Cho những người yêu NCĐ (V2f)

Mình còn có phần mềm tự động điền tag vào cho mình nếu mình quên không điền luôn ấy chứ.
Mình nén nhạc đơn giản lắm, bỏ đĩa vào rồi rip thôi, tự động nó điền tag và đặt tên file cho mình luôn có phải làm thêm thao tác gì đâu. Nhưng vấn đề là ở chỗ mình vừa up thử một file có tên 1.mp3 lên đó nhưng vẫn không down được, không biết phải đặt đường dẫn lại thế nào cho đúng.
Tối qua up một lúc 11CD, vừa rồi có một CD của Đặng Thái Sơn nữa nhưng nếu như vậy thì không có ý nghĩa gì cả . Đổi tên 12 album coi bộ cũng vất vả đấy.
Được Apomethe sửa chữa / chuyển vào 18:23 ngày 29/03/2005

E***OR''S CHOICE GramophoneRECOMMENDED RECORDING Gramophone Guide to Good CDs BEST BUY Classic FM MagazineESSENTIAL BERLIOZ RECORDING Gramophone
"In this thrilling live recording, the music bristles with the excitement of a first encounter, yet one enriched by long experience." Sunday Times
"This recording brings the trademark LSO Live sound quality and concert atmosphere to the opium-inspired musical love letter ... the LSO are on top form ... you can almost see the instruments dancing under Davisùẵs command." The Observer
"The playing of the LSO for their chief conductor is genuinely world-class ... every rhythm is tightly sprung, every climax charged with energy, and the hallucinatory mood of the last two movements grows ever more intense."The Guardian
"From the ardent passions and fevered imaginings of the first movement on, all the excitement of these performances is captured." The Times
<Decription>
01 - Reveries - Passions (Daydreams - Passions)02 - Un Bal (A Ball)03 - Scene aux champs (Scene in the fields)04 - Marche au supplice (March to the scaffold)05 - Ronde du sabbat (Dream of the witches sabbath)06 - Overture Beatrice et Benedict
The composerõ?Ts aim has been to develop, to the extent that they have musical possibilities, various situations in the life of an artist. The plan of the instrumental drama, which is deprived of the help of words, needs to be outlined in advance. The following program should therefore be thought of like the spoken text of an opera, serving to introduce the musical movements, whose character and expression it calls into being.
Part One: Dreams, passionsõ?"The author imagines that a young musician, afflicted with that moral disease that a celebrated writer [Chateaubriand] calls "the surge of passions," sees for the first time a woman who embodies all the charms of the ideal being of whom he has dreamed, and he falls hopelessly in love with her. Through a bizarre trick of fancy, the beloved image always appears in the mindõ?Ts eye of the artist linked to a musical thought whose character, passionate but also noble and reticent, he finds similar to the one he attributes to his beloved.
The melodic image and its human model pursue him incessantly like a double idâe fixe. This is the reason for the constant appearance, in every movement of the symphony, of the melody that begins the first Allegro. The passage from this state of melancholic reverie, interrupted by a few fits of unmotivated joy, to one of delirious passion, with its movements of fury and jealousy, its return of tenderness, its tears, its religious consolationõ?"all this is the subject of the first movement.
[Even the first two preparatory measures for a few wind instruments are so unconventionally voicedõ?"though without ostentationõ?"that their authorship is unmistakable. But more remarkable still is what follows: the sound of the muted strings, the unmeasured pauses between phrases, the single pizzicato chord for violas and cellos, the two strange interventions (also pizzicato) for the basses, the mysterious cello triplets rocking back and forth at the first climax, and the one appearance of flutes and clarinets with horns. The plaintive violin melody with which the symphony begins is that of a song, õ?oJe vais donc quitter pour jamais,õ? that Berlioz, still in his teens, had written for Jean-Pierre Florianõ?Ts pastoral Estelle et Nâmorin. This, as the American Berlioz scholar Katherine Reeve has pointed out, is important because it so specifically brings Estelle Dubeuf, Berliozõ?Ts childhood love, õ?ointo the backlog of inspiration that went into this summa of his early life.õ? Finally, what an amazing effect it is at the end of the slow introduction when the chord of winds with tremolando strings is hushed from mezzo-forte to pianissimo, to swell again to fortissimo, like music carried on the whim of capricious winds.
What is classical is Berliozõ?Ts concern with proportions and relations. He specifies, for example, that each measure of the Allegro should equal one beat of the Largo introduction. The Allegro itself is agitato e appassionato assai, but it also begins as a sonata form, repeated exposition and all. In the recapitulation (which begins with the return of the idâe fixe in the dominant) and his coda religiosa, Berlioz is more inclined to go his own way; even so, the sense of continuous evolving is not more radical than what we hear in many a recapitulation/coda in late Haydn. The subtly shaped idâe fixe itselfõ?"the melody that violins and flute play to an accompaniment of nervous interjections by the strings when the Allegro beginsõ?"goes back to 1828 and a cantata called Herminie, composed as part of an unsuccessful application for the Prix de Rome. Berlioz found the perfect place for it here.]
Part Two: A Ballõ?"The artist finds himself in the most varied situationsõ?"in the midst of THE TUMULT OF A FESTIVlTY; in the peaceful contemplation of the beauties of nature; but wherever he is, in the city, in the country, the beloved image appears before him and troubles his soul.
[The first three dozen measures of the waltz are a magical transition into the relatively remote key of A major (remote, that is, from the preceding C major), and they paint for us the ballroom with its glitter and flicker, its swirling couples, the yards and yards of whispering silk. All this becomes gradually visible, like a new scene in the theater. This softly scintillating waltz is exquisitely scored. At some late stage, Berlioz added a part for a single comet at the bottom of the autograph, but it was only published posthumously. It is included in these performances.]
Part Three: Scene in the Fieldsõ?"Finding himself in the country at evening, he hears in the distance two shepherds piping a ranz des vaches in dialogue. This pastoral duet, the scenery, the quiet rustling of the trees gently disturbed by the wind, certain hopes he has recently found reason to entertainõ?"all these come together in giving his heart an unaccustomed calm, and in giving a brighter color to his ideas. He reflects upon his isolation; he hopes that soon he will no longer be alone. . . . But what if she were deceiving him! . . . This mixture of hope and fear, these ideas of happiness disturbed by black presentiments, form the subject of the ADAGIO. At the end, one of the shepherds again takes up the ranz des vaches; the other no longer replies. . . . The distant sound of thunder. . . . solitude. . . . silence.
[The Scene in the Fields speaks very much from a new sensibility, yet it is also here that we most feel the presence of Beethoven, particularly the Beethoven of the Fifth and Pastoral Symphonies. It is also from the Pastoral that Berlioz takes at least something of the design of his five-movement symphony. Berliozõ?Ts piping shepherds are mutations of Beethovenõ?Ts nightingale, quail, and cuckoo, but there is nothing in music before this, or since, like the pathos of the recapitulated conversation with one voice missing. (A ranz des vaches, by the way, is a tune sung or played by Swiss herdsmen. The most familiar example of it is the English-horn solo in Rossiniõ?Ts William Tell Overture.) As a picture of despairing loneliness, this section is without equal. And the thunderõ?"mostly in piano and pianissimoõ?"of chords for four timpani is the voice of a new orchestral imagination. The principal theme of the movementõ?"that is, the almost unaccompanied melody for flute and violins played immediately after the first conversation between English horn and oboeõ?"is one that Berlioz salvaged from the Messe solennelle he composed in 1824 and that was believed lost until its rediscovery in 1991.]
Part Four: March to the Scaffoldõ?"Having become certain that his love goes unrecognized, the artist poisons himself with opium. The dose of the narcotic, too weak to kill him, plunges him into a sleep accompanied by the most horrible visions. He dreams that he has killed the woman he had loved, that he is condemned, led to the scaffold, and that he is witnessing HIS OWN EXECUTION. The procession moves forward to the sounds of a march that is now somber and fierce, now brilliant and solemn, in which the muffled noise of heavy steps gives way without mediation to the most noisy clangor. At the end of the march, the first four measures of the ID?E FIXE reappear like a last thought of love interrupted by the fatal blow.
[The March to the Scaffold, which Berlioz said he composed in a single night, is another example of finding the right destiny for an idea too good to vanish in an abandoned project. Here the source is the opera Les Francs-juges (The Judges of the Secret Court), written in 1826-27 but for the most part destroyed by the composer. Its overture survives as one of his strongest. In this stunning march, an instant knockout, Berliozõ?Ts orchestral imaginationõ?"the hand-stopped horn sounds, the use of the bassoon quartet, the timpani writing (again in chords as at the end of the slow movement)õ?"is astonishing in every way. ]
Part Five: Dream of a Witchesõ?T Sabbathõ?"He sees himself at the sabbath, in the midst of a frightful assembly of ghosts, sorcerers, monsters of every kind, all come together for his funeral. Strange noises, groans, outbursts of laughter, distant cries which other cries seem to answer. The beloved melody appears again, but it has lost its character of nobility and reticence; now it is no more than the tune of an ignoble dance, trivial and grotesque: it is she, come to join the sabbath. . . . A roar of joy at her arrival. . . . She takes part in the devilish orgy. . . . Funeral knell, burlesque parody of the DIES IRAE, SABBATH ROUND-DANCE. The sabbath round and the Dies irae combined.
[As we enter the final scene, with its trim thematic transformations, its bizarre sonoritiesõ?"deepbells, squawking E-flat clarinet, the beating of violin and viola strings with the wooden stick of the bow, glissandos for wind instruments, violent alternations of fortissimo with pianissimoõ?"its grotesque imagery, its wild and coruscating brilliance, we have left the Old World for good.]
õ?" Michael Steinberg
Được Apomethe sửa chữa / chuyển vào 03:24 ngày 30/03/2005

Hôm nay, mình muốn gửi lời cảm ơn công khai đến Kankuli, người đã gửi cho mình 2 version của Maurice Ravel "Le tombeau de Couperin". Hihi, mình vừa thi đậu với điểm số cao, trong đó phần "Prélude" của Ravel được đánh giá cao nhất .
Rất biết ơn những đóng góp của bạn cho diễn đàn nói chung và cho mình nói riêng . Bisou (hôn hai bên má) nhé

Hic.Hun qua mạng kiểu này chỉ là demo thui nha.Chờ đến khi về VN thì sẽ là Full verison luôn.
Hì chúc mừng bạn Lys.
To Apo:Đã tìm ra nguyên nhân củ chuối rồi.User và pass vẫn vậy.Cậu chịu khó Upload lại từ đầu nha
To all:Mới được vài ngày mà băng thông đã đạt hơn 20GB rồi.Tài nguyên vẫn còn nhiều lắm,sẽ cố gắng Upload mỗi ngày 2 Album để phục vụ mọi người
Được kankuli sửa chữa / chuyển vào 08:22 ngày 30/03/2005

1.Music to Goethe''s Tragedy "Egmont" Op.842.Symphony No.9 in D Minor, Op.125, "Choral": 1. Allegro ma non troppo, Un Poco Maestoso3.Symphony No.9 in D Minor, Op.125, "Choral": 2. Molto vivace4.Symphony No.9 in D Minor, Op.125, "Choral": 3. Adagio molto e cantabile5.Symphony No.9 in D Minor, Op.125, "Choral": 4. Presto6.Presto  "O Freunde Nicht Diese Tảne" Allegro Assai

1.Sonata No. 1 In F Minor, Op. 2 No. 1, I. Allegro2.Sonata No. 1 In F Minor, Op. 2 No. 1, II. Adagio3.Sonata No. 1 In F Minor, Op. 2 No. 1, III. Menuetto: Allegretto4.Sonata No. 1 In F Minor, Op. 2 No. 1, IV. Prestissimo5.Sonata No. 2 In A Major, Op. 2 No. 2, I. Allegro vivace6.Sonata No. 2 In A Major, Op. 2 No. 2, II. Largo appassionato7.Sonata No. 2 In A Major, Op. 2 No. 2, III. Scherzo: Allegretto8.Sonata No. 2 In A Major, Op. 2 No. 2, IV. Rondo: Grazioso9.Sonata No. 3 In C Major, Op. 2 No. 3, I. Allegro con brio10.Sonata No. 3 In C Major, Op. 2 No. 3, II. Adagio11.Sonata No. 3 In C Major, Op. 2 No. 3, III. Scherzo: Allegro12.Sonata No. 3 In C Major, Op. 2 No. 3, IV. Allegro assai

Ôi Apo ơi....đúng Colin Davis mà toocky thích nhất...thanks nhé, từ trước đến nay mới nghe có Beethoven và Mozart, Bramhs, Karl Jarkens ( không biết viết tên có đúng kô ), Tchaicopsky, Tippet, Mahler của ông thôi....Thankss nhiều nhiều nhé.

Thanks anh Kankuli về đĩa Beeth 9
Máy tính em sắp nổ vì quá tải rồi, mà cái đầu in đĩa thì đang bị hỏng.
Anh Kan và Apo...nói chung tất cả mọi người có bản Liszt Sonet 104 played by : Leslie Howard, Lang Lang, Horowitz, nói chung có của ai ngoài Dinu Lippati ( tại vì toocky có rùi ) thì up lên cho toocky với nhé, cảm ơn nhiều nhiều
Mà có ai có đĩa của chú Đặng Thái Sơn thì cũng up lên luôn được không? Thèm nghe quá..
Thankss

1.Violin Concerto in E Minor, Op. 64: I. Allegro molto appassionato 2.Violin Concerto in E Minor, Op. 64: II. Andante3.Violin Concerto in E Minor, Op. 64: III. Allegro non troppo - Allegro molto vivace 4.Violin Concerto No. 1 in G Minor, Op. 26: I. Vorspiel. Allegro moderato 5.Violin Concerto No. 1 in G Minor, Op. 26: II. Adagio6.Violin Concerto No. 1 in G Minor, Op. 26: III. Finale. Allegro energico

Wat???? Hôm qua upload một lúc 12 album, mất cả buổi chiều để mò mẫm cái link, bây giờ làm lại từ đấu á?????

Là một virtuoso cellist từ Lucca (Italia), Luigi Boccherini chuyển đến sinh sống tại Tây Ban Nha và năm 1769 và ở đấy cho đến cuối đời. Ông là một nhà soạn nhạc thành công và có rất nhiều tác phẩm, chủ yếu là nhạc thính phòng (chamber) (hơn 300 tác phẩm), rất được phổ biến và ưa chuộng tại Pháp. Vì vậy khi ông nhận thấy rằng bản thân mình thiếu một người đỡ đầu thuộc dòng dõi quý tộc vào lúc vua Frederick Wiiliam II của Prussia qua đời, người mà ông đã viết tặng 6 quintets cho fortepiano và string quartet op. 56 (1797), và trong cuộc Cách mạng Paris ông đã tìm được sự hổ trợ: năm 1799 ông gửi cho People''s Representative Marie-Joseph Chénier sáu tác phẩm mới trong cùng một combination (rất hiếm vào lúc đấy), được gọi là "to the French Nation" - op. 57. Nhưng nước đi này không thành công, sáu quintets này chỉ được xuất bản vào năm 1820, với lời đề tặng cho Duchesse de Berri. 12 tác phẩm này, mà 6 trong số đó ở CD này, đã thể hiện tất cả sự duyên dáng và sự thanh lịch quý phái, nó đã cho tác giả một cái tên gọi có phần tinh nghịch là "la femme de Hadn" (người phụ nữa của Haydn). Hai ví dụ xuất sắc nhất trong số chúng là op. 57, quintet no. 3 (G 415) với điệu nhảy tên là "Provensal", mà nó cũng là kết thúc tác phẩm này (track 7 và 9), và số 6 (G 418) "Variations on the nocturnal retreat in Madrid", một sự gợi lên lạ lùng của âm thanh của buổi tối trong thành phố mà ông đã rất rành rẽ, và là nơi ông chết trong sự nghèo khổ sáu năm sau.

CD1
Quintetto Secondo Si Bémol Majeur, G 414
01 - Allegreto moderato
02 - Minuetto - Tempo giusto
03 - Adagio
04 - Finale - Allegro un poco vivace
Quintetto Terzo Mi Mineur, G 415
05 - Andante lento assai
06 - Minuetto non presto, con grazia
07 - Provensal Allegro vivo
08 - Andante lento
09 - Provensal Allegro vivo
Quintetto Sesto Ut Majeur, G 418
10 - Allegretto lento
11 - Presto
12 - Variazioni sulla Ritirata Notturna di Madrid
13 - Polonese Allegretto sostenuto
CD2
Quintette Pour Piano "-1En Mi Mineur, G 407
1. Allegro comodo
2. Adagiop
3. Minuetto con moto
4. Allegretto final
Quintette Pour Piano "-21En Fa Majeur, G 408
1. Allegretto
2. Minuetto amoroso
3. Poco adagio
4. Allegretto
Quintette Pour Piano "-5En Ré Majeur, G 411
1. Andante sostenuto
2. Minuetto allegro
3. Andante come prima
4. Variazioni
Chắc ở đây ít người nghe Boccherini. Đĩa này hơi hay, được dán một lúc 3 con tem
Được Apomethe sửa chữa / chuyển vào 19:42 ngày 30/03/2005