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Elysium Elusive

来源: BlogBus 原始链接: http://blogbus.com:80/blogbus/blog/?blogid=23208 存档链接: https://web.archive.org/web/20040823000648id_/http://blogbus.com:80/blogbus/blog/?blogid=23208

Elysium Elusive Optima dies, prima fugit... 首页 Words・话 (7) Music・音 (14) Visions・视 (0) Readings・读 (8) Events・事 (4) Mine・我的 (1) Undefined・○ (5) 2004 年 8 月 Sun Mon Tue Wen Thu Fri Sat 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 最后更新 两本小书 A Milton Sonnet Mahler: Symphony No.5 by Walter The Essential Falla 女排！女排！ [无聊日记]2004.8.13 英文“淫诗”一首～ Finale and Ovation 茨威格《昨日的世界》 体育和爱国以及骂 最新评论 schonne : ha jj~~~为啥是&q. atOmpLoyD : 成功带回杭州了:). hatsuki : 看到这张封面忍不. donnapaper : 带我的老师说： schonne : 我带着线一起布朗. watersnow : 布朗运动可是没有. schonne : 是送你的. schonne : 在一家很安静的咖. simonsun : a,你那个书是不是. simonsun : 去年的那个剧本的. 存档 我的链接 沃特斯诺^^ Two Sides of an Atom leo的排球场 小树林 我是BoB DonnaPaper simonsun: a blog of a frog 无雨的一天 两本小书 -[Undefined・○] 两本小书： 伏尔泰：《老实人》 (Voltaire: Candide ) 陀斯妥耶夫斯基：《地下室手记》(Dostoevsky: Notes from Underground ) 送人了。因为自己喜欢。喜欢到现在觉得不再买一份读一遍就不安心。 前者的故事情节荒诞滑稽，后者的心理陈述幽冥恐怖，寥寥百余页的“非常”中都蕴含着真理。且不是奥斯汀似的家长里短，或是托尔斯泰似的史诗巨著。短小的荒谬直透永恒…… 但是我为什么还要再买呢？老师发的阅读材料里都有，虽然是复印的，没有装订，但好歹有个copy，而且上面已经写着些注释了。为了虚荣――以后有人来访，可以很真诚而自豪地向他/她推荐这两部不太出名的经典？或是为了给自己的过去留个实在的物证，可以看出当年对它们的喜爱？或是为了收藏，但这既非原文又非精装的原价版能保存多久？买来只因为我喜欢，并 有可能 再读它们？这个理由也许很充分，但一想到钱――并不是这两本书的31块钱，而是因为这个理由要花的其他的所有钱――我就怵了。我实在是害怕自己。“了解”的太多，对什么都有兴趣，真正接触的太少，在不断接触的过程当中又因为达不到自己理想的结果而自我怀疑，一次次试图放弃，又因为无路可走而继续。那些羡慕我“喜欢自己的专业”的人，似乎都没看到这一点。第一理想，因为我太晚意识到它的地位，已经出于种种现实而成为永久的理想；（如果有一天它实现了，我又会以怎样带着快意的仇恨泯嘴一笑来回答那些试图断绝这条路的人呢？那时候我是笑不出来的，我会根本不愿意回忆这段历史。）我不知道在现在这条路上还能走多远；如果不能走得很远，那我将来怎么办？永远这样半吊子下去，我自己就不会满意。 不过，我要是知道将来怎么办，我还混什么？ “定而后能静，静而后能安，安而后能虑，虑而后能得。” 怎么“定”？所有重要的选择（除了婚姻），都是无从选择。 schonne 发表于 2004-08-19 21:00 阅读全文 | 评论(2) | 引用Trackback(0) | 编辑 A Milton Sonnet -[Readings・读] 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. 读到这首诗的时候被震了一下，尤其是前八行。“时间已偷走我二十三年岁月，日子飞速前进，而我的暮春却未见含苞开花；也许是我的外貌掩盖了事实，我已近成年，但内心的成熟却迟迟不见……”和现在的我多像啊。有人说我拒绝长大。我很快承认了。究竟什么才算是成熟呢？懂得人情世故，懂得这个世界，懂得它的种种规律并遵从之，并在力所能及的范围之内改进之？还是继续关心自己的文学艺术，在这些并不怎么为人关心的方面做好自己想做的事？ 其实问这些没有实际意义，问得越多，想得越复杂，越作不了决定，越不能向前走。我也不想再当愤青，批判这些那些的不对。这些牢骚也没有实际意义。向别人展示自己的个性吗？可以的，但不会有足够多的人理睬，来让我的个性改变些什么。所以，不如把这些想法封存起来，等到该留下一些什么的时候再把它们留下。至于等不等得到那个时候，不是我现在能考虑的。 五年前，我很为自己的一些想法自豪，以为它们是很经典的。我写了一篇又一篇关于学习、教育的“论战”文字，在回家路上跟同学滔滔不绝地讲述我的想法。心里真诚而又骄傲地想：“要是这些想法能获得某些权威人士的赏识该多好。”有一次以10块钱一斤的价格买来了本邵燕祥的杂文看看，觉得很不过如此：这么小的就事论事，这么四平八稳的观点，居然也能成就一个杂文家。现在再看我自己那些东西，倒不是其中的观点让我觉得汗颜――大部分观点在现在看来并不先进，至少不全面，虽然精妙的语句还算不少――而是我时时刻刻流露出的那种少不经事的狂。也许是现在对世界了解得多了，不及以前狂飙，沉静了许多，想法也少了许多，才对那种应该珍惜的傲气有些不屑的吧。不过更大的原因大概仍然是自己没有被承认吧。也不知道是哪来的想法，我似乎一直只有在被“权威”承认时才能放下自己的怀疑。 弥尔顿诗里的后六行，很有一种宿命的味道。引用朱维之先生的译文：“每个人的年岁都有严格的定数，/不管是快是慢，是多是少，/大家都趋于同样的命运，不管地位的高度，/这是天意，必须依从“时间”的引导。/如果我能够好好地把它利用，/在伟大的“工长”眼中，那便是永恒，无穷。”那个task-master就是弥尔顿的“权威”。我一直对这种想法很不屑：如果一切都是定数，那我们为什么还要活着呢？只为在死前知道那“定数”是什么？不过我觉得弥尔顿这样是很幸福的。相信“有定数”总比不知道有没有要好。相信“有”，那能把人和这“定数”隔开的，也只有时间了，仿佛有一根线，这头拴着你，那头拴着命运，时间一点点地把二者拉近。若不知道有没有，线的这头拴着你，另一头又在哪儿？飘在空气之中？布朗运动？ schonne 发表于 2004-08-18 13:28 阅读全文 | 评论(2) | 引用Trackback(0) | 编辑 Mahler: Symphony No.5 by Walter -[Music・音] 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 发表于 2004-08-17 14:56 阅读全文 | 评论(0) | 引用Trackback(0) | 编辑 The Essential Falla -[Music・音] 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 发表于 2004-08-15 22:34 阅读全文 | 评论(2) | 引用Trackback(0) | 编辑 分页: [1] [2] [3] [4] [5] [6] [7] [8] [9] [10] 模板设计： Danger