落泪的香水百合 落泪的香水百合
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BBC F1上找到的东西~~~ McLaren letter reignites spy row Dennis said the row had damaged the whole of Formula One The Formula One spying row has taken a new turn after McLaren accused Ferrari of winning this year's Australian Grand Prix with an illegal car. McLaren team boss Ron Dennis made the claim in an open letter to the FIA, the sport's governing body. "McLaren's reputation has been unfairly sullied by incorrect press reports from Italy and grossly misleading statements from Ferrari," adds Dennis's letter. Kimi Raikkonen won the Australian GP, which was the first race of the season. The spying row blew up when McLaren chief designer Mike Coughlan, who has since been suspended by the team, was found to have nearly 800 pages of Ferrari documents in his house. Ferrari believe Coughlan received the documents from their now-sacked performance director Nigel Stepney, who says he is innocent. The FIA world motorsport council (WMSC) found McLaren guilty of possessing confidential Ferrari information, but said there was "insufficient evidence" that the team had used it to their benefit. However, a strongly-worded letter from Italian motorsport president Luigi Macaluso to FIA president Max Mosley on Monday led to the latter deciding to send the verdict not to punish McLaren to its court of appeal. We believe the Ferrari press releases, the leaks to the Italian press and recent events have been damaging to Formula One as well as McLaren Ron Dennis Dennis's 3,000-word letter is addressed to both Macaluso and Mosley. In it, he initially applauds Stepney for blowing the whistle on his team ahead of the Australian Grand Prix. Stepney contacted Coughlan, currently suspended as McLaren's chief designer, with regard to two design elements of the Ferrari car he believed to be in breach in FIA regulations. One - a rear-wing separator - was deemed legal but the other - a 'flexi' floor - was proven to be illegal. Dennis believes Ferrari ran their cars with the illegal floor at Melbourne and said in the letter: "Ferrari only withdrew the floor device after it was confirmed to be illegal by the FIA. "Were it not for Mr Stepney drawing this illegal device to the attention of McLaren, and McLaren drawing it to the attention of the FIA, there is every reason to suppose that Ferrari would have continued to race with an illegal car." He adds: "It is in the interests of F1 that whistle-blowing is encouraged and not discouraged. If team members think that their identity will be revealed they will not whistle-blow." Dennis further clarifies the relationship between Coughlan and Stepney, with the latter alleged to have provided the former with a 780-page Ferrari technical dossier. Dennis states Coughlan was ordered to break contact with Stepney but they met in Barcelona in April. 606: DEBATE The statement raises as many questions as it seeks to clarify AU Ferrari have suggested McLaren staff were aware of Coughlan's actions, and that they made use of the documents, strenuously rejected by Dennis as "offensive and false allegations." He concludes: "The reason McLaren was not penalised is that the WMSC rightly concluded that it should not be blamed for Mr Coughlan's actions. "It based its decision on solid facts and not false innuendo. "It would be a tragedy if one of the best world championships in years was derailed by the acts of one Ferrari and one McLaren employee acting for their own purposes wholly unconnected with Ferrari or McLaren. "We believe the Ferrari press releases, the leaks to the Italian press and recent events have been damaging to Formula One as well as McLaren. "We will naturally present our case before the FIA Court of Appeal as we strongly believe McLaren has done nothing wrong. "It is our belief justice will prevail and that McLaren will not be penalised." 应该没人会看不过我认为丹尼斯还是很有迈凯伦人的勇气的!
这个测验的结果就是你的F1情缘 女孩们不要管选项后面的分数是多少,一定要忠于自己的感觉,这样测出来的结果还蛮准的.你们边测边算分,最后不要忘了把你们的答案写上来哦! 1.你有幸成为迈克尔的新闻官,天天与他形影不离,为此科林娜吃醋了,但当时科林娜只是迈克尔的女朋友,她找你理论,你会 a.右耳听,左耳出                 (2) b.和她公平竞争MSC                 (3) c.约束自己                     (1) 2.你正在赛道上与车迷边走边谈,突然摔了一跤,你本以为没人看见,却发现阿隆索正拿着望远镜在到处望,你会 a.根本不甩他                    (3) b.脸红着赶忙逃离                  (1) c.骂他几句:看锤子看                (2) 3.你在酒吧饮酒时,突然有个男人走来向你搭讪,你一看,竟然是罗斯博格,你会 a.与他攀谈                     (3) b.不甩他                      (2) c.叫他走开                     (1) 4.特鲁利正在色咪咪的看你游泳,但却被狗仔队拍下来了,并勒索他钱财,你会 a.劝狗仔队算了                   (3) b.和他一起勒索                   (1) 5.假如你喜欢莱科宁,一天,你正在赛场边买纪念品,莱科宁走来大献殷勤,说你要什么就给你卖什么,你一转身,发现他的女朋友就站在他身后,你会 a.给他使眼色                    (3) b.对他咳嗽                     (2) c.故意亲近他                    (1) 6.你在迈克尔家做客,拉尔夫又和哥哥争电视看了,突然遥控器掉在地上摔坏了,弟弟猛的站起来想动手,你会 a.义无返顾帮哥哥                  (2) b.大叫:要打迈克尔先打我              (3) 7.费斯切拉看见你很美,于是在你面前耍帅,没想到却脚下一滑摔了,你会 a.忍不住大笑                    (1) b.糗他几句                     (3) 8.你真是幸运儿,你路过公园的游泳池时,看见所有车手都在里面游泳,当然也有你心仪的车手,可惜你没带游泳衣,你会 a.管它的哦,裸泳                  (2)                           b.放弃                       (1)
法国无处不肖邦(《南方都市报--风尚周刊》第54期) 我崇敬伟大的艺术家,因为他们给我的生活带来了最重要的指引。可是,我能够为他们做些什么?为这些已经长眠在地下的人们做些什么呢?或者,只有一些文字、只有一些图片吧!《法国无处不肖邦》是我从巴黎回来后,给《南方都市报--风尚周刊》第54期写的文章,这是我所能够想到的一种感谢的方式,很微薄,很不足够,但我期待可以有更多的热爱肖邦的人看到,期待有更多的人,在他的音乐中得到慰藉……            法国无处不肖邦      郝晓楠/文、摄      从6月16日到7月14日,第二十四届肖邦音乐节在法国巴黎举行,在这为期近一个月的音乐节中,几乎观众们每天都能听到肖邦的经典作品。有人说,法国的肖邦音乐节是音乐爱好者们每年的狂欢节。确实,对于法国、对于巴黎来说,肖邦别有一番意义,因为这个优雅、坚强、又心思复杂的音乐家已经成为了文化的特质。在那里,无处不留有他的痕迹。                    一。肖邦音乐节在巴黎荡漾   虽然现在古典乐的曲高和寡是一个事实,但是在法国,古典乐始终是大众生活的一部分,笔者在巴黎地铁看到,悬挂最大幅广告的海报都是与古典有关的艺术形式。在这些古典艺术演出中,肖邦音乐节是每年最受关注的一个。肖邦音乐节每年六月开始,持续到七月中旬,可往往在五月初的时候,地铁、书店、音像店中就打起了海报。笔者在巴黎歌剧院附近等车的时候,随机采访了几个当地人,他们大都表示,如果有时间,自己一定会去肖邦音乐节,因为他们觉得肖邦的音乐是净化心灵的享受,在他的音乐中有值得珍视的哀伤,这很符合法国的格调。所以,有同行告诉笔者,法国的肖邦音乐节是音乐爱好者们每年的狂欢节,每到这个时候,热爱肖邦音乐、热爱古典乐的人就会从各个城市到达巴黎,选择自己喜欢的音乐会。与之相匹配的是,肖邦音乐节的开幕演出往往也颇为隆重,比如今年的这次演出就在法国最古老的教堂中举行。同时,据笔者了解,肖邦音乐节中的各大演出形式多样,演奏曲目包含了肖邦各种形式的作品,演出选择的场地,既有规模宏大的音乐厅,也有就算是当地人也不能一下子找到的斗室。演出的票价从几欧元到几十欧元不等。这么做的目的是为了让每一个喜欢肖邦的人聆听现场演奏。   另外,不要以为,肖邦的音乐只遍布在巴黎的各大音乐厅里,在巴黎的书店、唱片店里,肖邦的书籍,唱片几乎都摆在最显眼的位置,销售的成绩也很不错。在巴黎十八区的一个音像店里,肖邦的全集被放在最好挑选的位置,当笔者选了一套、结帐的时候,收款的店员用英文说,“你很有品位!”在古典音乐曲高和寡的当前,这实在是让人惊讶。   值得一提的是,肖邦初到巴黎,首先居住的普瓦索尼耶大街27号,如今已经成了有高度文化含金量的目的地,它的门楣上标刻着“弗雷德里克.肖邦在此居住(1831-1832)”,每天拜访的人络绎不绝;在塞纳河延岸,在各色各异的艺术商铺中,肖邦的音乐荡漾其中,那种感觉,是一种凄迷的浪漫。         
摘自别人的哈7总结~ 这是在哈吧上看到的,雅婧的书还没有来,天晓得那么慢~~~~不过那个我发过的下载的哈7的确是真的,所以大家可以去下一个,虽然不是很清楚,但是还是能看的~~~看来这个结局很……圆满嘛~~~第一章:黑魔头气焰嚣张 在一条黑暗的小巷深处,伏地魔和他诸多手下们正商讨斯内普带来的情报:哈利波特将要从女贞路转移到另一安全阵地,伏策划从路途中亲自杀死哈利。蛮横的伏地魔从卢修斯马尔福(父亲)抢过魔杖,弄得马尔福一家心惊胆战。伏地魔轻蔑地提起唐克斯已经和卢平结婚,Bellatrix一口否认唐克斯这个侄女,她破坏了他们家族的纯正血统。另外,食死徒抓住了霍格沃茨麻瓜研究课老师并把她带到伏地魔面前,她向斯内普求救,却被他一句阿瓦达索命咒夺命。 第二章:活在记忆中 哈利在乱糟糟的卧室看预言家日报,邓布利多的照片又勾起他无限的哀痛。报道上说,邓布利多刚上霍格沃茨时,父亲因憎恨并攻击麻瓜而被捕入狱,年轻的阿布斯承受着别人异样的眼光开始生活。但他每样功课都很优秀,并友好地对待麻瓜,因此终于赢得了大家的认可。然而就在他毕业的那年,母亲又死了!给他的年轻时代蒙上不少阴影。 另一些乱七八糟的报道说哈利可能谋杀了邓布利多,还有一个作家写了一本传记,揭露一些她认为是绝对内幕,邓布利多的真面目的胡诌文章。 哈利看完气氛地往墙上一摔。佛农姨父在楼下撕扯嗓子叫他。 第三章:告别德斯里一家 姨父一家和哈利坐在沙发上,像往常一样气氛僵硬。弗农在过去的几周思想斗争不断,拿不定主意到底该不该听哈利的,离开这个伏地魔可能来袭击的房子。他们把东西整理完后突然又不想走了,担心哈利会抢了他们的房子(傻子才稀罕这种房子) 哈利最后终于说服他们立即离开。因为一旦他到了17岁,他母亲给这座房子的保护咒就会消失,到时候伏地魔和食死徒都会来攻击。 德斯里一家坐上巫师的车,达利却迟迟不肯离开,他嘴里咕噜了一句:我不觉得哈利的存在是浪费空间! 顿时,哈利和佛农佩尼都惊呆了,哈里笑了,说达力这句话就和“我爱你”一样重……原来自从那次食死徒袭击中哈里就了达利,他对哈利的态度就有所好转! 第四章:七个哈利波特 德斯里一家走后,哈利也要转移到安全的地方,这时,海德,卢平,唐克斯,疯眼汉,韦斯莱先生,比尔,金斯莱,赫敏,罗恩,佛雷德,乔治,芙蓉,蒙顿格斯 都来到女贞路,6个孩子都扮成哈利波特,每个人由一位成人带领由不同的道路去收凤凰令保护的陋居。一开始哈利坚决反对让其他人替他冒险但最终还不得不妥协,毕竟他是万众期待唯一一个能杀死伏地魔的人。7个哈利就此出发。真正的哈利和海格一起,途中一群食死徒冲上来,混战中海德威不幸被咒语击中!!(可怜死了!)越来越多的食死徒甚至伏地魔自己也出现,并且揭穿了这就是真正的哈利!就在危急万分伏地魔快追上哈利时,哈利到达了收凤凰令保护的安全地区,可海格却在混乱中消失了! 第五章:倒下的勇士 当哈利再次睁开眼睛时,他和海格都在唐克斯的父母家。而他们到达陋居时竟然只有韦斯莱夫人和金妮,没有其他“哈利对伍”先到,看来大家都遇上危险了!紧接着,卢平带着不幸挂彩只剩一只耳朵的佛雷德回来。卢平愤怒地说;“我们之中有叛徒向伏地魔泄密”等了很久,其他人终于安全回来,然而,疯眼汉死了!Mundungus不见了! 第六章:穿着睡衣的食尸鬼(其实是罗恩变出来的用来代替他本人的人偶) 众人都聚集在陋居为疯眼汉的死悲伤。哈利决定一个人走,被众人严重反对。韦斯莱夫人执意要他参加比尔和芙蓉的婚礼。 哈利,罗恩,赫敏一起讨论寻找魂器的任务,虽然哈利只想一个人面对危险但他的两位朋友决不会只让他一个人冒险!罗恩说,他们在邓布利多葬礼时就决定和哈利一起毁灭魂器!赫敏甚至早早地去霍格沃茨图书馆偷偷借了很多被邓布利多禁止的关于魂器的书!
转自肖邦吧的东西~~~ 最先迷恋的是肖邦,弹奏肖邦的感觉,如同是在水底行走,好像真的沉入水底,隔绝了,真空了,仿佛有无数无数细小的水珠滑过身体的每寸肌肤,同时也被吸入心肺,人是湿的,呼吸也是湿的,沁人心脾这个词大约是这样的吧,总之,他充满了你的整个身体,每一丝细微的感情,你都不会错过了。随着他跳舞,随着他叹息,随着他欣喜,也随着他感伤。。。。。 从湿润中走出来,会觉得舒展,也会觉得累,有点像是接受了一次洗礼,此后的一两天,都不能再去触碰, 心是悬着的,心弦上满是细微的水珠,唯恐一不小心,震落了几颗,断了心弦。 当然,弹肖邦也是有坏处的,不必去经历现实中的感情,在他的旋律中,仿佛一切一切一切的感怀,你都已经经历过了,实在没有力气到现实中去再去体验一回。 莫扎特,他是上帝的孩子吗?他所描绘的分明是天堂里的情境,只有天堂里的欢乐才能够如此的纯净,才能够如此的彻底,才能够如此的无拘无束。可是为什么有人说那微笑的背后满是眼泪呢?那极致的痛苦是现实吗?那极致的欢乐是幻想吗?后来的一些经历,让我产生了通感,这个孩子的心滴着血,可一点都不妨碍他保持纯净的美好,在想象的世界中,在乐谱上 ,他尽情的尽兴的玩乐,谐谑,在旋转中升到了云端,那里确实是天堂,天堂确实美好,于是就在那里,如天使般玩耍。。。。。。哎,他原本就是天使!怎能叫我不喜欢?! 巴赫,为什么我以前会觉得那是一个古怪刻板的老头呢?我必须忏悔,忏悔自己的武断和不负责任的论断。他可会自己跟自己玩呢,而且仅仅用一只羽毛笔。 用一只羽毛笔,他就能随时邀来一个室内小乐队,一只大提,加上一只中提,一只小提,或是两只小提的组合是最常见的,台上,他们相互模仿,又不断变幻。 剧本有可能是男士或是小姐们的对话,大提有时像古怪的老头,有时扮演德高望重的老绅士,有时又像是滑稽的老顽童;中提琴大部分时候是较为绅士的,像是一个传话的管家,谦逊,沉着,虽然不轻易表态,虽然声音不高,却有着不可获缺的地位,小提琴就活跃的多了,趾高气昂的傲慢小姐,温柔善良的贤淑女士,声情并茂的神秘女伶,矣或者是尖酸刻薄的小店老板,模仿大人说话的小孩,从头至尾都极为自我的学者或是演说家。。。。。。凡生活中所遇见的形象,都被用羽毛笔描绘的栩栩如生,就算只有两把小提琴,也能把二声部的作品演绎得惟妙惟肖。 线索是有些复杂,可是只要你用心,就能越弹越明了,越明了就越觉得有意思,像是一部推理小说,每读一遍,线索就明晰一点,直到读懂了,还想再看上两边,再去体会体会其中的精妙,所以弹巴赫常常停不下来, 停下来的时候,会非常非常的满足,像是从智力游戏中归来的胜利者,过了许久还会偷偷的得意一番。 可惜的是我的这三个情人,永远都触不到了,只能够通过他们留下的密码,一点一点的去解读,一点点的靠近。 ________________________________________________________________ 个人觉得只有肖邦那个比较好~~
敬爱的肖邦啊~~你的生平~~ 肖邦 (Chopin,Frederic 1810-1849)   肖邦(Chopin,Frederic)波兰作曲家、钢琴家,1810年2月22日生于华沙近郊热里亚左瓦沃里亚(Zelazowa Wola)。父亲是法国人,年轻时迁居波兰。母亲是一位跟有音乐天才的波兰妇女   肖邦从很小的时候就显露出了音乐天才,他不但会弹钢琴,而且7岁时就发表了第一首作品g小调波兰舞曲。8岁时举行了第一次公开的演奏。从此以钢琴演奏“神童”的身份经常应邀去为贵族演奏。1826年肖邦中学毕业后,进入华沙音乐学院学习,在此期间他逐渐成为波兰公认的钢琴演奏家和作曲家。   1830年,法国的七月革命振奋了欧洲各国人民的斗争意志。波兰的爱国力量也活动起来,他们冒着生命的危险酝酿着新的起义,肖邦为之鼓舞。在这种形式下,肖邦的亲人、老师、朋友敦促他去国外深造。1830年11月2他怀着依依不舍的心情离开了祖国,临行前他接受了朋友赠送的一杯祖国的泥土,这杯泥土他一直带在了身边。   1835年在德国的德累斯顿,肖邦认识了波兰贵族出身的玛利亚,次年向她求婚,因门户之见而遭拒。1836年,肖邦认识了法国著名女作家乔治桑,约一年后两人同居,大约1847年才分手。肖邦从30年代其经常患病,由此也更产生出他乡作客,举目无亲的孤独感。肖邦对祖国的眷恋更加执拙,他在临终前留下遗嘱:“我知道帕斯凯维奇决不允许我的遗体运回华沙,那么至少把我的心脏运回去吧。”1849年10月17日肖邦因结核病逝世于巴黎。   肖邦的一生虽然仅短短的三十九年,但他的创作延续了三十年(1817 --1849)为人类留下了相当数量的艺术珍品,他的作品可分为两个阶段:   (1)华沙时期(1817--1830),这段生活总的说是愉快,开朗的。这一时期的作品的基调是乐观的,但由于年岁和阅历的关系,思想深度有限。清新、明快是肖邦华沙时期绝大多数作品的风格。肖邦很少直接采用民歌旋律作曲,而是依据波兰民间音乐的性格、音调去进行创作。他的作品既有强烈的波兰风格,也具有个人独创的特性。   (2)巴黎时期(1831--1849),1830年到1831年华沙起义的成功与失败,使肖邦的思想产生了巨大的转变,使前期与后期的作品从风格和思想性上判若两人。后期的作品思想性很高,感情充沛,气势宏大,他早期的作品如果说是抒情音诗,那么后期作品就应称之为民族史诗。如“第一叙事曲”,“c小调练习曲”,“a小调前奏曲”等。肖邦的作品以抒情为特色,旋律宽广如歌,和声丰富光彩,肖邦是十九世纪欧洲音乐史上的重要钢琴家、演奏家和作曲家。
肖邦英文简介3 [edit] Death and funeral By the 1840s Chopin's health was rapidly deteriorating. He and Sand took several trips to remote locations, such as Nohant-Vic, to no avail. By 1849, the year in which Chopin died, most of his major works were completed and Chopin concentrated on mazurkas and nocturnes. His last work was a mazurka, in F minor. Officially the cause of Chopin's death was tuberculosis, although there is some speculation that he may have had another disease such as cystic fibrosis or emphysema due in part to autopsy findings (reported only by his sister) seemingly inconsistent with the initial diagnosis. He had a terror of being buried alive, and asked to be "cut open", writing a few days before his death: "As this earth will suffocate me, I implore you to have my body open so that I may not be buried alive". Chopin's grave in ParisHe had requested that Mozart's Requiem be sung at his funeral, which was held at the Church of the Madeleine and was attended by nearly three thousand people. The Requiem has major parts for female singers but the Madeleine had never permitted female singers in its choir. The funeral was delayed for almost 2 weeks while the matter raged, the church finally relenting and granting Chopin's final wish. Although Chopin is buried in the Père Lachaise cemetery in Paris, his heart is entombed in a pillar in the Church of the Holy Cross in Warsaw. The Pere Lachaise site attracts numerous visitors and is invariably festooned with flowers, even in the dead of winter. [edit] Music Chopin's music for the piano combined a unique rhythmic sense (particularly his use of rubato, chromatic inflections, and counterpoint), as well as a piano technique which was of his own creation. This mixture produces a particularly fragile sound in the melody and the harmony, which are nonetheless underpinned by solid and interesting harmonic techniques. He took the new salon genre of the nocturne, invented by Irish composer John Field, to a deeper level of sophistication, and endowed popular dance forms, such as the Polish mazurka and the Viennese waltz with a greater range of melody and expression. Chopin was the first to write Ballades (a genre he invented) and the Scherzi as individual pieces. Chopin also took the example of Bach's préludes and transformed the genre. Several melodies of Chopin's have become well known; because of their unique melodic shape they are instantly memorable and easily recognized. Among these are the Revolutionary Étude (Op. 10, No. 12), the Minute Waltz (Op. 64, No. 1), and the third movement of his Funeral March sonata (Op. 35), which is used as an iconic representation of grief. Interestingly, the Revolutionary Étude was not written with the failed Polish uprising against Russia in mind, it merely appeared at that time. The Funeral March was written for funerals, but it was not inspired by any recent personal loss of Chopin's. Other melodies have even been used as the basis of popular songs, such as the slow section of the Fantaisie-Impromptu (Op. 66). These pieces often rely on an intense and personalized chromaticism, as well as a melodic curve that resembles the operas of Chopin's day - the operas of Rossini, Donizetti, and especially Bellini. Chopin used the piano to re-create the gracefulness of the singing voice, and talked and wrote constantly about singers.
肖邦英文简介2 [edit] Career in Paris Chopin first visited Vienna in early 1829, where he gave a piano performance and received his first favourable reviews. The following year he returned to Warsaw and performed the premiere of his Piano Concerto in F Minor at the National Theatre on March 17. By 1831 Chopin had left Poland for good and settled in Paris. He began work on his first scherzi and ballades as well as the first book of études. It is also at this time that he began his lifelong struggle with tuberculosis. The early and mid-1830s in Paris were a productive time for the composer. He completed several of his most famous works and also performed regular concerts, to rave reviews. By 1838 Chopin had become a famous figure in Paris. Among his closest friends were opera composer Vincenzo Bellini (beside whom he is buried in the Père Lachaise), and painter Eugène Delacroix. He was also friends with composers Hector Berlioz, Franz Liszt and Robert Schumann, and although he was at times critical of their music, Chopin dedicated some of his own compositions to them. [edit] Chopin and George Sand In 1836 Chopin was secretly engaged to a seventeen-year-old Polish girl named Maria Wodzinska. The engagement was later called off. In that same year, at a party hosted by Countess Marie d'Agoult, mistress of fellow composer Franz Liszt, Chopin met Amandine Aurore Lucie Dupin, Baroness Dudevant, better known by her pseudonym as George Sand. She was a French Romantic writer, noted for her numerous love affairs with such prominent figures as Prosper Merimée, Alfred de Musset (1833–34), Alexandre Manceau (1849–65), and others. The composer did not first consider her attractive. "Something about her repels me," he said to his family. Their relationship ended in 1847 when Sand began to suspect that he had fallen in love with her daughter, Solange. It is also possible that behind the breakup was Sand's treatment of her daughter. Sand's correspondence suggests that Chopin was asexual; that is, that he had no inclination to have sexual relations with anyone, male or female. Even so, his relationship with Sand lasted for ten years until they parted after arguments over Sand's children Maurice and Solange. A notable episode in their time together was a turbulent and miserable winter on Majorca (1838–1839) living in unheated peasant huts and in the then-abandoned (and equally cold) Valldemossa monastery. [1] Chopin would also later complain of having to go to great lengths to obtain a piano from Paris and of the difficulty of moving it uphill to the monastery. Chopin reflected much of the mood of this desperate time in the twenty-four préludes, Op. 28, the majority of which were written in Majorca. The weather had such a serious impact on Chopin's health and his chronic lung disease that he and George Sand were compelled to return to Paris to save his life. He survived but never recovered from this bout. Chopin and Sand's illustrious relationship is explored in the movie Impromptu which stars Hugh Grant as Chopin and Judy Davis as George Sand. Like the movie, Amadeus, however, it does not focus on fact as much as fiction.
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