To advance, to transpire, to transcent, through music, through space, from mountain to mountian, ocean to ocean, one night club to one religious retreat...
過去多年來，不少國家都削減了太空研究預算，不過， Stephen Hwaking 認為當今人類最重要的研究， 應該是太空研究，以及人類如何在星際 間自由飛行。 因為"人類的未來希望，只有在太空中， 不是只是在重建地球"。當然他也鄭重聲明地球資源的逐漸短缺。。。
The Future of our mankind is not to rebuild and save our planet earth, but our future lies on Space Flight!! Stephen Hwaking thinks that space expansion research or human space flight is the most important study for the next generation, because he predicts huge catastrophe will occur in the next hundred years.
This is the first major work in nearly a decade by one of the world's greatest thinkers. A succinct, startling and lavishly illustrated guide to discoveries that are altering our understanding and threatening some of our most cherished belief systems, The Grand Design is a book that will inform - and provoke - like no other.
Having Cold and Fever for the weekend feeling weak and staying home resting .....! 看到這句話很喜歡： 「 人生不能像做菜，把所有的料都准備好了才下鍋。」—《飲食男女》李安。 凡事等到100％篤定才出手，那麼可能一輩子都出不了手。
1852年，華格納和柯西瑪初識於李斯特在巴黎的家中。柯西瑪是李斯特和同居人達古伯爵夫人（Countess Marie d'Agoult, 1805-1876）所生的女兒，華格納則是李斯特的好朋友。華格納在受邀赴會的當時已婚，對眼前這位15歲的害羞少女並沒什麼特別的印象。柯西瑪19歲時和李斯特的鋼琴學生畢羅（Hans von Bülow, 1830-1894）結婚，婚後育有二女。數年後，畢羅已是著名的指揮家兼鋼琴家，應華格納之邀接任宮廷劇院指揮，開始了彼此的合作關係。但在此期間，柯西瑪和華格納的愛火卻悄悄燃起，且一發不可收拾，引來滿城的蜚言流語。畢羅因崇拜華格納而不願面對兩人的背叛，刻意視而不見、聽而不聞，默默隱忍了數年。他不但無私地繼續推介華格納的作品，還黯然接受柯西瑪和華格納所生的小孩。一直到華格納前妻過世，柯西瑪搬到瑞士與華格納同居後，畢羅才心痛地離婚。
《齊格飛牧歌》有不少暱稱，它最早的標題是《特里普聖牧歌，飛迪的鳥鳴和橙色的朝陽》（Tribschen Idyll with Fidi's birdsong and the orange sunrise）。飛迪是兒子齊格飛的小名，橙色的朝陽則是戀人間共享的私密記憶。柯西瑪稱它為「晨間夜曲」、「甜美的祕密」，小孩們稱之為「樓梯音樂」，而華格納在曲譜上還另外題上「交響樂的生日問候」。此後每年在柯西瑪生日當天，華格納都會為她私下演奏此作，《齊格飛牧歌》因而成為兩人私藏的瑰寶。但隨著他們的財務日趨困頓，華格納開始有變賣此曲以換取資金的想法，柯西瑪為此感到既難過又委屈，因此讓華格納暫時躊躇不前。1877年，華格納終於不顧柯西瑪反對，逕將它改寫給較大的樂器編制，以《齊格飛牧歌》為題賣給出版商。當此曲在麥寧根公開首演時，柯西瑪悲傷地在日記中寫道：「我甜美的秘密從此被出賣了。」華格納和柯西瑪7年來的私密時刻再也不復存在，柯西瑪私藏的愛的瑰寶從此成了世人的公共財。
《齊格飛牧歌》中主要動機的靈感皆來自華格納創作期間的心情和思緒。寫作《齊格飛牧歌》的同時，華格納也在睽違了12年後，再度執筆繼續寫作四部聯篇歌劇《尼貝龍根的指環》（Der Ring des Nibelungen）中的第三部歌劇《齊格飛》（Siegfried）。因此，《齊格飛牧歌》和歌劇《齊格飛》這兩部作品中有不少重疊的樂思，加上同名的標題，常造成世人的混淆。事實上，歌劇裡的齊格飛是英雄人物，《齊格飛牧歌》裡的齊格飛則是華格納剛出生的兒子，而這兩部作品所要表現的音樂內涵也完全不一樣。《齊格飛牧歌》富有恬靜的田園氣氛，兩支法國號如晨曦般溫暖，絃樂如湖光閃爍，木管樂如晨間鳥鳴。此曲還帶有濃郁的愛戀情愫，每一段旋律都是作曲家對愛情和幸福的虔心刻劃。
Richard Wagner (1813-1883): Siegfried Idyll, WWV 103
The full title on the original manuscript of Wagner's Siegfried Idyll reads, "Tribschen-Idyll, with Fidi-Birdsong and Orange Sunrise, presented as a symphonic birthday greeting to his Cosima by her Richard, 1870." The "Siegfried" in the title does not refer to the composer's opera of the same name, as is often supposed, but to his infant son, whose pet name was "Fidi." The "orange sunrise" refers to the color of Cosima's bedroom wallpaper, which brightly reflected the morning light. Though the work is sometimes heard in an arrangement for full orchestra, Wagner originally wrote it for an ensemble of 15 players. Having prepared and rehearsed the work in secret, Wagner gathered his small orchestra on the stairway on Christmas morning, 1870, and awakened Cosima with its first performance (Cosima's birthday was December 24; the Wagner family celebrated that day and the Christmas holiday together). Afterward, Wagner and Cosima's five children presented her with the score.
As is reflected in the uncharacteristically (for Wagner) modest scoring, the Siegfried Idyll is a particularly intimate work, meant to acknowledge and celebrate the year that Wagner and Cosima could finally legitimize their union. Several stressful years had passed since Cosima had left her first husband, the conductor Hans von Bülow, in 1866. The divorce was finalized at last in 1870, and in August of that year Cosima and Wagner wed.
Wagner wrote Siegfried Idyll while he was occupied with the completing and intial staging of Der Ring des Nibelungen. The music for Siegfried (1856-71), the third part of the cycle, had caused the composer great difficulty; he had set it aside in frustration in 1857, returning to it only in 1869. Wagner borrowed Siegfried Idyll's principal themes from Siegfried and Die Walküre (1854-56), where they have specific meanings within the cycle's system of leitmotives. Within the context in Siegfried Idyll, however, these themes are take on a more general nature as expressions of triumphant love and affection. Wagner had never intended to publish the work, but financial problems forced him to make it public in 1877.
他是來自神祕國度的 " 黑暗之主"，" 浪漫之神 "！ 願眾生都能夠開啟，及解脫。 攝影取自宗薩仁玻切最新電影，" VARA ,祝福"
The Dark Lord, The Romantic God ! May all be Released and Transcended. From the upcoming Film "Vara, A Blessing " Directed by Dzongsar Khyentse Rinpoche Please check out the website: www.varathemovie.com
Wensendonck Lieder 《威森東克之歌》 I : /Der Engel 天使 In der Kindheit frühen Tagen 在孩提時的早年 Hört ich oft von Engeln sagen, 我經常聽見關於天使的傳說 Die des Himmels hehre Wonne 來自天堂的至喜極樂 Tauschen mit der Erdensonne, 將由他們自塵世的陽光中帶來 Daß, wo bang ein Herz in Sorgen 那麼，當一顆悲傷的心 Schmachtet vor der Welt verborgen; 因焦慮哀傷而自棄於俗世 Daß, wo still es will verbluten, 那麼，它在靜默中淌著鮮血 Und vergehn in Tränenfluten, 並在淚流中融化消逝 Daß, wo brünstig sein Gebet 因此，那虔誠的祈禱者 Einzig um Erlösung fleht, 僅僅祈求著生命的解脫 Da der Engel niederschwebt, 而天使便會降臨 Und es sanft gen Himmel hebt. 並將引領他至天堂 Ja, es stieg auch mir ein Engel nieder, 是的，天使將會降臨我身旁 Und auf leuchtendem Gefieder 張開她閃耀金輝的翅膀
Führt er, ferne jedem Schmerz 引領我，自苦痛中解放 Meinen Geist nun himmelwärts! 將我的靈魂引領至天堂之上！
Milos is a young highly regarded classical guitarist in the new genre of 21st century.
The more I watch this promotion excerpt, the deeper I am attracted to his charm, passion, beauty, and his exotic feature....
Not only did he express such immensely talented technique, but he also emerged his personal feelings into the Latin music he loves. Rarely have I seen such a critically acclaimed musician look so relaxed and handsome walking and playing music on a beautiful Mediterranean beach.
Artistic and romantic ....
Nevertheless, combining personal charisma of the musician and his musical talent is the main stream of the classical music market nowadays! For better or worse, music is a form of fine art and beauty that expresses feelings of the artist, and entertains the senses of the audience.
Legend of Austiria . From Isaac Aleniz piano work Espanola Suit op. 47 .
He has both Passion and Beauty in a special Latin spice ... 聽他彈琴，以及看他彈琴， 都是一種很異國風情的愉悅。。。！
華格納的樂劇總是在追求著一個他心目中完美女性的形象： 無私無我的犧牲、為愛而救贖男性的罪衍。在真實世界裡，在他不斷的如同《弄臣》的無良公爵一樣唱著“Questa e quella”（這個還是那個）周旋於女性之間時，這問題也深深的苦惱著他。 在他為數頗豐的著作裡，完全可以見到他對這裡想中女性的期盼與渴求。在這種對愛情無法滿足的情況下，華格納很自然地對《崔斯坦與伊索德》這種「愛到死」而且「死也無所謂」的愛情充滿了嚮往。 在1854年底寫給李斯特的信裡，華格納自我剖白了他對愛情的渴望：「我的一生裡從未品嚐過真正愛情的歡愉，我一定要為我夢想的至美樹立紀念碑，讓我的愛情獲得完全的滿足...在我心中，那就是計畫中的《崔斯坦與伊索德》...」。
Tristan und Isolde (Tristan and Isolde, or Tristan and Isolda, or Tristran and Ysolt) is an opera, or music drama, in three acts by Richard Wagner to a Germanlibretto by the composer, based largely on the romance by Gottfried von Straßburg. It was composed between 1857 and 1859 and premiered in Munich on 10 June 1865 with Hans von Bülow conducting. Wagner referred to "Tristan und Isolde" not as an opera, but called it "Eine Handlung" (literally drama or plot), which was the equivalent of the term used by the Spanish playwrightCalderón for his dramas.
Wagner's composition of Tristan und Isolde was inspired by his affair with Mathilde Wesendonck and the philosophy of Arthur Schopenhauer. Widely acknowledged as one of the peaks of the operatic repertory, Tristan was notable for Wagner's advanced use of chromaticism, tonality, orchestral colour and harmonic suspension.
The opera was profoundly influential among Western classical composers and provided inspiration to composers such as Gustav Mahler, Richard Strauss, Karol Szymanowski, Alban Berg and Arnold Schoenberg. Many see Tristan as the beginning of the move away from conventional harmony and tonality and consider that it lays the groundwork for the direction of classical music in the 20th century.[1] -- Wikipedia
he magic love-philtre is the excitant in this story of rapture and gloom. The Vorspiel therefore opens most fittingly with a motive which expresses the incipient effect of the potion upon Tristan and Isolde. It clearly can be divided into two parts, one descending, the other ascending chromatically. The potion overcomes the restraining influence of duty in two beings and leaves them at the mercy of their passions. The first part, with its descending chromatics, is pervaded by a certain trist mood, as if Tristan were still vaguely forewarned by his conscience of the impending tragedy. The second soars ecstatically upward. It is the woman yielding unquestioningly to the rapture of requited love. Therefore, while the phrase may be called the Motive of the Love-Potion, or, as Wolzogen calls it, of Yearning, it seems best to divide it into the Tristan and Isolde Motives (A and B).
The two motives having been twice repeated, there is a fermate. Then the Isolde Motive alone is heard, so that the attention of the hearer is fixed upon it. For in this tragedy, as in that of Eden, it is the woman who takes the first decisive step. After another fermate, the last two notes of the Isolde Motive are twice repeated, dying away to pianissime. Then a variation of the Isolde Motive leads
with an impassioned upward sweep into another version. Full of sensuous yearning, and distinct enough to form a new motive, the Motive of the Love Glance.
This occurs again and again in the course of the Vorspiel. Though readily recognized, it is sufficiently varied with each repetition never to allow the emotional excitement to subside. In fact, the Vorspiel gathers impetus as it proceeds, until, with an inversion of the Love Glance Motive, borne to a higher and higher level of exaltation by upward rushing runs, it reaches its climax in a paroxysm
of love, to die away with repetitions of the Tristan, the Isolde, and the Love Glance motives.
In the themes it employs this prelude tells, in music, the story of the love of Tristan and Isolde. We have the motives of the hero and heroine of the drama, and the Motive of the Love Glance. When as is the case in concerts, the finale of the work, "Isolde’s Love-Death," is linked to the Vorspiel, we are entrusted with the beginning and the end of the music-drama, forming an eloquent epitome of the tragic story. --- from Opera Synopsis
Featured in science fictional style, this film was shoot in Paris, the most romantic and avant-garde city in the world. Not only did the director reveal our misconception for understanding of our own genre not being the golden age, but he also seemingly employed the essential elements of falling in love.
Beside the elements of hormones and chemistry, this true love should make you feel " fearless of death". As usual, Woody Allan mocked these so called scholars and experts in our time, by comparing them to the great masters and artists from an earlier generation in 1920's. Almost every well known master from 20's was present on screen, including Scott Fitzgerald, Earnest Hemingway, Pablo Picasso, Dali, Mattise and more. This is an interesting, eye-catching and meaningful film which needs a full concentration to watch. Rarely have I seen such a wonderful film touching deeply but natrually on the subject of both art and love. As a result, I have viewed this film twice this weekend. :) "We all fear death and question our place in the universe. The Artist's job is not to succumb to despair, but to find an antidote for the emptiness of existence! " --Gertrude Stein ------Angel L.
