你知道甚麼是「列治文姻親」嗎？試直譯英文...
「不嫖妓＊＊＊」的重要性，我們都明白了。
感謝神賜路旁玫瑰
感謝神玫瑰有刺
4.29.2007
4.25.2007
即將演出
這數天常四肢無力，雙腿發軟，很不對勁。
竟然把亂七八糟的音背了，感覺真好。
April 27, 8pm
Hertz Hall, Berkeley
AUSTIN YIP Stooge
May 7, 7:15pm
St Paul's Towers, Oakland
MOZART Sonata for Piano and Violin in E minor, K.304
SCHUMANN Traumerei
CASSADO Requiebros
MENDELSSOHN Song Without Words, Op.109
BEETHOVEN Piano Trio, Op.70 No.1 "Ghost"
PIAZZOLLA Spring from Four Seasons
May 12, 8pm
Hertz Hall, Berkeley
AUSTIN YIP Stooge
May 22, Time TBA
Berkeley
BEETHOVEN Piano Trio, Op.70 No.1 "Ghost"
竟然把亂七八糟的音背了，感覺真好。
April 27, 8pm
Hertz Hall, Berkeley
AUSTIN YIP Stooge
May 7, 7:15pm
St Paul's Towers, Oakland
MOZART Sonata for Piano and Violin in E minor, K.304
SCHUMANN Traumerei
CASSADO Requiebros
MENDELSSOHN Song Without Words, Op.109
BEETHOVEN Piano Trio, Op.70 No.1 "Ghost"
PIAZZOLLA Spring from Four Seasons
May 12, 8pm
Hertz Hall, Berkeley
AUSTIN YIP Stooge
May 22, Time TBA
Berkeley
BEETHOVEN Piano Trio, Op.70 No.1 "Ghost"
4.23.2007
4.22.2007
《啊！我的女神》
這是女神的 clueless 表情。和「現實」的一模一樣啊！
Ah! My Goddess, Season 1 Episode 5
這是指揮 Helbert von KEROyan
Keroro, Episode 155
Ah! My Goddess, Season 1 Episode 5
這是指揮 Helbert von KEROyan
Keroro, Episode 155
前衛得很含蓄的歌詞
那個年代的歌詞，為什麼前衛得這樣含蓄，又含蓄得這樣前衛？
再見亦是朋友 - 曾航生／何婉盈
女︰期望你轉身 與我相廝守
輾轉錯 錯了未願放手
緣盡我早知 卻也等候
只因你 冷暖自願嘗透
男︰對你的愛心 亦已看得透
但我知此刻 美夢不會久
緣份太感傷 盼你多見諒
不相見 免卻日後惆悵
女︰長夜冷冰冰 每次溫暖後
痴痴愛 我拒絕任你走 <------- XDDDDDDDDDDD
明白你處境 我也得接受
不可說 再見亦是朋友
男︰看你心痛苦 沒法去補救
若再不歸家 找不到籍口 <------- XDDDDDDDDDDD
凝望你眼睛 有更深感受
痴痴意 放棄亦未能夠
女︰寧願我委屈 決意不退後 <------- XD
真的愛 我倆靜候已久
期望再期望 這裡一個夢
不消散 永遠墮入迷惘
合︰你我皆痛苦 沒法愛得夠
蜜意低低斟 飲千種美酒
＊男︰唯願我留下 愛你千千個晚上
女︰唯願你 留下
男︰輕撫你百遍亦未曾夠
女︰輕撫我百遍亦未曾夠 <------- XD
再見亦是朋友 - 曾航生／何婉盈
女︰期望你轉身 與我相廝守
輾轉錯 錯了未願放手
緣盡我早知 卻也等候
只因你 冷暖自願嘗透
男︰對你的愛心 亦已看得透
但我知此刻 美夢不會久
緣份太感傷 盼你多見諒
不相見 免卻日後惆悵
女︰長夜冷冰冰 每次溫暖後
痴痴愛 我拒絕任你走 <------- XDDDDDDDDDDD
明白你處境 我也得接受
不可說 再見亦是朋友
男︰看你心痛苦 沒法去補救
若再不歸家 找不到籍口 <------- XDDDDDDDDDDD
凝望你眼睛 有更深感受
痴痴意 放棄亦未能夠
女︰寧願我委屈 決意不退後 <------- XD
真的愛 我倆靜候已久
期望再期望 這裡一個夢
不消散 永遠墮入迷惘
合︰你我皆痛苦 沒法愛得夠
蜜意低低斟 飲千種美酒
＊男︰唯願我留下 愛你千千個晚上
女︰唯願你 留下
男︰輕撫你百遍亦未曾夠
女︰輕撫我百遍亦未曾夠 <------- XD
4.19.2007
畢業試係一個笑話
Dear ST:
The SEMM Graduate Examination Committee has reviewed the results of the M.S. Comprehensive Examination held on Friday, April 13, 2007, and is pleased to inform you that you have passed this examination.
Congratulations and best wishes.
Sincerely yours,
Filip Filippou
Group Leader
Structural Engineering, Mechanics and Materials Group
我第二份卷炒到開巷！
The SEMM Graduate Examination Committee has reviewed the results of the M.S. Comprehensive Examination held on Friday, April 13, 2007, and is pleased to inform you that you have passed this examination.
Congratulations and best wishes.
Sincerely yours,
Filip Filippou
Group Leader
Structural Engineering, Mechanics and Materials Group
我第二份卷炒到開巷！
4.14.2007
Stravinsky 盛宴
4/11/2007 8pm Davies Symphony hall
Richard Stoltzman, clarinet (Takemitsu)
San Francisco Symphony, Michael Tilson Thomas
Stravinsky Symphonies of Wind Instruments
Stravinsky Apollo
Takemitsu Fantasma/Cantos
Stravinsky Symphony of Psalms
三藩市交響樂團今回排出罕見的「全攻型」節目，以史達拉汶斯基和武滿徹刺激聽眾。我一直渴望狄信‧湯瑪士指揮這樣的實驗式音樂會，當然耳界大開。而入座率亦沒有因此下降，以周三晚上有八九成入座率的成績，看來聽眾對狄信‧湯瑪士的史達拉汶斯基充滿信心。
除了大家熟識的《詩篇交響曲》（我亦是因此曲而進場），狄信‧湯瑪士於每首樂曲前均作簡單介紹（Fantasma/Cantos的是史圖哲文），讓聽眾有所適從，介紹偏門的《阿波羅》時還特別花了很長時間闡釋和演奏選段。
上半場有純管樂的《管樂交響曲》和純弦樂的芭蕾舞曲《阿波羅》，表現了截然不同面貌的史達拉汶斯基。我需要多點時間研究《管樂交響曲》，但管樂組實在出色。《阿波羅》十個驚喜，是我全晚最喜歡的作品。聽過狄信‧湯瑪士介紹史達拉汶斯基如何出神入化地編織阿波羅的主題，我只有訝異：這是《春之祭》和《管樂交響曲》的作曲家嗎？那些舞蹈旋律優美極了，而純弦之聲也很感動人心。可能因是首晚演出，樂團和指揮仍有點緊張，未熟習介紹的選段，正式演奏至中段時指揮更指錯樂章，一度停了下來，但無損樂團和指揮的熱誠，我亦很受落。
武滿徹的 Fantasma/Cantos 由世界頂級單簧管演奏家史圖哲文擔綱，由最低至最高音，由最弱音至最強音，高音區「零恐懼」，結尾的極弱也是無懼，滑音無破綻，音色多變，一個字：「嘩」。史達拉汶斯基「獻給神」的《詩篇交響曲》，演出不算感動，但有機會現場欣賞合唱團加樂團演出，是不錯的經驗。
P.S. Review on San Francisco Chronicle by Joshua Kosman
4.12.2007
4.08.2007
裴勇俊？
上星期在紐約唐人埠剪髮後，已經兩次被韓國人錯認為他們的同胞了，我看起來像韓國人嗎？
在紐約韓埠街頭，被黑衣大漢司機用韓語打探。
兩天前在屋崙一韓菜餐廳用午膳，大嬸侍應一輪咀向我講韓語，經解釋後她還一臉愕然不敢相信。
(Keroro 89)
在紐約韓埠街頭，被黑衣大漢司機用韓語打探。
兩天前在屋崙一韓菜餐廳用午膳，大嬸侍應一輪咀向我講韓語，經解釋後她還一臉愕然不敢相信。
(Keroro 89)
4.01.2007
紐約客
音樂會後感
I have spent quite a relaxing week in New York and Boston for my spring break. It was already my third time there and I wasn't enthusiastic about going to all these sightseeing spots for tourists. Turned out it became a cultural feast plus good times with long-time-no-see old friends.
I attended a concert at Carnegie Hall with NDR Symphony under Dohnanyi, and their string section was excellent. I have been quite frustrated by strings in American orchestras, especially under American conductors. One exception might be Orpheus Chamber Orchestra, but of course they are a chamber orchestra and have no conductors. This NDR Symphony from Hamburg demonstrated the German sound exceptionally in the Mendelssohn overture and Brahms' first symphony. The first two movements in the Brahms were a bit out of shape, but the last two were magnificent.
The next day when I arrived at Boston I tried out my luck at Boston Symphony and got a surprisingly cheap ($8!) rush ticket for Fidelio that evening. Turned out I sat at the second last row of the orchestra floor, but their symphony hall gave such a good and warm sound that it really didn't matter at all. The orchestra was in excellent shape under James Levine, probably because it was the last concert of their two-year Beethoven/Schoenberg project. The full-house attendence probably spiced up their spirit too. Fidelio did not make sense to me last time I saw it at SF Opera, but it came to my full understanding this time. Levine and BSO knew their role so well - you probably can't come across such exquisite and careful execution and understanding from any opera orchestra. The strings were in top form. The soloists and the chorus sounded fantastic too. I wonder how much of this came from the contribution of the hall acoustics, but I am sure that such a wonderful symphony hall already built up half a successful orchestra. Think of our Hong Kong Cultural Center. It probably killed the Philharmonic rather than helping it.
I was looking forward to the New York Philharmonic concert but it turned out to be a great disappointment. Having experienced the Symphony Hall in Boston, the acoustics in Avery Fisher Hall was way below my expectation. The weakness of the string section of the Philharmonic was clearly exposed in both Mozart's piano concerto and Sibelius' Lemminkainen Suite. They sounded worse than San Francisco Symphony in a regular subscription concert. I sat at the orchestra center during the open rehearsal, and at the orchestra first row during the actual performance, and thus any problems in the strings were clearly audible. There was no improvement in the actual concert from the rehearsal in the morning. I wonder what caused the problem. Was it the absence of the regular concert master? Was it Colin Davis? Were the musicians too tired? Or was it simply a problem of the New York Philharmonic? I got the chance to download the final movement of the Phil's live recording of Mozart's 39th Symphony under Lorin Maazel from the DG Concerts series, and again was greatly disappointed by the strings. Maybe NY Phil is simply overrated, or what they can do is only anything larger than mezzo piano but nothing exquisite or detailed.
尋親訪友
文化交流
音樂劇《孤星淚》
北德廣播交響樂團＠卡內基音樂廳
波士頓交響樂團
紐約愛樂
尋找小籠包 x3
I have spent quite a relaxing week in New York and Boston for my spring break. It was already my third time there and I wasn't enthusiastic about going to all these sightseeing spots for tourists. Turned out it became a cultural feast plus good times with long-time-no-see old friends.
I attended a concert at Carnegie Hall with NDR Symphony under Dohnanyi, and their string section was excellent. I have been quite frustrated by strings in American orchestras, especially under American conductors. One exception might be Orpheus Chamber Orchestra, but of course they are a chamber orchestra and have no conductors. This NDR Symphony from Hamburg demonstrated the German sound exceptionally in the Mendelssohn overture and Brahms' first symphony. The first two movements in the Brahms were a bit out of shape, but the last two were magnificent.
The next day when I arrived at Boston I tried out my luck at Boston Symphony and got a surprisingly cheap ($8!) rush ticket for Fidelio that evening. Turned out I sat at the second last row of the orchestra floor, but their symphony hall gave such a good and warm sound that it really didn't matter at all. The orchestra was in excellent shape under James Levine, probably because it was the last concert of their two-year Beethoven/Schoenberg project. The full-house attendence probably spiced up their spirit too. Fidelio did not make sense to me last time I saw it at SF Opera, but it came to my full understanding this time. Levine and BSO knew their role so well - you probably can't come across such exquisite and careful execution and understanding from any opera orchestra. The strings were in top form. The soloists and the chorus sounded fantastic too. I wonder how much of this came from the contribution of the hall acoustics, but I am sure that such a wonderful symphony hall already built up half a successful orchestra. Think of our Hong Kong Cultural Center. It probably killed the Philharmonic rather than helping it.
I was looking forward to the New York Philharmonic concert but it turned out to be a great disappointment. Having experienced the Symphony Hall in Boston, the acoustics in Avery Fisher Hall was way below my expectation. The weakness of the string section of the Philharmonic was clearly exposed in both Mozart's piano concerto and Sibelius' Lemminkainen Suite. They sounded worse than San Francisco Symphony in a regular subscription concert. I sat at the orchestra center during the open rehearsal, and at the orchestra first row during the actual performance, and thus any problems in the strings were clearly audible. There was no improvement in the actual concert from the rehearsal in the morning. I wonder what caused the problem. Was it the absence of the regular concert master? Was it Colin Davis? Were the musicians too tired? Or was it simply a problem of the New York Philharmonic? I got the chance to download the final movement of the Phil's live recording of Mozart's 39th Symphony under Lorin Maazel from the DG Concerts series, and again was greatly disappointed by the strings. Maybe NY Phil is simply overrated, or what they can do is only anything larger than mezzo piano but nothing exquisite or detailed.
尋親訪友
文化交流
音樂劇《孤星淚》
北德廣播交響樂團＠卡內基音樂廳
波士頓交響樂團
紐約愛樂
尋找小籠包 x3
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