【閒話一句】－ 轉摘自講義雜誌
—————————————————
進度是「學會」，而不是「教完」
—南投縣中寮鄉爽文國中教導主任王政忠的分享

水要夠深，才能養魚
—藝人謝祖武歷經低潮、家人分離、父親猝逝、母親失智，終於明白人生該有的考驗與揪心，一樣也不少

真正的愛是不確定的，正如你的生活也充滿不確定
—作家吳若權的分享
—————————————————

【戴勝益講故事】
—————————————————
★鳳梨加鹽巴

鳳梨通常都有點酸澀，若要讓它變成蜜甜，通常要加點鹽巴，而不是添加糖分。
－－－－－－－－－－－－－－－－－
◆若把鳳梨的酸味，比喻成人生的「辛酸」，則「努力工作」，就成為生活中的鹽巴。
—————————————————
【每日好詩】
—————————————————
唐詩－金陵圖
誰謂傷心畫不成，畫人心逐世人情。
君看六幅南朝事，老木寒雲滿故城。
韋莊（公元836～910）
－－－－－－－－－－－－－－－－－
元曲－水仙子·夜雨
一聲梧葉一聲秋，一點芭蕉一點愁，三更歸夢三更後。
落燈花棋未收，嘆新豐孤館人留。
枕上十年事，江南二老憂，都到心頭。
徐再思（約公元1320年前後在世）
－－－－－－－－－－－－－－－－－
此圖片地點為不丹

◆推薦我三十年來每月必看的講義雜誌，純為『呷好到相報』，並非業配！

戴勝通

訂閱講義雜誌客服電話：02-27067889#112或0800-536789
＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝
遊台灣31條旅遊行程

請點我: reurl.cc/ObZog9

雙十專區：reurl.cc/2rR45m

服務電話：(02)2721-7300
＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝

最近跟好友們看著《披荊斬棘的哥哥》常常不知道為什麼眼淚就湧出眼眶，在我們眼裡看的不是再拼一次翻紅機會的中年老哥哥們，都是自己曾經青春歲月的情懷🙈🌊

不要小看情懷的威力，尤其是在這個節奏飛快、瞬息萬變的時代，天天接收各種撲面而來的猛勁資訊，還來不及感受後勁跟餘韻，新的又來了，再敏銳的感官也難不一天天逐漸失焦麻木。

但情懷就擺在那裡，它支撐過我們生命的一個片刻光亮，在心裡非常幽深的部分曾經閃閃發亮過✨然而在一個平常不過的日子突然猝不及防的向你走來，掀起的風起雲湧絕對不只是一點點🌪

在大學的時候，我買了人生第一罐Miss Dior水漾迪奧淡香水(已停產)，完全是因為那組廣告大片而買的，是一個女生像《天外奇蹟》一樣拉著一大串氣球浮在巴黎房子的上空。瓶裡是淡淡的青蘋果綠液體，味道跟照片一樣輕透美好，好像從天而降的小仙子🧚沒什麼煩惱、沒什麼憂愁的清淡香氣，覺得跟那時候自己特別的搭配，隨時都有很多白日夢在頭腦轉☁️對喜歡啊、戀愛啊總是想像大過體驗，想著跟我小指繫上紅線的那個人什麼時候才會出現呢？他是溫柔敦厚還是霸道嬌憨的呢？我們的相遇夠不夠驚天動地呢？

跌跌撞撞兜兜轉轉，而今再拿著以Wake Up For Love為靈感來源的全新Miss Dior香氛的時候，已經10年過去了「啊、我都30歲了✨」非常非常非常奇妙的感覺，閉上眼感覺跟20歲的自己站在時間軸正對面，有點溫柔又帶點悸動🙈

它的味道真的是我聞過跟名字最最最貼合的一罐香水了，感覺像一邊用手背輕輕拂過一片繁花盛放的花徑、一邊浮想聯翩這10年自己談過的幾場戀愛、經歷的幾個名場面，甜是真的甜，但一點也不鎖喉的那種。

大部分人說怕很甜的味道其實是很扁平、很單一直白的甜，而Miss Dior香氛的香氣像把每一份經歷的甜蜜，都化成一簇不同顏色和姿態的花朵，幽微隱約的、蜜糖一樣的、明艷清新的，層層疊疊構成一束燦爛澎湃的花束💐喚起腦海裡所有最勇敢、最奮不顧身的熱戀情懷💕

花叢裡誰是綠葉誰是花只有自己先跳進去才知道，伴著浪漫豐富的香氣，祝願每一個等待愛的寶寶情懷開啟、花路走起！

@diorbeauty #MissDior

＊此拍攝依據疫情指揮中心及文化部拍攝防疫管理措施執行，全體工作人員皆在規範時間內實施快篩，並於拍攝現場確保無任何工作人員以外之遊客，且僅於上鏡拍攝時暫時脫下口罩。

《我的幸福5/2 週末》

*週日下午兩點誠品信義書店「廿世紀典範人物」新書分享會，我下午二時開始演講，離上次在台灣大學公開演説。快半年了！分享會報名一小時預告已額滿，但TVBS電視台慷慨的支持。派出SNG車，屆時TVBS文茜的世界周報YouTube 及世界周報Facebook 都將同步直播。

*新書分享會後我將直奔高雄衛武營，參加劉孟捷（李斯特巡禮之年）鋼琴獨奏會。這是劉孟捷回台，最重要的一場音樂會，我目睹他用盡了一切心力。過去即使21歲時在費城代打缺席大師的音樂會，劉孟捷都未曾如此緊張。他此次回台，手術前為了沒有遺憾，共舉行三場音樂會：其中4/17與5/30皆是與國家交響樂團NSO合作：530那一場指揮是呂紹嘉。但他告訴我，某些曲目對他而言，是Piece of Cake ：惟獨衞武營這一場，曲目由他自己決定，現場錄影，並且找了金曲獎錄音師同步錄音。

5/2衛武營-劉孟捷鋼琴獨奏會《李斯特巡禮之年》購票連結
https://www.opentix.life/event/1384752689074294784

劉夢捷明白他即將面對一個大手術，手術風險之外，他的免疫系統疾病，將使他的康復之路更長。

沒有人可以預知未來，為了圓他的夢，醫院每天都要求他早上、晚上量血壓，報告直接傳給院長。振興醫院院長魏崢雖然是亞洲第一把心臟外科醫師，但也不敢大意。

畢竟這個人的生命那麼脆弱，他的心臟主動脈剝離，那是實質的「心碎」了：但他仍有詩，仍有音樂夢。在生命的交接處，在白日與黑夜的交义口，劉孟捷想為他的音樂生涯，留下最美好的紀錄。

他選擇了李斯特。

在這場音樂會前，他甚至以英文寫下了自己與音樂、疾病的半生回顧：如李斯特的巡禮，有仰望，有沉思，有失落，有幽微的疼痛。他以詩篇般的演奏模式，傾訴，詠嘆。他曾得到天賦，也走過死蔭的幽谷。命運是一層又一層的黑影逼近，老天爺隨時想帶走他。

而他已不再流淚，不再沉浸於悲愴告別：因為對他而言活著並不容易，他要讓自己更深刻的抓住每一分時光之美。

如果時間和空間，正如哲人們所形容的
都是不實際存在的東西：那從不感到衰敗的太陽，也不會比我們了不起多少！

他如艾略特的詩句中所形容的：我們為什麼要如此貪心總在祈禱，想活上整整一個世紀？

蝴蝶雖僅活了一天，已經歷了永恆。

當他的身軀如露水還在藤蔓顫抖時，他送給我們一場「完全浪漫又超技的李斯特」。

等音樂會結束了，至少有一張CD，一段YouTube 影像：不論孟捷代表生命的那朵鮮花是否枯萎，他彈奏如天使的音聲不會飛離，它會停留在那夜，繼續釋放芬芳。

這是盡生命之力、之情獨奏的音樂會。劉孟捷説：這樣當他走進手術室時，會少一點悲傷。

或許快樂的日子本來就不多，但讓這場「完全李斯特．完全劉孟捷」的獨奏會放出神聖的光彩吧！

我必將赴會，不會錯過！我知道此刻的獨奏會，很難複製，因為它綜合了太多的情感、愛念，釋放與生命的抒情。

*劉孟捷為此次獨奏會寫下的文字：This past year has seen some unprecedented changes in the world. Many lives have been lost and many have changed. The world has changed while many of us confront the uncertainty of the future.

For most musicians, life has changed. For months, we have been conducting our lessons online, and concerts have mostly stopped or become an online experience as well. More time has been spent learning how to improve the online teaching experience than one could have imagined. While I have felt the duty to continue teaching, the format the pandemic requires for teaching leaves me unwilling to spend more time than I have to.

And truly, I have had other things to deal with. When the pandemic started to worry the American public in March, I was in the middle of a tour with the String Quartet-in-Residence at Curtis, the Vera Quartet. However, our concerts were canceled, and everything came to a sudden halt.

I felt the universe had sent me an unexpected gift, as I had also just received some terrible news concerning my worsening aortic arches and a diagnosis of kidney cancer. The sudden halt in my professional schedule seemed perfect in its timing. I was able to settle into a monastic existence, to simply practice and attempt to heal.

I see many musicians itching to be concertizing again, and many stepped into new territory, performing on the internet. Many took time to develop new podcasts, and to write new materials for their art. Sadly, many have struggled as they have fallen into desperation without any concert incomes. Altogether the music industry seems to be in peril, and many worry about how music and musicians will survive.

However, I had my own survival to think about. Having been through many difficult experiences in my life, I knew this might be the most difficult I would encounter. My Doctors describe me as a walking time bomb. My condition could be lethal at any moment if my blood pressure gets out of control. So while others wrestle with the fate of the music industry, I’ve needed to face my own fate and mortality.

Playing concerts can mean many things to people. At different times throughout my life, I’ve felt the need to express different aspects of myself. When I was young, I wanted to embody the spirit of romanticism, playing lots of Chopin and Schumann. Then there was a period of time when I wanted to challenge myself by showing off pyrotechnics. I had a brooding period where I turned to the pathos of Rachmaninoff, and then felt the need to return to the purity of Schubert and nobility of Brahms. Throughout this pandemic, I wanted to play Bach. Through Bach’s music I found a kind of spiritual sanctuary.

In considering the program for this concert, I felt again the urge to play music that reflects my current feelings and state of mind. The title of today’s recital, “Years of Pilgrimage” seems to fit exactly what I am experiencing.

Liszt wrote several volumes of “Années de pèlerinage” throughout his life to reflect on thoughts he had during his travels. He links his philosophical thoughts to the scenery which inspired them. “Au Bord d’un Source” describes feelings of rejuvenation while standing next to a clear stream of water, a symbol and source of life and energy. It seems to say, when the stream is so pure, life can be so full of joy.

In the Les jeux d'eaux à la Villa d'Este (The Fountains of the Villa d'Este), the water has a magical and supernatural quality, as Liszt himself wrote in the inscription: "But the water that I shall give him shall become in him a well of water springing up into eternal life,"( from the Gospel of John.)

For me, I have never felt more connected to Liszt than when he looked upon the valley of Obermann and questioned the meaning of existence. At this moment in my life, I often find myself reflecting my experiences of what I see and read into philosophical musings. Perhaps many people come to a time when this is so.

In all this I have felt gratitude for the love stories and sonnets that one can romantically indulge in, and for storms so violent that they threaten to destroy one’s spirit, even the hell-bound journey which brings up questions about the purpose of life…

On this journey, I felt full and alive as a human being. Looking back on this journey, I am grateful for everything, whether happy or sad, to have made an impact, found and imparted meaning to this life.

The unusual time of this pandemic has marked a milestone for me. I have journeyed back home, and as it happened, this is the first time I have spent so much time in my hometown Kaohsiung in over 35 years. It’s particularly nostalgic to play these pieces as some of them were significant in my early musical career. Vallée d’Obermann was the piece I played in my first competition at the junior high school level, in which I won first prize on the national level, which allowed me to be qualified to apply for a special permission to study abroad. This meant my dream to be educated as a musician could be continued in an environment where I could develop fully. In the following year when I was 13, I won the first Asia-Pacific Youth PIano Competition with the Dante Sonata. The competition catapulted me into national attention as I was headlined in several newspapers, and especially since it was held in Kaohsiung, I became a local hero as well. During the same event, I had a fateful meeting with one of the important influences in my life, Mr. Gary Graffman, who then mentored me throughout not only the years when I was studying at Curtis, but throughout my illness and recovery as a pianist. Right before I departed to study in Philadelphia, I played my first solo recital throughout Taiwan, and along with the Dante Sonata, I also performed the three sonnets.

It’s perfect that now, back in Kaohsiung, all these memories have flooded back into my head. I feel so lucky to have been born here, and to have met my first teacher, Chin-Li Lee, who inspired me on the path to become a musician. Prof. Alexander Sung filled me with dreams of becoming an artist. I am grateful for his belief in my talent, when he chose to give a 12 year old such philosophical pieces to play.

Having once again spent some months in Kaohsiung, I can freshly appreciate the source of inspiration it once was for me. I have returned to the source to heal. Having already glimpsed hell’s gate several times, battered and weathered by the storms of life, I know there is a reason life is this way, and it all will be alright.

Meng-Chieh Liu
April, 2021

*劉孟捷衛武營《李斯特巡禮之年》演奏會中，包括李斯特以佩脫拉克三首情詩譜寫的鋼琴琴詩：這三首情詩是從大詩人佩脫拉克一百多首情詩挑出來的，詩本身就很優美，依此激發李斯特的浪漫主義創作靈感，成為琴藝上最困難演奏，但也特別細膩溫柔的琴詩。

這三首分別是：
〈佩脫拉克第47號十四行詩〉〈佩脫拉克第104號十四行詩〉及〈佩脫拉克第123號十四行詩〉。
Franz Liszt（1811-1886）: Sonetto 47 del Petrarca, Sonetto 104 del Petrarca, Sonetto 123 del Petrarca, from Années de pèlerinage, Deuxième année: Italie

李斯特於1846年先出版藝術歌曲《三首佩脫拉克十四行詩》（Tre sonetti del Petrarca），再改成鋼琴獨奏版。

三首佩脫拉克十四行詩
中譯：焦元溥（元溥也是友情贊助，特別準備音樂資料，周日南下，聆賞劉孟捷的樂曲，並且陪同他盯著錄音共三天）

〈第47〉
祝福每天、每月、每年，
所有片刻與鐘點、時間與季節，
在那美麗的原野，

我為一雙眼眸魂縈夢牽。

祝福初遇時的甜，
與愛同在、受苦不停歇，
如弓箭刺穿令我淌血，
傷口永留感動在我心間。

祝福一切我發出的聲音，
當呼喚著我深愛的女郎，
渴望、嘆息、淚濕滿襟。
祝福我寫下的文字遠揚，
歌頌她的芳名，萬古長新。
我心永屬於她，無人能闖。

〈第104〉
我找不到和平，也無意打仗，
我恐懼、我期望，燃燒又冰透。
我向天飛升，卻躺在地上，
我一無所有，卻又擁抱整個宇宙。

我身陷囹圄，監牢又開敞；
我不受囚禁，卻銬著鎖頭。
愛情不讓我死，也不讓我飛翔；
不要我活，也不准我逃離悲愁。

欲看卻無眼，啞口還在發言，
我甘心殞滅，卻仍高聲呼救，
我痛恨自己，但仍愛著他人。

憂傷滋潤我，淚水伴隨笑臉，
生命不足惜，死亡也不煩憂；
我淪落至此，都是妳啊，我的愛人！
〈第123〉

我在塵世見到仙子的美，

她天堂般優雅無與倫比。
想起她讓我悲傷又歡喜，
所見如幻夢迷霧與幽黑。

妳的可愛眼睛使我落淚，
多少次讓太陽也要妒忌。
我還聽到四周發出嘆息，
移動了山嶽停止了河水。

愛情智慧憐憫憂傷財富，
在淚水中形成甜美聲響，
奇妙和諧世上未曾目睹。
天堂追隨著音樂的流淌，
雖然枝上樹葉並未飛舞，
空氣與風息卻充滿芬芳。

5/2衛武營-劉孟捷鋼琴獨奏會《李斯特巡禮之年》購票連結
https://www.opentix.life/event/1384752689074294784

黃建秦 音樂-FB粉絲專頁：https://www.facebook.com/jack3964280.tw/
黃建秦 IG(jack3964280)：https://www.instagram.com/jack3964280/?hl=zh-tw
簡介：原曲為(半老野蘭)老先生所編作的民族演奏音樂、後由製作人(姞雪心)於今年初找我將其製作成演唱的編曲版本、後再次請前回合作(天仙子·方婉儀)的配音員&歌手(鳳凰)演唱！製作完成時間：2020年3月
------------------------------------------------------------------
網易云(原著平台)：https://music.163.com/#/song?id=1450588902
網易云伴奏版本：https://music.163.com/#/song?id=1450588965
歌名：遊園新唱
製作人：姞雪心
作曲：半老野蘭(音樂原著)
編曲/和聲編寫：黃建秦
填詞：蘭若 （填詞改編自湯顯祖《牡丹亭》唱詞）
原唱/和聲：鳳凰(鳳小離)
混音：黃建秦
------------------------------------------------------------------
歌詞：
（填詞改編自湯顯祖《牡丹亭》唱詞）
裊晴絲吹來閑庭院，
飛花徑搖漾春如線，
原來是奼紫嫣紅開遍，
似這般都付與斷井頹垣。
良辰美景奈何天，
賞心樂事誰家院，
朝飛暮卷，雲霞翠軒，
錦屏人忒看這韶光賤。
遍青山啼紅了杜鵑，
荼蘼外菸絲媚醉軟，
春香啊，牡丹花雖好，
他日春歸去怎佔的先。
成雙兒，
閒凝眄。
羨生生燕語明如翦，
恨嚦嚦鶯歌溜的圓，
歸去罷盡惹無端愁怨，
可惜如花美眷似水流年。
空自惱，
閒尋遍。
《題紅記》上心事何處言，
芍藥欄前想幽夢誰邊。
------------------------------------------------------------------
版權聲明：
1.製作人擁有樂曲非商業版權，禁壹切商用。
2.開放非商業翻唱&填詞。
A.翻唱作品需保留“製作人”、“作曲/編曲”、“原唱”、“填詞”署名。
B.翻填作品需保留“製作人”、“作曲/編曲”署名。

Created by VideoShow:http://videoeditorglobalserver.com/free

#霹靂靖玄錄07 #廣寒神女 #夜飛天

暗夜時分 離愁谷外 戰雲引燃
逼命時分 忽見...

廣寒神女月中出
姑射仙子雪裡來

霹靂靖玄錄：https://event.pili.com.tw/drama/PILIJINGXUANLU/
---------------------------------------------------------
【#霹靂靖玄錄】闖三關．拚琉金．換好康
#購片登入靖玄錄DVD序號
#保證獲得琉金5至10枚讓你排名直直升
https://event.pili.com.tw/PiliJingXuanLuQA/