馬德里街道夜間的巡邏御林軍
accessed March 2, 2021
這音樂描寫十八世紀末期西班亞帝國強盛時在首都馬德里街道夜晚巡邏的皇家御林軍小隊由遠而近，再由近而遠逐漸消失的情景。
■初聽似乎單調、呆板。幾年聽下來，越聽越有味道。主旋律每次重奏時，穿織其大塊圖案的繡花都不同，由少漸增，再由多漸減。似乎看到神情威武軍容明亮的隊伍由模糊而清晣，再由清晰而逐漸消失在夜幕之中。留下不盡的懷古情懷。
■作曲家是以大提琴協奏曲聞名的 Luigi Boccherini (1743-1805)。
林中斌粗釋2021.3.2
夢中的佳人
accessed Dec 29, 2020
《夢中的佳人》 (Beautiful Dreamer)
● 美國民謠之父福斯特 (Stephen Foster 1826-1861) 年輕就潦倒去世。死前四年，他隻身往紐約，在尚未興建的中央公園原址，憶起去世的夫人珍妮，寫出聞名世界的 《夢中的佳人》 (Beautiful Dreamer)，愛屋及烏，也聯想起珍妮家中之黑僕，寫下《老黑爵》 (Old Black Joe)...。
●《夢中的佳人》 (Beautiful Dreamer)https://youtu.be/-drAf-BQaRc
(Marilyn Horne sings "Beautiful Dreamer" by Stephen Foster with Martin Katz at the piano)
●《老黑爵》 (Old Black Joe) https://youtu.be/7ggAmvBpHIk
(Old Black Joe · The Robert Shaw Chorale · Robert Shaw)
Salon de Lin
accessed Dec 13, 2020
Salon de Lin
update December 13, 2020 with a four-part chorus.
以四部合唱預祝您佳節愉快，身體健康、平安幸福、萬事如意。
-We, a group of amateurs, worked hard to put the four parts together from 14:00 to 17:30 when the chorus was recorded.
-We learned sentence by sentence from a single part in one sentence to four parts in unison in one sentence. And then in such fashion, we learned the next sentence, and the next, and the next until the whole song was learned.
Credits:
Soprano: Ivy, Irene
Alto: Chiayi
Tenor: Nicholas, Eli
Base: Kamus, 邱明寰
Piano Reminder: Irene & Eli
Cheering boy: 小羿
Photos , Video & Hostess: Alice
Coach & Cook: Yours truly
https://www.facebook.com/100000642779020/videos/pcb.3804433376254717/3804455609585827/
Salon de Lin
June 13, 2020
accessed June 16, 2020
五位非專業朋友，在兩小時內，面對全然陌生的英國歌曲，成功搭配四部合唱。真是一大樂事！請容在下與諸位分享。
■Attempting to sing a four-part chorus "Drink to me Only with Thine Eyes", lyric by Ben Johnson (June 11, 1572 -- August 6, 1637) with music composed anonymously later.
■The lyric poem follows/ 名詩歌詞如下：
"Drink to me only with thine eyes, And I will pledge with mine;
如果您只用眼神與我飲酒，我許諾依樣回敬；
Or leave a kiss within the cup, And I'll not ask for wine;
或許您在我杯中留下親吻，我將再無趣飲酒；
The thirst that from the soul doth rise, Doth as a drink divine;
我靈魂會湧出渴望，想嚐天界佳釀；
But might I of Jove's nectar sip, I would not change for thine."
天帝也許賜我吸吮一口瓊漿作為條件，我卻不願以您所贈作為交換。
林中斌 試譯 2020.6.15
★Our gathering happened to be two days after Ben Johnson's 363 birthday anniversary.
★He was the second most famous English playwright and poet after William Shakespear in that period. His poems though seemingly indirect and subtle in our age were categorized as "cavalier" in his time.
他是當代僅次於沙士比亞最重要的文學家。他的詩，相對今日口味來說，顯得含蓄和昇華。但是當時是屬於像騎士般的"豪情" 派。
★He was a brilliant poet and an impressive soldier, jailed for being in a play as an actor, almost hanged for killing another actor in a duel, and was involved in political power schemes.
他是詩人、演員、劇作家、也是軍人，被關進監牢過，幾乎被吊死因為殺死另與他決鬥的演員，參與政治被懷疑謀反。
The Middle-C Kingdom (中央C之國)
Economist December 21, 2019 pp.36-38
accessed Feb 24, 2020
The Middle-C Kingdom (中央C之國)
"Economist" December 21, 2019 pp.36-38
-- 今日全世界5千萬學鋼琴的小孩中有4千萬中國人。
-- 單單上海就有2,700所音樂學校，80家交響樂團。
-- 音樂神童已出現的有朗朗、李雲迪、王羽佳(見圖)。
-- 今日，全世界5個鋼琴中4個是中國製。沒有其他國家比中國買更多的鋼琴。
-- 鼓浪嶼是中國鋼琴之都。1950年代，人口兩萬，有500座鋼琴。
Classical Guitar Innovator: Eliot Fisk at TEDxBoston
accessed Feb 23, 2020
非常推薦這18分鐘古典吉他大師的精彩說明和三段絕美短曲的表演。
■他是20世紀古典吉他祖師Andre Sogovia的高足，今日繼承衣缽的Eliot Fisk.
■後者說活到94歲的老
師78歲還生一子，可見吉他音樂有益人心之外尚有益健康！
Salon de Lin (文武沙龍）
accessed Feb 22, 2020
Salon de Lin (文武沙龍）
～～～～～～～～～～～～～～～
A DREAM COME TRUE （林先生的夢）
■Last spring, I dreamt gathering friends to sing a quartet as in my high school and college days.
■What joy once lost and then recovered！
■That joy is reality tonight, thanks to friends made during hiking and teaching.
■Click the second picture for an unpolished attempt.
Chong-Pin Lin February 22, 2022
給艾莉絲
accessed Feb 23, 2020
給艾莉絲
這是林先生為我所譜的旋律。自1993年寫下第一、二句，直到2014年9月才完成。
臉書今天跳出黃引珊在2013年2月彈奏的第一、二句，之後她就一直督促林先生要完成這首曲子，並請Sherry Chen教授演奏。
2013/2
https://www.facebook.com/alice.chang.902/videos/4597185482996/
2014/9
https://www.youtube.com/watch?v=INLw4_OivQY
My Sweet and Tender Beast
accessed Dec 15, 2019
https://youtu.be/gvUg7KLAclA
■純美、浪漫、遙遠、迷人、如夢、感傷。Purely, and fabulously romantic with an overtone of glamour mixed with a shade of melancholy and nostalgia.
■帝俄時代貴族的高雅絢麗參雜了俄羅斯民族悲歡離合的苦難孕育出這音樂獨特而迷人的風格。它似乎承繼了蘇聯大作曲家蕭斯達科維奇的二號華爾茲的風格。
https://www.youtube.com/watch?v=IOK8Jb76ibc
The distiinct bitter-sweet flavor of this piece of music seems to stem from the elegant glamour of the Tsarist Russian court and the dark suffering of the Slavs over the centuries. The listener is reminded of the unforgettably unique flavor of Shostakovich's Second Waltz.
■這是被UNESCO在2014選為20世紀最好的4首圓舞曲之一。This piece has been chosen by UNESCO in 2014 as one of the four best waltzes of the 20th century.
■也被美國雷根總統稱為他最喜歡的圓舞曲，足見此音樂之平易近人。
■作曲家Eugen Doga是俄羅斯Moldavia 人。他為1980年代 一部俄羅斯電影"我甜美又溫柔野獸"所創造的。Eugen Doga, a Russian composer from Moldavia, wrote this music for the film " My Sweet and Tender Beast" in the 1980s.
■感謝Chingie 介紹音樂及提供背景資料。Courtesy Chingie for the music and its background.
Sacla’ Stage a Surprise Opera in a School Lunch Hall
accessed Aug 23, 2019
Have a nice weekend!!
敬祝週末愉快!!
"舞姬"(La Bayadere)
Accessed August 2, 2019
"舞姬"(La Bayadere)芭蕾。必看!!!
聖彼得堡馬林斯基舞團(Mariinsky Ballet, also known as Kirov Ballet, which was originally the Imperial Russian Ballet) 最早傑作。
The leading male dancer of the Mariinsky Ballet since 2015, Kimin Kim is a superb one from Korea shown in blue during the after-performance courtesy session on August 2, 2019 in Taipei.
Marius Pepita (1818 - 1910),called the "father of modern ballet", was a ballet dancer born in Marseilles. He moved to Russia in his twenties and achieved fame for being the chief choreographer of St. Petersburg's ballet performance at the end of the 19th and the very beginning of the 20th century. The ballet LA Bayadère is one of his most celebrated creations.
十四歲音樂神童將在卡內基音樂廳演出
Accessed July 1, 2019
十四歲的小女孩將在今年12月於紐約卡內基音樂廳擔任獨奏者演出他自己的作品：小提琴協奏曲 以及鋼琴協奏曲。
她於四歲開始作曲。十歲時已於世界音樂之都維也納演出她的歌劇-灰姑娘(Cinderella)。
"Lots of people have been telling me that if I want to grow up, I have to compose music that will reflect the ugliness of the modern world", she said. " I don't want to do this. I want to compose music that I find beautiful."
許多人告訴我：如果我要成長，必須要以作曲反映現代的醜惡世界。但是，我不想如此做。我只想寫我覺得美好的音樂。
請按以下連結欣賞她8歲和10歲實地訪問和演奏。
Alma Deutscher (11-year old) at Henley Festival
Alma Deutscher , 8-year old Music Prodigy
內田光子女爵士
Accessed July 1, 2019
內田光子女爵士
"She makes love to the piano on stage!"
1980-90年代在華府，我幾乎每週都去逛的古典音樂CD 店老闆如此對我說。已經好多次在甘迺迪中心聽她又纏綿又激情的演奏，我立刻抒懷的笑了。再也不忘那生動的描寫。
紐約時報的專訪特點如下
● 她從不聽自己彈奏的唱片, 因為不滿意會不高興，而滿意會喜歡以前的詮釋，而
不再求進步。
●雖然1980年代她以莫扎特專家竄起，其實她一向都最喜歡修伯特。當時因為電影Amadeus激起人們對莫扎特的時髦興趣，內田光子被邀演奏。
●她可以為了演奏連著六個星期練習一個曲目。
Mitsuko Uchida Will Never Be Done With Schubert
The pianist is returning to one of the first composers she loved in a concert at Carnegie Hall.
accessed June 22, 2019
The pianist Mitsuko Uchida. She will perform at Carnegie Hall on June 18, part of a two-season survey of Schubert sonatas.CreditVincent Tullo for The New York Times
Image
The pianist Mitsuko Uchida. She will perform at Carnegie Hall on June 18, part of a two-season survey of Schubert sonatas.CreditCreditVincent Tullo for The New York Times
By Joshua Barone
• June 14, 2019
“I have hit old age,” Mitsuko Uchida, who turned 70 in December, said recently. “And the beauty of old age is, I am going to say things and behave as if I owned the world.”
She then slapped her knee and let out a wicked laugh, something she does often, like a playful child. This can be disorienting for those who know Ms. Uchida — one of the great pianists of our, or any, time — only through her concerts and recordings, which are solemn and thoughtful, graceful and magisterial.
Her friends and colleagues, however, are used to the laughter. It is, they’ll tell you, as central to her artistry as her superb technique and the sensitivity of her touch.
Those giggles may be disarmingly youthful. But Ms. Uchida is, as she says, getting older. In late April, she canceled an appearance at Carnegie Hall — an installment of her two-season survey of Schubert sonatas — because of exhaustion. (That concert will take place on June 18.)
While performing in Berlin shortly before the cancellation, she recalled later, her brain was “like cabbage.” And she felt an unsettling flutter in her heart. Her doctor recommended rest, so she pulled out of Carnegie and escaped to the coast of Italy. After several days of good food and ocean views, she said, she felt “almost human” again.
This was just in time for the second of her Carnegie engagements, which proceeded as scheduled on May 4. She wasn’t happy with the circumstances — she prefers to have played a program elsewhere before bringing it to the Carnegie stage — and she had no idea what to expect.
“I can’t decide how to play,” she said. “There are many colleagues who know, and they play as they have played yesterday. Or they are so grand, they know the music and they go out to make a statement: ‘Here we are, and I am right.’ I am never right.”
“I try,” she added, “to catch something that is true in that very moment.”
Ms. Uchida at Carnegie Hall in 2016.CreditHiroyuki Ito for The New York Times
Image
Ms. Uchida at Carnegie Hall in 2016.CreditHiroyuki Ito for The New York Times
There was no sign on May 4 that Ms. Uchida was unsure of herself or still suffering from exhaustion. She didn’t drop a note in the runs of the Sonata in A minor (D. 537), and she was poignantly contemplative in the “Reliquie” Sonata (D. 840). In Schubert’s last sonata, the achingly beautiful B flat (D. 960), her patient pauses were Janus-faced, offering simultaneous terror and solace.
ADVERTISEMENT
Ms. Uchida had chosen those pieces — as well as the three sonatas on her June 18 program, including the Sonata in A (D. 959), the exasperated mad scene among Schubert’s piano works — because she wanted to “re-understand” them.
“With piano concertos, we know beforehand what we are going to get,” she said. “But with solo works, it’s so bloody difficult. The great composers always change. And as you change, they change. Especially with the Schubert sonatas, I discovered that I truly have changed.”
Learning Schubert has been a virtually lifelong process for Ms. Uchida. She was born in Japan, where her father, a diplomat, had a record collection. Not knowing any German, she had no idea what the covers or liner notes said. But there was a folk tune she loved on one of the discs.
Later, when she was 12 or 13 and her family had moved to Vienna, she heard the great baritone Dietrich Fischer-Dieskau sing Schubert’s “Winterreise.” “Suddenly, in the middle of this, there was our folk song,” she said. It was “Der Lindenbaum,” one of the most famous art songs in the repertory.
As a piano student, she also loved Mozart and Beethoven. Over time, she has also become a master of Bartok, Berg and Schumann, as well as more contemporary composers like Gyorgy Kurtag.
But, Ms. Uchida said, “I felt more connected with Schubert than anyone else.” His music, she added, is “ever so slightly minimalistic: There’s nothing unnecessary, and that is something that I’ve always liked.”
ADVERTISEMENT
Early fans of Ms. Uchida’s wouldn’t necessarily know this. She rose to fame with an astonishing series of Mozart albums — first the sonatas, then the concertos — beginning in the early 1980s.
We can thank “Amadeus” for that. When she got her first major recording deal, Ms. Uchida wanted to make a Schubert album. But she was playing Mozart sonatas on tour at the time, and “Amadeus” — the Peter Shaffer play and the film adaptation that followed — was a hit. So she put out a recording of two Mozart sonatas and a rondo.
Schubert was meant to follow, but her label and listeners were hungry for more Mozart. She didn’t end up releasing a Schubert album until the late 1990s. But when she did — the recordings were eventually collected in a 2004 box set — the wait was worth it.
Ms. Uchida’s Schubert is some of the finest on record. The albums are as intimate and conversational as her recitals; you may even find yourself needing to turn up the volume. She maintains restrained lightness and lyricism throughout, reserving Beethovenian heft only for rare, shocking occasions. Her interpretations are rich with ideas about beauty and mortality, yet her vision of Schubert is never forceful. It is something she shares but doesn’t dictate, not even to her future self: Ms. Uchida never listens to her recordings.
“I don’t want to peep into what I did in the past,” she said, “If I like it, the danger is that I will imitate myself, which is the last thing I want to do. And If I don’t like it, I will just be depressed. The score is there. Why do I need to listen to myself?”
ADVERTISEMENT
This assurance, the sense of knowing exactly what she wants out of her own musicianship, comes through — unexpectedly, perhaps — most clearly in Ms. Uchida’s performances with other musicians. Take her Carnegie concert in March with the Mahler Chamber Orchestra, in a program of two Mozart concertos (the 19th and moody 20th) that she conducted from the piano. Moving with her whole body, alternating between sitting at the keyboard and standing above it, she didn’t keep time so much as gesture moods and textures. The orchestra played as an extension of her instrument.
Although the interpretation was ultimately hers, there was a sense of give and take throughout. And that is where Ms. Uchida’s laugh-happy spirit comes in. The violinist Alexi Kenney, who has worked with her at the Marlboro Music School and Festival in Vermont, where she is an artistic director, said that the first time they were together in a rehearsal room, “there was no air of pretense that she knew more than us.”
Their work together was half conversation, half playing. “She lives a full life,” Mr. Kenney said. “She loves food, she loves art, she loves politics. She can talk about anything, and that’s inspiring for young musicians, to have a multitude of other interests.”
Ms. Uchida calls herself a “closet bridge reader” — she spends her free time reading books about bridge, despite claiming to be a bad player — and enjoys a cup of fine tea or a glass of rare wine. Her home, in London, has a wine cellar and a rehearsal studio with a small collection of Steinway pianos.
She likes inviting fellow performers over to talk about and read through music. Among them is the tenor Mark Padmore, himself a leading Schubert interpreter, with whom she is planning to perform “Schwanengesang,” the loose collection of Schubert’s final songs.
ADVERTISEMENT
“I was reminding myself recently about the different words for rehearsal,” Mr. Padmore said in an interview. “In French, ‘répétition,’ which speaks for itself; in German, ‘probe’ — proving or trying. In English, it has nothing to do with hearing. Its etymology is to till the earth in preparation for seed. Working with Mitsuko, all three of those things, those attitudes to rehearsing, are absolutely present.”
Together they pore over songs measure by measure, consulting literature, biographies and manuscripts. (Ms. Uchida is obsessed with Schubert’s manuscripts, using them to isolate the errors occasionally present in early and modern editions of his scores.)
“All of those things feel important and can inform how you go about performing something,” Mr. Padmore said. “She actually really loves taking time for this and rehearsing. I think she would rehearse every day for six weeks on a piece if she could.”
Ms. Uchida has reduced the number of performances she gives each year; she would like to lighten the load even more, to focus on Marlboro, which she wants to keep on with “forever, certainly for the foreseeable future.” She wants to study pieces by “old friends” like Bartok — and, yes, more Schubert. At Carnegie, she is scheduled for a performance of Mozart concertos with the Mahler Chamber Orchestra next March, and of solo Beethoven in April.
“It’s quite interesting: These days people live forever,” Ms. Uchida said. “But I don’t want to live forever.”
Again she laughed, with the delight of a kid who just got away with stealing a cookie. Still smiling, she said, “I want to live as long as I can make music decently.”
Mitsuko Uchida
June 18 at Carnegie Hall, Manhattan; carnegiehall.org.
Joshua Barone is a senior staff editor on the Culture Desk, where he writes about classical music and other fields including dance, theater and visual art and architecture. @joshbarone • Facebook
A version of this article appears in print on June 16, 2019, on Page AR18 of the New York edition with the headline: Playing To Catch Something True. Order Reprints |
F. Liszt - "Ständchen" Piano Transcriptions After Schubert - Khatia Buniatishvili
accessed May 20, 2019
這是所聽過有關舒伯特小夜曲最傳神的鋼琴改寫transcription (大師李斯特)，也是最細膩 最深遠的彈奏詮釋。
舍弟送在下的生日禮物
影片聯結：https://www.youtube.com/watch?v=SlTTgJau33Q&feature=share
André Previn Passing
安德烈●普列文 過世
accessed April 22, 2019
"See you in the Morning beloved Friend. May you rest in glorious symphonies".
"可愛的朋友，明早見。 祝你在光榮閃耀的交響樂中安息。"
★ Who composed the award-winning film music of "My Fair Lady"? That question has bugged me for decades until I saw the obituary of the famous classical music conductor André Previn who was previously the husband of Mia Farrow.
●還記得奧德莉赫本演出的金像獎名片「窈宨淑女」(My Fair Lady)的歌曲及配樂嗎？悅耳、通俗、卻不失格調。多年來一直好奇作曲家是誰。沒想到竟然是古典音樂指揮大師而且前妻是米亞法羅的安德烈●普列文。
★He composed even a violin concerto for his fifth wife, the violin goddess Anne-Sophie Mutter!!
●他還為第五任妻子小提琴天后慕特寫了一首小提琴協奏曲！
★ Upon learning Previn's passing, Mia Farrow was the first to pay tribute to her ‘beloved friend’ and ex-husband Andre Previn by twittering "See you in the Morning beloved Friend. May you rest in glorious symphonies".
●米亞法羅得知他過世的消息後是最早表達悼念祝福的人。她在推特上寫道："可愛的朋友，明早見。 祝你在光榮閃耀的交響樂中安息。"
★ André Previn, once a child prodigy and all his adult life a talented, all-around pianist/composer/conductor must also have been a kind and charming person with a beautiful soul who knew not to hate and left with no regret.
● 安德烈●普列文幼時曾是天才兒童，長大後作為鋼琴家/作曲家/指揮家，有65年的音樂事業。他應該是位善良、有魅力、擁有美麗靈魂、不懂仇恨的個人。死而無憾。
Read more: https://metro.co.uk/2019/03/01/mia-farrow-pays-tribute-ex-husband-andre-previn-dies-aged-89-8787188/?ito=cbshare&fbclid=IwAR0L_w5esCUgDogB5CJmaK0OuBr9N5KTehXYFopHw1236X4_jocTOEb-BY4
Lily Marlene/Lili Marleen 莉莉瑪蓮
Accessed Dec 24 , 2018
以下附上兩項 Youtube 音樂 以及 英文和德文的歌詞。
Below please find links to two Youtube pieces and both the Englsih and German lyrics：
Outside the barracks, by the corner light
I'll always stand and wait for you at night
We will create a world for two
I'll wait for you the whole night through
For you, Lili Marlene
For you, Lili Marlene
Bugler tonight don't play the call to arms
I want another evening with her charms
Then we will say goodbye and part
I'll always keep you in my heart
With me, Lili Marlene
With me, Lili Marlene
Give me a rose to show how much you care
Tie to the stem a lock of golden hair
Surely tomorrow, you'll feel blue
But then will come a love that's new
For you, Lili Marlene
For you, Lili Marlene
When we are marching in the mud and cold
And when my pack seems more than I can hold
My love for you renews my might
I'm warm again, my pack is light
It's you, Lili Marlene
It's you, Lili Marlene
My love for you renews my might
I'm warm again, my pack is light
It's you, Lili Marlene
It's you, Lili Marlene
Lied eines jungen Wachpostens (Lili Marleen)
1. Vor der Kaserne
Vor dem grossen Tor
Stand eine Laterne
Und steht sie noch davor
So woll'n wir uns da wieder seh'n
Bei der Laterne wollen wir steh'n
Wie einst Lili Marleen.
2. Unsere beide Schatten
Sah'n wie einer aus
Dass wir so lieb uns hatten
Das sah man gleich daraus
Und alle Leute soll'n es seh'n
Wenn wir bei der Laterne steh'n
Wie einst Lili Marleen.
3. Schon rief der Posten,
Sie blasen Zapfenstreich
Das kann drei Tage kosten
Kam'rad, ich komm sogleich
Da sagten wir auf Wiedersehen
Wie gerne wollt ich mit dir geh'n
Mit dir Lili Marleen.
4. Deine Schritte kennt sie,
Deinen zieren Gang
Alle Abend brennt sie,
Doch mich vergass sie lang
Und sollte mir ein Leids gescheh'n
Wer wird bei der Laterne stehen
Mit dir Lili Marleen?
5. Aus dem stillen Raume,
Aus der Erde Grund
Hebt mich wie im Traume
Dein verliebter Mund
Wenn sich die späten Nebel drehn
Werd' ich bei der Laterne steh'n
Wie einst Lili Marleen.
Allegri, “Miserere Mei Deus”
King's College Choir, Cambridge
accessed May 25, 2018
https://www.youtube.com/watch?v=4lC7V8hG198&feature=share
炎熱的天氣，混亂的世局 ，激蕩的兩岸。
外在無解，反求內心。
這是黛安娜王妃葬禮上所唱的音樂。在全球大眾記憶裡，飛聳雲端的和聲很難抹去就此消失。
百年後，今日一切如夢般的消失。
此天樂仍然縈繞撫慰人類的心靈。
林中斌 2018.5.25
失聰復得記
林中斌 2018.4.18
accessed April 18, 2018
「你真的聽得見嗎？」
前幾天內人還在問。事情已經過了六十天了，她仍然不敢相信。
去年十月初的周六，我去宜蘭登山。回家後幾天內，右耳聽力急速退化。
回想起來，大概是當天淋了些雨。下山後趕公車，忘記馬上換乾衣服，著涼感冒，由耳鼻阻塞引起。即使如此解釋符合邏輯，但是仍然相當勉強。因為之前數十年感冒無數次，從未如此嚴重的影響聽力。
這意外事件給未來蒙上一層黑霧。稱之為人生小型危機並不為過。
因為左耳在過去廿多年逐漸衰退，聽力已幾乎完全喪失。之前全靠尚未失聰的右耳與人互動。
雙耳失聰的我如何擔負數月前已排定的行程--國際會議主題演講、媒體深度訪問、學術會議主持等？
裝助聽器吧！這就是人生。前生的業障啦！以前自己做的，現在自己受。認了！沒什麼好難過的。
自我反思後如此決定。
德國助聽器公司好意先借我試用高級產品兩週。他們遵行母公司規定，提醒顧客不要放棄治療，同時推薦一位附近診所的醫師。後者又推薦新店有規模醫院的大牌醫師。
於是，開始了一場長達四週，每次花耗上下午的耳科醫療折騰之旅。至今回想，猶如惡夢。
忙碌的大牌醫師，在就醫者掛號苦等之後才蒙召見。但是大牌時間寶貴，無暇細聽徵狀，無暇解釋久等才輪到的測試所得的數據，也無暇回答問題。內耳測試尤其令人難忘。執行護士說明不清，就醫者竟然苦躺床上一小時半，猶如在意識的大海中黑夜航行，茫然不知目的何在，也不知何時靠岸。
第四次就醫之後，醫師下最後診斷：內耳神經老化而且受損，醫院將請專人協助病患選購助聽器。意思是：醫療無望，但是你還要再來。
那是十二月中的事。
一位關心的年輕朋友得知如此的醫療「判決」，不服氣。他勸已認命的我找第二個意見。
「之前，我肩膀受傷。醫師說要開刀。您堅持我要避免開刀，以免斬斷了身體氣血的通路，一定要找第二個意見。後來，另一位醫師說不必開刀。靠療養和服用中藥，我的肩膀完全康復了。如今，您也應該找第二個意見。」
他見我毫無行動，於是積極打聽優良的耳科醫師。
今年一月底，他通過朋友安排我去亞東醫院看耳科主任陳光超醫師。那天，他們開車來接。盛情感人。我雖已不抱希望，但不得不「配合演出」。
電腦掛號，掌握時間。到醫院報到後，很快的進行測試，雖然儀器和項目多，但效率高，快速完成。
陳醫師態度友善熱情，稍作詢問，審視測試結果，便說：
「我不同意之前的診斷。讓我檢視你雙耳。」
他清理我外耳後，進行中耳抽水。
突然，雙耳都豁然開朗！
我對陪伴的內人說：「又可以聽音樂了!」
「我想你聽的是古典音樂，是嗎？
多聽沒錯。因為古典音樂高低頻率範圍廣闊，遠超過流行音樂。尤其是聽高頻會刺激聽神經，延遲老化。
根據十五篇研究報告，從事音樂的人聽神經老化比一般晚十年。這雖然不構成耳科領域裡的共識，但不妨嘗試。」
他說得有根據、有分寸。
整個過程不過一小時。
我回家後，頗不習慣。聽關門的聲音轟然大響，洗碗碟的聲音，尖銳刺耳。第二天共進早餐時，請內人說話不必如此大聲。出門後，抬頭查看天空是否有轟炸機或在打雷。其實只是風吹過廿多年失聰左耳外部渦輪摩擦出聲而已。
一週後，陳醫師出國演講(他是國際知名的耳科學者)。兩週後見陳醫師複診，他說以後不用來了。
後記：
●感謝青年朋友湯名暉先生費心尋醫、烏凌翔先生引見陳醫師並開車接送。
●隨著兩耳聽力恢復，今年一月突發而前所未有的暈眩症也在二月後自動痊癒。更妙的是，去年四月十一日半夜突發而也前所未有的缺氧症(panic attack 中文翻譯雖並不貼切為「恐慌症」)經過一年忍耐不適持續照舊登山後，如今不斷改進已接近痊癒。
●感謝內人永遠耐心永遠樂觀的陪伴協助。感謝虛空界無形力量的恩典與呵護。
Let's celebrate!
I can hear again.
accessed April 18, 2018
Let's celebrate!
I can hear again.
Chong-Pin Lin April 18, 2018
失聰復得!
慶祝啊!!
林中斌 2018.4.18
夕陽鐘聲 Evening Bells
accessed April 19, 2018
夕陽鐘聲 Evening Bells
從俄羅斯靈魂深處流出的音樂。五十年來百聽不厭。每次都揪心動容。
林中斌 2018.4.19
For more than half a century, I have been moved by this melody ever since it came to me in Montreal on a longplay disc of balalaika and voice. This must be from the most beautiful depth of the suffering Russian soul.
Chong-Pin Lin April 19, 2018
出版書籍/books published (9) 論文與評論/papers & opeds (4) 講演與受訪/speeches & interviews (2) 全球磁變/Global shift (1) 休閒/leisure (9) 授課資料/teaching (4) 心靈探索/Spiritual Exploration (2)
