新到了一本Barry Cooper的贝多芬传记（Oxford, 2008），前言提到老贝的Hammerklavier钢琴奏鸣曲，我没听过——我是音盲，欣赏不了这种技巧性的作品，只会拣“有名”的听，如月光热情悲怆之类，虽然“热情”有故事而“月光”最流行，但我更喜欢“悲怆”开头的旋律，堪与之媲美的大概只有肖邦的离别。

   在台中从《中国时报》看见报道，乌克兰钢琴家列夫席玆（好像与那个朗道物理课本的老师同姓）要来台演奏贝多芬的全部32首钢琴奏鸣曲——记者访谈的标题很巧妙：“凝视：贝多芬32面相”，顺手牵了个佛家数字——释迦牟尼的塑像讲究32相80种好……

   列夫从小练琴，每年学一首，现在40岁，32首才练成。他说，那些曲子正好跨越古典与浪漫时代，今天我们来听，只是因为美好的东西总令人快乐——他借了浪漫诗人济慈的Endymion第一段来概括他的感想：

A thing of beautyis a joy for ever:
Its loveliness increases; it will never
Pass into nothingness; but still will keep
A bower quiet for us, and a sleep
Full of sweet dreams, and health, and quietbreathing.
Therefore, on every morrow, are we wreathing
A flowery band to bind us to the earth,
Spite of despondence, of the inhuman dearth
Of noble natures, of the gloomy days,
Of all the unhealthy and o'er-darkened ways
Made for our searching: yes, in spite of all,
Some shape of beauty moves away the pall
From our dark spirits. Such the sun, the moon,
Trees old, and young, sprouting a shady boon
For simple sheep; and such are daffodils
With the green world they live in; and clearrills
That for themselves a cooling covert make
'Gainst the hot season; the mid-forest brake,
Rich with a sprinkling of fair musk-roseblooms:
And such too is the grandeur of the dooms
We have imagined for the mighty dead;
All lovely tales that we have heard or read:
An endless fountain of immortal drink,
Pouring unto us from the heaven's brink.