by wilhelm kempff

This sonata represents a most personal confession, so it is no wonder that Beethoven wished to keep it for himself and did not dedicate it to anyone. Moderato cantabile molto espressivo: An intimate light shines out of the two unworldly themes, which are linked by rising and falling arpeggios. In the development the principal theme makes its way through various keys and is sometimes darkened, to radiate light again at the beginning of the recapituation. Beethoven seems to be remembering the days when he could live in full possession of all his senses. The robust theme is based on an old popular song. In the recitative (Adagio, ma non troppo) and the concluding Arioso dolente the piano is called upon to act as the medium for one of the most moving of human utterances. Fuga (Allegro, ma non troppo): Beethoven gives the fugue a new, psychological significance, seeking to free himself from personal grief through this higher discipline. Once again we hear the music of the Arioso, 'wearily lamenting'. Thereupon the fugal theme appears inverted and mystically transfigured in a bright G major. Its original form is taken up powerfully in the bass and leads to a triumphant conclusion.

以前

夢留在溫暖裡面，車刮過黑色的柏油路面。
剩一口不抽的煙，瀰漫著白色慵懶的疲倦。

如果要再見可以更直接些。太小心拿捏不是虛偽了點？都知道的，別自我欺騙。

有什麼終於不見，
醒來後熟悉的冰冷世界。

像骨刺的舊天線，卡住今天接收不了明天。

天亮之前好好對看一眼
你曾是我最想落腳的終點
不過原來已經是很久之前
那是之前走不出的圓圈，總是對你的好放大了一點
不過我比想像的乾脆。

也許我們都愛濫用著諒解，也許我們總覺得被人虧欠，交換了狂喜也交換亢奮之後那些厭倦。
也許愛就是會濫用著諒解，也許我們總覺得不被了解，其實我討厭快樂能變成邪惡，太多的自憐。


不過我比想像的堅決。
不過，如果...