關於 modern composers ，我們在網路上蒐集到這些相關的討論、資訊與評價

【終於可以開放場地實體進行我下星期一的演出啦！】

歡迎大家於下星期一 (10月5日)，下午1:30分瀏覽以下網頁 http://www.news.ccc.cuhk.edu.hk/middayoasis/ 網上觀賞，或親臨崇基學院禮拜堂欣賞「午間心靈綠洲」音樂會！

午間爵士與福音音樂
日期：十月五日 (星期一)
時間：下午1:30 – 1:55分
地點： 崇基學院禮拜堂
表演者 : 鍾一諾教授 (聲樂) 、Jezrael Lucero (鋼琴)

A Jazzy Afternoon of Gospel
Date: October 5 (Monday)
Time: 1:30pm-1:55pm
Venue: Chung Chi College Chapel
Performers: Prof. Roger Chung (Voice), Jezrael Lucero (Piano)
----------------------------------------------------------
注意事項：
* 觀眾需於禮拜堂入口量度體溫。如額溫為37.5℃或以上，將不能進入禮拜堂。
* 觀眾需於入場時消毒雙手。
* 觀眾需於禮拜堂內全時間佩戴口罩。
* 觀眾需於禮拜堂入口登記姓名及聯絡方法。

Please beware:
* Temperature check is required at the entrance. If an audience’s forehead temperature is above 37.5°C, admittance would be declined.
* Hands must be disinfected at the entrance.
* Wearing face mask is required throughout all time at the venue.
* Audience must register and leave their contacts at the entrance.
----------------------------------------------------------

簡介：
音樂會將會由屢獲「CASH金帆音樂獎」的著名歌手、「鍾氏兄弟」成員兼中大醫學院教授鍾一諾，聯同天才鋼琴家Jezrael Lucero 為大家送上不同時代及風格的詩歌、爵士與福音音樂。

鍾一諾教授是香港著名音樂人、歌手、監製、作曲人、填詞人、電台主持；與其兄鍾一匡組成的「鍾氏兄弟」是一個在香港獲獎無數的音樂組合；他亦積極參於音樂推廣及教育活動，尤對爵士與福音音樂影響深遠。2012年，「鍾氏兄弟」榮獲華語金曲獎「年度最佳爵士藝人」獎項、2014年獲華語音樂傳媒大獎「最佳組合」、2014年CASH金帆音樂獎「CASH最佳歌曲大獎」、「最佳歌詞」、「最佳合唱演繹」（與大AL、梁球合唱）等殊榮。鍾一諾亦曾四度榮獲CASH金帆音樂獎「最佳旋律」大獎提名，包括：2011年的《朋友。愛》（與吳秉堅合寫）、2013年的《驚動創造》、2014年的《時代的顛覆者》以及2015年的《未種的花》。「鍾氏兄弟」也是著名唱片監製，曾監製過的歌手／音樂人包括世界聞名的七屆格林美得主美國福音音樂教父Andraé Crouch與時代曲一代歌后姚莉等等。2019年，鍾一諾教授出版首張個人專輯《Song Book 歌集》，以歌聲／鋼琴爵士二重奏的風格重新演繹12位香港作曲家的作品，並獲2019年CASH金帆音樂獎三項提名，包括「最佳歌詞」、「最佳編曲」及「最佳男歌手演繹」。

被譽為「當代莫扎特」，Jezrael Lucero 是一位失明的天才鋼琴家，精通各種音樂流派，包括爵士、藍調、節奏藍調、福音音樂、拉丁音樂、古巴音樂、鄉村音樂、流行和古典音樂。 定居香港後，他迅速成為本地現場音樂表演的常客，又為多位著名流行歌手錄音和編曲，其中包括樂壇天后林憶蓮、節奏藍調歌手方大同和屢獲殊榮的「鍾氏兄弟」。《Song Book 歌集》是首張Jezrael 以鋼琴家和編曲家身份製作的專輯，並是他與鍾一諾教授首次聯合
監製。

Program Description:
We have prepared a Jazzy Afternoon for you next Monday (Oct 5)! Visit this website http://www.news.ccc.cuhk.edu.hk/middayoasis/ at 1:30pm, or come to Chung Chi College Chapel and enjoy a wonderful Midday Oasis performance by multi-award winning vocalist Professor Roger Chung & virtuoso pianist Jezrael Lucero. The duo will perform jazz, gospel and hymns from around the world, classic and modern.

Professor Roger Chung, PhD, is a recording artist, producer, composer, lyricist, radio host, and music educator. The Chung Brothers, formed with his brother, is a celebrated musical duo with considerable influence in jazz and gospel music. They were named “The Best Jazz Artists” by the Chinese Music Awards, “The Best Group of the Year” by the Chinese Music Media Awards, and three-time winners of Hong Kong’s prestigious “Composers and Authors Society of Hong Kong (CASH) Golden Sail Music Awards.” He has collaborated with multiple-Grammy winning gospel legend Andrae Crouch, legendary Shanghai Diva Yao Lee, among others. “Song Book,” Chung’s first debut album as a solo jazz vocalist, is one of the best-selling albums in 2019.

Hailed as a “contemporary Mozart” by the Filipino media, Jezrael Lucero is a blind piano prodigy whose mastery of the instrument span across all different types of musical genres, including jazz, blues, R&B, gospel, latin, afro-cuban, country, pop and classical. Upon arrival in Hong Kong, he quickly became a tour de force in the local live music scene, and participated in recordings and arrangement works of major pop artists, including diva Sandy Lam, R&B boy of wonder Khalil Fong, and the award-winning gospel-blues group the Chung Brothers. “Song Book” is the first album that features Jezrael Lucero as a pianist and arranger at the forefront, and marks his first collaboration with Roger Chung as a co-producer.

----------------------------------------------------------
“ 停一停，想一想，再重新出發 …”
“Pause and ponder, as we depart…”

Chung Chi Chaplaincy 崇基學院校牧室
Roger Chung 鍾一諾
Jezrael Lucero

【終於可以開放場地實體進行我下星期一的演出啦！】

歡迎大家於下星期一 (10月5日)，下午1:30分瀏覽以下網頁 http://www.news.ccc.cuhk.edu.hk/middayoasis/ 網上觀賞，或親臨崇基學院禮拜堂欣賞「午間心靈綠洲」音樂會！

午間爵士與福音音樂
日期：十月五日 (星期一)
時間：下午1:30 – 1:55分
地點： 崇基學院禮拜堂
表演者 : 鍾一諾教授 (聲樂) 、Jezrael Lucero (鋼琴)

A Jazzy Afternoon of Gospel
Date: October 5 (Monday)
Time: 1:30pm-1:55pm
Venue: Chung Chi College Chapel
Performers: Prof. Roger Chung (Voice), Jezrael Lucero (Piano)
----------------------------------------------------------
注意事項：
* 觀眾需於禮拜堂入口量度體溫。如額溫為37.5℃或以上，將不能進入禮拜堂。
* 觀眾需於入場時消毒雙手。
* 觀眾需於禮拜堂內全時間佩戴口罩。
* 觀眾需於禮拜堂入口登記姓名及聯絡方法。

Please beware:
* Temperature check is required at the entrance. If an audience’s forehead temperature is above 37.5°C, admittance would be declined.
* Hands must be disinfected at the entrance.
* Wearing face mask is required throughout all time at the venue.
* Audience must register and leave their contacts at the entrance.
----------------------------------------------------------

簡介：
音樂會將會由屢獲「CASH金帆音樂獎」的著名歌手、「鍾氏兄弟」成員兼中大醫學院教授鍾一諾，聯同天才鋼琴家Jezrael Lucero 為大家送上不同時代及風格的詩歌、爵士與福音音樂。

鍾一諾教授是香港著名音樂人、歌手、監製、作曲人、填詞人、電台主持；與其兄鍾一匡組成的「鍾氏兄弟」是一個在香港獲獎無數的音樂組合；他亦積極參於音樂推廣及教育活動，尤對爵士與福音音樂影響深遠。2012年，「鍾氏兄弟」榮獲華語金曲獎「年度最佳爵士藝人」獎項、2014年獲華語音樂傳媒大獎「最佳組合」、2014年CASH金帆音樂獎「CASH最佳歌曲大獎」、「最佳歌詞」、「最佳合唱演繹」（與大AL、梁球合唱）等殊榮。鍾一諾亦曾四度榮獲CASH金帆音樂獎「最佳旋律」大獎提名，包括：2011年的《朋友。愛》（與吳秉堅合寫）、2013年的《驚動創造》、2014年的《時代的顛覆者》以及2015年的《未種的花》。「鍾氏兄弟」也是著名唱片監製，曾監製過的歌手／音樂人包括世界聞名的七屆格林美得主美國福音音樂教父Andraé Crouch與時代曲一代歌后姚莉等等。2019年，鍾一諾教授出版首張個人專輯《Song Book 歌集》，以歌聲／鋼琴爵士二重奏的風格重新演繹12位香港作曲家的作品，並獲2019年CASH金帆音樂獎三項提名，包括「最佳歌詞」、「最佳編曲」及「最佳男歌手演繹」。

被譽為「當代莫扎特」，Jezrael Lucero 是一位失明的天才鋼琴家，精通各種音樂流派，包括爵士、藍調、節奏藍調、福音音樂、拉丁音樂、古巴音樂、鄉村音樂、流行和古典音樂。 定居香港後，他迅速成為本地現場音樂表演的常客，又為多位著名流行歌手錄音和編曲，其中包括樂壇天后林憶蓮、節奏藍調歌手方大同和屢獲殊榮的「鍾氏兄弟」。《Song Book 歌集》是首張Jezrael 以鋼琴家和編曲家身份製作的專輯，並是他與鍾一諾教授首次聯合
監製。

Program Description:
We have prepared a Jazzy Afternoon for you next Monday (Oct 5)! Visit this website http://www.news.ccc.cuhk.edu.hk/middayoasis/ at 1:30pm, or come to Chung Chi College Chapel and enjoy a wonderful Midday Oasis performance by multi-award winning vocalist Professor Roger Chung & virtuoso pianist Jezrael Lucero. The duo will perform jazz, gospel and hymns from around the world, classic and modern.

Professor Roger Chung, PhD, is a recording artist, producer, composer, lyricist, radio host, and music educator. The Chung Brothers, formed with his brother, is a celebrated musical duo with considerable influence in jazz and gospel music. They were named “The Best Jazz Artists” by the Chinese Music Awards, “The Best Group of the Year” by the Chinese Music Media Awards, and three-time winners of Hong Kong’s prestigious “Composers and Authors Society of Hong Kong (CASH) Golden Sail Music Awards.” He has collaborated with multiple-Grammy winning gospel legend Andrae Crouch, legendary Shanghai Diva Yao Lee, among others. “Song Book,” Chung’s first debut album as a solo jazz vocalist, is one of the best-selling albums in 2019.

Hailed as a “contemporary Mozart” by the Filipino media, Jezrael Lucero is a blind piano prodigy whose mastery of the instrument span across all different types of musical genres, including jazz, blues, R&B, gospel, latin, afro-cuban, country, pop and classical. Upon arrival in Hong Kong, he quickly became a tour de force in the local live music scene, and participated in recordings and arrangement works of major pop artists, including diva Sandy Lam, R&B boy of wonder Khalil Fong, and the award-winning gospel-blues group the Chung Brothers. “Song Book” is the first album that features Jezrael Lucero as a pianist and arranger at the forefront, and marks his first collaboration with Roger Chung as a co-producer.

----------------------------------------------------------
“ 停一停，想一想，再重新出發 …”
“Pause and ponder, as we depart…”

Jezrael Lucero
Chung Chi College Chapel, the Chinese University of Hong Kong
Pele Ko

🎹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.”