查询词典 Chopin

Thecomplete Chopin Etudes are included in the second and third volume of the Koczalski Series.

24首肖邦练习曲，被收录于Koczalski的第2辑和第3辑之中。

Nevertheless, Cortot's musical achievement can not be denied, and his Chopin Etudes recordings are only parts of his graceful outputs.

当然Cortot的艺术成就不容置疑，他的肖练也只是他众多优秀录音中的一部分，有兴趣的可以欣赏他另外的录音。

Her main instructor Rebecca Penneys is also an excellent pianist and had recorded the complete Chopin Etudes commercially.

她主要的老师Rebecca Penneys也是一位精彩的钢琴家并且录制过全套肖邦练习曲的录音。

This is why this book does not recommend exercises such as Hanon and Czerny, that are not meant to be performed; by the same token, the Chopin Etudes are recommended.

即使像我们这种常人的记忆力，这些能力都是使用本书中方法的自然拥有的附带能力。

It is a pity as we are eager butunable to know how Liszt actually performed these Etudes and gained admiration from Chopin.

每每看到这句话，都让我感觉是一个天使对神的无比崇敬，肖邦是那个圣洁的天使，李斯特是那个令人畏惧的神。

F.Chopin: Piano Concerto No.2 in F minor, Op.21

F。肖邦：F小调第二钢琴协奏曲，作品21 32

Frederic Chopin was born in Zelazowa Wola, Poland, on February 22, 1810, to a French father and Polish mother.

他的父亲尼古拉斯是具有波兰血统的法国人，而母亲却是一位纯粹的波兰人。

Frederic Chopin was born in Zelazowa Wola, Poland, on February 22, 1810, to a French father Polish mother.

他的父亲尼古拉斯是具有波兰血统的法国人，而母亲却是一位纯粹的波兰人。

Then, one night in Paris, Isadora Duncan danced to the haunting melody of Chopin's Funeral March, and a vision of tragedy came to her.

在巴黎的一天晚上，伊莎多拉·邓肯踏着肖邦的《葬礼进行曲》那萦绕的旋律翩翩起舞，此时一幅悲剧的幻象映入了她的眼帘。

Then, one night in Paris, Isadora Duncan danced to the haunting melody of Chopin's Funeral March, and a vision of tragedy came to her.

在巴黎的一天晚上，伊莎多拉。

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。