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I don’t know much about art, but I was attracted to Jessie Siu’s artwork while I was watching a tv programme months ago. Super excited when I received her inivitation to her solo exhibition. What amazes me is the meaning behind all the pieces. It’s 100% worth viewing and must make sure Jessie is there to explain verbally, face to face, the meaning behind each lovely piece. Thank you again, Jessie! 💝 @siujessism #siujessism #theskybeyondtheclouds #雲點太清 #蕭靜知 #蕭靜知個展
Finally got my piece just in time for lockdown.
Thank you and I’m in love with my new art collection by @marklee_films
Meaning of this piece : Heart carrying the beauty of the world ❤️ 🌍
#painting
#paintingoftheday
#loverespectunity
Please do check out or Dm @marklee_films for his artwork @ Malaysia
《我的幸福5/2 週末》
*週日下午兩點誠品信義書店「廿世紀典範人物」新書分享會，我下午二時開始演講，離上次在台灣大學公開演説。快半年了！分享會報名一小時預告已額滿，但TVBS電視台慷慨的支持。派出SNG車，屆時TVBS文茜的世界周報YouTube 及世界周報Facebook 都將同步直播。
*新書分享會後我將直奔高雄衛武營，參加劉孟捷（李斯特巡禮之年）鋼琴獨奏會。這是劉孟捷回台，最重要的一場音樂會，我目睹他用盡了一切心力。過去即使21歲時在費城代打缺席大師的音樂會，劉孟捷都未曾如此緊張。他此次回台，手術前為了沒有遺憾，共舉行三場音樂會：其中4/17與5/30皆是與國家交響樂團NSO合作：530那一場指揮是呂紹嘉。但他告訴我，某些曲目對他而言，是Piece of Cake ：惟獨衞武營這一場，曲目由他自己決定，現場錄影，並且找了金曲獎錄音師同步錄音。
5/2衛武營-劉孟捷鋼琴獨奏會《李斯特巡禮之年》購票連結
https://www.opentix.life/event/1384752689074294784
劉夢捷明白他即將面對一個大手術，手術風險之外，他的免疫系統疾病，將使他的康復之路更長。
沒有人可以預知未來，為了圓他的夢，醫院每天都要求他早上、晚上量血壓，報告直接傳給院長。振興醫院院長魏崢雖然是亞洲第一把心臟外科醫師，但也不敢大意。
畢竟這個人的生命那麼脆弱，他的心臟主動脈剝離，那是實質的「心碎」了：但他仍有詩，仍有音樂夢。在生命的交接處，在白日與黑夜的交义口，劉孟捷想為他的音樂生涯，留下最美好的紀錄。
他選擇了李斯特。
在這場音樂會前，他甚至以英文寫下了自己與音樂、疾病的半生回顧：如李斯特的巡禮，有仰望，有沉思，有失落，有幽微的疼痛。他以詩篇般的演奏模式，傾訴，詠嘆。他曾得到天賦，也走過死蔭的幽谷。命運是一層又一層的黑影逼近，老天爺隨時想帶走他。
而他已不再流淚，不再沉浸於悲愴告別：因為對他而言活著並不容易，他要讓自己更深刻的抓住每一分時光之美。
如果時間和空間，正如哲人們所形容的
都是不實際存在的東西：那從不感到衰敗的太陽，也不會比我們了不起多少！
他如艾略特的詩句中所形容的：我們為什麼要如此貪心總在祈禱，想活上整整一個世紀？
蝴蝶雖僅活了一天，已經歷了永恆。
當他的身軀如露水還在藤蔓顫抖時，他送給我們一場「完全浪漫又超技的李斯特」。
等音樂會結束了，至少有一張CD，一段YouTube 影像：不論孟捷代表生命的那朵鮮花是否枯萎，他彈奏如天使的音聲不會飛離，它會停留在那夜，繼續釋放芬芳。
這是盡生命之力、之情獨奏的音樂會。劉孟捷説：這樣當他走進手術室時，會少一點悲傷。
或許快樂的日子本來就不多，但讓這場「完全李斯特．完全劉孟捷」的獨奏會放出神聖的光彩吧！
我必將赴會，不會錯過！我知道此刻的獨奏會，很難複製，因為它綜合了太多的情感、愛念，釋放與生命的抒情。
*劉孟捷為此次獨奏會寫下的文字：This past year has seen some unprecedented changes in the world. Many lives have been lost and many have changed. The world has changed while many of us confront the uncertainty of the future.
For most musicians, life has changed. For months, we have been conducting our lessons online, and concerts have mostly stopped or become an online experience as well. More time has been spent learning how to improve the online teaching experience than one could have imagined. While I have felt the duty to continue teaching, the format the pandemic requires for teaching leaves me unwilling to spend more time than I have to.
And truly, I have had other things to deal with. When the pandemic started to worry the American public in March, I was in the middle of a tour with the String Quartet-in-Residence at Curtis, the Vera Quartet. However, our concerts were canceled, and everything came to a sudden halt.
I felt the universe had sent me an unexpected gift, as I had also just received some terrible news concerning my worsening aortic arches and a diagnosis of kidney cancer. The sudden halt in my professional schedule seemed perfect in its timing. I was able to settle into a monastic existence, to simply practice and attempt to heal.
I see many musicians itching to be concertizing again, and many stepped into new territory, performing on the internet. Many took time to develop new podcasts, and to write new materials for their art. Sadly, many have struggled as they have fallen into desperation without any concert incomes. Altogether the music industry seems to be in peril, and many worry about how music and musicians will survive.
However, I had my own survival to think about. Having been through many difficult experiences in my life, I knew this might be the most difficult I would encounter. My Doctors describe me as a walking time bomb. My condition could be lethal at any moment if my blood pressure gets out of control. So while others wrestle with the fate of the music industry, I’ve needed to face my own fate and mortality.
Playing concerts can mean many things to people. At different times throughout my life, I’ve felt the need to express different aspects of myself. When I was young, I wanted to embody the spirit of romanticism, playing lots of Chopin and Schumann. Then there was a period of time when I wanted to challenge myself by showing off pyrotechnics. I had a brooding period where I turned to the pathos of Rachmaninoff, and then felt the need to return to the purity of Schubert and nobility of Brahms. Throughout this pandemic, I wanted to play Bach. Through Bach’s music I found a kind of spiritual sanctuary.
In considering the program for this concert, I felt again the urge to play music that reflects my current feelings and state of mind. The title of today’s recital, “Years of Pilgrimage” seems to fit exactly what I am experiencing.
Liszt wrote several volumes of “Années de pèlerinage” throughout his life to reflect on thoughts he had during his travels. He links his philosophical thoughts to the scenery which inspired them. “Au Bord d’un Source” describes feelings of rejuvenation while standing next to a clear stream of water, a symbol and source of life and energy. It seems to say, when the stream is so pure, life can be so full of joy.
In the Les jeux d'eaux à la Villa d'Este (The Fountains of the Villa d'Este), the water has a magical and supernatural quality, as Liszt himself wrote in the inscription: "But the water that I shall give him shall become in him a well of water springing up into eternal life,"( from the Gospel of John.)
For me, I have never felt more connected to Liszt than when he looked upon the valley of Obermann and questioned the meaning of existence. At this moment in my life, I often find myself reflecting my experiences of what I see and read into philosophical musings. Perhaps many people come to a time when this is so.
In all this I have felt gratitude for the love stories and sonnets that one can romantically indulge in, and for storms so violent that they threaten to destroy one’s spirit, even the hell-bound journey which brings up questions about the purpose of life…
On this journey, I felt full and alive as a human being. Looking back on this journey, I am grateful for everything, whether happy or sad, to have made an impact, found and imparted meaning to this life.
The unusual time of this pandemic has marked a milestone for me. I have journeyed back home, and as it happened, this is the first time I have spent so much time in my hometown Kaohsiung in over 35 years. It’s particularly nostalgic to play these pieces as some of them were significant in my early musical career. Vallée d’Obermann was the piece I played in my first competition at the junior high school level, in which I won first prize on the national level, which allowed me to be qualified to apply for a special permission to study abroad. This meant my dream to be educated as a musician could be continued in an environment where I could develop fully. In the following year when I was 13, I won the first Asia-Pacific Youth PIano Competition with the Dante Sonata. The competition catapulted me into national attention as I was headlined in several newspapers, and especially since it was held in Kaohsiung, I became a local hero as well. During the same event, I had a fateful meeting with one of the important influences in my life, Mr. Gary Graffman, who then mentored me throughout not only the years when I was studying at Curtis, but throughout my illness and recovery as a pianist. Right before I departed to study in Philadelphia, I played my first solo recital throughout Taiwan, and along with the Dante Sonata, I also performed the three sonnets.
It’s perfect that now, back in Kaohsiung, all these memories have flooded back into my head. I feel so lucky to have been born here, and to have met my first teacher, Chin-Li Lee, who inspired me on the path to become a musician. Prof. Alexander Sung filled me with dreams of becoming an artist. I am grateful for his belief in my talent, when he chose to give a 12 year old such philosophical pieces to play.
Having once again spent some months in Kaohsiung, I can freshly appreciate the source of inspiration it once was for me. I have returned to the source to heal. Having already glimpsed hell’s gate several times, battered and weathered by the storms of life, I know there is a reason life is this way, and it all will be alright.
Meng-Chieh Liu
April, 2021
*劉孟捷衛武營《李斯特巡禮之年》演奏會中，包括李斯特以佩脫拉克三首情詩譜寫的鋼琴琴詩：這三首情詩是從大詩人佩脫拉克一百多首情詩挑出來的，詩本身就很優美，依此激發李斯特的浪漫主義創作靈感，成為琴藝上最困難演奏，但也特別細膩溫柔的琴詩。
這三首分別是：
〈佩脫拉克第47號十四行詩〉〈佩脫拉克第104號十四行詩〉及〈佩脫拉克第123號十四行詩〉。
Franz Liszt（1811-1886）: Sonetto 47 del Petrarca, Sonetto 104 del Petrarca, Sonetto 123 del Petrarca, from Années de pèlerinage, Deuxième année: Italie
李斯特於1846年先出版藝術歌曲《三首佩脫拉克十四行詩》（Tre sonetti del Petrarca），再改成鋼琴獨奏版。
三首佩脫拉克十四行詩
中譯：焦元溥（元溥也是友情贊助，特別準備音樂資料，周日南下，聆賞劉孟捷的樂曲，並且陪同他盯著錄音共三天）
〈第47〉
祝福每天、每月、每年，
所有片刻與鐘點、時間與季節，
在那美麗的原野，
我為一雙眼眸魂縈夢牽。
祝福初遇時的甜，
與愛同在、受苦不停歇，
如弓箭刺穿令我淌血，
傷口永留感動在我心間。
祝福一切我發出的聲音，
當呼喚著我深愛的女郎，
渴望、嘆息、淚濕滿襟。
祝福我寫下的文字遠揚，
歌頌她的芳名，萬古長新。
我心永屬於她，無人能闖。
〈第104〉
我找不到和平，也無意打仗，
我恐懼、我期望，燃燒又冰透。
我向天飛升，卻躺在地上，
我一無所有，卻又擁抱整個宇宙。
我身陷囹圄，監牢又開敞；
我不受囚禁，卻銬著鎖頭。
愛情不讓我死，也不讓我飛翔；
不要我活，也不准我逃離悲愁。
欲看卻無眼，啞口還在發言，
我甘心殞滅，卻仍高聲呼救，
我痛恨自己，但仍愛著他人。
憂傷滋潤我，淚水伴隨笑臉，
生命不足惜，死亡也不煩憂；
我淪落至此，都是妳啊，我的愛人！
〈第123〉
我在塵世見到仙子的美，
她天堂般優雅無與倫比。
想起她讓我悲傷又歡喜，
所見如幻夢迷霧與幽黑。
妳的可愛眼睛使我落淚，
多少次讓太陽也要妒忌。
我還聽到四周發出嘆息，
移動了山嶽停止了河水。
愛情智慧憐憫憂傷財富，
在淚水中形成甜美聲響，
奇妙和諧世上未曾目睹。
天堂追隨著音樂的流淌，
雖然枝上樹葉並未飛舞，
空氣與風息卻充滿芬芳。
5/2衛武營-劉孟捷鋼琴獨奏會《李斯特巡禮之年》購票連結
https://www.opentix.life/event/1384752689074294784
創作理念：
我們會受傷，但堅強的人們還是能夠重拾碎片再度「拼回來」，如同花蓮並不會因為一場大地震而被擊倒，因為挫折，我們反能更加堅強茁壯。
創作背景：
2018年2月6日大地震造成花蓮嚴重災情，有感於災後地方石材產業受損嚴重，由在地圖文創作者Duncan發起，結合精通石雕技藝的三位藝術家，希冀藉由各自所長，利用具在地文化價值之素材共同創作一象徵重振精神的公共藝術作品，籌備期間惠納地方人士捐贈與各級單位之支持，本作品才能完整呈現於大眾面前。作品以破損石材堆疊後進行雕刻創作，並選址於此，即前身為舊監獄遺跡的自由廣場。而平日於自強外役監獄教授石雕技藝的藝術家們，亦盼於本古蹟場域傳達“拼回自己的人生”之正面附加喻意。
石材災損品提供：嘉太企業有限公司、國合大理石工廠有限公司、優寶石材有限公司
特別感謝：花蓮縣政府文化局、花蓮縣花蓮市公所、當肯迪賽有限公司、台灣區石礦製品工業同業公會、財團法人石材暨資源產業研究發展中心、艾朵國際股份有限公司、謝偉士建築師事務所、群策工程顧問股份有限公司、國立東華大學語傳系、指間音像設計整合有限公司、政雄建築工程、上鴻企業社、長雄機械工程行、泰鵬工程行、摩爾形象整合事務所、不只是行銷有限公司
Creative intent:
People get hurt, but the strong ones pick up the pieces and put them back together again. Similarly, Hualien will not be defeated by an earthquake, because setbacks make us stronger.
Creative background:
On February 6, 2018, Hualien was devastated by a massive earthquake. Seeing that Hualien’s stone industry suffered major loss, a local illustrator proposed building a public art display out of local materials. With the help of three master sculptors, donations from the public, and the support of the local government, the piece was finally completed and unveiled. Rocks broken in the earthquake were stacked and sculpted, and the sculpture was erected at Freedom Square on the grounds of Hualien’s former prison. The sculptors, who teach sculpting to inmates at Ziciang Minimum-Security Prison, also hope that erecting the sculpture at this historic site conveys the positive meaning of “putting one’s life back together.”
Rentak Selangor 2019 aims to educating, promoting & sharing the "Dendang Hati ?, Lagu Jiwa?, Irama Kita ?" to the public
Beats of Selangor ? ~ Chinese
A great ?? efforts of Catholic High School (CHS) to preserve the Chinese heritage, art & cultures to ? generation ?????????? of all Malaysians ????? Sharing some of the details which all credited to her media friend, Ms Lily ??♀️;
Chinese Orchestra
It's based on the structure & principles of a Western symphony orchestra using Chinese instruments. The orchestra is divided into 4️⃣ sections ~ wind, plucked strings, bow strings & percussion. It's usually performs modernized traditional music. Some of the instruments used are;
1️⃣ Erhu 二胡
✅ It's 1 of the most important Chinese instruments, with a
history of over 4K years
✅ It's a 2️⃣-stringed bowed Chinese musical instrument,
AKA the Chinese violin / Chinese 2️⃣-stringed fiddle
✅ It can be used in both traditional & contemporary music
arrangements; pop, rock & jazz
✅ It's played vertically, resting on the musician's lap. It has ❌
fingerboard, hence the player's fingers must hold & vibrate the
strings by pressing only against the strings themselves
2️⃣ Pipa 琵琶
✅ It's a 4️⃣-stringed Chinese musical instrument, AKA Chinese lute
✅ It has been played for almost 2K years in China & existed
as early as the Han dynasty
✅ It was once reigned as the “king” of Chinese folk instruments
✅ The instrument has a pear-shaped wooden body & the string
was once made of silk, however today, it is made of nylon-wrapped
steel. Silk strings were played either with a plectrum / with bare
fingers, but steel strings are played with finger picks
3️⃣ Dulcimer 扬琴
✅ AKA yangqin (扬琴) is believed to have originated in Central
Asia & was brought to China by sea-faring European traders at the end of the Ming Dynasty (around AD 1600).
✅ Classified as a plucked string instrument, the Chinese yangqin is also a
hammered dulcimer that is played with rubber-tipped sticks.
✅ The modern dulcimer has been rationalized & has become an essential
instrument in the Chinese orchestra
✅ It's used both as a solo instrument & in ensembles
4️⃣ Bamboo flute 笛子
✅ It's a Chinese transverse flute / Chinese bamboo flute
✅ Traditionally & most of the dizi is made by using (a single piece of) bamboo
✅ It's played using circular breathing "advanced" techniques
✅ It's a key Chinese musical instrument & is used in Chinese folk
music, opera & modern Chinese orchestra
Wushu (武术)
It was developed in 1949 in an effort to standardize the practice of traditional Chinese martial arts. The modern concepts of wushu were fully developed by the Ming & Qing dynasties
Type of performances are Wushu Weapons, Doubles Weapons, Flag, Doubles Taiji Sword, Trio Taiji Broadsword & Trio Taijiquan
The basic wushu movements are;
✅ Ma bu : 马步 - Horse stance
✅ Gong Bu : 弓步 - Bow stance
✅ Pu bu : 仆步 - Flat Stance or Crouch stance
✅ Chong Quan : 冲拳- Fist Punching
✅ Teng Kong Fei Jiao : 腾空飞脚 - Jumping front kick
✅ Bai Lian : 摆莲 - Lotus kick
✅ Xuan Zi : 旋子 - Butterfly kick
Basic wushu sword & boardsword movements are;
✅ Chan tou : 缠头 - Twining around the head with broadsword
✅ Guo nao : 裹脑 - Wrapping around the head with broadsword
✅ Wan Hua : 腕花 - Rotate the wrist, move the sword in forward-downward vertical circles on both sides close to your body, force reaching tip of the sword
✅ Guajian : 挂剑 - Hold the sword straight & move it in upward-backward / downward-backward vertical circles close to your body, with force reaching the front part of the blade
✅ Liao jian : 撩剑 - Move the sword in a forward-upward vertical circle, force reaching the foible
Diabolo 扯铃/ 抖空竹
It's a juggling / circus prop consists of an axle & 2 cups AKA Chinese yo-yo. It's spun using a string attached to 2️⃣ hand sticks. Multiple cups can be spun on a same string too. A large variety of tricks are possible with the diabolo, including tosses & various types of interaction with the sticks, string & various parts of the user's body
24 Season Drum (Ershisi Jieling Gu : 节令鼓)
It's a Malaysian art that was invented in 1988 by a music teacher, Tan Hooi Song & a poet Tan Chai Puan, at Foon Yew High School in Johor. It consists of 24 large drum is called Shigu (獅鼓) that represents the agricultural seasons in the Chinese calendar. The original performance styles depict movements of farmers & activities on a farm. The name of each season is usually written in
Chinese calligraphy on the drum.
The drum is played using 2️⃣ wooden sticks, striking its surface, sides or hitting the 2️⃣ sticks together
Each colour on the drum has a special meaning;
❤️ red symbolizes auspiciousness & passion
? black represents perseverance
? yellow signifies the Chinese culture & tradition
More details soon via ? siennylovesdrawing.wordpress.com
#RS4 #RentakSelangor #DiscoverSelangor #VM2020 #VisitMalaysia2020 #TakeMeAnywhere #GayaTravel #Malaysia
Download & stream at http://flashover.choons.at/blueprinta ...
It’s been said that “space exploration is a force unto itself”, a statement that can aptly be applied to the experience of music discovery. A purveyor of a music with that timeless quality, Ferry Corsten actioned himself into taking his own artist exploration deeper with his fifth artist album. Entitled ‘Blueprint’ because of his technical approach to this latest studio outing. This newest longplayer by the Rotterdam native was spawned from an idea to unite the music with a storyline that stretches beyond a nebulous lyrical theme. Combining his love for the art of screenwriting and film score Ferry has crafted ‘Blueprint’ as a concept release to put a wider perspective on his musical vision.
Transcending any referential genre, ‘Blueprint’s storyline centres around two protagonists in Lukas and the extra-terrestrial being Vee. From a discovery to a bond to consciousness to interdimensional travel, ‘Blueprint’ embarks on a journey across the galaxy asking many questions from its listeners.
Encapsulated in the soundtrack is a musical narrative that entwines with a storyboard crafted by the minds of David H Miller (of House Of Cards and Rosewood fame) and Ferry himself. The resulting effort gives the listener a conceptual direction that is breathtakingly beautiful. Narrated by Hollywood actor Campbell Scott (known for The Amazing Spider-Man and The Exorcism of Emily Rose), whose voice unravels the mystery of ‘Blueprint’s storyline.
Written into the musical code of the album we learn that from the deepest edges of space ‘The Drum’ can be heard, endlessly repeating, without any understanding as to its reason or purpose. None of the greatest minds on earth nor governmental superpower can decipher its existence. Except one. As the listener journeys from the opening track to the last the album chronicles the voyage of Lukas and Vee as a new world is opened to not just the mind but the heart.
With its opening title track ‘Blueprint’ the album commences in wondrous form straddling euphoria and seduction at its heart, as it shoots for the stars setting up for a cosmic ballet. The atmospherical payoff of ‘Venera (Vee’s Theme)’ is enchantingly uplifting, as listeners have their first encounter with Vee. The vocal of Eric Lumiere adds depth to the character’s arrival with ‘Something To Believe In’ before ‘Edge Of The Skye’, featuring Haliene, ignites an odyssey to ‘A World Beyond’. The weaving metronomic build of ‘Trust’ is industriously rich and perfectly poised for this interstellar exploration. Whilst the otherworldly tones of ‘Lonely Inside’ beam us into the isolation of Space and renders all meaning beyond one emotion, desire. The sentiment on Haliene’s voice pierces through on the tense ‘Piece of You’ before we head into the third act and encounter “The Drum” again on ‘Drum's A Weapon’. The album majestically concludes with the beautiful combo of Haliene & Eric Lumiere on ‘Another Sunrise’ and the ‘Eternity’ with its Shepherd scale-esque splendour.
With the narrative that gives nods to the proses of iconic sci-fi authors such as Jules Verne, Hugo Gernsback and most distinctively HG Wells, whilst sharing familiarities with modern day shows such as The OA, Westworld and retro Sci-fi-fest Stranger Things, ‘Blueprint’ is an explorative piece of work that puts Sci-fi at its interstellar core. A brave and unique studio release from one of the most iconic artists in the electronic scene but Ferry’s attempts with ‘Blueprint’ are simply to bring a wider perspective to the listener, as he aims the album to be inclusive of dimensions of religion, history, ideals and science fiction.
Follow Ferry Corsten:
http://www.ferrycorsten.com
http://www.vk.com/ferrycorsten
http://www.twitter.com/ferrycorsten
http://www.facebook.com/ferrycorsten
http://www.instagram.com/ferrycorsten
Follow Ray Shen:
https://www.facebook.com/djRayShen/
https://soundcloud.com/ray-shen-3
https://www.mixcloud.com/ray-shen/
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