Paganini, Nicolo - Caprice #24 经典 吉他谱 五线谱对照六线谱.pdf
古典吉他名曲中英文对照
A. Barrios：La Catedral (大教堂)A. Lauro：ValsesVenezolanos No. 3(委内瑞拉圆舞曲第三号)A. Ruiz-Pipo：Cancion y Danza No. 1 (歌与舞曲第一号)A. Tansman：DanzaPomposa (壮丽的舞曲)A. Tansman：Suite in Mode Polonico (波兰组曲)A. Tansman：Variacionessobre un tema de Scriabin(史克里亚宝主题与变奏)Alonso Mudarra：Fantasia No.10 穆达那（幻想曲第十号）Anon ：Romance de Amor (爱的罗曼斯)Antonio Lauro：Venezuelan Waltzes拉罗（委内瑞拉圆舞曲）Astor Piazzola：Tango suite for two guitars 探戈组曲（双吉他）Astor Piazzola：History of Tango for Guitar and flute皮亚梭拉探戈历史（吉他和长笛）Augustin Barrios：Paraguayan Dance No.1巴利奥斯巴拉圭舞曲第一号Augustin Barrios：Concert studies 巴利奥斯演奏会用练习曲Augustin Barrios：Julia Florida 巴利奥斯船歌Augustin Barrios：Last tremolo 巴利奥斯祈求上帝的爱Augustin Barrios：Un Sueno en la florest巴利奥斯森林之梦Augustin Barrios：Waltzes 巴利奥斯圆舞曲Augustin Barrios：Las Abejas巴利奥斯蜜蜂B. Britten：Nocturnal Op. 70 (布列顿的夜曲)CaprichoArabe (阿拉伯幻想曲)Carlo Domeniconi:Bird bridge 多明尼康尼鹊桥Carlo Domeniconi:Turkish variation多明尼康尼土耳其变奏曲Choro da Saudade (乡愁鸠罗曲)Cimarosa：Sonatas 史麦罗沙奏呜曲Concerto Antico for guitar and small orchestra 理查德·哈维（古风协奏曲）Concierto de Aranjuez罗德里戈（阿兰胡埃斯协奏曲）D. Scarlatti：Sonatas 史格拉第奏呜曲DanzaCaracteristica (个性舞曲)E. Pujol：Los Abejorros (大黄蜂)E. Sainz de la Maza：Habanera (哈巴奈拉舞曲)F. Martin：Quatre Pieces Breves (四首小品)F. Mompou：Suite Compostelana (蒙波的康波斯特拉组曲)F. Tarrega：Gran Jota de Concierto(大霍塔舞曲)F. Tarrega：Lagima; Adelita; Marieta(泪，阿德丽塔，玛莉叶塔)F. Tarrega：Preludios; Maria(Gavotta); Rosita(前奏曲、玛莉雅、小玫瑰)F. Tarrega：Recuerdos de la Alhambra(阿尔罕布拉宫的回忆)Fantasia paraurGentilhombre罗德里戈（绅士幻想曲）Fernando Sor：Variations on a Theme from The Magic Flute 索尔莫扎特主题变奏曲Francisco Tarrega：Mazurkas 泰雷加马祖卡舞曲Francisco Tarrega：Alborada泰雷加晨歌Francisco Tarrega：CaprichoArabe泰雷加阿拉伯风格随想曲Francisco Tarrega：Vals泰雷加圆舞曲Francisco Tarrega：Sueno泰雷加梦Franz Gruber: Silent Night弗朗兹·格鲁贝尔(平安夜)G. C. Lindsey：Rain Drops (雨滴)Gaspar Sanz：Suite Espa?ola山斯西班牙组曲GiulioRegondi：Nocturne op.19 雷宫第夜曲op.19Grand Solo 索尔（伟大的独奏）Grande Ouverture朱利亚尼（大序曲）H. Villa-Lobos：Preludios No. 1, 3, 4 (前奏曲1,3,4号)Isaac Albaniz:Sevilla阿尔贝尼滋塞维利亚Issac Albeniz: Granada伊萨克·阿尔贝尼兹(格拉纳达)Issac Albeniz：Asturias (Leyanda) 伊萨克·阿尔贝尼兹(阿斯图利亚斯传奇）J. Duarte：English Suite (英国组曲)J. K. Mertz：Elegie, FantaisieHongroise op.65梅尔兹悲歌，匈牙利幻想曲J. Rodrigo：En Los Trigales (小麦田)顶11举报| 2011-06-07 17:16回复天才月亮雨滴7 2楼J. Rodrigo：Invocacion y Danza (祈祷与舞曲)J. S. Bach ：Lute Suites (鲁特琴组曲)J. S. Bach：Fuga BWV1001 巴赫赋格J. S. Bach：Prelude from cello suite No.4 BWV997巴赫前奏曲J. S. Bach：Chaconne from violin partita No.2 BWV 1004 巴赫恰空舞曲J. S. Bach：Cello Suite BWV 1009 巴赫大提琴组曲BWV 1009J. S. Bach：Sonata BWV 1043 巴赫奏呜曲J. S. Bach：Lute Suite No.4 BWV 1006巴赫鲁特琴组曲J. Turina：Homenaje a Tarrega; Fandanguillo; Rafaga (疾风)Joaquin Turina:Sonata Op.70 屠连纳奏呜曲Op.70John Dowland：Prelude, Pavan, Fantasia, 约翰杜兰（前奏曲, 孔雀舞曲, 幻想曲）JoséLuis Merlin:Suite del Recuerdo梅林回忆组曲Julio Sagreras：El Colibr沙格拉斯蜂鸟Koyunbaba多明尼康尼（科庸巴巴）L. Brouwer：Elogio de la Danza (舞之颂)L. Brouwer：TresApuntes (三首素描)L. Mozzani：FesteLariane (罗利安那祭曲)L. Walker：KleineRomanze (小罗曼史)La Danse Des Naiades (水神之舞)Leo Brouwer:Elogio de la Danza李奥包华舞蹈礼赞Leo Brouwer：El Decameron Negro 黑色十日谈（利奥·布劳威尔）Luys de Narvaez：DiferenciassobreGuardamelasVacas拉维斯（看牛歌变奏曲）M. C. Tedesco:Sonatina for flute and guitar泰德斯高长笛与吉他小奏呜曲M. C-Tedesco：CaprichoDiabolico (魔鬼绮想曲)M. de Falla：Homenaje a Debussy (德布西的赞歌)M. Guiliani：Le Papillon, Op. 30 (蝴蝶)M. Llobet：CancionesPopularesCatalanas(卡达朗民歌)M. Mussorgsky：Pictures from an Exhibition 莫索斯基图画展览会M. Torroba：Suite Castellana (卡斯提亚组曲)Madrigal Gavotta (牧歌风嘉禾舞曲)Manuel de Falla:Hommage pour le Tombeau de Debussy 费亚德贝西之墓赞歌Mauro Giuliani:Sonata for flute and guitar朱利亚尼小提琴与吉他奏呜曲Mauro Giuliani：Variations on a theme by Handel朱利亚尼（韩德尔主题变奏曲）Nicolo Paganini：Sonata, Caprices Nos.5, 8, 24帕格尼尼奏呜曲, 随想曲Nos.5, 8, 24 NicoloPaganini:Sonatas for violin and guitar 帕格尼尼小提琴与吉他奏呜曲Pieza Sin Titulo (无题小品)R. S. Brindle：Polifemo de Oro(黄金的古希腊独眼巨集)Robert Saxton: Night Dance 布列顿夜曲Op.70Roland Dyens:Tango en skai迪恩斯探戈Roland Dyens:Sudade No. 3 迪安斯乡愁曲三号S. Dodgson：Partita (多格森的组曲)S. L. Weiss：Passacaglia 魏斯帕撤嘉利亚舞曲saacAlbaniz:Cordoba阿尔贝尼滋哥多巴saacAlbaniz:TorreBermeja阿尔贝尼滋红塔saacAlbaniz:Cadiz阿尔贝尼滋卡廸斯saacAlbaniz:Mallorca阿尔贝尼滋马约加V. Gomez：TristeSantuario (悲伤的礼拜堂)W. Walton：5 Bagatelles for Guitar(五首为吉他而写的小品)本文来自: 玫瑰木古典吉他论坛() 。
百科知识精选塔妙妮
景点简介
斐济塔妙妮(Taveuni)是斐济第三大岛，“taveuni”在斐济语中是“富庶”之
意，因为火山岛肥沃的土壤，使得岛上物产十分丰盛，连斐济国花Tagimoucia 都只长在岛上的火山口，所以此岛素有“花园之岛”的美誉。
塔妙妮最靠近国际换日线的岛屿，也是最早迎接新千年的岛屿。
与万努来雾岛相隔的索摩索摩海峡，是斐济最著名的潜水场所之一，成为PADI教练推荐的顶级潜水地。
许多欧美纽澳的潜水玩家到这儿来开发或经营旅馆，因此此地有相当多风格各异的小型旅馆。
因为开发者都怀有一份喜爱自然的心，所以这里虽然开发甚早，自然环境保育却维护得很好，不负“花园之岛”的美名。
除了潜水之外，森林探险与珊瑚砂海岸健行的活动也十分盛行，电影《蓝色珊瑚礁》续集就选中了这块纯净的地方，而布玛森林公园( Bouma Forest Park)中的瀑布是电影中相当唯美的一个场景，游客可以走进森林登山夕道，一探这个明星瀑布奥秘。
拉维那 ( Lavena )海岸充满白色珊瑚砂与黑色火山岩的景致，也是电影中男女主角所到的无人岛屿背景地，游客可以进行1-2小时的海岸健行行程，除了海洋岛屿景观，还会穿越森林及拜访部落，是一趟深入自然的知性之旅，这些行程都可在下榻旅馆预约。
世界著名葡萄酒品牌(World famous wine brands)
世界著名葡萄酒品牌（World famous wine brands）1、Chateau Ste。
米歇尔哥伦比亚山谷美乐葡萄酒哥伦比亚山谷美乐Chateau Ste。
米歇尔是华盛顿州著名的圣米歇尔葡萄酒公司的下属酒庄。
毫无疑问，它也是华盛顿州最大的生产者，年产量超过一百万箱。
Chateau Ste。
米歇尔也是最富冒险精神的酒庄之一，他们和欧洲的葡萄酒豪门如托斯卡纳的皮耶罗？安蒂诺里（Piero Antinori）和德国的厄恩斯？卢森（厄恩斯特松）联手在日渐兴旺的华盛顿红山产区和马天堂山产区成立酒厂这款酒有令人愉悦的烟熏味和丰富的黑樱桃味道，也因此为自己赚足了人气。
2、黑石加利福尼亚美乐葡萄酒加利福尼亚酒庄梅洛黑石酒园从1990年开始酿酒，其葡萄园的地理位置优越，具有丰饶的土质，这里的美乐葡萄酒堪称全加州口感最饱满、最易饮的酒款之一。
最近，酒园已开始酿造各种葡萄酒，包括美味的雷司令葡萄酒等。
但精华部分还是出自天才酿酒师丹尼斯？希尔（Dennis Hill）之手的有淡淡烟熏和李子味道的美乐葡萄酒。
酒园的地下酒窖里还珍藏着很多种市面上很难买到的珍酿，作为加州的知名品牌，你可以在世界主要的机场免税店中发现它的身影。
3、伯格古藤仙芬黛葡萄酒老藤仙粉黛Bogle家族自18世纪中期就在加州的克拉克斯伯格地区（克拉克斯堡）进行农耕，直到1968年才开始种葡萄，10年后，瓦伦？伯格（Warren Bogle）和他的儿子克里斯（克里斯）建立了葡萄园并以家族的名字命名。
现在，家族的生意由克里斯的遗孀巴蒂？伯格（Patty Bogle）经营着，葡萄园的面积已达1200亩，有些用于做果酱。
4、克洛斯杜波依斯索诺玛黑品乐葡萄酒索诺马县黑比诺林场酒园酿出的酒一直是值得信赖的。
几年前，成名于圣米歇尔古堡的酿酒师艾里克？奥尔森（Eric Olsen）来到林场酒园，并逐渐将葡萄酒的品质上升到新高度。
泥灰岩系列葡萄酒从1978年开始就深受大家的喜爱，最后一个年份（2003）也是索诺玛产区为数不多的物美价廉的黑品乐葡萄酒。
帕格尼尼的故事2
帕格尼尼是一位杰出的小提琴演奏家和作 曲家，但为了隐藏自己独创的演奏技巧，他 不肯将自己的作品出版。他去世 10 年后， 人们才将他的作品编辑出版，总共包括： 50 首小提琴曲杰出，其中《二十四首随想 曲》的某些部分曾被李斯特、舒曼、勃拉姆 斯、拉赫玛尼诺夫等人改编 个vvvg成钢琴 曲；12首小提琴与吉他奏鸣曲，其中6首为 小提琴、中提琴、大提琴和吉他的四重奏； 6 首小提琴协奏曲，其中《 b 小调第二小提 琴协奏曲》（《钟声》）是他的代表作，主 要特点是演奏技巧精湛，尤其是首尾两个乐 章遥相呼应，精彩迷人，无愧于它的标题 《钟声》。作品 1851 年刚出版，李斯特就 立即将它改编为同名钢琴练习曲。原作与改 编曲双双传于后世，至今仍是音乐会上常见 的曲目。他还创作有吉他曲200首，以及其 他各种室内乐作品等。
他闭门不出，疯狂地练琴，每天十多个小
时。13岁时，他开始带着一把琴周游，过着流
浪者的生活。同时，他还坚持学习作曲与指挥，
创作出了《随想曲》、《无穷动》、《女妖舞》
和6部小提琴协奏曲及许多吉他演奏曲，这些都
让他付出了艰辛的努力与汗水。15 岁时，他成 功举办了一次音乐会。就是这次音乐会使他震 惊了世界，一举成名，他的名声传遍英、法、 德、意、奥、捷等国。
他为演奏他为演奏家和作曲家们引入了更先进的技巧。通过他的贡献，小提琴作品的创作极大地丰富了。 他的音乐具有非常丰富和高难度的指法和弓法以取悦听众，并对他当时的同行们构成挑战。他的音乐会作品 中有连顿弓、和声、拨弦（双手），和丰富的音程（最多达到大十度）。家和作曲家们引入了更先进的技巧。 通过他的贡献，小提琴作品的创作极大地丰富了。他的音乐具有非常丰富和高难度的指法和弓法以取悦听众， 并对他当时的同行们构成挑战。他的音乐会作品中有连顿弓、和声、拨弦（双手），和丰富的音程（最多达 到大十度）。
MadamaButterfly译文
Opera in three acts by G. Puccini, Libretto by G. Giacosa and L. Illica. First performance: Milan, 1904. Characters: Cio-cio-San, called Madama Butterfly (soprano) ; Suzuki, her servant (mezzo-soprano); B.F.Pinkerton, Lieutenant, U.S. Navy (tenor); Sharpless, U.S. Consul (baritone) ; Goro, marriage Pinkerton (mezzo-soprano); Cio-cio-san's child (silent).Nagasaki, at the turn of the century Act I: Lieutenant Pinkerton, Making last-minute arrangements for his wedding, is shown through his new house overlooking the harbor of Nagasaki by Goro, the marriage broker, Three servants, including the maid Suzuki, are introduced. Sharpless, the Consul, arrives. As he sits down for a drink with Pinkerton, the young Lieutenant expounds the philosophy of the roving Yankee who ventures forth boldly, expecting the fairest of every land as his reward. The conversation then turns to the bride. Goro praises her beauty, and Pinkerton sends him to fetch her. The mere thought of his bride moves Pinkethon to raptures, but the kindly Consul warns him not to betray a girl who, to judge from her behavior, takes this marriage very seriously. Goro now returns, announcing the arrival of Butterfly and her companions. the girls can already be heard in the distance chattering gaily without a thought of the disaster which is beginning to unfold. Now the girls have reached the house, and Butterfly is ready to start a new life. She tells her friends that she is the happiest girl in Japan, or rather in the world. When the introductions are over, the bride tells Pinkerton that she comes from a once rich family that later met with ill-fortune, whereupon she was forced to earn a living as a geisha. Soon some officials and Butterfly's relations arrive. Pinkerton approaches Butterfly, and she commences to unburden herself of her belongings, which she has been carrying in the sleeves of her kimono. Among them is something she does not want to show in front of all the people, but Goro gives Pinkerton a whispered explanation: it is the dagger sent by the Mikado to her father with order to commit hara-kiri. Now Butterfly confides to Pinkerton that she has secretly embraced Christianity, so that her fate may be linked closer to that of her husband. The marriage ceremony is performed. Then the officials, including the Consul, congratulate the groom and leave. All are drinking a toast to the young couple when suddenly a voice from the distance furiously calls and curses Cio-Cio-San. It is her uncle. The Bonze, who has found out about her conversion. He arrives and commands all the relations to renounce Butterfly. When Pinkerton finally intercedes, all leave, repeating the curse over and over. Butterfly is standing motionless and silent; her face buried in her hands, but her despair quickly gives way to childlike happiness under Pinkerton's gentle words of love. Slowly night begins to fall, and the pair remains alone. Butterfly changes into a white gown, and her new husband gently leads her onto the terrace as vows of love flow from their lips. Act II: Three years have passed since Pinkerton's departure. In a room of her house which looks into the garden and over the harbor, Butterfly stands rapt in thought as Suzuki prays to her Japanese gods that they may stop the tears of her mistress. Butterfly is annoyed. She has more faith in the American God-but unfortunately He does not seem to know where Butterfly lives. Her money is just about gone and a catastrophe is imminent unless Pinkerton returns soon. Butterfly is sure that he will return. Does Suzuki not believe it? Well, Butterfly knows how it will be: One fine day we'll notice a thread of smoke arising on the sea in the far horizon…… (See Butterfly's Aria). Sharpless, guided by Goro, pays a visit to Butterfly. In her naive joy, Butterfly gives him at first no chance to fulfill the purpose of his visit: to read to her a letter he has received from Pinkerton. Butterfly indignantly tells the Consul how, during the three years since Pinkerton's departure, the marriage broker has continually offered her suitors. At the moment it is Prince Yamadori, a very rich one. Butterfly claims that she is still married, and that, according to American law, one cannot simply leave and forget his wife as one can do in Japan. At last Sharpless can begin to read the letter, but when he reaches the critical words "……will you carefully prepare her…… ", Butterfly is so overjoyed that the Consul cannot bring himself to read on. With a curse for Pinkerton, he bluntly asks the girl what she would do if Pinkerton were never to return. Haltingly she stammers that she could be a geisha again, or better, she could die. When the Consul, filled with pity, suggests that she marry Yamador, her first impulse is to ask him to leave, but suddenly she runs into an adjoining room and returns with a small child. Can he forget this, she exclaims, this blue-eyed boy with blond curls? Will she have to carry him through rain and wind, begging and dancing, a geisha again? No, this shall never be, Rather than dance, she would die. Deeply moved, Sharpless promises to tell Pinkerton about his son and takes his leave. At this moment the cannon of the harbor is heard firing, and Suzuki hurries in, saying that it is a warship. Butterfly in great excitement looks through a telescope and recognizes Pinkerton's ship, the Abraham Lincoln. Everyone has been lying to her, she exclaims; Pinkerton is back, her love is triumphant. She orders Suzuki to gather the blossoms from their cherry tree and to bring in all the flowers from the garden so that the house may be filled with the scent of spring. Reluctantly Suzuki obeys and, with her mistress, proceeds to strew the blossoms all over the room. Butterfly puts on the gown she wore on her wedding night and motions to Suzuki to close the screen that separates the room from the terrace. In the screen she makes three tiny holes through which they can observe the expected arrival of Pinkerton. The light is fading as they gaze into the distance. Act III: Night is gradually receding before the new day, but Butterfly still stands motionless, her gaze fixed on the harbor. Following Suzuki's advice, Butterfly retires for a brief rest. Pinkerton and the Consul knock at the door and enter. Then Suzuki sees a lady in the garden and learns with horror that she is Pinkerton's wife, Kate. Sharpless asks Suzuki to comfort her mistress and to persuade her to give up her child to Kate. Pinkerton is overcome by his memories. Reproached by Sharpless and crushed by remorse, he bids a tearful farewell to the past and departs. Butterfly rushes in, but does not dare ask the Consul about Pinkerton. Then she notices Kate and understands what is expected of her. Sadly she wishes Kate luck and promises to give the child to Pinkerton personally if he comes in half an hour. The Consul and Kate leave. Butterfly falls weeping to the ground. When she comes to, she sends Suzuki out. Then she goes to the shrine, takes the dagger, and reads the inscription on the blade: "Death with honor is better than life with dishonor." As she raises the dagger, the door opens and Suzuki's arm is seen pushing the child toward his mother. Butterfly hugs him hysterically, then bids him a heart rending farewell, blindfolds him, and gives him an American flag to play with. Again taking the dagger, she moves behind a screen. The knife is heard dropping. Butterfly tries to crawl toward the child as Pinkerton, ascending the hill, is heard calling her name. By the time hereaches the threshold, Butterfly is dead.蝴蝶夫⼈〔美〕R.费尔纳 三幕歌剧：G.普契尼作曲；G.贾柯查和L.伊⾥卡编剧。
作曲家年代表
Hildegard von Bingen [德] 希尔德加德 1098-1179 Claudio Monteverdi [意] 蒙泰韦尔迪 1567-1643 Thomas Tomkins [英] 汤姆金斯 1572-1656Johann Grabbe [德] 格拉贝 1585-1655Fran?ois Roberday [法] 卢伯戴 1624-1680Louis Couperin [法] 库伯兰 1626?-1661Charles Mouton [法] 穆顿 1626?-1699?Jean-Baptiste Lully [意-法] 吕里 1632-1687 Guillaume Gabriel Nivers [法] 尼沃 1632-1714Marc-Antoine Charpentier [法] 沙尔庞捷 1643-1704 Biber,Heinrich [捷-奥] 比贝尔 1644-1704Robert de Visée [法] 维赛 1650-1725Arcangelo Corelli [意] 科雷利 1653-1713Johann Pachelbel [德] 帕赫尔贝尔 1653-1706Sébastien de Brossard [法] 布罗萨尔 1655-1730Marin Marais [法] 马雷 1656-1728Andrè Campra [法] 康普拉 1660-1744Tomaso Antonio Vitali [意] 维塔利 1663-1745Jean-Ferry Rebel [法] 勒贝尔 1666-1747Fran?ois Couperin [法] 库伯兰 1668-1733Louis Marchand [法] 马尔尚 1669-1732Tomaso Albinoni [意] 阿尔比诺尼 1671-1750Michel de la Barre [法] 巴尔 1675-1743Louis-Nicolas Clérambault [法] 克莱朗博 1676-1749 Antonio Vivaldi [意] 维瓦尔迪 l678-1741Georg Philipp Telemann [德] 泰勒曼 1681-1767J.G.Walther [德] 瓦尔特 1684-1748G.F.Handel [德-英] 亨德尔 1685-1759J.S.Bach [德] J.S.巴赫 1685-1750Domenico Scarlatti [意-西] 斯卡拉蒂 1685-1757 Joseph B. Boismortier [法] 波伊斯玛蒂亚 1689-1755 Giuseppe Tartini [意] 塔蒂尼 1692-1770Johan Helmich Roman [瑞典] 罗曼 1694-1758Jean Marie Leclair [法] 勒克莱尔 1697-1764Bernhard Flies [德] 弗利斯 1700?-?Giovanni Sammartini [意] 萨马丁尼 1701-1775Joseph-Hector Fiocco [意] 菲奥科 1703-1741Charles Avison [英] 阿维森 1709-1770Frantisek Benda [捷-德] 本达 1709-1786W.F.Bach [德] W.F.巴赫 1710-1784Jean Cassanéa de Mondonville [法] 蒙东维尔 1711-1772 Christoph Gluck [德] 格卢克 1714-1787C.P.E.Bach [德] C.P.E.巴赫 1714-1788Joseph Haydn [奥] 海顿 1732-1809Josef Myslivecek [捷-意] 米斯利韦切克 1737-1781 Johann Paul Martini [德] 马丁尼 1741-1816Luigi Boccherini [意] 博凯里尼 1743-1805Georg Joseph Vogler [德] 福格勒 1749-1814Muzio Clementi [意] 克莱门蒂 1752-1832Michel Yost [法] 约斯特 1754-1786W.A.Mozart [奥] 莫扎特 1756-1791Anton Reicha [捷-法] 雷哈 1770-1836L.V.Beethoven [德] 贝多芬 1770-1827Antonio Cartellieri [捷] 卡尔泰列里 1772-1807Johann Nepomuk Hummel [德] 胡梅尔 1778-1837Nicolo Paganini [意] 帕格尼尼 1782-1840Louis Spohr [德] 施波尔 1784-1859Henry Rowley Bishop [英] 毕晓普 1786-1856Carl Weber [德] 韦伯 1786-1826Franz Xaver Gruber [奥] 格鲁贝尔 1787-1863Aleksandr Aljabjev [俄] 阿利亚比耶夫 1787-1851 Gioacchino Rossini [意] 罗西尼 1792-1868Carl Loewe [德] 勒韦 1796-1869Franz Schubert [奥] 舒伯特 l797-1828Adolphe-Charles Adam [法] 亚当 1803-1856Hector Berlioz [法] 柏辽兹 1803-1869Johann Strauss(Vater) [奥] 约翰·施特劳斯(老) 1804-1849 Julius Benedict [德-英] 贝内迪克特 1804-1885Franz Schubert [德] 舒柏特 l808-1878Felix Mendelssohn [德] 门德尔松 1809-1847Ole Bull [挪] 布尔 1810-1880Frederic Chopin [波] 肖邦 1810-1849Robert Schumann [德] 舒曼 1810-1856Otto Nicolai [德] 尼古拉 1810-1849Franz Liszt [匈] 李斯特 l811-1886Antonio Bazzini [意] 巴齐尼 l818-1897Charles-Fran?ois Gounod [法] 古诺 1818-1893Jacques Offenbach [法] 奥芬巴赫 l819-1880Friedrich Kiel [德] 基尔 1821-1885Joseph Joachim Raff [德] 拉夫 1822-1882César Franck [比-法] 弗兰克 1822-1890Edouard Lalo [西-法] 拉洛 1823-1892Johann Strauss(Sohn) [奥] 约翰·施特劳斯(小) 1825-1899 Stephen Foster [美] 福斯特 1826-1864Josef Strauss [奥] 约瑟夫·施特劳斯 1827-1870Anton Rubinstein [俄] 安东·鲁宾斯坦 1829-1894Johannes Brahms [德] 勃拉姆斯 1833-1897Alexander Borodin [俄] 鲍罗丁 1833-1887Henryk Wieniawski [波兰] 维尼亚夫斯基 l835-1880 Camille Saint-Sa?ns [法] 圣－桑 l835-1921Léo Delibes [法] 德立勃 1836-1891Alexandre Guilmant [法] 吉尔芒 l837-1911Max Bruch [德] 布鲁赫 1838-1920Georges Bizet [法] 比才 1838-1875Modest Mussorgsky [俄] 穆索尔斯基 1839-1881P.I.Tchaikovsky [俄] 柴可夫斯基 1840-1893Johan Svendsen [挪-丹] 斯文森 1840-1911Emmanuel Chabrier [法] 夏布里埃 1841-1894Antonin Dvorák [捷] 德沃夏克 1841-1904Jules Massenet [法] 马斯奈 1842-1912Arthur Sullivan [英] 沙利文 1842-1900Edvard Grieg [挪] 格里格 1843-1907David Popper [捷] 波佩尔 1843-1913Pablo Sarasate [西] 萨拉萨特 l844-1908Rimsky-Korsakov [俄] 里姆斯基-柯萨科夫 1844-1908Gabriel Fauré [法] 福雷 1845-1924Benjamin Godard [法] 戈达尔 1849-1895--------------------------------------------------------------------------------Jakob Adolf H?gg [瑞典] 黑格 1850-1928Zdenek Fibich [捷] 菲比希 l850-1900Ernest Chausson [法] 肖松 1855-1899Anatol Lyadov [俄] 利亚多夫 1855-1914Edward William Elgar [英] 埃尔加 1857-1934Isaac Albéniz [西] 阿尔贝尼斯 1860-1909Hugo Wolf [奥] 沃尔夫 1860-1903Gustav Mahler [奥] 马勒 1860-1911Marco Enrico Bossi [意] 博西 l861-1925Claude Debussy [法] 德彪西 1862-1918Pietro Mascagni [意] 马斯卡尼 1863-1945Johan Halvorsen [挪] 哈尔沃森 1864-1935Richard Strauss [德] 理查·施特劳斯 1864-1949Alexander Glazunov [俄] 格拉祖诺夫 1865-1936Jean Sibelius [芬] 西贝柳斯 1865-1957Ferruccio Busoni [意] 布索尼 1866-1924Ottokar Novacek [匈-美] 诺瓦切克 1866-1900Enrique Granados [西] 格拉纳多斯 1867-1916Vittorio Monti [意] 蒙蒂 1868-1922Francisco Valle [巴西] 瓦莱 1869-1921--------------------------------------------------------------------------------Franz Lehár [奥] 莱哈尔 1870-1948Louis Vierne [法] 维耶纳 1870-1937Alexander Scriabin [俄] 斯克里亚宾 1871-1915Max Reger [德] 雷格 1873-1916Sergei Rachmaninoff [俄-美] 拉赫玛尼诺夫 1873-1943Jean Roger-Ducasse [法] 罗歇-迪卡斯 1873-1954Josef Suk [捷] 苏克 1874-1935Serge Koussevitzky [俄-美] 科乌谢维茨基 1874-1951Arnold Sch?nberg [奥-美] 勋伯格 1874-1951Gustav Holst [英] 霍尔斯特 1874-1934Reinhold Glière [苏] 格利埃 1875-1956Fritz Kreisler [奥-美] 克莱斯勒 1875-1962Maurice Ravel [法] 拉威尔 l875-1937Manuel de Falla [西] 法拉 1876-1946Taki Rentaro [日] 泷廉太郎 1879-1903Otto Olsson [瑞典] 奥尔松 1879-1964Ernest Bloch [瑞士-美] 布洛克 1880-1959Béla Bartók [匈] 巴托克 1881-1945Nikolai Myaskovsky [苏] 米亚斯科夫斯基 1881-1950George Enescu [罗] 埃内斯库 1881-1955Igor Stravinsky [俄-美] 斯特拉温斯基 1882-1971Percy Grainger [澳-美] 格兰杰 1882-1961Karol Szymanowski [波] 希马诺夫斯基 1882-1937Albert Coates [英] 科茨 1882-1953Zoltán Kodály [匈] 科达伊 1882-1967Enrico Toselli [意] 托塞利 1883-1926Otto Klemperer [德-美-以] 克伦佩雷尔 1885-1973Deems Taylor [美] 泰勒 1885-1966Yamada Kosaku [日] 山田耕作 1886-1965Nadia Boulanger [法] 纳迪娅·布朗热 1887-1979Irving Berlin [俄-美] 伯林 1888-1989Efrem Zimbalis [俄-美] 津巴利斯特 1889-1985--------------------------------------------------------------------------------Jelly Roll Morton [美] 莫顿 1890-1941Bohuslav Martinu [捷克] 马丁努 1890-1959Sergei Prokofiev [苏] 普罗科菲耶夫 1891-1953Heinz Provost [瑞典] 普罗沃斯特 1891-19??Darius Milhaud [法] 米约 1892-1974Lili Boulanger [法] 莉莉·布朗热 1893-1918Robert Bennett [美] 贝内特 1894-1981Mario Castelnuovo-Tedesco [意-美] 卡斯泰尔诺沃-泰代斯科 1895-1968Wilhelm Kempff [德] 肯普夫 1895-1991Paul Ben-Haim [以] 本-哈伊姆 1897-1987Agustín Lara [墨] 拉腊 1897-1970George Gershwin [美] 格什温 1898-1937Leib Glantz [以] 格兰茨 1898-1964Francis Poulenc [法] 普朗克 1899-1963Duke Ellington [美] 埃林顿 1899-1974Hoagy Carmichael [美] 卡迈克尔 1899-1981Kurt Weill [德-美] 魏尔 1900-1950Aaron Copland [美] 科普兰 1900-1990William Kroll [美] 克罗尔 1901-1980Gregor Piatigorsky [俄-美] 皮亚蒂戈尔斯基 1903-1976Aram Khachaturian [苏] 哈恰图良 l903-1978Ernesto Halffter [西] 阿尔夫特 1905-1989Eduard Tubin [爱沙-瑞典] 图宾 1905-1982Dmitri Shostakovich [苏] 肖斯塔科维奇 1906-1975Franz Waxman [德-美] 韦克斯曼 1906-1967Lars-Erik Larsson [瑞典] 拉松 1908-1986Leroy Anderson [英-美] 安德森 1908-1975Benny Goodman [美] 古德曼 1909-1986--------------------------------------------------------------------------------Samuel Barber [美] 巴伯 1910-1981Walter Landauer [英] 兰道尔 1910-1983Manuel Compinsky [美] 卡宾斯基 l9??-?Sicong Ma [中-美] 马思聪 1912-1987John Cage [美] 凯奇 1912-1992Jean Fran?aix [法] 弗朗赛 l912-1997 Luobin Wang [中] 王洛宾 1913-1996 Benjamin Britten [英] 布里顿 1913-1976 Yijun Huang [中] 黄贻钧 1915-1995Billy Strayhorn [美] 斯特雷霍恩 l915-1967 Thelonious Monk [美] 蒙克 1917-1982Min Yao [中] 姚敏 1917-1967Leonard Bernstein [美] 伯恩斯坦 1918-1990 Huanzhi Li [中] 李焕之 l919-2000Torsten Nilsson [瑞典] T.尼尔松 1920-1999 Astor Piazzolla [阿] 皮亚佐拉 1921-1992 Erroll Garner [美] 加纳 1921-1977Milt Jackson [美] 杰克逊 1923-1999 Jinxuan Yan [中] 严金萱 1924-Yuan Mao [中] 茅沅 1926-Zuqiang Wu [中] 吴祖强 1927-Dominick Argento [美] 阿尔真托 l927-Burt Bacharach [美] 巴卡拉克 l928- Mingxin Du [中] 杜鸣心 1928-André Previn [德-美] 普列文 1929-Harold Farberman [美] 法伯曼 1929- Jingping Zhang [中] 张靖平 l929-Nanxi Zhu [中] 朱南溪 l929-Hankun Sha [中] 沙汉昆 l9??-。
帕格尼尼
整个世界。他就是
尼可罗· 帕格
成为名震欧洲的最著名小提琴家。他的演
奏技巧高超，表情丰富，情绪激奋，如痴
如醉，引人入迷。他常在音乐会上才华横 溢地即兴演奏。为了炫耀技巧，他甚至故 意弄断小提琴上的一两根弦，然后在剩下 的琴弦上继续演奏。
帕格尼尼的身体似乎天生就是为了拉琴的,肩膀;手肘;手腕关 节异常柔软,宽大的胸幅使他不必使用肩垫及腮托,小脑特别 发达听觉格外敏感,即使是用调音不准的琴依然可以拉出准 确的音.还有他可以将曲子任意升高或降低半音来拉,当然不 是藉由调音,而是从指法的改变,学过乐器的人都知道一首曲 子调半音以后,会使得升降记号大变,即使看谱已经很困难， 何况是即时的演奏。 他的手是不可思议的大,一般提琴家必须在高把位才能 用1、3指在两条弦上拉出八度音,但据说帕格尼尼可以用四 根手指在四条弦拉出四个八度,这相当于在手掌弯曲状态下, 食指和小指指尖要相距至少20公分以上
• 帕格尼尼一生病魔缠身，一直到了不能说， 不能走的地步。可是他的琴声却震响了整 个欧洲，甚至整个世界。我们应非常地庆 幸，我们有一个健康的生命。上帝吝啬得 很，绝不肯把所有的好处都给一个人，给 了你天才，就一定要搭配点苦难„当你遇到 这些不如意时，不必怨天尤人，更不能自 暴自弃，顶好的办法，就是像帕格尼尼那 样去自我激励，创出自己的一片天！
时光荏苒，看过他表演的人 现在已至少200岁了，但， 让我们为这位伟大的，坚强 的，不屈服于命运的小提琴
最早出现的弓弦乐器可能出自中亚,并逐渐传播到中国、印度和中东。
最早出现的弓弦乐器可能出自中亚，并逐渐传播到中国、印度和中东。
现代意义上的小提琴最早出现于16世纪早期的意大利北部威尼斯,热那亚等港口。
它在意大利文中称为“violino”，意为“小的中提琴”。
最早期的小提琴，除了一些文艺作品中有所反映之外，没有保存至今的实物。
早期很多小提琴只有三条弦，由此推断，小提琴最初的制作者可能借鉴了其它早于小提琴的乐器，比如中世纪三弦琴（Rebec），这种琴自10世纪开始出现并被使用，它自身源于阿拉伯的雷贝琴（Rebab）。
目前对小提琴最早的明确记载是 Jambe de Fer 于1556年出版于里昂的《音乐摘要》（Epitome musical）。
此时小提琴已经传遍欧洲。
最古老的4弦小提琴是由著名的安德雷亚·阿玛蒂（Andrea Amati）应美第奇家族之请制作于1555年。
阿玛蒂是当时著名的拨弦乐器制作师，他有一套严格的制作流程来保证他作品的精致优雅。
不仅如此，他还率先将拱形结构引入拨弦乐器的制作中，据他所知，拱形结构能明显提升拨弦乐器的音色与听感。
当时鲁特琴（Lute）在贵族中很流行。
而美第奇家族需要一种与鲁特琴类似，但能用于街头演奏的乐器，故尔向安德雷亚·阿玛蒂定做了小提琴。
小提琴迅速流行起来，不论是街头艺人还是贵族都对它青睐有加。
法国国王查理九世在十六世纪下半叶命令阿玛蒂组建了一只完整的弦乐队，这便足以说明当时小提琴的热度。
据琴身所标明的日期来看，现存最早的小提琴是一把“查理九世”（Charles IX），由安德雷亚·阿玛蒂在1560年制作于意大利北部城市克雷莫纳（Cremona）。
而至今为止最有名的小提琴，应该是安东尼奥·斯特拉迪瓦里（Antonio Stradivari）1716年制作的“弥赛亚”（Le Messie），也作“Salabue”，这把琴现藏于英国牛津的Ashmolean 博物馆。
从16世纪到18世纪最著名的制琴师有：∙阿玛蒂家族（意大利），包括：安德雷亚·阿玛蒂（Andrea Amati）（1500-1577），安东尼奥·阿玛蒂（Antonio Amati）（1540-1607），基罗拉摩·阿玛蒂 I（Girolamo Amati I）（1550-1630），吉罗拉莫·阿玛蒂 II（Girolamo Amati II）（1649-1740），尼科洛·阿玛蒂（Nicolo Amati）（1596-1684）∙瓜奈里家族（意大利），包括：安德雷亚·瓜奈里（Andrea Guarneri）（1626-1698），曼图阿（意大利北部城市）的皮埃特罗·瓜奈里（Pietro of Mantua）（1655-1720），朱塞佩·瓜奈里（Giuseppe Guarneri/Joseph filius Andreae）（1666-1739），（威尼斯的）皮埃特罗·瓜奈里（Pietro Guarneri）（1695-1762），朱塞佩·瓜奈里·德尔·杰素（Giuseppe Guarneri del Gesu）（1698-1744）∙斯特拉迪瓦里（Stradivari）家族（意大利克雷莫纳）。
文艺复兴时期三大文学巨匠英文介绍
《最后的晚餐》作品比较
(1308-1311) (1630)
(1592-1594)
(1863)
(1955)
(1464-1467)
(1480)
(1447-1449)
(1495-1498)
The Last Supper measures 460 cm × 880 cm (180 in × 350 in) and covers an end wall of the dining hall at the monastery of Santa Maria delle Grazie in Milan, Italy. The theme was a traditional one forrefectories, although the room was not a refectory at the time that Leonardo painted it. The main church building had only recently been completed (in 1498), but was remodeled by Bramante, hired by Ludovico Sforza to build a Sforza family mausoleum.[1] The painting was commissioned by Sforza to be the centerpiece of the mausoleum.[2] Thelunettes above the main painting, formed by the triple arched ceiling of the refectory, are painted with Sforza coatsof-arms. The opposite wall of the refectory is covered by the Crucifixion fresco by Giovanni Donato da Montorfano, to which Leonardo added figures of the Sforza family in tempera. (These figures have deteriorated in much the same way as has The Last Supper.) Leonardo began work on The Last Supper in 1495 and completed it in 1498—he did not work on the painting continuously. The beginning date is not certain, as the archives of the convent for the period have been destroyed and a document dated 1497 indicates that the painting was nearly completed at that date.[3] One story goes that a prior from the monastery complained to Leonardo about the delay, enraging him. He wrote to the head of the monastery, explaining he had been struggling to find the perfect villainous face for Judas, and that if he could not find a face corresponding with what he had in mind, he would use the features of the prior who complained.
帕格尼尼24首随想曲高清打印NicolliPaganini24Caprices小提琴谱乐谱
目目Niccolo Paganini24 Caprices No 2 Moderate Violin*>.. M B T lm w IM B w a w A rm B m m 3f lt»¥g 普 r f v y bv24CapricesNiccolo Paganini No3Sostenuto5146B 『底nffi m M >EI 二亍•「昏 昼戒g B『「「L T m _「「B m湖瞒1l i l l M M M 一l 」u 」！ 一阳一 F J §30l g lt 心齿二n 士 .r .w H M m n N —M m 「■ I - • n M m m K T 4■r i H llll llllJ-l89%llt g *M 寻 M W E 或一g 」J 」目1「「『IIE Wf 专「f Hg T lr r 寿m E B ,j f J B ^t BA74曜Ir s s s w H H H H H24CapricesNiccold PaganiniNo4Marestoso3052P KT -r /y i Y M J 1(,y 句ll a a J l M l ^^^ r % 一 , 一M M B z r B B 〕Ih 白 4m 日，- v d d ul ul 虬 土 山/P H l w *>-^^/ /U SNiccolo Paganini24 Caprices No 5 Agitato16n n伸rw m8rrrn>).mnm.24CapricesNiccolo Paganini No6Adagio10524 Caprices No 7 Allegreto Niccolo PaganiniViolin司EELll g ’tt *24CapricesNiccolo PaganiniNo8Maestoso14r E §” r l g 一匚 IsjaH a _g a l -1—f 「孚础^^$,枣「压1%上汇raff g 馨自斗m 患嵯h9「T B BE 言耳目hffl mmrnn>rrrmrrnnTmrmIVi1II枇…imimTTTTIrrrr>TrrrrfTrnribTrrrmTrrm>i rH iiiiiii,L一目mjf JI J S 商mg 舂ml m ^l j ^a 宜 b li n 孝 y. l B 幻岁W A E al l w m 寸I r — - c1虹1』*1妃*叽_宅直n 仇C B 蜻皆廿a 加一m F w l卞W K >Y W亩1^a 壮虹展*X24CapricesNiccolo PaganiniNo9AllegretoViolin34---<-----.......-1~~a——二....39E nm PPTTTtlm a ^ l a a ^%•补斑田伊邛豳I爵晰筋莅I留作|耕.，借借「骨件L爵厝［售借f—尹邦留宥皓廊仲尚105_______^_捋-风刖孩屉秋并毛昌24CapricesNo10Vivace Niccolo PaganiniF F1>ra •14111<1.州圭f ££^lim M IMI Lfflj MI 二七n H H H H U &。
帕格尼尼
帕格尼尼.N帕格尼尼.NNicolo Paganini（1782～1840）意大利小提琴家、作曲家。
1782年10月27日生于热那亚，1840年5月27日卒于法国尼斯。
父亲是港口装卸工和海运记帐员，音乐爱好者，立志把儿子培养成音乐家。
他5岁时父亲教他曼陀林，两年后改教他小提琴，要求十分严格。
不久送他到当地剧院乐队的小提琴手A.切尔韦托门下学习。
由于他还表现出作曲才能，父亲又让他从F.涅科（歌剧作曲家）学习和声。
涅科介绍他跟热那亚首屈一指的小提琴家G.科斯塔学习小提琴。
他12岁时首次公开演出，演奏了自己根据法国革命歌曲的旋律写的《卡马尼奥拉变奏曲》。
这时波兰小提琴家A.杜兰诺夫斯基访问热那亚，他精湛的演奏技艺启发了帕格尼尼向技巧和效果方面发展。
由于他的琴艺进展神速，教师们都认为他应该到帕尔马找乐队指挥、著名小提琴家A.罗拉学习。
罗拉听了帕格尼尼视奏自己刚写成的一首协奏曲以后，认为他在小提琴演奏方面技艺已经十分精湛，应该进一步学习作曲。
帕格尼尼先从G.吉雷蒂学对位（作有24首赋格曲），后从F.帕埃尔学习作曲。
他于1796年回热那亚，发现了几乎被人遗忘的P.A.洛卡泰利的《小提琴艺术》一书，其中的24首随想曲在创作思想和技巧上给他以启迪，使他后来也写了《24首随想曲》（约1805），其中的第1首引用了洛卡泰利的第7首随想曲，以表示对先辈的敬意。
他18岁那年，脱离了父亲的监护，到卢卡开演奏会，后任国家乐队指挥，并从事教学和作曲（作有12首小提琴和吉他的奏鸣曲）。
1805年任拿破仑的妹妹埃莉莎·巴乔基公爵夫人的宫廷乐师。
在一次宫廷音乐会上，他只用两根弦即兴演奏《爱的情景》：E 弦代表女性，G弦代表男性。
后受命为庆贺拿破仑生日创作了只用1根弦的《拿破仑奏鸣曲》。
从这时起他坚持练习，最后终于完全掌握了1根弦的演奏技术。
1809年：帕格尼尼离开卢卡，开始“自由艺术家”旅行演出生涯。
他在米兰；法国小提琴家C.P.拉丰比赛获胜，这是浪漫主义学派与古典主义学派斗争的表现。
音乐家年表osoft Office Word 文档
中外音乐家年表姓名原名年代享年国籍享誉蒙特威尔第(Monteverdi,Claudio Giovanni) 1567-1643 (76) <意> 作曲家普赛尔(Purcell,henry) 1659-1695 (36) <英>管风琴家,作曲家维瓦尔第(Vivaldi,Antonio) 1675-1741 (63) <意> 作曲家,小提琴家亨德尔(Handel,George Frideric) 1685-1759 (74) <德国英籍> 作曲家巴赫(Bach，Johann Sebastian）1685-1750 (65) <德> 管风琴家,作曲家格鲁克(Gluck,Christoph Willibald<Von>) 1714-1787 (73) <德> 作曲家海顿(Haydn,Franz Joseph) 1732-1807 (77) <奥> 作曲家莫扎特(Mozart,Wolfgang Amadeus) 1756-1791 (35) <奥> 作曲家贝多芬(Beethoven,Ludwig Von) 1770-1827 (57) <德> 作曲家帕格尼尼(Paganini,Nicolo) 1782-1840 (58) <意) 小提琴家,作曲家韦伯(Weber,Carl Maria Ernst van) 1786-1826 (40) <德> 作曲家,指挥家,钢琴家罗西尼(Rossini,Gioacchino Antonio) 1792-1868 (76) <意> 作曲舒伯特(Schbert,Franz Peter) 1797-1828 (31) <奥> 作曲家柏辽兹(Berlioz, Louis Hector) 1803-1869 (66) <法> 作曲家格林卡(Glinka,Mikhail Lvanovich) 1804-1857 (53) <俄> 作曲家门德尔松(Mendelssohn, Jacob Ludwig Felix) 1809-1847 (38) <德> 作曲家肖邦(Chopin,Frederic Francois) 1810-1849 (39) <波> 作曲家舒曼(Schumann,Robert) 1810-1856 (46) <德> 作曲家,音乐评论家李斯特(Liszt,Ferencz) 1811-1886 (75) <匈> 作曲家,指挥家,钢琴家瓦格纳(Wagner,Wilhelm Richard) 1813-1883 (70) <德> 作曲家威尔第(Verdi,Giuseppe) 1813-1901 (88) <意> 作曲家古诺(Gounod,Charies Francois) 1818-1893 (75) <法> 作曲家奥芬巴赫(Offenbach,Jacques) 1819-1880 (61) <法> 作曲家弗兰克(Franck,Cesar Auguste)1822-1890 (68) <比> 作曲家拉罗(Lalo,Victor Antoine Edouard) 1823-1892 (69) <西班牙裔法国> 作曲家布鲁克纳(Bruckner,Anton) 1824-1896 (72) <奥> 作曲家斯美塔那(Smetana，Bedrich) 1824-1884 (60) <捷克> 作曲家约翰.施特劳斯(Johann,strauss)(小) 1825-1899 (74) <奥> 小提琴家,指挥家,维也纳轻音乐多产作曲家彪罗(Bulow,Hans Gvido von) 1830-1894 (64) <德> 十九世纪后半叶最出色的音乐家勃拉姆斯(Brahms,Johannes) 1833-1897 (64) <德> 作曲家鲍罗廷(Borodin,Alexander Porfirevich) 1833-1887 (54) <俄> 作曲家,科学家维尼亚夫斯基(wienniawski,Henli) 1835-1880 (45) <波> 作曲家,小提琴家圣-桑(Saint-saens,Charles Camille) 1835-1921 (86) <法> 作曲家,钢琴家,管风琴家居伊(Cui,Cesar Antonovich) 1835-1918 (83) <俄> 作曲家德里勃(Delibes,Clement Philibert Leo) 1836-1891 (55) <法> 作曲家巴拉基列夫(Balakirev,Mily Alexeyevich) 1837-1910 (73) <俄> 作曲家布鲁赫(Bruch,Max) 1838-1920 (82) <犹太裔德国> 作曲家比才(Bizet,Georges) 1838-1875 (37) <法> 作曲家穆索尔斯基(Mussorgsky,Modest Petrovich) 1839-1881 (42) <俄> 作曲家柴可夫斯基Chaikovsky,Piotr Ilyich) 1840-1893 (53) <俄> 作曲家德沃夏克(Dvorak,Antonin) 1841-1904 (63) <捷克> 作曲家夏布里埃(Chabrier,Emmanuel) 1841-1894 (53) <法> 作曲家里姆斯基.科萨科夫(Rimsky-Korsakov,Nikola Andreyevich) 1844-1908 (64) <俄> 作曲家萨拉萨蒂(Sarasate,Pablo de) 1844-1908 (64) <西> 作曲家,小提琴家丹弟(Indy P aul Marie Theodore)Vincent d’) 1851-1931 (80) <法> 作曲家肖松(Chausson,Ernest) 1855-1899 (44) <法> 作曲家尼基什(Artur Nikisch) 1855-1922 (67) <匈> 指挥家,小提琴家,钢琴家埃尔加(Elgar,Edward William) 1857-1934 (77) <英> 作曲家普契尼(Puccini,Giacomo Antonio Domenico Michele Secondo Maria) 1858-1924 (66) <意> 作曲家伊萨伊(Eugene ysaye) 1858-1931 (73) <比> 小提琴家马勒(Mahler,Gustav) 1860-1911 (51) <奥地利籍波希米亚> 作曲家,指挥家麦克道威尔(Macdowell,Edward Alexander) 1861-1908 (47) <美> 作曲家德彪西(Delius,Frederick Achille) 1862-1918 (56) <法> 作曲家戴留斯(Delius,Frederick) 1862-1934 (72) <英> 作曲家威因加特纳(Felix Weingartner) 1863-1942 (69) <奥> 指挥家里查.施特劳斯(Strauss,Richard) 1864-1949 (85) <德> 作曲家格拉祖诺夫(Glazunov,Alexander Konstantinovich) 1865-1936 (71) <俄> 作曲家西贝柳斯(Sibelius,Jean) 1865-1957 (92) <芬兰> 作曲家杜卡(Dukas,Paul) 1865-1935 (70) <法> 作曲家,评论家托斯卡尼尼(Toscanini,Artur) 1867-1957 (90) <意> 指挥家沈心工1870-1947 (77) <中国> 音乐教育家,学堂乐歌作者门格尔贝格(Mengelberg,Willem) 1871-1951 (80) <荷兰> 指挥家沃恩.威廉斯(Vaughan.Williams Ralph) 1872-1958 (86) <英> 作曲家斯克里亚宾(Skryabin,Alexander Nikolaievich) 1872-1915 (43) <俄> 作曲家,钢琴家拉赫玛尼诺夫(Rakhmaninov,Sergey Vassilievich) 1873-1943 (70) <俄> 作曲家,钢琴家弗莱什(Carl Flesch) 1873-1944 (71) <匈> 小提琴家恩里科.卡鲁索(Enrico Caruso) 1873-1921 (48) <意> 男高音歌唱家霍尔斯特(Holst,Gustav Theodore) 1874-1934 (60) <瑞典裔英国> 作曲家艾夫斯(Ives,Charies Edward) 1874-1954 (80) <美> 作曲家库塞维茨基(Sergey Koussevitzky) 1874-1951 (77) <俄> 指挥家玛格丽特.隆(Marguerite Long) 1874-1966 (92) <法> 钢琴家勋伯格(Schoenberg,Arnold) 1875-1951 (77) <奥> 作曲家克来斯勒(Kreisler,Fritz) 1875-1962 (87) <奥> 作曲家,小提琴家格里埃尔(Gliere,Reinhold Moritzovich) 1875-1956 (81) <比利时籍苏联> 作曲家拉威尔(Ravel,Maurice) 1875-1937 (62) <法> 作曲家蒙特(Pierre Monteux) 1875-1964 (89) <法> 指挥家B.瓦尔特(Bruno Walter) 1875-1962 (87) <德> 指挥家克莱斯勒(Fritz Kreisler) 1875-1962 (87) <美籍奥地利> 小提琴家法里雅(Faaaalla,Manuelde) 1876-1946 (70) <西> 作曲家,钢琴家瓦尔特(Walter,Bruno) 1876-1962 (86) <德> 作曲家,指挥家,钢琴家.著述家卡萨尔斯(Casals,Pan Pablo) 1876-1974 (98) <西> 作曲家,指挥家,大提琴家安塞尔米(Giuseppe Anselmi) 1876-1929 (53) <意> 男高音歌唱家鲁弗(Titta Ruffo) 1877-1953 (76) <意> 男中音歌唱家科尔托(Alfred Cortot) 1877-1962 (75) <法> 钢琴家塞拉芬(Tullio Serafin) 1878-1968 (90) <意>雷斯庇基(Respighi,Ottorino) 1879-1936 (51) <意> 作曲家兰多芙斯卡(Wanda Landowska) 1879-1959 (80) <波> 女大踺琴家比彻姆(Thomas Beecham) 1879-1961 (82) <英> 指挥家勃洛赫(Bloch,Ernrst) 1880-1959 (79) <瑞士> 作曲家蒂博(Thibaud,Jacques) 1880-1953 (73) <法国> 小提琴家李叔同1880-1942 (62) <中国> 音乐家,音乐美术教育家艾涅斯库(Enesco,Enescu George) 1881-1955 (74) <罗> 作曲家,小提琴家巴托克(Bartok,Bela) 1881-1945 (64) <匈> 作曲家,钢琴家米亚斯科夫斯基(Miaskovsky,Nikolar yakovievich) 1881-1950 (69) <苏联> 作曲家,教育家柯达伊(Kodaly,Zoltan) 1882-1967 (85) <匈> 作曲家,音乐教育家斯特拉文斯基(Stravinsky,Igor Feodorovich) 1882-1971 (89) <俄> 作曲家斯托科夫斯基(Leopold Stokowski) 1882-1977 (95) <美籍波兰> 指挥家施纳贝尔(Artur Schnabel) 1882-1951 (69) <美籍奥地利> 钢琴家胡贝尔曼(Bronislaw Hubermann) 1882-1947 (65) <波> 小提琴家韦伯恩(Webern,Anton von) 1883-1945 (62) <奥> 作曲家夏里亚宾(Fedor Lvnovich Chaliapin) 1883-1938 (55) <俄> 男低音歌唱家安塞美(Ernest Ansermet) 1883-1969 (86) <瑞士> 指挥家萧友梅1884-1940 (56) <中国> 音乐教育家,作曲家巴克豪斯(Wilhelm Backhaus) 1884-1969 (德> 钢琴家贝尔格(Berg,Alban) 1885-1935 (50) <奥>作曲家克莱姆佩雷尔(Otto Klemperer) 1885-1975 (90) <德> .指挥家马蒂内利(Giovani Matinelli) 1885-1969 (84) <意> 男高音歌唱家富尔特文格勒(Furtwangler,Wilhelm) 1886-1954 (68) <德> 作曲家,指挥家鲁宾斯坦(Rubinstein,Artur) 1887-1982 (95) <美籍波兰> 钢琴家莱纳(Fritz Reiner) 1888-1963 (75) <匈> 指挥家希帕(Tito Schipa) 1888-1965 (77) <意> 男高音歌唱家涅高兹(Heinrich Neuhaus) 1888-1964 (76) <乌克兰> 钢琴家鲍尔特(Adrian Boult) 1889-1983 (94) <英> 指挥家E.克莱伯(Erich Kleiber) 1890-1956 (66) <奥> 指挥家贝尼亚米诺.吉利(Beniamino Gigli) 1890-1957 (67) <意> 男高音歌唱家普罗科菲耶夫(Prokofiev,Sergey Sergeyevich) 1891-1953 (62) <俄> 作曲家黎锦晖1891-1967 (76) <中国> 作曲家明希(Charles Munch) 1891-1968 (77) <法> 指挥家布什(Adolf Busch) 1891-1952 (61) <德> 小提琴家艾尔曼(Mischa Elman) 1891-1967 (76) 美籍俄国> <小提琴家格罗菲(Gerofe,Ferde) 1892-1972 (80) <美> 作曲家,钢琴家赵元任1892-1982 (90) <中国> 语言学家,作曲家王光祈1892-1936 (44) <中国> 音乐学家西盖蒂(Joseph Szigeti) 1892-1973 (81) <美籍匈牙利> 小提琴家平扎(Ezio Pinza) 1892-1957 (65) <意> 男低音歌唱家伯姆(Bohm,karl) 1894-1981 <奥> 指挥家菲德勒(Arthur Fiedler) 1894-1979 (85) <美> 指挥家兴德米特(Hlndemith,Paul) 1895-1963 (68) <德> 作曲家肯普夫(Kempff,Wilhelm) 1895-- <德> 钢琴家,作曲家,教育家刘天华1895-1932 (37) <中国> 民族器乐作曲家,音乐教育家米特罗普洛斯(Dimitri Mitropoulos) 1895-1960 (65) <希腊> 指挥家萨金特(Malcolm Sargent) 1895-1967 (72) <英> 指挥家查阜西1895-1976 (81) <中国> 古琴家吉泽金(Walter Gieseking) 1895-1956 (61) <法> 钢琴家哈斯姬儿(Clara Haskil) 1895-1960 (65) <罗> 女钢琴家纳什(Hedde Nash) 1896-1961 (65) <英> 男高音歌唱家诺瓦伊斯(Guimar Novaes) 1896-- <巴西> 女钢琴家赛尔(Gorge Szell) 1897-1970 (73) <匈> 指挥家卡萨多(Cassado,Gaspar) 1897-1966 (69) <西班牙> 大提琴家格什文(Gershwin,George) 1898-1937 (39) <美国> 作曲家,钢琴家哈里斯(Harris,Roy) 1898-1979 (81) <美国> 作曲家青主1898-1959 (61) <中国> 音乐学家,作曲家华彦钧(盲人) 1898-1950 (52) <中国> 民间音乐家丰子恺1898-1975 (77) <中国> 画家,文学家,音乐美术教育家罗伯逊(Paul Robeson) 1898-1976 (78) <美> 男低音歌唱家奥曼迪(Ormandy,Eugene) 1899-1985 (86) <美籍匈牙利> 指挥家卡萨德絮(Robert Casadesus) 1899-1972 (73) <法> 钢琴家巴比罗里(John Barbirolli) 1899-1970 (71) <英> 指挥家斯坦伯格(William Steinberg) 1899-1978 (79) <美籍德国> 指挥家莫尔(Gerald Moore) 1899-? <英> 钢琴家科普兰(Copland,Aaron) 1900-1990 (90) <美国> 作曲家,钢琴家,指挥家,演讲家,作家任光1900-1941 (41) <中国> 作曲家,音乐活动家贝尔格(Erna Berger) 1900-- <德> 女高音歌唱家贾尼尼(Dusolina Giannini) 1900-1086 (86) <美> 女高音歌唱家海菲兹(Heifetz,Jascha) 1901-1987 (86) <美籍俄罗斯> 小提琴家贝奴姆(Eduard Van Beinum) 1901-1959 (58) <荷兰> 指挥家罗德里戈(盲人) (Rodrigo,Joaquin) 1902-- <西班牙> 作曲家约夫姆(Eugen Jochum) 1902-- <德> 指挥家张寒晖1902-1946 (44) <中国> 作曲家,戏剧活动家弗兰切斯卡蒂(Zino Francescatti) 1902-- <法> 小提琴家富尔曼(Emanuel Feuermann) 1902-1942 (40) <美国奥裔> 大提琴家应尚能1902-1973 (71) <中国> 男中音歌唱家安德森(Marian Anderson) 1902-- <美> 女中音歌唱家哈恰图良(Khachaturian,Aram) 1903-1978 (75) <俄> 作曲家牧拉文斯基(Mravinsky,Evgene) 1903-- <俄> 指挥家皮亚蒂戈尔斯基(Piatigorsky,Grigor) 1903-1976 (73) <美籍俄罗斯> 大提琴家塞尔金(Serkin,Rudolf) 1903-1991 (88)巴斯蒂安尼尼(Ettore Bastianini) 1922-1967 (45) <意> 男中音歌唱家玛利亚.卡拉斯(Maria Callas) 1923-1977 (54) <美籍希腊> 女高音歌唱家萨瓦利什(Wolfgang Sawallisch) 1923-- <德> 指挥家内曼(yfrah Neaman) 1923-- <黎巴嫩> 小提琴家安吉莱斯(Victoria de Ios Angeles) 1923-- <西> 女高音歌唱家埃文斯(geraint Evans) 1923-- <英> 男中音歌唱家塔利亚维尼(Ferruccio Tagliavini) 1923-- <意> 男高音歌唱家拉罗恰(Alicia Larrocha) 1923-- <西> 女钢琴家斯塔克尔(Starker,Janos) 1924-- <匈> 大提琴家科岗(Kogan,Leonid) 1924-1982 (58) <俄> 小提琴家哈恩黛尔(Lda Haendel) 1924- <英籍波兰> 女小提琴家曹火星1924-- <中国> 作曲家马里纳(Neville Marriner) 1924-- <英> 指挥家普莱特(Georges Pretre) 1924-- <法> 指挥家巴魁尔(Gabriel bacquier) 1924-- <法> 男中音歌唱家贝尔冈齐(Carlo Bergorzi) 1924—<意> 男高音歌唱家露德薇(Christa Ludwig) 1924-- <德> 次女高音歌唱家弗朗索瓦(Samson Francois) 1924-1970 (46) <法> 钢琴家尼古拉耶娃(Tat’yana Nikolayeva) 1924-- <俄> 女钢琴家布来兹(Boulez,Pierre) 1925-- <法> 作曲家,指挥家,钢琴家马克拉斯(Charles Mackerras) 1925-- <澳> 指挥家艾迪森(Adele Addison) 1925-- <美> 女高音歌唱家菲舍尔-迪斯考(Dietrich Fischer-Dieskau 1925-- <德> 男中音歌唱家盖达(Nicolai Gedda) 1925-- <瑞典> 男高音歌唱家奇科利尼(Aldo Ciccolini) 1925-- <法籍意大利> 钢琴家李赫特(Karl Richter) 1926-- <德> 指挥家滕斯泰特(Klaus Tenstedt) 1926-- <德> 指挥家贾姆斯.麦克拉肯(James Me Cracken) 1926-- <美> 男高音歌唱家琼.萨瑟兰(Joan Sutherland) 1926-- <澳> 女高音歌唱家亚当(Theo Adam) 1926-- <德> 男低音歌唱家维克斯(Jon Vicker’s) 1926-- <加> 男高音歌唱家维什涅夫斯卡娅(Galina Pavlovna Vishnevskaia) 1926-- <俄> 女高音歌唱家卡琴(Julius Katchen) 1926-1969 (43) <美> 钢琴家罗斯特罗波维奇(Rostropovich,Mstislav Leopoldovich) 1927-- <美籍前苏联> 大提琴家,钢琴家.指挥家,本世纪最著名的演奏家利昂婷.普赖斯(Leontyne Price) 1927-- <美> 女高音歌唱家吴祖强1927-- <中国> 作曲家莱帕德(Raymond Leppard) 1927- <英> 指挥家,音乐学家马舒尔(Kurt Masur) 1927-- <德> 指挥家A..克劳斯(Alfredo Kraus) 1927-- <西> 男高音歌唱家普赖斯(Leontyne Price) 1927—<美> 女高音歌唱家鲍多(Serge Baudo) 1927-- <法> 指挥家布隆斯泰特(Herbert Blomstedt) 1927-- <美> 指挥家C.戴维斯(Colin Davis) 1927-- <英> 指挥家吉伦(Michael Gielen) 1927-- <德> 指挥家布鲁诺.普雷凡弟(Bruno Prevedi)1928-- <意> 男高音歌唱家生茂1928-- <中国> 作曲家拜耶尔(Jean-Francois Paillard) 1928-- <法> 指挥家斯维特兰诺夫(Evgeny Svtlanov) 1928-- <俄> 指挥家斯坦因(Horst Stein) 1928-- <德> 指挥家尼尔森(Birgit Nilsson) 1928-- <瑞典> 女高音歌唱家赞妮(Virginia Zeani) 1928-- <罗> 女高音歌唱家德缪斯(Jorg Demus) 1928-- <奥> 钢琴家贾尼斯(Byron Janis) 1928-- <美> 钢琴家克莱因(Walter Klein) 1928-- <奥> 钢琴家普烈文(Andre Previn) 1929-- <美> 作曲家,指挥家,钢琴家海廷克(Bernard Haitink) 1929 <荷> 指挥家哈农库特(Nikolaus Harncncourt) 1929-- <德> 指挥家马丽琳.霍恩(Marilyn Horne) 1929-- <美> 女高音歌唱家吕远1929-- <中国> 作曲家吉奥罗夫(Nicolai Ghiaurov) 1929-- <保加利亚> 男低音歌唱家普赖(hermann Pery) 1929-- <德> 男中音歌唱家海布勒(Lngrid Haebler) 1929-- <奥> 女钢琴家魏森伯格(Alexis Weissenberg) 1929-- <法籍保加利亚> 钢琴家贝尔格伦德(Paavo Bergland) 1929-- <芬兰> 指挥家多纳尼(Christoph Von Dohnanyi) 1929-- <德> 指挥家克莱帕(Kleiber,Carlos) 1930-- <奥> 指挥家马泽尔(Mazel,Lolin) 1930-- <法> 指挥家波宁吉(Richard Bonynge) 1930-- <澳> 指挥家C.克莱伯(Carlos Kleiber) 1930-- <德> 指挥家古尔达(Gulda,Friedrich) 1930-- <奥> 钢琴家郭兰英1930-- <中国> 女高音歌唱家卡普契尔里(Pero Cappuccilli) 1930-- <意> 男中音歌唱家冯得利希(Fritz Wunderlich) 1930-1966 (36) <德> 男高音歌唱家贝尔曼(Lazar Bermar) 1930- <俄> 钢琴家古尔达(Friederich Gulda) 1930-- <奥> 钢琴家罗杰斯特文斯基(Gennody Rozhestvensky) 1931-- <苏联> 指挥家布伦德尔(Brendel,Alfred) 1931-- <奥> 钢琴家哈斯(Werner Hass) 1931-1976 (45) <德> 钢琴家岩城宏之(Iwaki Hiroyuki) 1932-- <日本> 指挥家古尔德(Gould,Glenn) 1932-1982 (50) <加拿大> 钢琴家里德布什(Karl Ridderbsch) 1932-- <德> 男低音歌唱家康塔尔斯基兄弟(Alfons &Aloys Kontarsky) 1931- 1932 <德> 钢琴家阿巴多(Claudio Abbado) 1933-- <意> 指挥家费拉斯(Christian Ferras) 1933-- <法> 小提琴家巴克(Janet Baker) 1933-- <英> 次女高音歌唱家卡巴耶(Montserrat Caballe) 1933- <西> 女高音歌唱家瓦萨里(Tamas Vasary) 1933-- <瑞士籍匈牙利> 钢琴家诺林顿(Roger Norrington) 1934-- <英> 指挥家阿尼弗斯(Anievas,Agustin) 1934-- <美> 钢琴家蕾娜塔.斯科多(Renata Scotto) 1934-- <意> 女高音歌唱家傅聪(Fu Cong) 1934-- <英籍中国> 钢琴家阿美玲(Elly Amerling) 1934-- <荷> 女高音歌唱家霍恩(Marilyn Horne) 1934- <美> 女中音歌唱家克莱本(Van Cliburn) 1934-- <美> 钢琴家昂特勒芒(Philippe Enterment) 1934-- <法> 钢琴家小泽征尔(Seili Ozawa) 1935-- <日本> 指挥家卢西亚诺.帕瓦罗蒂(Luciano Pavarotti) 1935-- <意> 男高音歌唱家傅庚辰1935-- <中国> 作曲家谷建芬1935-- <中国> 作曲家贝尔冈扎(Teresa Berganza) 1935-- <西> 次女高音歌唱家柯索托(Fiorenza Cossotto) 1935-- <意> 女中音歌唱家弗雷妮(Mirella Freni) 1935-- <意> 女高音歌唱家米尔恩斯(Sherrill Milnes) 1935-- <美> 男中音歌唱家里纳尔迪(Margherita Rinaldi) 1935- <意>施雷尔(Peter Schreier) 1935-- <德> 男高音歌唱家梅塔(Nehta,Zubin) 1936—<印度> 指挥家殷巴尔(Eliahu Lnbal) 1936-- <以色列> 指挥家津曼(David Inmar) 1936-- <美> 指挥家拉宾(Rabin,Michael) 1936-1972 (36) <美> 小提琴家格温尼斯.琼斯(Gwyneth Jones) 1936-- <英> 女高音歌唱家朱可夫(Lgor Zhukov) 1936- <俄> 钢琴家迪图瓦(Charles Dutoit) 1936-- <瑞士> 指挥家贾维(Neeme Jarvi) 1937-- <爱沙尼亚> 指挥家阿什肯纳奇(Ashkenazy,Vladimir) 1937-- <冰岛籍苏联> 钢琴家雅诺维慈(Gundula Janowitz) 1937-- <德> 女高音歌唱家奥布拉兹卓娃(Elina Vasilievna Obraztsova) 1937- <俄> 女中音歌唱家拉雷多(Ruth Laredo) 1937-- <美> 女钢琴家韦勒(Walter Weller) 1939-- <奥> 指挥家阿加拉尔(Giacomo Aragall) 1939-- <西> 男高音歌唱家科特鲁巴斯(Ileana Cotrubas) 1939-- <罗> 女高音歌唱家波普(Lucia Popp) 1939-- <奥> 女高音歌唱家施光南1940-1990 (50) <中国> 作曲家隆巴尔(Alain Lombard) 1940-- <法> 指挥家范当(Jose Van Dam) 1940-- <比> 男中音歌唱家毕肖普-科瓦塞维奇(Stephen Bishop-Kovacenich) 1940-- <美籍南斯拉夫> 钢琴家埃森巴赫(Christoph Eschenbach) 1940-- <德> 钢琴家穆蒂(Riccardo Muti) 1941-- <意> 指挥家霍格伍德(Hogwood,Christopher) 1941-- <英> 指挥家瓦特(Edo De Waart) <荷兰> 指挥家阿格里希(Argerich,Martha) 1941-- <阿根廷> 女钢琴家阿卡多(Accardo,Salvatore,) 1941-- <意> 小提琴家普拉西多.多明戈(Placido Domingo) 1941-- <西> 男高音歌唱家阿德里安娜.玛利邦苔(Adriana Maliponte) 1942-- <意> 女高音歌唱家波里尼(Maurizio Pollini) 1942-- <意> 钢琴家巴伦勃伊姆(Dniel Barenboim) 1942-- <阿根廷> 钢琴家,指挥家莱汶(James Levine) 1943-- <美> 指挥家斯拉特金(Leonard Slatkin) 1944-- <美> 指挥家托玛斯(Michael Tilson Thomas) 1944-- <美> 指挥家卡纳娃(Kiri Te Kanawa) 1944-- <新西兰> 女高音歌唱家皮雷斯(Maria-Joao Pires) 1944- <葡> 女钢琴家杜普蕾(Du Pre,Jacqueline) 1944-1987 （43）<英> 女大提琴家哈雷尔(Lynn Harrell) 1944-- <美> 大提琴家帕尔曼(Perlman,Itzak) 1945-- <以色列> 小提琴家诺曼(Jessye Norman) 1945-- <美> 女高音歌唱家鲁普(Radu Lupu) 1945-- <罗> 钢琴家卡姆(Kamu,Okko) 1946-- <芬兰> 指挥家西诺波里(Giuseppe Sinopoli) <意> 指挥家何塞.卡雷拉斯(Jose Carreras) 1946-- <西> 男高音歌唱家里恰蕾莉(Ruggero Ricciarelli) 1946-- <意> 女高音歌唱家斯塔德(Frederica Von Stade) 1946-- <美> 次女高音歌唱家布赫宾德(Rudolf Buchbinder) 1946-- <捷克> 钢琴家克雷默(Kremer,Gidon) 1947-- <前苏联> 小提琴家佩拉希亚(Murray Perahia) 1947-- <美> 钢琴家祖克曼(Znkerman,Pinchas) 1948-- <以色列> 小提琴家郑京和(Chung,Kyung-Wha) 1948- <韩国> 小提琴家内田光子(Mitsuko Uchida) 1948-- <日本> 女钢琴家郑明勋(Myung-Whun Chung) 1948-- <美籍韩国> 指挥家梅斯基(Nischa Maisky) 1948-- <以籍拉托维亚> 大提琴家杜梅(Augusfin Dumay) 1949- <法> 小提琴家贝洛夫(Michel Beroff) 1950-- <法> 钢琴家萨斯(Sylvia Sass) 1951-- <匈> 女高音歌唱家兰基(Dezzo Ranki) 1951-- <匈> 钢琴家罗惹(Pascal Roge) 1951—<法> 钢琴家科奇什(Zoltan Kocsis) 1952-- <匈> 钢琴家比契科夫(Semyon Bychkov) 1952-- <俄> 指挥家夏伊里(Riccardo Chailly) 1953-- <意> 指挥家席夫(Andras Shiff) 1953-- <匈> 钢琴家拉特尔(Simon Rattle) 1955- <英> 指挥家马友友(yo yo-Ma) 1955-- <美籍华裔> 大提琴家加夫里洛夫(Andrei Gavrilov) 1955—<俄> 钢琴家齐默尔曼(Krystien Zimermann) 1956-- <波兰> 钢琴家肯尼迪(Nigel Kennedy) 1956-- <英> 小提琴家普列特涅夫(Mikhail Pletnev) 1957-- <俄> 指挥家敏茨(Shlomo Mintz) 1957-- <以色列> 小提琴家波各雷里奇(Lvo Pogorelich) 1958-- <南斯拉夫> 钢琴家穆洛娃(Viktoria Mullova) 1959-- <俄> 女小提琴家林昭亮(Cho-Liang Lin) 1960- <美籍华裔> 小提琴家穆特(Anne-sophie Mutter) 1963 <德国> 小提琴家哈诺依(Harnoy,Ofra) 1965-- <以色列> 女大提琴家齐默尔曼(Frank Peter Zimmermann) 1965-- <德> 小提琴家齐伯尔斯坦(Lilya Zilberstein) 1965-- <俄> 女钢琴家贝尔(Joshua Bell) 1967-- <美> 小提琴家海莫维茨(Maff Haimawilz) 1970-- <美籍以色列> 大提琴家沙汉姆(Gil Shaham) 1971-- <美国犹太裔> 小提琴家温吉洛夫(Maxim Vengerov) 1974-- <俄> 小提琴家约瑟芙维茨(Leila Josefowicz) 1977-- <加> 女小提琴家卡辛奥里(Gianluca Cascioli) 1979-- <意> 钢琴家加莱特(David Garrett) 1980-- <德> 小提琴家。
最全音乐术语
音乐术语大全一：速度1.慢速类Lento 约＝52 慢板Adagio 约＝56 柔板多用于奏鸣曲中段乐章和浪漫派乐曲抒情乐章2.中速类Andante 约＝66 行板Moderato 约＝88 中速多用于奏鸣曲中段乐章和浪漫派乐曲抒情乐章3.快速类Allegretto 约＝108 小快板Allegro 约＝132 快板Presto 约＝184 急板多用于奏鸣曲1.3乐章和练习曲等4.速度变化类rit 渐慢tempo rubato 自由速度，但总时值符合基本速度（这就是肖邦作品中最难的东西）a tempo 回原速piu mosso 稍快meno mosso 稍慢二.力度1.强和弱pp 很弱p 弱mp 中弱mf 中强f 强ff 很强sf 突强（贝多芬的典型标记）2.力度变化dim 渐弱morendo 逐渐消失cresc. 渐强sempre 始终，一直保持三.表情dolce 柔和地espress. 有表情地cantabile 歌唱地grazioso 优美典雅地mesto 忧郁地.悲伤地dolendobrillante 辉煌地，炫耀地appass. 热情地，激情地scerzando 诙谐，风趣地leggiero 轻巧地四.奏法legato 连奏nonlegato 非连奏stace. 断奏，跳音gliss 刮奏五.踏板ped 踏板senza ped 不用踏板u.c. 左踏板trec. 中踏板（只有三角钢琴的中踏板在演奏中才有用处）六.其他major 大调minor 小调tema 主题m.d. 右手m.s. 左手tr. 颤音tremolo 震音D.C. 从头反复（李查德的比较多）solo 独奏cadenza 华彩accelerando (accel.) 渐快的a cappella 无伴奏合唱absolute music 纯音乐，非标题音乐absolute pitch 绝对音高（听觉）abstract music 抽象音乐accent 重音accidental(s) 变音记号accordion 手风琴acoustics 声学action 弦高，即弦距离指板的高度adagietto 小柔板(66拍/分钟) adagio 柔板(56拍/分钟)Added-sixth chord 加六度和弦allegretto 小快板(108拍/分钟) allegro 快板(132拍/分钟) allemande 阿勒曼德altered chord 变和弦Andalusia 安达露西亚(西班牙地名) andante 行板(72拍/分钟) andantino 小行板(80拍/分钟) animato 活泼的快板(120拍/分钟) Anti- impressionism 反印象主义anticipation 先现音anvil 乐砧Aranjuez 阿兰胡埃斯(吉他协奏曲) aria 咏叹调arpeggio 琶音artist 艺术家ascending 上行assai 非常快的快板(144拍/分钟)，很Asturias 阿斯图里亚斯(西班牙地名) atonality 无调性augmentation 展开augmented sixth chord 增六和弦augmented triad 增三和弦augmented 增（音程）authentic cadence 正格终止Bach, Johann Sebastian 约翰?塞巴斯第安?巴赫[德国] back 背板ballata 叙事曲ballet 芭蕾band music 军乐band 军乐队bar 小节(bar line小节线,measure)bariton 男中音Baroque 巴洛克Barrueco, Manuel 马努埃?巴鲁埃科[古巴]bass 低音bass clarinet 低音单簧管bass clef 低音谱号bass drum 大鼓bass tuba 低音大号bass 低音号bass 男低音bassoon 大管（巴松）bel canto 美声binary form 二段式，二部曲式（AB）bitonality 双重调性blues 布鲁斯bongo 邦戈鼓bourree 布列brass wind instruments 铜管乐器Brazilian 巴西的Bream, Julian 朱里安?布里姆[英国] breve 二全音符broken chord 分解和弦Brouwer, Leo 里奥?布劳威尔[古巴] cadanza 华彩乐段musical form 体裁cadence 终止canon 卡农cantata 康塔塔capriccio 随想曲caprice 随想曲castanets 响板cedar 雪松cello 大提琴chaconne 恰空舞曲chaconne 恰空chimes 排钟choir 合唱团choral music 合唱音乐choral 众赞歌chord 和弦，和声chord 和弦chorus 合唱chromatic half-tone 变化半音chromatic interval 变化（音程）chromatic scale 半音阶chromatic tone 变化全音chromatic 半音的clarinet 单簧管（黑管）classical 古典的Classicism 古典主义clavier （18世纪）键盘乐器clef 谱号(G clef, F clef, Cclef) climax 高潮coda 尾声coloratura soprano 花腔女高音concert master 首席concerto 协奏曲concerto, concierto 协奏曲Concrete Music 具体音乐Accidentalism 偶然主义conductor 指挥consonant 协和（音程、和弦）contra C 大字二组Ccontrabassoon 低音大管Córdoba 科尔多巴(西班牙地名)cornet 短号Coste, Napoléon 拿破仑?科斯特[法国] counterpoint 对位courante 库朗特crotchet 四分音符(quarternote，美)cutaway 被切去的部分cymbal 钹deceptive cadence 伪终止demisemiquaver 三十二分音符descending 下行development 发展development 展开部diatonic interval 自然（音程）diatonic scale 自然音阶passing tone 经过音diminished seventh chord 减七和弦diminished triad 减三和弦diminished 减（音程）disc 唱片，唱碟disco 迪斯科suite 组曲dissonant 不协和（音程、和弦）dominant seventh chord 属七和弦dominant(V) 属音，属和弦dot 附点dotted note 附点音符dotted rest 附点休止符double bass tuba 倍低音大号double bass 低音提琴guitar 吉他double dot 复附点double mordent 复波音double-augmented 倍增（音程）double-diminished 倍减（音程）double-flat 重降号double-sharp 重升号dramatic soprano 戏剧女高音dramatic tenor 戏剧男高音duet 二重奏duet 二重奏duoduple meter(s) 二拍子(2/2,2/4,2/8) duplet 二连音duration 时值dynamic mark(s) 力度标记dynamics 力度ebony 乌木，乌檀echo 回音，回声eleventh 十一度English horn 英国管enharmonic intervals 等音程enharmonic notes 等音ensemble 合奏（团体）equalizer 均衡器estudio, etude 练习曲etude 练习曲euphonium 尤风宁号exposition 呈示部Expressionism 表现主义false chord 假和弦resolution 解决fantasia 幻想曲fifth 五度fingerboard 指板first inversion 第一转位five-part form 五段式fixed-do 固定唱名法movable-do 音调唱名法flat 降调flat 降号flute 长笛four-line octave 小字四组(four-line)four-part form 四段式fourth chord 四度和弦fourth 四度fox trot 狐步舞French horn 圆号，法国号frequency 频率fret 品格fugue 赋格functional harmony 功能和声fundamental(tone) 基音(first partial)Gallagher, Kevin R. 凯文?盖拉格[美国] gigue 吉格glissando 滑音glockenspiel 钟琴gong 锣Goni, Antigoni 安提戈尼?戈尼[希腊] govotte 加沃特Granada 格拉纳达(西班牙地名) grave 极慢板(40拍/分钟)great C 大字组Cguitar 吉他guitarist 吉他演奏家，吉他手guitarra 吉他，吉他拉habanera 哈巴涅拉half cadence 半终止half-tone 半音harmonic analysis 和声分析harmonic interval 和声音程harmonic sequence 和声模进harmonic 和声的harmony 和声学harp 竖琴harpsichord 拨弦古钢琴head 符头head，headstock 琴头hemidemisemi quaver 六十四分音符(sixty-fourth note，美) homophonic music 主调音乐homophony 主调hook 符尾(tail)imperfect cadence 不完全终止Impressionism 印象主义instrumental music 器乐instrumentation 乐器法intensity 强度inter mezzo 间奏曲interlude 间奏（曲）interrupted cadence 阻碍终止interval 音程invention 创意曲inverted mordent 逆波音（lower mordent；inverted turn 回音irregular meter （不规则）混合拍子(7/4,11/7)jazz 爵士乐just intonation 纯律kettle drum 定音鼓key signature 调号key 调keyboard 键盘（乐）lacquer 硝基漆，日本漆larghetto 小广板(60拍/分钟)largo 广板(46拍/分钟)leading tone(VII) 导音，导和弦(subtonic) legato 连音，连奏leger line(s) 加线(ledger line(s))lento 慢板(52拍/分钟)line 线loudness 响度lullaby 摇篮曲lute 疏特琴lyra 乐徽lyric soprano 抒情女高音madrigal 牧歌maestoso 庄板(88拍/分钟)magic flute 魔笛mahogany 桃花心木，红木major 大调major triad 大三和弦major 大（音程）major 大调march 进行曲marimba 玛林巴mass 弥撒mazurka 玛祖卡McFadden, Jeffrey 杰夫瑞?麦克法登[加拿大] mediant (III) 中音，中音和弦melodic contour 旋律轮廓melodic interval 旋律音程melodic progression 旋律进行melodic sequence 旋律模进melodic 旋律的melody 旋律meter 拍子(time)metronome 节拍器Metronome 节拍机(M.M.=Malzel';s ~)mezzo soprano 次女高音，女中音Microtonalism 微分音主义minim 二分音符(half note，美) Minimalism 省略（简约）主义minor 小调minor triad 小三和弦minor 小（音程）minor 小调minuet 小步舞曲mode 调式（狭指教会调式；广指调式）moderato 中板(96拍/分钟) modulation 转调monophonic music 单声部音乐mordent 波音（upper mordent）motive 动机movement 乐章movement 乐章multi-meter 变化拍子musical form 曲式musical instrument 乐器musical tone 乐音Nationalism in music 民族乐派natural half-tone 自然半音natural tone 自然全音natural 自然的nature 还原号intonation 音准neck 琴颈neighboring tone 辅助音（auxiliary tone，upper or lower）Neoclassicism 新古典主义ninth chord 九和弦ninth 九度nocturn 夜曲noise 噪音notation 记谱法note(s) 音符nut 琴马oboe 双簧管octave 八度octave 八度one-lined octave 小字一组(one-line)one-part form 一段式，一部曲式opera 歌剧opus (Op.) 作品oratorio 清唱剧orchestra 管弦乐队orchestra 管弦乐队orchestration 配器法organ 风琴ornament（s）装饰音overtone series 泛音列overtone(s) 泛音overture 序曲Paganini, Niccolo 尼古罗?帕格尼尼[意大利] Papandreou, Elena 艾琳娜?帕潘德里欧[希腊] parallel keys 同主音调Parkening, Christopher 克里斯托弗?帕肯宁[美国] partial(s) 分音(partialtone)passacaglia 帕萨卡利亚passion 受难曲pause 延长号(hold, fermata)pedal 踏板peg 弦轴pentatonic 五声的percussion（s）打击乐perfect cadence 完全终止perfect 完全，纯（音程）period 乐段phrase 乐句phrasing 分句piano 钢琴piccolo 短笛pick 拾音器pipe organ 管风琴pitch name 音名pitch 音高plagal cadence 变格终止Platino, Franco 富兰科?普拉提诺[意大利] podium 指挥台Pointillism 点描派polka 波尔卡polonaise 波洛涅兹polyphonic music 复调音乐polyphony 复调polytonality 多调性Ponce, Manuel 马努埃?庞塞[墨西哥]prelude 前奏曲prelude 前奏（曲）presto 急板(184拍/分钟)Primitivism 原始主义program music 标题音乐psychoacoustics 心理声学pure tone 纯音purfling 镶边，环饰quadruple meter(s) 四拍子(4/2,4/4,4/8) quadruplet 四连音quarter-sawn 将(原木)纵向锯成四块再锯成木板的quartet 四重奏quaver 八分音符(eighth note，美)quintet 五重奏quintuple meter 五拍子quintuplet 五连音rattle 摇响器Realism 现实主义recapitulation 再现部recitative 宣叙调Recuerdos de la Alhambra 《阿尔罕布拉宫的回忆》reduction 改编（缩编）register 音区reguiem 安魂曲relative keys 关系大小调relative pitch 相对音高（听觉）Renaissance 文艺复兴repertoire 保留曲目，全部曲目repetition 重复rest(s) 休止符rhapsody 狂想曲rhythm 节奏rhythmic pattern 节奏型Rococo 洛可可Rodrigo, Joaquin 胡埃金?罗德里戈[西班牙] Romanticism 浪漫主义Romero, Angel 安杰尔?罗梅罗[西班牙] Romero, Celedonio 塞拉多尼奥?罗梅罗[西班牙] Romero, Celin 塞林?罗梅罗[西班牙]Romero, Pepe 佩佩?罗梅罗[西班牙]rondo form 回旋曲式（ABACA）rondo sonata form 回旋奏鸣曲式root position 原位root 根音（fundamental）rosette 音孔环饰，玫瑰花饰rosewood 玫瑰木，青龙木，黑黄檀rounded binary form （有再现的）二段式rumba 伦巴Russel, David 大卫?罗素[英国]sarabande 萨拉班德saxophone 萨克斯管scale degree （调式）音级scale step 音级（音级数：numberof scale step）scale 音阶scherzo 谐谑曲score 乐谱score 总谱second inversion 第二转位second 二度Segovia, Andrés 安德列斯?塞戈维亚[西班牙] semibreve 全音符(wholenote，美) semiquaver 十六分音符(sixteenthnote，美)septuplet 七连音sequence 模进serenade 小夜曲，月下情歌serenade 小夜曲Serialism 序列主义seventh chord 七和弦seventh 七度Seville 塞维利亚(西班牙地名) sextuplet 六连音sharp 升调sharp 升号side 侧板side drum 小鼓sight-singing 视唱simple interval 单音程simple meter(s) 单拍子sixth chord 六和弦sixth 六度sixth-four chord 四六和弦small c 小字组cS?llscher, G?ran 戈兰?索舍尔[瑞典]solo 独奏solo 独奏（唱）sonata form 奏鸣曲式sonata 奏鸣曲sonatina 小奏鸣曲songs without word 无词歌soprano 女高音Sor, Fernando 费尔南多?索尔[西班牙] sostenuto 持音sound 音space 间Spanish 西班牙的spruce 云杉staccato 断音，断奏staff 五线谱staff 乐谱stage 舞台stem 符干step 音级(scale step, degree)string 琴弦stringed instruments 弦乐器Structuralism 结构主义subdominant(IV) 下属音，下属和弦submediant(VI) 下中音，下中音和弦(super-dominant) suite 组曲supertonic(II) 上主音，上主和弦suspension 延留音symphonic poem 交响诗symphony 交响曲syncopation 切分音tabor 塔波鼓Takemitsu, Toru 武满彻[日本]tambourine 铃鼓tango 探戈tarantella 塔兰台拉temperament 乐律tempered scale 平均律(equal temperament)temple block 木鱼tempo mark(s) 速度标记tempo 速度tenor drum 中鼓tenor tuba 次中音大号tenor 男高音tenth 十度ternary form 三段式，三部曲式（ABA）theater 剧场，戏剧thematic material 主题材料theme 主题theme with variation 主题与变奏third inversion 第三转位third 三度three -lined octave 小字三组(three-line) tie 延音线timbre 音色(tone color or quality)time signature 拍号time 时间toccata 托卡塔tonality 调性tone 音（乐音）tone-cluster 音簇tonic(I) 主音，主和弦top 面板transposition 移调treble clef 高音谱号trembolo 震音triad 三和弦triangle 三角铁trill 颤音trio 三声中部trio 三重奏triple meter(s) 三拍子(3/2,3/4,3/8) triplet 三连音tri-tone 三全音trombone 长号trumpet 小号tuba 大号tubular bells 管钟tuning fork 音叉twelfth 十二度two-lined octave 小字二组(two-line) unaccented octave 小字组unison 齐奏（唱）unison 同度，一度（prime）unity 统一variation 变奏variation form 变奏曲式（A，A1，A2，A3…）strophic form分节歌（a，a，a，a …）variation 变奏variety 变化vibraphone 颤音琴vibration 振动viola 中提琴violin 小提琴vivace 有生气的快板(160拍/分钟)vivo 活泼的，有生气的vocal music 声乐voice 人声，声部waltz 圆舞曲，华尔兹wave form 波形whip 鞭响器whole tone 全音whole-tone 全音的Williams, John 约翰?威廉斯[澳大利亚]wood block 南梆子，盒梆wood wind instruments 木管乐器xylophone 木琴Yepes, Narciso 纳西索?耶佩斯[西班牙]。
不可不看的世界著名电影推荐
不可不看的世界著名电影推荐1. 2001 Kubrick, Stanley 1968(《漫游太空2001，库布利克》)2. Accattone Pasolini, Pier Paolo 1961(《乞丐》，帕索里尼)3. Babette's Feast Axel, Gabriel 1987（《芭贝特的盛宴》）4. Battleship Potemkin, The Eisenstein, Sergei 1925（《战舰波将金号》，爱森斯坦）5. Bicycle Thieves, The De Sica, Vittorio 1949（《偷自行车的人》，德-西卡）6. Blade Runner: The Director's Cut Scott, Ridley 1991（《银翼杀手》，雷德利-斯科特）7. Blue Velvet Lynch, David 1986（《蓝丝绒》，大卫-林奇）8. Chronicle of a Summer Rouch, Jean 1960（《夏日纪事》，让-鲁什）9. Clockwork Orange Kubrick, Stanley 1971（《发条橙子》，库布利克）10. Cook, The Thief, His Wife and Her Lover, the Greenaway, Peter 1989 （《情欲色香味》，格林纳威）11. Crash Cronenberg, David 1996（《撞车》，柯南博格）12. Demon Seed Cammell, Donald 1977（《魔种》）13. Desk Set Lang, Walter 195714. Draughtsman's Contract, The Greenaway, Peter 1982（《画师的合约》，格林纳威）15. Dreamlife of Angels, The Zonca, Erick 1998（《两极天使》，宗卡）16. Early Works Richter, Hans 192717. Eraserhead Lynch, David 1977（《橡皮头》，大卫-林奇）18. Fifth Element, The Besson, Luc 1997（《第五元素》，吕克-贝松）19. Film before Film Nekes, Werner 198620. Gattaca Niccol, Andrew 1997（《变种异煞/千钧一发》安德鲁-尼科尔）21. Big Day, The Tati, Jacques 1947（《节日》，雅克-塔蒂）22. Jules et Jim Truffaut, Francois 1962（《朱尔与吉姆》，特吕弗）23. Beauty and the Beast Cocteau, Jean 1946（《美女与野兽》，让-考科多）24. Hate Kassoritz, Mathieu 1995（《仇恨/怒火青春》，卡索维茨）25. Pier, The Marker, Chris 1962（《堤》，克里斯-马克尔）26. New Enchantment, The l'Herbier, Marcel 192427. La Magic Melies Meny, Jacques 199728. Films of Man Ray, The Man Ray 199829. 400 Blows, The Truffaut, Francois 1957（《四百击》，特吕弗）30. Level Five Marker, Chris 199731. Man Bites Dog Belvaux, Remy 1992（《人咬狗》）32. Man Ray Fargier, Jean Paul 199833. Man with a Movie Camera Vertov, Dziga 1929（《持摄影机的人》，维尔托夫）34. Metropolis Lang, Fritz 1929（《大都会》，佛列兹-朗）35. Mr Hulot's Holiday Tati, Jacques 1952（《于洛先生的假期》，雅克-塔蒂）36. My Uncle Tati, Jacques 1958（《我的舅舅》，雅克-塔蒂）37. Naked Leigh, Mike 1993（《赤裸》，迈克-雷）38. Nosferatu Murnau, F.W. 1922（《吸血鬼》，茂瑙）39. Cabinet of Dr Caligari, The Wiene, Robert 1919（《卡里加利博士的小屋》，维内）40. Notorious Hitchcock, Alfred 1946（《美人计》，希区柯克）41. Nuts in May Leigh, Mike 1976（《五月的坚果》，迈克-雷）42. October Eisenstein, Sergei 1927（《十月》，爱森斯坦）43. Paris, Texas Wenders, Wim 1984（《德州，巴黎》，文德斯）44. Pillow Book, The Greenaway, Peter 1995（《枕边书》，格林纳威）45. Playtime Tati, Jacques 1967（《游戏时间》，雅克-塔蒂）46. Solaris Tarkovsky, Andrey 1972（《索拉里斯/飞向太空》，塔尔柯夫斯基）47. Stalker T arkovsky, Andrey 1979（《潜行者》，塔尔柯夫斯基）48. Tampopo Itami, Juzo 1986（《蒲公英》，伊丹十三）49. Tati Shorts Tati, Jacques 1930-67（雅克-塔蒂的短片）50. Things to Come Menzies, William Cameron 1936（《科幻双故事》）51. Tokyo Story Ozu, Yasuijiro 1953（《东京物语》，小津安二郎）52. Man and a Woman, A Lelouch, Claude 1966（《一个男人与一个女人》克劳德?勒鲁什）53. Wings of Desire Wenders, Wim 1987（《柏林苍穹下》，文德斯）54. Birth of a Nation, The Griffith, D.W. 1915（《一个国家的诞生》，格里菲斯）55. Theorem Pasolini, Pier Paolo 1968（《定理》，帕索里尼）56. Week-End Godard, Jean-Luc 1967（《周末》，戈达尔）57. Brothers Quay, The Brothers Quay 1980s58. Andalusian Dog, An Bunuel, Luis/Dali, Salvador 1928（《一条叫安德鲁的狗》，达利，布努埃尔）59. Rome, Open City Rossellini, Roberto 1945（《罗马，不设防的城市》，罗西里尼）60. Intruder, The Corman, Roger 1961（《入侵者》，罗杰科尔曼）61. Visions of Light Glassman, Arnold 1992（《光影的美丽》，阿诺德格拉斯曼）62. Svankmajer : vol 1 Svankmajer, Jan 1960s63. Svankmajer : vol 2 Svankmajer, Jan 1960s64. Contempt Godard, Jean-Luc 1963（《轻蔑》，戈达尔）65. One plus One Godard, Jean-Luc 1968（《一加一》，戈达尔）66. Night in Casablanca, A Mayo, Archie 1946（《卡萨布兰卡之夜》，阿尔其?梅奥）67. Rashomon Kurosawa, Akiro 1950（《罗生门》，黑泽明）68. Yojimbo Kurosawa, Akiro 1961（《用心棒》，黑泽明）69. Early Cinema : vol 1 BFI70. Early Cinema : vol 2 BFI71. Red Desert Antonioni, Michaelangelo 1964（《红色沙漠》，安东尼奥尼）72. Annie Hall Allen, Woody 1977（《安妮?荷尔》，伍迪?艾伦）73. Brazil Gilliam, Terry 1985（《巴西》，特里?吉列姆）74. After Hours Scorsese, Martin 1985（《下班之后》，斯科西斯）75. Wizard of Oz, The Fleming, Victor 1939（《绿野仙踪》，弗莱明）76. Promise, The Von Trotter, Margarethe 1995（《许诺》，玛格丽特?冯?特洛塔）77. Hudsucker Proxy, The Coen, Joel 1994（《金钱帝国》，科恩兄弟）78. Matter of Life and Death, A Powell, Michael 1946（《平步青云》，迈克尔?鲍威尔）79. Thelma and Louise Scott, Ridley 1991（《末路狂花》，雷德利?斯科特）80. Antonia's Line Gorris, Marleen 1995（《不靠男人的女人》，玛琳?格里斯）81. Man Who Fell to Earth, The Roeg, Nic 197382. Wings of the Dove Softley, Iain 1997（《三颗翼动的心》，伊恩?索夫特雷）83. Portrait of a Lady Campion, Jane 1996（《淑女本色》，简?康萍）84. Sense and Sensibility Lee, Ang 1995（《理智与情感》，李安）85. Fanny and Alexander Bergman, Ingmar 1982（《芬尼与亚历山大》，伯格曼）86. Don't Look Now Roeg, Nic 197387. Blow Up Antonioni, Michaelangelo 1966（《放大》，安东尼奥尼）88. Mrs Dalloway Gorris, Marleen 1997（《达洛威夫人》）89. Orlando Potter, Sally 1992（《奥兰多》，萨利?波特）90. Colour of Pomegranates, The/Legend of the Suram Fortress, The Paradjanov, Sergo 1969（《石榴的颜色/苏拉姆城堡的传说》，帕拉杰诺夫）91. Sunset Boulevard Wilder, Billy 1950（《日落大道》，比利?怀尔德）92. Citizen Kane Welles, Orson 1941（《公民凯恩》，威尔斯）93. Blood of a Poet, The Cocteau, Jean 1930（《诗人之血》，让?考科多）94. Crimes and Misdemeanors Allen, Woody 1989（《罪与罚》，伍迪?艾伦）95. His Girl Friday Hawks, Howard 1940（《女友礼拜五》霍华德?霍克斯）96. Batman Burton, Tim 1989（《蝙蝠侠》，提姆?波顿）97. Strange Days Bigelow, Kathryn 1995（《世纪末暴潮》，凯瑟琳?碧罗格）98. Age of Innocence, The Scorsese, Martin 1993（《纯真的年代》，斯科西斯）99. French Lieutenant's Woman, The Reisz, Karel 1981（《法国中尉的女人》，卡尔?雷兹）100. Little Dorrit : Part 1 Edzard, Christine 1988（《小杜瑞特》）101. Little Dorrit : Part 2 Edzard, Christine 1988 102. Clueless Heckerling, Amy 1995（《独领风骚》，艾米·海克林）103. Third Man, The Reed, Carol 1949（《第三个人》，卡洛尔·里德）104. Fellini's Roma Fellini, Frederico 1972（《罗马》，费里尼）105. It's A Wonderful Life Capra, Frank 1946（《美好人生》，卡普拉）106. Edward Scissorhands Burton, Tim 1993（《剪刀手爱德华》，提姆·波顿）107. Dracula - 1992 Coppola, Francis Ford 1992（《吸血惊情四百年》，科波拉）108. Elephant Man, The Lynch, David 1980（《象人》，大卫·里恩）109. Jane Eyre Stevenson, Robert 1943（《简爱》，罗伯特·斯蒂文森）110. Performance Roeg, Nic and Cammell, Donald 1970 111. Flash, The Iscove, Robert 1990（《闪电侠》，罗伯特·伊斯科夫）112. Apartment, The Wilder, Billy 1960（《公寓》，比利·怀尔德）113. My Girlfriend's Boyfriend Rohmer. Eric 1987（《我女朋友的男朋友》，侯麦）114. Silences of the Palaces, The Tlatli, Moufida 1996（《沉默的宫殿》）115. Oliver! Reed, Carol 1968（《奥利弗》，卡洛尔·里德）116. Rope Hitchcock, Alfred 1948（《绳索》，希区柯克）117. Apocalypse Now Coppola, Francis Ford 1979（《现代启示录》，科波拉）118. I've Heard The Mermaids Singing Rozema, Patricia 1996（《我听到美人鱼在唱歌》）119. Intimate Lighting Passer, Ivan 1965（《逝水年华》，伊万·帕瑟）120. Close Encounters of the Third Kind Speilberg, Steven 1977（《第三类接触》，斯皮尔博格）121. Haunting, The Wise, Robert 1963（《猛鬼屋》，罗伯特·怀斯）122. Short Cuts Altman, Robert 1993（《短片集》，罗伯特·阿尔特曼）123. Yellow Submarine Dunning, George 1968（《黄色潜水艇》，乔治·唐宁）124. 8 1/2 Fellini, Federico 1968（《八又二分之一》，费里尼）125. Mirror Tarkovsky, Andrei 1974（《镜子》，塔尔柯夫斯基）126. Dick Tracy Beatty, Warren 1990（《至尊神探》，沃伦·比蒂）127. Lola Demy, Jacques 1960（《劳拉》，雅克·德米）128. Fathers of Pop Arts Council ?129. Conan the Barbarian Milius, John 1981（《霸王神剑》）130. Piano, The Campion, Jane 1993（《钢琴课》，简·康萍）131. Blade Runner: The Director's Cut Scott, Ridley 1991（《银翼杀手导演版》，雷德利·斯科特）132. Red Shoes, The Powell, Michael 1948（《红菱艳》，迈克尔·鲍威尔）133. Gormanghast: Episode 1 Wilson, Andy 2000 134. M Lang, Fritz 1931（《M》佛列兹·朗）135. Gormanghast: Episode 2 Wilson, Andy 2000 136. Enigma of Kasper Hauser, The Herzog, Werner 1974（《加斯·荷伯之迷》，赫尔佐格）137. Dark City Proyas, Alex 1998（《黑暗之城》）138. Gormanghast: Episode 3 Wilson, Andy 2000 139. Fistful of Dollars, A Leone, Sergio 1964（《为了几块钱/荒原大镖客》，莱昂内）140. For a Few Dollars More Leone, Sergio 1965（《为了更多几块钱/黄昏双镖客》，莱昂内）141. Good, The Bad and The Ugly, The Leone, Sergio 1966（《好的坏的和丑的/黄金三镖客》，莱昂内）142. L'Atalante Vigo, Jean 1934（《亚特兰大号》，让·维果）143. Conformist, The Bertolucci, Bernardo 1970（《同流》，贝尔托鲁奇）144. Rear Window Hitchcock, Alfred 1954（《后窗》，希区柯克）145. Kino-Eye Vertov, Dziga 1924（《电影眼》，维尔托夫）146. A Nous La Liberte Clair, Rene 1931（《自由属于我们》，雷内·克莱尔）147. Alphaville Godard, Jean-Luc 1965（《阿尔法城》，戈达尔）148. Touch of Evil Welles, Orson 1958（《历劫佳人/邪恶的接触》，奥逊·威尔斯）149. Fat City Huston, John 1971（《富城》，约翰·休斯顿）150. Under the Roofs of Paris Clair, Rene 1930（《巴黎屋檐下》，雷内·克莱尔）。
浅析舒曼《大卫同盟舞曲》中的性格因素——以第一首作品(G大调)为例
Appreciation and appreciation 品鉴与欣赏浅析舒曼《大卫同盟舞曲》中的性格因素——以第一首作品（G大调）为例李振中（西安音乐学院，陕西 西安 710061）【摘要】舒曼创作于 1837 年的《大卫同盟舞曲》( Davidsbundlertanze， Op. 6 )是舒曼与克拉拉私定终身时所写下的作品，在自由、不受限的形式下舒曼将他丰富的想象与性情展露于这十八首小曲中。
作者期盼以其中第一首作品为例，就其时代背景与创作手法来分析其音乐风格与主要性格，使演奏者学习此部作品时能获得裨益。
【关键词】舒曼；大卫同盟舞曲；浪漫主义音乐【中图分类号】J605 【文献标识码】A一、舒曼生平简述19世纪德国著名音乐家罗伯特·亚历山大·舒曼（Robert Alexander Schumann，1810-1856）于1810年6月8日出生在德国东部的兹维考（Zwickau）。
父亲奥古斯特·舒曼（August Schumann，1773-1826）是一位具有文学涵养、饱读诗书的书商兼作家，这样的环境养成了舒曼在书籍中找寻知识的乐趣、擅于写作的能力及对文学的喜好，尤其是尚·保罗（Richter Jean Paul，1763-1825）与霍夫曼（E.T.A.Hoffmann，1776-1882）的文学作品。
母亲约汉娜·舒曼（Johnanne ChristianeSchnabel）则对于幼小的舒曼给予音乐上的启发。
因此在舒曼的成长过程中，父母所给予他的极为良好的教育与学习环境，更是日后促成他在音乐与评论写作上成功的重要原因。
1828年，舒曼在母亲的安排下前往莱比锡攻读法律，接着又转往海德堡就读。
尽管如此，舒曼却抵挡不住这两座城市所散发出浓郁的文艺气息，这段期间音乐创作和文学研读填满了他的整个生活，取代了那些枯燥乏味的法律条文，他积极参与音乐活动和聚会，也曾拜访尚˙保罗及海涅（Heimrich Heine，1797-1856）。
niccolo pagannini课文
niccolo pagannini课文
尼科罗·帕格尼尼（Niccolò Paganini，1782年10月27日—1840年5月27日），意大利小提琴家、作曲家、早期浪漫乐派音乐家，历史上最著名的小提琴大师之一，属于欧洲晚期古典乐派。
他对小提琴演奏技术进行了很多创新。
帕格尼尼在五岁的时候开始学习曼陀铃，七岁时便开始学习小提琴，更在十岁时就开始作曲。
他是一个超级巨星，用他那魔鬼般的技巧演奏。
帕格尼尼给那他唯一曾经拥有过的小提琴取名叫加农炮，这把琴的弦几乎都在同一个平面上，这和其它为了避免演奏到其它弦而有个曲度的提琴是完全相反的。
他的健康逐渐恶化是由于长期使用水银混合物而导致水银中毒，这个病促使他无法再继续演奏小提琴，于是只能在1834年退休，并于1840年5月27日病逝于意大利的尼斯。
Goodbye An by Anni Baobei 再见安妮宝贝英文版
Li Jie 励婕,more commonly known by her pen name Anni Baobei 安妮宝贝'AnnieBaby'is a Chinese novelist born 11 July 1974 in Ningbo,Zhejiang. She is nicknamed‘Flower in the Dark’ by her readers due to her novels’ themes of loneliness andisolation.She lives in Beijing.Anni Baobei might have used the Internet as her springboard to success as acontemporary writer, however, she's now turning her back on the online world. Theauthor has come a long way since her days as a bank employee in Shanghai. Shebegan posting short stories online in 1996, but never imagined her cyberspace stardom would turn her into a best-selling author and the fifth richest Chinese writer.Li's novels today rank among the most widely read in China. The author helped spearhead cyber writing inChina. This has created new interest in reading. More than a decade after she first started writing her novels, Li has agreed to have her early stories translated into English.In late 2012, she appeared as one of 21 authors invited to discuss Chinese contemporary literature at the2012 London Book Fair. The Ningbo native just wants to travel the world and write. She is proof that China's new age of best-selling authors first began their careers online.Reserved and serene, Li is reluctant to talk to the media or even have her photograph taken. She is asenigmatic as her early cyber tales that featured urban characters aspiring to adapt to rapid change and strike a balance between modernity and tradition.Her characters were tangled in a web of emotions, wrangling with desire,sex and death. "Back then, cyber writing seemed like a good way of expressing my emotions and thoughts. I wrote short fiction stories that drew on some aspects of reality. I never thought I'd become a writer," she told the Global Times .Li's stint in Shanghai saw her work for a bank, advertising agency, Internet corporation,and a publishinghouse. While her work during the day was ordinary, at night she trawled blogs and chat rooms."Chat rooms were the best place to get close to strangers," she wrote in Goodbye, An , one of her shortstories. "I was 24 and liked chatting with people online who had similar interests. It was a new experience."One of those "new experiences" also involved a foray in online intimacy. "Yes, I fell in love online once," shecandidly admitted. "All books reflect the character of their writers to a certain extent, but I'm not one of my characters. I no longer chat nor write online," she added.The Internet offered Li a platform to reach a wide audience and become a published author, but now shewants to break free of the young cyber writer tag. Her latest book published in English with five short stories,The Road of Others , is a step in that new direction.Her characters drink cappuccinos, listen to jazz, and attend English classes. Li became a symbol of ageneration for portraying the xiaozi 'petty bourgeois'. Fans celebrated her romantic individualism and speculated about the woman behind the words. One reader blogged about falling asleep, emotionally exhausted, with her head resting on one of Li's books.The author became the voice of China's emerging middle-class engaged in consumption and detached fromlife in big industrialized cities.Her publishing debut came in 2001 with the short story Goodbye, An selling over half a million copies. After a 1moment of brief exposure, Li retreated from the spotlight and shunned public appearances. "The Internet was an experimental playground for me and never influenced my stories," stressed Li, who relocated to Beijing in 2003. "I don't think the Internet changed the face of Chinese literature. Many people of different ages are online and can share their stories. I'm not following what's happening and don't pay attention to it."A prolific writer who also pens columns in such Chinese magazines as Harvest ,Writers , and Elle , Li alsoranks among the best paid in the country. Last year, her income from royalties was listed at 9.4 million yuan ($1.48million USD). Over the past decade, Li's stories -many of which have been published in Japan, South Korea, Vietnam Germany and the UK -have evolved to embrace spiritual freedom.Her style has matured to become brighter and explores more complex themes. Her characters moved from being tormented by angst in big cities to finding harmony with nature. Drawing inspiration from ancient Chinese and Japanese literature, she stills favors individual subjectivity as well as the female experience and perspective."My writing has evolved to become more in-depth, philosophical,and exploratory of human nature," Li said,pinpointing her 2006 novel Lotus and last year's follow-up Spring Banquet as examples.Lotus is a love story that blossoms during a journey in Tibet, while Spring Banquet explores the struggle of preserving traditional Chinese culture under the blitz of foreign influences.Li, who has a four-year-old daughter, put her experience in advertising to good use to launch a Chinese-language literary magazine featuring stories and photo essays titled O-Pen ."I teamed up with four writers, including literary translator Hu Lang, to prepare a purely literary magazine withinterviews and content translated from foreign languages," she explained.O-pen primarily targets student readers,from high school to university, as well as graduates.Li's writings might not be everyone's cup of tea, but her legion of loyal fans is proof of her literary success.Nearly all of her books have become best-sellers, with several selling more than 1 million copies. The awaited release of the English version of The Road of Others coincides with her participation at the 2012 London Book Fair."Foreign audiences are still unaware of the many young Chinese voices that are not publicized," lamented thewriter. In the meantime, she's keeping busy working on her next book, a photographic diary, and planning a trip to South America.GOODBYE, ANe didn't know where she was.It didn't matter.She might turn up at some point. Once you started this game, it was hard not to get sucked in. He didn't know if this was down to the game itself, or because only the two of them were playing.He'd come across her in a chatroom. He couldn't remember which day it had been.Her name had appeared as a long string of letters: V-I V-I-A-N,an English name, but he shortened it to An.He thought it must have been a Saturday, maybe around two 0'clock in the morning, when insomnia felt like a form of slow suicide.He was listening to Paganini's 1Scena Amorosa.The music, like a very fine thread, entwined itself 1Niccolò(Nicolò)Paganini (27 October 1782–27 May 1840) was an Italian violinist,violist, guitarist, and composer.H23 around his heart until the pain was so intense that he gasped for breath.He clicked on her name and typed 'Hi'.Then he saw her answer in the red chat window:'Hi.' Plain and casual, like his.Him:Still awake?(He was a cold fish,he thought,afraid of only one thing-loneliness.)AN:Yup.Him:Paganini sometimes kills me.AN:He wrote for only two strings.The other strings are to kill your thoughts with.Him::-)AN::-)And that was how it started.They chatted for a long time. Halfway through, they took a few minutes'break.He stumbled overa chair and knocked it over as he got up to make coffee.Waiting for the kettle to boil,he stretched his neck and then his back.When it was ready,he carried the coffee back to his desk,and wrapped his fingers around the hot mug before starting again.A conversation was like a chess game-you needed an opponent;what kept it interesting was an equal match.They carried on,their language sometimes cryptic.When it began to get light,she said she had toget some sleep.They didn't fix a time to meet again.He went to the bathroom and took a cold shower.He craned his neck to look in the mirror. Hisface was void of all emotion.He took the Metro to work every morning and bought himself a coffee at the station.He'd finish it before the train pulled in. When he arrived at his destination and walked back up to street level, he'd screw up his eyes against the light.The sunlight was inhibiting,just like life itself.The road was full ofthe smell of dust.Him:I'm someone who prefers the shadows.AN:I know that. Like I know you're the kind of man who goes for cotton shirts.And blue-checked handkerchiefs.You only wear lace-up shoes and you never wear white socks.You don't use an electric shaver. You use herbal aftershave.I'll bet you drink coffee like it's water,and that you're very thin.Him:There's something else you definitely don't know.AN:?Him:?Emerging from the Metro station,he had to cross the road and walk through a small plaza planted with cherry trees,now full of blossoms.It was the part of the city he felt the most warmth for. When he went into his office building and waited for the lift, he would tilt his head and breathe in the fragrance that lingered on his shoulders.Small pink cherry-blossom petals often clung to his jacket,and he would pick them off and chew them.One day,in the lift, Qiao asked him.'What do they smell like?'She worked in his company but in a different department.He gave her a stony stare and said,'Probably just like your lips. 'Qiao's eyes widened in surprise,and then she smiled.She was a girl who drank her water cold, liked white cotton dresses,and wore sport shoes without socks. Her hair was very long and thick and her dark eyes shone. She didn't wear make-up.At twelve, she'd had a crush on a good-looking student in her year. By senior middle school, she'd switched her affections to Hemingway.AN:Do you know how Hemingway died?Him:No.AN:He stuck his rifle into his mouth and pulled the trigger.Him:Ugh.AN:He blew his skull right off.Him:Desperate.AN:Not at all.AN:He just wanted to end it that way, that's all.Him:You like the way he did it?AN::-)Yes.I think people should be more decisive about their lives.But life has ground us down into the dirt.Could such a girl really exist? He wasn't sure. He'd only met her online; he'd never seen her.It seemed unlikely someone that interesting could exist in real life. Her way of thinking made him wonder sometimes if she were a man. Still, she was endearing, her conversation was unusual And he liked her.That night,he met her again online:Him:Let's meet up, go to Haagen-Dazs.AN:The one in the Isetan Department Store on Nanjing Road?Him:Wherever you'd like.He was sure they lived in the same city. As they chatted, she told him she loved the Shanghai Metro and that when she waited on the platform she often had the urge to jump down to the tracks,and then scramble back up again as the train whined into the station.She liked fantasies tempered by terror, and despair.AN:Do you enjoy looking at the sea? The sea is the Earth's tear-drop,crystalline and warm.Him:(laughing)But Shanghai only has the Huangpu River and it's filthy!He knew it wouldn't be easy to get her to agree to meet face to face.For a while,he and his netizen friends would regularly meet for drinks and bowling.These friends were mostly men but sometimes there'd be women as well.Chatrooms were the best place to get close to strangers.He'd met nearly twenty girls he'd got to know online first.With some,he'd just have a meal and never see them again.Others,like his exgirlfriend,Lace,were ce had been one of the prettiest girls he'd met this way.They'd had a feverish love affair that lasted six months. Initially,he'd felt the hunter's quick curiosity and urge to subdue her but when it was over,he thought those feelings had been cruel.He had been silent for a long time.He seemed to be bingeing on love.He felt ravenous,and had to fill his empty belly. He would just ask An if they could meet.He wouldn't get his hopes up.It was good to chat. He'd sit cross-legged and barefoot in a wicker armchair.Sometimes he'd wrap a blue patterned rug around his shoulders and over his knees. Halfway through he'd get up and make a fresh pot of coffee. Often he'd knock something over because his legs had gone to sleep.They'd log off at dawn by counting from one to three, then at the same moment click: QUIT. He needed the few moments of warmth this gave him.It sucked him in.He believed he was completely clear-headed when he committed himself to this virtual web world and this blur of love.He was beginning to miss her.On his way home from work, at the Metro station, bits of their late-night conversations would come back to him-the clever devilry of her tone of voice; those sentences, sometimes cryptic and sometimes plain. He'd never met such an ice-cool girl.Once, online, they'd talked about love.AN:Remember your first time with a girl?Him:Yes.AN:What struck you most?Him:The tears in her eyes,on my fingers. Their warmth.:-)AN::-)Him:Why do you ask?AN:I want to know if there's any love left in your heart.Him:There's about 10 percent left over. I think it's about to go rotten.AN:People who don't believe in love are more likely than ordinary people to be unhappy.Him:What about you?AN:Sometimes my heart is full. Sometimes it's empty.He squeezed onto the packed Metro train in the evening rush hour. As the carriage swayed along the wan lights shone on the black rails. He looked around and had the sudden feeling she might be standing right by him.She could be anyone of these strangers.The young women in the carriage were mostly office girls.They all wore suits and were exquisitely made up. He didn't think she was one of them. He had the impression she was jobless, a drifter, someone who liked chilling out. Besides, she normally logged on at night. If she were here, he thought, she'd spot him-a man who was protective of his lifestyle, who wore a cotton shirt and lace-up suede shoes, who had a shaved head and who smelled of herbal cologne. She was probably having a laugh in a comer of the carriage right now.She wouldn't come up to say hello. She'd just have a quiet laugh.It was only because he'd started to pay attention to the other passengers that he eventually became aware of one particular girl. She stood on the same platform as he did every morning, waiting for the train going the other way.For those few moments, she looked as impassive as he did,and there was a hint of laziness in her expression, too. She was dressed in black T-shirt and loose faded jeans,with strappy sandals on her feet.A stacked collection of silver bracelets hid her skinny wrist. Her dark hair was thick and shiny. A huge bag was slung crossways over her shoulders.Sometimes she rifled through it to pull out ear-phones, which she'd then pushed into her ears. When she listened to music, her expression became more aloof and indifferent than before.He kept wanting to know if she was listening to Paganini.Sometimes he thought he should just go up to her and say,'An,let's go for a coffee.'If it were her,she'd look up mischievously,and then give one of her faintly malevolent smiles.If it wasn't her, she'd just tum away.He wanted a bit more time to look at her, in his own time,calmly.He wanted to control the ending of this game.At the weekend there was an office get-together in a nearby bar.Qiao was there,and asked him to dance.'Do you still remember my lips?'she asked. She smiled sidelong at him in the gloom.He put his arms round her and realized she was woozy with drink.Zhang came over and grabbed her by the arm.'You're drunk, I'm taking you home,'he said. Everyone in the company knew that Zhang was secretly in love with her,even though Qiao had a boyfriend who was working as a cameraman in the UK.Qiao pushed Zhang's hand away.'Lin,dance with me,'she said,and leaned her drink-flushed face against his shoulder.She stared at him with bright eyes and he looked at Zhang,standing there embarrassed.He decided to pull her out of the bar.It was midnight by the time they made it back to her apartment block. In the tiny lift she lifted her face and asked again, 'Do you still remember my lips?'He looked blankly at her, then suddenly pushed her up against the door and kissed her roughly.'I haven't made love in a long time,'she said softly.'He's been in the UK for two years.I haven't made love with any man.'Her lipstick had begun to run, making her lips look like tom rose petals in the gloom. There was no way he could stop himself now.He didn't remember how many times they made love. Finally, stupefied, he fell into a deep sleep.He woke up at her touch, and wanted her again. Her face was twisted in exquisite suffering. He could hear her pleading whispers.He grabbed a handful of her long hair. 'Tell me you won't fall in love with me.'He knew he sounded insensitive.Caught between shame and pleasure,she looked at him and said, 'I won't ever bother you, Lin. You're free.'Tears trickled from the comers of her eyes.His fingers quivered slightly. In the gloom,the warmth of tears crept from his memory.•••There was an accident on the Metro one evening.The train rushed into the station and a middle-aged man leapt in front of it. The squeal of brakes and a sharp cry hung in the air. Hemmed in by the jostling crowd,Lin looked at the spot where it had happened.He saw a spurt of bright-red blood. The man lay there, one pallid hand flopped open. Holding nothing.He pushed his way through the crowd and saw the girl in black with her earphones in.She was some distance away,looking as if nothing had happened.He walked towards the exit and suddenly felt a burning hollowness in his belly.The sunlight flooding in through the station entrance made it hard for him to open his eyes and he turned back again.He watched calmly as the girl approached. When she was near he said,'An,let's go for a coffee.' She had on a black,sleeveless polo-neck;silver bracelets tinkled on her wrist.A dab of silver eyeshadow glittered at the comer of each eye-it was this summer's hot make-up look-and just below her left eye she had a pale brown'tear-drop'mole.She looked up at him,unsmiling.'But my name's Vivian,'she said.She had a slightly raspy voice,which he found calming.He took her to the Happy Cafe,where he got his morning coffee.'What would you like?'he asked.'Cappuccino,'she said.He ordered an espresso,but didn't mind this slight difference between them.'That man must be dead,'he said.The girl ran her fingers lightly over the rim of the white china cup.'There's nothing special about death.Maybe he'd just lost his job.Or was facing divorce.Or someone had cheated him.Or he was just tired of life.'She put her ear-phones in her bag.'If he'd just got through that moment,he could be drinking a delicious cup of coffee,'he said.Vivian was a graphic designer in an advertising company.After that morning they continued to meet every now and then,usually in the Happy Cafe.She called him'coffee man'because he couldn't live without his bitter,dark brew.He found out what it was she listened to.It wasn't Paganini, it was jazz-some bass saxophone.This girl was certainly unusual.Sitting over coffee with him, she would say little. Sometimes he covered her fingers with his hand. He gently stroked the flesh of her fingertips.She would look at him then with something that resembled a smile.He took her to Haagen-Dazs.He took her to Manabe,the Japanese coffee shop in Huating Road. He took her to Time Passage,a bar that played good music.All the places he'd talked about with An online.In the dimness,the brown mole at the comer of her eye caught the light.He didn't want to kiss her casually.She insisted that he call her Vivian.'I don't want to be some girl in your imagination,'she said.'Actually,you're an extraordinarily selfish man, do you know that?'"Maybe she's right,"he thought.Only a selfish man could go twenty-nine years wearing cotton shirts and lace-up suede shoes. And buying 500ml bottles of Kenzo cologne.He was used to the way he felt,yet the world he lived in was way out of kilter with his dreams.He met An online again,and thought of the pale fingers of Vivian as they rested lightly on her coffee cup.Him:If our lives were going to end tomorrow, would you meet me?AN:No.Him:Why not?AN:It feels like every day we keep just missing each other so we'll never ever meet up.AN:Let the world keep some of its mystery. Besides, grownup games need rules.He went to Qiao's flat a couple of times a week. If she called him.She knew exactly how it was: they were each lonely and needy for sex.It was just until her boyfriend came back from the UK. And of course they could split up any time.She'd make him dinner. Sometimes she'd wake up in the middle of the night and watch him sleeping soundly at her side. He was handsome, his normally aloof expression warmed by sleep.Like an innocent child. She thought those moments when men were eating or sleeping were lovely, returning them to a state of sweet vulnerability.She caressed him gently. She felt their bodies had been entangled for too long, driving their souls ever further apart.But she had probably never had a hold over his soul.She remembered him standing at the lift door, chewing the petals of the cherry blossom. A faint fragrance had wafted from him.He had looked dejected. Some girls loved a man only when they found him hard to understand.Qiao was like that,and discovered she was unable to be strong-minded.She tried asking him,'What would happen if I got pregnant?'She scrutinized his face.His eyes were cold.'It's up to you to be careful,'he said.'We don't want anything like that'to happen.'Qiao feebly stroked her own fingers, 'What if it did?'He lay still, looking at her. 'Don't go making trouble. Just remember that,'he said softly. She cocked her head a little, her expression gentle, questioning.On the deserted Metro platform, the high-pitched whine of the train faded into the distance. He knew they were both playing this game. Only now, the balance of power was shifting.If Vivian acknowledged she was An, then that was who she was.If she refused to admit it, then at least she was Vivian.During those night-time chats, facing the screen, he was aware of the lonely sound of his fingers tapping on the keyboard. Her speech appeared sentence by sentence, then disappeared, sentence by sentence. The end could come any time.When saying goodbye, they started to use goodnight kisses. She typed an asterisk.When he got a cold and told her he was feeling chilly, she said, 'Have a good night's sleep, dear.' Then they hit QUIT and it was all over.Vivian was a girl who was within his reach. At least some of his fantasies were about her. Love was just this kind of a fantasy. It meant he could forget his craving for Qiao for a time. Those shameless, ice-cold cravings.'I want to tell you how cappuccino's made,' he said to Vivian. 'They pour dark-roast coffee into a cup, then add sugar and a big spoonful of fresh cream, and sprinkle lemon peel on top, or orange peel will do too. Then cinnamon.'She smiled. 'You could be a barista. You're an expert.''After I graduated,'he said,'what I most wanted to do was to work in a bar, mixing drinks and serving coffee.'The hours of darkness were silent, disorientating.It was a time he really liked. A pretty girl sitting alone in the comer of a bar, smoking. The mingled smells of coffee, smoke and perfume. A Paganini track playing, killing thought. A feeling of no boundaries. He could get sucked into it.Then sleeping by day, cutting oneself off from the sunlit world.But reality didn't permit him to chill out this way.Every day he had to cross the concrete city in the bright sunshine.'I'm a man who likes the shadows,'he said, screwing his eyes up a little against the sunlight.Once more the world was forcing him out naked into the light.The sun's rays could vaporize him, just like that.It was scorchingly painful. Like when, outside the lift, Qiao said she'd split up with her UK boyfriend and that she was pregnant.All their fellow workers had been there, waiting for the lift. They knew what was going between him and Qiao. But Qiao had to shout it out and make sure they knew he was responsible for her. He had to be responsible for her.Zhang came up to him, conflicting feelings written on his face. 'We'll be expecting those wedding bells soon then, Lin,' he said. There was laughter and banter.He stood stock still. There was a stabbing, dizzying pain in his eyes. Amid the enforced jollity, he felt full of self-loathing.Today was Qiao's twenty-fourth birthday.It was an unusually dark evening. He got a tight grip on himself, stepped off the train and went up to the Happy Cafe for a coffee.Qiao rang his mobile.'Come over tonight,' she said.He was silent.Infatuation turned a woman stupid and he was tired of her stupidity already. He could hear her crying.'If you don't come,I'll die,then you'll see!'she said, and then she hung up.He'd never thought about getting married. This was ridiculous. Qiao had broken the rules of their game.'I won't bother you,'she'd said.And then she'd gone and done things her way.He began to miss An. They hadn't met online for five days. She could be anywhere."The day was going from bad to worse,"he thought. Online, he would say to her: I'm unhappy, An.Then An, quietly perceptive as usual, would type a question mark. She always gave you space. She was so icecool, so intelligent.That evening, he waited for her to come online, his coffee steadily growing cold. His eyelids twitched nervously. He had the feeling she wasn't going to log in. His loneliness was tearing him apart. His thoughts returned to Qiao's warm body. All he needed was her body. Not the whole of her.At eleven 0' clock he shut down his computer. He put on a cotton shirt, grey socks and lace-up suede shoes. Outside, the road was deserted under the wan streetlights.He grabbed a taxi and went straight to Qiao's flat.The tiny lift was stuffy as usual,and reminded him of that crazy evening:Qiao's intoxicated face blooming like a rose in his palm.There was a time when they'd both been lonely and needed each other; even so, he didn't love her.He still had10 per cent of his love left, but it didn't belong to her.She opened the door, the apartment pitch-dark behind her. In the gloom,they looked at each other for a few seconds.Then he closed the door behind him,and without speaking thrust her savagely up against the wall.Why was happiness so fleeting?When they separated,he felt a sense of hopeless frustration. Just for a moment,loneliness had been banished. But there would always be despair till you could banish awareness of this world.Afterwards,Qiao put the light on. He screwed up his eyes against the glare.'You know I hate the light,'he said.'We need to talk things through,'she said.He lay back in the bed,exhausted,closing his eyes.'There's nothing to talk about.I'm tired,I'm going to sleep.'Stubbornly,Qiao pulled him back up to face her. Her eyes were red and puffy.She really wasn't pretty any more.。
史上最任性的女歌手 弗洛伦斯·福斯特·詹金斯
史上最任性的女歌手弗洛伦斯福斯特詹金斯Nick Forton;周晓斐【摘要】最近,一部由梅丽尔·斯特里普（Meryl Streep）主演的电影让弗洛伦斯这位史上最任性的天才女高音为观众所熟知。
然而,我们不禁疑问：＂弗洛伦斯·福斯特·詹金斯（Florence Forster Jenkins）究竟是一位怎样的歌唱家呢？＂只有少数的歌唱家在七十岁之后依旧对观众具有影响力,而能在耄耋之年依旧录制唱片的歌唱家更是凤毛菱角。
而只有一位歌唱家,【期刊名称】《音乐爱好者》【年(卷),期】2017(000)010【总页数】4页(P26-29)【关键词】弗洛伦斯詹金斯斯特里普 Forster 福斯七十岁女歌手七十六凤毛普尔曼【作者】Nick Forton;周晓斐【作者单位】【正文语种】中文【中图分类】J605最近，一部由梅丽尔·斯特里普（Meryl Streep）主演的电影让弗洛伦斯这位史上最任性的天才女高音为观众所熟知。
然而，我们不禁疑问：“弗洛伦斯·福斯特·詹金斯（Florence Forster Jenkins）究竟是一位怎样的歌唱家呢？”只有少数的歌唱家在七十岁之后依旧对观众具有影响力，而能在耄耋之年依旧录制唱片的歌唱家更是凤毛菱角。
而只有一位歌唱家，在七十六岁时完成了在卡内基音乐厅的首演。
这位传奇性的人物就是弗洛伦斯·福斯特·詹金斯。
弗洛伦斯在卡内基音乐厅演出的门票在开演几周前就售罄了，这倒不是因为她动人的歌喉，而是由于她那一反传统的独特音质。
弗洛伦斯演唱的曲目包括莫扎特、德利布、小约翰·施特劳斯以及勃拉姆斯等作曲家的作品，同时还包括一些较轻松的音乐。
但是，弗洛伦斯有个巨大的缺陷——她听不出音调。
其声音的独特魅力使得佛罗伦斯成为四分音女王（Queen of the Quarter Tone）。
正如她录制的唱片名称，弗洛伦斯的嗓音被称为“高音C杀手”。
- 1、下载文档前请自行甄别文档内容的完整性，平台不提供额外的编辑、内容补充、找答案等附加服务。
- 2、"仅部分预览"的文档,不可在线预览部分如存在完整性等问题,可反馈申请退款(可完整预览的文档不适用该条件!)。
- 3、如文档侵犯您的权益，请联系客服反馈,我们会尽快为您处理(人工客服工作时间：9:00-18:30)。
(
'
& ()(
"! * "! * "!
*)
"% "# "! * "! * "! "# "% "!
"# "! *
"! * (
"! * *) * )*
""
B B 36
D
B
B
B
"# "" "# "" "#
BBB BBBH tempo 80
DDDBBB
B BB
BB B
"$ "!
"!
(
)
&
"# * "#
* '*
( %(
BB B
DB B
BB B DB
T
T
"# "$ "( & "* (
&
B78 B
B B
B B
B DB BB
BB B DB
B B
B B
"! )
(
"# "!
* "! *
"! * "! * ( & %
&
"# "! * ( '
(
BB BB
B B
B B
B B
B B
B B
B B
B B
B B
B B
(* * "!
(&% *('('
* ) * )* #
"% "$ "% "$ "% "# "& "%
"# "" "# "" "# "% "& "#
31 BDB B B BFB B B B B B B B B B B B B B B B B B B BDB B B B B B B BDB B B B B BDB
"# "" "# "" "# "!
"%
BBB B B B B B
3
) "# ) "!
"! *
"! "#
BBB
B
B
B
B
3
B
) "# ) * "! "! ) "#
21 B B B DB B B B DB
3 "$ "! (
* "! ( * ""
BBB
B
B
B
3
B
B
"# ) "! * "! "# "# )
B B B B B B B DB
3
( "!
3
) "# "!
) "! *
"! "#
B16
H
B
Q
* #
DB B B B B B B DB
3
"# "( "#
"%
"%
"%
"%
"'
BBB
B
B
B
B
3
B
"! "$ "! "! "# "# "! "$
BDB B
B
B
B
3
DB
B
* "# *
*
*
*
""
"#
BBB B B B B B
3
"! "& "!
"#
"#
"#
"#
)(
'
'*
&
(*
BB BB
B B
BB BB
B B
BB BB BB B BBDB
* "! "# "$ ' ) "! "#
% ( * "" "# & ( ) "!
$
&( &(
( ) "! "# "$ & ' ) "!
& ( * "! "# $& ()
"# "! "#
"! *
"!
"! ) *(
'&
( && %%
h = 120
1
:
24
B B B B B B H R I Tempo120
Caprice #24
B
L
R
I
B
B
DB
DB
B
H
B
R
I
BB
B
B
B
B
H
B
Q
B
L
R
B
M
B
DB
FB
B
c
*
*
"%
"% "% "& "% "#
(
( ( "! * (
(
( ( "! * (
#
( ( "" * (
B6 R B B B B B
LM
B/
B
Q
DB
DB/ DB FB/ FB
DB
B
T
T
"& $ "% #
&
&
T
T
"' % "( &
%
%
T
T
"& $ "% #
&
&
T
T
"' % "( &
%
T
T
") ' "( &
*
*
//
66
B
BBBBB
DB/ FB/ DB FB BB
//
B DBDB B B B
B B/ B B/ B B
B DB/ DB B/ B B
"$ "#
"#
*
"! *
*
'
)(
(
%
"# "! *( (&
"( "' "& "* ") "( "'
"%
51 B BDB FBDBFB BDB B BDB B B B B BDBFBDB FB B B DB B B B B B B B
") "( "' ") "( "' ") "%
B BDB FB BDBFB B
"( "' "& "* ") "( "'
"%
") "( "' ") "( &
"( "' "& "% ") "( "&
"%
"% "( "% "&
"%
"%
"&
"(
"& "% "$ "# "' "& "$
"#
56 B B B B B B B B B B BDBFBDBFB B B BDBFBDBFB B B B BDBFBDBFB BDB B B B B B B B B
B/ B B/ B BB
T
T
& "* ( #! ) )
T
T
#" * #! )
(
(
T
T
") ' "* (
)
)
T
T
## "! #" *
&
&
T
T
") ' "* (
(
)
T
T
") ' "( &
&
(
72 B/ B B/ B Q B
B B B Tempo72 DB B B B B B B DB B B B B B DB B B
"# "& "# "$
"#
"#
"%
"&
"$ "# "" "! "% "$ "#
"!
"# "" "! * "$ "# "!