From now on, I began to choose my life carefully, and I no longer easily lost myself in various temptations. I've heard the call from afar in my heart. I don't need to turn around to care about all the right and wrong and arguments behind me. I have no time for the past. I want to move forward.
#云商院课堂##汉语言文化#【汉诗英译】李煜《虞美人》The Beautiful Lady Yu
Spring flowers and autumn moon —
when will they be ended?
春花秋月何时了,
How many past events can we tell?
往事知多少。
The east wind blew
through my small lodge again last night.
小楼昨夜又东风，
The old country, bathed in a bright moon,
Is an overwhelming sight!
故国不堪回首月明中。
Those carved balustrades, those marble terraces —
They should still be there.
雕阑玉砌应犹在，
Only the rosy cheeks have faded.
只是朱颜改。
How much sorrow, pray, can a person carry?
问君能有几多愁，
Like the spring torrent flowing eastward,
without tarry!
恰是一江春水向东流。
Spring flowers and autumn moon —
when will they be ended?
春花秋月何时了,
How many past events can we tell?
往事知多少。
The east wind blew
through my small lodge again last night.
小楼昨夜又东风，
The old country, bathed in a bright moon,
Is an overwhelming sight!
故国不堪回首月明中。
Those carved balustrades, those marble terraces —
They should still be there.
雕阑玉砌应犹在，
Only the rosy cheeks have faded.
只是朱颜改。
How much sorrow, pray, can a person carry?
问君能有几多愁，
Like the spring torrent flowing eastward,
without tarry!
恰是一江春水向东流。
Performance Technical Guide of Makrokosmos Volume II by George Crumb
George Crumb often writes his music in a radical way for the piano, constantly asking the performer to play on the inside of the piano, a technique in which he is pretty much a pioneer. This book talks about the exploitation of a new and hitherto unexplored range of color that can be accessed with the hands and fingers inside the piano or by inserting sound-altering devices into the strings. However, he writes in textures and styles that clearly relate to Debussy and Chopin, particularly in his use of the sustaining pedal, and in the way, he sets up a layer of sustained sound through the pedal into which he then places his melodic and rhythmic ideas. He often mentions his indebtedness to these great masters of the past in his music program notes. He even sometimes quotes directly the music of Chopin or Beethoven within his own compositions. In that regard, Crumb sees his music in an evolutionary way. In George Crumbs piano music Makrokosmos Volume II, the pianist has the added issues of often having to play while standing, including playing on the keys and inside the piano while standing. These, and many other physical difficulties abound in this music, are dealt with throughout this technical guidebook.
George Crumb often writes his music in a radical way for the piano, constantly asking the performer to play on the inside of the piano, a technique in which he is pretty much a pioneer. This book talks about the exploitation of a new and hitherto unexplored range of color that can be accessed with the hands and fingers inside the piano or by inserting sound-altering devices into the strings. However, he writes in textures and styles that clearly relate to Debussy and Chopin, particularly in his use of the sustaining pedal, and in the way, he sets up a layer of sustained sound through the pedal into which he then places his melodic and rhythmic ideas. He often mentions his indebtedness to these great masters of the past in his music program notes. He even sometimes quotes directly the music of Chopin or Beethoven within his own compositions. In that regard, Crumb sees his music in an evolutionary way. In George Crumbs piano music Makrokosmos Volume II, the pianist has the added issues of often having to play while standing, including playing on the keys and inside the piano while standing. These, and many other physical difficulties abound in this music, are dealt with throughout this technical guidebook.
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