never personally experienced a Yo-Yo Ma.
only know that he had lost his priceless cello Domenico Montagnana 1733. And the fascinating process of recovering - no color of Haydn, and more Hollywood swing. (New York Times has reported this event in 1999) http://select.nytimes.com/gst/abstract.html?res=F00914FD3D5D0C748DDDA90994D1494D81
saw him last night! Jingshenyiyi with emotion, he played the cello symphony number two Dimitri Schostakowitsch.
noted Diming thick cello sound quality, and then fell in love with it, begins "In the Mood for Love," Wong Kar-wai film composer with Japan Meilin Mao "Dream II" as the theme song, but please by Michael Galasso is "In the Mood for Love" Finally, a production of Angkor Wat that leisurely graceful, Ruqirusu background music. Are the primary cello completed.
the fate of the cello, but not always smoothly, until the fate of the 1920s it began changing its stance.
last night 音樂會的節目單 上寫著：【音樂評論家Eduard Hanslick在1886年不屑地說：『每當看到一個年輕人出現眼前，雙腿夾著一支大提琴，好似坐在家裏椅子上，一股莫名的恐懼就會浪襲而來。』連Antonín Dvořák（德沃夏克）在譜寫他的h小調協奏曲104號作品時也抱怨連連：『大提琴拉高音時，出來的好像是鼻音；拉低音時，又好像是熊吼！』千真萬確，可憐的大提琴在十九世紀普遍被人蔑視。一直到1920年代開始，而且必須感謝Pablo Casals (1876 - 1973 帕布罗卡尔 Texas, English cellist, composer, conductor), cello began in luck. Bach's cello was his reorganization of music, so in order to enter the Concert Hall, but his definition of a new cello playing skills. Finally, the twentieth century, began to distinguished solo cello instrument profile, sixty and seventies to create a corresponding rise in the peak of his career. 】
而馬友友1733年製作的大提琴，帶給柏林愛樂者無限讚嘆與興奮。不可否認，這曲蕭士塔高維奇第二號大提琴協奏曲 G-Dur op.126非常艱澀，對任何一位大提琴家都是絕大的挑戰。是蕭氏作爲送給自己六十大壽的禮物，也是他為一代偉大的俄國大提琴家Rostropowitsch（羅斯特羅波維奇）譜寫的。反思人真想跟讀者共同分享蕭氏這一曲非常私密的樂曲，無奈找遍YouTube，連柏林愛樂的「數碼音樂會(Digital Concert)」都找過了，竟然沒有找到任何一個章節或是兩分鐘試聽曲、、、 千謝萬謝親愛的John對此文的貢獻 - 音樂找到了！
節目單上寫著：【此曲可能被視爲蕭氏最好的樂器演奏曲。從一開始的節奏就牽引出好似室内音樂的紋理。蕭氏的晚期作品當中，這首樂曲最能體現他最後創作階段的情懷：沉重、憂鬱、絕望之餘，又奇妙地親密，接下來的狂野和諧謔是蕭氏典型對民間舞蹈的嘲笑。繼而轉向華爾茲圓舞曲的輕快，卻前功盡棄地被怪誕的低音管（Fagott）打亂秩序，接著銅管小號，法國號，鈴鼓也上陣圍繞大提琴的主調，好像所有的一切必須再次表明心跡。一直到對應主旋律的尾聲（Coda）出現，是一段漫長告別式，配合時鐘機制般的打擊樂器 - After the deep decline of only quietly, not to end up huge, but in sorrow fade. This naturally aroused much speculation ended: in 1966, Shostakovich completed just over six-year-old music; said Xiao's personality traits of the movement, was actually a gift to give yourself, so that the end is indeed reminiscent of the memory of Xiao's sense of elapsed time and the end of personal life. 】
結束！愛樂人瘋狂了，沸騰了！馬友友又一次燃燒起柏林愛樂迷熱情，上一次是1995年。他也熱情興奮地不能自已，他擁抱安永徹親親臉頰、幾乎他身後第一排音樂家每個人都被他深深擁抱，還不夠，好像這才突然看到15年前的熟識，把後面幾排的人也喊出來擁抱，被點名的柏林愛樂樂家連忙拿著笨重的樂器，躲過別人的樂器，投入馬友友的懷抱。出來獻花的美麗小姐也得到馬友友的雙邊頰吻。這時候，充滿個人魅力的他，竟然手指台下一位觀衆，將這一束歡迎熱愛他的鮮花，轉送給坐在第一排的一位來賓。我們一群朋友雖然看不清楚花落誰家，卻也不約而同地說，一定是一位美女。
當然值得記載的也是馬友友之前的曲目。當代音樂作曲代表可謂非斯堪地納維亞北歐國度莫屬。若瞧一瞧來自美國或歐洲的作曲委任訂單，大多都給了北歐國家。如同我2007年8月一場音樂會認識的瑞典裔芬蘭人Lindberg，那曲 "Kraft (Power)" I am amazed. Yo-Yo Ma track before the Berlin Philharmonic Orchestra, Zurich Chamber sound together with the Finnish Radio Symphony Orchestra for the appointment of Swede Anders Hillborg the song. Called "Cold Heat", which in a joint concert but the first three world premieres.
如同Lindberg的《Kraft(Power)》，《Cold Heat》同樣聲勢磅礴，風格多元。Lindberg突破格局用電腦譜寫音樂，而Hillborg偶爾寫流行音樂（Pop）或製作說唱音樂（Rap），有時也譜寫電影音樂。
一頭長髮的Hillborg蒞臨現場，並且在演奏完畢共同站台鳴謝。節目單裏寫道Hillborg對音樂的看法：【音樂對這位瑞典人而言，永遠是一種「溝通」；他自己的作品對他而言，其實也是另類「溝通形式」。當他在作曲的時候，總會不斷地問自己，他的音感思維是否的確形成「語言」的一部分，亦謂是否達到了「表達力」的高度。對他而言「溝通」的完成，只能憑藉一個大型交響樂團的力量和魅力。他說：『有些人認為，交響樂團是屬於過去的，我卻完全不認爲衆人共同演奏高音質樂器是一件過時的事。相反地，我認爲這是人類進行高水準且最複雜的「溝通」的一次偉大慶典。我經常被莫大的驚奇和敬畏深深感動：百人群集共同作樂的壯觀！』】
今晚執棒的指揮David Zinman 也得到愛樂迷的喝彩，馬友友跟他似乎情誼深長。
最後被拉圖稱爲《戰爭交響樂曲War Symphonie》丹麥作曲家卡爾•尼爾森（Carl Nielsen 1865 - 1931) of the fifth symphony is the second half of the tracks. My husband took me to do homework at home, listen to on again, the first movement of the beginning, I said, Nielsen's definitely under the influence of the Schostakowitsch Xiao. Internet to find him half a day, said: she will not have any of their music composition of any associated text. 』Proved impossible, Shostakovich was born in 1906, when Nielsen completion of the fifth symphony, Shostakovich was sixteen years old. But then I do hear it's totally different song with the Xiao, only one out of grabbing music, there Shostakovich shadow.
program of one of the last words written by Lydia Rilling tells Shaw's and the only association between Nissl 【different from Beethoven, Sibelius (Sibelius), and Shostakovich's Fifth symphony, Nielsen did not face life, idealists, dictators oppress the hook. 】
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