查询词典 Chopin

What is your favorite piece of Chopin? To be honest, Chopin is my favorite.

你最喜欢肖邦那首，老实说，他是我最爱。

They all played Chopin in many different ways: correct coolness, melting sounds, bold and emotional and individualistic, sometimes devoted to a beautiful sound, sometimes devoted to rhythmic details, sometimes with a religious touch, sometimes eccentric, sometimes frightening, and sometimes egomaniac, but only rarely it corresponded to my vision of Chopin.

他们的表现方式应有尽有：准确的冷峻，消融成一片的和声，大胆，充满激情而有个人气概，有的音色俊美，有的韵律工整，有的会渗出宗教的气息，也有怪异的，可怖的，甚至有的肆意诠释；所有的都有一个共同点--即他们都与我所憧憬的肖邦大相径庭。

Chopin"s music creations have a lot of related with his living environment and the process of his growth.So in this part, we look of Chopin"s life firstly, then we will discuss the romantic and the revolution of realism characteristics with his several stages of life. and the change of his creations style from the earlier period grace, gorgeous to the more deeper emotion. The second part carried on more detailed treatise to Chopins creations background and art characteristics of various form in music work just like Mazurka, Polonaise, Waltz, Etude and so on!

肖邦的音乐创作与其生活环境、生长历程密切相关，因此在这一部分首先回顾了肖邦的生平，然后结合他成长的几个阶段从纵横两个方面(按年代先后次序和按体裁的分类)探讨了肖邦音乐创作的浪漫主义和革命的现实主义相结合的特点，及其创作风格从早期优雅、华丽但思想深度较浅逐渐向情感更深刻、气势更磅礴、爱国主义思想更成熟的转变。

These were quiet but productive days during which Chopin composed many works. They included his great Polonaise in A flat major, Op.53 "Heroic," one of his most famous pieces. On Chopin's return to Paris in 1839, he met the pianist and composer Ignaz Moscheles.

在这段平静的日子里，肖邦创作了许多作品，包括他的降A大调大波兰舞曲作品53"英雄"，这是他最著名的作品之一。1839年肖邦回到巴黎，会见了钢琴家、作曲家伊格纳兹莫谢莱斯。

That this was the month of Chopin's death, and that the middle section seems to be modelled upon the famous octave trio section of Chopin's Polonaise in A flat major, Op. 53, have led many to presume that Liszt wrote the piece in memory of Chopin.

这是肖邦去世的月份，它的中间部分看上去是模仿肖邦降A大调波兰舞曲作品53中的八度三连音，这使许多人认为李斯特写这首曲子是为了纪念肖邦。

The series of seven polonaises published in his lifetime (another nine were published posthumously), beginning with the Op. 26 pair, set a whole new standard for composing and playing the music and were rooted in a passion by Chopin to write something to celebrate Polish culture — after the country had fallen back into the Russian grip. The A major polonaise Op. 40 No. 1,"Military," and the polonaise in A flat major Op. 53,"Heroic," are among Chopin's most beloved and played works.

他有生之年出版的7首波兰舞曲（另外9首是他死后出版的），从作品26的一组开始，为创作和演奏这类乐曲制定了全新的标准，这些乐曲的创作是出自肖邦在波兰再次落入俄国的掌控后想要赞美波兰文化的激情。A大调波兰舞曲作品40第1号"军队"，和降A大调作品53"英雄"是肖邦最钟爱也是最常弹奏的作品。

Meanwhile, scherzo can be regarded as one important and special side of Chopin"s works. By reviewing the style and characteristics of scherzo, the overall style of Chopin"s language of music could be understood more integrality.

同时谐谑曲是肖邦音乐创作中非常重要也非常特殊的一个侧面，通过考察谐谑曲的风格特征可以更为完整地理解肖邦音乐语言的总体风格特征。

With the analysis, this paper shows Chopin's sense of musical beauty and musical writing to appraisal the historical position and influence of Chopin's Ballade in G minor.

以此揭示肖邦的音乐审美观和创作观，评价肖邦 g 小调叙事曲的历史地位和创作影响。

During the 2009/10 season he will celebrate the 200th Anniversary of Chopin's birth playing Chopin recitals and also the Chopin Piano Concerti.

在2009-2010演出季，他将为纪念肖邦诞辰200周年演奏肖邦独奏音乐会和肖邦协奏曲。

In 1982, he played piano in a live radio concert organized by BBC. In 1985, he staged his personal piano recitals on Enesco Music Festival and Chopin Music Festival. And then, he was invited by Poland Chopin Association to deliver regular piano concerts in Warsaw Chopin Park.

1982年在英国BBC广播电台举行实况转播音乐会；1985年在埃涅斯库音乐节，肖邦音乐节举办独奏音乐会，并应波兰肖邦协会邀请在华沙肖邦公园举行定期音乐会。

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。