CÓ AI THAM GIA CÂU LẠC BỘ NHẠC CỔ ĐIỂN KHÔNG?

sound_of_war

New Member
Câu lạc bộ nhạc cổ điển tiếp tục hoạt động trong năm, dù có thể không "hoành tráng"như hồi hè. Bạn nào muốn tham gia xin liên hệ với bạn Lê Ngân Trang 11D5 (sếp sòng CLB) nha. Mail nè : [email protected]. Nếu không thì liên hệ với bạn Nguyễn Việt Hùng 12D3. ĐT nhà hắn là 8517180. :9
Bất kể bạn có biết nhạc cổ điển hay không, dù bạn tò mò hay bạn yêu thích nhạc cổ điển thật. Hãy tham gia vào CLB! Hứa hẹn sẽ vui hơn bạn tưởng đấy! Hẹn gặp tại CLB.
SOUND_OF_WAR
 

fruit NHO

Active Member
có phải lần trước clb nhạc cổ điển nè tổng kết clb ở núi nùng ko?<nghe anh vũ đi sinh hoạt ở clb em nói thế>
ơ thế vào năm vẫn sinh hoạt thì sinh hoạt kiểu gì?
 

ngothutra

Member
Hay quá nhỉ, sao không làm mấy bài lên đây cho mọi người nghe cùng đi. Mà dơwnload các tác phẩm như "Đa nuyp xanh", "Hành khúc TNK", "Phiên chợ 34"... ở đâu nhỉ ;;)
 
Tham gia với ! Tớ đang chơi một nhạc cụ trong giàn nhạc cổ điển , mong muốn lập một ban nhạc Classical hoặc là Jazz . Hân hạnh làm quen với mọi người :D
 

Conquistador

New Member
Hallo! Anh là cựu "phụ trách nghệ thuật" CLB đây! (Oai hơn cóc chết!) Nếu ai muốn có những bản cổ điển hay thì liên hệ với anh nhé! Anh luôn sẵn sàng! (Liên hệ Vũ "nhị" 12D2 hoặc [email protected] )
 

tokage85

Member
Hic, nghe nhiều quá chả muốn nghe nữa, ở nhà 30 Gb cổ điển vứt đấy chả làm gì
Sắp tới ghi ra xóa bớt thôi
 

haketu

Member
May' anh oi sao trong danh sach' CLB cua truong` khong thay CLB Nhac co dien?
Em muon dang ki lam nhung ma chang biet dang ki o dau ca...
 
Xin chào mình là Nguyễn Việt Hùng cựu học sinh lớp D2 khóa 02-05 vừa ra trường và cũng là sáng lập viên chủ nhiệm đời 1 của cái lũ lăng xăng này ;).
Năm nay bận thi nên k đi sâu đi sát được nên giao lại quyền hành cho lớp dưới . Nhưng xem chừng có vẻ chậm chạp và thiếu không khí quạ
Nếu bạn nào muốn đàm luận về nhạc cổ điển thì liên hệ với mình
YM : [email protected]
mình rất hoan nghênh PM nhưng vốn hiểu biết của mình còn có hạn nên các bạn đừng chê. :x
 
Trước kì thi DH thì mình k dám chắc gì cả nhưng mình cũng có 1 ít tư liệu về nhạc cổ điển nếu bạn nào quan tâm thì liên hệ với mình [email protected] - vui lòng chỉ gửi tin nhắn đừng gửi thư.( chủ yếu là đĩa nhạc, nói chung mấy bài nổi tiếng thì chắc là không thiếu, với các bạn mới nghe có lẽ mình sẽ tư vấn hộ lúc đầu để dễ làm quen db là các beautiful ladies ;) :) )
 

Vũ "nhị"

Member
Lý Hùng à, sao ít lên forrum thế. Mà chưa tán chuyện được phát nào đã "vào việc" luôn, -> một cựu chủ nhiệm gương mẫu.
 

Vũ "nhị"

Member
tokage85 said:
Hic, nghe nhiều quá chả muốn nghe nữa, ở nhà 30 Gb cổ điển vứt đấy chả làm gì
Sắp tới ghi ra xóa bớt thôi
Nếu nghe chán thì anh có thể mua một cây violin về nhà mà tập, đảm bảo sẽ hết chán ngay.
 
Chán thằng Vũ A3 quá đi mất lúc nhận nhiệm vụ thì hứa hươu hứa vượn xem chừng hay lắm đến lúc làm việc thì chả làm được cái gì cả chủ nhiệm đời 3 chán chết.
Em xin nhận lỗi trước đồng bào gần xa. Theo đà này chỉ còn 1 cách duy nhất để hoạt động là sinh hoạt kín ( tức là k qua trường nữa ) <- cái này rất trong sáng các em k được cố tình hiểu nhầm đấy nhé ;).

Chưa thể kết luận được gì hơn để anh liên lạc với các hội viên cũ để tìm ra 1 người có khả năng tổ chức làm chủ nhiệm mới rồi sẽ thông báo lại sau.
Kính báo với đồng bào thế đã.

Đang say sưa với concerto cho violin giọng Rê thứ op.47 của Jean Sibelius đây. Hay tuyệt, bản ghi của Heifetz và Oistrakh có ai nghe k?
 
Đây là lời của đoạn hợp xướng chương 4 bản giao hưởng số 9 của Beethoven
(Tặng Vũ Nhị chúc anh thi tốt )


An die Freude
Freude, schoener Goetterfunken,
Tochter aus Elysium,
Wir betreten feuertrunken,
Himmlische, dein Heiligtum.
Deine Zauber binden wieder
Was der Mode Schwert geteilt
Bettler werden Fuerstenbrueder
Wo dein sanfter Fluegel weilt.

Chor


Seid umschlungen, Millionen!
Diesen Kuss der ganzen Welt!
Brueder - ueber'm Sternenzelt
Muss ein lieber Vater wohnen.
Wem der grosse Wurf gelungen,
Eines Freundes Freund zu sein,
Wer ein holdes Weib errungen,
Mische seinen Jubel ein!
Ja - wer auch nur eine Seele
Sein nennt auf dem Erdenrund!
Und wer's nie gekonnt, der stehle
Weinend sich aus diesem Bund

Chor


Was den grossen Ring bewohnet,
Huldige der Sympathie!
Zu den Sternen leitet sie,
Wo der Unbekannte thronet.

Freude trinken alle Wesen
An den Bruesten der Natur,
Alle Guten, alle Boesen,
Folgen ihrer Rosenspur.
Kuesse gab sie uns, und Reben,
Einen Freund, geprueft im Tod,
Wollust ward dem Wurm gegeben,
Und der Cherub steht vor Gott.

Chor


Ihr stuerzt nieder, Millionen?
Ahndest du den Schoepfer, Welt?
Such ihn ueberm Sternenzelt.
Ueber Sternen muss er wohnen.
Freude heisst die starke Feder
In der ewigen Natur.
Freude, Freude, treibt die Raeder
In der grossen Weltenuhr.
Blumen lockt sie aus den Keimen,
Sonnen aus dem Firmament,
Sphaeren rollt sie in den Raeumen,
Die des Sehers Rohr nicht kennt.

Chor

Froh, wie seine Sonnen fliegen
Durch des Himmels praecht'gen Plan
Laufet, Brueder, eure Bahn,
Freudig wie ein Held zum Siegen.
Aus der Wahrheit Feuerspiegel
Laechelt sie den Forscher an.
Zu der Tugend steilem Huegel
Leitet sie des Dulders Bahn.
Auf des Glaubens Sonnenberge
Sieht man ihre Fahnen wehn,
Durch den Riss gesprengter Saerge
Sie im Chor der Engel stehn.

Chor

Duldet mutig, Millionen!
Duldet fuer die bess're Welt!
Droben ueber'm Sternenzelt
Wird ein grosser Gott belohnen.
Goettern kann man nicht vergelten,
Schoen ist's, ihnen gleich zu sein.
Gram und Armut soll sich melden,
Mit den Frohen sich erfreun.
Groll und Rache sei vergessen,
Unserm Todfeind sei verziehn,
Keine Traene soll ihn pressen,
Keine Reue nage ihn.

Chor

Unser Schuldbuch sei vernichtet!
Ausgesoehnt die ganze Welt!
Brueder, ueber'm Sternenzelt
Richtet Gott, wie wir gerichtet.
Freude sprudelt in Pokalen,
In der Traube goldnem Blut
Trinken Sanftmut Kannibalen,
Die Verzweiflung Heldenmut--
Brueder, fliegt von euren Sitzen,
Wenn der volle Roemer kreist,
Lasst den Schaum zum Himmel* sptruetzen:
Dieses Glas dem guten Geist.

Chor

Den der Sterne Wirbel loben
Den des Seraphs Hymne preist,
Dieses Glas dem guten Geist
Ueber'm Sternenzelt dort oben!
Festen Mut in schwerem Leiden,
Huelfe, wo die Unschuld weint,
Ewigkeit geschwornen Eiden,
Wahrheit gegen Freund und Feind,
Maennerstolz vor Koenigsthronen--
Brueder, gaelt es Gut und Blut.--
Dem Verdienste seine Kronen,
Untergang der Luegenbrut!

Chor

Schliesst den heilgen Zirkel dichter
Schwoert bei diesem goldnen Wein:
Dem Geluebde treu zu sein,
Schwoert es bei dem Sternenrichter!
Rettung von Tyrannenketten,
Grossmut auch dem Boesewicht,
Hoffnung auf den Sterbebetten,
Gnade auf dem Hochgericht!
Auch die Toten sollen leben!
Brueder, trinkt und stimmet ein,
Allen Suendern soll vergeben,
Und die Hoelle nicht mehr sein.

Chor

Eine heitre Abschiedsstunde!
Suessen Schlaf im Leichentuch!
Brueder--einen sanften Spruch
Aus des Totenrichters Mund.


--------------------------------------------------------------------------------


To Joy

Joy, beautiful spark of Gods,
Daughter of Elysium,
We enter, fire-imbibed,
Heavenly, thy sanctuary.
Thy magic powers re-unite
What custom's sword has divided
Beggars become Princes' brothers
Where thy gentle wing abides.

Chorus

Be embraced, millions!
This kiss to the entire world!
Brothers - above the starry canopy
A loving father must dwell.
Whoever has had the great fortune,
To be a friend's friend,
Whoever has won the love of a devoted wife,
Add his to our jubilation!
Indeed, whoever can call even one soul
His own on this earth!
And whoever was never able to must creep
Tearfully away from this circle.

Chorus

Those who dwell in the great circle,
Pay homage to sympathy!
It leads to the stars,
Where the Unknown reigns.

Joy all creatures drink
At nature's bosoms;
All, Just and Unjust,
Follow her rose-petalled path.
Kisses she gave us, and Wine,
A friend, proven in death,
Pleasure was given (even) to the worm,
And the Cherub stands before God.

Chorus

You bough down, millions?
Can you sense the Creator, world?
Seek him above the starry canopy.
Above the stars He must dwell.
Joy is called the strong motivation
In eternal nature.
Joy, joy moves the wheels
In the universal time machine.
Flowers it calls forth from their buds,
Suns from the Firmament,
Spheres it moves far out in Space,
Where our telescopes cannot reach.

Chorus

Joyful, as His suns are flying,
Across the Firmament's splendid design,
Run, brothers, run your race,
Joyful, as a hero going to conquest.
As truth's fiery reflection
It smiles at the scientist.
To virtue's steep hill
It leads the sufferer on.
Atop faith's lofty summit
One sees its flags in the wind,
Through the cracks of burst-open coffins,
One sees it stand in the angels' chorus.

Chorus

Endure courageously, millions!
Endure for the better world!
Above the starry canopy
A great God will reward you.
Gods one cannot ever repay,
It is beautiful, though, to be like them.
Sorrow and Poverty, come forth
And rejoice with the Joyful ones.
Anger and revenge be forgotten,
Our deadly enemy be forgiven,
Not one tear shall he shed anymore,
No feeling of remorse shall pain him.

Chorus

The account of our misdeeds be destroyed!
Reconciled the entire world!
Brothers, above the starry canopy
God judges as we judged.
Joy is bubbling in the glasses,
Through the grapes' golden blood
Cannibals drink gentleness,
And despair drinks courage--
Brothers, fly from your seats,
When the full rummer is going around,
Let the foam gush up to heaven*:
This glass to the good spirit.

Chorus

He whom star clusters adore,
He whom the Seraphs' hymn praises,
This glass to him, the good spirit,
Above the starry canopy!
Resolve and courage for great suffering,
Help there, where innocence weeps,
Eternally may last all sworn Oaths,
Truth towards friend and enemy,
Men's pride before Kings' thrones--
Brothers, even it if meant our Life and blood,
Give the crowns to those who earn them,
Defeat to the pack of liars!

Chorus

Close the holy circle tighter,
Swear by this golden wine:
To remain true to the Oath,
Swear it by the Judge above the stars!
Delivery from tyrants' chains,
Generosity also towards the villain,
Hope on the deathbeds,
Mercy from the final judge!
Also the dead shall live!
Brothers, drink and chime in,
All sinners shall be forgiven,
And hell shall be no more.

Chorus

A serene hour of farewell!
Sweet rest in the shroud!
Brothers--a mild sentence
From the mouth of the final judge!​

:9

Nhị ơi có đoạn đầu đây này tập thử coi :D
 
Còn đây là vài nét về tiểu sử của Schiller ( Thứ lỗi cho em chưa dịch được em còn phải thi DH nữa :-( :-( )

An Early Setting of Schiller's ‘Ode to Joy’


Many Americans may know Germany's national poet of freedom, Friedrich Schiller, only through the musical setting of a part of his most famous poem, the “Ode to Joy,” as the choral finale of Ludwig van Beethoven's Ninth Symphony. Beethoven's setting is so sublime—and Beethoven himself acknowledged that he consider setting the poetry of Schiller an almost impossible task—that any other music for this great hymn to universal human brotherhood under a benevolent Creator seems out of place today.
Yet, from the very year in which it was first printed, 1786, the “Ode to Joy” (“An die Freude”) began to be sung to various musical accompaniments, in the enivronment of the “house music” that flourished around Schiller, his fellow poet Goethe, and their companions at the height of the German Classic period in the late eighteenth and early nineteenth century.

German lieder are today so much a part of the recital repertoire and the recording industry, that we forget that these songs were not mainly intended by the Classical composers for professional singers, but rather for the many ordinary citizens who shared a knowledge of beautiful singing and a basic technical command that are lost even to many professionals today.

Schiller's poem was set out with alternating verses and choral refrains, a format adhered to by most of the early composers, until Beethoven dared to reshape it. Written in 1785, the poem was published in Schiller's review Thalia in 1786; that same year, a composer named J. Chr. Müller set it to music. By 1800 there were at least twenty different composers whose versions of “An die Freude” survive today, and of these, some did several different variants.

In 1797 an otherwise unknown, Haydnesque composer with the name (or pseudonym) of Tepper von Ferguson published, in a limited subscription edition in Berlin, a grandiose choral version of “An die Freude” with four soloists, chorus, and with each verse and its refrain set as a separate movement, complete with changes in key and tempo, and beginning with a bass solo—in these respects a curious and perhaps unique foretaste of Beethoven's much later choral symphony. (The printed version has a keyboard accompaniment which might be a reduction of a lost orchestral score.)

Beethoven was already contemplating the task of setting the poem, as we know from a letter written in 1793 when he was only 23. In November 1799, for Schiller's fortieth birthday, the Berlin composer and music publisher J.C.F. Rellstab put out a collection of six settings of “An die Freude,” reprinted as the Intelligenzblatt of the Leipzig General Music Review. Besides a version of his own, Rellstab included one by J. Fr. Reichardt, a composer at the Berlin court who often antagonized Goethe and Schiller, but whose many songs setting Schiller's poems greatly helped to popularize Schiller in the first decade of the nineteenth century. The collection also included an anonymous tune which, before Beethoven, was destined to become the most famous setting, and continued to be sung throughout the last century.

Indeed, in 1805, when Beethoven first produced his opera Fidelio, he used the theme of the last line of that popular version of “An die Freude” as the basis for the choral finale, when the chorus of prisoners and townspeople unite to sing “Wer ein holdes Weib errungen, stimm in unserm Jubel ein” (“Who e'er a lovely wife has won, chime in with our jubilation!”) Any German listener of that era would have recognized the nearly identical words of the second stanza of Schiller's ode, “Wer ein holdes Weib errungen, mische seinen Jubel ein!” This chorus in Fidelio can therefore be considered the first major attempt by Beethoven to set “An die Freude,” which is highly appropriate, since the whole opera is a tribute to Schiller's ideals.

The anonymous tune was so popular that it was published again in Berlin in 1800 in English (!) as one of “Twelve Favorite Songs.” Unfortunately we were unable to inspect this edition and cannot comment on the quality of the translation.

Thirty years after Beethoven first mentioned his desire to compose the Ode to Joy, and nearly twenty years after he began working on his opera Fidelio in 1803, there appears in his sketches for the Ninth Symphony, a line of music in the bass clef with the words, “this it is, Ha now it is found, I” followed by “Freude, schöner,” under the opening notes of the choral theme. Beethoven had finally found exactly the right line of music to express the developmental possibilities of Schiller's concept of joy. Like the folk-tune which he had earlier adapted for the great choral finale of Fidelio, the melody is one of the utmost “popular” simplicity. By using such simple material and weaving it into higher and higher orders of complexity spanning the entire universe of human thought and feeling, Beethoven unfolded the message of human redemption which is implicit throughout Schiller's Ode to Joy, and carries us, together with the cherub at the climax of the finale, until we “stand before God.”

Thông tin lấy từ trang http://www.schillerinstitute.org/fid_91-96/931_Schiller_Ode.html
 

Vũ "nhị"

Member
Xin lỗi vì đã nghỉ 1 tuần để chuẩn bị thi đại học. Ich bây giờ lại chẳng có nhã hứng về nhạc, thế mới buồn. Xin lỗi - 2
 
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