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richard has left a new comment on your post "回應":

I am not sure sir you understand my intent so I will say it right here: I am speaking on behalf of myself, and meanwhile not commenting on specifically your case (on issues of artistic excellence and assessing various orders of value by it) I am nonetheless thoroughly intrigue by your rather rash response towards Leechard's post.

Think back awhile ago wishing I could respond to you personally earlier, I can only regret if I could type my opinion here instead:

If you have suggested Alkan to us readers, perhaps you have heard of Sorabji. Meanwhile they all are masters, it is rather unfortunate that very few have heard of them nowadays.

They are similar to Liszt in his age, serious musicians with a progressive (or so they have convicted themselves) outlook to artistic expression.

My point is this: meanwhile the pursuit of perfecting technique is important and moreover indivisible to the overall requirement to achievement, the understanding and epiphany towards the idea itself is equally important. (as have written in Leechard's article regarding the way to master Zhuang Zi's ideals)

Your initial comment towards Leechard that (as to the best of my understanding) anyone can achieve similar emotive (?) and sensational wisdom if they can get themselves into relationships (?), and by its experiences (hopefully not intentional) you too, can achieve that ripening of the soul.

This is precisely what Leechard has commented on: 問題是，技巧是不是真的這樣重要？而你以為「容易」的靈性修為，就真的是這樣容易？從技術這道門，
能夠進入那無限崇高的殿堂？(directly quoted from his article)

Now as far as I can see, I can only sense Leechard's question more like an advise, a suggestion: however your response are much more argumentative:

5.我唔知你所謂的'靈性修為' ,
作為你多年的讀者,我只有勸你寫野'實際'一點;
近日發現了一本書:黑白溢彩-荷洛維茲的藝術
這作者的風格'實際'得多,望你學習

Now I happen to read the book too (happened to picked it up at Toronto where the author resided), and thoroughly enjoyed its contents. My question however is this, let us suppose you have the time (and paid the respective effort, let us assume) of Horowitz himself: does that have anything to do with YOUR personal achievement?

My next question is this: suppose you have achieved the same technical and artistic mastery of Horowitz: Which way is more preferable, Alkan, or Sobraji? I would assume you would know plenty of other musicians whom by the flow of time faded into obscurity. Just wondering about your thoughts, that's all.

Hopefully I can hear from you, but I suppose This is not exactly the place to discuss matters like these, especially hijacked from Leechard's space. My apologies.

Richard Si

回應(請參看「星期天籟」)

1.係Brahms唔係Brahm

2.弄傷手指的是Schumann,唔係Brahms

3.我冇話從技術這道門,就能夠進入那無限崇高的殿堂
我只知道技術不可或缺,

4.vladimir horowitz 20歲之前都係日練夜練,
但佢仍彈到有生命力的音樂:上youtube聽下佢ge mozart sonata ..etc
(當然,除左練琴,佢都有睇經典,研究美術等)

5.我唔知你所謂的'靈性修為' ,
作為你多年的讀者,我只有勸你寫野'實際'一點;
近日發現了一本書:黑白溢彩-荷洛維茲的藝術
這作者的風格'實際'得多,望你學習

6.我開初的動機是批評你對liszt的看法,由始至終我都冇問題
所以你不應該以'你的問題，其實是十分典型'作開頭.

我是學鋼琴的,我覺得光是技巧這一關就夠難了

希望你可以聽一聽LISZT 的12首etudes(建議claudi arrau 的版本)

liszt 不一定在追求 ' 弦外之音 ',

更多時候 他都是不斷發掘 鋼琴這種樂器的特性

我偏信 鋼琴音樂的某些領域 是熟悉鋼琴的人 先可以進入

過得了技術的難關, 未必就代表掌握liszt 的全部.

一個天才 活到八十幾歲,曾踏入宗教的門檻, 他到晚年仍

修改自己的作品: 你真認為他的全部就只有技巧?

當然 他年輕時候作過好多浮誇的作品

但後來已經改過來.


我是學鋼琴的,我覺得光是技巧這一關就夠難了,

唔信你去試試:花十數年的光陰,每日風雨不改,

用兩至三小時甚至六小時 去彈些純練技巧的東西.

未親身經歷 你唔會明白.

到你明白的時候,你就會覺得那些什麼' 高貴,聖潔,浪漫,英雄氣質和犧牲

精神' 實在太容易了,

只要看過一些經典的作品,拍幾次拖,失幾次戀,經歷親人離逝的傷痛和人事上的扞格

就自然了解.

世上沒有完美的作品,一首作品在聽過五,六十次之後你總會找到'弱點'

最後 向你推介一個作曲家 Alkan 的作品http://www.youtube.com/watch?v=8K0YwLvUVh4

希望你可以打開這扇門;進入鋼琴音樂的世界.


Dear Pun,

你的心聲，十分強烈。先刊在這裡，星期日才跟你談談音樂中的技巧問題。也十分相信，這問題，過來人和外來人的了解，可能是事情的兩面呢。

李察上

如果心靈空虛

nightingale 已針對您的文章「《西遊記》的「西」在那裡？」留下新意見：

政治是從真理中悟出來。所以心靈比身體重要，如果心靈空虛，就無法同真理接觸。係唔係咁解？我嘗試同西遊記聯繫。
孫悟空到西方，悟到核心精神，即使垃圾政客用盡無恥手法都無法奸計得逞，都唔可以實現佢的無恥大計。



李察回應：

Dear Nightingale,

你是對的。如果心靈空虛，就無法接觸真理。
心靈空虛的人，通常都是慾望強烈的。慾望
太過強烈，就盲了。