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音樂學會現呈上一套可以讓你鬆弛神經的音樂

希望大家可以多加利用，緩和考試的情緒^^

(請選擇其中一條link 下載)

http://www.sendspace.com/file/2q3lae

http://www.sendspace.com/file/7e3c7d

http://www.sendspace.com/file/25acqa

 •‘I hope the students can find this kind of unreserved love ‘ Mr Lam

 現提供不同版本之Unreserved Love(愛是不保留)供同學觀賞

望同學最終可以找到那亳無保留的愛。

Mr Lam 版本 http://www.youtube.com/watch?v=afHLdc8Ibhg

詩歌–愛是不保留(婚禮版)
歌曲試聽(演唱者：乙仔)

Xuite日誌：一雙手一張嘴–粵語詩歌–愛是不保留
http://blog.xuite.net/yizie.wu/broadcast/7064792

Xuite日誌：一雙手一張嘴–詩歌–愛是不保留(電影版)
http://blog.xuite.net/yizie.wu/broadcast/7592854

愛是不保留(聖詩版)
http://ruudbeckham.sporthk.net/ruud/about_us/fans_zone/02_shared.MP3

廣東話版：愛是不保留

愛是不保留(In A Mood Of Faith)
作詞：盧永亨　作曲：盧永亨　編曲：Aubrey Suwito

常聽說世界愛沒長久，
哪裡會有愛無盡頭？
塵俗的愛只在乎曾擁有，
一刻燦爛便要走！

而我卻確信愛是恆久，
碰到了你已無別求；
無從解釋、不可說明的愛，
千秋過後仍長存不朽！！

誰人受痛苦被懸掛在木頭？
至高的愛盡見於刺穿的手；
看！血在流反映愛沒保留，
持續不死的愛到萬世不休！

惟求奉上生命全歸主所有，
要將一切盡獻於我主的手；
我已決定今生再沒所求，
惟望得主稱讚已足夠！
=========================================================
【強力推薦】愛是不保留(動畫版MV)
http://www.hkedcity.net/uploaded_files/eworks/0412/40671_ust.swf

愛是不保留(吉他版)
http://vincehon.homeip.net:8000/VJW/WWW/VGP/Performance/loveIsNotReserved_VinceHon.zip

愛是不保留(吉他譜)
http://vincehon.homeip.net:8000/VJW/WWW/VGP/Tab/loveIsUnreserved.zip

愛是不保留(鋼琴版)
http://www.komusic.net/zip/loveis.zip
解壓密碼：http://www.komusic.net

愛是不保留(鋼琴譜)
http://www.enjoyingmusic.com/Cherry/loveisforever.zip

鋼琴版歌詞

常聽說世界愛沒長久，
哪裡會有愛無盡頭？
塵俗的愛只在乎曾擁有，
一刻燦爛便要走！

而我卻確信愛是恆久，
碰到了你已無別求；
無從解釋、不可說明的愛，
千秋過後仍長存不朽！！

明日幻變天地無法猜得透，
也許風雨盡蓋掩滿天星宿；
有你在旁將真愛盡傾流，
若能找到真愛已足夠！

而我卻確信愛是恆久，
碰到了你已無別求；
無從解釋、不可說明的愛，
千秋過後仍長存不朽！！

長路就算多漫長似沒盡頭，
你總緊靠著我、輕挽我的手；
那怕歲月一飄去未可留，
若能找到真愛已足夠！

鋼琴版歌詞(廣東話注音)

常(善)聽說(虛)世(塞)界(該)愛(唉)沒(木)長久(狗)，
哪裡(雷)會(胃)有(搖)愛無(木)盡(枕)頭(逃)？
塵(趁)俗(作)的愛只在乎(夫)曾擁有，
一(壓)刻(哈)燦爛便要(油)走！

而(粒)我卻確(卡)信(深)愛是恆(汗)久，
碰到(刀)了你已無(木)別求；
無從(宋)解(改)釋(洗)、不(北)可(和)說(順)明的愛，
千(輕)秋(超)過後(好)仍長(搶)存不朽(老)！！

明日(壓)幻(晚)變(冰)天地(dei)無法猜得(duck)透(逃)，
也(亞)許(黑)風雨盡(枕)蓋(開)掩(銀)滿(母)天星宿(秀)；
有(搖)你(雷)在旁將(遵)真(詹)愛盡(枕)傾(king)流，
若(欲)能(冷)找到(刀)真愛已足(皺)夠(狗)！

而(粒)我卻確(卡)信(深)愛是恆(汗)久，
碰到(刀)了你已無(木)別求；
無從(宋)解(改)釋(洗)、不(北)可(和)說(順)明的愛，
千(輕)秋(超)過後(好)仍長(搶)存不朽(老)！！

長(常)路(漏)就(找)算(尋)多漫長(常)似沒(?)盡(枕)頭，
你(雷)總緊(耿)靠著我、輕挽(碗)我的手；
那(拿)怕歲月一飄去(黑)未(美)可(好)留，
若(欲)能(冷)找到(刀)真愛已足(皺)夠(狗)！
=========================================================
愛是不保留——婚禮版：我信愛是恆久

常聽說世界愛沒長久，
哪裡會有愛無盡頭？
塵俗的愛只在乎曾擁有，
一刻燦爛便要走！

而我卻確信愛是恆久，
碰到了你已無別求；
無從解釋、不可說明的愛，
千秋過後仍長存不朽！！

明日幻變天地無法猜得透，
也許風雨盡蓋掩滿天星宿(秀)；
有你在旁將真愛盡傾流，
寒夜漆黑一片也未去擔憂！

長路就算多漫長似沒盡頭，
你總緊靠著我、輕挽我的手；
那怕歲月一飄去未可留，
若能找到真愛已足夠！
=========================================================
Unreserved Love (愛是不保留-英文版)

I’ve always been told, love won’t endure.
Nowhere can one find love long and true.
The world just thinks love comes and passes through.
“Don’t make promise” is the rule…

But I still believe love can last.
Your unfailing love has made me strong.
You are there when I needed you more.
Come what may, you’ll love me all along!

Who died on the cross and took away my curse?
Great is your love, I don’t think I should deserve.
Your bleeding hands proved your love unreserved.
You’re my only joy and treasure on the earth…

Giving everything to you is all I pray.
Use my life to serve you truly every day.
I’ll hold your hands and give you all my praise.
Let the whole world know your love and grace!
=========================================================
愛是不保留普通話版：愛是無盡頭

世上很多人談情說愛，
只求現在，不看未來；
曇花一現代表無限精彩，
感覺一去，情不在

我依然相信永恆的愛，
您實現了我的期待；
無法形容，不見盡頭的愛，
天荒地老到千年萬代！

造天地的主為我承受鞭傷，
為了愛我，給懸在十字架上！
您以死亡為我換回希望，
染滿血的手將我全然釋放！

無盡頭的愛超乎我的想像，
遇見您，教我的心重現曙光；
我願獻上我的一切力量，
一生榮耀我的主，我王！
=========================================================
愛是不保留(MIDI_1)
http://www.alexsky.com/jade/music/jademidi18.mid

愛是不保留(MIDI_2)
http://www.alexsky.com/jade/music/jademidi18b.mid

愛是不保留(MIDI_3)
http://www.alexsky.com/jade/music/jademidi18c.mid

愛是不保留(MIDI_4)【天作之盒主題曲】（To like Is No With reservation）
http://www2.hkedcity.net/citizen_files/aa/et/kk51010/public_html/thesims-midi-to-like-is-no-with-reservation-1.mid

愛是不保留(MIDI_5)【教會詩歌版】（To like Is No With reservation）
http://www2.hkedcity.net/citizen_files/aa/et/kk51010/public_html/thesims-midi-to-like-is-no-with-reservation-4.mid

愛是不保留(MIDI_6)【詩歌喇叭版】（To like Is No With reservation）
http://www2.hkedcity.net/citizen_files/aa/et/kk51010/public_html/thesims-midi-to-like-is-no-with-reservation-3.mid

愛是不保留 － 鋼琴獨奏版
http://www.komusic.net/eric/mysong_loveis.htm

John Denver – Perhaps Love (1986) http://www.youtube.com/watch?v=h2Ke-Ds6zVs&feature=related 

PERHAPS LOVE (John Denver)

Perhaps love is like a resting place, a shelter from the storm
It exists to give you comfort, it is there to keep you warm
And in those times of trouble when you are most alone
The memory of love will bring you home

Perhaps love is like a window, perhaps an open door
It invites you to come closer, it wants to show you more
And even if you lose yourself and don’t know what to do
The memory of love will see you through

Love to some is like a cloud, to some as strong as steel
For some a way of living, for some a way to feel
And some say love is holding on and some say letting go
And some say love is everything, and some say they don’t know

Perhaps love is like the ocean, full of conflict, full of pain
Like a fire when it’s cold outside, thunder when it rains
If I should live forever, and all my dreams come true
My memories of love will be of you

Some say love is holding on and some say letting go
Some say ove is everything and some say they don’t know

Perhaps love is like the mountains, full og conflict, full of change
Like a fire when it’s cold outside, thunder when it rains
If I should live forever, and all my dreams come true
My memories of love will be of you

About John Denver

John Denver (December 31, 1943 – October 12, 1997), born Henry John Deutschendorf, Jr., was an American folk singer-songwriter and folk rock musician who was one of the most popular artists of the 1970s. He recorded and released some 300 songs, about half of which he had composed, and was named Poet Laureate of Colorado in 1977.

Denver’s songs were suffused with a deep and abiding kinship with the natural world. Songs such as “Take Me Home, Country Roads”, “Leaving on a Jet Plane”, “Calypso”, “Annie’s Song”, “Thank God I’m A Country Boy”, and “Rocky Mountain High” are popular worldwide. Denver has been referred to as “The Poet For the Planet”, “Mother Nature’s Son” (based on The Beatles song he covered) and “A Song’s Best Friend”.

Early years

Denver was born in Roswell, New Mexico to Erma Louise Swope and Henry John Deutschendorf, Sr.,^[1] an Air Force officer and flight instructor. As a typical military brat his family moved around the American Southwest and South while Denver was growing up.

Denver was a Christian in his early life, reared Presbyterian, and converted to Lutheranism, but he often said he shared many beliefs with Zen Buddhists and certain Yoga Spiritual Masters. He also felt he had a connection with the indigenous people of North America. In his memoirs, Denver cited that as a child he had some troubles at home, mostly with his rocking horse, which used to come alive at night and steal his blanket.

By far Denver’s most folk album, Rhymes and Reasons would open up his life long solo career.

At the age of 12, he received a 1910 Gibson f-hole acoustic jazz guitar from his grandmother, and polished his skills enough to be able to perform at local clubs by the time he was in college. He adopted the surname ‘Denver’, for the capital of his favorite state, after Randy Sparks suggested that ‘Deutschendorf’ wouldn’t fit comfortably on a marquee. He dropped out of the School of Engineering (Architecture) at Texas Tech University in Lubbock in 1964, and moved to Los Angeles, California. Denver sang in the smoky underground folk clubs in Los Angeles, and in 1965 joined the Chad Mitchell Trio, a folk group later renamed “The Mitchell Trio” and then “Denver, Boise, and Johnson”.

In 1969, he abandoned the band life to pursue a solo career, and released his first album for RCA Records, Rhymes and Reasons. It was not a huge hit, but it contained “Leaving On A Jet Plane”, which became a number one hit for Peter, Paul and Mary that same year. He recorded two more albums in 1970, Whose Garden Was This? and Take Me to Tomorrow. Although these albums were not as successful as those that followed, they would all be certified gold by the RIAA, and later considered to be some of Denver’s most revered work.
He died on october 12, 1997.

Peak of career

Denver’s next album, Poems, Prayers and Promises, released the following year, was a breakthrough for him in America, thanks in part to the single “Take Me Home, Country Roads,” which went to number two. (The first pressings of the track were distorted. Its success was in part due to the machinations of his new manager, future Hollywood producer Jerry Weintraub who signed Denver in 1970. Weintraub insisted on reissues of the track & began a radio-airplay campaign that began in Denver, Colorado) His career flourished from then on, and the hits came pouring in for the next four years. In 1972, Denver scored his first top ten album, with Rocky Mountain High, while its title track reached the Top Ten in 1973. In 1974, “Sunshine on My Shoulders” and “Annie’s Song” both went to number one, and “Back Home Again” made it to number five. In 1975, he again had two number ones, “Thank God I’m A Country Boy” and “Calypso/I’m Sorry,” and a top twenty hit, “Sweet Surrender.” Key to Denver’s success were his many appearances on television, which in the pre-MTV era of the 1970s, with his long blond hair, embroidered ‘western’ shirts, affable manner & granny glasses, made him one of the first truly “tele-genic” pop stars. His manager, Jerry Weintraub, insisted on these appearances, (including a series of half-hour shows in England despite Denver’s then-protestations that “I’ve had had no success in Britain … I mean none“(Source: “Rocky Mountain Wonderboy,” James M Martin,Pinnacle Books 1977) for as Weintraub told Maureen Orth of Newsweek in December 1976, “I knew the critics would never go for John. I had to get him to the people.” Among one of these first appearances was a spot filling in for Johnny Carson on The Tonight Show. During the show, Denver uttered the phrase, “Far Out!” over nineteen times, thus ensuring the exclamation would become a sort of catchphrase forever associated with his name. After appearing as a guest on many shows, Denver went on to host his own variety/music specials, including several world-televised concerts from Red Rocks Amphitheatre near Denver, the “Mile High City.” His seasonal special “Rocky Mountain Christmas” was watched by over 60 million people and was the highest rated show for the ABC Network at that time, while his live concert special, “An Evening with John Denver” won the Emmy award for Best Variety or Musical Special of the same year.

He also made appearances on The Muppet Show. This relationship was the beginning of a life-long friendship between Denver and Jim Henson which spawned two television specials Denver made with The Muppets. He even tried his hand at acting starring in the 1977 film, Oh, God! opposite George Burns. Denver would go on to host the Grammy Awards five times in the 1970s and 1980s, as well as guest-host The Tonight Show multiple times.

1972’s Rocky Mountain High

In 1975 he was recognized as the Country Music Association Entertainer of the Year. At the Country Music Association awards ceremony, reigning Entertainer of the Year Charlie Rich (who himself had a series of crossover hits) was to present the award to his successor; instead of reading the name of the winner, he set fire to the envelope with a cigarette lighter and announced in tones of disgust, “My good friend, John Denver!”. Some considered it a statement against country pop and the Music Row-controlled Nashville Sound, while others rejected Rich’s actions.

In 1977, he co-founded The Hunger Project, along with Werner Erhard and Robert W. Fuller. Denver served for many years, and supported the organization until his death. He was also appointed by President Jimmy Carter to serve on the President’s Commission on World Hunger. He wrote and dedicated the song “I Want to Live” as the theme song for the Hunger Project.

In 1979, he performed “Rhymes & Reasons” at the Music for UNICEF Concert, which gained him exposure to worldwide audiences. Royalties from the concert performances were donated to UNICEF.

Image and politics

Denver had a distinctive and trend-setting image, his blond hair cut in a “Dutch-Boy” style, complemented by bell-bottom jeans and cowboy boots. He was known for the catch phrase “Far out!” that punctuated his concerts and conversation, his happy, positive image, and his western accent. As his interests began to go beyond just his music, Denver worked to promote specific political ideals.

Political activism

Denver’s final album with RCA; One World , was a blunt jab at the results of war.

Denver became outspoken in politics in the mid-seventies. In 1976, he campaigned for Jimmy Carter, who became a close friend and ally. Denver was a supporter of the Democratic Party, and a number of charitable causes for the environment, the homeless, the poor, the African AIDS crisis, and hunger. He founded the charitable Windstar Foundation in 1976 to promote sustainable living. His dismay at the Chernobyl disaster led to precedent-setting concerts in parts of communist Asia and Europe.

During the 1980s, he was a critic of the Reagan Administration’s environmental and defense spending policies, advocated unilateral disarmament of the United States, and opposed free market economics. His outrage at the conservative politics of the 1980s was famously expressed in Denver’s autobiographical folk rock ballad Let Us Begin (What Are We Making Weapons For). Denver was also critical of the Republican-dominated Congress and American Conservatism of the 1990s. He denounced the National Rifle Association (NRA) as a corrupt political machine that could buy off politicians, in an open letter he wrote to the media opposing oil drilling in the Arctic National Wildlife Refuge. Denver had battled to expand the refuge in the 1980s, and praised President Bill Clinton for his opposition to the proposed drilling and desire to rely more on imported oil. The letter, which he wrote in the midst of the 1996 Presidential election, was one of the last Denver would ever write.

Despite his many differences with Republican leaders and Presidents, Denver was a sought-after guest at state dinners hosted by Richard Nixon and George H.W. Bush. His “all-American” image and soft spoken lyrics of peace and harmony made him a popular entertainer. In 1972, at a Washington, D.C. concert, Nixon and then Premier of the People’s Republic of China Zhou Enlai were members of the audience.^{[citation needed]} After the concert, which included Denver’s infamous parodies “The Ballad of Richard Nixon” and “The Ballad of Spiro Agnew” , the Premier purchased 500 cassette tapes of the country folk ballad “Take Me Home, Country Roads”.

Denver’s 1977 LP I Want To Live .

John Denver was a graduate of Werner Erhard’s Erhard Seminars Training and also wrote and dedicated the song “Looking for Space” to E.S.T.. This song came from his 1975 album “Windsong”. It became the theme song for the training organization.

Denver supported space activism and was once slated to go into space. He was on the Board of Governors of the National Space Society for many years.

 Later years and humanitarian work

1985’s Dreamland Express

In subsequent years, Denver had a lower-profile career. He had a few more U.S. Top 30 hits as the 1970s ended, but nothing to match the success he enjoyed earlier. As his career slowed down, Denver focused more on humanitarian and sustainability work. He worked extensively on conservation projects and helped to create the Arctic National Wildlife Refuge in Alaska. Denver made public expression of his acquaintance or friendship with ecological-design researchers like Richard Buckminster Fuller and Amory Lovins, from whom he said he learned much. He also founded his own environmental group, the Windstar Foundation. Denver had a keen interest in the causes of and solution to hunger, and visited Africa during the 1980s to witness first-hand the suffering caused by starvation and to work with African leaders towards a solution.

In 1983 and 1984 Denver hosted the annual Grammy Awards which are presented by the National Association of Recording Arts and Sciences (NARAS). The 1983 presentation was noteworthy as for the show’s finale, Denver was joined on-stage by folk music legend Joan Baez. Baez and Denver lead an all-star version of “Blowing In The Wind” and “Let The Sunshine In”. They were joined on stage by such diverse musical icons as Jennifer Warnes, Donna Summer, and Rick James.

Denver testified alongside Frank Zappa and Dee Snider on the topic of censorship during a Parents Music Resource Center hearing in 1985. His appearance and music sharply contrasted with those of his musical counterparts. Denver also toured Russia in 1985, met with Communist Party luminaries at every opportunity. Denver’s 11 concerts in the Soviet Union were the first by an American artist in over 10 years, and marked a very important cultural exchange, which culminated in an agreement to allow other western artists to perform in the USSR. ^[2] He returned two years later to perform at a benefit concert for the victims of the Chernobyl accident. In October 1992, he undertook a multiple city tour of Communist China, shaking hands and meeting with Communist Party leaders through every city. Denver also released the “Homegrown” CD of his greatest hits to raise money for charities helping the homeless.

1991’s Different Directions

In 1994, he published his autobiography, Take Me Home. In 1996, he was inducted into the Songwriters Hall of Fame, and his “legend” status was ensured.

In early 1997, Denver filmed an episode for the Nature series, centering on the natural wonders that inspired many of his best-loved songs. The episode contains his last song, “Yellowstone, Coming Home,” which he composed while rafting along the Colorado River with his son and young daughter.^{[citation needed]}

When his career as a musical icon slowed down and his humanitarian work picked up its pace, Denver had two incidents involving driving under the influence of alcohol. In 1993 he pleaded guilty to “driving while impaired”, and a 1994 incident ended with a hung jury in 1997 when his defense argued that a thyroid condition rendered the alcohol tests unreliable.^[3]

 Personal life

The lyrics to “Rocky Mountain High”, one of Colorado’s official state songs, in Rio Grande Park near Denver’s hometown of Aspen, Colorado.

Denver’s first marriage was to Annie Martell of St. Peter, Minnesota. Annie was the subject of his much-beloved hit “Annie’s Song”. He and Annie adopted a son (Zachary) and daughter (Anna Kate) after determining that Denver was infertile. Zachary was the subject of “A Baby Just Like You,” a song he wrote for Frank Sinatra who also appeared on the Muppet Christmas Special; he was also the eponymous subject of “Merry Christmas, Little Zachary.” After divorce from Annie in 1982, he later married Australian actress and singer Cassandra Delaney in 1988. They had a daughter named Jesse Belle, after Denver had medical treatment for his infertility. They divorced in 1993. In the years after his second divorce, Denver and Annie Martell began to reconcile their friendship. At the time of his death, a rumor spread from the tabloid The National Enquirer suggested reconciliation of their marriage; but no evidence has arisen supporting this claim.

 Death

A Long-EZ two seat canard plane similar to Denver’s.

On October 12, 1997, Denver was killed when the Long-EZ aircraft he was piloting crashed just off the coast of California at Pacific Grove, shortly after taking off from the Monterey Peninsula Airport.

The Long-EZ that Denver was flying is a two-seat experimental aircraft, designed in the 1970s by Burt Rutan. Denver’s particular plane, N555JD, bought used, had been changed from Rutan’s original published plans: The fuel tank selector valve had been moved from a location just aft of the nose gear wheel housing and between the pilot’s legs to the bulkhead behind and to the left of the pilot’s (front) seat. ^[4]

Denver apparently lost control of the aircraft while attempting to manipulate the fuel selector handle after running out of fuel in one tank. Witnesses stated that the plane made a sudden pitch-down plunge into the water, leading to speculation that, in reaching around to the rear, Denver bumped or kicked the side-stick control. The official investigation decided that he had likely inadvertently pushed the right rudder pedal trying to gain leverage to turn in his seat to reach the fuel handle.

A pilot with over 2700 hours of experience, Denver had multiengine, instrument, and Learjet type ratings. He had recently purchased the Long-EZ aircraft and had taken a half-hour checkout flight with the aircraft the day before the accident. The NTSB cited Denver’s unfamiliarity with the aircraft and his failure to have the aircraft refueled as causal factors in the accident. Denver was the sole occupant of the aircraft. Prior to the accident, the FAA had learned of his failure to abstain entirely from alcohol subsequent to prior drunk driving arrests, and since his medical certification was conditional on this, a determination was made that due to his drinking problem he was not qualified for any class of medical certification at the time. At least a third-class medical certification was required to exercise the privileges of his pilot certificate. There was no trace of alcohol or any other drug in Denver’s body at autopsy, however.^[5] As the wreck badly disfigured Denver’s body, dental records were needed to confirm the pilot of the Long-EZ was indeed the fallen singer.

Upon announcement of his death, Governor Roy Romer of Colorado ordered all Colorado flags to be lowered to half-staff to honor Denver. He was cremated alongside his 1910 Gibson guitar that his grandmother had given him, and subsequently inspired much of his legacy. Denver’s life was celebrated at funeral services at Faith Presbyterian Church in Aurora, Colorado on October 17, 1997. His ashes were scattered in the Rocky Mountains. Further tributes were made at the following Grammys and Country Music Association Awards. Denver’s final album, All Aboard! consisted of old fashioned swing, big band, folk, bluegrass and gospel styles of music woven into a theme of railroad songs. All Aboard! won a posthumous Best Musical Album For Children Grammy.

Posthumous recognition

In 2000, the CBS television movie Take Me Home: The John Denver Story was released, with loosely-based on Denver’s memoirs, starring Chad Lowe. However, Denver’s brother, Ron Deutschendorf voiced the feelings of many of the singer’s fans when he wrote a letter to the Los Angeles Times criticizing the films many inaccuracies: chronic chronological errors, the release dates of Denver’s biggest hits, an exaggeration of his relationship difficulties with his father and a totally superficial treatment of Denver’s commitment to his various causes. As one critic observed “An overachiever like John Denver couldn’t have been this boring.” ^[6] In a letter to “The World Family of John Denver”, Ron Deutschendorf has since expressed the desire to make a feature film which accurately portrays the events of his famous elder sibling’s life.

John Denver’s music remains very popular around the world. Previously unreleased and unnoticed recordings are now sought-after collectibles of both the folk and country genres. Also in demand are copies of Denver’s many television appearances, especially his one hour specials from the 1970s and his 6 part series for Britain’s BBC, “The John Denver Show.” Despite strong interest in these programs, the vast majority of this material still shows no sign of “official” release.

An anthology musical featuring John Denver’s music, “Back Home Again: A John Denver Holiday,” premiered at the Rubicon Theatre Company in November of 2006.

On September 24, 2007, the California Friends of John Denver & The Windstar Foundation unveiled a bronze plaque near the spot where his plane went down near Pacific Grove. The site had been marked by a driftwood log carved (by Jeffrey Pine of Colorado) with the singer’s name, but fears that the memorial could be washed out to sea sparked the campaign for a more permanent memorial. Initially the Pacific Grove Council denied permission for the memorial fearing the place would attract ghoulish curiosity from extreme fans. Permission was granted in 1999, but was put on hold temporarily at the request of the singer’s family. Over 100 friends and family attended the dedication of the plaque, which featured a bas-relief of the singer’s face and lines from Denver’s composition, ‘Windsong’: “So welcome the wind and the wisdom she offers. Follow her summons when she calls again.” Source: Julia Reynolds, “Friends welcome Denver plaque”, 24/9/07, http://www.montereyherald.com/ci_6982141?nclick_check=1)

To mark the 10th anniversary of John Denver’s death, his family is releasing a set of previously unreleased recordings of Denver’s 1985 concert performances in the Soviet Union. This two CD set, John Denver – Live in the USSR, was produced by Denver’s friend Roger Nichols and released by AAO Music. These digital recordings were made during 11 concerts, and then rediscovered in 2002. Included in this set is a previously unpublished rendition of Annie’s Song in Russian. The release date is scheduled for November 6, 2007. ^[2]

Related artists

Main article: The John Denver Band

Denver started his recording career with the Chad Mitchell Trio; his distinctive voice can be heard where he sings solo on Violets of Dawn. He recorded three albums with the Mitchell Trio, replacing Chad Mitchell himself as lead singer. His group Denver, Boise and Johnson released a single before he moved on to a solo career.

Bill Danoff and Taffy Nivert, co-writers of Denver’s most familiar song, “Take Me Home, Country Roads”, were close friends of him and his family. The pair appeared as singers and songwriters on many of Denver’s albums until they formed the Starland Vocal Band in 1976. The band’s albums were released on Denver’s Windsong Records (also known as Windstar Records) label.

Denver’s early solo success is often attributed to the recording of his Leaving on a Jet Plane which was recorded by Peter, Paul and Mary. It became a number 1 hit for the group.

Denver recorded songs by Tom Paxton, Eric Andersen, John Prine, David Mallett, and many others in the folk scene. His record company, Windstar, is still an active record label today.

Olivia Newton-John,an Australian singer whose across-the-board appeal to pop, MOR, and country audiences in the mid-1970s was similar to Denver’s, lent her distinctive backup vocals to Denver’s 1975 single “Fly Away”; she performed the song with Denver on his 1975 Rocky Mountain Christmas special. She also covered his “Take Me Home, Country Roads,” and had a hit in the United Kingdom (#15 in 1973) and Japan (#6 in a belated 1976 release) with it. Her recording of “Take Me Home, Country Roads” is featured in the opening credits of the Anime film Whisper of the Heart.

Awards and recognition

Grammy Awards

• Best Musical Album For Children, 1997, “All Aboard!”
• Grammy Hall of Fame Award, 1998, “Take Me Home, Country Roads”

American Music Awards

• Favorite Pop/Rock Male Artist, 1975, 1976
• Favorite Country Male Artist, 1976
• Favorite Country Album, 1976, “Back Home Again”

Country Music Association Awards

• Song of the Year, 1975, “Back Home Again”
• Entertainer of the Year, 1975

Academy of Country Music Awards

• Album of the Year, 1974, “Back Home Again”

Emmy Awards

• Outstanding Variety, Music Or Comedy Special, 1975, “An Evening with John Denver”

Other recognition

• Poet Laureate of Colorado, 1977
• People’s Choice Award, 1977
• Carl Sandburg’s People’s Poet Award, 1982
• NASA Public Service Medal, 1985
• Albert Schweitzer Music Award, 1993
• Inducted into the Songwriters Hall of Fame, 1996
• Rocky Mountain High declared state song of Colorado, 2007
• Ten Outstanding Men of America, 1979

票價為$750 $550 $300

沒有學生優惠

法國文化協會之會員或學生憑有效會員證購買$750 $550之門票可獲$100 折扣優惠

“Every time I listen to it, all my troubles seem so far away from me” by Mr Eric Lee

 —————————————-

Lyric of Ich Verlasse heut Dein Hertz

Ich Verlasse Heut Dein Herz
Ich verlasse heut’ Dein Herz
Verlasse Deine Nahe
Die Zuflucht Deiner Arme
Die Warme Deiner Haut
Wie Kinder waren wir
Spieler – Nacht fur Nacht
Dem Spiegel treu ergeben
So tanzten wir bis in den Tag
Ich verlasse heut’ Dein Herz
Verlasse Deine Liebe
Ich verlasse heut’ Dein Herz
Verlasse Deine Liebe
Ich verlasse Deine Tränen
Verlasse was ich hab’
Ich anbefehle heut Dein Herz
Dem Leben – der Freiheit
Und der Liebe
So bin ich ruhig -
Da ich Dich liebe!
Im Stillen
Lass ich ab von Dir
Der letzte Kuss – im Geist verweht
Was Du denkst bleibst Du mir schuldig
Was ich fuhle das verdanke ich Dir
Ich danke Dir fur all die Liebe
Ich danke Dir in Ewigkeit
Ich verlasse heut’ Dein Herz
Verlasse Deine Liebe
Ich verlasse Dein Herz
Dein Leben – Deine Kusse
Deine Wärme – Deine Nahe -
Deine Zartlichkeit
Ich Verlasse Heut Dein Herz
Ich verlasse heut’ Dein Herz
Deine Nahe – Deine Wärme – Deine Kusse
Ich verlasse heut’ Dein Herz

———————————–

This article is about the group Lacrimosa.

Lacrimosa
Anne Nurmi and Tilo Wolff
Background information
Genre(s)	Darkwave, Gothic rock (early) Gothic metal, Symphonic metal (recent)
Years active	1990—present
Label(s)	Hall of Sermon
Website	www.Lacrimosa.ch
Members
Tilo Wolff Anne Nurmi

Lacrimosa is a duo led by German Tilo Wolff, the main composer, and Finnish Anne Nurmi, currently based in Switzerland, but originally from Germany. Lacrimosa’s musical genre originally was Darkwave or rather downright gothic. Since 1993, their style has shifted much more towards symphonic metal and gothic metal. Their musical style mixes heavy metal and gothic rock sounds along with violin, trumpet and more classical instruments, although their musical development throughout the years has also led to changes in instrumentation. Lacrimosa’s lyrics are written almost exclusively in German, although since the 1995 album Inferno every album has featured one or two songs in English, generally written by Anne Nurmi. Finnish has also appeared in the spoken intro to two songs (Schakal on Inferno and The Turning Point on Elodia) and on a bonus track in a limited edition release of Fassade called Vankina. Their lyrics are mainly about loneliness, sadness, darkness, despair and love.

Brief timeline

• 1990: Tilo Wolff releases a tape called Clamor using the band name of Lacrimosa.
• 1991: Tilo Wolff founds a new record company called Hall of Sermon, as an independent label to publish Lacrimosa’s records.
• 1994: Anne Nurmi joins the solo project to play keyboard, becoming a permanent member soon after.

Musical and thematic development

Lacrimosa’s first album, Angst, is a very gloomy piece of slow, rather minimal music, dominated by keyboards and a depressed, sometimes frantic and insane, voice. In this early period, the themes explored through lyrics and music are of a very bleak nature, such as fear, helplessness, loneliness, the non-existence, unattainability or illusionary nature of love, and death. The same thematic preoccupations can be found on the next three albums, Einsamkeit, Satura and Inferno, but now and then a more positive note begins to sound in the dismal tapestry. Musically, this period is characterised by the introduction of electric guitars and basses, with more and more rock elements being added to the slow, keyboard-based music of the earliest album.

With Stille, Lacrimosa releases an album that might easily be classified as ‘metal’, a style which they’ll keep using for their own purposes from then on. Heavy guitars supplemented by more bombastic arrangements for classical instruments have come to dominate the music, showing a close affinity to the symphonic metal of bands like Therion and Devil Doll. Thematically, the emphasis on the darker side of human emotions is lowered if not abandoned, with Stille featuring several uplifting songs. “Stolzes Herz” (“Proud heart”) and “Die Strasse der Zeit” (“The Lane of Time”) especially sing the praise of individual and cultural strength respectively. “Die Strasse der Zeit” describes a journey backwards through a history ravaged by war, greed and stupidity, until the protagonist finds solace in the youthful hope and strength of ancient Greek culture – an image which reminds one more of Nietzsche than of the depressed songs on Angst.

The next album, Elodia, reduces the role of metal-style guitars and increases that of symphonic, classical arrangements, this time recorded in part by the London Symphony Orchestra. Presented as a play in three parts, Elodia revolves around the most popular theme in musical history, love. The gothic element is still present, though, and the themes of loss and death feature prominently in the latter half of the ‘play’, which nevertheless ends with an affirmation of hope.

The musical style of Elodia is still evident on the 2001 album Fassade, which features a wide variety of musical visions, from the harsh metal sound of “Liebesspiel” (“Love Game”) to gently flowing keyboards of “Senses”, to the symphonic interplay between guitars and orchestra on the title song “Fassade”. This latter composition, a piece in three movements which are arranged on the album as tracks 1, 5 and 8, also constitutes a new thematic excursion of Lacrimosa as they move from the personal emotions they normally explore to a critique of modern society. It ends, however, with the affirmation of individuality and the protagonist’s retreat from society.

Echos bears witness to a further musical development, as guitars and other rock elements take centre stage less and less often, whereas classical instruments feature more prominently. The orchestral arrangements move away from the standard symphonic arrangements which are often found in contemporary metal music, as is clearly shown by the album’s first track, the long orchestral “Kyrie – Overture”. The music on Echos also shows an influence from electronic and industrial music, as is especially obvious in the song “Ein Hauch von Menschlichkeit” (“A Touch of Humanity”). Overall, this album is more personal, more ‘classical’ and more quiet than those that came before it. Thematically, there is less change as Lacrimosa continues to explore love and its associated emotions with gothic twists.

Lacrimosa’s ninth album, Lichtgestalt, largely retains the classical orientation of Echos, but rock elements begin to resurface. In particular the first track, Sapphire, begins as a slow, mostly classical song but around halfway through moves into a far more metal-sounding section; the pace of the song increases, a heavy guitar backing takes over and Wolff switches from singing into a rasping, high-pitched death grunt for a few minutes. The segment is a significant change of direction for Lacrimosa; this vocal style had not been seen in Lacrimosa songs since Copycat on the 1995 album Inferno, recorded ten years before. The remaining songs display a similar mix of styles to previous albums, with some upbeat songs, a song written and sung in English mainly by Anne Nurmi (though Wolff duets with her on this track) and some slower-paced, more depressive pieces.

In 2005, a new EP, “Lichtgestalten” is released, that brings a new electronic version of the song “Lichtgestalt”, produced by Tilo in the scope of his solo project, “Snakeskin”.

In 2006, a DVD “Musikkurzfilme” is released, which contains all the video clips that Lacrimosa shot throughout it’s career including the brand new video for “Lichtgestalt” song.

The main musical development of Lacrimosa might be summarised as follows: starting from the minimal, slow, keyboard driven style of Angst, guitars and other metal influences came to play a more and more prominent role, until they reached a peak on Stille. From then on, the emphasis has shifted from guitars and metal to symphonic and classical writing, which is clearly shown in Fassade. Finally, Echos takes a turn towards the personal and away from the symphonic and heavy aspects of the previous albums, achieving a quite unique mixture of musical elements which is hard to classify. The pace of Lacrimosa’s development is slow enough that each album is recognisably linked to its predecessor and successor, yet fast enough that for instance Angst, Stille and Lichtgestalt might well have been written by completely different bands.

—————————————-

Lacrimosa -Ich Verlasse heut Dein Hertz  http://www.youtube.com/watch?v=CvABTW6Yz7A

“I love this song because it inspire and lift my spirit.” by Miss Chan Wing Shan

“You Raise Me Up” is a popular song in the inspirational mold. The music was written by Secret Garden’s Rolf Løvland; the lyrics by Brendan Graham. The song has now been covered more than 125 times.

The song was originally written as an instrumental piece and entitled “Silent Story”. The melody is based on the traditional Irish tune Londonderry Air, which is best known as the usual tune for the 1910 song Danny Boy. Løvland approached Irish novelist and songwriter Brendan Graham to write the lyrics to his melody after reading Graham’s novels^. It was originally released on the 2001 Secret Garden album “Once in a Red Moon”, with the vocals sung by Irish singer Brian Kennedy, and sold well in both Ireland and Norway. The song was used for commemorations of the September 11, 2001 terrorist attacks^{[citation needed]} despite not having been released in America yet. Originally, Brian Kennedy was supposed to follow Secret Garden on their Asian tour in 2002, but fell ill, and could not attend. He was replaced by Norwegian singer Jan Werner Danielsen, who also later recorded the song together with Secret Garden, but it was never released.

Popularity

In 2004, the song was played more than 500,000 times on American radio. In late 2005, there were over 80 versions available in USA alone, and it has become nominated for Gospel Music Awards four times, including “Song of the Year”. This version by Christian group Selah (with both verses included, as originally written) also went to No. 1 on Billboard’s Christian Charts.

On 21 September 2006, You Raise Me Up became the first song to have sold over 20,000 copies of the score on the popular sheet music website musicnotes.com

Use in popular culture

Shizuka Arakawa, the 2006 Olympic gold medalist in figure skating, used the piece as an exhibition number for many shows and professional competitions from 2005-2006. Michelle Kwan skated to the song during the 2004 Champion On Ice Tour and other competitions in 2005.

In 2004, Australian Idol Top 12 contestant Daniel Belle sang the song for his “Pop” song selection, and it has become one of the most performed songs on similar shows across the world.

The Japanese animation Romeo x Juliet, airing from April 2007, uses the song as its opening theme with Japanese lyrics, sung by Korean singer Lena Park. In episode 7, it was sung with the original English lyrics, also by Lena Park.

RTE, (Ireland’s national television station), screened a Roy Esmonde produced documentary titled You Raise Me Up on New Year’s Day 2006. First screened a year earlier, this updated edition included the most recent successes for the song, as well as the story of how the song first came to be written by Løvland and Graham.

I.K. Start, a Norwegian football club, uses this song as a club anthem.

On April 25th, 2007, Josh Groban performed the song with the African Children’s Choir on American Idol, Idol Gives Back episode.

On May 8, 2007, the song was played at the historic opening of the Northern Ireland Assembly.

On May 26, 2007, Josh Groban appeared on BBC’s talent show Any Dream Will Do and selected one of the remaining contestants (or Joseph’s) to perform the song with him. He chose show favourite, Lee Mead.

On July 26, 2007, the song was performed on 6th International Competition Of Young Singers of Popular Music the “New Wave” (Jurmala, Latvia) by Andris Ērglis rep[[resenting Latvia on this contest. Song accompaniment recorded by Swedish producers from “Sunday Music” for Latvian music company “Microphone Records”.

On August 10, 2007 Josh Groban performed it with the African Children’s Choir on The Ellen DeGeneres Show show.

American Idol judge Simon Cowell has called ‘You Raise Me Up’ one of his favourite songs.

On November 10, 2007 the song was performed live on the UK series X Factor by the contestant Rhydian who is mentored by Dannii Minogue – with Louis Walsh the manager of Westlife saying that it was one of the best versions that he had ever heard. After the performance, Rhydian received a standing ovation from the audience and all four judges. Sharon Osbourne then went onto proclaim that Rhydian “would win the show”.

Celtic Woman version-  You Raise Me Up http://www.youtube.com/watch?v=70IHIrvAO_w

Celtiv Woman version (In Japan) http://www.youtube.com/watch?v=SHzojCDLWw8

Westlife version – You raise me up  http://www.youtube.com/watch?v=6OKhMSauxD4

Selah version -You Raise me Up http://www.youtube.com/watch?v=H2sZuJbxi8Y

Paul Potts version – You raise me up  http://www.youtube.com/watch?v=kfg9qOHSgi0

（32）──莫扎特的交響曲創作 之三
　　
　　四、“巴黎”交響曲
　　
　　在完成了一系列出色的交響曲后，莫扎特在這個領域的創作趨于沉寂，1774年之后的好幾年時間，他沒有新的交響曲問世。1775-1778年間，作曲家長期居住在故鄉薩爾茲堡，但期間沒有寫過任何交響曲。當然，這並不代表莫扎特的靈感被什麼抑制住了，在其一生中，似乎從沒有任何原素可以讓這位音樂天才中斷創作。那到底是什麼讓莫扎特停下了交響曲創作的腳步？從許多傳記中可以發現，這個時期的莫扎特供職于薩爾茲堡的宮廷樂隊，但他的才華卻並不受薩爾茲堡大主教的重視，因此受到的創作任務往往只是些小規模的音樂作品，如小夜曲和嬉游曲。與此同時，莫扎特開始對鋼琴協奏曲的創作產生了更多的興趣，寫下了第6至第9號等四部早期代表作。所有錯綜複雜的主客觀原因綜合起來，以至於交響曲這種題材在這段時期被莫扎特忽略了。
　　
　　新的交響曲直到1778年才誕生。在那段時期，二十歲出頭的青年作曲家在父親的督導下，多次前往薩爾茲堡以外的城市，希望在一個新的環境中謀求一個可以施展自己音樂才華的職位，以擺脫大主教的陰影。但褪去神童光環的莫扎特已經不再被人們所重視，所有一切進展的都不太順利。1778的夏天，莫扎特和母親一起來到法蘭西首都巴黎，與當地一個名為“神聖音樂會”的組織取得了聯繫，並應邀為他們即將舉行的一場基督聖體音樂會創作並排演一部交響曲。作曲家總算找到了一個可以施展才華的機會，自然不會措施良機，他非常爽快地答應，並且很快完成了作品，這就是《D大調第31交響曲》，因為這部作品是莫扎特在巴黎完成並首演的，所以後人也習慣稱之為《“巴黎”交響曲》。
　　
　　這首交響曲法蘭西味非常濃郁，顯然莫扎特在創作時刻意考慮了巴黎聽眾的欣賞口味。巴黎對于莫扎特而言是絕不陌生的，1764年沃爾夫岡年僅八歲時就跟隨父親來到這裡進行旅行演出，並一舉成名。當時在法蘭西宮廷供職的一個德國音樂家Jean Schobert（讓-朔貝特），也曾給莫扎特的音樂創作帶去相當深刻的影響。所以此番重回巴黎的作曲家對于法蘭西音樂以及當地聽眾的品位是心知肚明的，因此創作過程一番風順，沒有遇到任何阻礙。但首演前的排練卻進行的很不順利，莫扎特曾在自己寫給父親的信中對此進行了詳細地描述──樂隊的演奏素質讓他非常惱火，糟糕的表現力一度讓他失去信心，莫扎特甚至一度跳出想迴避作品首演音樂會的念頭。不過幸運的是，首演的狀況並沒有他預想中那樣蹩腳，這部交響曲獲得了應有的成功，巴黎聽眾對這部交響曲的印象無疑是深刻而滿意的。對于作曲家本人而言，經過了三年累積后，他的這部交響曲新作也在諸多方面取得了令人矚目的成就，創作中注入的激情和對總體風格的周全考慮收到了豐濃的回報。
　　
　　當時巴黎的樂團是要比奧地利的那些宮廷樂團編製大得多，海頓也曾為巴黎的大樂隊寫過六首配器豐滿的《巴黎交響曲》，據此就不難理解莫扎特的這首第31交響曲為何會顯出光彩奪目、輝煌壯闊的藝術風格。在配器創作中，因為有這支龐大樂團作為后盾，作曲家可以用到的樂器種類要比他以往任何時候都要更為豐富，尤其是單簧管的加入讓作品的整體音色表現力上升了一個層次，這也讓莫扎特本人感到非常欣喜。不過複雜的配器、歡快的節奏卻讓這部交響曲同他早期的那些作品比起來，顯得有些嘈雜，尤其是首尾兩個快板樂章部分，而巴黎人卻恰恰喜歡這種熱鬧而繽紛的豐富音色效果。當然這並不代表這是一部缺乏章法的創作，莫扎特在賦予其華麗外表的同時，非常注重比例和層次方面的協調。
　　
　　慢板樂章寫得非常優雅，而且莫扎特為它準備了兩個可供選擇的樂段。為什麼會有兩個慢板？據莫扎特寫給父親書信中透露的原因，作品首演后“神聖音樂會”的經理並不太喜歡原先的那個採用6/8拍的版本，雖然莫扎特認為自己的創作沒有任何問題，但最後他還是為了滿足經理的需要，妥協地寫下了第二種版本，採用3/4拍。作曲家自己認為兩個版本“各有所適、各有其妙”，但同時自己又承認更喜歡后寫的那個版本。實際上對于兩個版本哪個是原作、哪個是替補，還存在一些爭議，但通常篇幅更長的6/8拍版被認為是第一版。好在當代一些樂團和唱片公司在演奏錄製這部作品的時候，往往會將兩個慢板樂章都錄下來。由此大家不要被唱片訊息所迷惑，莫扎特的《“巴黎”交響曲》是一部三樂章交響曲，額外的那個樂章便是替補的慢板。
　　
　　《第31交響曲》在當時獲得了很大的成功，而“輝煌”、“熱烈”是總結這部作品最貼切的兩個形容詞。莫扎特在當時給父親的信中曾描繪了首演的盛況︰“第一樂章快板的中段有個我知道會討人喜歡的過場，聽眾也果然受用，爆發出一陣熱烈的掌聲。因為我寫的時候就知道這招管用，所以我在結尾時又來了一遍──于是重複。行板樂章也受到了歡迎；但聽眾最喜歡的還是最後的快板樂章。我注意到這裡演出的所有交響曲的末樂章快板都是以樂隊齊奏開始，所以我只用兩把小提琴開場，八個小節弱，然後猛得來一下強；這樣，在弱的八個小節裡，這裡的聽眾都有些不明白（如同我料想的一樣），但一旦聽到強音進入，他們馬上開始鼓掌。”不幸的是，這部作品首演后沒幾天，隨莫扎特一起旅行的母親就因斑疹傷寒而逝世。或許正是因為這個原因，巴黎這座城市從此成為作曲家心中的一片陰影。
　　
　　從當代的眼光來看，這是一部非常出彩的作品，但與莫扎特更后期的交響曲比起來，“巴黎”似乎讓人感覺熱鬧有余而內涵不足，其色彩顯得過于表面化，而缺少一些深層次的內容。所以即便它非常好聽，卻在莫扎特整個創作生涯中並沒有十分顯赫的地位。
　　
　　五、薩爾茲堡的最後三首交響曲
　　
　　從巴黎回到薩爾茲堡之后，莫扎特在1779至1780年間又寫下了三首交響曲，它們大都是為宮廷演出而創作的，包括︰《C大調第32交響曲 K.318》、《降B大調第33交響曲 K.319》和《C大調第34交響曲 K.338》。
　　
　　《第32交響曲》篇幅非常短，而且只有一個連續樂章，不過內部架構分為快-慢-快三個段落，所以它更像是一部義大利歌劇序曲，無論在表現形式上還是音樂風格上都能反映出來。根據音樂學人們對于歷史的考証，這部交響曲可能是莫扎特為當時一位來薩爾茲堡演出的朋友所特別創作的。此后這部交響曲還被一部被稱為《狂喜的村姑》的歌劇用作序曲，但歌劇除了序曲和兩首聲樂曲之外，其餘部分並不是莫扎特創作的。與此前的“巴黎”相類似，《第32交響曲》的配器編製也非常大，除了弦樂之外還包括長笛、雙簧管、小號、低音管以及多達四支的圓號，並且有定音鼓加入，所以整部作品依然是輝煌壯闊的格調。作品的第一部分由一個華麗的樂句開始，獨特的樂思形成了鮮明的強弱對比效果，而其第二主題則具有喜歌劇的特點；第二部分是一個優美的行板，它出現的非常令人意外但卻並不唐突，在第一部分嘎然而止后，它輕柔地進入，這個3/8拍的優美段落是一個微型的迴旋奏鳴曲，弦樂與管樂始終進行著優雅地對答，令人感到一份恬淡的愜意；最後的第三部分由一段充滿緊張氣息的弦樂與定音鼓合奏拉開序幕，四把圓號逐漸顯現出它們的威力，整部作品以非常有衝擊力的樂隊齊奏收尾，大氣磅因礡。雖然篇幅短小，但內容緊湊而豐滿，充分顯現出莫扎特在交響曲創作方面技術更趨完善。經過在曼海姆和巴黎兩地的見識，作曲家顯然汲取了更多的音樂養分，並運用在自己的作品當中。
　　
　　隨后問世的《第33交響曲》作于1779年夏天，在風格上與此前的兩部作品有著不小的區別，音樂學人們認為這部作品預示著“莫扎特重新回歸奧地利”。《第33交響曲》的樂隊編製縮小，不再追求恢宏龐大的效果，以至於在許多方面都顯示出室內樂的精致和靈巧。作品原本只有三個樂章，幾年之后莫扎特在維也納發展，為了迎合當地聽眾的口味，又為它添加了一個小步舞曲，但這個后寫的樂章卻與原作的意境融合得非常妥帖，令人叫絕。《第33交響曲》並不是一部特別引人注目的作品，因為它不像《“巴黎”交響曲》那樣充滿著強烈的個性，而且也不是標題作品，但它同樣是不可忽視的，其波瀾不驚的平和風克令人聽來很容易獲得愉悅而安詳的情緒。如果您受不了嘈雜而熱烈、法蘭西味濃郁的《第31交響曲》，千萬不要據此放棄這部同時期的《第33交響曲》。它倆好像是一對性格截然不同的同胞兄妹，都誕生自莫扎特同一創作時期，但形象上卻是如此不同──前者好像是一個好動而頑皮的男生，而后者似乎是一位優雅而安靜的女孩兒。
　　
　　一年之后《第34交響曲》問世，這是莫扎特在故鄉薩爾茲堡創作的最後一首交響曲，此后發生的事件便是他與大主教的徹底決裂，並只身去往維也納尋求發展。C大調預示著這將是又一部具有壯闊風格的交響曲，第一樂章的輝煌的開場以及貫穿于整個樂章強勁而有力的定音鼓以及軍號聲便是最好的例證。第二樂章則是從容的行板，在編曲方面以弦樂為主，附以單簧管，音色效果乾淨而柔和，並且在許多方面顯現出作曲家對于細節的注重。通常意義上，第34號被認為是一部三樂章交響曲，並不含有道統四樂章架構中的小步舞曲。不過根據音樂學人們的考証，當初作曲家在創作這部作品時，曾經寫過一個小步舞曲樂章，但最終卻半途而廢放棄了這個念頭。另外有學人則認為，和《第33交響曲》的情況相類似，為了照顧維也納聽眾的習慣，莫扎特此后特別創作了一首編號為K.409（383f）的小步舞曲，加入到《第34交響曲》中。雖然對此說法的正確性還有爭議，但當代的一些唱片中已經習慣把K.409融入到整部作品中，一起錄製。專家們對于最後的終曲樂章評價很高，它延續了莫扎特獨有的機智、輝煌和生氣勃勃，並且與第一樂章一樣充滿著充沛的力量感。顯然，《第34交響曲》和一年前的《第33交響曲》在藝術氣質上不屬于同類，它的風格更接近于早前的《第31交響曲》。
　　
　　從1778年的“巴黎”，一直到1780年的“第34”，三年時間內的四部交響曲讓我們看到了一個越發接近巔峰的莫扎特。雖然這些作品在歷史地位上決不足以撼動作曲家的最後六首交響曲，但其中所顯現出來的徵兆已經足以令人感到驚喜。越來越豐富的配器、越來越多元化的風格和技巧以及越來越成熟的樂思和架構設計預示著前往維也納的莫扎特，將以更加出色的創作，奠定自己在交響曲領域的非凡地位。

（31）──莫扎特的交響曲創作 之二
　　
　　三、第一部公認的傑作──《g小調第25交響曲》
　　
　　時間行進到1772年十月，莫扎特父子又一次前往義大利旅行演出，直到第二年3月中旬才回到故鄉薩爾茲堡。在返回后的幾個月時間裡，莫扎特寫下的幾首交響曲作品，都擁有非常濃郁的義大利風味。這些作品包括降E大調的第26號（K.184/161a）、C大調的第22號（K.162）、G大調的第27號（K.199/161b）以及D大調第23號（K.181/162b）。很有意思的是，這幾首曲目都是三樂章的架構，似乎與道統的義大利歌劇序曲構架相一致，或許可以看出這些作品誕生前的那次義大利旅行對于莫扎特的影響。作曲家這一時期的交響曲作品，在如今看來雖然並不出名，但我們可以從中感覺到，其中的音樂元素和創作技法已經越來越豐富。
　　
　　1773年10月起至第二年，莫扎特又創作了一大批交響曲，其中包括降B大調第24號（K.182/173dA）、g小調第25號（K.183/173dB）、D大調第30號（K.202/186b）、A大調第29號（K.201/186a），此外創作日期不確定的C大調第28號（K.200/189k）通常也被歸入這批作品中。我們可以發現，這五部交響曲在當代被演出、錄音的頻率，遠遠超越了作曲家早期的那些作品。可以說，以這批曲目為標誌，作曲家在交響曲創作領域走入了成熟期。
　　
　　在這五部具有里程碑意義的作品中，又以《g小調第25交響曲》最為耀眼，不但因為其諸多方面顯現出的與眾不同和超群品性，更因為它是作曲家的第一部小調交響曲。在當時，小調音樂的數量相對稀少，因為相比大調性，小調作品在風格上往往顯得嚴肅、憂郁、深沉，不符合大多數王公貴族用音樂追求優雅、嬉鬧的膚淺初衷。不過從十八世紀七十年代開始，小調作品，尤其是小調交響曲在歐洲出現了一股熱潮。在講述海頓的時候，我們曾向大家介紹過“狂飆運動”這個詞，交響曲之父在這個時期創作的一大批曲目都是小調性的，典型如1772年寫下的《升f小調第45交響曲“告別”》。崇尚自然和個人主義的“狂飆運動”在當時驟然席卷了德國和奧地利的樂壇，成為當時一股無法阻擋的藝術趨勢，並演化成一種“時代精神”。在這樣的背景下，受眾也逐漸認同並接受了“狂飆運動”為音樂創作所帶來的這股新風氣。所以音樂學人們公認，莫扎特在1773年寫下的這部《g小調交響曲》，很大程度上受到了“狂飆運動”或者海頓同期某些作品的影響或者啟發，年僅17歲的青年作曲家從來不甘人后，他試圖用自己獨特的音樂靈感投入到“狂飆運動”的洪流中去。
　　
　　這部作品一開始的四個小節中，那種動盪不安的切分音便顯現出《g小調第25交響曲》帶有了獨特而鮮明的“狂飆”特徵，在旋律的線條處理上，顯現出巴羅克音樂的遺風，顯得躁動和粗獷。僅僅是這個起始，與作曲家此前或此后創作的那些具有熱烈、輝煌氣質的宮廷式開場，就有著極大的不同。隨著曲目的行進，我們會越發感覺其身上所體現出的迥異個性。在這個樂章隨后的反覆部分中，雙簧管獨奏表現出的長音，淒涼而哀傷；第三部分轉為大調，持續著敲打的聲響，有驅近的感覺。總攬這部交響曲的整個第一樂章，充滿著激動不安、沉重緊張的情緒，這在莫扎特此前創作的數十首交響曲中是極其少見的，尤其是莫扎特對于尾聲的處理，更加重的旋律的悲劇色彩。同時作曲家還曾指出，為了充分體現出這一樂章的份量，前后兩個半闕都必須再作反覆，以嚴謹且相對龐大的架構加深其效果。所以如果完全按照作曲家的要求去演奏，那么《第25交響曲》的第一樂章在長度上相比莫扎特此前的所有交響曲創作，篇幅是最長的，甚至這一個樂章的長度便抵得上早期交響曲整部作品的長度。
　　
　　第二樂章是道統的慢板，在這裡莫扎特用巴松管擔任主角，與弦樂器進行巧妙地應答。舒緩的旋律以及巴松管那略顯柔軟、昏暗的音色，讓這個樂章充滿著一種奇特的憂郁氣質──優雅中略顯一絲陰沈、平靜中顯出一份抑郁，雖然音樂本身並不激烈，但卻充滿著非常強烈的感染力。
　　
　　第三樂章小步舞曲以整齊而莊嚴的齊奏開始，但聽眾可能感覺不到這段舞曲中有多少歡快和愉悅的氣氛，因為g小調的旋律充滿著悲苦的訴求。莫扎特在中段將音樂轉為G大調，管樂器奏出了一段相當恬靜優美的旋律，沖淡了原本哀傷的氣氛，但接著又回到樂章開始部分的旋律，似乎短暫出現的陽光重新被烏雲所遮掩，一定程度上也表明這部交響曲總體風格上是一出悲劇，而非諧劇。
　　
　　快板的終曲樂章為奏鳴曲式，它義無反顧地回到第一樂章嚴峻、緊迫而躁動的氣氛上，不過更多了一份鬥爭氣氛。樂章的開始部分是急切的管樂弱音齊奏，但緊接著樂隊的齊奏噴薄而出，似乎是前面三樂章強烈壓抑后的一次集中爆發。然而即便是爆發，g小調的旋律卻讓快捷、強烈的音樂始終貫穿著一種隱藏于表面之下的壓抑氣氛。偶爾的抒情段落會帶來片刻的鬆弛，但卻總是稍縱即逝，以至於灰暗的色調始終籠罩著整個樂章。
　　
　　人們喜歡用“音樂世界裡永遠的陽光”來形容莫扎特的作品，然而在不少聽眾聽來，作曲家最動人的恰恰是一些缺乏陽光氣質的旋律，這部《g小調第25交響曲》便是很鮮明的例子，它被公認為莫扎特青年時期最傑出的作品之一。有意思的是，若干年后莫扎特寫成的另外一部g小調作品《第40交響曲》為作曲家帶來了更廣泛的聲譽，類似的傑出小調作品還有著名的《d小調第20鋼琴協奏曲》、《d小調安魂曲》等。《第25交響曲》應該是莫扎特在小調作品中問世最早的一部，當然這並不代表它是作曲家在狂飆運動中初露鋒芒的產物，實際上在創作這首交響曲之前，莫扎特已經在自己的一些早期歌劇作品中對小調音樂有過一些小規模的嘗試。
　　
　　這部小調交響曲陰郁表面下所蘊藏的激情本質，使其與早期那些氣質明朗、宮廷氣息濃郁的大調作品相比，在音樂氣質上顯得更為感性而深刻，或許這就是莫扎特小調作品在某些聽眾心目中顯得更為動人的原因之一。比較難以想像的是，在作曲家17歲的青春年紀時，莫扎特何以能孕育出如此這般和自己年齡、經歷都不相符合的、擁有獨特氣質的旋律，或許這只有上帝或者作曲家自己才能解釋。后世學人往往只能以“靈光一現”來解釋這部作品的誕生，因為它是那樣的與眾不同﹗1984年美國拍攝的電影《莫扎特傳》，以這部《g小調第25交響曲》的第一樂章作為整部影片的開場音樂。
　　
　　《第25交響曲》之所以會被后人所看重，在客觀上有其必然性，甚至於它的光芒把作曲家同期寫下的其他一些交響曲都掩蓋了。通常大家知道，莫扎特最後兩首交響曲（No.40 & 41）是其在這個領域內的巔峰之作，而最後六首交響曲（No.35-41）則作為一個傑出的整體而被后人所擁戴，緊隨其后可以代表莫扎特交響曲創作成就的便是No.25了。至於其他作品，在一般的普通聽眾心目中的印象可能就不怎么深刻了。其實，在《g小調第25交響曲》誕生前后的這段時期，莫扎特在交響曲創作的技巧上已經達到了一個相當高的水準，雖然某些作品不如No.25那樣氣質獨到，但依然具有較高的欣賞價值。
　　
　　在作曲家1773年4、5月創作的幾部三樂章交響曲當中，以《D大調第23號交響曲（K.181）》最為出色，它被一些當代音樂學人們譽為是“流光溢彩、效果輝煌”的作品，其架構嚴謹、形式高雅，內容卻樸實無華，而其中的第一樂章又是其優勢特色的集中體現，其中充滿了豐富多彩的音樂表現形式。1773年10月至1774年間莫扎特創作的五部交響曲中，除了為大家詳細介紹過的《g小調第25交響曲》之外，其他四首都具有極高的藝術水準和欣賞價值。尤其是其中的《A大調第29號（K.201/186a）》在某些評論家看來，是一部絕不亞于《第25交響曲》的優秀創作，它在整體架構和篇幅上甚至要來得更為龐大；而情感表達上，兩部作品都同樣細膩而深刻，甚至有人認為第29要來得更精致一些。和第25截然不同的一點在于，第29是明朗的A大調，整部作品洋溢著歡快而平靜氣質，與前者形成鮮明的對比。因此對于習慣于開朗、活潑莫扎特形象的聽眾而言，或許這部《A大調第29交響曲》更能引發他們的興趣和喜愛。
　　
　　1774年，標誌著作曲家在交響曲創作領域達到了一個新的高度，作品在技巧和內涵上都越發成熟和豐滿。從自己的第一部交響曲在1764年誕生算起，在前后十年時間裡，莫扎特已經為我們留下了數量龐大的作品累積。不過可惜的是，在交響曲領域，莫扎特並沒有保持這種旺盛的創作激情，這些讓我們留待第三部分再細細說來。

Mozart – Symphony No. 25 in G minor K183 http://www.youtube.com/watch?v=FN2mIa2UlV0

Mozart – ‘ Symphony No. 40, 1st Movement  http://www.youtube.com/watch?v=SXphxznWe-U