關於 london city tour ，我們在網路上蒐集到這些相關的討論、資訊與評價

#在台中遇見歐洲

#英國文化協會 & #法國文化協會 在台中講座活動

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在台中有一座資源豐富的圖書館 #國立公共資訊圖書館

不只館藏圖書豐富，還有許多影音資料借閱

除此之外，也結合許多數位科技，打造接軌21世紀時代潮流的多元文化，就連圖書館互動機器人都有

讓圖書館不再只是單純來看書借書的地方，你可以發掘非常多有趣的新鮮事物與活動

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在台中遇見歐洲

國立公共資訊圖書館 ，簡稱 #國資圖 ，館內還有法國資料中心 以及 英國資料中心

特別在館內設置英國與法國專區，特別收集這兩個國家相關書籍雜誌以及影音，書籍包括中文以及英文法文都有，讓你可以直接在館內翻閱或是借閱回家

這兩個專區有設置非常舒服的閱讀空間，英國區就把英國特色電話亭以及格林威治天文鐘帶來台中

法國區也是有許多法國經典建築標誌圖案

現在無法出國，就到台中國立公共資訊圖書館感受歐洲文化風景

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#講座活動

國立公共圖書館不是只有靜態書籍展示，也會有舉辦相關的講座活動

#法國資料中心活動
#音樂劇鐘樓怪人

2021/05/08 14:30
👉從法國文學到音樂劇 - 雨果小說鐘樓怪人

2021年5月，台灣是全球極為少數可以舉辦藝文演出的國家，來自法國最有名的音樂劇鐘樓怪人就要在台灣演出

國資圖也特別推出這部音樂劇的講座，將由我來為大家介紹，小說文本到音樂劇劇場之間的轉變。

#英國資料中心活動

2021/05/16 14:30
👉英國文學講座
千古男女戰爭：從馴悍記到吻我吧凱特

知名文學講師 發光小魚 要為大家帶來莎士比亞這部早期作品介紹

小魚老師在國資圖的活動都是非常熱門，4月的莎翁講座更是坐滿觀眾，大家想聽要記得提早去搶位置

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2021/05/23 14:30
👉英國文化講座
探索倫敦的老城區 - City of London 倫敦特區

國資圖找的講師都是非常專業講者，除了文學領域的小魚老師，還有請到台灣目前最搶手的 英國國家級倫敦藍牌導遊 Craig為大家帶來倫敦歷史與景點

在處處是歷史，每個轉角都是故事的倫敦特區，你絕對不能錯過最專業倫敦導覽員 Craig Kao
為你帶來的介紹倫敦特區介紹
@跟Craig藝起逛英國 Craig Tour UK

對了，Craig 在國資圖的講座也是超熱門爆滿，想聽的人，也是要早點去搶位置

Please Share!!
"Connected World" goes live on November 6-7, 2020!!　
In March, during the middle of our EU tour, COVID-19 began to rage and we had to stop and fly back home. Since then, we haven't been able to perform abroad. We hear that the infection has recently spread again in the West and many cities are on lockdown. It's a dark time where so many people have died and we still can't see the light at the end of the tunnel. We thought about what we could do in this situation and came up with this project with Daito Manabe, one of Japan's leading visual artists. We hope to share time with you, even if it's only for a short time, and get some relief from the darkness and stress.

This streaming will have a system where you can tip, and 20% of the revenue will be donated to African JAG, an organization run by team KRUSH that has been helping poor children of Africa since 2006. We're planning to visit Africa in the beginning of 2021. It's the poorest area of Malawi, where people suffer from malaria, cholera, dysentery and tuberculosis. Children are suffering from lack of clean water and food in the middle of the pandemic. Please, send your love to the children. 　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　DJ KRUSH
https://www.twitch.tv/rhizomatiks
This time, it will be streamed four times, starting at 11pm (Japan time) on November 6.You can watch it from anywhere in the world except a few areas, so please find the nearest place and calculate the time difference to watch it.

JAPAN
November 6: 23:00 (JST)
November 7: 08:00 (JST)
November 7: 13:00 (JST)
November 7: 16:00 (JST)

PARIS / BERLIN / MADRID / AMSTERDAM / BRUSSELS / WARSAW
November 6: 15:00 (CET)
November 7: 00:00 (CET)
November 7: 05:00 (CET)
November 7: 08:00 (CET)

LONDON
November 6: 14:00 (GMT)
November 6: 23:00 (GMT)
November 7: 04:00 (GMT)
November 7: 07:00 (GMT)

NEW YORK
November 6: 09:00 (EST)
November 6: 18:00 (EST)
November 6: 23:00 (EST)
November 7: 02:00 (EST)

LOS ANGELES
November 6: 06:00 (PST)
November 6: 15:00 (PST)
November 6: 20:00 (PST)
November 6: 22:00 (PST)

MEXICO CITY
November 6: 08:00 (CST)
November 6: 17:00 (CST)
November 6: 22:00 (CST)
November 7: 01:00 (CST)

SYDNEY
November 7: 01:00 (AEDT)
November 7: 10:00 (AEDT)
November 7: 15:00 (AEDT)
November 7: 18:00 (AEDT)

SAO PAULO
November 6: 12:00 (BRST)
November 6: 21:00 (BRST)
November 7: 02:00 (BRST)
November 7: 05:00 (BRST)

NEW DELHI
November 6: 19:30 (IST)
November 7: 04:30 (IST)
November 7: 09:30 (IST)
November 7: 12:30 (IST)

EAST EUROPE / SOUTH AFRICA
November 6: 16:00 (EET / SAST)
November 7: 02:00 (EET / SAST)
November 7: 06:00 (EET / SAST)
November 7: 09:00 (EET / SAST)

ABU DHABI / DUBAI
November 6: 18:00 (GST)
November 7: 03:00 (GST)
November 7: 08:00 (GST)
November 7: 11:00 (GST)

🎹鋼琴的大千世界/名家名言：「為何稱我為大師？主人在這裡（指著鋼琴），我只是他的奴才。」

— 李斯特著名的弟子，德國鋼琴家、作曲家、教育家 萊森奧爾(Alfred Reisenauer)

Why, there is the master (pointing to the piano), I am only the slave.”

— Alfred Reisenauer (1 November 1863 – 3 October 1907) German pianist, composer, and music educator.

📹 跟隨在李斯特學習長達十二年至李斯特過世(1874-1886)的萊森奧爾，演奏李斯特的第十號匈牙利狂想曲：
https://youtu.be/e12YwuHiQtY

📰 延伸閱讀 - 【李斯特學派 / the school of Liszt】♩.♪
https://www.facebook.com/notes/fan-chiang-yi-%E8%8C%83%E5%A7%9C%E6%AF%85/%E6%9D%8E%E6%96%AF%E7%89%B9%E5%AD%B8%E6%B4%BE-the-school-of-liszt/289155141104454/

———————————————————————1905-1906 鋼琴名家萊森奧爾（Alfred Reisenauer）在美國進行數月的巡迴演出，並接受美國著名音樂雜誌”Etude”的專訪。文章於1906年七月出版，隔年他在德國巡迴演出期間於下榻的飯店房間內過世。

📰 藝術家的養成 - 萊森奧爾的見解
The Making of an Artist - The Views of Alfred Reisenauer.

▪️With Liszt

“When I had reached a certain grade of advancement it was my great fortune to become associated with the immortal Franz Liszt. I consider Liszt the greatest man I have ever met. By this I mean that I have never met, in any other walk of life, a man with the mental grasp, splendid disposition and glorious genius. This may seem a somewhat extravagant statement. I have met many, many great men, rulers, jurists, authors, scientists, teachers, merchants and warriors, but never have I met a man in any position whom I have not thought would have proved the inferior of Franz Liszt, had Liszt chosen to follow the career of the man in question. Liszt’s personality can only be expressed by one word, ‘colossal.’ He had the most generous nature of any man I have ever met. He had aspirations to become a great composer, greater than his own measure of his work as a composer had revealed to him. The dire position of Wagner presented itself. He abandoned his own ambitions— ambitions higher than those he ever held toward piano virtuosity—abandoned them completely to champion the difficult cause of the great Wagner. What Liszt suffered to make this sacrifice, the world does not know. But no finer example of moral heroism can be imagined. His conversations with me upon the subject were so intimate that I do not care to reveal one word.

▪️Liszt’s Pedagogical Methods

“His generosity and personal force in his work with the young artists he assisted, are hard to describe. You ask me whether he had a certain method. I reply, he abhorred methods in the modern sense of the term. His work was eclectic in the highest sense. In one way he could not be considered a teacher at all. He charged no fees and had irregular and somewhat unsystematic classes. In another sense he was the greatest of teachers. Sit at the piano and I will indicate the general plan pursued by Liszt at a lesson.”

Reisenauer is a remarkable and witty mimic of people he desires to describe. The present writer sat at the piano and played at some length through several short compositions, eventually coming to the inevitable “Chopin Valse, Op. 69, No. 1, in A flat major.” In the meanwhile, Reisenauer had gone to another room and, after listening patiently, returned, imitating the walk, facial expression and the peculiar guttural snort characteristic of Liszt in his later years. Then followed a long “kindly sermon” upon the emotional possibilities of the composition. This was interrupted with snorts and went with kaleidoscopic rapidity from French to German and back again many, many times. Imitating Liszt he said, “First of all we must arrive at the very essence of the thing; the germ that Chopin chose to have grow and blossom in his soul. It is, roughly considered, this:（見譜例圖四）

Chopin’s next thought was, no doubt:（見譜例圖五）

But with his unerring good taste and sense of symmetry he writes it so:（見譜例圖六）

Now consider the thing in studying it and while playing it from the composer’s attitude. By this I mean that during the mental process of conception before the actual transference of the thought to paper, the thought itself is in a nebulous condition. The composer sees it in a thousand lights before he actually determines upon the exact form he desires to perpetuate. For instance, this theme might have gone through Chopin’s mind much after this fashion:（見譜例圖七）

The main idea being to reach the embryo of Chopin’s thought and by artistic insight divine the connotation of that thought, as nearly as possible in the light of the treatment Chopin has given it.

“It is not so much the performer’s duty to play mere notes and dynamic marks, as it is for him to make an artistic estimate of the composer’s intention and to feel that during the period of reproduction, he simulates the natural psychological conditions which affected the composer during the actual process of composition. In this way the composition becomes a living entity—a tangible resurrection of the soul of the great Chopin. Without such penetrative genius a pianist is no more than a mere machine and with it he may develop into an artist of the highest type.”

▪️A Unique Attitude.

Reisenauer’s attitude toward the piano is unique and interesting. Musicians are generally understood to have an affectionate regard for their instruments, almost paternal. Not so with Reisenauer. He even goes so far as to make this statement: “I have always been drawn to the piano by a peculiar charm I have never been able to explain to myself. I feel that I must play, play, play, play, play. It has become a second nature to me. I have played so much and so long that the piano has become a part of me. Yet I am never free from the feeling that it is a constant battle with the instrument, and even with my technical resources I am not able to express all the beauties I hear in the music. While music is my very life, I nevertheless hate the piano. I play because I can’t help playing and because there is no other instrument which can come as near imitating the melodies and the harmonies of the music I feel. People say wherever I go, ‘Ah, he is a master.’ What absurdity! I the master? Why, there is the master (pointing to the piano), I am only the slave.”

▪️The Future of Pianoforte Music.

An interesting question that frequently arises in musical circles relates to the future possibilities of the art of composition in its connection with the pianoforte. Not a few have some considerable apprehension regarding the possible dearth of new melodic material and the technical and artistic treatment of such material. “I do not think that there need be any fear of a lack of original melodic material or original methods of treating such material. The possibilities of the art of musical composition have by no means been exhausted. While I feel that in a certain sense, very difficult to illustrate with words, one great ‘school’ of composition for the pianoforte ended with Liszt and the other in Brahms, nevertheless I can but prophesy the arising of many new and wonderful schools in the future. I base my prophecy upon the premises of frequent similiar (sic) conditions during the history of musical art.” These are Reisenauer’s views upon this matter.

Continuing, he said: “It is my ambition to give a lengthy series of recitals, with programs arranged to give a chronological aspect of all the great masterpieces in music. I hope to be enabled to do this before I retire. It is part of a plan to circle the world in a manner that has not yet been done.” When asked whether these programs were to resemble Rubinstein’s famous historical recitals in London, years ago, he replied: “They will be more extensive than the Rubinstein recitals. The times make such a series posssible (sic) now, which Rubinstein would have hesitated to give.”

As to American composers, Reisenauer is so thoroughly and enthusiastically won over by MacDowell that he has not given the other composers sufficient attention to warrant a critical opinion. I found upon questioning, that he had made a genuinely sincere effort to find new material in America, but he said that outside of MacDowell, he found nothing but indifferently good salon-music. With the works of several American composers he was, however, unfamiliar. He has done little or nothing himself as a composer and declared that it was not his forte.

▪️American Musical Taste.

Reisenauer says: “American musical taste is in many ways astonishing. Many musicians who came to America prior to the time of Thomas and Damrosch returned to Europe with what were, no doubt, true stories of the musical conditions in America at that time. These stories were given wide circulation in Europe, and it is difficult for Europeans to understand the cultured condition of the American people at the present time. America can never thank Dr. Leopold Damrosch and Theodore Thomas enough for their unceasing labors. Thanks to the impetus that they gave the movement, it is now possible to play programs in almost any American city that are in no sense different from those one is expected to give in great European capitals. The status of musical education in the leading American cities is surprisingly high. Of course the commercial element necessarily affects it to a certain extent; but in many cases this is not as injurious as might be imagined. The future of music in America seems very roseate to me and I can look back to my American concert tours with great pleasure.

▪️Concert Conditions in America.

“One of the great difficulties, however, in concert touring in America is the matter of enormous distances. I often think that American audiences rarely hear great pianists at their best. Considering the large amounts of money involved in a successful American tour and the business enterprise which must be extremely forceful to make such a tour possible, it is not to be wondered that enormous journeys must be made in ridiculously short time. No one can imagine what this means to even a man of my build.” (Reisenauer is a wonderfully strong and powerful man.) “I have been obliged to play in one Western city one night and in an Eastern city the following night. Hundreds of miles lay between them. In the latter city I was obliged to go directly from the railroad depot to the stage of the concert hall, hungry, tired, travel worn and without practice opportunities. How can a man be at his best under such conditions—yet certain conditions make these things unavoidable in America, and the pianist must suffer occasional criticism for not playing uniformly well. In Europe such conditions do not exist owing to the closely populated districts. I am glad to have the opportunity to make this statement, as no doubt a very great many Americans fail to realize under what distressing conditions an artist is often obliged to play in America.”

??
A world of natural wonders in Long An, Vietnam.
Those who have a chance to take a sightseeing tour to the Mekong Delta province of Long An are advised to head for the wonders park in My Hanh Bac Ward in Duc Hoa District to admire some of the world’s renowned miniature wonders such as the Eiffel Tower in France, the Statue of Liberty of the U.S., the Opera Sydney House in Australia, the Tower Bridge in London and the Taj Mahal in India.

Nestled in the residential area Cat Tuong Phu Sinh in My Hanh Bac Ward, Duc Hoa District, the park covering an area of around one hectare attracts a huge number of local youths, photographers and especially those who have no chance to take extravagant trips to foreign countries.

Built early this year, the park characterized with breathtaking wonders in the world is overcrowded with visitors who are from not only Ho Chi Minh City but also in neighboring provinces on weekend days.

The free-entrance park is open for all visitors, tourists have a chance to witness the Statue of Liberty at the wonders park in Long An Province, Vietnam.

my new life and new story begins here! FINALLY! ? Hope that i will be a better me... with pants on

MERCH: https://pumpkinsmerch.com/

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Join the pumpkins membership here:
https://www.youtube.com/channel/UC-pDutOeU-xRK0B9J73V9eQ/join

watch me roasting asian crackhead: https://youtu.be/hon6wJESQiA
300k subs q&a: https://youtu.be/65npM0WxD_Y

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#kpop #vlog #oppar #travel2020 #cringe

MIYAVIのアルバム『NO SLEEP TILL TOKYO』内に収録「No Sleep Till Tokyo」Music Video

【リリース情報】
＜アルバム＞
MIYAVI『NO SLEEP TILL TOKYO』配信URL
https://umj.lnk.to/miyavi_nsttYD

＜デジタルシングル＞
DAOKO × MIYAVI「千客万来」　（映画『Ｄｉｎｅｒ　ダイナー』主題歌）
デジタル配信リリース　発売日：2019年7月3日（水）
https://umj.lnk.to/dm_senYD

Music Video
https://youtu.be/kjiSn0ug4oU

2016年8月発売「Fire Bird」から実に３年ぶりとなる待望のソロアルバム！
ボーナストラックには7月5日公開の映画『Ｄｉｎｅｒ　ダイナー』主題歌、
DAOKO × MIYAVI「千客万来」収録！ジャケットは石田スイ氏（「東京喰種トーキョーグール」作者）による描き下ろし！

CD収録楽曲　※全形態共通
1.Stars
2.No Sleep Till Tokyo
3.Tears On Fire
4.Other Side
5.Samurai 45
6.Butterfly
7.Walk With Me
8.Under The Same Sky
9.We Can’t Stop It (Rewind)
Bonus Track：DAOKO × MIYAVI「千客万来」 （映画『Ｄｉｎｅｒ　ダイナー』主題歌）

◆◆初回限定盤（CD+DVD）\6,000(税別) 　TYCT-69155
【CD】全10曲収録
【DVD収録内容】MIYAVI Japan Tour 2019 "THE OTHER SIDE" at Zepp DiverCity（2019年5月11日収録）

◆◆通常盤（CD）\3,000(税別) 　 TYCT-60144
【CD】全１0曲収録

◆◆UNIVERSAL MUSIC STORE限定盤（初回限定盤+Tシャツ）\8,000(税別)
【CD】全１0曲収録
【DVD収録内容】MIYAVI Japan Tour 2019 "THE OTHER SIDE" at Zepp DiverCity
【Tシャツ】『NO SLEEP TILL TOKYO』ジャケット・プリントTシャツ
https://store.universal-music.co.jp/product/d2ce3747/


【ライブ情報】
（ワンマン）
「MIYAVI North America Tour 2019 “NO SLEEP TILL TOKYO”」
7/25（木）Vancouver | Vogue
7/26（金）Seattle | Neptune's
7/27（土）Portland | Crystal Ballroom
7/29（月）San Francisco | Slim's
7/30（火）Santa Ana | Observatory
8/3（土）Tucson | El Rialto Theatre
8/5（月）Dallas | Trees
8/6（火）Houston | Scout Bar
8/7（水）Austin | Come and Take It Live
8/9（金）Mexico City | Sala Puebla
8/11（日）San Antonio | Vibes Event Center
8/13（火）Chicago | House of Blues
8/15（木）Detroit | El Club
8/16（金）Toronto | Queen Elizabeth Theatre
8/17（土）Montreal | Otakuthon Festival
8/19（月）New York | Sony Music Hall
8/20（火）Philadelphia | Theatre of Living Arts
8/22（木）Washington DC | The State Theatre
8/24（土）Atlanta | The Masquerade

「MIYAVI“NO SLEEP TILL TOKYO”World Tour 2019 Europe」
10/5（土）Helsinki | Tiivistamo
10/6（日）London | Islington Assembly Hall
10/8（火）Paris | O'Sullivans Le Backstage By The Mill
10/9（水）Bordeaux | Rock School Barbey
10/10（木）Barcelona | Salamandra
10/12（土）Geneva | Moulin Rouge
10/13（日）Rion | Le Transbordeur
10/15（火）Amsterdam | Melkweg
10/16（水）Cologne | Essigfabrik
10/17（木）Berlin | Columbia Theater
10/21（月）Budapest | Barba Negra Music Club
10/23（水）Moscow | Glavclub Green Concert
10/24（木）St. Petersburg | Aurora Concert Hall

「MIYAVI“NO SLEEP TILL TOKYO”World Tour 2019 ASIA」
11/1 (金) Hong Kong | Music Zone@E-Max
11/3 (日) Taipei | Clapper Studio
11/8（金）Seoul | WEST BRIDGE with KT 5G
11/10 (日) Shanghai | VAS LIVE
11/13 (水) Guangzhou | MAO livehouse Guangzhou
11/15 (金) Chengdu | Aflame Art Center Hall 1
11/17 (日) Beijing | TANGO
11/23 (土) Bangkok | Central Plaza Chaengwattana Hall

「MIYAVI“NO SLEEP TILL TOKYO”World Tour 2019 JAPAN」
12/5(木) 北海道:Zepp Sapporo
12/9(月) 宮城:仙台Rensa
12/10(火) 愛知:Zepp Nagoya
12/12(木) 福岡:Zepp Fukuoka
12/18(水) 東京:Zepp DiverCity
12/21(土) 大阪:Zepp Osaka Bayside

#MIYAVI #NoSleepTillTokyo #NSTT #UnderTheSameSky #Senkyakubanrai #千客万来 #DAOKO #ninagawamika #蜷川実花 #minori #shironuri #tokyofashion #livingart #kurebayashi #asachill #あさちる #マコプリ #makopuri #せななん #senanan #りかりん #rikarin #岸波藍 #kisiai #hokusai #葛飾北斎 #CG #illustration