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

Homestays: Finding Comfort in a Stranger's Home

While planning a trip to Peru last July, Brian Twite and his girlfriend, Constance Hansen, decided to skip hotels and stay with a host family ( ). At $35 a night, the accommodation ( ) in the Santiago district of Cusco was a bargain ( ). But the warmth of their host mother, a 65-year-old widow named Marie, won them over.

“We’d wake up and she’d yell, ‘Chicos!’, calling us for breakfast down the hall,” said Twite, a Chicagoan who works in manufacturing logistics ( ).

After a long day of sightseeing in the Sacred Valley, Twite, 32, said he was grateful to come home and share highlights ( ) of his day with Marie and her son, Jonathan. “You sit down to a meal and talk about your day. They asked us, ‘What did you do? Where did you go?’ That was really magical because you don’t get that with a hotel.”

As travelers’ appetites ( ) move toward wanting more intimate ( ), locally driven and non-generic ( ) experiences in recent years, homestays — traditionally the fallback ( ) for backpackers and foreign exchange students — are emerging in a new light.

“It’s the best way to get a feel for the place you’re visiting,” said Cliff Carruthers, a retired urban planner in York, England, who booked a homestay in Pakistan last month.

At London-based Wild Frontiers, a luxury tour planner, the founder ( ), Jonny Bealby, says 80% of his tours today include at least some kind of homestay. In some cases, popular itineraries ( ) have been revised to include a homestay; a walking tour of Palestine that’s been offered since 2013, for example, now features a village stay in Sanur.

“It’s being driven by the customer,” Bealby said, noting that travelers from London, Boston and New York seem willing to forgo ( ) the conveniences of a plush ( ) hotel every night. “What they want to do is connect.”

“It absolutely takes a bit of trust,” said Yvonne Finlay, managing director at Homestay.com, which launched in 2013 and now operates in 142 countries. “Effectively, you’re coming into this person’s home. So there needs to be that element of respect.”

Homestays also have a practical appeal ( ). With Cuba’s limited hotel inventory ( ), homestays are often the best option. One boutique ( ) travel company, Pelorus, pairs guests with specific hosts and neighborhoods, depending on their interests — food, music or retracing ( ) family roots. “Homestays allow us to be more flexible ( ),” Jimmy Carroll, the company’s co-founder, said.

寄宿家庭：來去別人家住一晚

戴懷特和女友康斯坦絲．韓森去年七月規劃秘魯之行時，決定不住飯店，改住寄宿家庭。寄宿家庭位在庫斯科省聖地牙哥區，每晚35美元（約台幣1050元），物超所值，而65歲的主人媽媽、寡婦瑪麗更用溫暖的接待贏得了他們的心。

戴懷特回憶說：「我們醒來時她就會大喊『孩子們！』，要我們過去吃早餐。」戴懷特是美國芝加哥人，從事製造業物流工作。

32歲的戴懷特說，在秘魯聖谷遊覽一整天後，他很感謝能回到寄宿家庭，跟瑪麗和她的兒子喬納森分享當天趣事。戴懷特說：「我們坐下來用餐，談談那天發生的事。他們會問，『你們做了什麼？去了哪些地方？』這真的很美妙，住飯店你不會得到這種經驗。」

隨著近年來旅客日益渴望更為親密，由當地人主導，且不一樣的經驗，傳統上是背包客和外國交換學生的選擇的寄宿家庭體驗，也以新方式興起。

英國英格蘭約克郡退休都市計畫師卡魯瑟斯，上月預訂了在巴基斯坦一個寄宿家庭的住宿，他說：「這是對你到訪的地方產生真切感受的最好方式。」

總部在倫敦的高檔行程旅行社「狂野邊界」創辦人畢爾比說，現在他販售的行程中，80%包含某種形式的寄宿家庭體驗。一些人氣行程也經過修改，納入寄宿家庭體驗，例如2013年推出的巴勒斯坦步行遊覽行程，現在主打薩努爾村住宿。

畢爾比說，「這是為了迎合客人需求」，倫敦、波士頓和紐約的客人似乎願意放棄每晚入住豪華飯店的便利，「他們要的是接地氣」。

Homestay.com旅行社創立於2013年，目前在142個國家有業務，總經理伊馮．費萊說：「這絕對需要一些信任。事實上，你是進入這個人的家，所以必須懷著尊重的心。」

寄宿家庭體驗也有實務上的吸引力。古巴旅館有限，寄宿家庭體驗經常是最好的選擇。販售精品行程的旅行社「方位儀」，根據客人感興趣的事物，如美食、音樂和追溯家族根源，把客人與特定寄宿家庭和鄰里配對。共同創辦人卡洛說：「寄宿家庭體驗讓我們更有彈性。」

#高雄人 #學習英文 請找 #多益達人林立英文
#高中英文 #成人英文
#多益家教班 #商用英文
#國立大學外國語文學系講師

🎹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.”

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My Tho City is the Administrative Center of Tien Giang Province, in the Mekong Delta region of Vietnam.
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-I would like to invite you to visit Ward 2 Market to see the market price and shopping.
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Thank you for watching and subscriptions!
Video made by Thuan Van Nguyen.
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Tan An Market is located in Tan An City, Long An Province, in the Mekong Delta region of Vietnam.
-I would like to invite you to visit Tan An Market to see the market price and shopping.
Vietnam village market, Vietnam rural market, rural life in Vietnam.
Mekong Delta Tours - Vietnam Discovery Travel.

Thank you for watching and subscriptions!
Video made by Thuan Van Nguyen.
This video copyright belongs to Thuan Van Nguyen.
Background music from www.youtube.com/audiolibrary/music