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天才是同情,会吸引所有人到它的光和爱的世界的关系。

来源:本站原创 浏览:55次 时间:2019-01-11
天才是同情,会吸引所有人到它的光和爱的世界的关系。陪伴这是必须的,是的,亲密的陪伴!但它不会因为天才降临世界体现了更多的现实是这个地球。
在他下面的小主人收集的快乐!快乐确实是天才的孤独的人,他发现男性理想的朋友之间;人的自我解释,所以可恶的天才,是不必要的;人本能地知道对方的灵魂生活!天才,朋友是其使命的一个证明;见证,生活中没有一件事情比最普通的凡人更无用;保证它将进入自己的丰满。这样的一个朋友萧邦现在发现在大巴黎,像一个巨大的磁石吸引了他自己。
弗朗茨·李斯特,匈牙利作曲家、钢琴家、文学家,出生于1811,和1831,萧邦出现在法国首都的日期,他才二十岁,所以两年的极低。很快,年轻人的名声会阻碍甚至是Kalkbrenner的,受人尊敬的当天的第一个钢琴家。Liszt是一个卓越的稳步接近后来自己对所有人,是世界上无与伦比的钢琴演奏家。
艺术家,在未来的日子里,先神和充分衡量瓦格纳的全面性;及时帮助谁会义不容辞,特权,援助和欢呼的政治难民在流亡抑郁年;全心爱好者的手臂会确定开放的作曲家?Lohengrin,? the close-shut door of the Temple of Fame, was the friend in whom Chopin now saw reflected his own peculiar genius. As the painter, stepping backward from his easel, scans his work as a whole, and in the most favorable light, so, from the view-point of Liszt's intuitive rendering, Chopin better estimated his own productions than could otherwise have been possible.
That consummate interpretation of a work proves not one's ability to create its like is shown by the coming together of Chopin and Liszt. While Liszt was indubitably of advantage to Chopin, the latter in turn reacted upon the former. In the nature of the fiery Hungarian, and that of the dreamy Pole, were those resemblances and differences which make high friendship a possibility and also a means of mutual growth through reciprocity of ideas.
迷人的和支配李斯特天生放荡不羁。从第一个到最后一个他住在那些散漫和unconventionalities这是凡人的境界,但其魅力是在许多艺术家的生活。然而,尽管每一个缺点,那就是多李斯特确实一种美德经常保存一个天才、智慧、艺术良知。
Beneath a demeanor disguising rather than revealing his inner self, Chopin was an ardent soul, a Polish patriot from whose heart overflowed, to his every page, the sorrows of his native land. Those sorrows were a cloud shadowing the radiance of his ideal world, and at times dulling it almost to the sombre hues of this earth, begetter of many sorrows.
It is regrettable that Chopin sought to bind within the limits of conventional forms, already half outgrown, his poetical ideas amenable only to the requirements of those freer forms for which Berlioz and Schumann were striving, and to which Wagner ultimately attained.
In his Impromptus, and a few other ventures beyond self-imposed barriers, Chopin made most praiseworthy use of freedom, but quickly he returns to contemplation of his beloved Mozart, that perfect master of classical form. Naturally the polished frequenter of the Parisian drawing-room and salon, found no lasting pleasure in the wild freedom and amplitude of the forest of Romanticism. The change was too abrupt and novel. 那些深远的前景人迹罕至的阴影!从都市通衢如何不同!那些强大但极厚的树木种植自然的粗心的手!那些从不修剪和不规则的分支!那些倒下的树干和拆除!怎么不像巴黎和Versailles保存完好的公园!
While composing, Chopin never quite divorced himself from the keyboard of his piano, and yet the writer who would attain to untrammeled expression, in both matter and form, should compose beneath a roof no narrower than the dome of heaven. Let the study be his reference room, his library, and, for convenience, his place of final elaboration. Like Beethoven and Wordsworth, let him receive at first hand the impartings of Nature that needed teacher of us all.
萧邦在他心爱的波兰旋律的心脏,在他自己的幻想,就带有微妙的、诗意的魅力和微妙的甜味将自己古朴可爱。
玛祖卡舞!是不是把农民聚集在绿色;晚上或摇摆的形式和优雅的圆形敏捷的脚和质朴之美的节日吗?波兰舞曲!它不会带来辉煌的大厅;宝石的公平;庄严的运动,国王为首的贵族和贵妇人的公司吗?是的,这样的场景,为了他的人民的舞蹈,萧邦曾恳求从快乐,逝去的日子。如何吸引这音乐的那些老旧的波兰贵族然后找到他们在巴黎的流亡最适宜居住!主要是通过这些巴黎成功萧邦的影响是迅速的,虽然更切,比谁,只有勤劳梅耶贝尔,他的方法对法国歌剧舞台的要求适应与艰辛,赢得巴黎公带到他们的膝盖前神社吗?罗伯特。?
In the homes of rank and wealth, Chopin now mingles with princes, ministers, ambassadors and literary notables. Titled ladies are his pupils and, because he would have it so, he deems his musical self best understood by the lionizing fashionables of French society who, in fact, looked not beneath the finished, but by no means robust virtuoso, and polished gentleman conforming to their every convention.
The fashionables of French society! Oh for a moment natural and true amidst the false and artificial hours! A candid, soul-sprung greeting to shame the outward suavity where envy rankles, or where hatred burns within! Oh for a laden word to prove the hollowness of empty tongues! 在布拉斯é装配纯真的平常心!哦,一个个性不受压抑;在没有密码,人群中的一个强有力的装置!
这几乎是不可思议的,在这样的环境下,萧邦由他的许多高尚的作品。他的C小调作品1 Rondo,出版于1825,当时他仅有十六岁,因此在老华沙的日子,已经宣布了一个最高军衔的作家的出现,一个权威的宣布舒曼的B小调作品2变化的外观。在巴黎1831年,姗姗来迟,两和二十人是已知的音乐家如弗朗茨·李斯特和费迪南·希勒,为这些音乐创作者为f小调协奏曲,E小调协奏曲,C小调葬礼进行曲。这最后一个后来被伟大的行进在降B小调奏鸣曲。But the bulk of Chopin's pianoforte works was written during the next seventeen years, and despite adverse conditions other than those of environment.

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