Paganini Caprices (1832)•Op. 4, Intermezzi (1832)•Op. 5, Impromptus [on a Theme by Clara Wieck] (1833)•Op. 6, Davidsbündlertänze (1837)•Op. 7, Toccata (1832)•Op. 8, Allegro in B minor (1831)•Op. 9, Carnaval (1834–1835)•Op. 10, 6 Concert Studies on Caprices by Paganini (1833)•Op. 11, Grand Sonata No. 1 in F-sharp minor (1835)•Op. 12, Fantasiestücke ("Fantasy Pieces") (1837)•Op. 13, Études symphoniques ("Symphonic Studies") (1834)•Op. 14, Grand Sonata No. 3 in F minor, "Concerto Without Orchestra" (1835)•Op. 15, Kinderszenen ("Scenes From Childhood") (1838)•Op. 16, Kreisleriana (1838)•Op. 17, Fantasia in C (1836)•Op. 18, Arabeske in C (1839)•Op. 19, Blumenstück in D-flat ("Flower Piece") (1839)•Op. 20, Humoreske in B-flat (1839)•Op. 21, Novelletten ("Novelettes") (1838)•Op. 22, Sonata No. 2 in G minor (1833–1835)•Op. 23, Nachtstücke ("Night Pieces") (1839)•Op. 26, Faschingsschwank aus Wien ("Carnival Jest from Vienna") (1839)•Op. 28, Three Romances (1839)•Op. 32, 4 Klavierstücke (Scherzo, Gigue, Romance and Fughette) (1838–9)•Op. 56, Etuden in kanonischer Form für Orgel oder Pedalklavier ("Studies in the Form of Canons for Organ or Pedal Piano") (1845)•Op. 58, Skizzen für Orgel oder Pedalklavier ("Sketches for Organ or Pedal Piano") (1845)•Op. 60, 6 Fugues on B–A–C–H for organ or pedal piano (1845)•Op. 66, Bilder aus Osten ("Pictures from the East") (6 Impromptus for piano 4-hands) (1848)•Op. 68, Album für die Jugend ("Album for the Young") (1848)•Op. 72, Vier Fugen ("Four Fugues") (1845)•Op. 76, Vier Märsche ("Four Marches") (1849)•Op. 82, Waldszenen ("Forest Scenes") (1848–1849)•Op. 85, 12 Klavierstücke für kleine und große Kinder) ("12 Piano Pieces for Young and Older Children") (piano 4 hands) (1849)•Op. 99, Bunte Blätter (1836–1849)•Op. 109, Ball-Scenen ("Scenes from a Ball") (4 hands) (1851)•Op. 111, Three Fantasiestücke (1851)•Op. 118, Three Piano Sonatas for the Young (1853)•Op. 124, Albumblätter ("Album Leaves") (1832–1845) (includes one piece previously part of WoO 31)•Op. 126, Seven Piano Pieces in Fughetta Form (1853)•Op. 130, Kinderball ("Children's Ball") (four hands) (1853)•Op. 133, Gesänge der Frühe ("Songs of Youth") (1853)•WoO 24, Variationen in Es-dur über ein eigenes Thema "Geister-Variationen" ("Variations in E-flat on an Original Theme") (1854)•WoO 31, Etüden in Form freier Variationen über ein Beethoven'sches Thema ("Studies in the Form of Free Variations on a Theme by Beethoven") (1831–32)2. Vocal works2.1 Lieder and partsongs•Op. 24, Liederkreis (Heine), nine songs (1840)•Op. 25, Myrthen, twenty-six songs (4 books) (1840)•Op. 27, Lieder und Gesänge volume I (5 songs) (1840)•Op. 29, 3 Gedichte (1840)•Op. 30, 3 Gedichte (1840)•Op. 31, 3 Gesänge (1840)•Op. 33, 4 Lieder (part songs for men's voices with piano ad lib) (1840)•Op. 34, 4 Duets (soprano and tenor with piano) (1840)•Op. 35, 12 Gedichte (1840)•Op. 36, 6 Gedichte (1840)•Op. 37, Gedichte aus "Liebesfrühling" (12 songs, of which numbers 2, 4 and 11 are by Clara Schumann) (1840) •Op. 39, Liederkreis (Eichendorff), twelve songs (1840)•Op. 40, 5 Lieder (1840)•Op. 42, Frauenliebe und -leben (Chamisso), eight songs (1840)•Op. 43, 3 Duets (1840)•Op. 45, Romanzen & Balladen volume I (3 songs) (1840)•Op. 48, Song cycle, Dichterliebe, sixteen songs from Heine's Buch der Lieder (1840)•Op. 49, Romanzen & Balladen volume II (3 songs) (1840)•Op. 51, Lieder und Gesänge volume II (5 songs) (1842)•Op. 53, Romanzen & Balladen volume III (3 songs) (1840)•Op. 55, 5 Lieder (partsongs) (1846)•Op. 57, Belsatzar, ballad (Heine) (1840)•Op. 59, 4 Gesänge (partsongs) (1846)•Op. 62, 3 Gesänge (partsongs with piano ad lib) (1847)•Op. 64, Romanzen & Balladen volume IV (3 songs) (1841–47)•Op. 65, Ritornelle in canonischen Weisen (7 canonic part songs) (1847)•Op. 67, Romanzen & Balladen volume I (5 partsongs) (1849)•Op. 69, Romanzen volume I (6 partsongs for women's voices) (1849)•Op. 74, Spanisches Liederspiel (3 songs, 5 duets, 2 quartets) (1849)•Op. 75, Romanzen & Balladen volume II (5 partsongs) (1849)•Op. 77, Lieder und Gesänge volume III (5 songs) (1841–50)•Op. 78, 4 duets (soprano and tenor) (1849)•Op. 79, Liederalbum für die Jugend (29 songs) (1849)•Op. 83, 3 Gesänge (1850)•Op. 87, Ballad, "Der Handschuh" (Schiller) (1850)•Op. 89, 6 Gesänge (1850)•Op. 90, 6 Gedichte (1850)•Op. 91, Romanzen volume II (6 partsongs for women's voices) (1849)•Op. 95, 3 Gesänge (1849)•Op. 96, Lieder und Gesänge volume IV (1850)•Op. 101, Minnespiel (4 songs, 2 duets, 2 quartets) (1849)•Op. 103, Mädchenlieder (2 women's voices and piano) (1851)•Op. 104, 7 Lieder (1851)•Op. 106, Declamation with piano, "Schön Hedwig" (1849)•Op. 107, 6 Gesänge (1851–52)•Op. 114, 3 Lieder für 3 Frauenstimmen (1853)•Op. 117, 4 Husarenlieder (1851)•Op. 119, 3 Gedichte (1851)•Op. 122, Declamation with piano: "Ballade vom Heideknaben" and "Die Flüchlinge" (1852)•Op. 125, 5 heitere Gesänge (1851)•Op. 127, 5 Lieder und Gesänge (1850–51)•Op. 135, Gedichte der Königin Maria Stuart (1852)•Op. 137, Jagdlieder (5 partsongs for men's voices with 4 horns ad lib) [1849]•Op. 138, Spanische Liebeslieder (1849)•Op. 142, 4 Gesänge (1852)•Op. 145, Romanzen & Balladen Vol. III (5 partsongs) (1849–51)•Op. 146, Romanzen & Balladen Vol. IV (5 partsongs) (1849)2.2 Choral and dramatic works•Op. 50, Das Paradies und die Peri, oratorio (1841–43)•Op. 71, Adventlied for soprano, chorus and orchestra (1848)•Op. 81, Genoveva, opera (1848)•Op. 84, Beim Abschied zu singen for chorus & winds (1848)•Op. 93, Motet, "Verzweifle nicht im Schmerzenstal" for double chorus and organ ad lib (1849, orchestrated 1852) •Op. 98a, Songs from Wilhelm Meister•Op. 98b, Requiem for Mignon for solo voices, chorus and orchestra (1849)•Op. 108, Nachtlied for chorus and orchestra (1849)•Op. 112, Der Rose Pilgerfahrt oratorio (1851)•Op. 115, Overture and incidental music, Manfred (1848–49)•Op. 116, Der Königssohn (Uhland), for solos, chorus and orchestra (1851)•Op. 123, Festival overture on the Rheinweinlied for orchestra and chorus (1853)•Op. 139, "Des Sängers Fluch" (Uhland) for solo voice, chorus and orchestra (1852)•Op. 140, "Vom Pagen und der Königstochter" for solo voice, chorus, and orchestra (1852)•Op. 141, 4 doppelchörige gesänge (partsongs) (1849)•Op. 143, "Das Glück von Edenhall" (Uhland) for solo voice, chorus, and orchestra (1853)[1]•Op. 144, "Neujahrslied" for chorus and orchestra (1849–50)•Op. 147, Mass (1852)•Op. 148, Requiem (1852)•WoO 3, Scenes from Goethe's Faust, oratorio (1844–1853)[1]3.Orchestral works•Op. 38, Symphony No. 1 in B flat, Spring (1841)•Op. 52, Overture, Scherzo & Finale in E (1841)•Op. 61, Symphony No. 2 in C (1845–46)•Op. 97, Symphony No. 3 in E flat, Rhenish (1850)•Op. 100, Bride of Messina overture (1850–51)•Op. 120, Symphony No. 4 in D minor (1841; revised in 1851)•Op. 128, Julius Caesar overture (1851)•Op. 136, Hermann und Dorothea overture (1851)•WoO 29, Symphony in G minor ("Zwickau")(incomplete)4. Works for solo instrument(s) with orchestra•Op. 54, Piano Concerto in A minor (1841–45)•Op. 86, Konzertstück for Four Horns and Orchestra (1849)•Op. 92, Introduction and Allegro Appassionato for Piano and Orchestra (1849)•Op. 129, Cello Concerto in A minor (1850)•Op. 131, Fantasy in C for violin and orchestra (1853)•Op. 134, Introduction and Allegro for Piano and Orchestra (1853)•WoO 23, Violin Concerto in D minor (1853)[1][edit] Chamber music•Op. 41, Three string quartets in A minor, F and A (1842)•Op. 44, Piano quintet in E flat (1842)•Op. 46, Andante and variations for two pianos (1843) (there is an original version for two pianos, 2 cellos and horn) •Op. 47, Piano quartet in E flat (1842)•Op. 63, Piano Trio No. 1 in D minor (1847)•Op. 70, Adagio and Allegro for Horn and Piano (1849)•Op. 73, Fantasy Pieces for Clarinet and Piano (1849)•Op. 80, Piano Trio No. 2 in F (1847)•Op. 88, Fantasiestücke for piano trio (1842)•Op. 94, Three Romances for oboe and piano (1849)•Op. 102, Five Stücke im Volkston for piano and cello (1849)•Op. 105, Violin Sonata No. 1 in A minor (1851)•Op. 110, Piano Trio No. 3 in G minor (1851)•Op. 113, Märchenbilder for piano and viola (1851)•Op. 121, Violin Sonata No. 2 in D minor (1851)•Op. 132, Märchenerzählungen, four pieces for clarinet, viola and pianoforte (probably 1853)•WoO 32, Piano quartet in C minor (1829)[1]•WoO 27, Violin Sonata No. 3 in A minor (1853)。
吕利 全部音乐作品列表(List of compositions by Jean-Baptiste Lully)
List of compositions by Jean-Baptiste Lully Contents∙ 1 Operas (Tragédies en musique)∙ 2 Pastorales∙ 3 Ballets∙ 4 Ballets cowritten with Lully∙ 5 Comedies (Comédies)∙ 6 Comedies cowritten with Lully∙7 Tragédie-ballets∙8 Eclogues (Églogues)∙9 Interludes (Intermèdes)∙10 Grands Motets∙11 Petits Motets∙12 Other works1. Operas (Tragédies en musique)∙Cadmus et Hermione (1673)∙Alceste (1674)∙Thésée (1675)∙Atys (1676)∙Isis (1677)∙Psyché (1678)∙Bellérophon (1679)∙Proserpine (1680)∙Persée (1682)∙Phaëton (1683)∙Amadis (1684)∙Roland (1685)∙Armide (1686)∙Achille et Polyxène (1687) (Finished by Pascal Collasse)2. Pastorales∙Pastorale Comique (1657}∙Les fêtes de l'Amour et de Bacchus (1672)∙Acis et Galatée (1686)3. Ballets∙Alcidiane (1658)∙La raillerie (1659)∙La revente des habits du ballet et comédie (1661)∙L'impatience (1661)∙Les saisons (1661)∙Les arts (1663)∙Les noces de village (1663)∙Les amours desguisés (1664)∙Palais d'Alcine (1664)∙Le naissance de Vénus (1665)∙Les gardes (1665)∙Mascarade du capitaine (1665)∙Petit ballet de Fontainebleau (1665)∙Les muses (1666)∙Le carnaval (1668)∙Flore (1669)∙La jeunesse (1669)∙Les jeux pythiens (1670)∙Ballet des nations (1670) in Le Bourgeois Gentilhomme written by Molière∙Le triomphe de l'amour (1681)∙Le temple de la paix (1685)4. Ballets cowritten with Lully∙Mascarade de la foire de St-Germain (1652)∙La nuit (1653)∙Les proverbes (1654)∙Le temps (1654)∙Les plaisirs (1655)∙Les bienvenus (1655)∙Psyché ou la puissance de l'amour (1656)∙Les galanteries du temps (1657)∙Les plaisirs troublés (1657)∙Le triomphe de Bacchus dans les Indes (1666)5. Comedies (Comédies)∙L'Impromptu de Versailles (1663)∙Le Mariage forcé (1664)∙L'Amour médecin (1665)∙Le Sicilien (1667)∙Georges Dandin (1668)∙Monsieur de Pourceaugnac (1669)∙Les Amants Magnifiques (1670)∙La Comtesse d'Escarbagnas (1671)6. Comedies cowritten with Lully∙Les fâcheux (1661)7. Tragédie-ballets∙Psyché (1671)8. Eclogues (Églogues)∙La grotte de Versailles (1668)9. Interludes (Intermèdes)∙Les noces de Pélée et de Thétis (1654)∙Xerxes (1660)∙Hercule amoureux (1662)∙Oedipe (1664)10. Grands Motets∙Jubilate Deo (1660)∙Miserere (1663)∙O lachrymae (1664)∙Plaude laetare Gallia (1668)∙Te Deum (1677)∙De profundis (1683)∙Dies irae (1683)∙Benedictus (before 1684)∙Exaudiat te Dominus (after 1684)∙Notus in Judaea Deus (after 1684)∙Quare fremuerunt (1685)11. Petits Motets∙Anima Christi∙Ave Coeli∙Dixit Dominus∙Domine salvum regem∙Exaudi Deus∙Laudate Pueri∙O dulcissime∙Omnes gentes∙O sapientia∙Regina coeli∙Salve Regina12. Other works∙Dialogue de la guerre avec la paix (1655)∙Première marche des mousquetaires (1658)∙Courage, amour, la paix est faite (1661)∙Douce et charmante paix (1661)∙Ingrate bergère (1664)∙Qui les saura, mes secrètes amours (1664)∙Branles (1665)∙Trios pour le coucher du roi (1665)∙Belle inhumaine, soulagez la peine (1665)∙Savez-vous bien, la belle (1665)∙La langueur des beaux yeux (1666)∙Que vous connaissez peu trop aimable Climène (1666) ∙Si je n'ai parlé de ma flamme (1666)∙En ces lieux, je ne vois que des promenades (1668)∙Ah, qu'il est doux de se rendre à l'empire de l'Amour (1668)∙Le printemps ramène la verdure (1668)∙Depuis que l'on soupire sous l'amoureux empire (1668)∙Marches et batteries de tambour (1670)∙Sans mentir on est bien misérable (1671)∙Marche (1672)∙Marches pour le régiment de Savoie (1685)∙Pièces de symphonies, Airs pour Mme la Dauphine (1683)∙Airs pour le carrousel de Monseigneur (1686)∙Il faut mourir, pécheur (1687)∙Gigue∙Marches dont la marche des dragons du Roi, La marche du Prince d'Orange ∙Marche des mousquetaires noirs∙Marche des mousquetaires gris∙Aunque prodigoas∙Soca per tutti∙ A la fin petit Desfarges∙D'un beau pêcheur, la pêche malheureuse∙Un tendre coeur∙Non vi è più bel piacer∙Le printemps, aimable Sylvie∙Tous les jours cent bergères∙Viens, mon aimable bergère∙Où êtes-vous allées, mes belles amourettes∙Nous mêlons toute notre gloire∙Pendant que ces flambeaux∙J'ai perdu l'appétit∙Venerabilis barba capucinorum。
无刺蜂指南说明书
1Photos : Bruno Corrêa Barbosa [**********************], Joao Luís Lobo, Pietra Franck Malfitano , and Ana Paula Gelli de Faria . Produced by the authors with the assistance of Rayane Ribeiro, Field Museum . Acknowledgments : Universidade Federal de Juiz de Fora. Common names are based on indigenous or popular names from a variety of regions of Brazil.123 4 Cephalotrigona capitataMombucãoCephalotrigona capitata (Nest)MombucãoFriesella schrottkyi (Nest)Mirim-preguiçaFriesella schrottkyi (Nest)Mirim-preguiça5 Melipona quadrifasciata6 Melipona quadrifasciata (Nest)7 Nannotrigona testaceicornis (Nest) 8MandaçaiaMandaçaia Iraí9 10 11 Scaptotrigona bipunctata (Nest) Partamona helleri (Nest)boca-de-sapoPlebeia cf. pugnax (Nest)MirimPlebeia droryana (Nest)Mirim TubunaThis guide to the stingless bees (Apidae: Meliponini) of the Federal University of Juiz de Fora Botanical Garden is based on research conducted by the Institute of Biological Sciences, which includes Biology, Ecology and Animal Behavior.The Botanical Garden includes about 82 hectares of preserved forest on the outskirts of the city of Juiz de Fora, Minas Gerais, southeastern Brazil. The area is a mosaic of impressive richness and diversity, with floristic heterogeneity of arboreal vegetation and predominance of pioneer plants, in addition to endangered species and a number of exotics.To date, the project has recorded 14 species of stingless bees, which reflects an impressive diversity in these urban fragments.This guide displays most of the species recorded to date in the Federal University of Juiz de Fora Botanical Garden, as well as their nests and some plants they use.Gabriela MacielBotanical Garden of the Federal University of Juiz de Fora, Minas Gerais, BrazilS elected N eotropical STINGLESS BEESBruno Corrêa Barbosa, João Luís Lobo Monteiro de Castro, Samuel Júlio Lima dos Santos,Pietra Franck Malfitano & Ana Paula Gelli de FariaUniversidade Federal de Juiz de Fora, Juiz de Fora, Minas Gerais, Brazil© Bruno Corrêa Barbosa (2021) CC BY-NC 4.0. Licensed works are free to use/share/remix with attribution, but commercial use of the original work is not permitted.[ ][1400] version 1 9/2021Nannotrigona testaceicornis (Nest)Iraí 1213Scaptotrigona xanthotrichaMandaguari-amarela Scaptotrigona xanthotricha (N est )Mandaguari-amarela16Tetragona clavipes (Nest)Borá17Tetragona clavipes (Nest)18 Tetragonisca angustula (Nest)19 Tetragonisca angustula (Nest)20Borá Jataí JataíTrigona spinipes (Nest)Arapuá21222324 Hedychium gardnerianum (Plant)Trigona spinipes (Nest)ArapuáImpatiens walleriana (Plant)BALSAMINACEAEBillbergia zebrina (Plant)BROMELIACEAE ZINGIBERACEAE25262728Acnistus arborescens (Plant) Melipona quadrifasciata (Bee)Euphorbia milii (Plant) Trigona spinipes (Bee)Tradescantia pallida (Plant) Tetragonisca angustula (Bee)Tradescantia pallida (Plant) Partamona cf. cupira (Bee)2930Hippeastrum puniceum (Plant) 32Portea petropolitana (Plant) Trigona spinipes (Bee)Tripogandra diuretica (Plant) Tetragonisca angustula (Bee)Plebeia droryana (Bee)Bidens pilosa (Plant)Cephalotrigona capitata (Bee)14Scaptotrigona xanthotricha (N est )Mandaguari-amarela152Photos : Bruno Corrêa Barbosa [**********************], Joao Luís Lobo, Pietra Franck Malfitano , and Ana Paula Gelli de Faria . Produced by the authors with the assistance of Rayane Ribeiro, Field Museum . Acknowledgments : Universidade Federal de Juiz de Fora. Common names are based on indigenous or popular names from a variety of regions of Brazil.Botanical Garden of the Federal University of Juiz de Fora, Minas Gerais, BrazilSELECTED NEOTROPICAL STINGLESS BEESBruno Corrêa Barbosa, João Luís Lobo Monteiro de Castro, Samuel Júlio Lima dos Santos,Pietra Franck Malfitano & Ana Paula Gelli de FariaUniversidade Federal de Juiz de Fora, Juiz de Fora, Minas Gerais, Brazil© Bruno Corrêa Barbosa (2021) CC BY-NC 4.0. Licensed works are free to use/share/remix with attribution, but commercial use of the original work is not permitted.[ ][1400] version 1 9/202131。
柴可夫斯基作品列表
柴可夫斯基所有作品列表[OP编号]Op. 1?Two Pieces for piano (1867)俄罗斯风格谐谑曲?Scherzo à la russe降e小调即兴曲?ImpromptuOp. 2?哈普萨的回忆??Souvenir de Hapsal, 3 pieces for piano (1867)Op. 3?The Voyevoda, opera (1868)Op. 4?随想圆舞曲?Valse-caprice in D major, for piano (1868)Op. 5?f小调浪漫曲?Romance in F minor, for piano (1868)Op. 6?6 Romances (1869), including "None but the lonely heart"Op. 7?谐谑圆舞曲?Valse-scherzo in A, for piano (1870)Op. 8?降G大调随想曲?Capriccio in G-flat, for piano (1870)Op. 9?3首钢琴小品? 3 Morceaux, for piano (1870)Op. 10?2首小品?2 Morceaux, for piano (1871)Op. 11?第一弦乐四重奏?String Quartet No. 1 in D (1871)Op. 12?The Snow Maiden?(Snegurochka), incidental music (1873)Op. 13?第一交响曲(冬日之梦)?Symphony No. 1 in G minor?Winter Daydreams?(1866)Op. 14?Vakula the Smith, (revised as Cherevichki), opera (1874)Op. 15?Festival Overture in D on the Danish National Anthem, for orchestra (1866)Op. 16?6首浪漫曲?6 Songs (1872)No. 1?Lullaby?(Cradle Song)No. 2?Wait!Op. 17??第二交响曲(小俄罗斯)??Symphony No. 2 in C minor?little Russian?(1872)Op. 18?The Tempest, symphonic fantasia in F minor, after Shakespeare (1873) Op. 19??6首钢琴小品?6 Pieces, for piano (1873)1. Rêverie du soir [Вечерние грезы] (G minor)2. Scherzo humoristique [Юмористическое скерцо] (Dmajor)3. Feuillet d'album [Листок из альбом] (D major)4. Nocturne [Ноктюрн] (C-sharp minor)5. Capriccioso [Каприччиозо] (B-flat major)6. Thème original et variations [Тема и вариации] (F major)Op. 20?芭蕾舞剧《天鹅湖》?Swan Lake, ballet (1876)Op. 21?6首单主题小品? 6 Morceaux, for piano (1873)Op. 22?第二弦乐四重奏?String Quartet No. 2 in F (1874)Op. 23?第一钢琴协奏曲?Piano Concerto No. 1 in B-flat minor (1875)Op. 24?歌剧《叶甫根尼·奥涅金》?Eugene Onegin, opera (1878)Op. 25?6 Songs (1874)No. 2?As When Upon Hot Ashes?(Over Burning Ashes)Op. 26?忧郁小夜曲?Sérénade mélancolique?in B minor, for violin and orchestra (1875)Op. 27?6 Songs (1875)Op. 28?6 Songs (1875)Op. 29?第三交响曲“波兰”??Symphony No. 3 in D?Polish?(1875)Op. 30?第三弦乐四重奏?String Quartet No. 3 in E-flat minor (1876)Op. 31?Marche slave?in B-flat minor, for orchestra (1876)Op. 32?Francesca da Rimini, symphonic fantasia in E minor, after Dante Alighieri (1876)Op. 33?Variations on a Rococo Theme in A, for cello and orchestra (1876) Op. 34?Valse-scherzo in C, for Violin and orchestra (1877)Op. 35?小提琴协奏曲?Violin Concerto in D (1878)Op. 36?第四交响曲(命运)??Symphony No. 4 in F minor (1877)Op. 37a?G大调华丽钢琴奏鸣曲?Piano Sonata No. 1 in G?(1878)Op. 37b?钢琴套曲《四季》?The Seasons, 12 pieces for piano (1876)Op. 38?6 Songs (1878)Op. 39?儿童钢琴曲集?Album pour enfants, 24 pieces for piano (1878)Op. 40?12首中等难度钢琴小品?12 Morceaux d e difficulté moyenne, for piano (1878)Op. 41?Liturgy of St. John Chrysostom, for unaccompanied chorus (1878)Op. 42?Souvenir d'un lieu cher, 3 pieces for Violin and piano (1878)Op. 43?Orchestral Suite No. 1 in D (1879)Op. 44?第二钢琴协奏曲?Piano Concerto No. 2 in G (1880)Op. 45?意大利随想曲??Capriccio Italien?in A, for orchestra (1880)Op. 46?6 Vocal duets, with piano (1880)Op. 47?7 Songs (1880)Op. 48?弦乐小夜曲?Serenade in C for Strings (1880)Op. 49?1812序曲?1812 Overture?(1880)Op. 50?钢琴三重奏曲?Piano Trio in A minor (1882)Op. 51?6首钢琴小品?6 Pieces, for piano (1882)Op. 52?Vespers, for unaccompanied chorus (1882)Op. 53?Orchestral Suite No. 2 in C (1883)Op. 54?16 Children's songs (1883)Op. 55?Orchestral Suite No. 3 in G (1884)Op. 56?Concert Fantasia in G, for piano and orchestra (1884)Op. 57?6 Songs (1884)Op. 58?《曼弗雷德》交响曲?Manfred?Symphony in B minor (1885)Op. 59?杜姆卡?Dumka in C minor, for piano (1886)Op. 60?12 Songs (1886)No. 6?Wild Nights?(Frenzied Nights)No. 7?Gypsy's SongNo. 12?Gentle Stars Shone For Us?(The Mild Stars Shone For Us)Op. 61?Orchestral Suite No. 4 "Mozartiana" (1887)Op. 62?Pezzo capriccioso?in B minor, for cello and orchestra (or piano) (1887)Op. 63?6 Songs (1887)Op. 64?e小调第五交响曲?Symphony No. 5 in E minor (1888)Op. 65?6 Songs on French texts (1888)Op. 66?芭蕾舞剧《睡美人》?The Sleeping Beauty, ballet (1889)Op. 67a?《哈姆雷特》幻想序曲?Hamlet, fantasy overture in F minor (1889) Op. 67b?Hamlet, incidental music (1891)Op. 68?歌剧《黑桃皇后》?The Queen of Spades, opera (1890)Op. 69?Iolanta, opera (1891)Op. 70?弦乐六重奏《佛罗伦斯回忆》?String Sextet in D minor?Souvenir de Florence?(1890)Op. 71?芭蕾舞剧《胡桃夹子》?The Nutcracker, ballet (1892)Op. 71a?The Nutcracker, suite from the ballet (1892)Op. 72?18首钢琴小品?18 Pieces, for piano (1893)Op. 73?6 Songs (1893)Op. 74?第六交响曲“悲怆”?Symphony No. 6 in B minor?Pathétique?(1893)-- Op. 75–80 were published posthumously. 以下为死后出版 --Op. 75?降E大调第三钢琴协奏曲?Piano Concerto No. 3 in E-flat (1893)Op. 76?The Storm, overture in E minor (1864)Op. 77?Fatum, symphonic poem in C minor (1868)Op. 78?The Voyevoda, symphonic ballad in A minor (1893; unrelated to the earper opera of the same name, Op. 3)Op. 79?Andante in B-flat and Finale in E-flat, for piano and orchestra (1893) Op. 80?Piano Sonata No. 2 in C-sharp minor?(1865)歌剧《奥尔良女郎》(圣女贞德)??The Maid of Orleans?(Орлеанская дева?or?Orleanskaya deva), 1878–1879降B大调四重奏乐章?String Quartet In B Flat Major (1865)。
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巴里奥斯（A.Barrios）古典吉他作品第1卷（五六线对照）
巴利奥斯通过音乐表达着自我，他的作品不仅在吸引着越来越多的吉他演奏 家，同时，他的热情和真诚也在感染着每一位音乐爱好者。在巴利奥斯的巴罗克、 古典派、浪漫派、温·欧贝尔塔式的各种各样风格的作品中，把民族的情感通过 旋律、节奏与和声等等揉合了进去，这就是巴利奥斯音乐的典型特征。有人认为， 他对贝多芬乐曲的改编受到了布拉姆斯的影响，也有人说，钢琴曲的韵律受到了 拉威尔的影响，总之，对他改编曲的研究可以得出这样的结论，他的表现方法始 终是在民族歌曲的框架上再添加上各种不同的样式，让人感到这就是他的风格。 这些风格的作品，不能单纯模仿，应该怀着巴利奥斯的感情演唱民族歌曲那样地 去演奏。风格作品：
5．民族风格的作品。在这个领域中，巴里奥斯的才华技巧淋漓尽致地发挥 了出来。令人充分感到了他旋律里包含着的民族特征，特别是节奏（舞曲的各种 节奏）中非常明显。在《悲伤的哭泣》、《巴拉圭舞曲》、《哥伦比亚舞曲》、 《基 督教友》、《阿康基哈》等音乐中，他完全没有追随别人，作品的每个细节都体现 了巴里奥斯独创性的灵感。作为民族作曲家，他对南美民族音乐倾注了深厚的感 情。 也有人将温·欧贝尔塔风格和民族风格合并称为描写式风格，这样分类也 可以。
巴利奥斯曾在写给朋友的一首诗中写道："我是那些在荣耀和绝望中感受着 浪漫的疯狂的吟行诗人的兄弟。"
在巴利奥斯几十年的演奏生涯中，他到过阿根廷、乌拉圭、巴西、委内瑞拉、 哥斯达黎加、萨尔瓦多、智利、墨西哥、危地马拉、洪都拉斯、巴拿马、哥伦比 亚、古巴以及海地。而他在欧洲的足迹则仅限于西班牙、德国和比利时。尽管如 此，如何谋生却总是成为巴利奥斯生活中不得不面对的问题。有的时候，他显得 成就辉煌，1932 年在委内瑞拉的时候，他就曾经在两个月内连续开了 25 场音乐 会。但另外一些时候，他则不得不靠朋友的救济生活。
格拉祖诺夫 全部音乐作品列表(List of compositions by Alexander Glazunov)
List of compositions by Alexander Glazunov Contents• 1 By performing mediumo 1.1 Stageo 1.2 Orchestralo 1.3 Concertanteo 1.4 Vocal/Choral Orchestralo 1.5 Chambero 1.6 Instrumentalo 1.7 Pianoo 1.8 Vocal/Choral• 2 By opus1. By performing medium1.1 StageOp. 57: Raymonda, ballet in three acts (1898)Op. 61: Les Ruses d'Amour aka The Trial of Damis aka Lady Soubrette, ballet in one act (1900)Op. 67: The Seasons, ballet in one act (1900)Op. 95: Music to the drama The King of the Jews after K.K. Romanov (1913)1.2 OrchestralSymphoniesOp. 5: Symphony No. 1 in E major "Slavonian Symphony" (1881-1884)Op. 16: Symphony No. 2 in F-sharp minor "To the Memory of Liszt" (1886)Op. 33: Symphony No. 3 in D major (1890)Op. 48: Symphony No. 4 in E-flat major (1893)Op. 55: Symphony No. 5 in B-flat major (1895)Op. 58: Symphony No. 6 in C minor (1896)Op. 77: Symphony No. 7 "Pastorale" in F major (1902-1903)Op. 83: Symphony No. 8 in E-flat major (1905-1906)Symphony No. 9 in D minor (1910), first movement (incomplete)Op. 3: Overture No. 1 in G minor for orchestra "On Greek Themes" (1882)Op. 6: Overture No. 2 in D major for orchestra (1883)Op. 7: Serenade No. 1 in A major for orchestra (1882)Op. 8: To the Memory of a Hero, elegy for orchestra (1885)Op. 9: Suite Charactéristique in D major for orchestra (1884-1887)Op. 11: Serenade No. 2 in F major for small orchestra (1884)Op. 12: Poème Lyrique in D-flat major for orchestra (1884-1887)Op. 13: Stenka Razin, symphonic poem in B minor (1885)Op. 14: Two Pieces for orchestra (1886-1887)Op. 18: Mazurka"in G major for orchestra (1888)Op. 19: The Forest, fantasy in C-sharp minor for orchestra (1887)Op. 21: Wedding March in E-flat major for orchestra (1889)Op. 26A: Slavonian Feast, symphonic sketchesOp. 28: The Sea, fantasy in E major for orchestra (1889)Op. 29: Oriental Rhapsody in G major for orchestra (1889)Op. 30: The Kremlin, symphonic picture in three parts (1890)Op. 32: "Meditation" in D major for violin and orchestra (1891)Op. 34: The Spring, symphonic picture in D major (1891)Op. 45: Carnaval, overture for large orchestra and organ in F major (1892)Op. 46: Chopiniana, suite for orchestra after piano pieces by Chopin (1893)Op. 47: Concert Waltz No. 1 in D major for orchestra (1893)Op. 50: Cortège Solennel in D major for orchestra (1894)Op. 51: Concert Waltz No. 2 in F major for orchestra (1894)Op. 52: Scènes de Ballet, suite, not intended as dance piece (1894)Op. 53: Fantasy From Dark into Light for orchestra (1894)Op. 68: "Pas de Caractère" from Raymonda in G major for orchestra (1899)Op. 69: Intermezzo Romantica in D major for orchestra (1900)Op. 73: Solemn Overture for orchestra (1900)Op. 76: March on a Russian Theme in E-flat major (1901)Op. 79: From the Middle Ages, suite in E major for orchestra (1902)Op. 81: Dance-Scene in A major for orchestra (1904)Op. 84: The Song of Destiny, dramatic overture in D minor for orchestra (1908)Op. 85: Two Preludes for orchestra (1906)Op. 86: Russian Fantasy in A major for balalaika-orchestra (1906)Op. 87: To the Memory of Gogol, symphonic prologue in C major (1909)Op. 88: Finnish Fantasy in C major for orchestra (1909)Op. 89: Finnish Sketches in E major for orchestra (1912)Op. 90: Introduction and Dance of Salomé, to the drama of Oscar Wilde (1908)Op. 91: "Cortège Solennel" in B-flat major for orchestra (1910)Op. 96: Paraphrase on the Hymn of the Allies for orchestra (1914-1915)Op. 99: Karelian Legend in A minor for orchestra (1916)Op. 102: Romance of Nina from the play "Masquerada" (1918)1.3 ConcertanteOp. 20: Two Pieces for cello and orchestra (1887-1888)Op. 82: Concerto in A minor for violin and orchestra (1904)Op. 92: Concerto No. 1 in F minor for piano and orchestra (1910-1911)Op. 100: Concerto No. 2 in B major for piano and orchestra (1917)Op. 100A/B: Mazurka Oberek (1917) for violin and orchestra or piano (1917)Op. 108: Concert Ballade in C major for cello and orchestra (1931)Op. 109: Concerto for Alto Saxophone and String Orchestra in E-flat major (1934) (same opus number as quartet, but different work ) In 1896 he arranged Tchaikovsky's violin and piano piece Souvenir d'un lieu cher for violin and orchestra.1.4 Vocal/Choral OrchestralOp. 40: Triumph March for large orchestra and chorus (1892)Op. 56: Coronation Cantata for four soloists, chorus and orchestra (1895)Op. 65: Cantata after Pushkin for solo voices, chorus and orchestra (1899)Op. 97: Song of the Volga-skippers for chorus and orchestra (1918)1.5 ChamberOp. 1: String Quartet No. 1 in D major (1881-1882)Op. 10: String Quartet No. 2 in F major (1884)Op. 26: String Quartet No. 3 in G major "Quatuor Slave" (1886-1888)Op. 64: String Quartet No. 4 in A minor (1894)Op. 70: String Quartet No. 5 in D minor (1898)Op. 106: String Quartet No. 6 in B-flat major (1920-1921)Op. 107: String Quartet No. 7 in C major "Hommage au passé" (1930)Op. 14: Oriental Reverie for clarinet and string quartet (original version of 2 Pieces for Orchestra) (1886)Op. 15: Five Novelettes for String Quartet (1886)Op. 35: Suite in C major for string quartet (1887-1891)Op. 38: In Modo Religioso, quartet for trumpet, horn and two trombones (1892)Op. 39: String Quintet in A major for string quartet and cello (1891-1892)Op. 105: Elegy in D minor for string quartet in memory of M. P. Belaieff (1928)Op. 109: Saxophone Quartet in B-flat major (1932)1.6 InstrumentalOp. 17: Elegy in D-flat major for cello and piano (1888)Op. 24: Rêverie in D-flat major for horn and piano (1890)Op. 32A: Meditation in D major for violin and piano (1891)Op. 44: Elegy in G minor for viola and piano (1893)Op. 71: Chant du Ménestrel for cello and piano (1900) (a version exists for cello and orchestra)Op. 93: Preludium and Fugue No. 1 in D major for organ (1906-1907)Op. 98: Preludium and Fugue No. 2 in D minor for organ (1914)Op. 110: Fantasy in G minor for organ (1934-1935)Albumblatt for trumpet and piano (1899)10 Duets for Two Clarinets1.7 PianoOp. 2: Suite on the Theme "S-A-C-H-A" for Piano (1883)Op. 22: Two Pieces for Piano (1889)Op. 23: Waltzes on the name S-A-B-E-L-A for piano (1890)Op. 25: Preludium and Two Mazurkas for piano (1888)Op. 31: Three Études for piano (1891)Op. 41: Large Concert Waltz in E-flat major for piano (1893)Op. 42: Three Miniatures for piano (1893)Op. 43: Salon Waltz in C major for piano (1893)Op. 49: Three Pieces for piano (1894)Op. 54: Two Impromptus for piano (1895)Op. 62: Prelude and Fugue in D minor, for piano (1899)Op. 72: Theme and Variations in F-sharp minor for piano (1900)Op. 74: Piano Sonata No. 1 in B-flat minor (1901)Op. 75: Piano Sonata No. 2 in E minor (1901)Op. 101: Four Preludes and Fugues for piano (1918-1923)Op. 103: Idylle in F-sharp major for piano (1926)Op. 104: Fantasy in F minor for two pianos (1919-1920)1.8 Vocal/ChoralOp. 4: Five Romances, songs (1882-1885)Op. 27: Two Songs after Pushkin (1887-1890)Op. 59: Six Songs for middle voice (1898)Op. 60: Six songs (romances to poetry of Aleksandr Pushkin and Apollon Maikov) for high voice (1897-1898) () Op. 63: Festive Cantata for solo-voices, women's chorus and two pianos eight hands (1898)Op. 66: Hymn after Pushkin for women's chorus and piano (1899)Op. 80: Chant Sans Bornes for soprano and alto with piano accompaniment (1900)Op. 94: Love after Shukovsky for mixed chorus a cappella (1907)2. By opusOp. 1: String Quartet No. 1 in D major (1881-1882)Op. 2: Suite on the Theme "S-A-C-H-A" for Piano (1883)Op. 3: Overture No. 1 in G minor for orchestra "On Greek Themes" (1882)Op. 4: Five Romances, songs (1882-1885)Op. 5: Symphony No. 1 in E major "Slavonian Symphony" (1881-1884)Op. 6: Overture No. 2 in D major for orchestra (1883)Op. 7: Serenade No. 1 in A major for orchestra (1882)Op. 8: To the Memory of a Hero, elegy for orchestra (1885)Op. 9: Suite Charactéristique in D major for orchestra (1884-1887)Op. 10: String Quartet No. 2 in F major (1884)Op. 11: Serenade No. 2 in F major for small orchestra (1884)Op. 12: Poème Lyrique in D-flat major for orchestra (1884-1887)Op. 13: Stenka Razin, symphonic poem in B minor (1885)Op. 14: Two Pieces for orchestra (1886-1887)Op. 15: Five Novelettes for String Quartet (1886)Op. 16: Symphony No. 2 in F-sharp minor "To the Memory of Liszt" (1886)Op. 17: Elegy in D-flat major for cello and piano (1888)Op. 18: Mazurka in G major for orchestra (1888)Op. 19: The Forest, Fantasy in C-sharp minor for orchestra (1887)Op. 20: Two Pieces for cello and orchestra (1887-1888)Op. 21: Wedding March in E-flat major for orchestra (1889)Op. 22: Two Pieces for Piano (1889)Op. 23: Watzes on the name S-A-B-E-L-A for piano (1990)Op. 24: Rêverie in D-flat major for horn and piano (1890)Op. 25: Preludium and Two Mazurkas for piano (1888)Op. 26: String Quartet No. 3 in G major "Quatuor Slave" (1886-1888)Op. 26A: Slavonian Feast, symphonic sketchesOp. 27: Two Songs after Pushkin (1887-1890)Op. 28: The Sea, fantasy in E major for orchestra (1889)Op. 29: Oriental Rhapsody in G major for orchestra (1889)Op. 30: The Kremlin, symphonic picture in three parts (1890)Op. 31: Three Études for piano (1891)Op. 32: Meditation in D major for violin and orchestra (1891)Op. 32A: Meditation in D major for violin and piano (1891)Op. 33: Symphony No. 3 in D major (1890)Op. 34: The Spring, symphonic picture in D major (1891)Op. 38: In Modo Religioso, quartet for trumpet, horn and two trombones (1892)Op. 39: String Quintet in A major for string quartet and cello (1891-1892)Op. 40: Triumph March for large orchestra and chorus (1892)Op. 41: Large Concert Waltz in E-flat major for piano (1893)Op. 42: Three Miniatures for piano (1893)Op. 43: Salon Waltz in C major for piano (1893)Op. 44: Elegy for viola and piano (1893)Op. 45: Carnaval, overture for large orchestra and organ in F major (1892)Op. 46: Chopiniana, suite for orchestra after piano pieces by Chopin (1893)Op. 47: Concert Waltz No. 1 in D major for orchestra (1893)Op. 48: Symphony No. 4 in E-flat major (1893)Op. 49: Three Pieces for piano (1894)Op. 50: Cortège Solennel in D major for orchestra (1894)Op. 51: Concert Waltz No. 2 in F major for orchestra (1894)Op. 52: Scènes de Ballet, suite, not intended as dance piece (1894)Op. 53: Fantasy From Dark into Light for orchestra (1894)Op. 54: Two Impromptus for piano (1895)Op. 55: Symphony No. 5 in B-flat major (1895)Op. 56: Coronation Cantata for four soloists, chorus and orchestra (1895)Op. 57: Raymonda, ballet in three acts (1898)Op. 58: Symphony No. 6 in C minor (1896)Op. 59: Six Songs for middle voice (1898)Op. 60: Six songs (romances to poetry of Aleksandr Pushkin and Apollon Maikov) for high voice (1897-1898) () Op. 61: Les Ruses d'Amour aka The Trial of Damis aka Lady Soubrette, ballet in one act (1900)Op. 62: Prelude and Fugue in D minor, for piano (1899)Op. 63: Festive Cantata for solo-voices, women's chorus and two pianos eight hands (1898)Op. 64: String Quartet No. 4 in A minor (1894)Op. 65: Cantata after Pushkin for solo voices, chorus and orchestra (1899)Op. 66: Hymn after Pushkin for women's chorus and piano (1899)Op. 67: The Seasons, ballet in one act (1900)Op. 68: "Pas de Caractère" from Raymonda in G major for orchestra (1899)Op. 69: Intermezzo Romantica in D major for orchestra (1900)Op. 70: String Quartet No. 5 in D minor (1898)Op. 71: Chant du Ménestrel for cello and piano (1900) (a version exists for cello and orchestra)Op. 72: Theme and Variations in F-sharp minor for piano (1900)Op. 73: Solemn Overture for orchestra (1900)Op. 74: Piano Sonata No. 1 in B-flat minor (1901)Op. 75: Piano Sonata No. 2 in E minor (1901)Op. 76: March on a Russian Theme in E-flat major (1901)Op. 77: Symphony No. 7 "Pastorale" in F major (1902-1903)Op. 78: Ballade in F major for orchestra (1902)Op. 79: From the Middle Ages, suite in E major for orchestra (1902)Op. 80: Chant Sans Bornes for soprano and alto with piano accompaniment (1900)Op. 81: Dance-Scene in A major for orchestra (1904)Op. 82: Concerto in A minor for violin and orchestra (1904)Op. 83: Symphony No. 8 in E-flat major (1905-1906)Op. 84: The Song of Destiny, dramatic overture in D minor for orchestra (1908)Op. 85: Two Preludes for orchestra (1906)Op. 86: Russian Fantasy in A major for balalaika-orchestra (1906)Op. 87: To the Memory of Gogol, symphonic prologue in C major (1909)Op. 88: Finnish Fantasy in C major for orchestra (1909)Op. 89: Finnish Sketches in E major for orchestra (1912)Op. 90: Introduction and Dance of Salomé, to the drama of Oscar Wilde (1908)Op. 91: Cortège Solennel in B-flat major for orchestra (1910)Op. 92: Concerto No. 1 in F minor for piano and orchestra (1910-1911)Op. 93: Preludium and Fugue No. 1 in D major for organ (1906-1907)Op. 94: Love after Shukovsky for mixed chorus a cappella (1907)Op. 95: Music to the drama The King of the Jews after K. K. Romanov (1913)Op. 96: Paraphrase on the Hymn of the Allies for orchestra (1914-1915)Op. 97: Song of the Volga-skippers for chorus and orchestra (1918)Op. 98: Preludium and Fugue No. 2 in D minor for organ (1914)Op. 100A/B: Mazurka Oberek (1917) for violin and orchestra or piano (1917)Op. 101: Four Preludes and Fugues for piano (1918-1923)Op. 102: Romance of Nina from the play "Masquerada" (1918)Op. 103: Idylle in F-sharp major for piano (1926)Op. 104: Fantasy in F minor for two pianos (1919-1920)Op. 105: Elegy in D minor for string quartet in memory of M. P. Belyayev (1928)Op. 106: String Quartet No. 6 in B-flat major (1920-1921) (Listings with details about opp. 105 and 106)Op. 107: String Quartet No. 7 in C major "Hommage au passé" (1930)Op. 108: Concert Ballade in C major for cello and orchestra (1931)Op. 109: Saxophone Quartet in B-flat major (1932)Op. 109: Concerto for Alto Saxophone and String Orchestra in E-flat major (1934) (same opus number as quartet, but different work ) Op. 110: Fantasy in G minor for organ (1934-1935)•Works without opus number:Albumblatt for trumpet and piano (1899)Symphony No. 9 in D minor (1910)First movement (incomplete)Reverie Orientale for Clarinet and String Quartet (1886)10 Duets for Two Clarinets。
走遍法国reflects第一册(上下)课文翻译
走遍法国第一册上 (共六单元)三部分课文笔语及文化点滴中文翻译Dossier 0Vous têes fran?ais ? 您是法国人吗？你好--你叫什么名字?我叫Emilie Larue -- 我,我叫 Marisa,你呢?我是加拿大人-- 我,我叫 Victor,我是名记者-- 你好,Marisa, 你是法国人吗?我住在戛纳-- 不,我是意大利人,你呢?-- 我是加拿大人Dossier 1épisode 1Le nouveau locataire新房客巴黎第9 区，Cardinal-Mercier 大街。
一位年轻人走进了一幢房屋并按响了门铃。
Julie: 您好！deLatour: 小姐您好！Julie: 先生，您是？deLatour: 我叫 Pierre-HenrideLatour 。
Beno?t: 幸会幸会。
我，我是Beno?tRoyer。
deLatour: 很荣幸见到你，Royer 先生。
P.H.deLatour 走进了（房间）。
Julie 和Beno?t 坐在客厅里。
Beno?t: 您是学生吗，deLatour 先生？P.H.deLatour: 是的，我是学生。
您呢，Royer 先生，您的职业是什么？Beno?t: 我是一家旅行社的职员。
P.H.deLatour: 啊，您是旅行代理⋯⋯这该多有意思呀⋯⋯Julie 和Beno?t 看了看对方。
JulieetBeno?t: 再见， DeLatour 先生。
一个年轻人，ThierryMercier ，对Julie 说。
T.Mercier: 你的姓是什么？Julie: 我的姓？T.Mercier: 对呀，你叫什么？Julie: Pr évost. 反正⋯⋯我的名字是Julie，我的姓是Prévost.T.Mercier: 你是学生吗？Julie: 不是，您呢⋯⋯呃⋯⋯你呢？T.Mercier: 我，我是实习生。
BOUILLABLSSE
BouillablsseMixed fish and raw 鱼子酱As red mullet, Johnshellfish, red snapper 贝壳，红辣椒Large prawns and clams 大虾及文蛤Rell-flavoured tomatoes 蕃茄Of saffron strands 藏红花1/6 tbsp olive oil 橄榄油onion, sliced 洋葱片1 leek, sliced 葱，切节celery stick, sliced 西芹杆，切节garlic cloves, crushed 蒜，切碎bouquet garnipared orange rind 橙皮1 1/2 tsp fennel seeds 茴香籽ground black pepper 黑胡椒1 tbsp tomato puree 蕃茄茸1/2 tsp Pernodslices French bread 法式面包chopped fresh parsley 荷兰芹2. Cut the fish into large chunks. Leave the shellfish in their shells. Scald the tomatoes, then drain and refresh in cold water. Peel and roughly chop them. Soak the saffron in 15-30ml / 1-2 tbsp hot water.将贝壳除去硬壳，切在大块。
蕃茄用热水烫一下，去皮，切碎。
加入15-30ml 的藏红花。
3. Heat the oil in a large pan, add the onion, leek and celery and cook until softened. Add the garlic, bouquet garni, orange rind, fennel seeds and tomatoes, then stir in the saffron and liquid and the fish stock. Season with salt and pepper, then bring to the boil and simmer for 30-40 minutes.将油加热，加入洋葱、葱及西芹炒熟。
法国红酒炖鸡英语作文
法国红酒炖鸡英语作文In the heart of France, a rich and flavorsome tradition takes center stage - the French wine-braised chicken. This dish, a testament to French culinary excellence, embodies the essence of slow cooking, allowing the flavors of the wine and chicken to meld into a harmonious blend.The journey of creating this culinary masterpiece begins with selecting the perfect ingredients. The chicken, typically a free-range bird, is marinated in a blend of herbs and spices, imparting a deep, earthy aroma. The wine, often a full-bodied red, such as Cabernet Sauvignon or Merlot, adds richness and depth to the dish.As the chicken simmers in the wine, the kitchen fills with an aroma that is both intoxicating and comforting. The wine reduces, concentrating its flavors, while the chicken absorbs the liquid, becoming tender and juicy. The slow cooking process allows the meat to retain its moisture, resulting in a dish that is both flavorful and succulent. The addition of vegetables, such as carrots, onions, and celery, enriches the dish further. These vegetables,cooked alongside the chicken, absorb the flavors of the wine, adding a sweet and savory note to the final dish.The presentation of French wine-braised chicken is as important as its flavor. Served in a shallow dish, the chicken is surrounded by the vegetables and a rich, syrupy sauce. The dish is garnished with fresh herbs, such as parsley or thyme, adding a pop of color and freshness.The taste experience is nothing short of transformative. The chicken, fall-off-the-bone tender, is enrobed in the flavorful sauce, while the vegetables add a touch of sweetness. The wine, reduced to a concentrated essence, coats the chicken, leaving a lingering taste that is both fruity and tannic.The history of French wine-braised chicken dates backto the Middle Ages, when it was a staple dish of the French nobility. Its popularity grew throughout the centuries, becoming a fixture of French cuisine. Today, it remains a beloved dish, enjoyed by both locals and tourists alike.In conclusion, French wine-braised chicken is not justa dish; it's an experience. It embodies the essence of French cuisine - rich, flavorful, and deeply satisfying.It's a testament to the French's love of food and wine, and a reminder of the beauty of slow cooking. As you enjoy this dish, you're not just tasting the flavors of France; you're partaking in a culinary tradition that has been passed down through generations.**法国红酒炖鸡：美食的饗宴**在法国的心脏地带，有一种丰富而美味的传统美食占据了中心舞台——法国红酒炖鸡。
格拉纳多斯与他的《六首西班牙民谣小品》
格拉纳多斯与他的《六首西班牙民谣小品》格拉纳多斯（Manuel de Falla）是20世纪最重要的西班牙作曲家之一。
在他的所有作品中，最受欢迎的是《六首西班牙民谣小品》（Siete Canciones populares españolas），包括六首歌曲和一个吉他奏鸣曲。
这些作品的创作年代是1914年至1915年间。
这些民谣都来自于安达卢西亚、卡斯蒂利亚、加利西亚、莱昂和阿拉贡等地。
这些民谣的典型风格常常与弗拉明戈和戈多斯舞蹈有关，旋律简单，但却完美地捕捉了西班牙音乐的精髓。
在这些作品中，格拉纳多斯充分利用了各种乐器的特点，像小提琴、长笛、定音鼓、三角铁、钢琴等等。
首先是《艾科斯》（El Paño Moruno），这是一首来自安达卢西亚的民谣。
这首歌以节奏强劲的吉他伴奏为特色，高亢嘹亮的旋律依次展开，反映了西班牙南部特有的情感与激情。
接下来是《巴赫斯》（Seguidilla Murciana），这首歌来自西班牙东南部的穆尔西亚。
这首歌是舞曲，将典雅的低音吉他和精致的颤音，配以富有变化的吉他伴奏。
第三首是《艾斯坎特拉》（Asturiana）。
这首歌来自西班牙的Asturias地区，使用了胡琴和弦乐器的拨弦技巧，展现了强烈的深情和悲伤。
第四首是《台诺拉》（Jota），这首歌来自沿着鲁达河流域的莱昂地区，表达了当地人的狂欢心情。
钢琴的重击和小提琴的高亢演奏，有如舞蹈的翩翩起舞。
第五首是《纳威拉》（Nana），这首歌来自安达卢西亚。
这首歌的旋律悠扬动听，使人不由自主地沉浸在母亲的香甜呢喃声中。
最后一首是《塞维利亚》（Canc ión），这首歌来自安达卢西亚，以其明快、欢快的旋律及琴声转换独特而著名。
败类的民谣风格指引着让人想起西班牙昔日的繁荣和文化丰富。
这组作品的艺术魅力在于，它们不仅反映了西班牙音乐的特点，而且在某种程度上表达了格拉纳多斯对自己地区民族音乐的理解和爱好。
农场里的动物的作文英语
Growing up in the countryside, I was fortunate enough to have a close connection with nature and its many inhabitants. One of the most memorable experiences of my youth was spending time at the local farm, where I developed a deep appreciation for the animals that lived there. The farm was a vibrant community of creatures, each with their own unique personalities and stories to tell.The farm was home to a variety of animals, but the ones that captured my heart were the cows, pigs, and chickens. The cows were majestic creatures, with their large, gentle eyes and soft, warm bodies. I loved to watch them graze in the fields, their tails swishing gently as they chewed their cud. The pigs, on the other hand, were playful and curious, always rooting around in the dirt and snorting with delight. They had a mischievous streak, and I often found them escaping from their pen to explore the farm.The chickens were a constant source of amusement, with their clucking and pecking as they scratched around for food. They were always on the move, darting in and out of the barn, their feathers ruffling in the breeze. I enjoyed collecting eggs from the henhouse, the warm, smooth shells a testament to the life that was growing inside.One of the most fascinating aspects of the farm was the way the animals interacted with each other. The cows and pigs would often graze together, their large bodies creating a sense of security for the smaller animals. The chickens, meanwhile, would peck at the ground around the cows hooves, eating the insects that were disturbed by their movements. It was a beautiful example of symbiosis, with each animal playing a role in theecosystem of the farm.The farm also taught me valuable lessons about responsibility and care. The animals relied on the farmers to provide them with food, shelter, and protection from predators. In return, they gave us their milk, eggs, and meat, which were essential to our survival. It was a delicate balance, and I learned to respect the animals and the role they played in our lives.One of my favorite memories from the farm was helping to birth a calf. It was a long, exhausting process, but the moment the calf took its first breath and stood up on wobbly legs was one of the most rewarding experiences of my life. I felt a deep connection to the animal, and it was a reminder of the miracle of life that occurs every day on the farm.Despite the hard work and challenges, there was a sense of peace and tranquility on the farm. The animals had a calming presence, and I often found myself lost in thought as I watched them go about their daily routines. The farm was a sanctuary, a place where I could escape from the stresses of the world and connect with the natural rhythms of life.In conclusion, my experiences on the farm were some of the most formative and impactful moments of my life. The animals taught me about compassion, responsibility, and the interconnectedness of all living things. They were more than just sources of food and labor they were living, breathing creatures with their own unique personalities and stories. As I grew older and moved away from the farm, I carried these lessons with me, and they continue to shape the way I view the world and my place in it.The farm and its animals will always hold a special place in my heart, and I am grateful for the time I spent there.。
制作葡萄酒炖牛尾英语作文
制作葡萄酒炖牛尾英语作文Title: Making Red Wine Braised OxtailRed Wine Braised Oxtail is a hearty and flavorful dish that combines the rich taste of oxtail with the deep flavors of red wine. The slow cooking process allows the meat to become tender and juicy, while the red wine adds complexity and depth to the overall dish. Here is a stepbystep guide to making this delicious and comforting meal.Ingredients:23 pounds of oxtail2 tablespoons of olive oil1 onion, chopped2 carrots, chopped2 celery stalks, chopped4 cloves of garlic, minced1 cup of red wine2 cups of beef broth1 can of diced tomatoes2 bay leavesSalt and pepper to tasteFresh parsley for garnishInstructions:1. Prepare the oxtail by trimming off any excess fat and patting it dry with paper towels. Season the oxtail generously with salt and pepper.2. In a large Dutch oven or heavybottomed pot, heat the olive oil over mediumhigh heat. Brown the oxtail on all sides until they are well seared, about 34 minutes per side. Remove the oxtail from the pot and set it aside.3. In the same pot, add the chopped onion, carrots, and celery. Cook until the vegetables are soft and translucent, about 57 minutes. Add the minced garlic and cook for another minute.4. Pour in the red wine and deglaze the pot, scraping up any browned bits from the bottom. Allow the wine to simmer and reduce by half, about 5 minutes.5. Return the oxtail to the pot and add the beef broth, diced tomatoes, and bay leaves. Bring the liquid to a simmer, then reduce the heat to low. Cover the pot and let it simmer gently for 34 hours, or until the oxtail is tender and falling off the bone.6. Once the oxtail is cooked, remove it from the pot and set it aside. Skim off any excess fat from the surface of the braising liquid.7. If desired, you can thicken the braising liquid into a sauce by simmering it over medium heat until it reaches your desired consistency.8. To serve, place a few pieces of oxtail on a plate and spoon the braising liquid over the top. Garnish with freshly chopped parsley.Enjoy your Red Wine Braised Oxtail with a side of creamy mashed potatoes or crusty bread to soak up all the delicious sauce. This dish is perfect for a cozy night in or for impressing guests at a dinner party. The tender meat, rich flavors, and aromatic red wine make it a true culinary delight.。
多种感官并用的用餐及数码用餐
多种感官并用的用餐及数码用餐
Charles Spence
【期刊名称】《《数码设计．CG WORLD》》
【年(卷),期】2014(000)002
【摘要】一大批像居住在西班牙圣塞巴斯蒂安的厨师们，开始以创造性的方法运
用科技一这一趋势将在2014年逐渐兴盛。
在赫罗纳市的ElCellerdeCanRosa餐
厅里，用餐者们点的甜点在上菜时会搭配一台iPod和扬声器。
当他们吃掉芳香的酥皮的时候，扬声器里面会播放出关于梅西是如何盘带晃过皇家马德里球员的解说。
当讲到进球的时候，用餐者们把一个巧克力球扔进一个碗里，
【总页数】1页(P67-67)
【作者】Charles Spence
【作者单位】不详
【正文语种】中文
【中图分类】TN946
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17242382_爱娃·布劳恩的餐桌_
Life ·职场生活·食物1945年4月23日，柏林到处是残垣断壁，尸横遍野，盟军长久以来的轰炸已然停止，但是苏军的炮火不息，并且红军已经对柏林成合围状态。
人们乘坐小汽车，卡车，货车和摩托车纷纷逃出柏林，堵塞的车队有几英里长。
就在这天早晨，希特勒最爱的建筑师，他战争期间的军需部长阿尔伯特·施佩尔却想从距离柏林70英里远的巴特维尔斯纳克进入柏林跟希特勒道别，施佩尔乘坐飞机，在战斗机的护航下飞往柏林。
此时的希特勒住在他在德国总理府修筑的地堡里。
施佩尔当天下午到达，随后亲眼见证了第三帝国灰飞烟灭的八小时。
他看到希特勒颤抖着，眼神空洞，召集剩余的随行人员开简短的形势分析会，但是从外界传来的报告模糊不明，让他们无法讨论。
希特勒最关心的就是如何让自己不要落在苏联人手中，他打算在命运无法挽回的时刻自杀。
大约到了半夜希特文｜唐莉 张雷在贝格霍夫有些漫长孤独的日子里，也有很多事占据了爱娃的注意力，这要归因于她生命中的两大动力：首先当然是她对希特勒的爱。
另外打发更多时间的就是坚定不移地对个人形象的塑造。
爱娃·布劳恩的餐桌希特勒的家庭生活爱娃·布劳恩与希特勒在巴伐利亚的别墅外。
勒回到自己的卧室。
而希特勒的情妇爱娃·布劳恩，传话说她想见施佩尔。
没人能够理解施佩尔如何与爱娃成了亲密朋友。
施佩尔是一个受过高等教育的有文化修养的男人，而爱娃是一个漂亮但没脑子的家庭主妇，总是打扮光鲜，跟两只苏格兰猎犬在一起。
此时的爱娃已经在地堡待了9天，她在希特勒的卧室旁边有自己的房间，已经打算与希特勒一起死。
令施佩尔震惊的是，与地堡中其他人的神经崩溃不同的是，爱娃看起来并不怎么困扰。
她以女主人的姿态问候施佩尔。
施佩尔在回忆录中写道：爱娃·布劳恩散发出几乎可以说是愉悦的宁静，“为了我们的告别来瓶香槟如何？再来点甜点？我确信你肯定很久没吃东西了。
”施佩尔被她的关心打动了，来到地堡里这么久，她是唯一一个想到他可能会饿的人。