講到香港迪士尼嘅Projection Show, 雖然到樂園十周年嘅時候園方先為星夢奇緣加入投影效果, 但其實再早多五年之前, 喺11年前, 即2010年嘅Halloween 活動, 樂園已經出現咗一個萬聖節版本嘅Pyrotechnics show, 以Maleficent 為主題嘅魔咒焚城. 採用投影技術喺城堡上. 雖然當年香港嘅projection mapping 技術仲未成熟, 但假如完全冇對過位嘅話Maleficent 嘅影像並唔會喺城堡不同位置出現.
https://youtu.be/XKi0csmmfz8

即使唔講城堡, 大街兩旁建築物喺夜光鬼魅巡遊嘅年代已經有Halloween 版本嘅projection mapping 全晚無間斷播放, 有蜘蛛有蛇等等嘅動畫配合大街建築物嘅外觀輪廓.
https://youtu.be/RokNq8anx2E

We Love Mickey 並無用到咩嶄新前衛嘅技術. 喺Projection Mapping 呢方面, 香港迪士尼有好多年嘅經驗, 亦都相比其他Disney Parks 走得更前.

“that no advantage may be gained over us by Satan; for we are not ignorant of his schemes.”
(2 Corinthians‬ ‭2:11‬ ‭WEB‬‬)

The devil works through lies and manipulation, exploiting people’s ignorance of God’s word.

Making shadows seem longer and noises sound louder is his speciality. Satan uses illusions like the Wizard of Oz.

My eBook, “Silencing the Serpent: How Christians Can Emerge Victorious in Spiritual Warfare”, exposes this notorious ‘wizard’ as the frail old man behind the curtain, using projections and pyrotechnics to fool those who don’t know any better. Get the book to learn how to use the powerful spiritual weapons in your arsenal: https://bit.ly/silence-the-serpent-now

《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

After getting beaten physically and on the scoreboard in Orlando in Game 2, the Philadelphia 76ers talked about sending a message to the Magic that they did not intend to be intimidated by what they considered Gestapo tactics.

Message delivered.

The Sixers played their own brand of "basketbrawl" Thursday night, roughing up the Magic physically early, then abusing them on the scoreboard the rest of the night en route to a rousing 97-85 victory in Game 3 of the best-of-5, first-round NBA playoff series.

Philly, up 2-1, can capture the series with a victory Saturday at home (12:30 p.m., NBC-TV).

The sellout crowd of 20,874 at the First Union Center was pumped even before the game --the first NBA playoff game held in Philly since May 12, 1991 -- began. The fans got louder during the pyrotechnics-infused introductions, were in a frenzy when the large replay screens showed a cartoon of Rocky punching Mickey Mouse (which read, "Yo, Orlando, Get set for a real Rocky welcome") backed by the "Rocky" soundtrack, and they were downright deafening early in the contest as their Sixers quickly showed that nobody, but nobody, could come into their house and push them around.

Sixer Matt Geiger got into a couple of glaring, shouting and shoving matches with Magic players early and the Philly defense forced five turnovers and held Orlando to 1-for-5 shooting from the field while jumping out to an 11-2 lead.

That set the tone for the entire night.

Orlando set floor records for turnovers in the first quarter (11) and in a half (20) and finished with 26.

The Sixers led by as many as 23 points before running out of steam late, allowing Orlando to close to within 11.

"It was them. We were kinda in a tidal wave and got swept out to sea," said Orlando Head Coach Chuck Daly. "They're much quicker and we don't have quite the ballhandling we need. It wasn't pleasant."

Riding the wave on both ends of the floor was Sixer guard Allen Iverson.

The league's scoring leader shrugged off a 13-point, 4-for-15 shooting effort in Game 2 and surfed his way to 33 points (an NBA Playoff high this season) Thursday night on 14-for-28 shooting from the field. Several of his buckets came via highlight-material plays.

Just as importantly, Iverson set a playoff record with 10 steals and helped derail the Orlando offense. The 10 thefts also set a tam record.

"I tried to set the tone on defense early in the game by pressing (Darrell) Armstrong up the court. The big guys did a good job trapping and I was able to pick up some loose balls," said Iverson, who also had five assists and five rebounds.

Daly agreed. "They came after us big time," he said. "We anticipated they'd do some sort of pressure. We just didn't react to it well.

"It's what happens at home when you're mad."

Sixer rookie Larry Hughes provided a huge spark off the bench on both ends of the floor. He finished with 13 points, eight rebounds and two blocks.

"He made some plays you just kinda marvel at, especially when you consider that he's 20 and his coach limits his opportunities to play," said proud Sixers Head Coach Larry Brown.

George Lynch (17 points, eight rebounds), Eric Snow (13 points, eight assists) and Tyrone Hill (11 points, nine boards) compensated for the lack of production out of Geiger and Theo Ratliff (four points, seven rebounds), who earlier in the day had been named second-team All-NBA defense.

For Orlando, Hardaway finished with 18 points. But most of those were meaningless. He had just two first-half points and was 0-for-2 from the field with four turnovers as his team went into intermission trailing 46-31.

Hardaway, who sparked the Magic in Game 2 with 22 meaningful points, did not make his first field-goal until the 7-minute mark of the third quarter.

He finished 6-for-12 from the field, including 4-for-6 from 3-point range, to go with five assists, three steals and five turnovers.

"I have to put the ball up like 20-25 times," said Hardaway. "Normally, I don't because we have other guys that can score. But they're not stepping up and scoring so I don't think we can win if I don't take more than two shots in a half."

Hardaway pointed to how the Sixers run their offense through Iverson and it has been successful.

"If we run some plays to get me more shots, maybe we could do the same," he said

Geiger wasn't a factor offensively (four points, one rebound) but played a big part in setting the tone. Early on, he did much of the trapping and didn't care if he bumped a few people along the way. His aggressive play got him into scraps with Armstrong and then Daly and the Orlando bench

"We tried to send a message to them that we were going to play just as physical as they did in Orlando and our big guys did a great job," said Iverson.