大提琴

Many anglers need to travel only a short distance for a chance to fish for this fierce fighter of the black bass family.

许多钓鱼旅行只需要一个机会近距离鱼这场激烈的战斗family.smallmouth黑色低音大提琴往往以青铜褐绿彩、黝黑的方垂直酒吧。

Many bass fishing charters anglers need to travel only a short distance for a chance to fish for this fierce fighter of the black bass family.

许多低音捕鱼钓鱼包机只需要短途旅行的机会，为捞取这场激烈的战斗family.smallmouth黑色低音大提琴往往以青铜褐绿彩、黝黑的方垂直酒吧。

The audience of the Beijing Music Festival has the opportunity to experience works, starting from Jan Scbastian Bach's cello suites performed by Mischa Maisky, through the Viennese Classicists Haydn, Mozart and Beethoven and Romanticists—Schumann, Tchaikovsky and Brahms — to the Impressionists Claude Debussy and Maurice Ravel and 20th-century Neoclassicists — Sergei Prokofiev and Igor Stravinsky.

北京国际音乐节的听众们有机会欣赏这些作品，从梅斯基演绎的巴赫大提琴组曲，通过维也纳古典主义学者海顿、莫扎特和贝多芬以及浪漫主义派人物舒曼、柴可夫斯基和勃拉姆斯，到印象派德彪西、拉威尔和20世纪古典派代表人物普；罗科菲耶夫和斯特拉汶斯基。

His major works and commissions include: ' Three Temperaments , for Big Choir ' (1986), ' Counterpoint of Times , for woodwind septet ' (1989), ' Wild Children , for mixed Chamber Ensemble ' (1993), ' Overture , for solo Chinese bass drum and Chinese winds and percussion band ' (1994), ' Intonation , for chamber orchestra ' (1990-1994), ' Flavour of Bashu , for two violins, piano and percussion ' (1995), ' Pole , for solo Chinese Yun-luo, Chinese pai-gu and Chinese bass drum with six percussionists ' (1996),commissioned by Japan Asian Percussion Ensemble, ' Symphonic Prelude --- Bashu Capriccio' (1996), 'The Song Without Words , for solo percussion ' (1997), commissioned by the Ministry of Culture of Japan, Japanese Contemporary Music Association, and Japanese Embassy in China,'Illusions of the Symphonic Stage of Tang Dynast y , for orchestra of Tang Dynasty, percussion, voices and a big choir '(1999), commissioned by Japanese No Music Guanshiliu Green Spring Association, Chinese Music Research Center in Japan, Japanese Asian Percussion Ensemble and Japanese-Chinese Cultural Exchange Association,'The Prospect of Colored Desert , for violin, cello, sheng, pipa and percussion '(2000),commissioned by Yo-Yo Ma, Silk Road Project Inc. of the U.S., Sony Record,'Three Movements of Autumn , for small Chinese instruments ensembl e'(2000) and ' Sound Games , for 5 Chinese Percussion Instruments Players ' (2000-01), commissioned by La Cité de la Musique, Paris "2000 Chinese Classical Music Series", ' Fusion I , for Mixed Chamber Ensemble ' (2002), commissioned by Holland New Ensemble and Atlas Ensemble, ' Fusion II , Concerto for Solo Chinese Percussion and Orch.' (2002), commissioned by Japanese–Chinese Committee of Friendship and Public Music Performance, and ' Fusion III , for Irish flute, accordion, bodhran, Chinese sheng, zheng, Percussion and 13 Strings with Chamber Choir.' (2003-04), commissioned by China-Ireland Exchange Program, ' The Three Images from Washing Painting , for chamber ensemble of 17 players '(2005) commissioned by the New Juilliard Ensemble for the special concert of the Juilliard Centennial and sponsored by Asian Cultural Council and the Guggenheim Partnership and 'The Butterfly Dream', new 7 scenes Opera inspired by KUN QU' (2007) commissioned by the Contemporary Legend Theatre, Taiwan etc.

主要作品及委约包括：《三种气质，无伴奏合唱》(1986)、《时间的对位，木管七重奏》（1989）、《野娃子，混合室内乐队与童声》(1993)、《对话，男声独唱，女高音，童声合唱团，混声合唱团与混合乐队》(1993-94)、《序鼓，独奏中国大鼓、排鼓、云锣与中国民间吹打乐队》（1994）、《吟，室内交响乐》（1990-1994）、《蜀韵，两支小提琴、钢琴与打击乐》（1995）、《极，独奏中国云锣、大鼓、排鼓与六位打击乐演奏家》（1996）、《巴蜀随想，交响序曲》（1996）、《无词歌，打击乐独奏》（1997）（日本国文化厅、日本现代音乐协会、日本国驻中国领事馆等联合委约）、《梦的交响舞台，唐代乐队，打击乐，人声与合唱团》（1999）（日本能乐观世流绿泉会、日本中国音乐勉强会、日本亚洲打击乐团、日中文化交流协会等联合委约）、《舞蹈组曲，大型管弦乐队》(1999)、《漠墨图，小提琴、大提琴、笙、琵琶与打击乐》（2000）（马友友、美国丝绸之路文化发展公司、日本Sony唱片等联合委约）、《秋三阕，9位中国乐器演奏家》（2000）、《响趣，5位中国打击乐器演奏家》（2000）（法国巴黎音乐城&2000中国古典音乐系列音乐会&委约）、《融I ，混合室内乐团》（2002）（荷兰 New Ensemble， Atlas Ensemble联合委约）、《融II ，打击乐协奏曲》（2002）（日本日中友好音乐公演委员会委约）、《融III ，爱尔兰笛子、手风琴、巴朗鼓，中国笙、筝，打击乐，13件弦乐器以及室内合唱团》（2003-04）（爱尔兰国家文化委员会、爱中2004文化交流年组委会委约）、《水墨画意三则，为17位演奏家的室内乐团》（2005）（美国朱丽亚音乐学院新室内乐团委约，美国亚洲文化基金会和美国古根海姆基金支助）及《梦蝶，七场新昆剧》（2007）等。

To some extent, my ears accommodated to this signature in the long term, but it still changed instrumental tone colors too much for suspension of disbelief: the oboe sounded more like an oboe d'amore; cello sounded too woody, like a big viola; and the Steinway piano on Stereophile 's recent Concert CD (STPH 005-2) sounded too boxy.

在某种程度上，我的耳朵安置到这一长期的签名，但仍然改变乐器音色太多的怀疑暂停使用：双簧管双簧管更像一个科特迪瓦爱茉莉响起，大提琴听起来太像一个大木本中提琴；和关于发烧天书氏最近音乐会的CD 施坦威钢琴（STPH 005-2）听起来太臃肿。

While most would assume that the sport of bass fishing involves catching any bass at all, it actually exclusively refers to fishing for "black bass," which are found exclusively in North America.

虽然大多数假设捕捉任何运动低音大提琴在所有涉及渔业、它实际上是指专门捕捞&黑男低音&独家发现在北美洲。

Its third movement, the Nocturne, is one of Borodin's best-known compositions; his own instrument, the cello, takes the leading role in presenting this lovely tune, imbued with characteristics familiar in his lyric melodies.

其第三乐章，夜曲，是鲍罗丁最知名的作品之一。他自己的乐器，大提琴，在这优美的旋律的演奏中起主要作用，乐曲渗透着他抒情旋律中熟悉的风格。

C.G.: You still play the cello?.

你现在还拉大提琴？

C.G.: It is interesting that you play the cello in this way and yet you play the modern classical guitar and not the lute.

嗯，你拉大提琴，演奏古典吉他，但是却没有弹鲁特琴。

At 90, cellist Pablo Casals would start his day by playing Bach.

正是这种孩子气的好奇给了热情的人们一种青春的气息大提琴家帕布罗-卡萨尔斯在90岁时还坚持以拉巴赫开始他的每一天音乐从他的指间流出，他弯着

By the time of its fall, most of the prisoners were writers who had written against the corruptions of the government.

到它被攻陷的时候，里面多数的犯人是写了反对政府贪污文章的作家。

The most obvious variation to ovum morphological character was that the color was changed from light green to sepiaceous in embryonic development, and all the ovums were almost hatched after 96h.

在胚胎发育过程中卵的形态特征最明显的变化是颜色从淡绿到深褐色，卵在发育96h后卵基本全部孵化。