He touched me, he put his hand near mine And then he touched me I felt a sudden tingle when he touched me A sparkle, a glow
He knew it...it wasn't accidental, no, he knew it He smiled and seem to tell me so all through it He knew it, I know... He's real, and the world is alive and shining I feel such a wonderful drive t'wards valentining
He touched me; I simply have to face the fact He touched me... Control myself and try to act As if I remember my name But he touched me...he touched me... And suddenly nothing is the same! Cause he touched me...he touched me... And suddenly...nothing, nothing, nothing is the same
“芭芭拉·史翠珊(Barbra Streisand,1942- ),我是她的歌迷,她状态最好的时候,并且唱她最拿手的歌时,她可能是自玛丽亚·卡拉斯(Maria Callas,1923-1977)以来最伟大的歌唱女演员——我这个语序用得非常讲究,是“歌唱女演员”。比如说,如果你看 He Touched Me 这样一首充满了自由速度的歌——至少史翠珊诠释的版本里有许多自由速度,顺便说一句,从和声来看,这首歌的结构非常棒。我是说,它跟福雷(Faure Gabriel,1854-1924)所有的歌一样好,真的——你会发现,速度变化的感觉、音调变化的感觉,都包含在一个结构概念中,自然显示出一种整体感,而披头士(The Beatles)所信奉的那套在我看来过分简单化,而且里面绝对没有这种整体感。” ——古尔德(Glenn Gould,1932-1982,钢琴家)
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