A Milton Sonnet -[Readings¡¤¶Á]

来源: BlogBus 原始链接: http://www.blogbus.com:80/blogbus/blog/index.php?blogid=23208&pg=8&cat= 存档链接: https://web.archive.org/web/20040920014005id_/http://www.blogbus.com:80/blogbus/blog/index.php?blogid=23208&pg=8&cat=

/ Words¡¤»°(10) / Music¡¤Òô(23) / Visions¡¤ÊÓ(7) / Readings¡¤¶Á(9) / Events¡¤ÊÂ(5) / Undefined¡¤¡ğ(8) / Writings¡¤ÎÄ(4) / ·ÖÒ³: µÚÒ»Ò³ [2] [3] [4] [5] [6] [7] [8] [9] [10] [11] [12] [13] [14] ×îºóÒ³ 2004-08-18 13:28 A Milton Sonnet -[Readings¡¤¶Á] Sonnet 7 (1632) John Milton How soon hath time, the subtle thief of youth, Stol'n on his wing my three and twentieth year! My hasting days fly on, with full career, But my late spring no bud or blossom show'th. Perhaps my semblance might deceive the truth That I to manhood am arrived so near, And inward ripeness doth much less appear, That some more timely-happy spirits indu'th. Yet be it less or more, or soon or slow, It shall be still in strictest measure ev'n To that same lot, however mean or high, Towards which time leads me, and the will of heav'n. All is, if I have grace to use it so, As ever in my great task-master's eye. ¶Áµ½ÕâÊ×Ê«µÄʱºò±»ÕğÁËһϣ¬ÓÈÆäÊÇÇ°°ËĞĞ¡£¡°Ê±¼äÒÑ͵×ßÎÒ¶şÊ®ÈıÄêËêÔ£¬ÈÕ×Ó·ÉËÙÇ°½ø£¬¶øÎÒµÄĺ´ºÈ´Î´¼ûº¬°ú¿ª»¨£»Ò²ĞíÊÇÎÒµÄÍâòÑÚ¸ÇÁËÊÂʵ£¬ÎÒÒѽü³ÉÄ꣬µ«ÄÚĞĵijÉÊìÈ´³Ù³Ù²»¼û¡­¡­¡±ºÍÏÖÔÚµÄÎÒ¶àÏñ°¡¡£ÓĞÈË˵ÎҾܾø³¤´ó¡£ÎҺܿì³ĞÈÏÁË¡£¾¿¾¹Ê²Ã´²ÅËãÊdzÉÊìÄØ£¿¶®µÃÈËÇéÊÀ¹Ê£¬¶®µÃÕâ¸öÊÀ½ç£¬¶®µÃËüµÄÖÖÖÖ¹æÂɲ¢×ñ´ÓÖ®£¬²¢ÔÚÁ¦ËùÄܼ°µÄ·¶Î§Ö®ÄڸĽøÖ®£¿»¹ÊǼÌĞø¹ØĞÄ×Ô¼ºµÄÎÄѧÒÕÊõ£¬ÔÚÕâĞ©²¢²»ÔõôΪÈ˹ØĞĵķ½Ãæ×öºÃ×Ô¼ºÏë×öµÄÊ£¿ ÆäʵÎÊÕâЩûÓĞʵ¼ÊÒâÒ壬ÎʵÃÔ½¶à£¬ÏëµÃÔ½¸´ÔÓ£¬Ô½×÷²»Á˾ö¶¨£¬Ô½²»ÄÜÏòÇ°×ß¡£ÎÒÒ²²»ÏëÔÙµ±·ßÇ࣬ÅúÅĞÕâĞ©ÄÇĞ©µÄ²»¶Ô¡£ÕâĞ©ÀÎɧҲûÓĞʵ¼ÊÒâÒå¡£Ïò±ğÈËչʾ×Ô¼ºµÄ¸öĞÔÂ𣿿ÉÒԵģ¬µ«²»»áÓĞ×ã¹»¶àµÄÈËÀí²Ç£¬À´ÈÃÎҵĸöĞԸıäЩʲô¡£ËùÒÔ£¬²»Èç°ÑÕâĞ©Ïë·¨·â´æÆğÀ´£¬µÈµ½¸ÃÁôÏÂһЩʲôµÄʱºòÔÙ°ÑËüÃÇÁôÏ¡£ÖÁÓڵȲ»µÈµÃµ½ÄǸöʱºò£¬²»ÊÇÎÒÏÖÔÚÄÜ¿¼Âǵġ£ ÎåÄêÇ°£¬ÎÒºÜΪ×Ô¼ºµÄһЩÏë·¨×ÔºÀ£¬ÒÔΪËüÃÇÊǺܾ­µäµÄ¡£ÎÒĞ´ÁËһƪÓÖһƪ¹ØÓÚѧϰ¡¢½ÌÓıµÄ¡°ÂÛÕ½¡±ÎÄ×Ö£¬ÔڻؼÒ·ÉϸúͬѧÌÏÌϲ»¾øµØ½²ÊöÎÒµÄÏë·¨¡£ĞÄÀïÕæ³Ï¶øÓÖ½¾°ÁµØÏ룺¡°ÒªÊÇÕâĞ©Ïë·¨ÄÜ»ñµÃÄ³Ğ©È¨ÍşÈËÊ¿µÄÉÍʶ¸Ã¶àºÃ¡£¡±ÓĞÒ»´ÎÒÔ10¿éǮһ½ïµÄ¼Û¸ñÂòÀ´Á˱¾ÉÛÑàÏéµÄÔÓÎÄ¿´¿´£¬¾õµÃºÜ²»¹ıÈç´Ë£ºÕâôСµÄ¾ÍÊÂÂÛÊ£¬ÕâôËÄƽ°ËÎȵĹ۵㣬¾ÓȻҲÄܳɾÍÒ»¸öÔÓÎļҡ£ÏÖÔÚÔÙ¿´ÎÒ×Ô¼ºÄÇĞ©¶«Î÷£¬µ¹²»ÊÇÆäÖеĹ۵ãÈÃÎÒ¾õµÃº¹ÑÕ¡ª¡ª´ó²¿·Ö¹ÛµãÔÚÏÖÔÚ¿´À´²¢²»ÏȽø£¬ÖÁÉÙ²»È«Ã棬ËäÈ»¾«ÃîµÄÓï¾ä»¹Ëã²»ÉÙ¡ª¡ª¶øÊÇÎÒʱʱ¿Ì¿ÌÁ÷¶³öµÄÄÇÖÖÉÙ²»¾­ÊµĿñ¡£Ò²ĞíÊÇÏÖÔÚ¶ÔÊÀ½çÁ˽âµÃ¶àÁË£¬²»¼°ÒÔÇ°¿ñì­£¬³Á¾²ÁËĞí¶à£¬Ïë·¨Ò²ÉÙÁËĞí¶à£¬²Å¶ÔÄÇÖÖÓ¦¸ÃÕäϧµÄ°ÁÆøÓĞĞ©²»Ğ¼µÄ°É¡£²»¹ı¸ü´óµÄÔ­Òò´ó¸ÅÈÔÈ»ÊÇ×Ô¼ºÃ»Óб»³ĞÈÏ°É¡£Ò²²»ÖªµÀÊÇÄÄÀ´µÄÏë·¨£¬ÎÒËƺõÒ»Ö±Ö»ÓĞÔÚ±»¡°È¨Íş¡±³ĞÈÏʱ²ÅÄÜ·ÅÏÂ×Ô¼ºµÄ»³ÒÉ¡£ ÃÖ¶û¶ÙÊ«ÀïµÄºóÁùĞĞ£¬ºÜÓĞÒ»ÖÖËŞÃüµÄζµÀ¡£ÒıÓÃÖìά֮ÏÈÉúµÄÒëÎÄ£º¡°Ã¿¸öÈ˵ÄÄêË궼ÓĞÑϸñµÄ¶¨Êı£¬/²»¹ÜÊÇ¿ìÊÇÂı£¬ÊǶàÊÇÉÙ£¬/´ó¼Ò¶¼Ç÷ÓÚͬÑùµÄÃüÔË£¬²»¹ÜµØλµÄ¸ß¶È£¬/ÕâÊÇÌìÒ⣬±ØĞëÒÀ´Ó¡°Ê±¼ä¡±µÄÒıµ¼¡£/Èç¹ûÎÒÄܹ»ºÃºÃµØ°ÑËüÀûÓã¬/ÔÚΰ´óµÄ¡°¹¤³¤¡±ÑÛÖĞ£¬ÄDZãÊÇÓÀºã£¬ÎŞÇî¡£¡±ÄǸötask-master¾ÍÊÇÃÖ¶û¶ÙµÄ¡°È¨Íş¡±¡£ÎÒÒ»Ö±¶ÔÕâÖÖÏë·¨ºÜ²»Ğ¼£ºÈç¹ûÒ»Çж¼ÊǶ¨Êı£¬ÄÇÎÒÃÇΪʲô»¹Òª»î×ÅÄØ£¿Ö»ÎªÔÚËÀÇ°ÖªµÀÄÇ¡°¶¨Êı¡±ÊÇʲô£¿²»¹ıÎÒ¾õµÃÃÖ¶û¶ÙÕâÑùÊǺÜĞÒ¸£µÄ¡£ÏàĞÅ¡°Óж¨Êı¡±×ܱȲ»ÖªµÀÓĞûÓĞÒªºÃ¡£ÏàĞÅ¡°ÓĞ¡±£¬ÄÇÄÜ°ÑÈ˺ÍÕâ¡°¶¨Êı¡±¸ô¿ªµÄ£¬Ò²Ö»ÓĞʱ¼äÁË£¬·Â·ğÓĞÒ»¸ùÏߣ¬ÕâÍ·Ë©×ÅÄ㣬ÄÇÍ·Ë©×ÅÃüÔË£¬Ê±¼äÒ»µãµãµØ°Ñ¶şÕßÀ­½ü¡£Èô²»ÖªµÀÓĞûÓĞ£¬ÏßµÄÕâÍ·Ë©×ÅÄ㣬ÁíһͷÓÖÔÚÄĶù£¿Æ®ÔÚ¿ÕÆøÖ®ÖĞ£¿²¼ÀÊÔ˶¯£¿ schonne ·¢±íÓÚ 13:28 | ÔĶÁÈ«ÎÄ | ÆÀÂÛ(2) | ÒıÓÃTrackback(0) | ±à¼­ 2004-08-17 14:56 Mahler: Symphony No.5 by Walter -[Music¡¤Òô] Gustav Mahler : Symphony No.5 New York Philharmonic Bruno Walter Sony, The Bruno Walter Edition, SMK 64451 Part I:

1. Trauermarsch. 11'39
2. Stuermisch bewegt. Mit groesster Vehemenz 12'31 Part II:
3. Scherzo. 15'06 Part III:
4. Adagietto. 7'35
5. Rondo-Finale. 13'55 Total Time: 61'04 -- superfast! Mahler 5 has always posed a problem for me: What does Mahler want to express in this boisterous work? It is indeed the most "vivace" and noisy symphony of Mahler, heavily laden with bold, sometimes brassy, folk melodies, as if the always spiritual Mahler has discarded his philosophical pursuit and plunged whole-hearted into worldly playfulness. This work, along with No.4, which has in it an intricate web of musical ideas drawn from its predecessors and forecasting its successors, has been the most awed Mahler symphony for me. Even Mahler himself struggled with the orchestration, which became a problem because of the complex contrapuntal writing, only to be resolved shortly before the composer's death. This symphony, arguably one of the most enjoyed but least discussed work among Mahler symphonies, grouped together with No.6 and No.7 as the Mahler's "instrumental trilogy", (the other two being No.2 to 4 -- the "Wunderhorn trilogy" and Das Lied, No.9, No.10 -- the "Farewell trilogy"), would be included in any anthology of Mahler alongside No.1 or No.4, but people seldom talk about what it's about. From the musical perspective, Part I and the rest seem lack of continuity, as if the stormy funeral march is suddenly dispelled. And why so tragic vision after the seemingly naive No.4? Is the Titan cast into abyss again (and revived so fast by the longest ever scherzo)? Therefore for me, the main attraction of the work is not the technical side, esp. the "triple fugue" which at first seized the world with its intracacy, but the first part, which is a funeral march and its sequence. Bernstein's always good at this -- just listening to his No.6 for DG, as if the whole world is tossed upside down! But Walter's account is more "lyrical", as Bernstein suggests in his review. Yet the recording is showing its age. Recorded in 1947, the stormy side of the music is much muffled due to the incompetent dynamic range. Walter is always good at being "lyrical", and he imbued with it in the whole work. Whenever the music turns soft, Walter starts to "sing". The effect, to me, is very moving, especially in the solo parts. But as the timing indicates, this recording is extremely fast. And Walter is actually more energetic than many of his suave recordings (such as Beethoven 6). The scherzo and rondo-finale are remarkably so, and Walter's typical emphasis on rhythm adds to that. The Adagietto is much calmer, truly peaceful. There's no fierce outcry as in Bernstein. One feels a kind of inner power in it as the strings sing their heartstrings. The timing is 7'35, much shorter than modern versions, even shorter than Mahler's own indication, and sometimes it really sounds too fast as if the emotion is not yet fully expressed before the music turns to the next phrase. At crucial moments Walter's rubati help solve this problem to some extent. I feel -- as I can't analyse it from reason, I can only "feel" -- this is somewhat a very good recording, at least a valuable document since it's the only Walter Mahler 5 preserved. schonne ·¢±íÓÚ 14:56 | ÔĶÁÈ«ÎÄ | ÆÀÂÛ(0) | ÒıÓÃTrackback(0) | ±à¼­ 2004-08-15 22:34 The Essential Falla -[Music¡¤Òô] The Essential Falla: Works of Manuel de Falla (1876-1946) El amor brujo (Love the Magacian) Concierto para clavecin y 5 instrumentos (Harpsichord Concerto) Noches en los jardines de Espana (Nights in The Gardens of Spain) El sombrero de tres picos (The Three-Cornered Hat), etc. Spanish music is renowned for its sensuousness and lack of anything that has a tint of metaphysics. So is de Falla's music, which is life itself, graphical and down to earth. Just as you can smell the French perfume in Debussy, and see the various hues of color in Ravel, de Falla's music lacks not vivid vision, and it breathes more vivacity than the former two, due to more powerful orchestration and more dramatic musical content. My first encounter with de Falla is Rubinstein's account of Nights in the Gardens of Spain . This is a work of extreme exquisiteness. Although I still have no substantial idea of how the beautiful yet exciting music is related with the stillness present in gardens, but the orchestration (and the music itself) is just so much with an air of mysticism mixed with sparkling nightly darkness, that one cannot be left unaffected to wish more of that. And the recording of Nights in the Garden of Spain by pianist Larrocha and under Rafael Fruehbeck de Burgos is just one of the best possible. Other Falla works are new to me. And they sound as fine as the Spanish Garden . All feature lively, dancelike rhythm and bright, colorful (especially fire-red) orchestration plus music with admirable vitality. schonne ·¢±íÓÚ 22:34 | ÔĶÁÈ«ÎÄ | ÆÀÂÛ(2) | ÒıÓÃTrackback(0) | ±à¼­ 2004-08-15 15:12 Å®ÅÅ£¡Å®ÅÅ£¡ -[Words¡¤»°] ½ñÌìÁ賿µÄ±ÈÈü£¬Ë¬£¡´òµÃˬ£¬¿´µÃҲˬ¡£ ¹ØÓÚ±ÈÈü²»¶à˵ÁË£¬ÓĞרҵÈËÊ¿ÆÀÇò£¬¶øÇÒÎÒÒ²Ö»¹ØĞÄÓ®ÁËûÓĞ+´òµÃºÃ²»ºÃ¡£ ²»¹ıÃÀ¹ú¶Óµ¹ÕæµÄ·Ç³£¡°ÃÀ¹ú¡±£ºÒ»¸ö¸ö¶¼×³µÃÏñ´óÏóÒ»Ñù£¬Ôõô»»È˳¡É϶¼ÓĞÁ½Èı¸öÌرğ´óÏóµÄ£»ºÃ¶àºÚÈË@_@£¬¶øÇÒÔõô¶¼´÷ÓÎÓ¾ÑÛ¾µµÄ-.-b£¬¶¼ÊÇÒ»ÑùµÄ·¢ĞÍ£¬È϶¼Èϲ»Çå¡­¡­²»¹ı×îÓĞȤµÄ»¹ÊÇËıÃǵÄÃû×Ö£¬ÕæÕıÌåÏÖÁËÃÀ¹úÖ®¶àÃñ×åĞÔ£º Robyn Ah Mow-Santos,²»ÖªµÀ½ĞËı¡°Ah~~~~¡±»áÓĞʲô·´Ó¦£¬ºÃ´õÒ²ÊÇËıÃû×ÖµÄÒ»²¿·ÖÂ Wiz Bachman£¬Ó¦¸ÃÊǸöµÂÎÄĞÕ£¬ÒѾ­È¥µôÁËÒ»¸ön£¬Ó¢ÓﻯÁË£»ËıµÄÃûÒ²²»³£¼û£» Tara Crossbattle, ËşÀ­¡¤»ìÕ½£¿ Tayyiba Haneef£¬ÕâÊÇÄĹúµÄÓïÑÔÄØ£¿ Keba Phipps£¬¶¨¾¦Ò»¿´£¬Ô­À´²»ÊÇ°ÑPhilipsÆ´´íÁË¡­¡­ Logan Tom£¬Õâ¸ö˵ʵ»°Ã»Ê²Ã´Ææ¹ÖµÄ£¬¼ÈÈ»ÄĞŮƽµÈ£¬ÄĞÃûÅ®ÓÃÒ²²»ÊDz»¿ÉÒÔ¡­¡­ Ogonna Nnamani£¬¼û¹ıÁ½¸ön¿ªÍ·µÄÂ𣿿ªÑÛ½çÁË°É£¡ ±ğµÄÃû×Ö¶¼Í¦Ó¢ÓïµÄ£¬²»¹ıºÍWilliam Wordsworth, George Eliot, Henry James, Edgar Allan PoeÕâĞ©±ÈÆğÀ´£¬Ò²¶¼Í¦ÔÓµÄÁË^^ schonne ·¢±íÓÚ 15:12 | ÔĶÁÈ«ÎÄ | ÆÀÂÛ(3) | ÒıÓÃTrackback(0) | ±à¼­ ·ÖÒ³: µÚÒ»Ò³ [2] [3] [4] [5] [6] [7] [8] [9] [10] [11] [12] [13] [14] ×îºóÒ³