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Berlioz相关的网络例句

查询词典 Berlioz

与 Berlioz 相关的网络例句 [注:此内容来源于网络,仅供参考]

Concert of the Philharmonic Society, Caricature of Hector Berlioz

拉斐尔之后的艺术却是浮华的、不真诚的、我行我素的

Through the analysis of music and performing indications, as well as of the cantabile characteristics and motivity of this role, I expatiated the unique feature of Berlioz's Marguerite, by which I hope to offer some references to other

并通过对玛格丽特的主要唱段的分析和演绎提示,阐述柏辽兹对玛格丽特角色独具一格创造所表现出独特的歌唱性和动力性,为表演者们提供一定的参考。

Through the analysis of music and performing indications, as well as of the cantabile characteristics and motivity of this role, I expatiated the unique feature of Berlioz's Marguerite, by which I hope to offer some references to other performers.

并通过对玛格丽特的主要唱段的分析和演绎提示,阐述柏辽兹对玛格丽特角色独具一格创造所表现出独特的歌唱性和动力性,为表演者们提供一定的参考。

Berlioz wrote one of his greatest works, Harold in Italy, for Paganini, and it brought the two composers together in an extraordinary way.

这部作品以一种与众不同的方式将两名作曲家紧密联系起来了。

Characteristic is Berlioz's frequent use of the orchestral crescendo.

柏辽兹连续地使用乐队渐强,这是很有特点的。

The next day Achilles delivered a letter to Berlioz.

次日,阿齐利斯向柏辽兹转交了一封信。

Berlioz compared him favorably to Beethoven and Gluck .

柏辽兹认为他并不亚于贝多芬和格鲁克。

This "soprano problem" was formally recognized at least as far back as 1843, when French composer Hector Berlioz wrote in his Treatise on Instrumentation that " should not be required to sing many words on high phrases, since this makes the pronunciation of syllables very difficult if not impossible."

这个"女高音问题"早在至少1843年就已经被认识到。当时法国作曲家埃克托·柏辽兹在他的《管弦乐法》中写道:"不应该被要求在高音域演唱太多的歌词,因为这使得发音非常困难,甚至不可能。"

However, the six leading composers of the age were undoubtedly Berlioz , Chopin , Mendelssohn , Schumann , Liszt and Verdi .

然而, 6名领导作曲家的年龄无疑是柏辽兹,肖邦,门德尔松,舒曼,李斯特和威尔第。

This "soprano problem" was formally recognized at least as far back as 1843 when French composer Hector Berlioz wrote in his Treatise on Instrumentation that " should not be required to sing many words on high phrases since this makes the pronunciation of syllables very difficult if not impossible."

这个"女高音问题"早在至少1843年就已经被熟悉到。当时法国作曲家埃克托·柏辽兹在他的《管弦乐法》中写道:"不应该被要求在高音域演唱太多的歌词,因为这使得发音非常困难,甚至不可能。"

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