萎縮する： s’atrophier, ne pas s’épanouir
- しつけも厳しすぎると子供が萎縮する。 une éducation trop sévère empêche les enfants de s’épanouir
畏怖: crainte, révérence, respect
- 畏怖の念を起させる。 en imposer à, être redouté de
- 畏怖の念を抱く。 redouter, révérer / awed
- 私たちはコンサートで聞いた音楽に畏怖を感じた。 We were in awe of the music we heard at the concert.
悔しい: regrettable, vexant (cf. 悔恨) - 悔しさ: dépit
- 彼は試験に落ちて悔しい思いをした。 son échec au concours l’a dépité
温座秘法陀羅尼会 （おんざひほう だらにえ）
秘法: formule secrète
陀羅尼: dharani, spell, litany, Sanskrit multi-syllabic chant
ぐずぐず延ばすこと、引き延ばし、先送り｛さきおくり｝、遅延、優柔不断
ぐずぐず引き延ばそうとする状態
Procrastination is the thief of time. (諺) 思い立ったが吉日。
Accompagnement clarinette soprano en si bémol:
Mes partitions de base pour piano:
Romance op.6 n.6 (Нет, толко тот, кто знал) de Tchaikovsky (ré bémol majeur);
Ave Maria de Gounod (fa majeur);
Ellens Gesang de Schubert (si bémol majeur);
Humoresque de Dvorak (sol bémol majeur);
Partitions retenues utiles / lisibles donc exploitables:
Romance: chant en mi bémol majeur (pour l’instrument en sib);
Ellens Gesang: version en do majeur (pour l’instrument en sib);
ou transpo en do majeur pour piano/clarinette
Ave Maria: chant en sol majeur, accompagnement piano sol majeur ici; page1 page2 page3 + clarinette (.SIB en GM, .SIB en FM et GM)
ou, dans le genre je me fais suer pour rien: Transpo en ré majeur (et Do majeur pour piano, plus proche du prélude de Bach)
Humoreque: en sol bémol majeur donc chant à écrire en la bémol majeur, 4 bémols à la clef;
ou transcription Sib majeur piano/clarinette et clarinette
J’espère que je ne me goure pas dans les tonalités, sinon je vais encore devoir manger des biscuits.
Arrangements à étudier en plus:
Nocturne op.9 n.2 de Chopin clarinette en sib + piano
Nobody knows the trouble I’ve seen
Tchaikovsky Swan Lake (1er theme)
Etude de Chopin
Prelude op.28 n.4 Em de Chopin
He who knows not, and knows not that he knows not, is a fool; shun him.
He who knows not, and knows that he knows not, can be taught; teach him.
He who knows, and knows not that he knows, is asleep; wake him.
He who knows, and knows that he knows, is a prophet; follow him.
Twelve Rules for a Happy Marriage
행복한 결혼을 위한 12가지 규칙
Never both be angry at once.
둘이서 동시에 화내지 마라.
Never yell at each other unless the house is on fire.
집에 불이 나지 않는 한 고함을 지르지 마라.
Yield to the wishes of the other as an exercise in self-discipline if you can’t think of a better reason.
더 좋은 이유를 생각할 수 없다면 자기 수양의 차원에서 상대방의 요구에 양보해라.
If you have a choice between making yourself or your mate look good, choose your mate.
파트너를 좋게 보이게 할것인가 자신을 좋게 보이게 할 것인가의 문제가 있으면 파트너를 선택하라.
If you feel you must criticize, do so lovingly.
비판할 점이 있으면 사랑스런 자세로 하라.
Never bring up a mistake of the past.
과거의 실수를 들추지 마라.
Neglect the whole world rather than each other.
서로를 잊어버리니 차라리 세상일을 잊어버려라.
Never let the day end without saying at least one complimentary thing to your life partner.
상대방에게 따뜻한 말한마디없이 하루를 끝내지 마라.
Never meet without an affectionate greeting.
애정있는 말없이 만나서는 안된다.
When you’ve made a mistake, talk it out and ask for forgiveness.
실수를 했다면 그것을 말하고 용서를 빌어라.
Remember, it takes two to make an argument.
The one who is wrong is the one who will be doing most of the talking.
기억해라. 논쟁이 있으려면 두 사람이 있어야 한다.
잘못한 사람이 가장 많은 말을 하는 사람이다.
Never go to bed mad.
화난 채로 자지 말라.
Source: unknown.
Yay~ finally working on this piece.
Been waiting for so long…
First broadcast of “Asterix and Cleopâtre” was in 1968.
In this movie, Asterix and Obelix (the two main characters) visit Egypt to meet with Cleopatra. In this scene Amonbofis (who has been hired to kill them) is preparing a cake to offer to Cleopatra claiming it was made by the two Gauls, so that they get sentenced to death for trying to poison her. Here’s the recipe for the cake they’re baking.
Looking around my folders I found two modern interpretations of Franz Schubert’s Ellens dritter Gesang (Ellens Gesang III, D839, Op 52 no 6, 1825). Yeah, that famous lied.
Looks like Liszt wrote his version of the piece too. Scary.
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Jesper Kyd’s arranged version. This one following Schubert’s original composition for keyboard). Vocal: unknown. (2006)
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An inspired version by Yoko Kanno’s, performed by the Warsaw Philharmonic Orchestra, conducted by Anthony Inglis. Vocal: Jerzy Kneting. (1999) Some rhythmic patterns look more or less similar between the two versions.
Not to be confused with Ave Maria written by the french composer Charles Gounod. This well known piece is actually a reuse of the Prelude No. 1 in C major (BWV 921) by Bach. Ahh, almighty is Lord J.S. Bach!
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Thanks to Esther who pinpointed that video for me.
None but the lonely heart
Нет, толко тот, кто знал
Net, tolko tot, kto znal
Music by Piotr Ilyitch Tchaikovsky, Romance Op. 6 n°6, 1869. (and original german lyrics by Johann Wolfgang von Goethe)
Нет, только тот, кто знал свиданья, жажду,
Net, tol’ko tot, kto znal svidan’ja, zhazhdu,
поймёт, как я страдал и как я стражду.
pojmjot, kak ja stradal i kak ja strazhdu.
Гляжу я вдаль… нет сил, тускнеет око…
Gljazhu ja vdal’… net sil, tusknejet oko…
Ах, кто меня любил и знал - далеко!
Akh, kto menja ljubil i znal - daleko!
Ах, только тот, кто знал свиданья жажду,
Akh, tol’ko tot, kto znal svidan’ja zhazhdu,
поймёт, как я страдал и как я стражду.
pojmjot, kak ja stradal i kak ja strazhdu.
Вся грудь горит…
Vsja grud’ gorit…
кто знал свиданья, жажду,
Kto znal svidan’ja zhazhdu,
поймёт, как я страдал и как я стражду.
pojmjot, kak ja stradal i kak ja strazhdu.
Lev Aleksandrovich Mei’s Russian translation:
Net, tol’ko tot, kto znal svidan’ja, zhazhdu,
pojmjot, kak ja stradal i kak ja strazhdu.
Gljazhu ja vdal’… net sil, tusknejet oko…
Akh, kto menja ljubil i znal - daleko!
Akh, tol’ko tot, kto znal svidan’ja zhazhdu,
pojmjot, kak ja stradal i kak ja strazhdu.
Vsja grud’ gorit…
Kto znal svidan’ja zhazhdu,
pojmjot, kak ja stradal i kak ja strazhdu.
Нет, только тот, кто знал свиданья, жажду,
поймёт, как я страдал и как я стражду.
Гляжу я вдаль… нет сил, тускнеет око…
Ах, кто меня любил и знал - далеко!
Ах, только тот, кто знал свиданья жажду,
поймёт, как я страдал и как я стражду.
Вся грудь горит…
кто знал свиданья, жажду,
поймёт, как я страдал и как я стражду.
An English translation:
None but the lonely heart
Can know my sadness
Alone and parted
Far from joy and gladness
Heaven’s boundless arch I see
Spread out above me
Oh what a distance drear to one
Who loves me
None but the lonely heart
Can know my sadness
Alone and parted
Far from joy and gladness
Alone and parted far
From joy and gladness
My senses fail
A burning fire
Devours me
None but the lonely heart
Can know my sadness
Sources:
http://www.recmusic.org/lieder/get_text.html?TextId=18476&Transliterate=1
http://www.recmusic.org/lieder/transliteration.html
http://en.wikipedia.org/wiki/None_but_the_Lonely_Heart
http://www.tchaikovsky-research.net/en/Works/Songs/TH093/index.html
Extrait des Papous dans la tête, de 1996.
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古之学者為己
今之学者為人
“The ancient scholars studied for their own improvement. Modern scholars study to impress others.”
1月 （睦月） 壱 壹 mutu
2月 （如月） 弐 貳 kisa
3月 （弥生） 参 參 yay
4月 （卯月） 四 肆 uzu
5月 （皐月） 五 伍 sat
6月 （水無月） 六 陸
7月 （文月） 七 漆
8月 （葉月） 八 捌 hadu
9月 （長月） 九 玖
10月 （神無月） 拾 拾
11月 （霜月） simo
12月 （師走 臘月） siwa rôgetu
Best improvisation on Summertime (Gershwin) by G. Montero. Can’t stop listening to it.
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Si vous aussi vous avez le télencéphale hautement développé et le pouce préhenseur, vous êtes concerné (un peu… quand même).
