目前日期文章:201307 (14)

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理查克萊德門竟已如此老態?真是歲月不饒人....
[url=http://www.flickr.com/photos/aubrey-image/9409767630/][img]http://farm8.staticflickr.com/7384/9409767630_5408728085_c.jpg[/img][/url]
[url=http://www.flickr.com/photos/aubrey-image/9409767630/]richard[/url] by [url=http://www.flickr.com/people/aubrey-image/]aubrey9[/url], on Flickr
今天接到大提琴家孫韻慈報訊,謂其將參與理查八月底於台灣的巡演.
這才注意到他竟已老態若此!而且這才猛然發現他出道已過了三十五年了!
真快,記得當年傍著他那秋光盎然的鋼琴旋律(最是詩意)猛寫情書的日子恍如眼前,一下子幾十年光陰猛逝了....

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【ONLY GOD FORGIVES】落日拳霸(唯神能恕):一部風格驚人/極端殘暴的CULT新作!
http://www.youtube.com/watch?feature=player_detailpage&v=Q9ziAWl9AEA
http://www.youtube.com/watch?feature=player_detailpage&v=Q9ziAWl9AEA&t=13
<iframe width="640" height="360" src="http://www.youtube.com/embed/Q9ziAWl9AEA?feature=player_detailpage" frameborder="0" allowfullscreen></iframe>

看過NICHALAS WINDING REFN前作落日車神而深覺意猶未盡的影迷,大可期待暑期末檔片ONLY GOD FORGIVES的上檔了.
此片風格更冷更淒厲而且血腥撲鼻;但美學風格比前作更詭迷更突梯更徘徊不去某種奇幻異國風味.....

看得我目不轉睛-----不能不說,這片夠怪,但也好看得緊.
簡言之,這片像煞TAXI DRIVER+花樣年華+三輪車夫的綜合版;片中出現的兩幕泰式卡拉OK的唱歌景我尤其著迷;某些台語歌中內類既旖旎又帶幾分萎靡的情調原來竟是脫胎於此,
長眼界了!

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◎推7/19十方樂集孫韻涵大提琴演奏會
 首都的藝文活動令人目迷五色/應接不暇-----過多了,我覺得....這看法,我在此地已說過多次.

演奏會此起彼落,聽眾人口被嚴重瓜分----我最近親歷的一個例子就是大提琴家孫韻涵.

6/22去聽台灣音響愛樂協會的免費音樂會;頗驚訝孫韻涵柯乃方這兩位新生代留美音樂家水準之高,一聽聞她們的下一場演奏是在十方樂集;遂興沖沖網路上訂了票.
原本想:十方座位少,我太晚下訂會否太遲-----沒想,100位滿座的小廳竟只賣了連我在內的29張票.

雖說孫甫歸國不到幾月知名度不太夠,但畢竟是波士頓愛樂交響樂團等背書過的好樂者,可不是初出茅廬的學生debut;這樣的票房真是太說不過去了.
不免想,樂者須在這僧多粥少/市場完全稀釋化的此地討生活真是太艱苦了-----有感而發,不免想順手幫推幾句.

孫韻涵大提琴獨奏會因颱風而由上週五延至本週五(july 19).
據告知仍餘32空位-----幫推!十方樂集票價廉宜/音效佳(250元), 而且兩廳院訂票簡易(可由便利商店取票).愛聽cello者盍不一試?
貼她在台南實況錄音的巴哈協奏曲,very musical!

https://www.youtube.com/watch?feature=player_embedded&v=1bEWLoutO2Q
<iframe width="640" height="360" src="https://www.youtube.com/embed/1bEWLoutO2Q?feature=player_embedded" frameborder="0" allowfullscreen></iframe>
https://www.youtube.com/watch?feature=player_embedded&v=1bEWLoutO2Q#t=129s

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咖啡都不打折,為何買書要打折?順談:免費要求攝影服務的網路習氣.....

上週看到台中最有人氣的獨立書店:東海書店老板在報上疾呼:咖啡都不打折,為何買書要打折?不免深有感觸.....

蓋該書店賣書長期處難攤平狀態,都是靠附設的咖啡飲品收入來補貼,他就很納悶:為何來客點便宜咖啡毫不講價,但買個書(成本可高得多)就大聲嚷嚷非折價不行.

對喔,不免想起上月牙套掉了,原本想說重黏上即可,沒想牙醫大人搖頭不行,說固定牙已朽,不僅須重裝,而且須多裝兩顆,於是乎憑空多出(2.5by4)十萬元開支,這可是鐵價:一文錢也不讓的!

各行各業,有許多如牙醫這般厚利又理所當然都不折價,也有書這般很難賺又慘遭壓榨的----但書價雖慘,畢竟只要求打折而已,賤價到免費相送有時還搶不到----這可是今時今日,網路寫真界的實況.

昨天,很巧,又在ptt看到某個媽媽為她寶貝兒子在李氏古宅抓周儀式徵免費攝影師而遭奚落不止終於自刪的窘事-----心有所感,不免令我想將這三件串起來談!

先說那寶貝媽媽,她懂得去ptt徵免費攝影師倒還真是門路亨通;畢竟其餘通路是不禁止商業活動,而ptt則嚴禁金錢交易,剛好全盤符合她既想拍好照又完全不須掏腰包的完美構想.
但殊少遭打回票的ptt啟事,為何唯獨她登的此則卻踢到鐵板終以自刪狼狽收場呢?

依我所見:此婦犯了兩個失誤,一就是劈頭即聲稱其子極其可愛,未料點進去的,卻是一張雖說不上醜但至少是毫不討喜的面孔.

ptt習氣是如此:通常只要是年輕女性,大家都會毫不挑剔一堆私訊爭拍,就當是免費練拍也附帶交誼一番;但若是對象是老者或婦孺,引力便立降九成;若再夾帶交通/難度等因素,成交便無疾而終..

拍baby,又是在李氏古宅抓周儀式這麼特殊的場合,照理講,吸引力至少不低-----錯在此婦先則以吾兒即是寶的心態吹噓太過,以致令失望過甚的攝友連環發出"做好人"的感言...
(意思是:幫拍此樁猶如做公德).而媽媽看了不免反彈-----便倉皇辯解:她是有看到其友自聘兩名攝影師去拍過同一場合,照片甚好,因而引發其動機,想找幾個高手拍些好照.
噫,不解釋尤可,這回可火上加油:為何汝友都那麼清楚,拍好照得花錢(而且一聘就兩個),可偏您就想貪便宜挑免費的?

可想而知,噓聲之接連不止了(相信私訊更是洶湧).這也是她貼出不滿兩天便自刪的底蘊.

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Secrets of the Stradivarius: An Interview with Joseph Nagyvary

 Secrets of the Stradivarius: An Interview with Joseph Nagyvary

By Charles Choi

Joseph Nagyvary set the world of violinmaking afire in 1977 with his research into the legendary Stradivarius violins. The instruments made by Antonio Stradivari in the 17th and 18th century, along with other instruments made in the northern Italian city of Cremona, are widely recognized by violinists as superior to any made since. Controversially, Nagyvary suggested that the chemistry of the instruments is as¿or more¿important than their craftsmanship.

A native of Hungary, Nagyvary fought briefly as a guerrilla in an unsuccessful student movement against the Communists in 1956 and afterward fled to Zurich. There he studied chemistry under Nobel laureate Paul Karrer and had his first formal violin lessons on a violin that once belonged to Albert Einstein, which sparked his infatuation with the violin and helped to turn his attention toward the science behind music. "I remember that taking out the violin from its glass cabinet was almost a religious experience for me," Nagyvary says. "I often wondered if he [Einstein] was considering at all what made its sound so pleasing and sonorous, or whether he was thinking about the waves of the universe."

It has been 25 years since Nagyvary, 68, announced his theory to the American Violin Society. Scientific American recently interviewed the professor of biochemistry and biophysics at Texas A&M University, who believes that "the holy grail of violinmaking is now within our reach." For an alternative view, see "The Acoustics of Violin Plates," by Carleen Maley Hutchins; Scientific American, October 1981, and "The Physics of Violins," by Carleen Mayley Hutchins; Scientific American, November 1962. --Charles Choi

SA: When a person first hears a Stradivarius, what about its sound makes it so valuable to the trained or the untrained ear?

JN: A Stradivari sound is very lively. It flickers, it constantly trembles, it moves like candlelight. There are some 600 Stradivaris around, so tone is not uniform--some have a fat sound with a big woof note, and others are more lean. But on average, a Stradivari is a good combination of darkness and also brilliance, a very pure tone.

Most concert audiences really cannot tell the difference between a Stradivari and another fine violin, and many critics can't either. Only the very few experts who are really trained and have special talent for discriminating between sounds can appreciate the beauty of the Stradivari tone.

SA: What scientifically is so special about a Stradivarius? If you tried to figure out the sonic fingerprint of one, is there something unique?

JN: Most experiments involve hooking up a sound generator to the bridge of the violin, shaking the instrument and measuring the vibration of output from different parts of the violin. These are called frequency response curves and have been done for over 50 years. They give some valuable information, but they can all be criticized because they have nothing to do with the real sound as the violin is being played.

Even from these tests, it appears Stradivari violins and all Cremona-made violins in good condition have a very strong sound emission in a certain high-frequency range, between 2,000 and 4,000 hertz. This is the range where human hearing is the most sensitive. The larger the room, the more audible these frequencies become. That means a Stradivari, even if it's not very loud in a small room because the walls promptly absorb [the frequencies], projects very well in a concert hall.

Actual, direct analysis of the sound of the violins as they are played is possible by anyone nowadays because you can buy high-speed sound analyzers for very low cost or even get free analysis off the Web. Then you find the great violins also have a significant low-frequency component that defines the sonority and adds darkness. Like the voice of Pavarotti, a beautiful sound needs a low, dark component in addition to several high frequency components that tickle the ear and brain with their flickering, transient change.
SA: What do you think is the secret of the Stradivarius instruments and others from those golden years of Italian violinmaking?

JN: I began developing my theory in the early 1960s, when I lived in Switzerland and made annual vacation trips to Italy. During those trips, I observed repeatedly that in cities like Milan, the wooden artifacts—furniture and also violins, violas and cellos—suffered considerable damage from woodworm. The wood, some of it, had holes in it like Swiss cheese. When I asked violin shops about similar damage to Stradivari violins, they told me that in Cremona there is practically no woodworm damage.

So in Cremona, people must have used a preservative, an insecticide. I looked in archival data from Venice for historical insecticide use. Pretty soon, I connected chemicals with acoustical effects—chief among them borax, which is very well known as an insecticide and is also well known among chemists as a powerful cross-linker of polymers. Nothing would make wood tighter and harder and the sound accordingly more brilliant.

We also considered the use of materials against mold because the climate in northern Italy is very humid. They [violinmakers in Cremona] used various sugars made from fruit gums. Fruit trees are everywhere [in Italy] and in springtime exude a nice, colorful liquid through bark that dries to a glassy matter, very stiff, very brittle. They used it for candy making around 1500—that's how candy was discovered in Italy—and it was also found to be very good for preventing mold.

The last element of great interest I found was the use of very fine crystal powder to saturate the wood. Crystal powder is the ultimate weapon against woodworm because woodworm would not be able to chew on crystals. Many kinds were used, but quartz from the mountains was a major component, as was Venetian glass, colored glass.

Now, if you mix fruit gums with quartz powder, that makes the outer surface extremely brilliant, very hard and very brittle. This theoretically would result in a very brilliant sound, but not only that. Other fillers like shellac or animal glue can also produce brilliant sound, but their sound would also generate a high-frequency hissing noise. The Stradivari violins are very brilliant and are also not noisy because their coating is brittle and breaks up into of millions of fragments. Theoretically that allows vibrations at certain given noise frequencies to be strongly damped, leading to a clearer sound.

Also, the wood used by Stradivari was not naturally seasoned wood. It was stored in water for a considerable amount of time. Once you soak the wood, the wood pores are more open, so aqueous solutions can penetrate it much deeper.

SA: You¿ve been making re-creations of the instruments. Could you describe what goes into those?

JN: With my theory, the historic evidence was there. All I had to do was make a couple of hundred violins with different compositions and explore the effect of various chemicals on the sound. That's how I¿ve spent the past 25 years, and we have explored the use of many, many compositions.

We explored a variety of fruit gums and animal proteins—egg white and so on—with a dozen or so soluble salts and insoluble crystals. We've also classified materials that make the sound mellow and not brilliant, like linseed oil and walnut oil, which makes the wood look very beautiful but the sound very mute.

SA: One of your recipes involves shrimp boiled in lye—not exactly the first thing I¿d think of if I had to think of a magic formula!

JN: I used shrimp shell chitin in 1976 to 1984. I worked with chitin originally for nutritional reasons, to lower serum cholesterol in animals. Chitin is good--it made the sound brilliant--but it also made the sound noisy. And it¿s not traditional. Stradivari had nothing to do with it. It was my own invention, and I have not used that since 1984.
SA: What is new with your research?

JN: We are in the process of having jury panels evaluate the sound of our instruments. We¿ve made a CD recording in which Zina Schiff, violinist, alternates her Stradivari with my violin, and we do not identify which track was made on which violin. So far, none of the 20 or so people I asked could identify all the tracks. Generally the error rate is 50 or 60 percent. In a true/false test, the 50-percent test is the random noise, so basically they can't tell.

Eventually we are going to identify it on our Web site. Let the critics guess first.

CAN YOU TELL THE DIFFERENCE?

Click here to see if you can pick out the sound of a Stradivarius.

SA: How well have your re-creations been received, either as replicas or instruments in their own right?

JN: Of course, I have made many bad violins in my studies, because you have to explore various limits. But I would say at this point we can reproduce the brilliance of the Stradivari violin. And, of course, with our new sound analyzers, we keep analyzing the sound of many excellent violins, so we get a better library, a better appreciation of what is the desirable sound to copy.

What I wish I could I have done is get more authentic samples of varnish for analysis, but I have not received any new samples in 15 years. The dealers sent out the word--anyone who owns a Stradivari violin was warned not to let me close to the violin because I may even scratch off some varnish with my fingernail!

SA: Which is understandable.

SA: What is new with your research?

JN: We are in the process of having jury panels evaluate the
sound of our instruments. We¿ve made a CD recording in which Zina
Schiff, violinist, alternates her Stradivari with my violin, and we do
not identify which track was made on which violin. So far, none of the
20 or so people I asked could identify all the tracks. Generally the
error rate is 50 or 60 percent. In a true/false test, the 50-percent
test is the random noise, so basically they can't tell.

Eventually we are going to identify it on our Web site. Let the critics guess first.

 







CAN YOU TELL THE DIFFERENCE?

Click here to see if you can pick out the sound of a Stradivarius.


SA: How well have your re-creations been received, either as replicas or instruments in their own right?

JN:
Of course, I have made many bad violins in my studies, because you have
to explore various limits. But I would say at this point we can
reproduce the brilliance of the Stradivari violin. And, of course, with
our new sound analyzers, we keep analyzing the sound of many excellent
violins, so we get a better library, a better appreciation of what is
the desirable sound to copy.

What I wish I could I have done is get more authentic samples of
varnish for analysis, but I have not received any new samples in 15
years. The dealers sent out the word--anyone who owns a Stradivari
violin was warned not to let me close to the violin because I may even
scratch off some varnish with my fingernail!

SA: Which is understandable.

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◎山本五十六與"海軍左派三羽烏",由東洋新片談起....
最近看了一部成島出執導,多國聯資的日本片:聯合艦隊司令山本五十六.
有些驚訝-----於當今右翼勢力高張/民氣又走回崇古的東瀛,居然會產出這麼一部很持衡地刻劃二戰氛圍的好片.
特別是第一次於電影中看到這於近代影劇中跡近被消音的"海軍左派三羽烏"這當年反戰鐵三角:
海軍部長米內光政,海軍次長山本五十六及軍務局長井上成美的隆重出場

於當年舉國一致的開戰聲勢中,此三人可能是極少數腦袋清醒的軍部當權人士,其一貫的主張有兩重點:
一.反對出兵支那.二.堅拒加入軸心陣營.
這其中,井上是留德軍校生,是德國通;卻也是海軍部中反軸心理論的架構者,更是最早看透希特勒野心及動向的先知.
山本,則眾所皆知是駐美多年的外交武官,曾驅車橫貫美國東西兩端,對其國情瞭若指掌的親美派.
米內,則堅毅卓絕地抗拒陸軍及輿論壓力,一面力檔主戰風潮;另一面則壓抑海軍少壯右翼.
不能不說,日本的急速潰敗正是始於這鐵三角的相繼丟官;讓海軍立場翻右,方始悲劇上場,一連串翻天覆地的變故....

看電影,有時稍可彌補知識觸角探知不足之憾;比如前幾年看了黑澤明的我於青春無悔;才知東瀛於戰前竟有如此血淚斑斑的反右翼拒開戰浪潮.
也才明白,原來京都帝大比東京帝大尤受尊崇的底故.
而去年看了連續劇坂上之雲,才恍然意會當年明治維新是如何上下一心鍛造其嶄新軍制的.
(雖說事後去查中日海軍史,這片中主人翁的事績未免仍被過度誇大了).

片中有幾幕拍得甚醒神:
比如,史實中,二二六事件海軍下令所有艦艇離港,並派艦隊砲口威慑叛軍大本營-----孰信此乃226政變失敗主因.
而陸軍鷹派遂遷怒,也派部隊前往海軍省本部舉槍示威.
於這對峙混亂中,有海軍主戰派前往質問山口與井上二人並趁機威逼兩人改變反軸心主張.
這時,井上不慌不忙由櫃中抽出希特勒我的奮鬥原文本,稀哩嘩拉唸了一串德文;原來這是十一章中希魔蔑視倭國所講的一段欲利用東洋人崇德心理驅為戰犬的真心話.

而這群盲目崇拜希魔已極的少壯軍官聽得狼狽不堪,原來日文譯本則是遭檢定特意漏了這章.

山本愛吃甜食,片中也用了好幾幕,用這些小細節來襯托其人格高潔之一面,不能不說用得真好.

可惜,片中的兩幕武戲,珍珠港及中途島皆成了過場沒拍好,倒是這片有一新觀點,認為珍珠港之未能擴張戰果,乃至中途島之大潰敗,不僅均為(與山口嚴重不和之)南雲司令臨陣調度之責,
甚且起於軍部為牽制山本,而另授南雲密令之過.....

演山本的役所廣司入知命之年後,演技越發爐火純青,看著看著,發現他不僅已接下老前輩三船敏郎等人的棒子接演這類他们早詮釋過的角色;而且發揮得更飽滿而圓融;可惜他就缺了點好萊塢的機運了.

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◎推7/12十方樂集孫韻涵大提琴演奏會
首都的藝文活動令人目迷五色/應接不暇-----過多了,我覺得....這看法,我在此地已說過多次.

演奏會此起彼落,聽眾人口被嚴重瓜分----我最近親歷的一個例子就是大提琴家孫韻涵.

6/22去聽台灣音響愛樂協會的免費音樂會;頗驚訝孫韻涵柯乃方這兩位新生代留美音樂家水準之高,一聽聞她們的下一場演奏是在十方樂集;遂興沖沖網路上訂了票.
原本想:十方座位少,我太晚下訂會否太遲-----沒想,100位滿座的小廳竟只賣了連我在內的29張票.

雖說孫甫歸國不到幾月知名度不太夠,但畢竟是波士頓愛樂交響樂團等背書過的好樂者,可不是初出茅廬的學生debut;這樣的票房真是太說不過去了.
不免想,樂者須在這僧多粥少/市場完全稀釋化的此地討生活真是太艱苦了-----有感而發,不免想順手幫推幾句.

由她臉書抓了幾段其錄音
http://www.youtube.com/watch?v=MYh58xbl9m4&feature=player_embedded
<iframe width="640" height="360" src="http://www.youtube.com/embed/MYh58xbl9m4?feature=player_embedded" frameborder="0" allowfullscreen></iframe>
https://www.youtube.com/watch?feature=player_embedded&v=U7c_-jfYTPE
<iframe width="640" height="360" src="https://www.youtube.com/embed/U7c_-jfYTPE?feature=player_embedded" frameborder="0" allowfullscreen></iframe>
https://www.youtube.com/watch?feature=player_embedded&v=OJqlFixIqF0
<iframe width="640" height="360" src="https://www.youtube.com/embed/OJqlFixIqF0?feature=player_embedded" frameborder="0" allowfullscreen></iframe>

孫韻涵簡歷:台灣旅美大提琴家。五歲開始正式習琴曾就讀於高雄市立信義國小音樂班,新興國中音樂班,以滿分成績考取國立台南藝術大學七年一貫制音樂系,習於俄籍大提琴家羅斯托波維契弟子Victor Chipiller門下。 隨後獲奬學金赴美留學與美國大提琴家Rhonda Rider習琴,並於波士頓音樂院取得演奏碩士學位。2008年獲奬學金赴美國明尼蘇達大學繼續深造,於2011年取得大提琴演奏博士學位,師事於俄籍大提琴家Tanya Remenikova。

旅美期間,孫韻涵多元參與各項演出,除定期舉辦個人獨奏會外,也受邀錄製日本電影以及偶像劇配樂。樂團演出經驗豐富,於波士頓室內樂團(Boston ChamberOrchestra),電玩交響樂團(Video Game Orchestra)擔任大提琴首席、 波士頓市交響樂團(Boston Civic Symphony Orchestra)擔任副首席,亦於波士頓愛樂交響樂團(Boston Philharmonic Orchestra)、開普卡德交響樂團 (Cape Cod Symphony Orchestra) 等職業樂團演出。

此外, 室內樂演奏也屢次獲得佳績。她所屬的Sospiro弦樂四重奏於波士頓音樂院連續贏得兩年榮譽四重奏獎項,並受邀至各地演出,深獲好評。

Sospiro 弦樂四重奏也先後於美國費雪考夫國際室內樂大賽(Fischoff Chamber Music Competition)、普羅曼國際室內樂大賽(Plowman International Chamber Competition) 、新英格蘭國際室內樂大賽(New England International Chamber Music Competition)等國際室內樂大賽,取得優勝首獎等佳績,受邀至美國紐約卡內基廳等地演出,也獲邀至愛波山室內樂音樂節(Apple Hill Chamber Music Festival)擔任2008年客席音樂家,並從2009-2011於美國波士頓Youth&Muse青少年音樂節任教。

活躍於世界各地舞台的孫韻涵,演奏足跡已囊括台灣,日本, 香港, 中國, 美國以及德國。

2012八月回台後,積極投入在台音樂教育推廣與演出,除個人與小型室內樂演出外,目前參與音樂團隊包括高雄市交響樂團、TAE台灣藝術家合奏團、藝綻室內樂團、南熠樂集與台南市交響樂團。

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