But Mozart was also whipped by suffering. Fate was more cruel to him than Beethoven. He has tasted all kinds of pains, experienced the taste of heartbreak and heartbroken, and felt sad and depressed about the unknown terror and loneliness. Some of his movements express these feelings, and even Beethoven and Weber have never surpassed them. In particular, he wrote several fantasia for piano and adagio in B minor. Here, we see a new strength of Mozart, which I call a special talent. I'm not saying that apart from these works, we haven't learned his special talent. But the special talent I am talking about is a powerful breath beyond our breath, which can take away an often mediocre soul or fight against it; This is the power to control the spirit outside the spirit, the god in our hearts, not ourselves. Up to now, Mozart we have seen is just a man full of life, happiness and love; No matter what kind of soul he transforms himself into, we can always see him. But here, in the music just mentioned, we are standing at the door of a more mysterious world. It is the noumenon in which the soul speaks, and the life without me and everywhere speaks. Only the sky can express it, and all souls have the same quality. There is often some profound dialogue between the individual soul and the inner God, especially when the injured soul seeks refuge in its unfathomable shrine. Beethoven's art constantly has disputes between this soul and its devil. But Beethoven's soul is violent, capricious, changeable and passionate. Mozart's soul will always be like a child. It is sensitive and sometimes tired of excessive warmth, but it is always intense. Mozart's soul will always be like a child. It is sensitive and sometimes too warm, but it is always harmonious. It sings pain with beautiful rhythm phrases, but hypnotizes itself when talking about it: tears are still wet, and it can't help but smile at its artistic beauty and its charming power (such as Adagio in B minor). This flower-like heart contrasts with this spirit that dominates everything, and it is this contrast that makes those musical poems have infinite charm. This fantasy is like a tree with a huge trunk, powerful branches and delicate leaves, full of fragrant flowers. The first paragraph of the piano concerto in D minor has a tragic atmosphere, and lightning and smiles are intertwined. The famous Fantasia in C minor and Sonata are as solemn as the Olympic God, as graceful as the heroine in Raassina's tragedy. In adagio in b minor, the inner god is more gloomy and almost thunders; The soul is sighing, talking about earthly things, longing for the warmth of the world, and finally falling asleep with a beautiful and harmonious sigh.