《我的幸福5/2 週末》
*週日下午兩點誠品信義書店「廿世紀典範人物」新書分享會,我下午二時開始演講,離上次在台灣大學公開演説。快半年了!分享會報名一小時預告已額滿,但TVBS電視台慷慨的支持。派出SNG車,屆時TVBS文茜的世界周報YouTube 及世界周報Facebook 都將同步直播。
*新書分享會後我將直奔高雄衛武營,參加劉孟捷(李斯特巡禮之年)鋼琴獨奏會。這是劉孟捷回台,最重要的一場音樂會,我目睹他用盡了一切心力。過去即使21歲時在費城代打缺席大師的音樂會,劉孟捷都未曾如此緊張。他此次回台,手術前為了沒有遺憾,共舉行三場音樂會:其中4/17與5/30皆是與國家交響樂團NSO合作:530那一場指揮是呂紹嘉。但他告訴我,某些曲目對他而言,是Piece of Cake :惟獨衞武營這一場,曲目由他自己決定,現場錄影,並且找了金曲獎錄音師同步錄音。
5/2衛武營-劉孟捷鋼琴獨奏會《李斯特巡禮之年》購票連結
https://www.opentix.life/event/1384752689074294784
劉夢捷明白他即將面對一個大手術,手術風險之外,他的免疫系統疾病,將使他的康復之路更長。
沒有人可以預知未來,為了圓他的夢,醫院每天都要求他早上、晚上量血壓,報告直接傳給院長。振興醫院院長魏崢雖然是亞洲第一把心臟外科醫師,但也不敢大意。
畢竟這個人的生命那麼脆弱,他的心臟主動脈剝離,那是實質的「心碎」了:但他仍有詩,仍有音樂夢。在生命的交接處,在白日與黑夜的交义口,劉孟捷想為他的音樂生涯,留下最美好的紀錄。
他選擇了李斯特。
在這場音樂會前,他甚至以英文寫下了自己與音樂、疾病的半生回顧:如李斯特的巡禮,有仰望,有沉思,有失落,有幽微的疼痛。他以詩篇般的演奏模式,傾訴,詠嘆。他曾得到天賦,也走過死蔭的幽谷。命運是一層又一層的黑影逼近,老天爺隨時想帶走他。
而他已不再流淚,不再沉浸於悲愴告別:因為對他而言活著並不容易,他要讓自己更深刻的抓住每一分時光之美。
如果時間和空間,正如哲人們所形容的
都是不實際存在的東西:那從不感到衰敗的太陽,也不會比我們了不起多少!
他如艾略特的詩句中所形容的:我們為什麼要如此貪心總在祈禱,想活上整整一個世紀?
蝴蝶雖僅活了一天,已經歷了永恆。
當他的身軀如露水還在藤蔓顫抖時,他送給我們一場「完全浪漫又超技的李斯特」。
等音樂會結束了,至少有一張CD,一段YouTube 影像:不論孟捷代表生命的那朵鮮花是否枯萎,他彈奏如天使的音聲不會飛離,它會停留在那夜,繼續釋放芬芳。
這是盡生命之力、之情獨奏的音樂會。劉孟捷説:這樣當他走進手術室時,會少一點悲傷。
或許快樂的日子本來就不多,但讓這場「完全李斯特.完全劉孟捷」的獨奏會放出神聖的光彩吧!
我必將赴會,不會錯過!我知道此刻的獨奏會,很難複製,因為它綜合了太多的情感、愛念,釋放與生命的抒情。
*劉孟捷為此次獨奏會寫下的文字:This past year has seen some unprecedented changes in the world. Many lives have been lost and many have changed. The world has changed while many of us confront the uncertainty of the future.
For most musicians, life has changed. For months, we have been conducting our lessons online, and concerts have mostly stopped or become an online experience as well. More time has been spent learning how to improve the online teaching experience than one could have imagined. While I have felt the duty to continue teaching, the format the pandemic requires for teaching leaves me unwilling to spend more time than I have to.
And truly, I have had other things to deal with. When the pandemic started to worry the American public in March, I was in the middle of a tour with the String Quartet-in-Residence at Curtis, the Vera Quartet. However, our concerts were canceled, and everything came to a sudden halt.
I felt the universe had sent me an unexpected gift, as I had also just received some terrible news concerning my worsening aortic arches and a diagnosis of kidney cancer. The sudden halt in my professional schedule seemed perfect in its timing. I was able to settle into a monastic existence, to simply practice and attempt to heal.
I see many musicians itching to be concertizing again, and many stepped into new territory, performing on the internet. Many took time to develop new podcasts, and to write new materials for their art. Sadly, many have struggled as they have fallen into desperation without any concert incomes. Altogether the music industry seems to be in peril, and many worry about how music and musicians will survive.
However, I had my own survival to think about. Having been through many difficult experiences in my life, I knew this might be the most difficult I would encounter. My Doctors describe me as a walking time bomb. My condition could be lethal at any moment if my blood pressure gets out of control. So while others wrestle with the fate of the music industry, I’ve needed to face my own fate and mortality.
Playing concerts can mean many things to people. At different times throughout my life, I’ve felt the need to express different aspects of myself. When I was young, I wanted to embody the spirit of romanticism, playing lots of Chopin and Schumann. Then there was a period of time when I wanted to challenge myself by showing off pyrotechnics. I had a brooding period where I turned to the pathos of Rachmaninoff, and then felt the need to return to the purity of Schubert and nobility of Brahms. Throughout this pandemic, I wanted to play Bach. Through Bach’s music I found a kind of spiritual sanctuary.
In considering the program for this concert, I felt again the urge to play music that reflects my current feelings and state of mind. The title of today’s recital, “Years of Pilgrimage” seems to fit exactly what I am experiencing.
Liszt wrote several volumes of “Années de pèlerinage” throughout his life to reflect on thoughts he had during his travels. He links his philosophical thoughts to the scenery which inspired them. “Au Bord d’un Source” describes feelings of rejuvenation while standing next to a clear stream of water, a symbol and source of life and energy. It seems to say, when the stream is so pure, life can be so full of joy.
In the Les jeux d'eaux à la Villa d'Este (The Fountains of the Villa d'Este), the water has a magical and supernatural quality, as Liszt himself wrote in the inscription: "But the water that I shall give him shall become in him a well of water springing up into eternal life,"( from the Gospel of John.)
For me, I have never felt more connected to Liszt than when he looked upon the valley of Obermann and questioned the meaning of existence. At this moment in my life, I often find myself reflecting my experiences of what I see and read into philosophical musings. Perhaps many people come to a time when this is so.
In all this I have felt gratitude for the love stories and sonnets that one can romantically indulge in, and for storms so violent that they threaten to destroy one’s spirit, even the hell-bound journey which brings up questions about the purpose of life…
On this journey, I felt full and alive as a human being. Looking back on this journey, I am grateful for everything, whether happy or sad, to have made an impact, found and imparted meaning to this life.
The unusual time of this pandemic has marked a milestone for me. I have journeyed back home, and as it happened, this is the first time I have spent so much time in my hometown Kaohsiung in over 35 years. It’s particularly nostalgic to play these pieces as some of them were significant in my early musical career. Vallée d’Obermann was the piece I played in my first competition at the junior high school level, in which I won first prize on the national level, which allowed me to be qualified to apply for a special permission to study abroad. This meant my dream to be educated as a musician could be continued in an environment where I could develop fully. In the following year when I was 13, I won the first Asia-Pacific Youth PIano Competition with the Dante Sonata. The competition catapulted me into national attention as I was headlined in several newspapers, and especially since it was held in Kaohsiung, I became a local hero as well. During the same event, I had a fateful meeting with one of the important influences in my life, Mr. Gary Graffman, who then mentored me throughout not only the years when I was studying at Curtis, but throughout my illness and recovery as a pianist. Right before I departed to study in Philadelphia, I played my first solo recital throughout Taiwan, and along with the Dante Sonata, I also performed the three sonnets.
It’s perfect that now, back in Kaohsiung, all these memories have flooded back into my head. I feel so lucky to have been born here, and to have met my first teacher, Chin-Li Lee, who inspired me on the path to become a musician. Prof. Alexander Sung filled me with dreams of becoming an artist. I am grateful for his belief in my talent, when he chose to give a 12 year old such philosophical pieces to play.
Having once again spent some months in Kaohsiung, I can freshly appreciate the source of inspiration it once was for me. I have returned to the source to heal. Having already glimpsed hell’s gate several times, battered and weathered by the storms of life, I know there is a reason life is this way, and it all will be alright.
Meng-Chieh Liu
April, 2021
*劉孟捷衛武營《李斯特巡禮之年》演奏會中,包括李斯特以佩脫拉克三首情詩譜寫的鋼琴琴詩:這三首情詩是從大詩人佩脫拉克一百多首情詩挑出來的,詩本身就很優美,依此激發李斯特的浪漫主義創作靈感,成為琴藝上最困難演奏,但也特別細膩溫柔的琴詩。
這三首分別是:
〈佩脫拉克第47號十四行詩〉〈佩脫拉克第104號十四行詩〉及〈佩脫拉克第123號十四行詩〉。
Franz Liszt(1811-1886): Sonetto 47 del Petrarca, Sonetto 104 del Petrarca, Sonetto 123 del Petrarca, from Années de pèlerinage, Deuxième année: Italie
李斯特於1846年先出版藝術歌曲《三首佩脫拉克十四行詩》(Tre sonetti del Petrarca),再改成鋼琴獨奏版。
三首佩脫拉克十四行詩
中譯:焦元溥(元溥也是友情贊助,特別準備音樂資料,周日南下,聆賞劉孟捷的樂曲,並且陪同他盯著錄音共三天)
〈第47〉
祝福每天、每月、每年,
所有片刻與鐘點、時間與季節,
在那美麗的原野,
我為一雙眼眸魂縈夢牽。
祝福初遇時的甜,
與愛同在、受苦不停歇,
如弓箭刺穿令我淌血,
傷口永留感動在我心間。
祝福一切我發出的聲音,
當呼喚著我深愛的女郎,
渴望、嘆息、淚濕滿襟。
祝福我寫下的文字遠揚,
歌頌她的芳名,萬古長新。
我心永屬於她,無人能闖。
〈第104〉
我找不到和平,也無意打仗,
我恐懼、我期望,燃燒又冰透。
我向天飛升,卻躺在地上,
我一無所有,卻又擁抱整個宇宙。
我身陷囹圄,監牢又開敞;
我不受囚禁,卻銬著鎖頭。
愛情不讓我死,也不讓我飛翔;
不要我活,也不准我逃離悲愁。
欲看卻無眼,啞口還在發言,
我甘心殞滅,卻仍高聲呼救,
我痛恨自己,但仍愛著他人。
憂傷滋潤我,淚水伴隨笑臉,
生命不足惜,死亡也不煩憂;
我淪落至此,都是妳啊,我的愛人!
〈第123〉
我在塵世見到仙子的美,
她天堂般優雅無與倫比。
想起她讓我悲傷又歡喜,
所見如幻夢迷霧與幽黑。
妳的可愛眼睛使我落淚,
多少次讓太陽也要妒忌。
我還聽到四周發出嘆息,
移動了山嶽停止了河水。
愛情智慧憐憫憂傷財富,
在淚水中形成甜美聲響,
奇妙和諧世上未曾目睹。
天堂追隨著音樂的流淌,
雖然枝上樹葉並未飛舞,
空氣與風息卻充滿芬芳。
5/2衛武營-劉孟捷鋼琴獨奏會《李斯特巡禮之年》購票連結
https://www.opentix.life/event/1384752689074294784
同時也有5部Youtube影片,追蹤數超過257萬的網紅Nur Amira Syahira,也在其Youtube影片中提到,Drum Solo by Nur Amira Syahira 12 years old. Thanks for watching. SUBSCRIBE yaa.. https://www.facebook.com/amiradrummer -~-~~-~~~-~~-~- I do not own...
「how to become a solo artist」的推薦目錄:
- 關於how to become a solo artist 在 文茜的世界周報 Sisy's World News Facebook 的最讚貼文
- 關於how to become a solo artist 在 KIVΛ Facebook 的精選貼文
- 關於how to become a solo artist 在 EXILE NESMITH on the House Facebook 的精選貼文
- 關於how to become a solo artist 在 Nur Amira Syahira Youtube 的最佳解答
- 關於how to become a solo artist 在 Nur Amira Syahira Youtube 的最佳解答
- 關於how to become a solo artist 在 Nur Amira Syahira Youtube 的最佳貼文
how to become a solo artist 在 KIVΛ Facebook 的精選貼文
Hello. I am KIVΛ.
Over the past 3 years, I have been working under Rayark Inc. on the rhythm game title 《Cytus II》 as Sound Director, as well as music and sound effects production, together with story design and a portion of motion design. In June last year, I found myself going into different paths with the company, so I left the position as regular staff member, but continued to work with the remainder of the project until version 3.0, where the story finally reaches the finale, so did my journey and objectives for this game development journey. Having this opportunity, I would like to share some of my thoughts regarding this epilogue.
Since I joined this project, the focus of design has always been the joint experience of story and music. With the story reaching the end, I would like to potrait the overall ambient to be more film-like, which players might experience the tension of the climax through music. Having such thoughts, I was determined to unify the music genre in 3.0 as film-score like, blending in motifs from song lineup of each and every game character. I am totally aware that level design for symphonic music is difficult, especially in emphasizing the groove like how it was usually done in electronic music. I want to thank all level designers for their hard work in overcoming such challenges.
The epic vibe from combining contemporary electronic and symphonic music is something that I always wanted to attempt for, and in my previous works there has been appearance of such sound elements, but by using only virtual instruments it might just not reaching my expected result. I want to thank Rayark for being so generous to provide all the support, making the symphonic recording come true.
Having such opportunity, I went for two of my friends who I have never work together with: Shao-ting Sun, a recording engineer in Carnegie NYC; Chamber Chu, a symphonic music producer. They have been my game peers for quite a while, but I have always been admiring their aesthetics and abilities in sound design, and these two grandmasters have definitely outperformed themselves. I spent a whole week staying with Chamber for the arrangement of symphonic parts, which was a very precious experience in music creation. The recording team that Sun brought together, as well as the professional performers that participated in the recording session, is by no doubt astonishing. Recalling that we rushed for the full score of all the pieces until the very morning of the recording session (our sincere apologies), but it took no more than 5 takes for all sections to get the desired outcome. Absolutely fascinataing.
It is also worth mentioning that the entire team of roughly 60 were all Taiwanese. I guess we might have made another achievement in the history of Taiwanese game music production. I am so honoured to have the opportunity in leading such a groundbreaking project, together with all the grandmasters.
3 years isn't that long, but it is more than one out of ten for my life. There were other creation experience that were fun but painful, and many achievements were unlocked when I worked in this company. Standing on the stage in front of the screaming crowd, working with Japanese voice actors that I admired for so long, having so many supporters of my work, all these could never be possible without Rayark. Even I left the company going for different paths, I still wish for the very best of this company to become a even better one.
It is a pity that I can no longer work together with the fantastic members of Team Cytus. Perhaps they are fed up with my twisted personality and being stubborn for what I wanted to create. I would like to thank you all for your understanding and forgiveness. Each of you have the profession and passion, and I found myself so tiny and unintellegent working with all of you, and I have learned a lot over the years. I wish all of you could push the creative industry in Taiwan even further forward. I am returning as a mere artist, working hard on what I could. No matter how harsh life is, I am still working on it, as this is the only thing I am capable to do.
Last but not least, I would like to thank all of you players that have supported this game. Without you, this could never happen. No matter to me, to the Team and to the players, 《Cytus II》 might not be the perfect piece of game, we might have different imaginations on the enormous world settings, characters or even the game design itself. What in common was we spent 3 years to experience the creation and playing process. It is the story and music that linked us together. I believe this is the charisma of the game. I wish you are all loving this game, loving the characters, and loving the time that we created together.
There are so many more to thank, to apologize, the satisfaction and sorrows, and they are all included in this ending music. It is time for me to step down.
Thank you, and goodbye.
how to become a solo artist 在 EXILE NESMITH on the House Facebook 的精選貼文
Hi there! I guess many overseas fans are eager to know what’s going on with EXILE ATSUSHI. So I’ve tried to translate his message to English. Please feel free to share this post with other overseas EXILE fans.
From EXILE NESMITH on the House
【Message from EXILE ATSUSHI on EXILE official website】
31st August, 2016
To everyone who supports EXILE and EXILE ATSUSHI:
Thanks a lot for always supporting EXILE and EXILE ATSUSHI warmly. Today, I would like to make an announcement to everyone about my activities from now on. Please read this till the end.
Carrying my dream as a vocalist, I’ve entered the 15th anniversary of EXILE since the group’s debut.
In these 15 years, really a lot has happened. Up till now, there have been countless wonderful songs and encounters. Having been able to sing with all my heart, I am filled with emotions of thanks, deep virtues, miracles and blessings.
Of course, all these, since our debut, have happened thanks to the continuous support from many fans who stand by me all the time.
I thank you all from the bottom of my heart.
Thank you very much.
Ever since I started to become a vocalist, my passion for singing has never faded. I have always been thinking how I could evolve as a vocalist. I wondered, for my fans who have been looking forward to my singing, how my singing would be of use to them even just for a little bit.
Up till now, I have been working hard as the vocalist of EXILE, or as an individual lyricist, song composer or producer of various songs.
What’s more, I’ve collaborated with esteemed artists, pursued solo activities and organized my solo dome tour this year. All these opportunities have really allowed me to gain important experiences.
The original members, HIRO, MATSU, ÜSA and MAKIDAI, who founded EXILE together with me 15 years ago, have all retired from front-stage performance. As the only remaining original member, my thought of improving myself to contribute more to EXILE and to bring the group to achieve higher goals has grown more intense.
While EXILE is about to enter its 15th anniversary, what the group, and myself, should do to go a stage further…
this is what I have been pondering in these few years.
EXILE nowadays consists of members who are concurrently working for other groups as well. We have somehow become an all-star corps. As the vocalist of such a group, every day, I feel like I should bring the group to a higher level.
The music of EXILE originated from R&B and dance music in America. For all fans in Japan, we have been trying to create a form of music that is easier to listen to. Furthermore, we have incorporated the unique Japanese elements of “the soul” and “the heart” to create a new genre of music. This has been the challenge for us.
During my activities, I have had the opportunities to work with great musicians from around the world. As a vocalist, I have decided to pursue further studies about music.
Up till now, I have been delivering my best to you all in Japan. I now seek to ascend to the next stage, by putting myself in adversity and going back to basics, to learn English and to equip myself with performing and singing skills of world-class level so as to become a world-class vocalist. I believe this is essential for making EXILE a world-class artist-group.
Therefore, I discussed with HIRO, EXILE members and staff and decided to temporarily migrate the base of my own activities overseas.
But then I think some of you may feel uneasy about my focusing on overseas activities. To help get rid of the distance of me being abroad, we would update all fans any time with my latest activities through the fan club, mobile, Weekly EXILE, EXILE Magazine and other media like Facebook.
However, to migrate the base of my activities overseas would mean a limit to my physical presence in Japan for a while. This does not only apply to my activities as EXILE ATSUSHI, but also EXILE activities. Therefore, we would not be able to give performances as EXILE for a while. We are very sorry to all the fans who have been supporting us all the time.
The migration of the base of activities is only temporary. Hereby, I promise to show you all the evolved EXILE ATSUSHI, and the performance of the evolved EXILE!
And that would be in the year 2018.
In the EXILE live tour “AMAZING WORLD” in 2015, I felt that the live entertainment of EXILE had reached its peak. To surpass the peak and create even greater EXILE entertainment, we have been preparing for this temporary shifting of activity base abroad.
All we want is to continue to create EXILE entertainment that everyone would enjoy and find amazing.
Even though this might be a selfish hope, I wish you could understand this decision and look forward to the evolved EXILE and EXILE ATSUSHI. I would be glad that if you could wait a little while until the year 2018.
Finally, there is something I have felt anew recently.
That is the possibility of how infinitely entertainment could go in the realm of the world.
This decision, for myself, is a huge one. But why could I make such a decision? That is because I have worked with several foreign artists and from our collaboration, I have felt “possibility”.
Spreading this “possibility” and further developing it may perhaps connect countries to one another.
For me, if I could speak the languages of different countries, I might understand their people better…
I have always felt such a limitless “potential” in this.
And so, in order not to end the possibility of this “if...”, I have made up my mind.
A miracle has happened.
And right in front of my eyes, it starts to occur.
To me, in the world I see and the way I see things, I can dream endlessly and chase whichever dreams wherever I am.
This is the best thing about chasing “dreams”. This is what I have finally realized.
But of course, the prerequisite is the presence of every one of you who have been supporting me.
That’s why, from now on, without being satisfied with the status quo, instead of being the “ATSUSHI who doesn’t change”, I wholeheartedly want to become the “new, constantly growing ATSUSHI”.
Always and ever, for all who have been there giving us their warmest support, I decide to work hard with all my efforts.
I hereby swear to become a singer who nourishes everyone’s heart. And I sincerely hope for your understanding.
To everyone,
thank you very much, always.
EXILE ATSUSHI
(Please bear with me that the translation may not be perfectly accurate.)
how to become a solo artist 在 Nur Amira Syahira Youtube 的最佳解答
Drum Solo by Nur Amira Syahira 12 years old. Thanks for watching. SUBSCRIBE yaa.. https://www.facebook.com/amiradrummer
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I do not own this songs and of course i do not have any revenue from all drum cover video's. I'm creating Drum Cover and others content on my Youtube channel for FREE to watching, learning something or have a fun. But you can help me reduce the cost of my studio maintenance by join me as contributor. Become a contributor and get access to a AMIRA BEHIND THE SCENE in Facebook Group and enjoy watching what I'm doing behind the scene! You decide how much you can contribute by click this link https://app.senangpay.my/pay/contributor
#amiradrummer
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how to become a solo artist 在 Nur Amira Syahira Youtube 的最佳解答
Just practice today.. i don't know what song to make drum cover hahaha... thanks for watching! Subscribe yaa..!!
-~-~~-~~~-~~-~-
I do not own this songs and of course i do not have any revenue from all drum cover video's. I'm creating Drum Cover and others content on my Youtube channel for FREE to watching, learning something or have a fun. But you can help me reduce the cost of my studio maintenance by join me as contributor. Become a contributor and get access to a AMIRA BEHIND THE SCENE in Facebook Group and enjoy watching what I'm doing behind the scene! You decide how much you can contribute by click this link https://app.senangpay.my/pay/contributor
#amiradrummer
-~-~~-~~~-~~-~-
how to become a solo artist 在 Nur Amira Syahira Youtube 的最佳貼文
Drum Solo by Nur Amira Syahira
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I do not own this songs and of course i do not have any revenue from all drum cover video's. I'm creating Drum Cover and others content on my Youtube channel for FREE to watching, learning something or have a fun. But you can help me reduce the cost of my studio maintenance by join me as contributor. Become a contributor and get access to a AMIRA BEHIND THE SCENE in Facebook Group and enjoy watching what I'm doing behind the scene! You decide how much you can contribute by click this link https://app.senangpay.my/pay/contributor
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