|
||||||||||||||||||||||||||
 |
 |
|||||||||||||||||||||||||
|
|
|
|||||||||||||||||||||
 |
|
||||||||||||||||||||
| 弗里德里克·肖邦（Fryderyk Chopin 1810-1849） | |||||||||||||||||||||
| 【齐默尔曼】G小调第一叙事曲-Ballade No.1 in G minor ,Op. 23-F.F.肖邦 | |||||||||||||||||||||
|
|
|||||||||||||||||||||
|
音乐历史上的今天
1848年7月10日，“他完成了如此困难的演奏，但却如此平静、如此流畅，伴以万分的优雅精致，使听众们根本没有察觉它们的伟大。”（伦敦《每日新闻》评论萧邦在伦敦举行的最后一场独奏音乐会） |
|
||||||||||||||||||||
 |
|||||||||||||||||||||
| 弗里德里克·肖邦（Fryderyk Chopin） | |||||||||||||||||||||
|
Today in the
history of music On July 10, 1848, "he performed so difficult a performance, yet so calm, so smooth, with such exquisite grace, that the audience did not perceive its greatness."[Chopin's final London recital, reviewed by The Daily News] F.F.Chopin (February 22, 1810 -- October 17, 1849) was the son of a French immigrant who took an active part in the Polish uprising against foreign invasion.Chopin was frail and sickly from an early age, and seemed to have an instinctive quality of sentimentality.Instead of going to school like a normal child, he studied at home until the age of 13.Chopin showed great musical talent from the time he was a child. He began to learn the piano at the age of six and began performing on stage at the age of eight.At the same time, he had begun experimenting with composition, writing a polonaise in G Minor for the piano.When Chopin attended the Warsaw Conservatory of Music between the ages of 16 and 19, the teachers realized that a genius had been born. Chopin's mother was from an aristocratic Polish family. She played the piano and loved to sing Polish folk songs.During his school years and at the Conservatory he often travelled to many parts of Poland during his holidays, carefully observing the various aspects of rural life and listening intently to folk tunes.In his home Chopin was also exposed to many questions about Polish history and literature and art, through lively conversations with visitors from the cultural world.It was in this environment that the music was imprinted on his consciousness year after year. In 1830, with the political situation at home in turmoil, Chopin followed the advice of his teachers and friends and set out on a trip abroad. Shortly after Chopin arrived in Vienna, he heard of Warsaw's November uprising against Imperial Russian rule.So he decided to go to Paris or London.When he passed through Stuttgart in September 1831, he heard the news that Warsaw had fallen back into the hands of the Invading Russian troops, and the failure of the Polish Revolution cut off his route home.In the same month, Chopin arrived in Paris and settled there.Chopin arrived in Paris as a young man in his early 20s, but his musical performances and teaching activities soon opened the way for him, earning him praise from musicians who flocked to Paris at the time, including Liszt and Mendelssohn.In 1834 he travelled along the Rhine with Mendelssohn and others, and later met Schumann in Leipzig.The spiritual influence of the progressive in the literary and art circles opened Chopin's eyes and played a beneficial role in the maturity of his thinking. Today's videos:(1) Zimmerman plays Chopin's First Symphony in G Minor ;(2) Atul Rubinstein plays all Chopin-19 nocturne ;(3) Atul Rubinstein plays Chopin's Nocturne. |
|
||||||||||||||||||||
|
|
|||||||||||||||||||||
 |
|||||||||||||||||||||
| 弗里德里克·肖邦（Fryderyk Chopin)的情人乔治·桑（George Sand） | |||||||||||||||||||||
| 倾听鲁宾斯坦的肖邦《夜曲） | |||||||||||||||||||||
|
四年前一个春天的晚上，我仔仔细细听了鲁宾斯坦弹奏的肖邦《夜曲》。此前听过不少其他版本的片断，这次算是向一座连体建筑整个打量，不是对局部痴迷，为一段优美的旋律引诱。肖邦在1830年20岁时就开始使用这种由英国费尔德确定下来的曲式，到他去世前几年仍断断续续创作，十几年的时间由片断打磨成一部个人的情感圣经。我听到了肖邦变换多个角度夜祷的声音，鲁宾斯坦不染纤尘的琴声刻画出一位月光中的少年。 从资料上看，肖邦的21首夜曲形式上交插、重叠，心情与感受变化，是题赠给多个夫人、少女的作品合集。这种只有浪漫时代爱情骑士才有的创作与表达方法，向不同方向给予自己灵感的女性集体致敬。低音部的和弦形成夜的尘世氛围，高音部的声响似天际的影子高蹈。影与光浮动，呼应完成了感情的上界与下界之间的对话。 记得唱片里那首作于1830年降b小调的夜曲，弥漫夜的静谧，鲁宾斯坦以一种内在控制的气度把持着尘世低音与灵界高音的不同走向。轻松、弹性的琴键伸到了极远的地方，月光的直线深一脚浅一脚地从那儿落下去。与舒伯特即兴曲相仿佛的纯洁、迷幻出现了，却不仅仅是纯洁、迷幻。这是人间的纯洁与迷幻，没有走失，仍在流连。一首首长度适中的曲子为倾听者安排了呼吸的节奏，看不见演奏祭司在用月光催眠。 听了头两张，已经觉出声音时空对现实时空的取代。我从屋子里走到阳台上，看见窗外北京春天难得一见的安静夜晚。一阵并不强烈的风吹出街景，弯曲的路灯在街心公园前一盏一盏地构成线条、序列。下了楼，我到一片居民楼群里散步。以前也有类似听完音乐的夜晚，会为调整心情而观察楼群光影里的形状，从音乐的催眠中苏醒过来。记得一排夜色笼罩的法国梧桐树下，我闻到了挂满尘土的藤条植物发出的青青气味，与头脑里回旋的肖邦《夜曲》连成一片。 “在肖邦的身上，母亲的血统占着优势，他是在自己的音乐中强烈地突出斯拉夫民族因素的第一位伟大的音乐家，从此以后，斯拉夫民族因素归人了欧洲音乐的主流。在肖邦的战争气氛的波洛涅兹中，波兰民族的血液沸腾得格外有力，它们那矫健勇猛而拱起的弦律犹如拱弯的钢条。那骑士般的玛祖卡闪烁着火热而辉煌的姿态；甜蜜的柔情和风趣的卖俏贯穿在圆舞曲之中……他抒发感情有时如魔鬼般神秘莫测，有时又像水妖般地令人销魂，但却永远是心血温暖而慈祥的……他虽在表面上是幸运的宠儿，但实际上，却和他那浪漫主义的许多同代人一样，也是一个饱经苦雉的人。——（保罗·亨利·朗格） 从鲁宾斯坦版的《夜曲》降临，距今已有四个年头。记得当时听完鲁宾斯坦后，很多天我都避免再听其他《夜曲》的版本。这两年听了阿劳庄严、大气的《夜曲》，波里尼清晰、透明与精确的演奏，却怎么也无法替代鲁宾斯坦给我的最初感动。那是一个透明的感情世界的春夜，是一个走远的人的背影。肖邦是一位兄长，从19世纪的巴黎在北京的一角闪现，带走了渐行渐远的春天。 |
|||||||||||||||||||||
|
Listening to
Rubenstein's Chopin Nocturnes One spring evening four years ago, I listened attentively to Chopin's Nocturne, played by Rubinstein.I have heard many other versions of the clip before, but this is a whole view of a conjoined building, not a local obsession, seduced by a beautiful melody.Chopin began using this form, which was established by the English Field in 1830 at the age of 20, and continued to write on and off until a few years before his death, over a decade of piecing together a personal emotional bible.I heard Chopin changing his angles for a vigil, and Rubinstein's unstained harps carved a young man in the moonlight. From the data, Chopin's 21 nocturne forms are inserted and overlaps, and the mood and feeling changes. It is a collection of works given to many ladies and girls.This is the only way to create and express love knights in the romantic era, to pay tribute to the collective inspiration of women from different directions.The chords of the bass form the earthly atmosphere of the night, while the voices of the treble dance like the shadows in the sky.Shadow and light floating, echo completed the feelings between the upper and lower boundaries of the dialogue. I remember the nocturne in B flat minor in 1830, when the stillness of the night pervades, and Rubenstein controls with an inner control the difference between the earthly bass and the spiritual treble.The easy, elastic keys stretched far away, and the straight line of the moon fell, foot by foot.With Schubert impromptu phase as if pure, psychedelic appeared, but not only pure, psychedelic.This is the pure and psychedelic world, not lost, still lingering.Between tracks, the listener will be able to take a breath after a moderate length tune, without the performer being seen hypnotising by moonlight. After listening to the first two pictures, I have sensed the substitution of acoustic space-time for real space-time.I walked from my house to the balcony and looked out the window at a rare quiet spring night in Beijing.A moderate wind blew out the street scene, and the curved street lamps formed lines and sequences one by one in front of the street park.Downstairs, I went for a walk in one of the residential buildings.There were similar nights when I listened to music. I would adjust my mood and observe the shapes in the light and shadow of the building. I would wake up from the hypnosis of music.I remember smelling the green smell of dusty vines under a row of night-shrouded Buttonwood trees and the whirling Chopin nocturne in my head. "In Chopin, the mother's blood was predominant, and he was the first great musician to place the Slavic element so strongly in his music that it later came into the mainstream of European music.In Chopin's warlike Polonetz, the blood of the Polish people boiled with extra vigour, their vigorous and arched chords like arched steel bars.The cavalier Mazurka gleamed in fiery glory;Sweet tenderness and witty flirtation pervade the waltz...His emotions are sometimes as mysterious as the devil, and sometimes as a water demon mesmerizing, but always warm and kind heart...He was in fact, like many of his romantic contemporaries, a man of sorrows."-- Paul Henry Langer Four years have passed since The arrival of Rubenstein's nocturne.After listening to Rubenstein, I remember avoiding other versions of Nocturne for many days.After two years of listening to Arau's solemn and atmospheric nocturne, And Bolini's clear, transparent and precise performance, I could not replace rubenstein's initial feelings for me.It is a transparent feelings of the world of spring night, is a man away from the figure.Chopin was a brother who flashed from a corner of 19th-century Paris to a distant spring in Beijing. |
|||||||||||||||||||||
|
|
|||||||||||||||||||||
 |
|||||||||||||||||||||
| 由奥古斯特·克莱辛格创作的肖邦的左手，1849年，Czartoryski博物馆，照片:Grzegorz Kozakiewicz /论坛 | |||||||||||||||||||||
| Cast of Chopin's left hand by Auguste Clesinger, 1849, Czartoryski Museum, photo: Grzegorz Kozakiewicz / Forum | |||||||||||||||||||||
| 肖邦的手 | |||||||||||||||||||||
|
当天才去世时，有时我们试图剖析是什么使他伟大。对于波兰作曲家弗雷德里克·肖邦来说，重点是他的手。 他于1849年10月17日在巴黎去世，享年39岁，死于一种至今仍有争议的疾病，可能与肺结核有关。在那里，他做了一个作曲家的左手模型和一个死亡面具。维克多·莱德尔在关于肖邦的书中写道，肖邦的双手“异常美丽”，但莱德尔称死亡面具为“可怕的人工制品”，它展示了“一张浮肿的脸，由于用力呼吸而扭曲的嘴，在一个光头下。”显然，这个可怕的东西对肖邦的妹妹来说是如此的震惊，以至于阿斯丁格将它改造成了一个更漂亮的版本，以符合肖邦作为浪漫主义象征的地位。 肖邦的遗体被安葬在巴黎的佩雷-拉查瓦(现在他的遗体被安放在阿斯匹格的纪念碑下，阿斯匹格似乎已倾尽全力使肖邦永世长存)，而他的心脏则被送到华沙的圣十字教堂。然而，他的手却伸得很远。在华沙的肖邦博物馆、巴黎的 浪漫主义生活博物馆、英国的亨特博物馆和美术馆以及瑞士拉珀斯维尔Rapperswil的波兰博物馆，都有它的金属和石膏模型。 肖邦的遗体被安葬在巴黎的佩雷-拉查瓦(现在他的遗体被安放在阿斯匹格的纪念碑下，阿斯匹格似乎已倾尽全力使肖邦永世长存)，而他的心脏则被送到华沙的圣十字教堂。然而，他的手却伸得很远。在华沙的肖邦博物馆、巴黎的罗马生活博物馆、英国的亨特博物馆和美术馆以及瑞士 拉珀斯维尔Rapperswil的波兰博物馆，都有它的金属和石膏模型。 为什么要纠缠于这只手?以这种令人毛骨悚然的方式纪念作曲家在当时并不是没有听说过的，你还可以找到贝多芬和弗朗茨·李斯特的手模。然而，根据所有的报道，肖邦的手是特别的，是他成功的解剖学关键。在《与肖邦弹钢琴》一书中，作曲家斯蒂芬·海勒(Stephen Heller)称赞肖邦纤细的双手“突然张开，覆盖了三分之一的键盘”。就像一条蛇要把一只兔子整个吞下去。据报道，肖邦的学生阿道夫·古特曼(Adolf Gutmann)还说，肖邦的“整个身体都非常灵活”。 撇开狂想曲的语言不谈，也许我们可以从这双传奇的手中学到一些东西，这双手能够在钢琴上以一种无与伦比的速度弯曲。知道在他那萦绕心头的夜曲旋律中，钢琴家们仍在唤起他的灵魂，这是一种美妙的感觉。 |
|||||||||||||||||||||
 |
|||||||||||||||||||||
| 在1945年华沙起义期间，肖邦的心脏被德国军队偷走，之后被送回华沙。照片:FoKa /论坛 | |||||||||||||||||||||
| Chopin's heart being returned to Warsaw, after it was stolen by the German Army during the Warsaw Uprising in 1945. Photo: FoKa / Forum | |||||||||||||||||||||
|
WHEN GENIUS
DIES, SOMETIMES WE TRY to dissect what made a person
great. In the case of Polish composer Frédéric
Chopin, the focus was on his hands. After he died at the age of 39 from a still-debated illness likely related to tuberculosis on October 17, 1849 in Paris, sculptor Auguste Clésinger was rushed to his bed. There he made a cast of the composer’s left hand, and a death mask. According to Victor Lederer’s book on Chopin, Chopin’s hands were “extraordinarily beautiful,” but Lederer calls the death mask a “ghastly artifact” showing “a bloated face, its mouth twisted by the effort to breathe, beneath a bald head.” Apparently this horrid thing was so shocking to Chopin’s sister that Clésinger remade it to be a prettier version of the deceased, to fit with his place as an icon of Romanticism. Chopin’s body was buried in Père-Lachaise in Paris (he can now be found under a monument by Clésinger, who seemed to have given all his skills to a proper immortalization), and his heart was sent to the Church of the Holy Cross in Warsaw. His hand, however, went far. Casts of it can be found in metal and plaster in collections including the Frederick Chopin Museum in Warsaw, the Musée de la Vie Romantique in Paris, the Hunterian Museum and Art Gallery in the UK, and the Polish Museum in Rapperswil, Switzerland. Chopin’s body was buried in Père-Lachaise in Paris (he can now be found under a monument by Clésinger, who seemed to have given all his skills to a proper immortalization), and his heart was sent to the Church of the Holy Cross in Warsaw. His hand, however, went far. Casts of it can be found in metal and plaster in collections including the Frederick Chopin Museum in Warsaw, the Musée de la Vie Romantique in Paris, the Hunterian Museum and Art Gallery in the UK, and the Polish Museum in Rapperswil, Switzerland. Why obsess over this hand? It wasn’t unheard of at the time to commemorate composers in this rather macabre way, and you can also find casts of the hands of Beethoven and Franz Liszt. However, by all reports Chopin’s hands were special, and an anatomical key to his success. In At the Piano with Chopin, composer Stephen Heller is cited as extolling how Chopin’s slim hands would “suddenly expand and cover a third of the keyboard. It was like the opening of the mouth of a serpent about to swallow a rabbit whole.” A student, Adolf Gutmann, also reportedly said Chopin’s “whole body was extraordinarily flexible.” Rhapsodic language aside, maybe there is something to be learned from looking at those legendary hands, able to bend across the piano in an unparalleled flow of movement. And there’s something beautiful in knowing that in the haunting melodies of his nocturnes, pianists are still evoking his ghost. |
|||||||||||||||||||||
 |
|||||||||||||||||||||
| 吉里德里克·肖邦（Fryderyk Chopin)钢琴曲手稿 | |||||||||||||||||||||
| 肖邦与钢琴技术的发展 | |||||||||||||||||||||
|
在钢琴技术的历史上，有两个名字至关重要：肖邦和李斯特。他们都有相似的钢琴背景——切尔尼、赫梅尔和他的乐队的古典健美操，鳞片的肉和琶音的土豆——但是年轻的李斯特被帕格尼尼的杂技表演弄得眼花缭乱，而肖邦则被贝里尼甜美忧郁的美声唱腔弄得晕头晕脑。如果李斯特
，在他的早期歌剧的迂回和练习曲,看起来像参孙压低支柱,导致整个寺庙传统钢琴演奏技巧的暴跌瀑布下降的成形，钢琴弦颤抖,肖邦更像所罗门伸出一示巴女王更奇特的香水
，鼻孔与醉人的颤抖,兴奋的和声。 “伸出”这个比喻并不是随意选择的，因为正是在这一点上，我们可以追溯肖邦的独特贡献。肖邦的键盘新方法的一个被广泛引用和经典的例子是op. 10的第一首练习曲(该套是专门为李斯特)。在这里，这个覆盖了一个八度音程的琶音音型(覆盖了当时无数页的钢琴曲)被延长了两个音符到十分之一，这需要一种新的旋转技术。从字面上说，它变成了“more than a handful”。不再只有手指就足以完成这一过程;必须使用手腕和手臂，因此肖邦用“肘部”的方式来实现钢琴演奏的全新全景。练习曲中的例子是如此之多，因为他们都是惊人的创新，每一个作品似乎打开了一个新的篇章，探索的冒险，从来没有一个模式重复，这就是他的发明的丰富性。“黑键”练习曲(第五首)强迫演奏者在键盘上采用新的手的位置。早期的钢琴家所青睐的狭窄卷曲的手指不可能在狭窄的黑琴键上演奏出更长的乐章 ；一个人必须发展一个更流畅，更平坦的手指位置。有趣的是，肖邦喜欢用B大调(包含大部分黑键)而不是通常的C大调来帮助他的学生从一开始就发展这种手型。A小调的第二首练习曲在三个柔弱的手指间低语着它的半音阶秘密，发展出独立性、力量和灵活的连奏。在op. 25系列练习曲中，这种漫溢的创造性继续存在。八度练习曲(no。10)提出连奏八度的概念，如歌般的八度;“double-thirds”练习曲(no。6)采用作曲家提供的新的“滑动”指法;《冬天的风》练习曲(第11首)在旋转技术上又进了一步，锋利的锯齿状线条将键盘撕成半色带。 然而，肖邦惊人的键盘创新是不可想象的没有他的和声发展。这不仅仅是因为他把汉默尔的作品延伸成更优美的形状(尽管我们不能忘记后者的巨大影响，尤其是在协奏曲中);然而，汉默尔似乎对石碳酸皂的精湛技艺感到满意——干净、清新、冒泡，带着清新的愉悦感——肖邦则倾向于在他的乐曲中涂抹罕见的油和香水。对这两位作曲家的协奏曲展开部分的比较，在这样的背景下具有很强的启示意义。人们的第一反应是惊讶于肖邦对胡梅尔的感激之情;但仔细一看，汉默似乎只是一只毛毛虫，在适当的时候，它能让肖邦飞过琴键，蝴蝶的翅膀落在最芬芳的花朵上。后一位作曲家添加了香料，这些香料不仅增加了风味，而且几乎像酵母一样发酵——调和的汁液深深地沉在精湛技艺的表面之下，给它带来了一种新的身份。一个例子是B小调的第一个谐谑曲，在这个谐谑曲中，形象、旋律和和声似乎在激情的旋风中相遇。类似的例子有很多(例如，第1、2、4首叙事诗的尾曲;降B小调前奏曲op 28;在第三个谐谑曲的结尾)，这三个品质就像三位一体(一个本性，三个人)融合了一个意志。这也是特征，这些例子是典型的钢琴，非常生动的气息。试着想象他们为另一种乐器或在一个交响版本，他们的存在将从你的视线中消失。 由于贝利尼早期的影响，一种“歌唱”的方式在键盘上，抒情和花腔，是必不可少的所有肖邦的音乐。仅仅“摇出”音符是远远不够的，即使是在他最杰出的作品中;每个短语都必须来自喉咙和肺部，就像来自手指和手臂一样。的确，有人说，即使是练习曲，真正的困难也在于伴奏的材料，通常是左手。这是真正意义上的技术。踩踏板、调音、发声——在这方面肖邦也是伟大的创新者。当然，这些品质在早期的钢琴作品中都是必须的，但是肖邦所引入的优雅水平却似乎是一个全新的世界。例如，在踏板之前有一个主要的功能用途，-填充纹理和帮助连奏-现在他们成为工具的无限细微差别。肖邦的对位也更具体地揭示了钢琴的发展。内心的声音被强调，并不像巴赫或贝多芬那样，仅仅因为它们的旋律或主题的重要性，而是因为它们为和声镜头提供了有色滤镜。我们可以看出，肖邦的作品在钢琴和音乐上的这些突破是紧密相连的。他编织了一件天衣无缝的衣服，并将其传递给大多数继他之后试图为钢琴作曲的作曲家，但很少有人会穿出这样的风格或优雅。 对于一个为如此有限的力量作曲的作曲家来说——他所写的一切都包括一个杰出的钢琴部分——他的天才就更加非凡了。李斯特的国际表演生涯、长寿的一生、健康的身体、良好的社会关系、宽广的知识面、闪亮的眼睛，没有李斯特的超凡个性的帮助，肖邦凭借其作品的品质和独创性，就能以一种强烈的方式把他的乐器与他的乐器联系起来。这是一场婚姻，两个人真正合二为一。当任何人演奏肖邦的时候，他的手都反射在钢琴的落地板上。在一个钢琴独奏据说正在衰落的时代，或者乐观地说，正在遭受健康问题的折磨，很显然，肖邦的节目仍然能给观众带来票房收入。 |
|||||||||||||||||||||
 |
|||||||||||||||||||||
| 《肖邦之死》，作者:Felix-Joseph Barrios, 1885年，布面油画，Czartoryski博物馆，图片:Grzegorz Kozakiewicz /论坛 ‘ | |||||||||||||||||||||
| ‘The Death of Chopin’ by Felix-Joseph Barrios, 1885, oil on canvas, Czartoryski Museum, photo: Grzegorz Kozakiewicz / Forum | |||||||||||||||||||||
 |
|||||||||||||||||||||
| 华沙奥斯特罗格斯基宫——肖邦协会，肖邦国际基金会所在地，肖邦博物馆也设在这里。 | |||||||||||||||||||||
| Ostrowski Palace, Warsaw -- Home to the Chopin Institute, the Chopin International Foundation, and the Chopin Museum. | |||||||||||||||||||||
|
弗雷德里克·肖邦博物馆 如果你喜欢古典音乐，这是你应该去的地方。我个人对它并不感兴趣，但我了解肖邦和他的一些著名歌曲，所以试着去博物馆参观:我没有失望。这个博物馆是现代的，有一些互动的部分，以及大量关于肖邦个人生活的收藏。如果你喜欢肖邦的音乐，你一定要参观这个博物馆。 |
|||||||||||||||||||||
|
Frederic Chopin Museum If you like classical music, this is the place to go. I wasn't personally interested in it, but I knew Chopin and some of his famous songs, so tried visiting the museum: I wasn't disappointed. The museum is modern and has some interactive sections, as well as a large collection on Chopin's personal life. If you like Chopin's music, you must visit this museum. |
|||||||||||||||||||||
|
|
|||||||||||||||||||||
| 肖邦-19首夜曲【阿图尔·鲁宾斯坦】(立体声1965) | |||||||||||||||||||||
|
n°1 降b小调夜曲 Op.9/1 (00:00) n°2 降E大调夜曲 Op.9/2 (05:28) n°3 B大调夜曲 Op.9/3 (09:54) n°4 F大调夜曲 Op.15/1 (16:41) n°5 升F大调夜曲 Op.15/2 (21:01) n°6 g小调夜曲 Op. 15/3 (24:57) n°7 升c小调夜曲 Op.27/1 (30:00) n°8 降D大调夜曲 Op.27/2 (35:38) n°9 B大调夜曲 Op.32/1 (41:51) n°10 降A大调夜曲 Op.32/2 (46:33) n°11 g小调夜曲 Op.37/1 (52:18) n°12 G大调夜曲 Op.37/2 (58:37) n°13 c小调夜曲 Op.48/1 (1:05:29) n°14 升f小调夜曲 Op. 48/2 (1:11:21) n°15 f小调夜曲 Op. 55/1 (1:18:39) n°16 降E大调夜曲 Op.55/2 (1:24:20) n°17 B大调夜曲 Op.62/1 (1:30:09) n°18 E大调夜曲 Op.62/2 (1:36:59) n°19 e小调夜曲 OP.72/1 (1:42:17) |
|||||||||||||||||||||
|
Nocturne in N °1 In
B Flat Minor, Op.9/1 (00:00) Nocturne in N °2 E Flat Major, Op.9/2 (05:28) Nocturne in N °3 B Major op. 9/3 (09:54) Nocturne in N °4 F Major, Op.15/1 (16:41) Nocturne in N °5 Sharp F Major, Op.15/2 (21:01) Nocturne in N ° 6g Minor, Op. 15/3 (24:57) Nocturne in N °7 Litre C Minor, Op.27/1 (30:00) Nocturne in N °8 D Flat Major, Op.27/2 (35:38) Nocturne in N °9 B Major, Op.32/1 (41:51) Nocturne in N °10 A Flat Major, Op.32/2 (46:33) Nocturne in N °11 G Minor, Op.37/1 (52:18) Nocturne in N °12 G Major, Op.37/2 (58:37) Nocturne in N °13 C Minor, Op.48/1 (1:05:29) Nocturne in N °14 F Sharp Minor, Op. 48/2 (1:11:21) Nocturne in N °15 F Minor, Op. 55/1 (1:18:39) Nocturne in N °16 E Flat Major, Op.55/2 (1:24:20) Nocturne in N °17 B Major, Op.62/1 (1:30:09) Nocturne in N °18 E Major, Op.62/2 (1:36:59) Nocturne in N °19 E Minor, Op. 72/1 (1:42:17) |
|||||||||||||||||||||
| 肖邦：夜曲（钢琴巨匠鲁宾斯坦演奏） | |||||||||||||||||||||
Arthur Rubinstein plays Chopin Nocturnes |
|||||||||||||||||||||
|
|
|||||||||||||||||||||
| 未得原作者编者授权严禁转载www.mt77.com任何内容 | |||||||||||||||||||||
|
|
|
||||||
|
copyright © 2003-2005 xilu.com all rights reserved. |
||||||
|
|
||||||
