{"id":101536,"date":"2024-11-14T00:01:14","date_gmt":"2024-11-14T00:01:14","guid":{"rendered":"https:\/\/damau.org\/?p=101536"},"modified":"2024-11-13T20:37:52","modified_gmt":"2024-11-13T20:37:52","slug":"bai-luan-lam-tai-nha-bis","status":"publish","type":"post","link":"https:\/\/damau.org\/en\/101536\/bai-luan-lam-tai-nha-bis","title":{"rendered":"B\u00c0I LU\u1eacN L\u00c0M T\u1ea0I NH\u00c0 bis"},"content":{"rendered":"

V\u00e0o th\u1eadp ni\u00ean 60 c\u1ee7a th\u1ebf k\u1ef7 tr\u01b0\u1edbc, nh\u00e0 v\u0103n Nguy\u1ec5n Xu\u00e2n Ho\u00e0ng c\u00f3 \u0111\u00f3ng g\u00f3p \u00edt nhi\u1ec1u c\u00f4ng s\u1ee9c trong t\u1eadp th\u01a1 ch\u00e9p tay c\u1ee7a em g\u00e1i 16 tu\u1ed5i b\u1eb1ng m\u1ed9t s\u1ed1 s\u00e1ng t\u00e1c ch\u1ecdn l\u1ecdc t\u1eeb nhi\u1ec1u t\u00e1c gi\u1ea3, \u0111\u01b0\u1ee3c anh tr\u00ecnh b\u00e0y n\u1eafn n\u00f3t qua n\u00e9t ch\u1eef r\u1ea5t \u0111\u1eb9p: L\u1eddi M\u1eb9 D\u1eb7n<\/em> (Ph\u00f9ng Qu\u00e1n); Paris At Night, Barbara<\/em> (Jacques Pr\u00e9vert); La Chanson Du Mal-aim\u00e9<\/em> (Guillaume Apollinaire)\u2026; t\u1ea5t nhi\u00ean c\u00f3 c\u1ea3 ch\u1ee5c b\u00e0i th\u01a1 m\u01b0\u1edbt r\u01b0\u1ee3t c\u1ee7a ch\u00ednh anh \u2013 L\u00e0m Quen, N\u1ee5 H\u00f4n, Ni\u1ec1m Y\u00ean L\u1eb7ng C\u1ee7a Bi\u1ec3n, Tr\u00ecnh B\u00e0y, N\u00f3i Th\u1ea7m V\u1edbi M\u1ed9t Ng\u01b0\u1eddi, M\u1ed9t M\u00ecnh, Th\u1ea3o, Mang Mang, B\u00e0i Lu\u1eadn L\u00e0m T\u1ea1i Nh\u00e0\u2026<\/em><\/p>\n

\"\" <\/a>\"\" <\/a>\"\"<\/a><\/p>\n

Em g\u00e1i m\u1edbi l\u1edbn l\u0103n t\u0103n s\u1ee5t s\u00f9i \u0111\u1ecdc t\u1edbi \u0111\u1ecdc lui B\u00e0i Lu\u1eadn L\u00e0m T\u1ea1i Nh\u00e0<\/em>, cu\u1ed1i c\u00f9ng thu\u1ed9c l\u00f2ng lu\u00f4n \u0111\u1ebfn gi\u00e0.<\/p>\n

I. Nh\u1eadp \u0111\u1ec1<\/strong><\/p>\n

t\u00f4i b\u01b0\u1edbc v\u00e0o \u0111\u1eddi nh\u01b0 lo\u00e0i th\u1ea3o m\u1ed9c<\/em>
\nr\u1ed3i b\u1ed7ng l\u1edbn l\u00ean nh\u01b0 l\u0169 th\u00fa r\u1eebng<\/em>
\nx\u01b0\u01a1ng th\u1ecbt m\u1eb9 cha cho c\u00f9ng ti\u1ebfng kh\u00f3c<\/em>
\nanh em m\u1ed7i ng\u01b0\u1eddi t\u1eb7ng ch\u00fat y\u00eau th\u01b0\u01a1ng<\/em><\/p>\n

II. Th\u00e2n b\u00e0i<\/strong><\/p>\n

n\u0103m l\u00ean b\u1ea3y tu\u1ed5i theo l\u1eddi m\u1eb9 d\u1ea1y<\/em>
\nt\u00f4i l\u00e0m h\u1ecdc tr\u00f2 m\u1eaft s\u00e1ng m\u00f4i t\u01b0\u01a1i<\/em>
\n\u0111\u01b0\u1eddng l\u00e0ng ph\u00e2n tr\u00e2u ng\u00e1i m\u00f9i c\u1ecf d\u1ea1i<\/em>
\ns\u00e1ng s\u1edbm \u0111\u1ebfn tr\u01b0\u1eddng ng\u1ed3i \u0111\u00f3 ngh\u1ec9 ng\u01a1i<\/em><\/p>\n

b\u1ea1n b\u00e8 ch\u01b0a th\u00e2n b\u00e0i cho ch\u01b0a thu\u1ed9c<\/em>
\nm\u00f9a thu ch\u01b0a qua l\u00e1 v\u00e0ng ch\u01b0a r\u01a1i<\/em>
\nth\u1ea7y gi\u00e1o b\u1ed7ng bu\u1ed3n tay v\u00ea \u0111i\u1ebfu thu\u1ed1c<\/em>
\nkh\u00f3i c\u0169ng v\u00f4 t\u00ecnh h\u1ebft v\u1ebb th\u1ea3nh th\u01a1i<\/em><\/p>\n

cha \u0111\u00f3 m\u1eaft bu\u1ed3n s\u1ea7u nh\u01b0 bi\u1ec3n c\u1ea3<\/em>
\nv\u00e0 m\u1eb9 gi\u00e0 nua t\u00f3c \u0111\u00e3 r\u1ed1i b\u1eddi<\/em>
\nti\u1ebfng s\u00fang \u0111\u1ea7u l\u00e0ng m\u1ed7i ng\u00e0y m\u1ed9t qu\u00e1<\/em>
\ns\u00f4ng c\u0169ng h\u1eefng h\u1edd r\u00fat c\u1ea1n ni\u1ec1m vui<\/em><\/p>\n

III. K\u1ebft lu\u1eadn<\/strong><\/p>\n

m\u00f9a thu \u0111i qua m\u00f9a thu tr\u1edf l\u1ea1i<\/em>
\nt\u00f4i ch\u1ee3t th\u1ea5y m\u00ecnh tu\u1ed5i s\u1eafp ba m\u01b0\u01a1i<\/em>
\ns\u00e1ng s\u00e1ng d\u1eebng ch\u00e2n nh\u00ecn quanh l\u1edbp h\u1ecdc<\/em>
\nnh\u00ecn l\u1ea1i \u0111\u1eddi m\u00ecnh bu\u1ed3n \u0111\u1ebfn th\u1ebf \u01b0?<\/em><\/p>\n

Nguy\u1ec5n Xu\u00e2n Ho\u00e0ng<\/strong>, 1964<\/p>\n

H\u01a1n n\u1eeda th\u1ebf k\u1ef7 sau, h\u1eadu du\u1ec7 c\u1ee7a em g\u00e1i ng\u00e0y x\u01b0a – m\u00e0 Nguy\u1ec5n Xu\u00e2n Ho\u00e0ng n\u1ebfu c\u00f2n t\u1ea1i th\u1ebf s\u1ebd \u0111\u01b0\u1ee3c g\u1ecdi b\u1eb1ng \u00d4ng C\u1eadu – ng\u1ed3i nh\u00e0 c\u1eb7m c\u1ee5i vi\u1ebft m\u1ed9t b\u00e0i v\u0103n v\u1ec1 k\u1ef7 ni\u1ec7m tu\u1ed5i nh\u1ecf, tuy b\u1ea3n th\u00e2n c\u1eadu b\u00e9 hi\u1ec7n v\u1eabn c\u00f2n x\u1ea7n qu\u1ea7n trong th\u1eddi th\u01a1 \u1ea5u. Kh\u00f4ng c\u00f3 ng\u00e1i m\u00f9i c\u1ecf d\u1ea1i<\/em>, v\u00f4 t\u00ecnh kh\u00f3i<\/em> hay h\u1eefng h\u1edd s\u00f4ng<\/em>. Kh\u00f4ng s\u00e1ng s\u00e1ng men theo \u0111\u01b0\u1eddng l\u00e0ng ph\u00e2n tr\u00e2u<\/em> \u0111\u1ec3 \u0111\u1ebfn tr\u01b0\u1eddng ng\u1ed3i \u0111\u00f3 ngh\u1ec9 ng\u01a1i<\/em> m\u00e0 leo l\u00ean xe \u0111i\u1ec7n ng\u1ea7m, \u0111\u1ebfm th\u1eddi gian theo t\u1eebng tr\u1ea1m d\u1eebng. C\u1eadu tr\u00f2 nh\u1ecf kh\u00f4ng bi\u1ebft ti\u1ebfng Vi\u1ec7t, c\u0169ng kh\u00f4ng bi\u1ebft l\u00e0m th\u01a1.<\/p>\n

\u0110\u1ec0<\/strong>: Em h\u00e3y k\u1ec3 l\u1ea1i m\u1ed9t k\u1ef7 ni\u1ec7m \u0111\u1eb9p th\u1eddi th\u01a1 \u1ea5u.<\/em><\/p>\n

I. Nh\u1eadp \u0111\u1ec1<\/strong><\/p>\n

H\u1ed3i b\u1ed1n tu\u1ed5i r\u01b0\u1ee1i em \u0111\u01b0\u1ee3c cho v\u00e0o l\u1edbp classe d\u2019\u00e9veil musical \u0111\u1ec3 l\u00e0m quen v\u1edbi \u00e2m nh\u1ea1c \u2013 v\u1edbi s\u1ef1 h\u01b0\u1edbng d\u1eabn c\u1ee7a th\u1ea7y Le Thellec, n\u01a1i \u0111\u00e2y, em t\u00f2 m\u00f2 t\u00e1y m\u00e1y c\u00e1c nh\u1ea1c c\u1ee5 r\u1ed3i cu\u1ed1i c\u00f9ng ch\u1ecdn l\u1ea5y m\u1ed9t m\u00f3n: d\u01b0\u01a1ng c\u1ea7m. G\u1eafn b\u00f3 v\u1edbi n\u00f3 \u0111\u1ebfn khi l\u00ean t\u00e1m, em v\u00e0o h\u1ecdc piano \u1edf nh\u1ea1c vi\u1ec7n v\u1edbi th\u1ea7y Basque, m\u1ed9t \u00f4ng th\u1ea7y \u0111\u1ea7y \u0111am m\u00ea, t\u1eed t\u1ebf v\u00e0 t\u1eadn t\u00e2m. B\u1eb1ng n\u00e9t ch\u1eef r\u1ea5t \u0111\u1eb9p, sau m\u1ed7i bu\u1ed5i h\u1ecdc th\u1ea7y t\u1ec9 m\u1ec9 ghi v\u00e0o v\u1edf h\u1ecdc nh\u1ea1c c\u1ee7a em d\u1eb7n d\u00f2 c\u00e1c b\u00e0i ph\u1ea3i t\u1eadp d\u01b0\u1ee3t \u1edf nh\u00e0. Em v\u00f4 c\u00f9ng tr\u00e2n qu\u00fd nh\u1eefng kho\u1ea3nh kh\u1eafc \u0111\u01b0\u1ee3c k\u1ec1 c\u1eadn b\u00ean th\u1ea7y v\u00e0 em ti\u1ebfn b\u1ed9 r\u1ea5t nhanh.<\/em><\/p>\n

II. Th\u00e2n b\u00e0i<\/strong><\/p>\n

Khi em b\u1eaft \u0111\u1ea7u h\u1ecdc n\u0103m th\u1ee9 hai v\u1edbi th\u1ea7y Basque, th\u1ea7y cho bi\u1ebft ph\u1ea3i r\u1eddi nh\u1ea1c vi\u1ec7n \u0111\u1ec3 d\u00e0nh tr\u1ecdn th\u00ec gi\u1edd cho m\u1ed9t nh\u1ea1c vi\u1ec7n kh\u00e1c, n\u01a1i th\u1ea7y l\u00e0m hi\u1ec7u tr\u01b0\u1edfng. \u0110\u1ec3 em y\u00ean t\u00e2m, th\u1ea7y ghi danh cho em v\u00e0o h\u1ecdc masterclass chuy\u00ean \u0111\u1ec1 Robert Schumann. Th\u1eadt l\u00e0 m\u1ed9t m\u00f3n qu\u00e0 \u00fd ngh\u0129a. Em \u0111\u01b0\u1ee3c g\u1eb7p ng\u01b0\u1eddi ph\u1ee5 tr\u00e1ch l\u1edbp nh\u1ea1c chuy\u00ean bi\u1ec7t n\u00e0y: c\u00f4 Ciocarlie. H\u00ecnh \u1ea3nh c\u00f4 ngay l\u1eadp t\u1ee9c \u0111\u1eadp v\u00e0o m\u1eaft em; \u0111\u00f3 l\u00e0 m\u1ed9t \u201cc\u00fa s\u00e9t \u0111\u00e1nh\u201d x\u1ea3y ra \u1edf ph\u00f2ng Bizet. Em \u0111\u00e0n b\u00e0i Ng\u01b0\u1eddi n\u00f4ng d\u00e2n vui v\u1ebb\/Le gai laboureur (tr\u00edch \u0111o\u1ea1n trong s\u00e1ch nh\u1ea1c d\u00e0nh cho thi\u1ebfu ni\u00ean, Opus 68 c\u1ee7a Schumann), t\u00e1c ph\u1ea9m \u0111\u1ea7u ti\u00ean c\u1ee7a Schumann m\u00e0 em \u0111\u01b0\u1ee3c h\u1ecdc. Em quan s\u00e1t th\u0103m d\u00f2 c\u00e1i nh\u00ecn c\u1ee7a c\u00f4 gi\u00e1o. C\u00f4 n\u1edf m\u1ed9t n\u1ee5 c\u01b0\u1eddi t\u01b0\u01a1i r\u00f3i khi\u1ebfn em c\u1ea3m th\u1ea5y r\u1ea5t tho\u1ea3i m\u00e1i. C\u00f4 s\u1eeda b\u00e0i \u0111\u00e0n c\u1ee7a em r\u00f5 r\u00e0ng v\u00e0 h\u00e0i h\u01b0\u1edbc b\u1eb1ng c\u00e1ch minh h\u1ecda qua c\u00e1c h\u00ecnh \u1ea3nh: \u201ccon c\u00f3c\u201d \u0111\u1ec3 n\u1ea9y tay \u1edf \u0111i\u1ec7u staccacato, \u201cm\u1ecf v\u1ecbt\u201d \u0111\u1ec3 \u0111\u1eb7t tay \u0111\u00fang v\u1ecb tr\u00ed, \u201cs\u1ea1c pin cho m\u00f3n \u0111\u1ed3 ch\u01a1i \u0111\u00e3 ch\u1ebft m\u00e1y \u0111i k\u00eca\u201d, \u201cl\u00e0m cho thi\u00ean h\u1ea1 t\u01b0\u1edfng m\u00ecnh c\u00f3 \u00edt nh\u1ea5t 15 ng\u00f3n tay \u0111i\u201d, \u201c\u0111\u00e0n g\u00ec m\u00e0 nh\u01b0 b\u1ecb b\u1ecf \u0111\u00f3i m\u1ea5y ng\u00e0y tr\u1eddi r\u1ed3i v\u1eady\u201d\u2026 Cho \u0111\u1ebfn h\u00f4m nay, nh\u1eefng l\u1eddi d\u1ea1y c\u1ee7a c\u00f4 v\u1eabn c\u00f2n kh\u1eafc ghi trong t\u00e2m tr\u00ed m\u1ed7i khi em t\u1eadp \u0111\u00e0n. M\u1ed9t h\u1ecdc sinh b\u00ecnh th\u01b0\u1eddng r\u1ea5t c\u00f3 th\u1ec3 s\u1ebd c\u1ea3m th\u1ea5y m\u1ebfch l\u00f2ng ngay t\u1eafp l\u1ef1. Nh\u01b0ng ri\u00eang em, em r\u1ea5t th\u00edch c\u00e1ch h\u01b0\u1edbng d\u1eabn c\u1ee7a c\u00f4 v\u00e0 m\u01a1 \u01b0\u1edbc c\u00f3 ng\u00e0y \u0111\u01b0\u1ee3c tao ng\u1ed9.<\/em><\/p>\n

L\u1edbp chuy\u00ean bi\u1ec7t Schumann k\u1ebft th\u00fac, th\u1ea7y Basque r\u1eddi nh\u1ea1c vi\u1ec7n, c\u00f2n em th\u00ec h\u1ecdc v\u1edbi c\u00f4 gi\u00e1o m\u1edbi: De Fornel. Trong th\u1eddi gian \u0111\u1ea1i d\u1ecbch COVID ho\u00e0nh h\u00e0nh, em h\u1ecdc \u0111\u00e0n tr\u1ef1c tuy\u1ebfn v\u1edbi c\u00f4 qua Whatsapp, c\u00e1c gi\u1edd h\u1ecdc c\u00f3 \u00e2m thanh x\u00e0 ng\u1ea7u v\u00e0 h\u00ecnh \u1ea3nh ch\u1ec7ch cho\u1ea1c, c\u00f4 kh\u00f4ng th\u1ec3 th\u1ea5y tay em x\u1ea5u hay nh\u1eadn ra th\u1ee9 nh\u1ea1c c\u1ea3m m\u00e0 em th\u1ec3 hi\u1ec7n. Kh\u00f4ng truy t\u00ecm \u0111\u01b0\u1ee3c d\u1ea5u v\u1ebft c\u00f4 Ciocarlie, em nh\u1edd m\u1eb9 vi\u1ebft th\u01b0 cho c\u00f4. Ngay l\u1eadp t\u1ee9c c\u00f4 ch\u1ea5p thu\u1eadn d\u1ea1y em \u1edf nh\u00e0 c\u00f4, l\u00e9n l\u00fat th\u00f4i, m\u1ee5c \u0111\u00edch l\u00e0 \u0111\u1ec3 ch\u1ec9 v\u1ebd th\u00eam cho em (trong t\u00ecnh h\u00ecnh d\u1ecbch d\u00e3, m\u1ecdi ng\u01b0\u1eddi b\u1ecb c\u1ea5m \u0111i l\u1ea1i, m\u1eb9 v\u00e0 em ra \u0111\u01b0\u1eddng ph\u1ea3i l\u00e0m b\u1ed9 nh\u01b0 \u0111i kh\u00e1m b\u1ec7nh). Gi\u1edd em v\u1eabn c\u00f2n nh\u1edb nh\u01b0 in nh\u1eefng c\u1ea3m x\u00fac l\u00fac \u1ea5y, nh\u1eefng l\u1ea7n \u0111i t\u1edbi \u0111i lui nh\u00e0 c\u00f4 b\u1eb1ng xe bus, tay kh\u01b0 kh\u01b0 c\u1ea7m gi\u1ea5y ph\u00e9p \u0111i \u0111\u01b0\u1eddng. M\u1ed9t h\u00f4m, qua Visio, c\u00f4 Fornel b\u00e1o cho em bi\u1ebft l\u00e0 c\u00f4 s\u1eafp ngh\u1ec9 h\u1ed9 s\u1ea3n, th\u1ea7y kh\u00e1c s\u1ebd thay ch\u1ed7 c\u1ee7a c\u00f4. Em s\u1ed1ng trong lo s\u1ee3 v\u00ec l\u1ea1i ph\u1ea3i t\u1eadp th\u00edch nghi v\u1edbi ph\u01b0\u01a1ng ph\u00e1p gi\u1ea3ng d\u1ea1y kh\u00e1c n\u1eefa. Em ch\u1ec9 c\u00f2n duy nh\u1ea5t m\u1ed9t \u01b0\u1edbc ao: \u0111\u01b0\u1ee3c h\u1ecdc v\u1edbi c\u00f4 Ciocarlie su\u1ed1t \u0111\u1eddi. M\u1eb9 em \u0111\u00e3 ph\u1ea3i vi\u1ebft m\u1ed9t c\u00e1i th\u01b0 than th\u1edf th\u1ea3m thi\u1ebft \u0111\u1ec3 thuy\u1ebft ph\u1ee5c \u00f4ng Caron, ng\u01b0\u1eddi ph\u1ee5 tr\u00e1ch h\u1ecdc v\u1ee5 \u1edf nh\u1ea1c vi\u1ec7n, xin \u00f4ng cho em \u0111\u01b0\u1ee3c h\u1ecdc piano v\u1edbi c\u00f4 Ciocarlie lu\u00f4n. Sau m\u1ed9t th\u1eddi gian d\u00e0i ch\u1edd \u0111\u1ee3i, hai m\u1eb9 con nh\u1eadn \u0111\u01b0\u1ee3c th\u01b0 tr\u1ea3 l\u1eddi c\u1ee7a \u00f4ng Caron: \u201cT\u00f4i l\u1ea5y l\u00e0m vui m\u1eebng b\u00e1o v\u1edbi ph\u1ee5 huynh: em Yvan \u0111\u00e3 \u0111\u01b0\u1ee3c m\u1ed9t ch\u1ed7 trong l\u1edbp d\u01b0\u01a1ng c\u1ea7m c\u1ee7a c\u00f4 Ciocarlie.\u201d<\/em><\/p>\n

III. K\u1ebft lu\u1eadn<\/strong><\/p>\n

Tuy b\u00e2y gi\u1edd \u00f4ng Caron kh\u00f4ng c\u00f2n tr\u00ean c\u00f5i \u0111\u1eddi n\u00e0y n\u1eefa, quy\u1ebft \u0111\u1ecbnh c\u1ee7a \u00f4ng th\u1eadt kh\u00f4ng th\u1ec3 n\u00e0o qu\u00ean \u0111\u01b0\u1ee3c, n\u00f3 lu\u00f4n \u0111eo \u0111u\u1ed5i em v\u00e0 mang \u0111\u1ebfn cho em bi\u1ebft bao h\u1ea1nh ph\u00fac tr\u00ean h\u00e0nh tr\u00ecnh em g\u1eafn b\u00f3 v\u1edbi d\u01b0\u01a1ng c\u1ea7m.<\/em><\/p>\n

_____________________<\/p>\n

SUJET<\/strong> : Racontez un souvenir heureux de votre enfance.<\/em><\/p>\n

J\u2019entrai au conservatoire \u00e0 l\u2019\u00e2ge de quatre ans et demi, dans la classe d\u2019\u00e9veil musical avec M. Le Thellec. J\u2019y d\u00e9couvris des instruments de musique qui m\u2019ont permis de faire mon choix : le piano. On m\u2019affecta ensuite dans la classe de M. Basque vers mes huit ans, un professeur passionn\u00e9, gentil et attentionn\u00e9. Il notait minutieusement de sa belle \u00e9criture, dans mon petit carnet, le travail \u00e0 r\u00e9aliser \u00e0 la maison apr\u00e8s chaque cours. J\u2019appr\u00e9ciais les moments pass\u00e9s avec lui et je progressais rapidement.<\/em><\/p>\n

Lorsque je commen\u00e7ais la deuxi\u00e8me ann\u00e9e de piano avec M. Basque, ce dernier m\u2019annon\u00e7a qu\u2019il devait quitter le conservatoire pour assurer pleinement sa fonction de directeur d\u2019un autre conservatoire. Pour me rassurer, M. Basque m\u2019inscrivit \u00e0 une masterclass sur le compositeur Robert Schumann. C\u2019\u00e9tait un beau cadeau. Je fis la rencontre de la professeure en charge de cette masterclass : Mme Ciocarlie. Elle me tapa \u00e0\/dans l\u2019\u0153il ; c\u2019\u00e9tait le \u00ab coup de foudre \u00bb, ce\/.Ce moment se passait\/s\u2019est pass\u00e9 en salle Bizet. Je jouais \u00ab Le Gai Laboureur \u00bb (extrait de l\u2019album pour la jeunesse, Opus 68 de Schumann). C\u2019\u00e9tait mon tout premier morceau de ce compositeur. Je scrutais son regard. Elle avait un sourire radieux, qui me mettait \u00e0 l\u2019aise. Ses corrections \u00e9taient pr\u00e9cises et pleines d\u2019humour. Elle les illustrait par des images : \u00ab grenouille \u00bb pour faire sauter la main (staccato), \u00ab bec de canard \u00bb pour une position de main correcte, \u00ab recharge les piles dans le jouet qui ne marche plus \u00bb, \u00ab donne l\u2019impression d\u2019avoir au moins quinze doigts en \u00e9coutant \u00bb, \u00ab tu joues comme si tu n\u2019avais pas mang\u00e9 depuis des jours \u00bb \u2026 Un \u00e9l\u00e8ve normal serait peut-\u00eatre d\u00e9j\u00e0 vex\u00e9 d\u00e8s le premier instant. M\u00eame aujourd\u2019hui, ces mots restent grav\u00e9s dans ma pratique pianistique. Un \u00e9l\u00e8ve normal serait peut-\u00eatre d\u00e9j\u00e0 vex\u00e9 d\u00e8s le premier instant. Moi, pourtant, j\u2019aimais bien sa mani\u00e8re d\u2019enseigner, et r\u00eavais de la retrouver.<\/em><\/p>\n

La master class finie, M. Basque parti, je me retrouvai avec une nouvelle professeure : Mme De Fornel. Durant la p\u00e9riode de la Covid-19, ses cours se d\u00e9roulaient sur Visio (sur WhatsApp) avec une synchronisation du son et de l\u2019image d\u00e9cal\u00e9e, elle ne pouvait apercevoir ni les mauvaises positions de doigts, ni les nuances que j\u2019effectuais. Ne pouvant plus retrouver la trace de Mme Ciocarlie, je demandai \u00e0 ma m\u00e8re de lui \u00e9crire. Elle me re\u00e7ut ensuite chez elle en cachette (en faisant croire qu\u2019on allait voir le docteur) pour m\u2019apporter des conseils suppl\u00e9mentaires. Je revis aujourd\u2019hui toutes les \u00e9motions qui me traversaient lors de ces allers-retours en bus, l\u2019attestation de sortie entre mes mains. Mme De Fornel m\u2019annon\u00e7a un jour, lors d\u2019une Visio, qu\u2019elle allait prendre ses cong\u00e9s maternit\u00e9 et qu\u2019elle serait remplac\u00e9e par un autre enseignant. Je vivais la peur et l\u2019angoisse de devoir m\u2019adapter \u00e0 nouveau \u00e0 une autre m\u00e9thode p\u00e9dagogique. Je n\u2019avais plus qu\u2019un seul souhait : avoir Mme Ciocarlie pour la vie.<\/em><\/p>\n

Il fallait que ma m\u00e8re r\u00e9dige une lettre larmoyante pour convaincre M. Caron, le charg\u00e9 d\u2019\u00e9tude, d\u2019accepter de changer de classe afin que Mme Ciocarlie puisse devenir ma professeure attitr\u00e9e de piano \u00e0 tout jamais. Apr\u00e8s de longs moments d\u2019attente, M. Caron nous envoya une r\u00e9ponse : \u00ab J\u2019ai le plaisir de vous confirmer l\u2019attribution d\u2019une place pour votre enfant Yvan dans la classe de piano avec Mme Dana Ciocarlie. \u00bb. M\u00eame si M. Caron n\u2019est plus de ce monde aujourd\u2019hui, sa d\u00e9cision reste m\u00e9morable et me poursuit dans mon bonheur de pianiste.<\/em><\/p>\n

B\u00e0i n\u00e0y \u0111\u01b0\u1ee3c ch\u1ea5m 20\/20 v\u1edbi \u0111\u00f4i ch\u00fat l\u0103n t\u0103n s\u1ee5t s\u00f9i n\u01a1i th\u1ea7y d\u1ea1y v\u0103n.<\/p>\n

\"\"<\/a><\/p>\n

Tr\u1ea7n Th\u1ecb NgH<\/strong> , ngh\u1ec7 s\u0129 s\u1eafp \u0111\u1eb7t t\u00ecnh hu\u1ed1ng<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

V\u00e0o th\u1eadp ni\u00ean 60 c\u1ee7a th\u1ebf k\u1ef7 tr\u01b0\u1edbc, nh\u00e0 v\u0103n Nguy\u1ec5n Xu\u00e2n Ho\u00e0ng c\u00f3 \u0111\u00f3ng g\u00f3p \u00edt nhi\u1ec1u c\u00f4ng s\u1ee9c trong t\u1eadp th\u01a1 ch\u00e9p tay c\u1ee7a em g\u00e1i 16 tu\u1ed5i b\u1eb1ng m\u1ed9t s\u1ed1 s\u00e1ng t\u00e1c …<\/p>\n","protected":false},"author":716,"featured_media":0,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"ngg_post_thumbnail":0,"h5ap_radio_sources":[],"footnotes":""},"categories":[26,140,22,210,351,334,124],"tags":[],"class_list":["post-101536","post","type-post","status-publish","format-standard","hentry","category-dich-thuat","category-nghe-thuat","category-sang-tac","category-song-ngu","category-tan-van","category-thiet-ke-kien-truc","category-tuy-but"],"_links":{"self":[{"href":"https:\/\/damau.org\/en\/wp-json\/wp\/v2\/posts\/101536","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/damau.org\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/damau.org\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/damau.org\/en\/wp-json\/wp\/v2\/users\/716"}],"replies":[{"embeddable":true,"href":"https:\/\/damau.org\/en\/wp-json\/wp\/v2\/comments?post=101536"}],"version-history":[{"count":4,"href":"https:\/\/damau.org\/en\/wp-json\/wp\/v2\/posts\/101536\/revisions"}],"predecessor-version":[{"id":101547,"href":"https:\/\/damau.org\/en\/wp-json\/wp\/v2\/posts\/101536\/revisions\/101547"}],"wp:attachment":[{"href":"https:\/\/damau.org\/en\/wp-json\/wp\/v2\/media?parent=101536"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/damau.org\/en\/wp-json\/wp\/v2\/categories?post=101536"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/damau.org\/en\/wp-json\/wp\/v2\/tags?post=101536"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}