文字之前，看过一部电影《La Tourneuse de Pages》，里面有些古典音乐。

我在片尾看到：

JEAN SEBASTIEN BACH, Prélude en ré mineur

FRANZ SCHUBERT, Notturno

DIMITRI CHOSTAKOVICH, trio op 67 n°2

因为是法语词汇，我试着猜想J.S.Bach的那段旋律：prélude——应该是prelude，前奏曲；ré——如果是do re mi fa sol la si里的re，那对应的应该是CDEFGAB里的D；mineur——minor，小调。

于是我在平均律钢琴里去寻找D小调前奏曲，在第2卷的第1张 (Book II CD 1 #11) 里找到了那段电影里出现过的旋律。尽管大键琴和现代钢琴演奏出来的感觉有些不一样。

文字很久之前，看过一部电影《Dancer in the Dark》，里面有些歌声、舞蹈，而那篇影评在被我写了两三句话之后，就搁在一边，电影的表现力让我的文字不及。

如果旋律可以用面积来表示，如果一段旋律的面积是一定的；如果长可以代表时间，宽可以代表深刻，怎样才会创造出周长的最大值?

相等，极限。

倘若非得在意文字的意义，如此，被赋予了一定含义的文字变得完美了。

Before writing, I watched a film named La Tourneuse de Pages that included some classical music.

I saw some information at the end of film:

JEAN SEBASTIEN BACH, Prélude en ré mineur

FRANZ SCHUBERT, Notturno

DIMITRI CHOSTAKOVICH, trio op 67 n°2

Although those are French words, I try my best to guess what the melody exactly is: prélude, maybe prelude, “a short piece of music which introduces the main work” (Cambridge Advanced Learner's Dictionary); ré, if means re from do re me fa sol la si, it refers to D from CDEFGAB; mineur, means minor, “belonging or relating to a type of musical scale that generally has a sad sound, typically having a half tone between the second and third and between the fifth and sixth notes, and a whole tone between each of the others” (Cambridge Advanced Learner's Dictionary).

So finally, I find the Prelude in d minor from the Well-Tempered Clavier Book II CD1, track no 11.

Long before writing, I have watched a film named Dancer in the Dark that included some dances, sounds, but my comment have not finished yet, because of the power of representation made me no word to use.

If the area can be used for the concrete representation for melody, each area of each piece of melody is const. if length means time, while width means depth, how to create the maximum circumference?

=, ∞.

Having to be noticed some meanings of them, if so, the characters that had to be added certain meaning now can be perfect.

“Fantastique”一词，来自柏辽兹的作品14号的曲名“Symphonie Fantastique”（《幻想交响曲》，作于1830年），我想应该是个法语词汇。

作品最先吸引我的是第2乐章，圆舞曲的节奏很明显。接着是第1乐章，热情的旋律。

我后来知道柏辽兹为每个乐章加上标题，看过标题，我发现我对前两乐章的幻想与标题是符合的。

作品共有5个乐章，在Charles Munch指挥的波士顿交响乐团版本中，另外收录了柏辽兹的作品17号《罗密欧与朱丽叶》中一段音乐；在卡拉扬指挥犹他交响乐团版本中，曲目5和曲目6是第5乐章的两个版本。

“出乎意料”来自第4乐章，在我听来，那是一场庆祝的盛大集会。在Munch版本中，庄重的开场，1'40”开始的旋律让所有的人都舞动起来，1'50”旋律重复，2'20”重复，结尾热闹依然；卡拉扬指挥犹他交响乐团，就将热闹稍微提前：1'35”，1'46”，2'14”。

这种热闹让我想起柴科夫斯基的《1812序曲》；或是亨德尔《皇家焰火音乐》的第四首；甚至可以是门德尔松的《仲夏夜之梦》序曲，当然普列文指挥伦敦交响乐团的版本最佳。

但标题却是“赴断头台的进行曲”(March to the Scaffold)，与贝多芬第三交响曲（英雄）里的“葬礼进行曲”相比，丝毫没有沉重。

是带着空白去收集幻想，还是带着标题去对比现实？

“Fantastique”, a French word I think, comes from the title “Symphonie Fantastique” of Berlioz's works, op.14, 1830.

I was attracted by the 2^nd movement first, for the rhythm of waltz, then the 1^st movement, for the melody of passions.

Seeing the title of each movement added by the Berlioz, I found my fantastique was similar to the titles.

“Beyond Expectation” comes from the 4^th movement, as far as I heard, that's a great party for celebration. In the edition of Mr. Munch and BostonSO, we can dance following the melody from 1'40”, 1'50”, 2'20”; while in the edition of Karajan and Utah Symphony, that's earlier, from 1'35”, 1'46”, 2'14”.

The celebration reminds me of the 1812 overture of Tchaikovsky, the Royal Fire Music no.4 of Handel, even the Mid-summer Night Dream overture of Mendelssohn, of which I prefer the edition of Andre Previn and LSO.

 But Berlioz used “March to the Scaffold” for the 4^th movement. Comparing with Beethoven's symphony no.3 (Hero) 2^nd movement, I feel no heavy.

Collecting the Fantastique with NULL, or comparing the reality with title.

看完电影《歌舞青春》，我觉得不同于以前看过的。

不像《比利•艾略特》，芭蕾的舞动站立在社会的罢工之上；不像《霍兰德先生的乐章》，最后的乐章虽是热情但却被迫；不像《猫》，那片声音只能通过回忆沉淀；不像《放牛班的春天》，绽放却被大火终结。

原声音乐真的不错，还有，我到最后没有流泪，不同于以前看过的。

It is different from those films that I've ever seen.

Being different from "Billy Elliot", the ballet stands on the strike; "Mr. Holland's Opus", the coda has passion but has to be done; “Cats", the vocal's power collects from the Memory; "Les Choristes", trip ends by a fire.

OST is good, and I have no tears for the film that is happy and different from those films.

我知道霍罗维兹专门处理过他钢琴的琴键，可真正体会到琴声的不同是在莫扎特23号钢协，又是这首曲子。

霍罗维兹的琴声是清脆的，相比而言，波利尼与伯姆指挥维也纳交响乐团的协奏版本和麦克菲林的那个版本中的琴声，显得有些浑浊了。

清脆有力，我想对于莫扎特的23号钢协，那真的是完美。

The first time I felt the difference of the Horowitz's piano was a time I enjoyed the no.23 piano concerto of Mozart.

The sound from the Horowitz's piano is clear and melodious, so when I turn to the edition from Pollini with the WPO conducted by Bohm, or McFerrin, I think I cannot touch each note.

Clear, strong, and passion, that's why I think sound of his piano is perfect, just like the no.23.

鲍比•麦克菲林为莫扎特的奏鸣曲而作得爵士即兴曲，Song for Amadeus (Improvisation of Sonata No.2 in F Major K.280/189e - II. Adagio)，收录在那张The Mozart Session(Bobby McFerrin, Chick Corea)里。

即兴曲（Improvisation），只是觉得旋律中带有爵士的味道，于是冠以“爵士即兴”，因为我被音乐摇摆了。

以前我说我逃离过诺拉•琼斯的爵士乐，那种我觉得无主题带来的压抑。

而现在又反复着这首爵士即兴，我想古典的严谨约束了无主题，让我享受着。

听说爵士乐也会大量使用不稳定的七分音，仔细地聆听，背景的钢琴还真是那样。

即兴爵士，摇摆出一片空白，但还有谁能听懂？

Song for Amadeus (Improvisation of Sonata No.2 in F Major K.280/189e - II. Adagio), the music is included in The Mozart Session (Bobby McFerrin, Chick Corea).

Just a improvisation, but feeling the jazz's taste, I use a phrase “Improvisation Jazz”, for the swinging of the rhythm.

Once I said that I tried to escape from the jazz by Norah Johns, from the non-main-melody music.

But now I am repeating the music, the strictness of classicism controls the non-main-melody-ness, which makes me enjoying.

Seeking or escaping?

翻看了一两页乐理，弄明白了什么叫十二平均律，七个CDEFGAB琴键加上之间的五个黑键，把一个八度分成十二个半音。

于是巴赫作了四十八首前奏曲与赋格——The Well-tempered Clavier，使用了一切全音和半音的调。C大调、c小调、升C大调、升c小调，然后是D……

就那样移动着，我试着去聆听，但“一切”让我觉得生活都像那样了。

昨晚整理硬盘时，发现了拉威尔G大调钢琴协奏曲，由阿格里奇与阿巴多指挥的伦敦交响乐团协奏。我依然不打算在音乐里寻找着，但这部作品的色彩是丰富的，让我得感谢拉威尔。

第一乐章仅仅前40秒就可以让我手舞足蹈；第二乐章柔板（Adagio），可以感动，可以思考，也可以空白；第三乐章急板（Presto），音乐又开始丰富起来了。

感谢来自前两天都在巴赫和维瓦尔第的严谨之下，当我听到霍罗威兹演奏的莫扎特23号钢协，或是阿格里奇弹奏的李斯特第6首匈牙利狂想曲，我依然觉得应该感谢他（她）们。

I should send my thanks to Mr. Ravel, because of his Piano Concerto in G major, a colorful painting.

I spent a short time on the music theory, and acquired something about The Well-tempered Clavier by J.S.Bach  which contained 48 Preludes and Fugues.

But after C major, following c minor, C sharp major, c sharp minor, then D...... the “everything” of the works made me thinking that life is like that.

Luckily I found the Ravel's Piano Concerto in G major (Piano: Martha Argerich, Conductor: Claudio Abbado, London Symphony Orchestra) last night, a colorful painting.

Thanks come from the listening I did among the strictness of J.S.Bach and Vivaldi, so when I hear the Mozart's 23 Piano Concerto by Horowitz, or Liszt's Hungarian Rhapsody No.6 by Argerich, I think I should thank them.

的确，和我听说的一样，这部作品重复着波莱罗的节奏，一直重复着，丝毫没有改变。可它就妙在，丝毫没有让我觉得枯燥，近20分钟的重复，拉威尔处理得如此恰当。

因为是拉威尔，我不打算能从音乐里听出什么画面。幸运的是，我正看着华兹华斯的《孤独的割麦女》，这音乐突然开始播放了，渐强……

一种奇怪的表现形式，重复但却深深地吸引着我。

As what I heard, the works just contained Bolero rhythm, which was played again and again. But the wonderful thing was that I didn't felt tedious, about 20 minutes' repeat, Ravel did a good job.

For Ravel, I don't think I can feel a picture from the melody. But Luckily, when I was reading “The Solitary Reaper” , the music was appearing, Tempo di Bolero moderato assai.

A strange performing way which has only repeat catches my interesting.