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Famous for its cathedrals as much as for its fairytale castles and uninhibited nightlife, it is also the seventh most visited country in the world...
📸 Anna Stowe Travel / Alamy
🎹鋼琴的大千世界/名家名言：「為何稱我為大師？主人在這裡（指著鋼琴），我只是他的奴才。」
— 李斯特著名的弟子，德國鋼琴家、作曲家、教育家 萊森奧爾(Alfred Reisenauer)
Why, there is the master (pointing to the piano), I am only the slave.”
— Alfred Reisenauer (1 November 1863 – 3 October 1907) German pianist, composer, and music educator.
📹 跟隨在李斯特學習長達十二年至李斯特過世(1874-1886)的萊森奧爾，演奏李斯特的第十號匈牙利狂想曲：
https://youtu.be/e12YwuHiQtY
📰 延伸閱讀 - 【李斯特學派 / the school of Liszt】♩.♪
https://www.facebook.com/notes/fan-chiang-yi-%E8%8C%83%E5%A7%9C%E6%AF%85/%E6%9D%8E%E6%96%AF%E7%89%B9%E5%AD%B8%E6%B4%BE-the-school-of-liszt/289155141104454/
———————————————————————1905-1906 鋼琴名家萊森奧爾（Alfred Reisenauer）在美國進行數月的巡迴演出，並接受美國著名音樂雜誌”Etude”的專訪。文章於1906年七月出版，隔年他在德國巡迴演出期間於下榻的飯店房間內過世。
📰 藝術家的養成 - 萊森奧爾的見解
The Making of an Artist - The Views of Alfred Reisenauer.
▪️With Liszt
“When I had reached a certain grade of advancement it was my great fortune to become associated with the immortal Franz Liszt. I consider Liszt the greatest man I have ever met. By this I mean that I have never met, in any other walk of life, a man with the mental grasp, splendid disposition and glorious genius. This may seem a somewhat extravagant statement. I have met many, many great men, rulers, jurists, authors, scientists, teachers, merchants and warriors, but never have I met a man in any position whom I have not thought would have proved the inferior of Franz Liszt, had Liszt chosen to follow the career of the man in question. Liszt’s personality can only be expressed by one word, ‘colossal.’ He had the most generous nature of any man I have ever met. He had aspirations to become a great composer, greater than his own measure of his work as a composer had revealed to him. The dire position of Wagner presented itself. He abandoned his own ambitions— ambitions higher than those he ever held toward piano virtuosity—abandoned them completely to champion the difficult cause of the great Wagner. What Liszt suffered to make this sacrifice, the world does not know. But no finer example of moral heroism can be imagined. His conversations with me upon the subject were so intimate that I do not care to reveal one word.
▪️Liszt’s Pedagogical Methods
“His generosity and personal force in his work with the young artists he assisted, are hard to describe. You ask me whether he had a certain method. I reply, he abhorred methods in the modern sense of the term. His work was eclectic in the highest sense. In one way he could not be considered a teacher at all. He charged no fees and had irregular and somewhat unsystematic classes. In another sense he was the greatest of teachers. Sit at the piano and I will indicate the general plan pursued by Liszt at a lesson.”
Reisenauer is a remarkable and witty mimic of people he desires to describe. The present writer sat at the piano and played at some length through several short compositions, eventually coming to the inevitable “Chopin Valse, Op. 69, No. 1, in A flat major.” In the meanwhile, Reisenauer had gone to another room and, after listening patiently, returned, imitating the walk, facial expression and the peculiar guttural snort characteristic of Liszt in his later years. Then followed a long “kindly sermon” upon the emotional possibilities of the composition. This was interrupted with snorts and went with kaleidoscopic rapidity from French to German and back again many, many times. Imitating Liszt he said, “First of all we must arrive at the very essence of the thing; the germ that Chopin chose to have grow and blossom in his soul. It is, roughly considered, this:（見譜例圖四）
Chopin’s next thought was, no doubt:（見譜例圖五）
But with his unerring good taste and sense of symmetry he writes it so:（見譜例圖六）
Now consider the thing in studying it and while playing it from the composer’s attitude. By this I mean that during the mental process of conception before the actual transference of the thought to paper, the thought itself is in a nebulous condition. The composer sees it in a thousand lights before he actually determines upon the exact form he desires to perpetuate. For instance, this theme might have gone through Chopin’s mind much after this fashion:（見譜例圖七）
The main idea being to reach the embryo of Chopin’s thought and by artistic insight divine the connotation of that thought, as nearly as possible in the light of the treatment Chopin has given it.
“It is not so much the performer’s duty to play mere notes and dynamic marks, as it is for him to make an artistic estimate of the composer’s intention and to feel that during the period of reproduction, he simulates the natural psychological conditions which affected the composer during the actual process of composition. In this way the composition becomes a living entity—a tangible resurrection of the soul of the great Chopin. Without such penetrative genius a pianist is no more than a mere machine and with it he may develop into an artist of the highest type.”
▪️A Unique Attitude.
Reisenauer’s attitude toward the piano is unique and interesting. Musicians are generally understood to have an affectionate regard for their instruments, almost paternal. Not so with Reisenauer. He even goes so far as to make this statement: “I have always been drawn to the piano by a peculiar charm I have never been able to explain to myself. I feel that I must play, play, play, play, play. It has become a second nature to me. I have played so much and so long that the piano has become a part of me. Yet I am never free from the feeling that it is a constant battle with the instrument, and even with my technical resources I am not able to express all the beauties I hear in the music. While music is my very life, I nevertheless hate the piano. I play because I can’t help playing and because there is no other instrument which can come as near imitating the melodies and the harmonies of the music I feel. People say wherever I go, ‘Ah, he is a master.’ What absurdity! I the master? Why, there is the master (pointing to the piano), I am only the slave.”
▪️The Future of Pianoforte Music.
An interesting question that frequently arises in musical circles relates to the future possibilities of the art of composition in its connection with the pianoforte. Not a few have some considerable apprehension regarding the possible dearth of new melodic material and the technical and artistic treatment of such material. “I do not think that there need be any fear of a lack of original melodic material or original methods of treating such material. The possibilities of the art of musical composition have by no means been exhausted. While I feel that in a certain sense, very difficult to illustrate with words, one great ‘school’ of composition for the pianoforte ended with Liszt and the other in Brahms, nevertheless I can but prophesy the arising of many new and wonderful schools in the future. I base my prophecy upon the premises of frequent similiar (sic) conditions during the history of musical art.” These are Reisenauer’s views upon this matter.
Continuing, he said: “It is my ambition to give a lengthy series of recitals, with programs arranged to give a chronological aspect of all the great masterpieces in music. I hope to be enabled to do this before I retire. It is part of a plan to circle the world in a manner that has not yet been done.” When asked whether these programs were to resemble Rubinstein’s famous historical recitals in London, years ago, he replied: “They will be more extensive than the Rubinstein recitals. The times make such a series posssible (sic) now, which Rubinstein would have hesitated to give.”
As to American composers, Reisenauer is so thoroughly and enthusiastically won over by MacDowell that he has not given the other composers sufficient attention to warrant a critical opinion. I found upon questioning, that he had made a genuinely sincere effort to find new material in America, but he said that outside of MacDowell, he found nothing but indifferently good salon-music. With the works of several American composers he was, however, unfamiliar. He has done little or nothing himself as a composer and declared that it was not his forte.
▪️American Musical Taste.
Reisenauer says: “American musical taste is in many ways astonishing. Many musicians who came to America prior to the time of Thomas and Damrosch returned to Europe with what were, no doubt, true stories of the musical conditions in America at that time. These stories were given wide circulation in Europe, and it is difficult for Europeans to understand the cultured condition of the American people at the present time. America can never thank Dr. Leopold Damrosch and Theodore Thomas enough for their unceasing labors. Thanks to the impetus that they gave the movement, it is now possible to play programs in almost any American city that are in no sense different from those one is expected to give in great European capitals. The status of musical education in the leading American cities is surprisingly high. Of course the commercial element necessarily affects it to a certain extent; but in many cases this is not as injurious as might be imagined. The future of music in America seems very roseate to me and I can look back to my American concert tours with great pleasure.
▪️Concert Conditions in America.
“One of the great difficulties, however, in concert touring in America is the matter of enormous distances. I often think that American audiences rarely hear great pianists at their best. Considering the large amounts of money involved in a successful American tour and the business enterprise which must be extremely forceful to make such a tour possible, it is not to be wondered that enormous journeys must be made in ridiculously short time. No one can imagine what this means to even a man of my build.” (Reisenauer is a wonderfully strong and powerful man.) “I have been obliged to play in one Western city one night and in an Eastern city the following night. Hundreds of miles lay between them. In the latter city I was obliged to go directly from the railroad depot to the stage of the concert hall, hungry, tired, travel worn and without practice opportunities. How can a man be at his best under such conditions—yet certain conditions make these things unavoidable in America, and the pianist must suffer occasional criticism for not playing uniformly well. In Europe such conditions do not exist owing to the closely populated districts. I am glad to have the opportunity to make this statement, as no doubt a very great many Americans fail to realize under what distressing conditions an artist is often obliged to play in America.”
These geniuses involved in this ［Ok lah］song are the TOP musicians from Malaysia, who came from different states and cities. The most difficult part of this project is the way we collect each other’s music files recorded by each artist, and to mix them together. We also require them to shoot the best possible video for us; you have to know that they are "musicians", not photographers, which resulted in them having to remake again and again for a good shoot, then we need to collect all these videos, and edit all the videos into one MV. This is a very hard work lu tahu?!
Let me answer your questions since I saw many people asking questions here. The musical instrument that looks very much like a skateboard is called "SAPE" from the Aborigines of Sarawak. There is also a violin with wings, you are right, it is a VIOLIN. The flute is not Chinese flute, it’s a Malay traditional flute called “Seruling”. The cute Sabahan girl is an Aborigine; she has a Chinese surname “TAN” because she is mixed. There is a percussion player from New York, USA. He is a very famous percussion player and living in Malaysia for a long time oredi. Whenever each musician appears in the music video, their names are shown below, together with the names of the instruments they play, and their hometown and state. How CLEAR izit!
We want to dedicate this song to all heroes from the frontline. We hope you like it, and please share it out! Everyone should be careful when going out tomorrow, don't play play . . I wish you all a happy return to work! and Happy Ramadan!
［OK lah］MV裡面出現的都是馬來西亞最頂級的音樂人，來自四面八方不同的州屬和城市。這個製作難度最高的就是蒐集他們錄製好的樂器，然後混音在一起。還有就是要他們這些音樂人自己想辦法拍攝出我們要的畫面，拍不好還要重拍，然後集合完所有的畫面，再把他們剪接成一個MV。真的辛苦大家了！
至於你們在裡面看到幾個比較奇怪的樂器和人物，這裡為你解答．比如很像滑板的，那是砂拉越原住民的傳統樂器SAPE。還有一個有翅膀的小提琴，沒錯那就是小提琴。沙巴的土著美女是混血兒所以有中文姓氏。裡面有個美國紐約的黑人，他已經在馬來西亞住了很久很久了。是有名的敲擊樂手。MV裡面每個人物出現的時候下面有他們的名字，所玩的樂器的名字，下面則是他們的家鄉和州屬。
這首歌是大家一起來完成的，我們要獻給每一位抗疫英雄。希望大家會喜歡，也請大家多多分享。明天出門的時候大家還是要小心，不要開玩笑．．．祝大家開工快樂！齋戒月快樂！
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EP039 Vlog 040716 - It's Spidey! | Sketch by Juno L.
Spider-Man is a fictional superhero appearing in American comic books published by Marvel Comics. The character was created by writer-editor Stan Lee and writer-artist Steve Ditko, and first appeared in the anthology comic book Amazing Fantasy #15 (August 1962) in the Silver Age of Comic Books. Lee and Ditko conceived the character as an orphan being raised by his Aunt May and Uncle Ben in New York City after his parents Richard and Mary Parker were killed in a plane crash, and as a teenager, having to deal with the normal struggles of adolescence in addition to those of a costumed crime-fighter. Spider-Man's creators gave him super strength and agility, the ability to cling to most surfaces, shoot spider-webs using wrist-mounted devices of his own invention, which he calls "web-shooters", and react to danger quickly with his "spider-sense", enabling him to combat his foes.
When Spider-Man first appeared in the early 1960s, teenagers in superhero comic books were usually relegated to the role of sidekick to the protagonist. The Spider-Man series broke ground by featuring Peter Parker, the high school student from Queens behind Spider-Man's secret identity and with whose "self-obsessions with rejection, inadequacy, and loneliness" young readers could relate. While Spider-Man had all the makings of a sidekick, unlike previous teen heroes such as Bucky and Robin, Spider-Man had no superhero mentor like Captain America and Batman; he thus had to learn for himself that "with great power there must also come great responsibility"—a line included in a text box in the final panel of the first Spider-Man story but later retroactively attributed to his guardian, the late Uncle Ben.
Spider-Man is one of the most popular and commercially successful superheroes. As Marvel's flagship character and company mascot, he has appeared in countless forms of media, including several animated and live action television series, syndicated newspaper comic strips, and in a series of films. The character was first portrayed in live action by Danny Seagren in Spidey Super Stories, a The Electric Company skit which ran from 1974 to 1977. In films, Spider-Man has been portrayed by actors Tobey Maguire (2002–2007), Andrew Garfield (2012–2014), and Tom Holland, who has portrayed the character in the Marvel Cinematic Universe since 2016. Reeve Carney starred as Spider-Man in the 2010 Broadway musical Spider-Man: Turn Off the Dark. Spider-Man has been well received as a superhero and comic book character, and he is often ranked as one of the most popular comic book characters of all time, alongside DC Comics' most famous superheroes, Batman, Superman, and Wonder Woman.
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Get Eden Kai's Debut CD "TOUCH THE SKY", now available at http://www.cdbaby.com/cd/edenkai and all digital download outlets, iTunes, Apple Music, Amazon, etc.
16-year old guitar virtuoso Eden Kai performs his acoustic guitar instrumental song "Beautiful Stars" with a live performance in the world famous Waikiki Shell Concert Amphitheater on August 1, 2015.
Special thanks to Johnny Kai Productions for producing the great video!!!
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About EDEN KAI:
With millions of fans around the world, Eden Kai has earned his reputation as being a ukulele and guitar virtuoso, a Pop/R&B vocalist, and an accomplished actor. While many were first introduced to Eden when he joined the cast of Netflix and Fuji Television’s Terrace House: Aloha State, the young star’s success had already been years in the making. He has since gone on to make additional appearances on Terrace House: Tokyo 2019-2020, appeared on Shiro to Kiiro on Amazon Prime and has performed at the Fuji Rock Festival (the largest outdoor music festival in Japan), Nisei Week Festival in Little Tokyo, OC Japan Fair and ANA Honolulu Music Week in Waikiki. Eden’s accomplishments have earned him interviews by NBC News and The Yomiuri Shinbun (the world’s most circulated newspaper).
His most recent album, Home Sweet Home, released in 2018 and was recorded in Tokyo, Japan, produced by his music label in Japan Victor Entertainment. Three tracks from that album were featured in episodes of Netflix Japan’s Terrace House during the show’s Opening New Doors and Tokyo 2019-2020 seasons. The series also featured Eden’s instrumental compositions of “Touch the Sky” and “Feel the Earth.” “Monogatari” was his debut pop vocal single, which he wrote and performed on the show. That music, as well as Eden’s past album releases, can be heard on all major streaming services and is available for purchase on Eden’s official website, www.EdenKai.com.
In addition to working on his own music, Eden has collaborated with some of the world’s top artists and producers, including EXILE and Dream. One of his compositions was used to create “Anuenue,” a hit J-Pop single recorded and released by Dance Earth Party, which landed at #11 on the Oricon Music Charts in Japan.
Eden also recognizes the importance of using his music to help others. He has hosted several ukulele workshops in Honolulu and Japan, been the featured performer at the Waikiki Spam Jam, benefiting the largest non-profit in Hawaii that feeds the needy, and the Hawaii Food and Wine Festival from which proceeds helped local children in the community. Eden has donated proceeds from some of his songs to assist humanitarian causes, including the support of a health center in Haiti and the purchase of educational materials for children in Bangladesh.
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"Keep Doing What You Love!" ~ Eden Kai
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The Batteryheadz Colorguard Ensemble presenting their 2015 programme, "Relativity", during the 2015 Jember Open Marching Competition Colorguard Contest in Jember, Indonesia.
Synopsis:
"Different observers, in different states of motion, see different realities. To some, an hour seems like a second, to others a second seems like an hour ...
Time is therefore ... an illusion"
This year, the Batteryheadz Colorguard Ensemble explores multiple ideas and concepts behind one of Einstein's greatest work and discovery, the theory of Relativity. In Einstein's theory, time passes differently for different observers, depending on the observers' motion. The prime and most famous example is that of the two hypothetical twins: One of them stays at home, on Earth, while the other journeys into space in an ultra-fast rocket, nearly as fast as the speed of light. Upon returning home, the traveling twin will appear to be younger than the earthbound twin.
Time. Space. Motion. Illusion. Reality.
The Batteryheadz Colorguard Ensemble juggles through these notions, manipulating space, distorting speed and emotion, conceptualised in it's 2015 program, "Relativity".
