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100 Spring 2011 E-Mail: Freeport6604@Y Ṇ㳚⣏⬠ ˪㴒㻓㗪㛇䭉⻎㦪岆㜸˫ 100 ⬠⸜⹎䫔Ḵ⬠㛇 Spring 2011 忋ㅚ列 ≑䎮㔁㌰ E-mail: [email protected] Web: http://www.Taiwan543.com///cello ᶲ䵚㈦枛㦪⼙䇯烉http://youtube.com 䫔ᶨấ⽫⼿⟙⏲㇒㬊㖍烉2012 ⸜ 3㚰22 㖍 㛇ᷕ侫䫮娎 2012 ⸜ 4㚰19 㖍 䫔Ḵấ⽫⼿⟙⏲㇒㬊㖍烉2012 ⸜ 5 㚰 24 㖍 㛇㛓侫烉2012 ⸜ 6 㚰 21 㖍 1 娵嬀䭉⻎㦪☐ Woodwind Instruments 㛐䭉㦪☐ Piccolo: 䞕䫃 Flute: 攟䫃 Oboe: 暁䯏䭉 Clarinet: ╖䯏䭉ˣ寶䫃ˣ湹䭉 Bassoon: Ỷ枛䭉 (Recorder 䚜䫃炻 Bagpipe 桐䫃) Brass Instruments 戭䭉㦪☐ French Horn: 㱽⚳嘇 Trumpet: ⮷嘇ˣ⮷┯⎕ Trombone: Ỡ䷖嘇ˣỠ䷖┯⎕ Tuba: Ỷ枛嘇ˣ⛇⶜嘇 Saxophone 啑⃳㕗桐 Percussion Instruments 㔚㑲㦪☐炻ㇻ㑲㦪☐ Timpani ⭂枛溻 Snare drum ⮷溻 Triangle ᶱ奺揝 Drum ⣏溻 Cymbals 懠 Marimba 楔㜿⶜㛐䏜 Vibraphone 暯枛揝䏜 Stringed Instruments ⻎㦪☐ Violin: ⮷㍸䏜 Viola: ᷕ㍸䏜 Violoncello, Cello: ⣏㍸䏜 Double Bass, Bass: Ỷ枛⣏㍸䏜 Plug Stringed Instruments㑍⻎㦪☐ 2 Harp: 寶䏜 Guitar: ⎱Ṿ Mandolin: 㚤旨懜 Keyboard Instruments 挝䚌㦪☐ Cembalo, Harpsichord: ⣏挝䏜ˣ佥䭉挝䏜 Clavichord⎌护䏜 Organ 䭉桐䏜 Piano 护䏜 Celesta 护䇯䏜 Electronic Piano 暣⫸护䏜 枛㦪埻婆烉忇⹎姀嘇 Presto: ⿍㜧ˤquick, ready; early, soon, quickly, far Vivace: 䓂⾓㜧ˤlively, brisk (䱦䤆≫≫䘬), quick, bright Allegro: ⾓㜧ˤ Cheerful, merry, gay Allegretto: 䦵⾓㜧ˤġ㳣㻹侴ᶵ⣒⾓ Andantino: ⮷埴㜧 Andante: 埴㜧 Moderato: ᷕ㜧 Adagio: ㄊ㜧ˤSlowly, softly Lento: 䶑ㄊ䘬ˤ Slow, loose, tardy (怚憵䘬) Largo: 㚨䶑㜧ˤBroad, wide, extensive, open, liberal 㚚䧖ˣ㚚⺷冯℞Ṿ枛㦪埻婆 Acoustic: 枛枧䘬 Acoustic guitar 枛枧⎱Ṿ炻朆暣⫸⎱Ṿ栆䘬䷥䧙 Allegro: ⾓㜧炻ケ〭䘬炻㫋╄䘬 Allemande: 旧≺㚤⽟准㚚 Alto: ⤛ᷕ枛 Andante: 埴㜧炻崘嶗 3 Animation: ≽䔓 Aperto:攳㓦䘬 Arco: ⺻炻䓐⺻⣷ Aria: 娈▮婧 Ballade: 㔀ḳ㚚 Baroque: ⶜㳃⃳ (ca. 1600-1750) Bass: Ỷ枛倚悐炻䓟Ỷ枛炻居㕗⎱Ṿ炻Ỷ枛⣏㍸䏜 (⍇⎵ Double Bass) Baton: ㊯㎖㡺 Blues: 湹Ṣ啵婧枛㦪 Bow: ⻎㦪☐䓐䘬⺻炻⺻䭕䘬⺻ Bowings: ⺻㱽 Bridge: 䏜㧳炻䏜楔 Cadenza: ⋼⣷㚚㦪䪈ᷕ䌐⣷侭䘬墅梦⣷㦪㭝 Canon: ⌉彚炻⎬倚悐♜㟤㧉ầ Caprice: 䵢゛㚚 Castrato: 敡Ṣ㫴ㇳ Cello (⍇⎵ Violoncello): ⣏㍸䏜 Chorus, Choir: ⣏⎰ⓙ炻⮷✳⎰ⓙ⛀ Classical music: ⎌℠枛㦪 Classical period: ⎌℠㗪㛇 (ca. 1750-1820) Concert master炻Moncert mistress (⤛⿏): 㦪⛀椾ⷕ炻䫔ᶨ⮷㍸䏜椾ⷕ Concert: 枛㦪㚫 Concerto: ⋼⣷㚚 Conductor: ㊯㎖ Courante: ⹓㚿准㚚 Director:䷥䚋ˣ㊯⮶ˣ⮶㺼 Dominant: Ⱄ枛炻枛昶䘬䫔Ḽᾳ枛 Double Bass (䯉䧙Bass): Ỷ枛⣏㍸䏜 Duet, Duo: Ḵ慵⣷炻Ḵ慵ⓙ Duke of Eral:ˬ⌬䇦℔䇝˭␴⻎忚埴 I – iv – IV – V – I – iv – IV - V Echo: ⚆倚 Ensemble: 㦪⛀ˣ慵⣷ˣ慵ⓙ炻ᶨ崟㺼⣷䘬満⣹ Eroica: 劙晬 Etude: 䶜佺㚚 4 Finale: 䳪㦪䪈 Fingerboard: ㊯㜧 Fingerings: ㊯㱽 Folk music: 㮹攻枛㦪ˣ㮹὿枛㦪 Folksong: 㮹㫴ˣ㮹嫈 Fugue, Fuga: 岎㟤 Gamelan: ⌘⯤䓀伶㚿ㇻ㑲㦪⛀ (䇒⑯Ⲟ冯Ɐ慴Ⲟℑ䧖) Gigue: ➢㟤准㚚 Introduction: ⮶⣷ˣ⸷⣷ Jazz: 䇝⢓㦪 Key: 婧ˣ䏜挝 Leading tone: ⮶枛炻枛昶䘬䫔ᶫᾳ枛 Legato: ⚻㹹䘬 Maestoso:匲♜ˣ⦩♜ˣ⬷⣏ˣ➪䘯 Major: ⣏婧 Mambo: 㚤㲊准㚚 March: 忚埴㚚 Mass:⣑ᷣ㔁⻴㐺 Mazurka: 楔⍅⌉准㚚 Meno: 忇⹎廱ㄊˤless, least Metronome: 䭨㉵☐ˣ㉵䭨㨇 Minimalism: 䳘⽖枛㦪炻㤝䯉ᷣ佑 Minor: ⮷婧 Minuet: ⮷㬍准㚚 Moderato: ᷕ⹠䘬忇⹎ Molto: ⼰ˣ朆ⷠˤmuch, a great deal, Musicals (Broadway): 䘦侩⋗枛㦪∯ Movement: 㦪䪈ˣ忳≽ (⬠忳ˣ䣦忳䫱) Mute, con sordino : ⻙枛☐ Nocturne: ⣄㚚 Octet: ℓ慵⣷炻ℓ慵ⓙ Ode to Joy: ⾓㦪枴 Opera: 㫴∯ Oratorio: 䤆∯ (⤪杻⽟䇦ˬ⻴㐺Ṇ˭炻㴟枻ˬ∝ᶾ䲨˭䫱) 5 Orchestra: 䭉⻎㦪⛀ Ostinato: ⚢⭂Ỷ枛炻枹⚢Ỷ枛 Overture: ⸷㚚 Pedal: 护䏜嶷㜧炻䭉桐䏜䘬儛挝䚌 Peg: ⻎㦪☐䘬婧枛㞻 Pizzicato: 㑍⻎ Podium: ㊯㎖⎘炻䌐⣷⎘ Poco a poco: 㻠㻠⛘ Polonaise: 㲊嗕准㚚 Popular music (Pop music) 㳩埴枛㦪 Prelude: ⇵⣷㚚 Presto: ⿍㜧 Principal: ⎬悐椾ⷕ Quartet: ⚃慵⣷炻⚃慵ⓙ Quintet: Ḽ慵⣷炻Ḽ慵ⓙ Recital: 䌐⣷㚫 Recitative: ╏㔀婧 Recitative accompagnato: 㦪⛀Ờ⣷䘬⭋㔀婧 Recitativeo secco: 庽⭋㔀婧炻㝗䆍⭋㔀婧炻⎒㚱⣏挝䏜冯⣏㍸䏜ĩ㔠⫿Ỷ枛ĪỜ⣷䘬 ⭋㔀婧 Requiem:⬱櫪㚚 Riser: ⎰ⓙ⎘ Romance:㴒㻓㚚ˣ⁛⣯㚚 Romantic period: 䲬㔜ᾳ19ᶾ䲨 Rondo,Rondeau: 徜㕳㚚 Rumba: ΐ⶜准㚚 Sarabande: 㱁㉱恎⽟准㚚 Scherzo: 娤媏㚚 Septet: ᶫ慵⣷炻ᶫ慵ⓙ Serenade: ⮷⣄㚚 Sextet: ℕ慵⣷炻ℕ慵ⓙ Solo: 䌐⣷炻䌐ⓙ Sonata: ⣷沜㚚 Sonata Allegro Form: ⣷沜㚚ĩ⾓㜧Ī㚚⺷ -- Introduction (⮶⣷) - Exposition (⏰䣢悐) 6 - Development (䘤⯽悐) - Recapitulation (ℵ䎦悐) - Coda (䳸⯦悐) Soul: 曰櫪㦪 Sonata da camera: ⭌ℏ⣷沜㚚炻⼴Ἦ䘬䳬㚚炻㦪䪈㔠ᶵ⭂ Sonata da chiesa: 㔁㚫⣷沜㚚炻⚃ᾳ㦪䪈↮⇍㗗ġ ㄊ – ⾓ – ㄊ – ⾓ Soprano: ⤛檀枛 Staccato: 㕟⣷ Subdominant: ᶳⰔ枛炻枛昶䘬䫔⚃ᾳ枛 Symphony: Ṍ枧㚚 Tailpiece: ⻎㦪☐䘬⯦㜧 Tango: ㍊ㆰ Theme: ᷣ柴 Tonic: ᷣ枛炻枛昶䘬䫔ᶨᾳ枛 Triad: ᶱ␴⻎ Trio: ᶱ慵⣷炻ᶱ慵ⓙ Tuner: 婧枛☐炻婧枛ⷓ Tutti: ℐ橼⎰⣷ Variations: 嬲⣷㚚 Viola: ᷕ㍸䏜 Violin: ⮷㍸䏜 Violoncello (䯉䧙 Cello): ⣏㍸䏜 Waltz: 厗䇦㹳炻⚻准㚚 7 ἄ㚚⭞冯ἄ⑩ 呁⎘⦩䇦䫔 Monteverdi, Claudio (1567-1643) ġ ˪㲊ἑṆᷳ≈ℽ˫ “L’Incoronazione di Poppea” (1643) ⎚䈡㉱⸽䒎慴 Stradivari, Antonio (1644-1737) (film) 墥䏜ⷓ Zukerman, Pinchas (1948- ); Ma, Yo-Yo (1955- ); Du Pré, Jacqueline (1945-1987); Mutter, Ann Sophie (1955- ); Menuhin, Yehudi (1916-1999); Kennedy, Nigel (1956 - ) 墥䏜㔁䇞 – ⎚䈡㉱⸽䒎慴ġ 必ᶾ 250 忙⸜䲨⾝㳣≽ (DVD) ⍫侫㚠䚖烉匲ẚ⸛炻˪㍸䏜ᷳッ˫ĩ⎘⊿烉⣏晩炻2006) ⶽ㴟居䇦 Pachelbel, Johann (1653-1706) Canon ⌉彚烉♜㟤㧉ầ䘬⮵ỵἄ㚚㱽ˤġ ⶽ㴟居䇦䘬⌉彚ᷕ炻Ĺ ᾳỶ枛 (d A B F-sharp G D G A) ↢䎦 28 㫉ˤġ ⌉彚⎗↮䁢 (a)⸛埴⌉彚 (canon in parallel motion) (b)⍵埴⌉ 彚 (canon by contrary motion) (c)微埴⌉彚 (retrograde canon) (d) ⡆ῤ⌉彚 (augmentation canon) (e) 㕟临⌉彚 (f) 㷃ῤ⌉彚 (diminution canon)ˤ 楔䐆 Marais, Marin (1656-1728) Tous les matins du mondeġ ˪㖍↢㗪嬻ず 䳪䳸˫ㆾ˪ᶾ䓴䘬㭷ᶨᾳ㖑㘐˫ĩ栆⁛姀暣 ⼙) ἄ㚚侩ⷓˣ⇵廑⭖⺟㦪攟䚏⇑ Jean-Baptiste Lully (1632-1678) 8 ⎌⣏㍸䏜侩ⷓġ 㞗昮居 Monsieur de Sainte-Colombe (ca. 1640-1700) 㱽⚳⚳䌳嶗㖻⋩ᶱ Louis XIV (1601-1643) 㱽⚳⚳䌳嶗㖻⋩⚃ Louis XIV (1638-1715) 㱽⚳⚳䌳嶗㖻⋩Ḽ Louis XIV (1710-1774) 㱽⚳⚳䌳嶗㖻⋩ℕ Louis XIV (1754-1793) 杳䒎䫔Vivaldi , Antonio (1678-1741) 㫴∯烉˪⤏嗕⣂䘬䉪⾺˫ “Orlando Furioso” (after 1713) Concerto for Violin and String Orchestra in A Minor, Op. 3, No. 6 from L’estro armonico (⣂䧖㦪☐䘬⋼⣷㚚ˮ婧␴䘬曰デ˯ℐ悐⋩Ḵ敽炻ἄ⑩ 3) ł ⮷婧⮷㍸䏜⋼⣷㚚 (CD 6: 13 - 30) (懜㛐⮷㍸䏜㔁㛸䫔⚃Ⅎ) I. Allegro ⾓㜧 II. Largo 㚨䶑㜧 III. Presto ⿍㜧 ĩ伭楔㔠⫿ I, II, III, IV, V, VI, VII, VIII, IX, X) Concerto for Violin and String Orchestra with basso continuo “Four Seasons”, Op. 8 ˪⚃⬋˫⮷㍸䏜⋼⣷㚚 “La Primavera” ˮ㗍˯ I. Allegro ⾓㜧ġ ˮ㗍⣑ἮḮ炻沍⃺Ᾱẍ㫋╄䘬㫴㚚彶㍍㗍⣑炻㱱㯜⛐␴桐 ᷕ㼢㼢㳩≽烊暟暐⸛〗炻⮷沍Ᾱℵ⹎㶭Ṗ⛘ⓙ㫴ˤ˯ 9 II. Largo 㚨䶑㜧ġ ˮ⛐䷩剙念慶䘬䈏⟜ᶲ炻㧡叱庽㝼⛘㐑㋚Ỷ婆炻䈏伲Ṣ ⛐䈏伲䉔㕩㰱䜉ˤ˯ III. Allegro ⾓㜧ġ 䓘⚺准㚚 ˮẁ⤛Ᾱ (nymph) 冯䈏伲Ṣ␴叿䈏䫃庽⾓え㎂ 䘬㦪倚炻ケ⾓⛘嶛准炻溆䵜㗍⣑䁓渿䘬刚⼑ˤ˯ “L’Estate”ˮ⢷˯ I. Allegro non molto ᶵ䓂⾓䘬⾓㜧炻㘹䅙⺽崟䘬῎⿈デˮ⛐忁♜感䘬⬋䭨 墉炻⣒春⤪䀓䅺䄁䅶炻ṢᾹ␴⭞䔄悥栗⼿㬣㯋㰱㰱ˤ㜄泹┤⎓炻Ⱉ沑 冯慹晨⛐㫴ⓙ炻⽖桐庽㉪ˤ⊿桐樇䃞Ἦ多炻䈏伲Ṣ䁢樇暐㇨㓅炻䁢冒 ⶙䘬⢆忳㇘レˣ⒕㲋ˤ˯ II. Adagio ㄊ㜧ġ ˮ⛐攫暣ˣ㽨䁰䘬暟倚ˣ⣏⮷嘲垭ˣㅌ⾺䘬䉔⏈倚䘬⡻従 ᶳ炻ἧṢᾹ䕚ㄲ䘬幓⫸ᶵ⼿⬱⮏ˤ˯ III. Presto ⿍㜧炻⢷⣑墉䘬♜感⬋䭨ˮṢᾹ樂ゞ⿸ㆤˣ䨢ᷕ暟倚弇昮ˣ暣⃱ 攫攫ˣ⅘⊭䳃䳃旵句炻㐏㭀彚ἄ䈑ˤ˯ “L’Autunno” ˮ䥳˯ I. Allegro ⾓㜧ġˮ㛹㮹⛐嶛准㫴ⓙ炻ẍㄞ䤅寸㓞䘬╄〭ˤĩ愋愱炻愱㻊Ᾱ) Ṿ Ᾱ䘬䉪㬉⛐䜉䛈ᷕ䳸㜇ˤ˯ II. Adagio molto 䓂⾓㜧ġ 炻㰱䜉䘬愱㻊ġ ˮ䛦Ṣ 㬊Ḯ㫴准炻⮏朄䘬䨢㯋Ẍ Ṣ䤆㶭㯋䇥ˤ䓄伶䘬䜉䛈㈲ṢᾹⷞℍ⣯⥁伶⤥䘬⠫䓴ˤ˯ III. Allegro ⾓㜧炻䊑䌝ġ ˮ湶㖶㗪↮炻䌝ṢᾹⷞ叿嘇奺㥵晣炻㓄ⷞ䌝䉔↢⢾ ㇻ䌝ˤ慶䌠忩徫炻嶇希徥㑲ˤ慶䌠䃉≃徫崘炻塓徥㭢侴㬣ˤ˯ “L’Inverno”ˮ⅔˯ I. Allegro non molto ᶵ䓂⾓䘬⾓㜧ġˮ⛐⅘暒ᷕ㇘レ炻䋃䁰⏡多䘬䉪桐炻 (⭺ 㯋忤Ṣ) ṢᾹᶵ㕟⛘嶷㬍ˣ嵹≽炻⅟⼿䈁㟡⎰ᶵ㒷ˤ˯ 10 II. Largo 㚨䶑㜧ġˮ⛐䆸䀓怲忶叿⮏朄ˣ㺧嵛䘬㗪⃱炻⯳⢾暐㯜㹳㼌叔䈑ˤ˯ III. Allegro ⾓㜧ġ ˮ㬍埴⅘ᶲ炻枸旚⁦嵴炻ヶ㬍⼸埴 (㇘㇘ℊℊ⛘⇵忚ĪˤḪ Ḯ儛㬍㹹Ὰˤℵ⹎埴㕤⅘ᶲ炻≯䋃䕦埴炻ĩẍ军㕤) ⅘朊䟜䠶炻䎦↢ 塪䕽ˤ˯ĩ⋿桐ⷞἮ㗍⣑儛㬍䘬㴰〗) ˮ┇ㇱ↢⢾⁦倥炻⋿桐ˣ⊿桐ˣ ẍ⍲㇨㚱䘬桐⼤㬌Ṍ㇘䘬倚枛炻忁⯙㗗⅔⣑ˤ⯙忁㧋⅔⣑ⷞἮḮ╄ 〭ˤ˯ 㞜䓘⋿晬ˣ㛶泃劙嬗炻˪㚨㕘⎵㚚妋婒ℐ普 8 炻⋼⣷㚚 I˫pp. 131-143 (⎘⊿烉 ⣏映㚠⸿炻1982) Antonio Vivaldi (1678 - 1741) 杳䒎䫔 Concerti a violin “La quattro stagioni” ˪⚃⬋˫⮷㍸䏜⋼⣷㚚 䫔ᶨ嘇 E ⣏婧 Op. 8-1 ˪㗍˫ No. 1 Concerto per violino E-Dur Op. 8-1 “La primavera” I. Allegro ⾓㜧ˣˬ㗍⣑ἮḮ˭ˣE ⣏婧 㗍⣑ἮḮˤ䛦沍㫋╄㫴ⓙ炻⓷῁㗍⣑ˤ大桐㹓␴⏡㉪炻㹒㳩㼢㼢Ỷ婆ˤ ⣑䨢䝔攻嬲ㆸ䀘㘿炻㗍暟暯枧炻暣⃱攫䆵ˤ㙜桐暐忶⼴炻䛦沍ℵ⹎㬉ⓙ⃒ 伶䘬㦪䪈ˤ II. Largo 㚨䶑㜧ˣˬ㰱䜉䘬䈏伲Ṣ˭ˣ⋯ c ⮷婧 ䷩剙䚃攳䘬伶渿勱⍇ᶲ炻㧡叱㹓㝼⛘┫┫Ỷ婆炻䈏伲Ṣ嬻⾈䉔昒叿㰱䜉ˤ III. Allegro ⾓㜧ˣDanza pastoraleˬ䓘⚺准㚚˭ˣE ⣏婧 ẁ⤛冯䈏伲ṢᾹ炻⛐␴䄎䘬㗍⣑ᷕ炻晐叿䓘⚺桐㳣㻹䘬䈏䫃㚚婧炻 11 ⧮⦹崟准ˤ 䫔Ḵ嘇 g ⮷婧 Op. 8-2 ˪⢷˫ No. 2 Concerto per violin g-Moll Op. 8-2 “L’estate” I. Allegro non molto – Allegro 䦵ㄊ䘬⾓㜧 – ⾓㜧ˣˬ㘹㯋῎シ˭ˣg ⮷婧 ⛐⣒春感䅙䄏⮬䘬⬋䭨ᷕ炻ṢᾹ冯⭞䔄⣬⣬ᶨ〗炻㧡冯勱ḇ⼟⼧天䅫崟炻 㜄泹┤⎓炻䎕沑冯湫晨檀㫴ˤ⽖桐庽㉪⣏⛘ˤ⊿桐䨩䃞Ὕ多⽖桐ˤ䈏伲Ṣ 㑼⽫桐暐炻ず▮冒⶙䘬␥忳侴㳩㶂ˤ II. Adagio – Presto – Adagio – Presto etc. ㄊ㜧 - ⿍㜧 - ㄊ㜧䫱䫱ˣˬ䕚ㄲ䘬䈏伲 Ṣᷳ⑨▮˭ˣg ⮷婧 攫暣ˣ暟沜ˣẍ⍲ㆸ佌䘬嘲垭炻ἧ幓⽫ᾙ䕚䘬䈏伲Ṣ㚜≈ᶵ⼿⬱⮏ˤ III. Presto ⿍㜧ˣˬ⢷⣑㽨䁰䘬㙜桐暐˭ˣg ⮷婧 䈏伲Ṣ㑼⽫䘬ḳ䳪㕤䘤䓇Ḯ炰⣑䨢ᷕ枧↢暟倚炻䘤↢攫⃱炻㙜桐暐旵冐炻 䖃ㇻ⛐ㆸ䅇䘬䧣䧿ᶲˤ 䫔ᶱ嘇 F ⣏婧 Op. 8 – 3 ˪䥳˫ No. 3 Concerto per violin F-Dur Op. 8-3 “L’autunno” I. Allegro ⾓㜧ˣˬ㛹㮹䘬㫴准˭ˣF ⣏婧 㛹㮹Ᾱⓙ㫴嶛准炻㬉㦪ㄞ䤅匲䧤䘬寸㓞ˤ惺䤆䘬䑲㻧䌱㵚炻ἧ䛦Ṣ㬉櫏侴 㖷㰱䜉⍣ˤ II. Adagio molto 䓂ㄊ㜧ˣˬ㰱䜉䘬愱㻊˭ˣd ⮷婧 䛦Ṣ䘬㫴倚⍲准巰 㬊⼴炻⣏⛘《⽑⬱娛⮏朄炻忁ᾳ⬋䭨炻㈲ṢᾹⷞℍ䓄 12 伶㹓㝼䘬⣊悱ˤ III. Allegro ⾓㜧ˣˬ䊑䌝˭ˣF ⣏婧 䟜㙱㗪↮炻䌝Ṣ㔜墅炻ⷞ叿嘇奺ˣ䌝㥵冯䌝䉔⢾↢ㇻ䌝ˤ䌝Ṣ徥⮳徫䩬䘬 慶䌠ˤ慶䌠塓㥵倚⍲䉔⏈倚☯⼿⣙䤆炻⍿ 侴㷦幓䘤㈾ˤ㚨⼴╒⣙徫␥䘬 ≃㯋炻塓徥⇘䳽⠫侴ṉˤ 䫔⚃嘇 f ⮷婧 Op. 8-4 ˪⅔˫ No. 4 Concerto per violin f-Moll Op. 8-4 “L’inverno” I. Allegro non molto ᶵ⣒⾓䘬⾓㜧ˣf ⮷婧 ṢᾹ⛐⅘⅟䘬暒⛘ᷕ栓㈾炻⛐ↄⅥ䘬⭺桐ᷕ⇵忚炻晾䃞儛㬍ᶵ㚦 㫯炻Ữ 䈁滺⥳䳪ㇻ栓⎰ᶵ㒷ˤ II. Largo 㚨䶑㜧ˣ旵 E ⣏婧 ⛐䀓䆸怲⹎忶㹓㘾㬚㚰㛇攻炻⯳⢾䘬暐㯜㹳㼌叔䈑ˤ III. Allegro – Lento - Allegro ⾓㜧 – 䶑㜧 – ⾓㜧ˣf ⮷婧 ⮷⽫侤侤巑叿㬍Ẹ⛐⅘ᶲ⇵忚炻ᶨᶵ䔁䤆㹹Ὰ炻䇔崟⼴炻≯䋃䟜⅘㹹埴忶⍣ˤ⋿ 桐ˣ⊿桐⽆䵲攱䘬⅘暒⣏攨⎹⢾堅↢炻ᶨ↯䘬桐炻Ṍ㇘␤◗侴忶ˤ忁⯙㗗⅔⣑炻 ᶨᾳⷞἮ╄〭䘬⅔⣑ˤ Concerto for Cello and Strings in A minor, RV 418 A ⮷婧⣏㍸䏜⋼⣷㚚 I. Allegro ⾓㜧 13 II. Largo 㚨䶑㜧 III. Allegro ⾓㜧 Heinrich Schiff, Violoncello Academy of St. Martin-in-the-Fields Directed by Iona Brown Continuo: Denis Vigay, violoncello Ian Watson, harpsichord Concerto in C Major for Flautino, Strings & Basso Continuo, RV 443 Concerto in C Major, RV443 arranged for Vibraphone and String Orchestra by Evelyn Glennie ń ⣏婧暯枛揝䏜 (㈾枛䏜) ⋼⣷㚚 I. Allegro ⾓㜧 II. Largo 㚨䶑㜧 III. Allegro molto 䓂⾓㜧 Bramwell Tovey – Conductor ㊯㎖ Evelyn Glennie– Vibraphone 吃匱⥖烉暯枛揝䏜 Orchestre Philharmonique du Luxembourg 䚏㢖⟉ッ㦪Ṍ枧㦪⛀ (2004) Wikipedia: The vibraphone, sometimes called the vibraharp or simply the vibes, is a musical instrument in the mallet subfamily of the percussion family. It is similar in appearance to the xylophone and marimba, although the vibraphone uses aluminium (扩) bars instead of the wooden bars of those instruments. Each bar is paired with a resonator tube having a motor-driven butterfly valve at its upper end, mounted on a common shaft ĩ庠), which produces a tremolo or vibrato effect while spinning. The vibraphone also has a sustain pedal similar to that used on a piano: When the pedal is up, the bars are all damped and the sound of each bar is quite short; with the pedal down, they will sound for several seconds.
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