Rite of Spring春之祭
(完整word)the rite of spring春之祭翻译
我从来都不明白我家为什么会开辟一方菜园子,也不明白为什么36年前我第一次在乡下买了一处房屋后,我所做的第一件事是开垦一块地来种菜。
现在想想,买一堆胡萝卜或甜菜,相对来说,那么容易,而且又那么便宜,为什么还要自己种菜呢?尤其是块根蔬菜,商店里买的和自己种的并没什么区别。
这里肯定有人的本性在起作用。
人就喜欢脱离现实,毫无意义地瞎折腾。
再说,我并不是特别喜欢吃蔬菜,我宁可吃些油汪汪、香喷喷、一咬一口肉汁的东西,比如说热狗。
要说,如果能在窗外种热狗的话,那倒真的有了一种可以毫不犹豫为自己辩护的理由.可是在现在这种情况下,我无法否认,每当四月来临,我就会发现自己走出家门,倚着院子外的篱笆,望着那块倒霉的地,十分理智地下决心再也不去种它了。
然而,总有那么一天,当我早晨醒来的时候,就闻到窗外飘进的一缕香气,空气中有种泥土的气息,这香气仿佛从地球中心的地方飘来.这时,太阳似乎也突然认真起来,它投射到地毯上的光似乎比往常更加深黄。
那些鸟开始歇斯底里地鸣叫,心里和我一样,想着那些美味可口的虫子正从那融化的土中慢慢爬出来。
我欣喜地看着这块土地,但是心里也充满了矛盾。
每年的难题都一样--—用什么方式种呢?前几年我用的是36寸宽的黑色塑料薄膜,成效不错,干旱的时候土壤仍能保持水分,不生杂草。
但是黑色塑料薄膜看起来太工业化、一点浪漫的情调都没有,我开始慢慢用干草来覆盖。
我们收割了很多干草,干草腐烂后确实能改良土壤成分,而且看上去也很舒服,而且不用花一分钱。
家里有个菜园子能使你感觉到我们这个小小的星球的表面有多娇嫩,多丰饶,多容易被毁坏。
这块50英寸宽、70英寸长的田地肯定有十几种不同的土壤。
西红柿在某个地方张不好,但是在另外一个地方却长得很好,其他庄家也一样。
我想,要是你在地里洒满化肥,这种差别就不那么明显了,但是我用化肥很节省,只是放在播种种子的那些地方,而不是播撒在整片地里。
我不知道我为什么这么做,我只是想省点化肥,也不想给杂草占便宜.我觉得,至少对于某些人来说,园艺对人的吸引力是出于神经和精神方面的原因。
the rite of spring春之祭翻译教学文案
t h e r i t e o fs p r i n g春之祭翻译我从来都不明白我家为什么会开辟一方菜园子,也不明白为什么36年前我第一次在乡下买了一处房屋后,我所做的第一件事是开垦一块地来种菜。
现在想想,买一堆胡萝卜或甜菜,相对来说,那么容易,而且又那么便宜,为什么还要自己种菜呢?尤其是块根蔬菜,商店里买的和自己种的并没什么区别。
这里肯定有人的本性在起作用。
人就喜欢脱离现实,毫无意义地瞎折腾。
再说,我并不是特别喜欢吃蔬菜,我宁可吃些油汪汪、香喷喷、一咬一口肉汁的东西,比如说热狗。
要说,如果能在窗外种热狗的话,那倒真的有了一种可以毫不犹豫为自己辩护的理由。
可是在现在这种情况下,我无法否认,每当四月来临,我就会发现自己走出家门,倚着院子外的篱笆,望着那块倒霉的地,十分理智地下决心再也不去种它了。
然而,总有那么一天,当我早晨醒来的时候,就闻到窗外飘进的一缕香气,空气中有种泥土的气息,这香气仿佛从地球中心的地方飘来。
这时,太阳似乎也突然认真起来,它投射到地毯上的光似乎比往常更加深黄。
那些鸟开始歇斯底里地鸣叫,心里和我一样,想着那些美味可口的虫子正从那融化的土中慢慢爬出来。
我欣喜地看着这块土地,但是心里也充满了矛盾。
每年的难题都一样---用什么方式种呢?前几年我用的是36寸宽的黑色塑料薄膜,成效不错,干旱的时候土壤仍能保持水分,不生杂草。
但是黑色塑料薄膜看起来太工业化、一点浪漫的情调都没有,我开始慢慢用干草来覆盖。
我们收割了很多干草,干草腐烂后确实能改良土壤成分,而且看上去也很舒服,而且不用花一分钱。
家里有个菜园子能使你感觉到我们这个小小的星球的表面有多娇嫩,多丰饶,多容易被毁坏。
这块50英寸宽、70英寸长的田地肯定有十几种不同的土壤。
西红柿在某个地方张不好,但是在另外一个地方却长得很好,其他庄家也一样。
我想,要是你在地里洒满化肥,这种差别就不那么明显了,但是我用化肥很节省,只是放在播种种子的那些地方,而不是播撒在整片地里。
春之祭英语精读课文
春之祭英语精读课文The air is filled with the sweet scent of blooming flowers, signaling the arrival of spring. The trees have shed their winter cloak, revealing fresh, green leaves that dance in the gentle breeze. It's a time of rebirth, when nature wakes from its slumber and comes alive with vibrant colors.In the distance, a bird sings a song of joy, its melody carrying across the meadows and into the hearts of all who listen. Children run freely, laughing and playing, as if the world is their playground. The sun shines brightly, its warmth embracing everything in its path, melting away the chill of winter.Flowers of every hue bloom in profusion, painting the landscape in a kaleidoscope of colors. Roses, tulips, daffodils, and lilies compete for attention, their beauty captivating passersby. Butterflies flutter about, drawn to the nectar of these blossoms, while bees hum busily as theygather pollen.The air is still, yet filled with a sense of anticipation. It's as if the earth is holding its breath, waiting for the moment when life truly springs forth. And then, just as if on cue, a single bud opens its petals, revealing a delicate flower at the center. It's a sign, a promise that the spring festival has begun.As evening falls, the sky is painted in hues of orange and pink, a beautiful backdrop for the moon to rise. The air cools, but the warmth of.。
春之祭
斯特拉文斯基把他的第三部芭蕾音乐作品称为“神圣的春天”。
这个1913年5月29日俄罗斯芭蕾舞团首演时的名字是作品写完后。
它成了俄罗斯以外的标准标题,英文标题The Rite of Spring就是从这个名字转译而来的。
1921年,佳吉列夫剧团为纪念战后复兴在伦敦上演了《春之祭》,斯特拉文斯基1910年构思这部作品。
从1911年9月到1913年3月间实际投入创作。
首演时一片骚乱,演出以失败告终(实际上,激怒观众的更多是尼金斯基令人反感的编舞,而不是音乐)。
这次演出后,1914年,刚刚过完32岁的生日的斯特拉文斯基迎来了职业生涯的巨大成功(他晚年回忆起这段经历时说:‘很少有作曲家曾享有过这种成功’)。
在此后漫长的生活中,斯特拉文斯基提到这部作品时一直在撒谎。
1920年,他对一个采访者说,这部作品最初被构思成一部没有情节的纯粹器乐作品。
1931年,他告诉第一部权威传记的作者,在整部作品的总谱中只有开始时巴松管吹奏的旋律引用了民歌。
1959年,通过音乐和文学助手Robert Craft,他再次强调,这部作品完全不存在传统因素,而仅仅是他直觉的产物。
“我听到了,就把听到的东西写下来。
”他声称,“我只是《春之祭》流淌而过的一个容器而已。
”这些表白和名言已经逐渐成为20世纪音乐持久的神话。
事实上,这部芭蕾舞剧的脚本细致入微、在民族志方面精确无误地(除了高潮时用人献祭的那一段以外)描写了“俄罗斯异教的场面”——正如芭蕾舞剧经常被隐瞒的副标题表明的那样。
斯特拉文斯基之所以说谎并不仅仅是因为记忆力糟糕,但也不仅仅是无聊和玩世不恭。
在革命和布尔什维克政变之后,斯特拉文斯基想同俄罗斯断绝关系,他不但狂热地期盼融入西方音乐主流,而且还希望成为一名领军人物。
他热中远离与生俱来的褊狭的传统,接受一种雄心勃勃的世界性意识形态。
所以他强调自己的音乐都是“纯粹的”、抽象的、(新)古典主义的,并未将灵感局限于任何特定的时间和地域。
关于春之祭的传说将《春之祭》看成是同“过去”的强烈脱节,而其实,它也是对于两种“过去”的最大的颂扬,主题表现的久远的过去和其风格体现的更近一些的过去。
现代大学英语精读2Unit3theriteofspring译文
现代大学英语精读2 Unit3the rite of spring春之祭说真的,我从来都不明白,我们到底为什么要有一个菜园子,为什么36年前,当我第一次在乡下买了房子以后,我会别的事情都不做,首先就挖一块菜地。
现在想想买一堆胡萝卜或者甜菜头,相对来说那么容易,而且又那么便宜,为什么还要自己去种呢?尤其是那些块根植物,自己种的和店里买的,根本就很难分辨。
这里肯定有人的本性在起作用。
人就喜欢脱离现实,毫无意义地瞎折腾。
再说,我又并非特别喜欢吃蔬菜,我宁可吃些油汪汪、香喷喷、一咬一口肉汁的东西,比如说热狗。
要说,如果能在窗外种热狗的话,那倒真的有了一种可以毫不犹豫为自己辩护的理由了。
可是,在现在这种情况下,我无法否认,每当4月来临,我就会发现自己走出家门,倚着院子外的篱笆,望着那块倒霉的地,十分理智地下定决心再也不去种它了。
然而,总有那么一天,当我早晨醒来的时候,一股香味似乎从窗外飘进来,就好像来自地球中心的泥土的清香味。
这时,太阳似乎也突然认真起来,它投射到地毯上的光似乎比往常要更加深黄。
那些鸟开始歇斯底里地鸣叫,心里和我一样,想着那些美味可口的虫子正从那融化的土中慢慢爬出来。
让我回去看那块地的并不只是快乐,而是矛盾和斗争。
每年碰到的问题是一样的:今年我们该使用什么方法?前几年,我们在一行行的蔬菜之间放上了36英寸宽的黑塑料薄膜。
效果极好,干旱的时候能够保湿,而且保证没有杂草。
但是黑塑料薄膜一看就是来自工厂的东西,一点浪漫的情调都没有。
所以我就逐步改用干草作覆盖料。
我们收割了不少干草,草一腐烂,的确能改善土壤的结构。
再说,看起来很舒服,而且又不花一分钱。
家里有个菜园子能是你感觉到我们这个小小星球的表面有多娇嫩、多丰饶、多容易被毁坏。
the rite of spring 课文原文
Rite of Spring (Arthur Miller)1.I have never understood why we keep a garden and why over 36 years ago when I bought my first house in the country, I started digging up a patch for vegetables before doing anything else. When you think how easy and cheap, relatively, it is to buy a bunch of carrots or beets, why raise them? And root crops especially are hard to tell apart, when store-bought, from our own. There is a human instinct at work here, a kind of back-breaking make-believe that has no reality. Besid es, I don’t particularly like eating vegetables. I’d much rather eat something juicy and fat. Like hot dogs.2.Now, if you could raise hot dogs outside your window, you’d really have something you could justify without a second’s hesitation. As it is, thou gh, I cannot deny that when April comes I find myself going out to lean on the fence and look at that miserable plot of land, resolving with all my rational powers not to plant it again. But inevitably a morning arrives when, just as I am awakening, a scent wafts through the window, something like earth-as-air, a scent that seems to come up from the very center of this planet. And the sun means business, suddenly, and has a different, deeper yellow in its beams on the carpet. The birds begin screaming hysterically, thinking what I am thinking—the worms are deliciously worming their way through the melting soil.3.It is not only pleasure sending me back to stare at that plot of soil, it is really conflict. The question is the same each year—what method should we use? The last few years we put 36-inch-wide black plastic between the rows, and it worked perfectly, keeping the soil moist in dry times and weed-free.4.But black plastic looks so industrial, so unromantic, that I have gradually moved over to hay mulc h. We cut a lot of hay and, as it rots, it does improve the soil’s composition. Besides, it looks lovely, and comes to us free.5.Keeping a garden makes you aware of how delicate, bountiful, and easily ruined the surface of this little planet is. In that 50-by-70-foot patch there must be a dozen different types of soil. Tomato won’t grow in one part but loves another, and the same goes for the other crops. I suppose if you loaded the soil with chemical fertilizer these differences would be less noticeable, but I use it sparingly and only in rows right where seeds are planted rather than broadcast over the whole area. I’m not sure why I do this beyond the saving in fertilizer and my unwillingness to aid the weeds.6.The attractions of gardening, I think, at least for a certain number of gardeners, are neurotic and moral. Whenever life seems pointless and difficult to grasp, you can always get out in the garden and get something done. Also, your paternal or maternal instincts come into play because helpless living things are depending on you, require training and encouragement and protection from enemies. In some cases, as with beans and cucumbers, your children—as it were—begin to turn upon you in massive numbers, growing more and more each morning and threatening to follow you into the house to strangle you in their vines.7.Gardening is a moral occupation, as well, because you always start in spring resolved to keep it looking neat this year, just like the pictures in the catalogues. But by July, you once again face the chaos of unthinned carrots, lettuce and beets. This is when my wife becomes—openly now—mistress of the garden. A consumer of vast quantities of vegetables, she does the thinning and hand-cultivating of the tiny plants. Squatting, she patiently moves down each row selectingwhich plants shall live and which she will cast aside.8.At about this time, my wife's 86-year-old mother, a botanist, makes her first visit to the garden. She looks about skeptically. Her favorite task is binding the tomato plants to stakes. She is an outspoken, truthful woman, or she was until she learned better. Now, instead of saying, "You have planted the tomatoes in the damp part of the garden," she waits until October when she makes her annual trip to her home in Europe; then she gives me my good-by kiss and says casually," Tomatoes in damp soil tend more to get fungi," and walks away to her plane. But by October nothing in the garden matters, so sure am I that I will never plant it again.9. I garden, I suppose, because I must. It would be intolerable to have to pass an unplanted fenced garden a few times a day. There are also certain compensations, and these must be what annually turn my mind toward all that work. There are few sights quite as beautiful as a vegetable garden glistening in the sun, all dewy and glittering with a dozen shades of green at seven in the morning. Far lovelier, in fact, than rows of hot dogs. In some pocket of the mind there may even be a tendency to change this vision into a personal reassurance that all this healthy growth, this orderliness and thrusting life must somehow reflect similar movements in one's own spirit. Without a garden to till and plant I would not know what April was for.10.As it is, April is for getting irritated all over again at this pointless, time-consuming hobby. I do not understand people who claim to "love" gardening. A garden is an extension of oneself—or selves—and so it has to be an arena where striving does not cease, but continues by other means. As an example: you simply have to face the moment when you must admit that the lettuce was planted too deep or was not watered enough, cease hoping it will show itself tomorrow, and dig up the row again. But you will feel better for not standing on your dignity. And that's what gardening is all about—character building. Which is why Adam was a gardener. (And all know where it got him, too.)11.But is it conceivable that the father of us all should have been a weaver, shoemaker, or anything but a gardener? Of course not. Only the gardener is capable of endlessly reviving so much hope that this year, regardless of drought, flood, typhoon, or his own stupidity, this year he is going to do it right! Leave it to God to have picked the proper occupation for his only creature capable of such self-delusion.12. I suppose it should be added, for honesty's sake, that the above was written on one of the coldest days in December.。
《春之祭》百年先锋为哪般[精品资料]
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最新最全的学术论文期刊文献年终总结年终报告工作总结个人总结述职报告实习报告单位总结一、来龙去脉20世纪初,当古典芭蕾在俄国日落西山之时,其内部涌现出了一批不满于现状的精英们。
他们年轻气盛,跃跃欲试,在“现代舞之母”——伊莎多拉· 邓肯的感召下,不时推出实验性的小品,但每每遭到保守势力的抨击,无法实现自己的改革理想。
于是,他们在芭蕾经纪人谢尔盖· 佳吉列夫的率领下,以“俄国芭蕾舞团”的名义揭竿而起,浩浩荡荡地开进了浪漫芭蕾之都——巴黎,用大批短小精悍、异国情调、颇具创意的芭蕾新作,为整部芭蕾历史开创了一个“现代芭蕾”的崭新时代,并以各不相同的智能与天赋,为人类再次大觉醒、人口爆炸、知识爆炸、信息爆炸的新世纪,增添了一抹唯现代芭蕾独有的返璞归真、东西合璧的崭新光彩。
二、说文解字现代芭蕾:芭蕾发展史上的第四个时期,始于20世纪初,共分早、中、晚三期。
其早期是由一批不满于现状、锐意改革的俄国古典芭蕾精英发起的一场芭蕾运动,代表人物有芭蕾经纪人谢尔盖· 佳吉列夫、“现代芭蕾之父”米歇尔· 福金、惊世骇俗的编导家瓦斯拉夫· 尼金斯基、“现代音乐之父”伊戈尔· 斯特拉文斯基等人,代表团体是佳吉列夫俄国芭蕾舞团,发源地是古典芭蕾之都圣彼得堡,而兴盛地则是浪漫芭蕾之都巴黎。
与20世纪前的浪漫芭蕾和古典芭蕾相比,发生在20世纪后70年间的现代芭蕾至少具有以下五个显著的特点:一是在美学原则上,向“开绷直立”开战,甚至与其背道而驰;二是在创作思路上,选择自由开放;在创作灵感上,选取新鲜视角;三是在创作题材上,选择多元文化;在创作手法上,摈弃固有模式;四是在内容与形式的关系上,主张两者完全地统一;五是在作品的规模和长度上,追求短小精悍、形式多变。
三、名家青史谢尔盖· 佳吉列夫(1872-1929):身为俄国芭蕾史上最重要的经纪人、古典芭蕾的传播者与现代芭蕾的奠基人,谢尔盖· 佳吉列夫从小生活在艺术气氛浓厚的首都圣彼得堡,与俄罗斯乐圣彼得· 伊里奇· 柴科夫斯基沾亲带故的继母,则使他有机会接受了一流的音乐熏染。
《春之祭》何以成为音乐经典?
《春之祭》何以成为音乐经典?《春之祭》(The Rite of Spring),是美籍俄罗斯音乐家斯特拉文斯基的芭蕾舞剧,是他的第三部芭蕾音乐作品,被英国古典音乐杂志《Classical CD Magazine》评选为对西方音乐历史影响最大的50部作品之首。
《春之祭》原本是作为一部交响曲来构思的,后来季亚吉列夫说服了斯特拉文斯基,把它写成了一部芭蕾舞剧。
该剧于1913年在法国香榭里榭大街巴黎剧院首演时,曾引起了一场大骚动,遭到了口哨、嘘声、议论声,甚至恶意凌辱的侵袭。
而在音乐家和乐师们中间,引起的震动则比一场地震还要剧烈。
本文作者班丽霞,原载《艺术评论》,2013年第八期。
关于“经典”(classic)的探讨是当下文艺理论界的热门话题,尤其是文学与艺术社会学领域已为这一研究提出不少有价值的理论与观念,对我们思考音乐经典及经典化问题有重要的启发意义。
就“经典”的定义来说,意大利作家卡尔维诺在《为什么读经典》中提出,经典就是“那些你经常听人家说'我正在重读……’而不是'我正在读……’的作品”。
同理,音乐经典也正是那些历经时间考验,被一代代爱乐者反复聆听和诠释,从而彰显出持久生命力的作品。
在西方音乐领域,与“经典”类似的表述还有“保留曲目”(repertoire,最常用)、“音乐杰作”(masterpiece)、“博物馆作品”(museum piece)等称谓,基本只限于“艺术音乐”或“严肃音乐”的范畴。
自巴赫、亨德尔两位巴洛克晚期的音乐大师开始,经维也纳古典乐派至19世纪多位浪漫主义“天才”的杰作,共同构成了西方音乐经典曲库的主体部分。
与文学和视觉艺术经典一样,音乐作品经典地位的确认也不是自然天成的,而是经历了或长或短的“经典化”过程,像巴赫的《马太受难乐》(1727)就为之等候了上百年的时间。
音乐经典在19世纪中叶之后逐步占据音乐厅,将音乐厅转变为主要上演保留曲目的“音乐博物馆”。
皮娜·鲍希舞蹈作品《春之祭》分析
第19卷第2期 宁波教育学院学报 Voi.19 No.2 2017 年 4 月JOURNAL OF NINGBO INSTITUTE OF EDUCATION Apr.2017皮娜•鲍希舞蹈作品《春之祭》分析勒辞辞(宁波教育学院学前教育学院,浙江宁波315010)摘要:尼金斯基创作的舞蹈《春之祭》,音乐结构非常复杂,而且还具有比较强烈的情感冲突,正是因为这样,使尼 金斯基的舞蹈创作形式在社会中广为流传,被很多舞蹈家再一次演绎,皮娜•鲍希就是其中一个突出的人物。
关键词:皮娜•鲍希;舞蹈作品;《春之祭》;分析中图分类号:J705 文献标识码:A文章编号=1009-2560(2017)02-0043-03在20世纪初,尼金斯基与斯特拉文斯基一起合作了著名的芭蕾舞作品《春之祭》,随后《春之祭》被众多的舞蹈家重新演绎,到目前为止,大概已经有一百多个版本的《春之祭》在世面上流传。
在这么 多的版本中,皮娜•鲍希的《春之祭》可以称之为最好的作品,得到了观众和专业人士的一致好评。
皮 娜•鲍希之所以能够改编出这么成功的作品,主要是因为动作的编排和斯特拉文斯基的音乐密切的结 合在了一起,对音乐中重复的旋律和静止的音符认识的非常深刻,并创作了与之相适应的芭蕾舞动 作。
本文以皮娜•鲍希的芭蕾舞为重点,对其作品以及《春之祭》进行了深入的分析。
_、皮娜•鲍希及其舞蹈作品皮娜•鲍希是一名非常著名的舞蹈家,出生于德国索林根,在小时候初次踏入芭蕾舞团时,被芭蕾 舞老师称赞道“这个女孩真是个蛇人啊”。
她的舞蹈天赋也是在此刻被发掘。
1960年,皮娜•鲍希以非常 优异的成绩在德国著名的现代舞学校毕业,并获得了硕士学位,被派到美国舞校学习,回国之后在大 学舞蹈系担任教师。
1967年她的第一个舞蹈作品《碎片》出现在世人的眼中,1969年,作品《在时光的 风中》获得了“科伦作品编导奖”,1973年,皮娜•鲍希担任了乌帕塔尔歌剧院芭蕾舞团的团长,将其改 名为乌帕塔尔舞蹈剧团,之后相继推出了大量的舞蹈作品,如《两条领带》《我带你到转角处》《弗里兹》《慢板》《春之祭》《七种死罪》《与我共舞》《蓝胡子》《他牵着我的手》以及《贞洁传说》等。
theriteofspring读后感
theriteofspring读后感《the rite of spring》的中心思想:诗人用花的语言来叙述大自然的话语,以象征的手法,通过花语的清新流露,构建了一幅大自然活生生的图画,图画中有诗意的浪漫,也有现实的真实,诗人用诗意的叙述和思考的敏锐来书写积极乐观的人生。
诗人通过花语的清新流露,构建了一幅大自然活生生的图画,图画中有诗意的浪漫,也有现实的真实。
《the rite of spring》创作背景:《the rite of spring》是《纪伯伦诗选》中的一首,诗人用花的语言来叙述大自然的话语。
诗人用花的语言来叙述大自然的话语,文中尽显“纪伯伦风格”中的轻柔、凝练、隽秀与清新。
诗人通过花语的清新流露。
The Rite of SpringBy Cheng LieAnother scripture and for reasons where it isthe breath of the cosmos has been collectedthe sky is vast and enshrouded in cloudsfreshens the skin of this earth.Spring grand opening,watering the scarlet moonthe buds are trembling with great pleasure on branchesjust like elves surging and coming back.Beneath the stars,the beast lives aloneobeys the order from True God at every junctionand will eventually walk all over the earth in clear moonlit. As based in its mind,the railingsare gradually turning into Hölderlin's gardenin the transformation of dimensions fleeting;Good things in this worldare distributing to the joy of flowers,to the pacing meditators.2018/translated by Chen Zihong春之祭程烈另一篇经卷的存有,经由它收集整个宇宙的呼吸天界广大,苍穹氤氲轻拂自然之地。
春之祭
作品简介
1. 引子(Introduction )舞剧以独奏大管在高音区吹出的一 支阴郁的立陶宛民间曲调开场,它那神秘的音响把我们带 到了史前时期的一座孤寂的山谷。在这里,春天即将来临, 大地逐渐苏醒,一群男女在静静地沉思。
2. 春天的征兆(The harbingers of spring Dansre des adolescentes)(大地回春;青年舞曲)这一段以模仿沉重 踏步的节奏作为开始,青年们和着这种粗野的节奏而跳舞。 这是“春天到来”的欢乐宣告。
现代严肃音乐
“严肃音乐”通常是指各种传统经典音乐和一切专业作曲家用传统或 现代作曲手法所创作的音乐。并且,“严肃音乐”的传承是以学院式 的严格训练来实现的,严肃音乐家总是力图在作品中最充分地展示个 性,诠释深刻的命题,追求音乐技巧的创新和完美。因此,严肃音乐 作为一种“精英文化”,它的创作者、演奏者、欣赏者都必须具有一 定的文化素养和音乐修养。
6. 圣者登场(Procession of the Sage Corege dr Sage)四支法国 号以不同的调性,庄严而有力地宣告长者的到来。这时, 打击乐器用各种节奏来作伴奏,其中还有弦乐器的颤音缠 绕其间,呈现出在远古的献祭仪式上香烟缭绕的情景。
7. 大地的崇拜(圣者)(Adoration of the Earth Adoration de la Terre)这一段仅四小节,以一个轻微而神秘的不协和和弦 构成,是上一段突然刹住后的一个尾音,它与先前的轰然 巨响形成鲜明的对比。
2020/1/23
序列主义,也称序列什音乐么,是是序20世列纪主出义现的一种音乐创作手法,
进而发展成为一种现代音乐类型和流派。其特征是将音乐的一
些参数(一个或几个高音、力度、时值)按照一定的数学排列
舞剧《春之祭》观后感
舞剧《春之祭》观后感After watching the ballet "The Rite of Spring," I was deeply moved by the powerful fusion of music, dance, and lighting. The work, composed by the American-Russian composer Igor Stravinsky, marks a turning point in the evolution of dance, breaking the traditional molds and pushing the boundaries of theatrical expression.The male dancers, donning long, ethereal skirts, seemed to dance in a realm beyond the ordinary, their movements ethereal and ghostly in the shifting light. The lighting, in particular, played a crucial role in amplifying Stravinsky's rhythmic charm, creating an atmosphere that was both神秘 and haunting.The dancers' faces, painted white with red cheekbones, gave them an almost ancient, painted-on-the-wall quality, adding to the surrealistic feel of the performance. Their expressions, a blend of comedy and melancholy, reminded me of the signature style of the choreographer Vaslav Nijinsky.The ballet's message, I believe, is a commentary on the fleeting nature of life, the sense of exhaustion and futility that comes with the constant pursuit of something greater. The nudity of the dancers, I felt, was a powerful symbol of the loss of dignity in this relentless quest.However, while the ballet was visually arresting and the music was captivating, I felt that the formal aspects of the production outweighed its aesthetic appeal. Perhaps this was Stravinsky's intention, to push the boundaries of dance to its extreme, making a statement about the limitations of traditional forms and the need for constant innovation.Overall, "The Rite of Spring" was an unforgettable experience, a powerful testament to the transformative power of art.观赏完舞剧《春之祭》后,我被音乐、舞蹈和灯光的完美结合深深打动。
春之祭
斯特拉文斯基,春之祭斯特拉文斯基的第一部芭蕾舞剧《火鸟》,还在一定程度上受到里姆斯基—柯萨科夫和德彪西音乐的启发和影响;他的第二部芭蕾舞剧《彼特鲁什卡》虽然不协和音的运用十分突出,节奏强烈多变,很少看得出浪漫派或印象派的痕迹,总的来说,但该曲所体现的仍是一种温文尔雅的精神;然而,他的第三部芭蕾舞剧《春之祭》则完全算得上是在音乐、节奏、和声等诸多方面都与古典主义音乐切断了联系的一场革命。
正因为如此,该剧1913年5月29日在法国香榭里榭大街巴黎剧院首演时,曾引起了一场大骚动,遭到了口哨、嘘声、议论声,甚至恶意凌辱的侵袭。
而在音乐家和乐师们中间,引起的震动则比一场地震还要剧烈。
面对如此带有冲突的和弦、调性与节奏的音乐,有人表示赞同(以拉威尔为其代表),有人试图仿效(普罗柯菲耶夫便是一例),也有人不置可否,而更多的音乐家是一种竭力反抗的态度。
就连斯特拉文斯基本人,也就此转向了“新古典主义”的音乐创作。
这部在当时被视为“洪水猛兽”的《春之祭》到底是什么样的音乐呢?1930年4月该剧在斯托科夫斯基指挥下由费城管弦乐团演出后,许多人对这“稀奇古怪”的音乐改变了看法,评论界也作了较为公正客观的评论。
《春之祭》原本是作为一部交响曲来构思的,后来季亚吉列夫说服了斯特拉文斯基,把它写成了一部芭蕾舞剧。
尽管如此,这部作品通常还是以交响音乐会的形式演奏的。
本曲的总谱完成于1913年3月。
整部芭蕾舞剧共分为两大部分,前一部分有八段,后一部分有六段。
第一部分:大地的崇拜一、引子——舞剧以独奏大管在高音区吹出的一支阴郁的立陶宛民间曲调开场,它那神秘的音响把我们带到了史前时期的一座孤寂的山谷。
在这里,春天即将来临,大地逐渐苏醒,一群男女在静静地沉思。
二、大地回春;青年舞曲——这一段以模仿沉重踏步的节奏作为开始,青年们和着这种粗野的节奏而跳舞。
这是“春天到来”的欢乐宣告。
三、诱拐之舞——这是整部舞剧中最粗野、最恐怖的一段,舞蹈也是激烈而粗犷的。
RCA RED SEAL BEST 100CD
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Paillard – Famous Baroque Melodies002. Paillard – Vivaldi The Four Seasons003. Koopman – J S Bach Orchestral Suites004. Kuijken – J S Bach Brandenburg Concertos005. Starker – Bach Suites for Solo Cello006. Serkin – J S Bach Inventions Sinfonias007. Serkin – J S Bach Goldberg Variations008. Wand – Mozart Symphonies Nos 39, 40 & 41009. Davis – Mozart Eine kleine Nachtmusik & 3 Overtures010. Larrocha & Davis – Mozart Piano Concertos Nos 20 & 21011. Larrocha & Davis – Mozart Piano Concertos Nos 23 & 24012. Heifetz – Mozart Violin Concertos No 4 & No 5 sinfonia concertante013. Galway – Mozart Flute Concertos Nos 1 & 2 Concerto for Flute & Harp014. Tokyo String Quartet – Mozart Clarinet Concerto & Quintet015. Tokyo String Quartet & Galway – Mozart Flute Quartets016. Larrocha – Mozart Piano Sonatas017. Wand – Beethoven Symphonies Nos 5 & 6 Pastoral018. Wand – Beethoven Symphony No 9019. Wand – Beethoven Symphony No 3 & Schubert Symphony No 8020. Rubinstein & Barenboim – Beethoven Piano Concerto No 5 『Emperor'021. Heifetz – Beethoven Brahms Violin Concertos022. Szeryng & Rubinstein – Beethoven Violin Sonatas Nos 5 8 9023. Rubinstein – Beethoven Great Piano Sonatas024. Abbado – Rossini & Verdi Overtures025. Wand – Schubert Symphony No 9026. Tokyo String Quartet / Schubert String Quartet No 14 「Death and the Maiden」027. Yuri Bashmet & Mikhail Muntian / Schubert, Schumann, Bruch, Enescu028. Thomas / Berlioz,Symphony fantastique029. Heifetz / Tchaikovsky & Mendelssohn Violin Concertos030. Rubinstein / Chopin Piano Concertos No 1 & No 2031. Rubinstein / The Chopin Collection, Nocturnes Disc 1032. Rubinstein / The Chopin Collection, Nocturnes Disc 2033. Arthur Rubinstein / Chopin 14 Waltzes034. Arthur Rubinstein / Chopin 7 Polonaises035. Arthur Rubinstein / Chopin Ballades & Scherzos036. Arthur Rubinstein / Chopin 4 Impromptus,Barcarolle,Berceuse,Andante Spianato and Grande Polonaise037. Arthur Rubinstein / Chopin The Mazurkas Vol 1038. Arthur Rubinstein / Chopin The Mazurkas Vol 2039. Arthur Rubinstein / Chopin The Sonatas & Fantaisie040. Arthur Rubinstein / The Chopin I love041. Evgeny Kissin / Chopin Recital042. Arthur Rubinstein / Schumann,Grieg Piano Concertos043. Ikuyo Nakamichi / Schumann Carnaval Kinderszenen044. Nathalie Stutzmann / Schumann Dichterliebe,Frauenliebe und-leben045. Lorin Maazel / Lorin Maazel conducts Wagner046. Sviatoslav Richter / Sviatoslav Richter plays Liszt, Chopin, Brahms047. James Galway, Martha Argerich / Frank, Prokofiev – Sonatas for Flute and Piano048. Gunter Wand & NDR-Sinfonieorchester / Bruckner Symphony No 4049. Gunter Wand & NDR-Sinfonieorchester / Bruckner Symphony No 7050. Gunter Wand & NDR-Sinfonieorchester / Brunkner Symphony No 9051. Maazel / Strauss Concert052. Wand / Brahms Symphonies Nos 1 & 3053. Wand / Brahms Symphonies Nos 2 & 4054. Szeryng & Rubinstein / Brahms The Complete Violin Sonatas055. Yo-Yo Ma & Ax / Brahms Cello Sonatas056. Rubinstein / The Brahms I love057. Heifetz / Bruch Violin Concerto No 1 & Scottish Fantasy058. Karajan / Bizet Carmen059. Temirkanov / Tchaikovsky Symphony No 5 1812 Overture060. Temirkanov / Tchaikovsky Symphony Nos 6 『Pathetique'061. Rubinstein / Tchaikovsky Piano Concerto No 1062. Starker / Dvorak Schumann Cello Concertos063. Ozawa / Faure Requiem064. Davis / Mahler Symphony No 4065. Munch / Debussy La Mer066. Maazel / Richard Strauss Also sprach Zarathustra & Others067. Davis / Sibelius Symphony No 2068. Heifetz / Sibelius, Prokofiev,Glazunov Violin Concertos069. Larrocha / Granados Goyescas070. Horowitz / Rachmaninoff Piano Concerto No 3 & Piano SonataNo 2071. Weissenberg / Rachmaninoff Complete Preludes072. Slatkin / Holst The Planets & Vaughan Williams Fantasias 073. Maazel / Lorin Maazel conducts Ravel074. Gatti / Respighi Roman Trilogy075. Reiner / Bartok Concerto for Orchestra076. Ozawa – Stravinksy Petrouchka The Rite of spring077. Ozawa – Prokofiev Peter and the Wolf078. Thomas – Gershwin Phapsody in Blue & An American in Paris 079. Yamashita – Rodrigo Concerto de Aranjuez080. Slatkin – Leroy Anderson Favorites081. Ozawa – Messiaen Turangalila Symphony082. Temirkanov – Shostakovich Symph 5083. Ozawa – Takemitsu November Steps084. Galway – The Greatest Hits085. Heifetz – Zigeunerweisen086. Heifetz – Encores087. Harnoy – Salut D'Amour Romantic Cello Melodies088. Hautzig – A Maiden's Prayer The world's favorite piano pieces 089. Stoltzman – Romantic Clarinet090. Petri – Lars Hannibal Air091. Yamashita – Pictures At An Exhibition092. Bream & Williams – Live093. Fiedler – In a Persian Market & Sabre Dance094. Slatkin – Classic Marches095. Kondrashin – Khachaturian, Kabalevsky096. Tomita – The Cosmos of Tomita097. Wiener Sangerknaben – An der schonen, blauen Donau098. Robert Shaw Chorale – The World's Favorite Songs099. Domingo – Famous Opera Arias100. Anderson – He's Got the Whole World in His Hands。
春之祭 祭的是谁
Stravinsky作品的多變
新古典主義 1917年小型舞台劇The soldier's Tale (士兵的故 事) 1919-1920年為舞劇Pulcinella配樂,根據十八、 十九世紀的音樂傳統而作,有些旋律來自於 十八世紀作曲家G. Pergolesi的音樂 1926年作清唱劇Oedipus Rex / 芭蕾音樂A Card Game 1948年開始寫作歌劇The Rake's Progress,內 容取自十八世紀英國畫家Hogarth的版畫,整 齣歌劇採以義大利歌劇傳統,有Recitative, Aria, choir...,但歌詞卻採以英文歌詞。
Marie Taglioni
春之祭 1913
另外希臘羅馬世界在當時一直是文藝復興以來 大量藝術的源泉。那時在戲劇上向遙遠模糊的 過去進行發掘正是時候,而賈季列夫那時就是 這樣做的。他選出新的班底,這一次是尼金斯 基負責舞蹈設計,斯特拉文斯基負責音樂, Roerich 負責舞台布景和服裝。主題是史前人 在春季祭獻禮中舉行的宗教儀禮,最後以殺人 祭獻結束。《春之祭》令聽眾驚為原始主義的 極點,被稱為"史前世界的田園劇"。它的創新 不僅在於節奏,更多在於前所末聞的管弦樂效 果與和弦結合,在於將這一切結合起來的無情 邏輯和原始威力。
Stravinsky作品的多變
民族主義時期----具俄羅斯音樂風格 1909年 相識芭蕾舞編劇家Sergey Diaghilev 從 此開始合作關係 / 為舞劇The Firebird配樂 1911年為舞劇Petrushka(彼得洛西卡)配樂 (原始主義) 1913年為舞劇The Rite of Spring (春之祭)配樂
小泽征尔101精选
专辑曲目:CD 1 Popular ConcerCD UCCD-4575:1. Also sprach Zarathustra, op. 30 - 1. Sonnenaufgang (R.Strauss) 交响诗《查拉图斯特拉如是说》,作品30~日出(开头部分)(理查德·施特劳斯)2. Carmina Burana - 1. O Fortuna (Orff) 《布兰诗歌》~第一曲:啊,命运女神(奥尔夫)3. Carmen - Prelude to Act 1 (Bizet) 歌剧《卡门》~第一幕前奏曲(比才)4. Symphony No. 5 in C minor, op. 67 - 1. Allegro con biro (Beethoven) C小调第五交响曲,作品67《命运》~第一乐章:有活力的快板(贝多芬)5. A Midsummer Night's Dream - 9. Wedding March (Mendelssohn) 戏曲音乐《仲夏夜之梦》~第9曲:结婚进行曲(门德尔松)6. Serenade No. 13 in G major, K.525 “Eine kline Nachtmusik” - 1. Allegro (Mozart) G大调弦乐第13号小夜曲 K.525(莫扎特)7. Divertiment in D major, K.136 - 1. Allegro (Mozart) D大调谐谑曲,K.136~第一乐章:快板(莫扎特)8. Pelléas et Mélisande, op.80 - Sicilienne (Fauré) 戏剧音乐《佩利亚斯与梅丽桑德》作品80~西西里舞曲(福莱)9. Serenade for Strings in C major, op. 48 - 1. Pezzo in Forma di sonatina (Tchaikovsky) C大调弦乐小夜曲,作品48~第一乐章:小奏鸣曲的曲式(柴可夫斯基)10. The Nutcracker, op. 71 - 13. Valse de fleurs (Tchaikovsky) 芭蕾《胡桃夹子》作品71~第13曲:花之圆舞曲(柴可夫斯基)11. Swan Lake op. 20 - No. 10 Scène: Moderato (Tchaikovsky) 芭蕾《天鹅湖》作品20~第10曲:情景(柴可夫斯基)12. Gaîté Parisienne - Ouverture (Offenbach) 芭蕾《巴黎的欢乐》~序曲(奥芬巴赫)13. Hungarian Dance No. 5 in G minor (Brahms / arr.Parlow) G小调第五匈牙利舞曲(勃拉姆斯/帕罗改编)14. The Planets, op. 32 - 4. Jupiter (Holst) 组曲《行星》作品32~第4曲:木星(霍尔斯特)15. Symphony No. 5 in C sharp minor - 4. Adagietto (Mahler) 升C小调第五交响曲~第四乐章:小柔板(马勒)CD 2 Seiji conducts Symohonies CD:UCCD-4576:1. Symphony No. 2 in D major, op. 36 - 3. Scherzo (Beethoven) D大调第二交响曲,作品36~第三乐章:谐谑曲(贝多芬)2. Symphony No. 3 in E flat major, op. 55 “Eroica ” -3. Scherzo (Beethoven) 降E大调第三交响曲,作品55《英雄》~第三乐章:谐谑曲(贝多芬)3. Symphony No. 7 in A major, op. 92 - 2. Allegretto (Beethoven) A大调第七交响曲,作品92~第二乐章:小快板(贝多芬)4. Symphony No. 8 in F major, op. 93 - 2. Allegretto scherzando (Beethoven) F大调第八交响曲,作品93~第二乐章:谐谑的小快板(贝多芬)5. Symphony No. 9 in D minor, op. 125“Choral” - 4. Allegro ma non tanto (Beethoven) D小调第九交响曲,作品125《合唱》~第四乐章终结部(贝多芬)6. Symphony No. 1 in C minor, op. 68 - 3. Un poco allegretto e graziso (Brahms) C小调第一交响曲,作品68~第三乐章:稍稍小快板且优美地(勃拉姆斯)7. Symphony No. 2 in D major, op. 73 - 3. Allegretto grazioso (Brahms) D大调第二交响曲,作品73~第三乐章:优雅的小快板(勃拉姆斯)8. Symphony No. 3 in F major, op. 90 - 3. Poco allegretto (Brahms) F大调第三交响曲,作品90~第三乐章:稍稍小快板(勃拉姆斯)9. Symphony fantastique, op. 14 - 4. March to the Scaffold (Berloiz) 幻想交响曲作品14~第四乐章:前往断头台进行曲(柏辽兹)10. Symphony No. 8 in G major, op. 88 - 3. Allegretto grazioso (Dvořák) G大调第八交响曲,作品88~第三乐章:优雅的小快板(德沃夏克)11. Symphony No. 4 in F minor, op. 36 - 3. Scherzo (Tchaikovsky) F小调第四交响曲,作品36~第三乐章:谐谑曲(柴可夫斯基)12. Symphony No. 6 in B minor, op. 74“Pathétique”- 3. Allegro molto vivace (Tchaikovsky) B小调第六交响曲,作品74《悲怆》~第三乐章:甚活泼的快板(柴可夫斯基)13. Symphony No. 1 in D major, op. 25“Classical”- 3. Gavotta (Prokofiev) D大调第一交响曲,作品25《古典》~第三乐章:嘉禾舞曲(普罗科菲耶夫) 14. Symphony No. 1 in D major - 2. Kräftig bewegt (Mahler) D大调第一交响曲,《巨人》~第二乐章:强有力的运动(马勒)15. Symphony No. 3 in D minor - 5. Bimm bamm... Es sungen drei Engel (Mahler) D小调第三交响曲~第五乐章:3个天使在唱快乐的歌CD 3 Colorful French MusicCD:UCCD-4577:1. Dolly, op. 56 - I.Berceuse (Fauré/Rabaud) 组曲《洋娃娃》作品56~I.摇篮曲(福莱/拉伯编曲)2. Pelléas et Mélisande, op. 80 - II.Fileuse (Fauré) 戏剧音乐《佩利亚斯与梅丽桑德》作品80~II.纺纱女(福莱)3. Après un rêve (Fauré/Dubenski) 梦后作品7-1(福莱/迪本斯基编曲)4. Pavane, op. 50 (Fauré) 帕凡作品50(福莱)5. Le Tombeau de Couperin - IV.Rigaudon (Ravel) 组曲《悼念库普兰》~IV.里格顿舞(拉威尔)6. Ballet “Ma Mère l'Oye” - 3e scène: Les entretiens de la belle et de la bête (Ravel) 芭蕾《鹅妈妈》~第3场:美女与野兽的对话(拉威尔)7. Menuet Antique (Ravel) 古风小步舞曲(拉威尔)8. Daphnis et Chloé - Danse générale (Ravel) 芭蕾《达芙妮与克罗埃》~全员舞蹈(拉威尔)9. Rapsodie espagnole - IV.Feria (Ravel) 西班牙狂想曲~IV.集市(拉威尔)10. Boléro (Ravel) 波莱罗(拉威尔)11. España (Chabrier) 狂想曲《西班牙》(夏布里埃)Faust, Ballet Music (Gounod) 歌剧《浮士德》~(古诺)12. 2.Adagio 2.柔板(库雷奥帕特拉与黄金之杯)13. 7.Danse de Phryné 7.弗琳之舞14. Gaîté parisienne - 22. Vivo and 23. Barcarolle (Offenbach) 芭蕾《巴黎的欢乐》~第22曲·第23曲:船歌(奥芬巴赫)15. Carmen - Habanera (Bizet) 歌剧《卡门》~哈巴涅拉(比才)CD 4 Fascinating Russian MusicCD:UCCD-4578:The nutcracker, op. 71 (Tchaikovsky) 芭蕾《胡桃夹子》作品71~(柴可夫斯基)1. Overture 序曲2. No. 2 Marche 第2曲:进行曲3. No. 12-a Le chocolat 第12曲 a) 巧克力(西班牙舞)4. No. 12-b Le café第12曲b) 咖啡(阿拉伯舞)5. No. 12-c Le Thé第12曲 c) 茶(中国舞)6. No. 12-d Trépak 第12曲 d) 特科帕克舞曲(俄罗斯舞)7. No. 12-e Les Mirlitons 第12曲 e) 芦笛之舞Swan Lake, op. 20 (Tchaikovsky) 芭蕾《天鹅湖》作品20~(柴可夫斯基)8. No. 2 Valse 第2曲:圆舞曲9. No. 13-IV.Dance of 4 Swans 第13曲-IV.4天鹅舞10. No. 20 Danse hongroise,(Czardas) 第20曲:匈牙利舞曲(查尔达什)11. No. 23 Mazurka 第23曲:玛祖卡The Sleeping Beaury, Suite, op.66a (Tchaikovsky) 芭蕾《睡美人》组曲作品66a~(柴可夫斯基)12. No. 4 Panorama 第4曲:全景13. No. 5 Valse 第5曲:圆舞曲14. Capriccio espagnol,op. 34 1. Alborada (Rimsky-Korsakov) 西班牙随想曲作品34~第1曲:晨歌(里姆斯基-科萨科夫)15. Scheherazade - 3. The yong prince and the young princess (Rimsky-Korsakov) 交响组曲《天方夜谭》~第三乐章:年轻的王子与公主(里姆斯基-科萨科夫)16. Serenade for Strings in C major, op. 48 - 2. Walzer (Tchaikovsky) C 大调弦乐小夜曲作品64~第二乐章:圆舞曲(柴可夫斯基)17. Symphony No.5 in E minor, op. 64 - 2. Andante cantabile (Tchaikovsky) E小调第五交响曲作品64~第二乐章:如歌的行板(柴可夫斯基)Romeo and Juliet, op. 64 (Prokofiev) 芭蕾《罗密欧与朱丽叶》~(普罗科菲耶夫)18. No. 1 Introduction 第1曲:前奏曲19. No. 4 Morning dance 第4曲:晨舞20. Symphony No.1 in D major, op. 25 “Classical” - 4. Finale (Prokofiev) D大调第一交响曲作品25《古典》~第4乐章:终曲(普罗科菲耶夫)21. Lieutenant Kijé, op. 60 - 4. Troika (Prokofiev) 组曲《基杰中尉》,作品60~第4曲:雪橇(普罗科菲耶夫)CD 5 New Year's Concert 2002 (excerpt) CD:UCCD-4579:1. Zivio!, March, op. 456 (J.Strauss II) 进行曲《干杯!》作品456(小约翰·施特劳斯)2. Carnevals-Botschafter, Walzer, op. 270 (J.Strauss II) 圆舞曲《狂欢使节》作品270(小约翰·施特劳斯)3. Die Schwätzerin, Polka mazur, op. 144 (Josef Strauss) 玛祖卡波尔卡《流言蜚语》作品144(约瑟夫·斯特劳斯)4. Künstlerleben, Walzer, op. 316 (J.Strauss II) 圆舞曲《艺术家的生涯》作品316(小约翰·施特劳斯)5. Beliebte Annen Polka, op. 137 (J.Strauss) 心爱的安娜波尔卡作品137(约翰·斯特劳斯)6. Vorwärs!, Polka schnell, op. 127 (Josef Strauss) 快速波尔卡《前进》作品127(约瑟夫·斯特劳斯)7. Aquarellen, Walzer, op. 258 (Josef Strauss) 圆舞曲《水彩画》作品258(约瑟夫·斯特劳斯)8. Die Libelle, Polka mazur, op. 204 (Josef Strauss) 玛祖卡波尔卡《蜻蜓》作品204(约瑟夫·斯特劳斯)9. Plappermäulchen!, Polka schnell, op. 245 (Josef Strauss)快速波尔卡《话匣子》作品245(约瑟夫·斯特劳斯)10. Perpetuum mobile, op.257 (J.Strauss II) 常动曲作品257(小约翰·斯特劳斯)11. Danse diabolique (Hellmesberger II) 《魔鬼音程》(赫尔梅斯贝格二世)12. Elisen-Polka fr ançaise, op. 151 (J.Strauss II) 艾丽丝波尔卡作品151(小约翰·斯特劳斯)13. Wiener Blut, Walzer, op. 354 (J.Strauss II) 圆舞曲《维也纳气质》作品354(小约翰·斯特劳斯)14. Tik-Tak, Polka schnell, op. 365 (J.Strauss II) 快速波尔卡《踢踏》作品365(小约翰·斯特劳斯)15. Im Fluge, Polka schnell, op. 230 (Josef Strauss) 快速波尔卡《飞翔》作品230(约瑟夫·斯特劳斯)16. An der schönen, blauen Donau, Walzer, op. 314 (J.Strauss II) 圆舞曲《美丽的多瑙河》作品314(小约翰·斯特劳斯)CD 6 Brilliant OrchestraCD:UCCD-4580:Romeo and Juliet, op. 64 (Prokofiev) 芭蕾《罗密欧与朱丽叶》~(普罗科菲耶夫)1. No. 13 Dance of knights 第13曲:骑士舞2. No. 36 Finale 第36曲:第2幕的终曲3. Toccata and Fugue in D minor, BWV565 (J.S.Bach/arr.Stokowski) D小调托卡塔与赋格 BMV565(巴赫/斯托科夫斯基编曲)4. Hungarian Dance No.1 in G minor (Brahms / arr.Parlow) G小调第一匈牙利舞曲(勃拉姆斯/帕罗编曲)5. Hungraian Dance No.10 in F major (Brahms) F大调第十匈牙利舞曲(勃拉姆斯)6. Wiener Philharmoniker Fanfare (R.Strauss) 为维也纳爱乐乐团而作的团曲(理查德·斯特劳斯)7. Feste romane - 4. La befana (Respighi) 交响诗《罗马节日》~第4曲:主显节(雷斯皮基)8. Pini di Roma - 4. I pini della Via Appia (Respighi) 交响诗《罗马之松》~第4曲:罗马大道上的松树(雷斯皮基)9. Fontane di Rome - 2. La fontana del Tritone al mattino (Respighi) 交响诗《罗马喷泉》~第2曲:早晨的特利东喷泉(雷斯皮基)10. Symphony No. 4 in F minor, op. 36 - 4. Finale (Tchaikovsky) F小调第四交响曲作品36~第四乐章:终曲(柴可夫斯基)11. The Planets, op. 32 - 1. Mars (Holst) 组曲《行星》作品32~第1曲:火星(霍尔斯特)12. Dolly, op.56 - VI.Le Pas Espagnole (Fauré/Rabaud) 组曲《洋娃娃》作品56~VI.西班牙舞曲(福莱/拉伯编曲)13. The Rite of Spring - Adoration of the Earth (Stravinsky) 芭蕾《春之祭》~大地之舞(斯特拉文斯基)14. Salome, op. 54 - Salome's Dance (R.Strauss) 歌剧《莎乐美》作品54~莎乐美之舞(理查德·斯特劳斯)15. West side story - Mambo! (Bernstein) 《西区故事》~曼波!(伯恩斯坦) Carmina Burana (Orff) 《布兰诗歌》~(奥尔夫)16. Tanz 跳舞吧17. Were diu werlt alle min 从海洋直到莱茵河18. The Stars and Stripes Forever (Sousa) 永恒的星条旗(苏沙)19. Radetzky-Marsch, op. 228 (J.Strauss I) 拉德斯基进行曲作品228(约翰·斯特劳斯)。
春之祭芭蕾舞剧
春之祭芭蕾舞剧春之祭芭蕾舞剧《春之祭》是美籍俄罗斯作曲家斯特拉文斯基创作的一部芭蕾舞剧,标志着戏剧手段的不断极端化和逾越对传统舞蹈的理解,这一发展过程的结束点和转折点。
下面是店铺为您收集的春之祭芭蕾舞剧,喜欢的话请持续关注yjbys培训网!《春之祭》描写的是俄罗斯原始部族庆祝春天的祭礼。
据说创作该剧的灵感来源于作曲家斯特拉文斯基的一个梦:“我看到一个肃穆的异教祭典:一群长老围成一圈坐着,看见一位少女被要求跳舞直至跳死。
她是他们用以祭祀春天之神的祭品。
”仅仅就这么一个简单的碎片式场景,作曲家竟然就写出了一部舞剧,而且一不留神就成为了划时代的杰作。
从“被吐槽”到“奉为传奇”1913年5月29日,大名鼎鼎的俄罗斯芭蕾舞团正在巴黎香榭丽舍大街剧院的舞台上表演一部全新的芭蕾作品。
由于音乐中充满了富于侵略性的节奏与大量不和谐音,创造出了一种粗野的“令人难以下咽的”音响效果再加上舞蹈演员们离经叛道的表演,立刻引起轩然大波。
演出还没结束,观众席就开了锅。
“滚回俄罗斯吧!”“这简直是耻辱!” ……喧闹声、口哨声、谩骂声不绝于耳,甚至有观众大打出手,警察从大街上冲进来维持秩序。
作曲家斯特拉文斯基遇到这种场面十分失落,不得不从剧院的窗户逃走。
这就是著名的芭蕾舞剧《春之祭》(The Rite of Spring)首演时的“盛况”。
这场“灾难”以今日营销的角度来看,无疑是一场可以载入教科书的经典案例。
俗话说的好:“是金子总会发光的”,时代并没有淹没这部开创性的作品。
现在的人们对于这部20世纪的作品予以了充分的肯定,《春之祭》被公认为二十世纪音乐史和芭蕾史上最重要的经典之作。
当年促成它诞生的那几位艺术家——佳吉列夫(剧团掌门人)、斯特拉文斯基(作曲家)和尼金斯基(编舞家),他们的名字被送入现代艺术史的万神殿虔诚供奉。
而百年前法国香榭丽舍大街剧院的那一夜,则成为了后世追随者口中的“传奇”。
佳吉列夫——俄罗斯芭蕾舞团掌门人尼金斯基——编舞家斯特拉文斯基——作曲家一部需要膜拜的音乐大作《春之祭》的音乐被英国古典音乐杂志《Classical CD Magazine》评选为对西方音乐历史影响最大的50部作品之首。
The_Rite_of_Spring春之祭
Ⅲ. Language understanding
• a bunch of: a group of
a bunch of people a bunch of flowers a bunch of keys a bunch of bananas/grapes/cherries
Beet: as red as a beet My face is always as red as a beet when I come out of the sauna. If his friends talked about girls, he went as red as a beet.
Ⅱ. Text understanding
• The main idea: The author tells us how he acquires unique pleasure from gardening. During the process, he experiences “conflict” and satisfaction. And also he learns the moral significance and stay hopeful forte of Spring
• Teaching procedures: Ⅰ. Free talk Ⅱ. Text understanding Ⅲ. Language understanding
Ⅰ. Free talk
Discussion: What can we get or learn from gardening? Hints: If you have a garden, what kind of vegetables will you choose to grow? how to take care of them? To plant a seed, watch it grow, to tend it and then harvest it, offered a simple but enduring satisfaction. what characters do we need for gardening? (help the shoots grow by pulling them upward)
迪士尼电影 幻想曲 - Fantasia
基本信息英文原名:Fantasia首映日期:1940年11月13日发行品牌:Walt Disney Pictures影片长度:120分钟导演:ames Algar、Samuel Armstrong 等等迪士尼电影中文官方网站:/movies/IMDb链接:/title/tt0032455/作品类别:迪斯尼第3部经典动画,古典音乐合辑动画片特殊记录:世界第一部使用立体音响的电影、到目前为止迪斯尼动画中重映次数最多的一部(幻想曲是一种即兴的器乐作品。
作曲者可以随自己的幻想自由创作。
乐曲具有幻想的自由奔放的特点,并富浪漫色彩。
)【作品介绍】提起迪斯尼的动画史,【幻想曲】实在是一部重要的艺术作品!本片将古典音乐与动画结合,使得动画片的走向更加多元,而且本片还是世界第一部立体音响的电影,在影史上占有非常重要的地位。
本片并不是一部剧情片,而是由古典音乐与动画所搭配而成的作品,大致上可分成“故事音乐”、“无特定主题音乐”和“交响乐”等三大类,除了由米奇主演的〝魔法师的徒弟〞外,其它六个段落都无剧情,纯粹在表现影像与音乐的巧妙配合而已,一团色彩或线条可能暗喻某些概念。
华特迪斯尼当年制作【幻想曲】时还算是迪斯尼作品的开创时期,所以迪斯尼动画风格的〝一致性〞尚未被大众所定型,因此【幻想曲】虽然不算是一部老少咸宜的电影,但是却无庸置疑是动画史上的艺术之作!以当时的技术而言,迪斯尼巧妙地将古典音乐与动画紧密结合,由史托科夫斯基指挥费城管弦乐团演出,并且使用了世界最早的立体音响来拍制本片,因此还引起美国军方高度关切,然而,虽然当时推出时华特迪斯尼宣传本片是一部可以〝听〞动画并且〝看〞古典音乐的作品,但是美国观众的反应并不算太热烈,毕竟电影市场还是以剧情片较能引起观众共鸣,况且大家对动画片的印象似乎也非本片所呈现的风格,所以【幻想曲】当时只能算是一部曲高和寡的作品,尤其迪斯尼在欧洲的市场也因为二次大战开打而丧失,高额的制作成本使得迪斯尼无法获利,再加上市场一向还是以剧情片为主流,原本华特迪斯尼打算每隔几年就重出【幻想曲】新版一次,每次新增一些段落并移除一些段落,后来这计划也宣告无疾而终了。
写丰子恺《战场之春》的英语作文
写丰子恺《战场之春》的英语作文The Spring on the BattlefieldIn the midst of the chaos and destruction of war, a profound and poignant work of art emerged, capturing the essence of the human condition amidst the ravages of conflict. This work, titled "The Spring on the Battlefield," was penned by the renowned Chinese writer and artist Feng Zikai, and it stands as a testament to the resilience and beauty that can be found even in the darkest of times.The story unfolds against the backdrop of the Second Sino-Japanese War, a conflict that ravaged China and left an indelible mark on its people. Feng Zikai, a man of great sensitivity and insight, witnessed firsthand the horrors of war and the toll it took on the human spirit. Yet, in the midst of this darkness, he found a glimmer of hope, a reminder that even in the face of unimaginable adversity, the human spirit can endure and even flourish.The narrative of "The Spring on the Battlefield" centers around a young soldier, a conscript thrust into the chaos of the war. As he trudges through the mud and debris of the battlefield, his senses are assaulted by the sounds of gunfire, the acrid stench of gunpowder,and the cries of the wounded. In the midst of this maelstrom, he stumbles upon a small patch of earth where a solitary flower has managed to bloom, its delicate petals unfurling in defiance of the surrounding destruction.This discovery becomes a transformative moment for the young soldier, a revelation that even in the midst of the most devastating circumstances, life can persist and even thrive. The flower becomes a symbol of hope, a reminder that the human spirit, like the resilient blossom, can overcome the most daunting obstacles.Feng Zikai's masterful storytelling weaves a tapestry of emotions, seamlessly blending the brutality of war with the quiet beauty of nature. His prose is both lyrical and poignant, painting a vivid picture of the soldier's inner journey as he grapples with the realities of conflict and the glimmer of hope that emerges from the most unexpected of places.The power of "The Spring on the Battlefield" lies in its ability to transcend the boundaries of time and space, speaking to the universal human experience. The story resonates with readers across cultures and generations, for it taps into the fundamental truths that unite us all – the desire for peace, the need for resilience, and the enduring strength of the human spirit.Through this work, Feng Zikai challenges us to look beyond the surface of war and conflict, to see the hidden beauty and the glimmers of hope that can be found even in the darkest of times. He invites us to embrace the fragile and the resilient, to find solace in the small moments of grace that can emerge amidst the chaos.As the young soldier in the story discovers, the spring on the battlefield is a testament to the power of life to overcome even the most daunting of obstacles. It is a reminder that even in the face of overwhelming adversity, the human spirit can blossom and thrive, offering a glimmer of hope and a path forward.In the end, "The Spring on the Battlefield" stands as a masterpiece of literature, a work that transcends the boundaries of its time and place to speak to the timeless human experience. Through its lyrical prose and its profound insights, it invites us to reflect on the nature of war, the resilience of the human spirit, and the enduring power of beauty to triumph over even the darkest of circumstances.。
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Rite of SpringArthur MillerI have never understood why we keep a garden and why over 36 years ago when I bought my first house in the country, I started digging(挖掘) up a patch(小块土地)for vegetables before doing anything else. When you think how easy a nd cheap, relatively,(相对的)it is to buy a bunch(群)of carrots or beets(甜菜), why raise them? And root crops especially are hard to tell apart,(区分,分辨) when store-bought, from our own. There is a human instinct(天性)at work here, a kind of back-breaking (使人精疲力尽的)make-believe(伪装的)that has no reality. Besides, I don't particularly like eating vegetables. I'd much rather eat something juicy and fat. Like hot dogs.Now, if you could raise hot dogs outside your window, you'd really have something you could justify(证明)without a second's hesitation. As it is, though, I cannot deny that when April comes I find myself going out to lean(依靠)on the fence and look at that miserable(卑鄙的)plot(密谋)of land, resolving(解析,分辨)with all my rational(理性地)powers not to plant it again. But inevitably(不可避免的)a morning arrives when, just as I am awakening, a scent(气味)wafts(飘荡)through the window, something like earth-as-air, a scent that seems to come up from the very center of this planet. And the sun means business(事情), suddenly, and has a different, deeper yellow in its beams(光线,电波)on the carpet(地毯). The birds begin screaming hysterically(歇斯底里的), thinking what I am thinking—the worms (蠕虫)are deliciously worming(蠕动)their way through the melting(融化的)soil.It is not only pleasure sending me back to stare at that plot of soil, it is really conflict. The question is the same each year—what method should we use? The last few years we put 36-inch-wide black plastic between the rows(行), and it worked perfectly, keeping the soil moist(潮湿的)in dry times and weed-free.But black plastic looks so industrial, so unromantic, that I have gradually moved over to hay(干草)mulch(覆盖物). We cut a lot of hay and, as it rots, it does improve the soil's Composition(构成). Besides, it looks lovely, and comes to us free.Keeping a garden makes you aware of how delicate, bountiful(慷慨给予的,丰富的), and easily ruined the surface of this little planet is. In that 50-by-70-foot patch there must be a dozen different types of soil. Tomato won't grow in one part but loves another, and the same goes for the other crops. I suppose if you loaded(装载)the soil with chemical fertilizer these differences would be less noticeable, but I use it sparingly(保守的,节约的)and only in rows right where seeds are planted rather than broadcast(播撒)over the whole area. I'm not sure why I do this beyond the saving in fertilizer and my unwillingness to aid the weeds(野草).The attractions(吸引人的事物)of gardening, I think, at least for a certain number of gardeners, are neurotic(神经过敏的)and moral(品行端正的). Wheneverlife seems pointless and difficult to grasp(抓住), you can always get out in the garden and get something done. Also, your paternal(父亲般的)or maternal(母亲般的)instincts(直觉)come into play because helpless living things are depending on you, require training and encouragement and protection from enemies. In some cases, as with beans and cucumbers, your children—as it were—begin to turn upon you in massive numbers, growing more and more each morning and threatening to follow you into the house to strangle(勒死)you in their vines.(藤蔓)Gardening is a moral occupation, as well, because you always start in spring resolved to keep it looking neat this year, just like the pictures in the catalogues(目录). But by July, you once again face the chaos(混乱)of unthinned carrots, lettuce and beets. This is when my wife becomes—openly now—mistress(女主人)of the garden. A consumer of vast quantities of vegetables, she does the thinning and hand-cultivating(手工培养)of the tiny plants. Squatting,(蹲下)she patiently moves down each row selecting which plants shall live and which she will cast aside.At about this time, my wife's 86-year-old mother, a botanist, makes her first visit to the garden. She looks about skeptically(怀疑的). Her favorite task is binding(捆绑)the tomato plants to stakes. She is an outspoken(坦率的), truthful woman, or she was until she learned better. Now, instead of saying, "You have planted the tomatoes in the damp(潮湿的)part of the garden," she waits until October when she makes her annual trip to her home in Europe; then she gives me my good-by kiss and says casually,(随便的,偶然的)" Tomatoes in damp soil tend more to get fungi,"(真菌)and walks away to her plane. But by October nothing in the garden matters, so sure am I that I will never plant it again.I garden, I suppose, because I must. It would be intolerable to have to pass an unplanted fenced garden a few times a day. There are also certain compensations(报酬), and these must be what annually turn my mind toward all that work. There are few sights quite as beautiful as a vegetable garden glistening(闪耀的)in the sun, all dewy(带露水的)and glittering(闪耀)with a dozen shades of green at seven in the morning. Far lovelier(lovely比较级), in fact, than rows of hot dogs. In some pocket of the mind there may even be a tendency to change this vision into a personal reassurance(保证)that all this healthy growth, this orderliness(秩序井然的)and thrusting(有进取心的)life must somehow reflect similar movements in one's own spirit. Without a garden to till(耕种)and plant I would not know what April was for.As it is, April is for getting irritated(刺激,兴奋)all over again at this pointless, time-consuming hobby. I do not understand people who claim to "love" gardening. A garden is an extension of oneself—or selves—and so it has to be an arena(舞台,竞技场)where striving does not cease(停止), but continues by other means. As an example: you simply have to face the moment when you must admit that the lettuce was planted too deep or was not watered enough, cease hoping it will show itself tomorrow, and dig up the row again. But you will feel better for not standing on your dignity. And that's what gardening is all about—character building. Which is why Adam was a gardener. (And we all know where it got him, too.)But is it conceivable(可能的,可想象得到的)that the father of us all should have been a weaver, (织工)shoemaker, or anything but a gardener? Of course not. Only the gardener is capable(胜任的)of endlessly reviving(复兴,复活,苏醒)so much hope that this year, regardless of drought, flood, typhoon, or his own stupidity, this year he is going to do it right! Leave it to God to have picked the proper occupation for his only creature capable of such self-delusion.(自欺)I suppose it should be added, for honesty's sake(目的,利益), that the above was written on one of the coldest days in December.。