The ten violin sonatas are the best representatives of "this side" that I love. The first thing to listen to is of course the "Spring Sonata". At the beginning, the violin's continuous, soothing and long glissando is set against the clear broken chords of the piano, which is clearly the river of spring water flowing eastward. Infinitely affectionate, yet extremely clear, with no hint of "sorrow" in it. The Ninth Violin Sonata is commonly known as "Kreitzer" and is also very famous. Maybe a bit more difficult. However, if you read Tolstoy's novel of the same name, you may be able to understand it better, and vice versa. This is no longer the trickle of spring, but the raging, scorching passion of summer. The harmony and entanglement of violin and piano are truly like two lovers in life and death. No wonder the hero and heroine in the novel broke out in a turbulent love affair while playing this dangerous piece of music together. We are finally coming to the end of Beethoven's masterpiece. What can we hear in late Beethoven? Beethoven became more profound and complex with age, leaving his contemporaries far behind. His contemporaries also knew that his late works were very great, but they all stayed away from them because they really couldn't understand them. In fact, when it comes to speaking out, those of us in the 20th century don't feel the same way. Aren't we left far behind by Lao Bei? Before those works after No. 101, we worshiped, feared, and didn't know what to say (note today: this view has now changed). So I would rather listen to his mid-term works. Of course there are exceptions, such as the great Ninth Symphony, which is truly an immortal monument and great symbol of human civilization