關於 a thousand years鋼琴 ，我們在網路上蒐集到這些相關的討論、資訊與評價

210130昀貞&庭浩婚禮💒演唱with包宇歡
感謝表藝所行銷學妹昀貞的邀請
隔了一週再次來到美麗華金色三麥
這次是來演唱11首英文情歌🎤

感謝師大合唱團老戰友包包接下鋼琴伴奏
還發揮當過幹部的應變實力
急中生踏板🤣🤣🤣

When I fall in love
I can’t help fall in love
Two words
A thousand years
I could have danced all night
Someone like you
La vein Rose
What a wonderful world
L.O.V.E

新人佈置婚禮製作背板
還有現場立可拍，真的超級用心🌹
也恭喜從高中交往到現在的兩人
終成眷屬🎉🎉🎉

#拖了半個月的工作記錄🤣

201205💒柏鈞&雨柔婚禮演唱🎤
感謝孫瑜女士case太滿撞期，讓我有機會來代班🤣
在新人進場時演唱這首 暮光之城神曲-A Thousand Years

感謝新郎柏鈞和新娘雨柔的邀請
第一男主角自彈自唱，純白KAWAI平台鋼琴超帥
節目安排恰到好處，整場婚禮典雅又溫馨
雨柔真的超級美
高顏值的兩人每張婚紗照都像雜誌封面
BTW民生晶宴會館的菜真的很好吃😋

感謝搭檔柏毅的細心
整首曲目編排將進歌時間和主持人引導交付儀式、倒香檳塔
完美搭配又不會失焦，時間也抓得剛剛好👏👏👏
真的是棒棒100分🤣

💒婚禮經驗值再加一❤️
2021要結婚的好朋友們，婚禮主持人&歌手在這裡🙋‍♀️🙋‍♀️🙋‍♀️

🎹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.”

#長笛姐姐雲端音樂會 陪大家上班上課呦！歡迎涵涵🎀巴松演奏
✨本日歌單✨
1.愛爾蘭民謠-秋夜吟 1:22
2. Home 7:22
#音樂小知識 12:30
3.A Thousand Years 16:11
4.Rolling in the Deep 22:22
5.Over the Rainbow/Simple Gifts 30:25

2018.04.15 下午2點-台北城市舞台
《Aasta Concert》T.L.江天霖鋼琴音樂會
活動資訊 https://goo.gl/7PU5vu

T.L.江天霖，臺灣樂壇最受矚目之跨界鋼琴家。
2016年，在日本流行樂壇出道，由日本環球音樂發行首張鋼琴演奏專輯『PIANO LOVE SONGS』，隨即便獲iTunes古典排行榜冠軍，並于臺灣、內地、香港、星馬地區發行實體及數位專輯。
FB: T.L.江天霖 https://m.facebook.com/MrPianoTL/
IG: tlchiang https://www.instagram.com/tlchiang
Weibo: TL江天霖 https://weibo.com/u/2896576721

張惠妹

身後

作詞：HUSH
作曲：林俊傑

我 喜歡看你孩子般走在前頭
像第一次發現世界的探索
告訴我 鮮艷的顏色好多

你 改不掉突然停下來回過頭
想再一次習慣性確認什麼
像是要牽手 或是一起走
直到風景褪色的時候
你身後 會有我
守護你看見盡頭的背後
那片天空 等著另一端新的生活

能不能答應我
臨別時候或許你就先走
徒留感傷就請你留給我
讓我面對你往後的寂寞
能不能答應我
分開時候放心回頭看我
讓我明白牽掛著你的手
鬆開後還能忍住淚向你告別揮手

記得你愛過 你要記得你愛過

記得你曾經走過 記得繼續向前走
記得我眼中 見過你停留
你的身影一直在我的世界裡駐守

能不能答應我
臨別時你或許就先走
徒留的感傷都留給我
讓我面對你往後的寂寞
能不能答應我
分開時候放心回頭看我
讓我明白牽掛著你的手
鬆開後能拭去淚向你告別揮手

別急著答應我
難過的話現在不要說
好好享受安寧的溫柔
能不能答應我
再見時候就別再認出我
別讓我承受牽過的你的手
再重逢已換作你向我告別揮手

The first time to play music with the piano!
Edward and I both like Adele! We love this song!!

第一次加入鋼琴在cover歌曲裡!
特別邀請朋友愛德華一起參與，為Hello添入新的味道!
歡迎各位分享與留言，訂閱我的帳號讓我為你帶來更多好歌曲!

Please leave me a comment and let me know what you think of it, Like/Share the video and subscribe me!

Welcome to our Facebook Fans' page :
〔Vocal- Applemei〕
https://www.facebook.com/anapplemeimei/

〔Piano- Edward〕
https://www.facebook.com/Ebonoir/

----------------------------------------
Lyrics:

Hello, it's me
你好 是我
I was wondering if after all these years
我在想 過了這麼多年
You'd like to meet, to go over everything
你是否還願意見我 回想過去的一切
They say that time's supposed to heal ya
人們都說時間會治癒一個人的心
But I ain't done much healing
我卻感覺不到任何差異

Hello, can you hear me?
好久不見 你有聽見我嗎?
I'm in California dreaming about who we used to be
我失神想著我們曾經的模樣
When we were younger and free
我們曾那麼年輕 那麼自由
I've forgotten how it felt before the world fell at our feet
但我早已不記得 我們的世界崩塌前的感受

There's such a difference between us
我們兩人天差地遠
And a million miles
像是有百萬里的距離

Hello from the other side
來自你城堡另一端的問候
I must've called a thousand times to tell you
我已經打了上千通電話 試著告訴你
I'm sorry, for everything that I've done
我很抱歉 抱歉我曾對你做的所有事
But when I call you never seem to be home
但你似乎從來不在家 接起我的電話

Hello from the outside
來自你心牆外的一句問候
At least I can say that I've tried to tell you
至少我真的有試過要告訴你
I'm sorry, for breaking your heart
我真的很抱歉 抱歉自己傷了你的心
But it don't matter, it clearly doesn't tear you apart anymore
但道歉似乎沒什麼意義了 很明顯那再也不會令你心痛

Hello, how are you?
你好 你最近如何?
It's so typical of me to talk about myself
我知道我總是只想到自己
I'm sorry, I hope that you're well
我很抱歉 我希望你一切安好
Did you ever make it out of that town
你成功離開那個
Where nothing ever happened?
我們都不願承認發生任何事的鎮了嗎?

It's no secret
這早已不是秘密
That the both of us are running out of time
我們的時間都已所剩不多

Hello from the other side
來自你城堡另一端的問候
I must've called a thousand times to tell you
我已經打了上千通電話 試著告訴你
I'm sorry, for everything that I've done
我很抱歉 抱歉我曾對你做的所有事
But when I call you never seem to be home
但你似乎從來不在家 接起我的電話

Hello from the outside
來自你心牆外的一句問候
At least I can say that I've tried to tell you
至少我真的有試過要告訴你
I'm sorry, for breaking your heart
我真的很抱歉 抱歉自己傷了你的心
But it don't matter, it clearly doesn't tear you apart anymore
但道歉似乎沒什麼意義了 很明顯那再也不會令你心痛

Ooooohh, anymore
噢 你早已不再心痛
Ooooohh, anymore
噢 你早已忘了我吧
Ooooohh, anymore
噢 回憶全都抹去吧
Anymore
全忘掉吧

Hello from the other side
來自你城堡另一端的問候
I must've called a thousand times to tell you
我已經打了上千通電話 試著告訴你
I'm sorry, for everything that I've done
我很抱歉 抱歉我曾對你做的所有事
But when I call you never seem to be home
但你似乎從來不在家 接起我的電話

Hello from the outside
來自你心牆外的一句問候
At least I can say that I've tried to tell you
至少我真的有試過要告訴你
I'm sorry, for breaking your heart
我真的很抱歉 抱歉自己傷了你的心
But it don't matter, it clearly doesn't tear you apart anymore
但道歉似乎沒什麼意義了 很明顯我再也不會令你心痛