詩想起 / 尋找新詩路
詩人是遊牧族，
經常趕著詩的羊群逐水草而居，
這些水草區有詩刊、文學雜誌、報紙副刊，
然而令人憂心的是，
這些水草區有日益縮小趨勢，
會不會有天消失了？
因此年輕的詩人，
開始將詩的羊群趕往部落格，
這裡是一望無際的綠洲，
任何人都可以在這裡隨心所欲的放牧，
無憂無慮的採菊東籬下悠然見南山，
自由自在的行到水窮處坐看雲起時，
輕鬆愉快的看著詩的羊群，
在過雨看松色隨山到水源處不斷地茁壯。
詩人與詩人間放牧的羊群，
終究要到新詩路大會合，
詩人和羊群的吟唱聲，
已經嘹亮響起！
posted by 陳寧貴詩人坊 @ 12:42 上午
20 comments
20 Comments:
欣賞貓王(Elvis Presley)歌曲
本文由 CypSystem 在 2007-1-6 09:41 發表於: 倍可親.美國 ( backchina.com )
欣賞貓王(Elvis Presley)歌曲請點擊:
http://www.cypvan.com/c/extranet ... yellowpage_c_id=711
內容包括:
《Come'on Everybody 》、《What I Say》、《The Lady Loves Me》、《Oh Happy Day》、
《Unchained Melody》、《American Trilogy》、《Trouble》、《Loving You》、《Love Me Tender》、
《Always On My Mind》、《In The Ghetto》、《Wooden Heart》、《Lonesome Cowboy》、
《Just Pretend》、《Hurt》、《Sweet Caroline》、《Return to Sender》、《Stuck On You》 、
《It's over》、《Heartbreak Hotel》、《Jailhouse Rock (1957)》、《I got a woman》、
《My Way》、《Are you Lonesome Tonight》、《Don't Be Cruel》、《Follow That Dream》、
《What Now My Love》、...
迷人長笛--詹姆斯·高威--歌之翼
Wings of Song
http://club.backchina.com/main/viewthread.php?tid=451957&extra=page%3D1
詹姆斯·高威長笛專輯《Wings of Song（歌之翼）》
長笛：詹姆斯·高威
第二長笛：詹妮·高威
演奏：倫敦交響樂園
指揮：克勞斯彼德·塞貝爾
【唱片介紹】
《Wings of Song（歌之翼）》，這是James Galway重投DG唱片公司後的錄音，笛小品專輯Wings of Song所收錄的都是改編樂曲，所選擇的都是最動聽的旋律，可說是首首珠璣。錄音場地就在倫敦著名的Abbey Road錄音室。這雖然是一張長笛專輯，但曲目都經過精心的選擇與編排，樂曲的風格及色彩不盡相同，因此不會令人感到枯燥乏味。其中，法國作曲家拉威爾（Ravel）在1899年所作的《悼念帕凡公主》是最精彩的曲目之一。這原是一首鋼琴曲，標題的靈感來自羅浮宮中，西班牙畫家維拉斯凱斯所作的年輕公主肖像。改編為長笛曲後，保留了原曲旖旎迷離的色彩，James Galway的長笛在加了弱音器的弦樂的襯托下，意境如幻如夢，引人入勝。James Galway早年曾在柏林愛樂擔任第一長笛手。據Galway表示，德國才是他的音樂真正扎根的地方；在柏林愛樂的六年裡，簡直有如生活在天堂。在偉大指揮家卡拉揚的棒下，他渡過了一生中最快樂的時光，當時幾乎所有的錄音都是由他挑大梁！聽過了James Galway的演奏之後，相信你會發現他的演奏與卡拉揚的音樂氣質竟有許多相似之處??圓滑的線條、水汪汪的音色以及芬芳馥郁的脂粉味。當你聽了他演奏聖桑的歌劇詠嘆調Mon Coeur s’ouvre a ta voix後，鴛鴦蝴蝶派般的纏綿悱惻，肯定會令你沉溺得不能自拔。Wings of Song專輯勝在樂曲首首珠璣，加上James Galway的長笛演奏極為出色，還是值得一聽。
詹姆斯·高威作為世界級的無與倫比的古典音樂演繹大師和完美的表演藝術家，他的魅力滲透到音樂的各個領域，令人無法抗拒。他的獨特的笛音，華麗的技巧，獨到的鑒賞力，使其成為當代最受人尊敬的藝術家。他不僅使長笛脫穎而出成為主角，更悠然游走於古典、流行、電影、廣告配樂等各個領域。那自然如哨音，靈動如鳥囀的笛聲，無距離地唱進你的心底。魅力超凡的演奏，更是長笛界無人可取代的高威特質。
【唱片曲目列表】
1. Pavane Pour Une Infante Defunte（改編自拉威爾《悼念帕凡公主》）
2. Gymnopedie No.3（改編自薩蒂《裸體歌舞》第三首）
3. Ave Maria（改編自舒伯特《聖母頌》）
4. The Dawning Of The Day（改編自愛爾蘭小調《黎明》）
5. En Aranjuez Con Tu Amor（改編自羅德裡戈《阿蘭胡埃斯協奏曲》）
6. Siciliano（改編自巴赫《第四小提琴奏鳴曲》）
7. Mon Coeur S'ouvre A Ta Voix（改編自聖桑歌劇《參孫和達力拉》）
8. Casta Diva（改編自貝利尼歌劇《諾爾瑪》）
9. Pie Jesu（改編自福雷《安魂曲》明主耶穌）
10. Barcarolle（改編自奧芬巴赫歌劇《霍夫曼的故事》船歌）
11. Der Engel（改編自瓦格納《魏森冬克之歌》第一首）
12. Che Faro Senza Euridice（改編自格魯克歌劇《奧菲歐與尤麗狄茜》）
13. Lento（改編自德沃夏克《美國四重奏》）
14. Wiegenlied（改編自勃拉姆斯《搖籃曲》）
15. A Lord Of The Rings Suite（改編自霍華德·舒爾電影《指環王》組曲）
16. Annie's Song（改編自約翰·丹佛《安妮之歌》）
莎拉．布萊曼Sarah Brightman-encore 喝采
本文由 aeiou 在 2006-4-22 04:04 發表於: 倍可親.美國 ( backchina.com )
http://club.backchina.com/main/viewthread.php?tid=350427&extra=page%3D1
專輯名稱：encore 喝采
作曲家： 安德魯.洛依．韋伯
演出者： Sarah Brightman 莎拉．布萊曼
唱片公司：Decca Records Taiwan Limited
音樂類型：古典音樂
唱片編號：5890502
發行日期：2002 年 07 月 01 日
內容簡介：
選錄「歌劇魅影」 "Think of me"、 「貓」 "iano"「日落大道」"Surrender"、「歌聲舞影」 "The Last ManIn My Life"等不朽音樂劇經典。
從音樂劇第一女伶到跨界音樂天后，莎拉.布萊曼以其脫俗風華及細膩唱腔獨步世界，然而最令人回味無窮的終究還是與超級音樂劇作家韋伯攜手合作共創的百老匯黃金年代，她銀鈴般迴盪不已的嗓音，和他掌握角色情緒轉折的超級製作功力，征服全球無數樂迷。這張專輯由韋伯親自嚴選，收錄「歌劇魅影」中至今無可取代的甜美清亮之聲"Think of me"，以及1998年開演後便創下劇院票房紀錄，描述小女孩與陌生客之間感人至深的「微風輕哨」同名主題曲 "Whistle Downthe Wind"；再加上歷年精彩劇作「日落大道」、「愛的觀點」、「貓」、「歌聲舞影」中不朽的音樂劇經典，包括3首從未發表過的新曲"One more walk aroundthe garden"," What more do I need"和" In themandarin’s orchid garden"等。保留莎拉?布萊曼最醇美的嗓音，珍藏安德?魯洛伊?韋伯歷久彌新的音樂盛世，這張安可集獻出了兩人的璀璨紀錄，也將見證所有樂迷的喝采！
曲目:
01-Whistle down the wind
02-Away from you
03-Guardami
04-Think of me
05-One more walk around the garden
06-Surrender
07-If I ever fall in love again
08-Half a moment
09-Piano
10-What more do I need
11-The is more to love
12-The last man in my life
13-In the mandarin’s
14-Nothing like you’ve ever known
15-Chi il bel sogno di doretta
洛夫?漂木
Monday, December 5, 2005, 00:58 - 台灣詩選與翻譯
沒有任何時刻比現在更為嚴肅
落日
在海灘上
未留一句遺言
便與天涯的一株向日葵
雙雙偕亡
一塊木頭
被潮水沖到岸邊之後才發現一只空瓶子在一艘遠洋漁
船後面張著嘴 唱歌。也許是嘔吐
瓶子 浮沉浮沉 浮
煙 浮沉沉 浮
天空 沉浮沉 浮
開始漲潮
木頭攀升到
一排巨浪高高舉起的驚惶中
一塊木頭罷了
把麻木說成嚴肅
把嘔吐視為歌唱
任何鏡子裡也找不到這種
塗滿了油漆的謊言
史籍裡攪拌了太多的化學物質
而讀史人大多喜愛甜食
偶爾在憂鬱的早餐上撒點鹽
下午的愛情便不至於
淡而無味了
他們最怕看到
琉璃多彩的歲月
在焚城的大火中化為悽涼的夕陽
結論 下結論還早
與其草草
何不留下空格
讓那塊木頭──
不，那漂泊者的
散落在沙灘上的駭骨
去填補
Lo Fu (Luo Fu)
From Driftwood
No time is more solemn than the present
Before the setting sun
Can trace a few final words
Along the beach
It dies
Together with the far-flung sunflower
After the tide washes a scrap of driftwood
On to the shore, I notice an empty bottle
In the wake of a fishing boat. Mouth open
It sings. Or perhaps disgorges
A bottle floats drifting
Smoke floats drifting
The sky floats drifting
The tide flows
Lifting the driftwood
As the waves rise to frightful heights
The numbness of
A simple scrap of wood
Is made solemn with a word
And what is disgorged turns to song
No such painted lies
Can be found in any mirror
Too many chemicals have been added to the historical records
And while most readers of history have a taste for sweets
They sometimes add a pinch of salt to a breakfast of melancholy
To make the afternoon lovemaking
A little less bland
What they fear most is to see
Time, glazed in many hues, become
A dreary sun setting as a city is consumed in flame
And so I conclude but it’s too early for conclusions
Let’s not be hasty
Let’s just leave the space blank
For that scrap of wood -
No, fill the space
With the bones of that drifter
Littering the beach
----Translated by John Balcom
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余光中?鄉愁
Monday, December 5, 2005, 00:55 - 台灣詩選與翻譯
小時候
鄉愁是一枚小小的郵票
我在這頭
母親在那頭
長大後
鄉愁是一張窄窄的船票
我在這頭
新娘在那頭；
後來
鄉愁是一方矮矮的墳墓
我在外頭
母親在裡頭
而現在
鄉愁一灣淺淺的海峽
我在這頭
大陸在那頭
電話亭
古典也不田園的一間小亭子
時常，關我在那?面
一陣淒厲的高音
電子琴那樣蹂躪那樣蹂躪我神經
茫然握著聽筒，斷了
一截斷了的臍帶握著
要撥哪個號碼呢？
撥通了又該找誰？
不過想把自己撥出去
撥出這匣子這電話亭
撥出這匣子這城市
撥出這些抽屜這些公寓撥出去
撥通風的聲音
撥通水的聲音
撥通鳥的聲音
和整座原始林均勻的鼾息
Yu Kuang-chung (Yu Guangzhong)
Nostalgia
When I was young,
Nostalgia was a tiny, tiny stamp,
Me on this side,
Mother on the other side.
When I grew up,
Nostalgia was a narrow boat ticket,
Me on this side,
Bride on the other side.
But later on,
Nostalgia was a lowly grave,
Me on the outside,
Mother on the inside.
And at present,
Nostalgia becomes a shallow strait,
Me on this side,
Mainland on the other side.
----Translated by the poet
The Telephone Booth
A glass cell that cuts more than it connects,
That often jails me in
And tortures my nerves numb
With a shrill, impersonal monotone,
While desperately to the receiver I hold on
As to a severed umbilical cord.
What number, after all, can I dial?
And who do I want to answer my call?
I’ve only wanted to dial me out,
Out of this box they call a booth,
Out of this booth they call a town,
Out of these drawers, these apartments, out!
And dial in sounds of wind,
And sounds of water,
And sounds of birds,
And the twilight green hush of the woods.
----Translated by the poet
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管管?小孩
Monday, December 5, 2005, 00:52 - 台灣詩選與翻譯
紅小孩綠小孩黃小孩藍小孩白小孩
紫小孩黑小孩灰小孩和粉小孩
裝在一籃子裡的小小孩。戰爭剩下的小小孩！
便宜賣的小小孩！將軍不要的小小孩！政客不要的小小孩！
死了媽媽的小小孩，死了爸爸的小小孩，
阿富汗的小小孩，伊拉克的小小孩，
國共內戰的小小孩，納粹集中營的小小孩，
這些 這些 從槍管裡爬出來的小小孩呀！
都是一顆炸彈小小孩
你們 你們 還給我們的母親！
Guan Guan
The Children
Red children, green children, yellow children, blue children, white children
Purple children, black children, gray children, pink children
The little children carried off in baskets. The little children left after the wars!
The little children sold for next to nothing!
The little children unwanted by the generals and politicians!
The little children without mothers, the little children without fathers,
The little children from Afghanistan, the little children from Iraq,
The little children from the Chinese Civil War and Nazi concentration camps!
All the little children who crawled out of the barrels of guns!
All of these are living bombs,
Crying, give us back our mothers!
----Translated by Selena Yushi Hong
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商禽?門或者天空
Monday, December 5, 2005, 00:50 - 台灣詩選與翻譯
時間 在爭辯著
地點 在沒有絲毫的天空
在沒有外岸的護城河所圍
繞著的有鐵絲網圍
繞著沒有屋頂的圍牆裡面
人物 一個沒有監守的被囚禁者。
被這個被囚禁者所走成的緊
靠著圍牆下
的一條路。
在路上走著的這個被囚禁者
終于 離開了他自己腳步所築
的路
他步到圍牆的中央。
他以手伐下?面的幾棵樹。
他用他的牙齒以及他的雙手
以他用手與齒伐下的樹和藤
做成一扇門；
一扇只有門框的僅僅是的門。
（將它綁在一株大樹上。）
他將它好好的端視了一陣；
他對它深深地思索了一頓。
他推門；
他出去。......
他出去，走了幾步又回頭，
再推門，
他出去。
出來。
出去。
在沒有絲毫的天空下。在沒有外岸的護
城河所圍繞著的有鐵絲網所圍繞著的沒
有屋頂的圍牆?面的腳下的一條由這個
無監守的被囚禁者所走成的一條路所圍
繞的遠遠的中央，這個無監守的被囚禁
者推開一扇由他手造的祇有門框的僅僅
是的門
出去。
出來。
出去。
出來。出去。出去。出來。出來。
出去。
出。出。出。出。出。出。出。
直到我們看見天空。
五七
紀念孩子們的外公
聽罷比他早走數年至今猶是孤魂野鬼的部屬有著每被芝麻大小的神祇所為
難而不能盡收生前足跡的抱怨之後，他不禁大嘆連靈界亦充滿了勢利眼。
要不，怎麼自己進入老家舊宅院時並未受到任何攔阻。
而他生前的副官卻另有解釋，他說：長官，回煞不順非關我的階級大小，
問題出在我腿中的那顆彈頭，雖然它生前以不同程度的痠痛使我預知風
雨，如今卻被自家的門神視為帶有凶器而不准進出。
現在，他終於諒解兒媳們將他火化並非忤逆不孝了。記得撿骨的時候還有
個孫子誤把熔化後他脊椎旁那些彈片當作勳章哩。
Shang Ch’in (Shang Qin)
Door or Sky
Time: Under dispute
Place: Under a shredless sky
inside a roofless barbed wire enclosure
enclosed by a bankless castle moat
Cast: An imprisoned man unwatched by guards.
A path
hugging the enclosure
formed by the pacing of the imprisoned man
Pacing the path the imprisoned man
finally leaves
the path he’s paced
He foots it to the center of the enclosure.
With his own hand he cuts down several trees.
With tooth and nail
He makes a door from trees and vines cut down with his own teeth and nails
A door that only has a doorframe and is barely a door.
(Ties it to a big tree.)
He gazes at it for awhile;
He ponders on it deeply.
He pushes the door;
He goes out . . .
He goes out, takes a few steps and then turns back,
He pushes the door again,
He goes out.
Comes out.
Goes out.
Under a shredless sky. Inside a roofless barbed wire enclosure enclosed by a
bankless castle moat at the distant center enclosed by an enclosure-hugging
path formed by the pacing of an imprisoned man unwatched by guards, the
imprisoned man unwatched by guards pushes open the door he made with
his own hands that only has a doorframe and is barely a door
Goes out.
Comes out.
Goes out.
Comes out. Goes out. Goes out. Comes out. Comes out.
Goes out.
Out. Out. Out. Out. Out. Out .Out.
Until we see the sky.
----Translated by Alulu Kuo
The Fifth Week of Mourning
In memory of the children’s maternal grandfather
When he had finished listening to the complaints of a subordinate who had
passed away some years before himself but still haunted the empty fields
and byways because even the most menial spirits heaped abuse upon him
every time he tried to return to his former haunts, the commander could
not help but lament aloud that the spirit world must also be awash with
snobbery. How else was he himself allowed to enter his old household without
the slightest hindrance?
But the other man, an aide-de-camp in their previous existence, cast a
rather different light upon the situation: “Commander,” he said, “it is not
my rank they object to but the bullet in my thigh. In life it allowed me to
predict the weather from the varying degrees of discomfort I felt, but here
it seems to make the door gods standing watch over my old home treat me
as if I were harboring a dangerous weapon. Thus do they prevent me from
coming and going.”
Now, at last, the commander understood that his son and daughter-in-law
had not been disobedient or disrespectful in having him cremated. And he
remembered that when they were collecting his ashes one of his grandsons
had even mistaken the melted shell splinters lodged near his spine for the
remnants of a campaign medal.
----Translated by Steve Bradbury
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鄭愁予?邊界酒店
Monday, December 5, 2005, 00:44 - 台灣詩選與翻譯
秋天的疆土，分界在同一個夕陽下
接壤處，默立些黃菊花
而他打遠道來，清醒著喝酒
窗外是異國
多想跨出去，一步即成鄉愁
那美麗的鄉愁，伸手可觸及
或者，就飲醉了也好
(他是熱心的納稅人)
或者，將歌聲吐出
便不祇是立著像那雛菊
祇憑邊界立著
Zheng Chouyu
Borderline Bar
The frontier earth in autumn halved under a common failing sun
On these abutting lands stand chrysanthemums, silent and sallow
And he came a long way to soberly down his drink
Beyond the window is alien land
What he wouldn’t give to cross into it, merely a step and he’d be longing
That lovely longing for home, only a glance of the hand away
Maybe he should just get drunk, that would be good enough
(He gladly lets the taxman take his due)
Or, maybe, he should belt out a tune
And not just stand there like those funereal mums
Just verging on the borderline, standing
----Translated by Christopher Lupke
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