查询词典 Chopin

I plays for you Chopin's Serenade to mark my lost love.

我为你弹奏肖邦的乐曲是为了纪念我那死去的爱情。

The originality of Chopin and Liszt' s piano art seta monument in the history of piano art.

肖邦与李斯特钢琴艺术的独创性铸就了钢琴艺术史上的丰碑。

All of Chopin's extant work includes the piano in some role (predominantly as a solo instrument), and his compositions are widely considered to be among the pinnacles of the piano's repertoire.

所有肖邦现存的作品都有钢琴的部分（大多数情况钢琴作为独奏乐器），他的作品被广泛认同为钢琴演奏曲目中的极品。

As Liszt16 puts it, she "inspired the frail and delicate Chopin with an intensity of admiration which consumed him, as a wine too spirituous shatters the fragile vase."

正如李斯特所说，她"热烈的爱情与钦慕为柔弱而细腻的肖邦带来灵感的同时，也耗尽了他的生命；就好像一种过于浓烈的烈酒，最终腐蚀了脆弱的花瓶。"

In 1882 her husband died, Chopin and her six children returned to St. Louis.

在1882年她丈夫去世，肖邦和她的6个孩子回到了圣路易斯。

Chopin's legato is documented to be particularly special, as was his staccato.

记载中说明肖邦的连奏和断奏都很特别。

Instead of playing Chopin and Stravinsky all the time.

肖邦和斯特拉文斯基的乐曲弹奏总是被代替

I'm always in syncopation with others, Chopin lamented.

"我觉得是"在感情方面，我总是和别人不合拍。

Toccata reveals a mixed image, having in mind the style imitations, and rasembles toccatas of 20th sentury - from the music of Bartok, Stravinski, Prokofiev's harmonic style, Pancho Vladigerov's texture and harmonic originality, and even Chopin's etudes texture.

托卡塔揭示了一个混合的图像，同时具有风格的模仿，并rasembles20香榭舍托卡塔-从音乐的巴托克，斯特拉文斯基，普罗科菲耶夫的谐波风格，潘乔Vladigerov的质地和谐波原创性，甚至肖邦的练习曲纹理。

Lang Lang selected Chopin's solo Etude Op.10 No 3 in E major, also known as Tristesse, as the piece he would play before Obama delivered his acceptance speech.

郎郎在奥巴马举行受奖演说之前将会选择弹奏肖邦E大调独奏练习曲，也就是我们知道的《离别》。

We have no common name for a mime of Sophron or Xenarchus and a Socratic Conversation; and we should still be without one even if the imitation in the two instances were in trimeters or elegiacs or some other kind of verse--though it is the way with people to tack on 'poet' to the name of a metre, and talk of elegiac-poets and epic-poets, thinking that they call them poets not by reason of the imitative nature of their work, but indiscriminately by reason of the metre they write in.

索夫农 、森那库斯和苏格拉底式的对话采用的模仿没有一个公共的名称；三音步诗、挽歌体或其他类型的诗的模仿也没有——人们把&诗人&这一名词和格律名称结合到一起，称之为挽歌体诗人或者史诗诗人，他们被称为诗人，似乎只是因为遵守格律写作，而非他们作品的模仿本质。

The relationship between communicative competence and grammar teaching should be that of the ends and the means.

交际能力和语法的关系应该是目标与途径的关系。