關於 i will follow him譜 ，我們在網路上蒐集到這些相關的討論、資訊與評價

特別想在冬至夜晚回顧的，還有去年同時期上線的愛片，或許它就像《愛在午夜希臘時》一樣，乍看之下不如想像中那麼美好，但當我們再次凝神細看，這些刮痕，這些痛楚，背後是不是還藏有一些隱隱發亮的真實事物？或許藝術的作用就在於此，溫柔改變了現實與人心的紋理。其實不妨現在就打開 Netflix，一起來看 ── Noah Baumbach《#婚姻故事》。
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「我認識他兩秒就愛上了他，就算愛他已經無意義，我今生還是會愛著他。」
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I fell in love two seconds after I saw him and I will never stop loving him, even though it makes no sense anymore.
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結過婚的人如羅塞里尼，他說婚姻就像商業契約，也見到無數當代故事《82 年生的金智英》、《厭世媽咪日記》等，講述家庭與社會角色的弱勢之下讓女人覺得自己漸漸在失去，失去價值，失去前途，失去尊嚴。但唯獨 Noah Baumbach 親自走過這一遭後，讓人相信婚姻走到盡頭後還會感受到一個家的柳暗花明，看見愛情的餘溫，寫下溫柔的詮釋，真正跳脫桎梏凌駕於婚姻的母題之上，所以會說，《婚姻故事》是一個讀懂箇中滋味才寫得出的劇本，也是一個嚐盡千迴百轉人生滋味的人才得以揮灑出來的真實印記。
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一如婚姻日常般平淡流暢，就像海灘上的沙堆，雪地裡的雪人，出自兩個滿心歡喜的人之手，從無到有點滴積累，那是愛啊，卻眼睜睜見證此份人人欽羨、郎才女貌的感情到最後成了讓人窒息的牢籠。那代表不同經歷與價值觀的兩份樂譜各自成形，難以合而為一又保有兩種風格，也很難為了不舊不新又不屬於自己的曲調揚棄多年來的旋律，琴瑟和鳴往往如李維菁形容雙人舞的身體意識般 Men lead，women follow，主導者渾然不覺按照社會規範走，跟隨者別無選擇成為了一個命運共同體裡夫唱婦隨的陪襯角色，整章樂譜有無奈也有無悔，有甜蜜也有爭吵，有歡笑也有淚水，有憤怒也有溫暖，有隔閡也有包容，兩個發光發熱的藝術家不知不覺迎向了平行時空裡《樂來越愛你》的另一種結局。
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緊緊牽起這段親密關係的愛於彼此之間俯拾即是，未曾消失，存在於修剪頭髮的親暱互動，存在於合力推上的厚重大門，存在於發自內心的真誠祝福，存在於選擇餐點的日常瑣碎，也存在於毫不猶豫蹲下幫忙綁好鞋帶的細微舉動；或許愛一開始是衝動和熱情，但日積月累就成了歲月皺褶，成了心照不宣的生活痕跡，成了我們之所以為現在的我們所無法抽離的一大部分，某種層面互補、某種層面相似的一個整體，以婚姻與家庭為名。
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許多人印象最深的就是一幕情緒層層積累、指著鼻子怒目相視的殘酷控訴，從一開始理性爭執走到口不擇言，言語利刃於頻頻提高的聲調中刀刀見骨，在張力高點四弦一聲如裂帛，突然陷入一片靜默，滿是懊惱的淚水傾瀉而出，彷彿後悔自己怎麼會又再度傷害了曾經最深愛的人，他一度咄咄逼人說，那也是妳自己的選擇。
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怎麼不是呢？我們都在命運洪流接受了自己的角色，只是這條路不見得能走到底，不為親手自己做出改變，沒有人會為我們往後的人生負責。
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或許沒有家暴、沒有虐待，沒有酗酒吸毒，沒有不良嗜好，事業還漸趨順遂，但這才是最恐怖而無解的一件事，我們無法在親密關係中尋找到兩人生涯發展的平衡，當一段婚姻裡，一個人的事業蒸蒸日上，另一個人難免得獨自撐起一個家，因此活得愈來愈小、變得微不足道，約翰齊佛寫過，維持一個婚姻所做的一切有多少是好的呢？
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當初耳鬢廝磨，而今對簿公堂，律師的職責在於在有限的空間內幫助客戶爭取到最大的利益，所以含血噴人是手段之一，所以無所不用其極也合情合理，親密關係就是以權力關係為基礎，不帶感情的事實亮出來就是兩面刃，既得利益者可能無意識甚或慣性忽視，一旦赤裸攤在陽光下便經不起任何檢視，古今中外無數對夫妻在法庭上撕破了臉，打死不相往來，從保護孩子的初衷變成毫無舊情可言，但如此並非兩個一如既往深愛對方之人的本意，我們都需要有人抱你過緊，同時也傷你過深。
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「讓生命慢一些長一些，持續地去牴觸，去愛去恨，去記去忘，去成為一根尖刺，但也去成為一場擁抱」，黃麗群這麼說。
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「活著是自己去感受幸福和辛苦，無聊和平庸」，余華這麼寫。
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《婚姻故事》不同於多數愛情故事，以溫柔開啟，也以溫柔作收，細數當初不自禁透過愛的視角細膩寫下的種種優點，視線仍若有似無多留連一秒在對方身上，那些始終過不去的，有一天也就自然而然輕輕地跨過了，人性與藝術之美一點一滴改變現實世界的紋理。Noah Baumbach 省略人人歌頌的美好相戀過程，我們看見了親密關係無可避免走到盡頭的面貌，熱情被生活消耗殆盡後的真實樣態，有婚姻的不堪，有投射的影子，也有悲傷劃過的痕跡，昔日燦爛奪目的金色表層已滿佈大大小小參差不齊的凌亂刮痕，但當你仔細凝神端詳，某個瞬間突然淚流滿面，是視線遠端的淡藍柔光，是淬煉過後的真實愛情，那些曾經發生過的從未真正逝去，包覆著不捨以新的型態陪伴我們朝向未來繼續前進，將憂愁與痛苦化為人生的養分，遺憾也能如美麗的晚霞般流過心頭。
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▍完整文章：
　婚姻故事｜幸福和辛苦，無聊和平庸。
　https://pse.is/3a8ydc

🎹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.”

「活著是自己去感受幸福和辛苦，無聊和平庸。」
　
余華這麼寫。
　
「讓生命慢一些長一些，持續地去牴觸，去愛去恨，去記去忘，去成為一根尖刺，但也去成為一場擁抱。」
　
黃麗群這麼說。
　
《婚姻故事 Marriage Story》一如真正的婚姻一般平淡流暢，好似米蘭昆德拉所言的那份生命樂譜，年輕時相遇還有機會共同譜寫、改變動機，但一定的年紀之後，各自的樂譜都逐漸成形，代表著不同的經歷與價值觀，很難合而為一又保有兩種風格，也很難為了不舊不新又不屬於自己的曲調捨棄多年以來的旋律，琴瑟和鳴往往如李維菁形容雙人舞的身體意識般 Men lead，women follow，主導者渾然不覺按照社會規範走，跟隨者別無選擇成為了一個命運共同體裡夫唱婦隨的陪襯角色，整章樂譜有無奈也有無悔，有甜蜜也有爭吵，有歡笑也有淚水，有憤怒也有溫暖，有隔閡也有包容，兩個發光發熱的藝術家迎向了平行時空裡《樂來越愛你》的另一種結局。
　
我們都需要有人抱你過緊，同時也傷你過深。一段關係往往存在兩方以上的觀點，過去也只是自己告訴自己的故事，將己身的委屈、犧牲與不平衡盡收眼底，將對方的處境、成就與理所當然擅自解讀。
　
然而愛依然於彼此之間俯拾即是，未曾消失，存在於修剪頭髮的親暱互動中，存在於合力推上的厚重大門裡，存在於發自內心的真誠祝福中，存在於選擇餐點的日常瑣碎，也存在於毫不猶豫蹲下幫忙綁好鞋帶的細微舉動裡；或許愛一開始是衝動和熱情，但年深月久就成了歲月皺褶，成了心照不宣的生活痕跡，成了我們之所以為現在的我們所無法抽離的一大部分。
　
不同於多數愛情故事，《婚姻故事》以溫柔開啟，也以溫柔作收，細數當初不自禁透過愛的視角細膩寫下的種種優點，視線仍若有似無多留連一秒在對方身上，Noah Baumbach 省略了人人歌頌的美好相戀過程，我們看見了親密關係無可避免走到盡頭的面貌，熱情被生活消耗殆盡後的真實樣態，有婚姻的不堪，有投射的影子，也有悲傷劃過的痕跡，昔日燦爛奪目的金色表層已滿佈大大小小參差不齊的凌亂刮痕，但當你仔細凝神端詳，某個瞬間突然淚流滿面，是雲霧下方的星星，視線遠端的淡藍柔光，也是淬煉過後的真實愛情。
　
　
　
Netflix │ #婚姻故事 │ #MarriageStory

#歡迎追蹤並且分享我們的音樂

同負一軛 / Yoked Together
詞/曲Written / 曹之懿、趙治德、曾晨恩、黃正安、陳珮瑜
編曲Arrangement / 孫立衡 Peter Sun
Acoustic & Electric Guitar / 孫立衡 Peter Sun
Piano ＆Strings & Synths / 孫立衡 Peter Sun , 李宛叡 Rayya Li
Synth Bass / 孫立衡 Peter Sun
Bass / 簡偉倫 Weilun Chien
Drum / 蔣孟平 Benjamin Jiang
和聲編寫 / 璽恩SiEnVanessa
和聲 / 曾晨恩Yosifu Tseng、璽恩SiEnVanessa

﹥ Verse
高山又低谷
Mountains and valleys
枯骨成朽腐
Bones were all consumed
我抬頭看向
Raised my head to seek
那盼望的救主
The Savior of the hope
不看我自己
Not to see myself
不照我所想
Not about my thought
尋求祢旨意
Seek Your will indeed
全按著祢計畫
All follow by Your plan

﹥ Pre-chorus
一直沒有察覺
Never sensed or realized
在我裡面比世界更大
The One in me is bigger than the world
萬有本於祂倚靠祂 都歸於祂
For all is Him, depends on Him and belongs to Him

﹥ Chorus
祢已調度萬有
You have planned everything
在我還沒開口
Before I have asked
一切都出於祢
Everything is from you
我一生別無所求
There’s nothing more that I need
不需要再等
I don’t have to wait
就是此時此刻
And now it’s the time
因祢在身旁
You are here with me
就是最完美的時刻
This is the perfect timing now

﹥ Bridge
祢背負我重擔
You’ve carried my burden
與我同負一軛
Yoked together with me
我放下自己
I put down myself
何等輕省
What a relief
-
導演 Director / 張正杰 Chang Cheng Chieh
攝影 Cameraman / 新店行道會、台北靈糧堂青年牧區Holywood影視團隊
後期剪輯 Editor / 張正杰 Chang Cheng Chieh
協同製作 Collaboration / 國度豐收協會 Asia for JESUS
梳化Makeup / 新娘秘書Miss Nini、Vivi’s studio
混音 Mixing Engineer / 孫立衡 Peter Sun
燈光設計 Lighting Designer / 新店行道會
-
數位平台連結
https://rock-mobile.lnk.to/iSurrender
實體專輯
https://is.gd/385rgU
實體樂譜
https://is.gd/40I87p
電子樂譜
https://is.gd/IkEDHG
-
奉獻 Asia for JESUS/ 約書亞樂團事工
https://goo.gl/5AAgQP

聯繫約書亞樂團：
https://www.joshua.com.tw/web/

歡迎協助我們提供字幕！
http://www.youtube.com/timedtext_cs_panel?tab=2&c=UC93m2yLo9G4-ZdFMgrdS2LA
-
約書亞購物商城：https://www.asiaforjesus.net/shop
約書亞樂團官網：https://www.joshua.com.tw
約書亞樂團臉書：https://www.facebook.com/joshuaband
約書亞樂團instagram : https://www.instagram.com/joshua_band/
約書亞樂團微博：https://www.weibo.com/joshuaband
約書亞樂團微信：joshuaband

#歡迎追蹤並且分享我們的音樂

同負一軛 / Yoked Together
詞/曲Written / 曹之懿、趙治德、曾晨恩、黃正安、陳珮瑜
編曲Arrangement / 孫立衡 Peter Sun
Acoustic & Electric Guitar / 孫立衡 Peter Sun
Piano ＆Strings & Synths / 孫立衡 Peter Sun , 李宛叡 Rayya Li
Synth Bass / 孫立衡 Peter Sun
Bass / 簡偉倫 Weilun Chien
Drum / 蔣孟平 Benjamin Jiang
和聲編寫 / 璽恩SiEnVanessa
和聲 / 曾晨恩Yosifu Tseng、璽恩SiEnVanessa

﹥ Verse
高山又低谷
Mountains and valleys
枯骨成朽腐
Bones were all consumed
我抬頭看向
Raised my head to seek
那盼望的救主
The Savior of the hope
不看我自己
Not to see myself
不照我所想
Not about my thought
尋求祢旨意
Seek Your will indeed
全按著祢計畫
All follow by Your plan

﹥ Pre-chorus
一直沒有察覺
Never sensed or realized
在我裡面比世界更大
The One in me is bigger than the world
萬有本於祂倚靠祂 都歸於祂
For all is Him, depends on Him and belongs to Him

﹥ Chorus
祢已調度萬有
You have planned everything
在我還沒開口
Before I have asked
一切都出於祢
Everything is from you
我一生別無所求
There’s nothing more that I need
不需要再等
I don’t have to wait
就是此時此刻
And now it’s the time
因祢在身旁
You are here with me
就是最完美的時刻
This is the perfect timing now

﹥ Bridge
祢背負我重擔
You’ve carried my burden
與我同負一軛
Yoked together with me
我放下自己
I put down myself
何等輕省
What a relief

-
數位平台連結
https://rock-mobile.lnk.to/iSurrender
實體專輯
https://is.gd/385rgU
實體樂譜
https://is.gd/40I87p
電子樂譜
https://is.gd/IkEDHG
-
奉獻Asia for JESUS/ 約書亞樂團事工
https://goo.gl/VIgDTs
聯系約書亞樂團：
https://goo.gl/1t5XhQ
歡迎協助我們提供字幕！
http://www.youtube.com/timedtext_cs_panel?tab=2&c=UC93m2yLo9G4-ZdFMgrdS2LA
-
約書亞購物商城：https://www.asiaforjesus.net/shop
約書亞樂團官網：https://www.joshua.com.tw
約書亞樂團臉書：https://www.facebook.com/joshuaband
約書亞樂團instagram : https://www.instagram.com/joshua_band/
約書亞樂團微博：https://www.weibo.com/joshuaband
約書亞樂團微信：joshuaband

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