For the latest survey of the music from 50 Greats of the Piano, I have played two little pieces by Mozart and Haydn. From Mozart we have Menuett in G-major, and from Haydn, we have Little Serenade.
W. A. Mozart's Menuett in G-major is the last piece by Mozart on this book. It is rather a short and sweet dance music, and I have redacted all the repeats in this piece, making it even shorter.
From Joseph Haydn, we have "Little Serenade." In my humble opinion, Haydn is one of the most neglected composer, and this book, in my mind, only reinforces that notion. This rather inconsequential piece, albeit charming, is the only piece by Haydn on this book.
Sunday, January 30, 2011
꽃 두고(On flower)
By 최남선 (1890 ~ 1957)
나는 꽃을 즐겨 맞노라.
그러나 그의 아리따운 태도를 보고 눈이 어리어,
그의 향기로운 냄새를 맡고 코가 반하여,
정신 없이 그를 즐겨 맞음 아니라
다만 칼날 같은 북풍을 더운 기운으로써
인정없는 살기를 깊은 사랑으로써
대신하여 바꾸어
뼈가 저린 이름 밑데 눌리고 피도 얼릴 눈구덩에 파묻혀 있던
억만 목숨을 건지고 집어 내어 다시 살리는
봄바람을 표장(表章)함으로
나는 그를 즐겨 맞노라.
나는 꽃을 즐겨 보노라.
그러나 그의 평화 기운 머금은 웃는 얼굴 홀리어
그의 부귀 기상 나타낸 성한 모양 탐하여
주착 없이 그를 즐겨 봄이 아니라
다만 겉모양의 고운 것 매양 실상이 적고
처음 서슬 장한 것 대개 뒤끝 없는 중 오직 혼자 특별히
약한 영화 구안(苟安)치도 아니고, 허다 마장(魔障)겪으면서도 굽히지 않고
다만 목슴을 만들고 늘어 내어 깊이 전할 바
씨 열매를 보유한을
나는 그를 즐겨 보노라.
I welcome blossoming flower.
Not for her charming mien,
Not for her sweet smell,
That I forget the troubles of the world.
But for the fact that it brings warm air instead of stinging northern wind
And that fills heart of deep love instead of unkindness.
For the fact that its blossoming signifies of the coming of Spring,
A season that raises those hundred millions,
who have been buried under cruel snow out of the ground.
For this. I welcome her with open heart.
I gaze at blossoming flower.
Not for her seductive face with peaceful smile,
Not for her tempting look promising prosperity,
That I forget my conviction.
Though it has no real use other than its beauty,
she doesn't seek for temporary comfort, nor does she yield to dangerous obstacles.
And she procreates and multiplies new life and spread them afar
Through the seeds and fruits stored within her.
For this, I gaze at her with all my heart.
나는 꽃을 즐겨 맞노라.
그러나 그의 아리따운 태도를 보고 눈이 어리어,
그의 향기로운 냄새를 맡고 코가 반하여,
정신 없이 그를 즐겨 맞음 아니라
다만 칼날 같은 북풍을 더운 기운으로써
인정없는 살기를 깊은 사랑으로써
대신하여 바꾸어
뼈가 저린 이름 밑데 눌리고 피도 얼릴 눈구덩에 파묻혀 있던
억만 목숨을 건지고 집어 내어 다시 살리는
봄바람을 표장(表章)함으로
나는 그를 즐겨 맞노라.
나는 꽃을 즐겨 보노라.
그러나 그의 평화 기운 머금은 웃는 얼굴 홀리어
그의 부귀 기상 나타낸 성한 모양 탐하여
주착 없이 그를 즐겨 봄이 아니라
다만 겉모양의 고운 것 매양 실상이 적고
처음 서슬 장한 것 대개 뒤끝 없는 중 오직 혼자 특별히
약한 영화 구안(苟安)치도 아니고, 허다 마장(魔障)겪으면서도 굽히지 않고
다만 목슴을 만들고 늘어 내어 깊이 전할 바
씨 열매를 보유한을
나는 그를 즐겨 보노라.
I welcome blossoming flower.
Not for her charming mien,
Not for her sweet smell,
That I forget the troubles of the world.
But for the fact that it brings warm air instead of stinging northern wind
And that fills heart of deep love instead of unkindness.
For the fact that its blossoming signifies of the coming of Spring,
A season that raises those hundred millions,
who have been buried under cruel snow out of the ground.
For this. I welcome her with open heart.
I gaze at blossoming flower.
Not for her seductive face with peaceful smile,
Not for her tempting look promising prosperity,
That I forget my conviction.
Though it has no real use other than its beauty,
she doesn't seek for temporary comfort, nor does she yield to dangerous obstacles.
And she procreates and multiplies new life and spread them afar
Through the seeds and fruits stored within her.
For this, I gaze at her with all my heart.
Monday, January 24, 2011
One day I wrote her name upon the stand...
By Edmund Spenser(1553~1599)
One day I wrote her name upon the strand,
But came the waves and washed it away:
Again I wrote it with a second hand,
but came the tide, and made my pains his prey.
Vain man, said she, that does in vain assay,
A mortal thing so to immortalize,
For I myself shall like to this decay,
And eke my name be wiped out likewise.
Not so, (quod I) let baser things devise
To die in dust, but you shall live by fame:
My verse your virtues rare shall eternize,
And in the heavens write your glorious name.
Where whenas death shall all the world subdue,
Our love shall live, and later life renew.
One day I wrote her name upon the strand,
But came the waves and washed it away:
Again I wrote it with a second hand,
but came the tide, and made my pains his prey.
Vain man, said she, that does in vain assay,
A mortal thing so to immortalize,
For I myself shall like to this decay,
And eke my name be wiped out likewise.
Not so, (quod I) let baser things devise
To die in dust, but you shall live by fame:
My verse your virtues rare shall eternize,
And in the heavens write your glorious name.
Where whenas death shall all the world subdue,
Our love shall live, and later life renew.
Saturday, January 15, 2011
엄마야 누나야
By 김소월
Mom and sister, let us live by the river.
By the yard are the shining golden sands.
By the back door, oak leaf sings.
Mom and sister, let us live by the river.
엄마야 누나야 강변 살자.
뜰에는 반짝이는 금모래 빛.
뒷문 밖에는 갈잎의 노래.
엄마야 누나야 강변 살자.
My Reading:
Music by 안성현 played on 단소:
Mom and sister, let us live by the river.
By the yard are the shining golden sands.
By the back door, oak leaf sings.
Mom and sister, let us live by the river.
엄마야 누나야 강변 살자.
뜰에는 반짝이는 금모래 빛.
뒷문 밖에는 갈잎의 노래.
엄마야 누나야 강변 살자.
My Reading:
Music by 안성현 played on 단소:
It is most true...
By Sir Philip Sydney (1554~1586)
It is most true that eyes are form’d to serve
The inward light and that the heavenly part
Ought to be King, from whose rules who do swerve,
Rebels to nature, strive for their own smart.
It is most true, that what we call Cupid’s dart
An image is, which for ourselves we carve,
And, fools, adore, in temple of our heart,
Till that good god make church and churchmen
starve.
True, that true beauty virtue is indeed,
Whereof this beauty can be but a shade,
Which elements with mortal mixture breed.
True that on earth we are but pilgrims made,
And should in soul up to our country move:
True, and yet true that I must Stella love.
It is most true that eyes are form’d to serve
The inward light and that the heavenly part
Ought to be King, from whose rules who do swerve,
Rebels to nature, strive for their own smart.
It is most true, that what we call Cupid’s dart
An image is, which for ourselves we carve,
And, fools, adore, in temple of our heart,
Till that good god make church and churchmen
starve.
True, that true beauty virtue is indeed,
Whereof this beauty can be but a shade,
Which elements with mortal mixture breed.
True that on earth we are but pilgrims made,
And should in soul up to our country move:
True, and yet true that I must Stella love.
Sunday, January 9, 2011
Loving in truth...
By Sir Philip Sydney (1554~1586)
Loving in truth, and fain in verse my love to show,
That she, dear she, might take some pleasure of
my pain,
Pleasure might cause her read, reading might make
her know,
Knowledge might pity win, and pity grace obtain,
I sought fit words to paint the blackest face of woe;
Studying inventions fine, her wits to entertain,
Oft turning others' leaves to see if thence would flow
Some fresh and fruitful showers upon my sun-burned
brain.
But words came halting forth, wanting Invention's
stay;
Invention, Nature's child, fled step-dame Study's
blows,
And others' feet still seemed but strangers in my
way.
Thus, great with child to speak, and helpless in my
throes,
Biting my truant pen, beating myself for spite,
'Fool,' said my Muse to me, 'look in thy heart and
write.'
Loving in truth, and fain in verse my love to show,
That she, dear she, might take some pleasure of
my pain,
Pleasure might cause her read, reading might make
her know,
Knowledge might pity win, and pity grace obtain,
I sought fit words to paint the blackest face of woe;
Studying inventions fine, her wits to entertain,
Oft turning others' leaves to see if thence would flow
Some fresh and fruitful showers upon my sun-burned
brain.
But words came halting forth, wanting Invention's
stay;
Invention, Nature's child, fled step-dame Study's
blows,
And others' feet still seemed but strangers in my
way.
Thus, great with child to speak, and helpless in my
throes,
Biting my truant pen, beating myself for spite,
'Fool,' said my Muse to me, 'look in thy heart and
write.'
진달래꽃 (Azalea Flower)
By 김소월 (1902 ~ 1934)
My Translation
If you can no longer look at me
and must leave me,
I will let you go without a word
From Yak-San* of Yeongbyeon,
I will pick an armful of Azalea Flower
and splash on your way.
On each step you take,
those flowers on the road,
gently break them on your way.
I won't shed a tear even if I die
* A mountain located in Yeongbyeon county of what is now North Korea.
Original
나 보기가 역겨워
가실 때에는
말없이 고이 보내 드리오리다.
영변에 약산
진달래꽃
아름 따다 가실 길에 뿌리오리다.
가시는 걸음 걸음
놓인 그 꽃을
사뿐히 즈려 밟고 가시옵소서.
나 보기가 역겨워
가실 때에는
죽어도 아니 눈물 흘리오리다.
My Translation
If you can no longer look at me
and must leave me,
I will let you go without a word
From Yak-San* of Yeongbyeon,
I will pick an armful of Azalea Flower
and splash on your way.
On each step you take,
those flowers on the road,
gently break them on your way.
If you can no longer look at me
and must leave me,
I won't shed a tear even if I die
* A mountain located in Yeongbyeon county of what is now North Korea.
Original
나 보기가 역겨워
가실 때에는
말없이 고이 보내 드리오리다.
영변에 약산
진달래꽃
아름 따다 가실 길에 뿌리오리다.
가시는 걸음 걸음
놓인 그 꽃을
사뿐히 즈려 밟고 가시옵소서.
나 보기가 역겨워
가실 때에는
죽어도 아니 눈물 흘리오리다.
Monday, January 3, 2011
Movements from Mozart Sonatas
My apologies to all readers of this blog for my hiatus. It has been a hectic few months due to moving and all. I wouldn't be able to post as frequent as I wish until after March, but I will try to publish a new post each week until then.
The latest pieces from 50 Greats for the Piano are two famous movements from Mozart Sonatas. A "typical' of Mozart piano pieces, these two movements are deceptively difficult to play.
First of these is the first movement from Mozart's Sonata No. 15, Kv. 545. The movement is in a Sonata form with themes that sounds rather simple and pleasant, which I find instantly recognizable as a Mozart even if you haven't heard it before. The difficulty, I find, is in getting the light touch that is require to convey the right mood of the piece, as well as maintaining the tempo consistent throughout the movement.
Second piece is the famous Turkish march, the third movement of Mozart's Piano Sonata No. 11, Kv. 331. According to Wikipedia, this movement is based on the sound of Turkish Janissary band. Being an ARCT-level (Associate of Royal Conservatory of Music), it may be one of the most difficult pieces in 50 Greats for the Piano . Also, it is in somewhat atypical Rondo form. It is ostensibly in ABA form with Coda, but the placement of the repeat signs and common second part in both A and B sections give the piece a very exotic feeling.
The latest pieces from 50 Greats for the Piano are two famous movements from Mozart Sonatas. A "typical' of Mozart piano pieces, these two movements are deceptively difficult to play.
First of these is the first movement from Mozart's Sonata No. 15, Kv. 545. The movement is in a Sonata form with themes that sounds rather simple and pleasant, which I find instantly recognizable as a Mozart even if you haven't heard it before. The difficulty, I find, is in getting the light touch that is require to convey the right mood of the piece, as well as maintaining the tempo consistent throughout the movement.
Second piece is the famous Turkish march, the third movement of Mozart's Piano Sonata No. 11, Kv. 331. According to Wikipedia, this movement is based on the sound of Turkish Janissary band. Being an ARCT-level (Associate of Royal Conservatory of Music), it may be one of the most difficult pieces in 50 Greats for the Piano . Also, it is in somewhat atypical Rondo form. It is ostensibly in ABA form with Coda, but the placement of the repeat signs and common second part in both A and B sections give the piece a very exotic feeling.
Subscribe to:
Posts (Atom)