世界著名男低音Thomas Quasthoff 談音樂，歌唱， 生活

Thomas Quasthoff 說：人聲human voice 是所有樂器裏最具色彩的樂器。
他又說他很高興自己能自食其力，而且靠自己的愛好《歌唱》來掙錢生活，為家庭，為他的女兒，為他的朋友，他非常自豪地說，這個世界有幾個人能這樣呢？

確實Thomas Quasthoff 說得很對，看看我周圍的人沒有幾個是用自己愛好來掙錢，有的工作下來，愛好也被擠掉了。 所以說上帝是公平的， 上帝一不小心，讓他在形體上有些和我們不一樣，可另外方麵，上帝又給Thomas Quasthoff大大的補償：給他一副令世人矚目的好嗓子。

俺已經訂票了要去他的音樂會，去聆聽他奇跡般的聲音，訂的是第一排， 其實第一排是太近了點，音響也不是最好的，但很有現場感， 我要用我自己的眼睛耳朵去目睹，去聆聽，去體驗其實生活還是很美的 Life actually  is beautiful,  一般我喜歡的音樂家的演出，我盡量爭取坐前麵，演奏家們對第一排觀眾的微笑是很自然的，對後排的就職業一些，像上次去看指揮家Colin Davis 和Nelson Frere的同台演出，當他們演出完謝幕時，我舉起我的相機拍照時他們倆都向我和相機調皮的微笑， 給我印象很深。

Schubert: Winterreise, Der Lindenbaum / Thomas Quasthoff & Maria João Pires（著名的巴西鋼琴家）


Franz Peter Schubert (1797 - 1828).

Winterreise, D. 911.

Thomas Quasthoff.
Maria João Pires.

5. Der Lindenbaum.

He comes to the linden tree, with its pale flowers and heart-shaped leaves. that stands at the gate; in the shade of this tree he has dreamt many beautiful dreams, and in the bark he has carved words of love. It was his favourite place. Now he passes it with his eyes shut, even though it is deepest night, but the branches rustle to him, 'Come here old comrade, find your rest here'. A gust of wind blows his hat off, and many hours afterwards he remembers the tree, and it seems to say 'You should have found your rest here.' It is a tacit invitation to suicide. (In Die Schöne Müllerin by the same author the rejected lover actually drowns himself and finds rest in the friendly brook where he dies.)

Winterreise (Winter Journey) is a cycle of 24 poems by Wilhelm Müller, best known as the song cycle set for male voice and piano by Franz Schubert (D. 911, published as op. 89 in 1827). It is the second of Schubert's two great song cycles on Müller's poems, the earlier being Die schöne Müllerin (D. 795, op. 25, 1823). Both were originally written for tenor voice but are frequently transposed to suit other vocal ranges - the precedent being established by Schubert himself. These two works, in their scale, their dramatic coherence and power, their musical and literary unity, and their interpretative demands, stand in a league of their own within the song-cycle genre. Indeed, although Beethoven's cycle An die ferne Geliebte (To the distant beloved) had been published earlier, in 1816, Schubert's two cycles hold the foremost place in the history of the genre.